839 resultados para Animation techniques
Resumo:
Most sugarcane breeding programs in Australia use large unreplicated trials to evaluate clones in the early stages of selection. Commercial varieties that are replicated provide a method of local control of soil fertility. Although such methods may be useful in detecting broad trends in the field, variation often occurs on a much smaller scale. Methods such as spatial analysis adjust a plot for variability by using information from immediate neighbours. These techniques are routinely used to analyse cereal data in Australia and have resulted in increased accuracy and precision in the estimates of variety effects. In this paper, spatial analyses in which the variability is decomposed into local, natural, and extraneous components are applied to early selection trials in sugarcane. Interplot competition in cane yield and trend in sugar content were substantial in many of the trials and there were often large differences in the selections between the spatial and current method used by the Bureau of Sugar Experiment Stations. A joint modelling approach for tonnes sugar per hectare in response to fertility trends and interplot competition is recommended.
Resumo:
The microbiological quality of routinely processed tripe and rumen pillars were compared with those derived after emptying the rumen (paunch) without using water (dry dumping) and after deliberately bursting the paunches before processing. Prior to packing the mean:log(10) aerobic plate counts (APC) for the routinely processed tripe and rumen pillars were 3.55+/-1.08 and 3.28+/-0.87/g respectively. The corresponding mean log(10) total coliform counts (TCC) were 1.27+/-1.28 and 2.08+/-0.87. The mean log(10) APC counts on tripe and rumen pillars after dry-dumping were 3.06+/-0.60 and 3.90+/-0.75/g, respectively. The corresponding mean log(10) TCC were 1.03+/-0.60/g and 2.75+/-1.14/g respectively. After deliberately bursting the paunches, before processing, the mean log(10) APC counts on tripe and rumen pillars were 3.55+/-0.83/g and 3.50+/-0.59/g and the mean log(10) TCC were 1.54+/-0.95/g and 2.66+/-0.82/g respectively. In all cases the prevalence of Salmonella and Campylobacter spp. was less than 3%. The results indicate that both tripe and rumen pillars can be produced after dry dumping without compromising the quality of tripe and rumen pillars. Similarly, incidentally burst paunches that become contaminated with ingesta on the serosal surface can be processed without compromising product quality. Crown Copyright (C) 2002 Published by Elsevier Science Ltd. All rights reserved.
Resumo:
Chest clapping, vibration, and shaking were studied in 10 physiotherapists who applied these techniques on an anesthetized animal model. Hemodynamic variables (such as heart rate, blood pressure, pulmonary artery pressure, and right atrial pressure) were measured during the application of these techniques to verify claims of adverse events. In addition, expired tidal volume and peak expiratory flow rate were measured to ascertain effects of these techniques. Physiotherapists in this study applied chest clapping at a rate of 6.2 +/- 0.9 Hz, vibration at 10.5 +/- 2.3 Hz, and shaking at 6.2 +/- 2.3 Hz. With the use of these rates, esophageal pressure swings of 8.8 +/- 5.0, 0.7 +/- 0.3, and 1.4 +/- 0.7 mmHg resulted from clapping, vibration, and shaking respectively. Variability in rates and forces generated by these techniques was 80% of variance in shaking force (P = 0.003). Application of these techniques by physiotherapists was found to have no significant effects on hemodynamic and most ventilatory variables in this study. From this study, we conclude that chest clapping, vibration, and shaking 1) can be consistently performed by physiotherapists; 2) are significantly related to physiotherapists' characteristics, particularly clinical experience; and 3) caused no significant hemodynamic effects.
Resumo:
The left ventricular response to dobutamine may be quantified using tissue Doppler measurement of myocardial velocity or displacement or 3-dimensional echocardiography to measure ventricular volume and ejection fraction. This study sought to explore the accuracy of these methods for predicting segmental and global responses to therapy. Standard dobutamine and 3-dimensional echocardiography were performed in 92 consecutive patients with abnormal left ventricular function at rest. Recovery of function was defined by comparison with follow-up echocardiography at rest 5 months later. Segments that showed improved regional function at follow-up showed a higher increment in peak tissue Doppler velocity with dobutamine therapy than in nonviable segments (1.2 +/- 0.4 vs 0.3 +/- 0.2 cm/s, p = 0.001). Similarly, patients who showed a > 5% improvement of ejection fraction at follow-up showed a greater displacement response to dobutamine (6.9 +/- 3.2 vs 2.1 +/- 2.3 mm, p = 0.001), as well as a higher rate of ejection fraction, response to dobutamine (9 +/- 3% vs 2 +/- 2%, p = 0.001). The optimal cutoff values for predicting subsequent recovery of function at rest were an increment of peak velocity > 1 cm/s, >5 mm of displacement, and a >5% improvement of ejection fraction with low-dose dobutamine. (C) 2003 by Excerpta Medica, Inc.
Resumo:
The health benefits provided by probiotic bacteria have led to their increasing use in fermented and other dairy products. However, their viability in these products is low. Encapsulation has been investigated to protect the bacteria in the product's environment and improve their survival. There are two common encapsulation techniques, namely extrusion and emulsion, to encapsulate the probiotics for their use in the fermented and other dairy products. This review evaluates the merits and limitations of these two techniques, and also discusses the supporting materials and special treatments used in encapsulation processes. (C) 2003 Elsevier Science Ltd. All rights reserved.
Resumo:
This paper investigates realism in character computer animation, which triggered the development of new techniques and aesthetic in spectacular cinema and contemporary culture. With the advent of motion or performing capture, animation has made possible that virtual characters or digital creatures reach higher levels in emotional acting, taking place in virtual cinematic worlds or even special effects movies. This technology, when placed at the service of imagination and fantasy can provide new dimensions in character motion and communication. In this context, projects like Peter Jackson’s (2001) The Lord of the Rings, James Cameron’s Avatar (2009) and more recently Steven Spielberg’s Tintin (2011) demonstrate that motion technology is constantly evolving, and it represents a credible option to explore new techniques and aesthetic in contemporary animation.
Resumo:
The evolution of computer animation represents one of the most relevant andrevolutionary aspects in the rise of contemporary digital visual culture (Darlew,2000), in particular, phenomena such as cinema “spectacular “ (Ibidem) and videogames. This article analyzes the characteristics of this “culture of simulation” (Turkle, 1995:20) relating the multidisciplinary and spectrum of technical and stylistic choices to the dimension of virtual characters acting. The result of these hybrid mixtures and computerized human motion capture techniques - called virtual cinema, universal capture, motion capture, etc. - cosists mainly on the sophistication of “rotoscoping”, as a new interpretation and appropriation of the captured image. This human motion capture technology, used largely by cinema and digital games, is one of the reasons why the authenticity of the animation is sometimes questioned. It is in the fi eld of 3D computer animation visual that this change is more signifi cant, appearing regularly innovative techniques of image manipulation and “hyper-cinema” (Lamarre, 2006: 31) character’s control with deeper sense of emotions. This shift in the culture that Manovich (2006: 27) calls “photo-GRAPHICS” - and Mulvey (2007) argue that creates a new form of possessive relationship with the viewer, in that it can analyze in detail the image, it can acquire it and modify it - is one of the most important aspects in the rise of Cubbit’s (2007) “cinema of attraction”. This article delves intrinsically into the analyze of virtual character animation — particularly in the fi eld of 3D computer animation and human digital acting.
Resumo:
Forest cover of the Maringá municipality, located in northern Parana State, was mapped in this study. Mapping was carried out by using high-resolution HRC sensor imagery and medium resolution CCD sensor imagery from the CBERS satellite. Images were georeferenced and forest vegetation patches (TOFs - trees outside forests) were classified using two methods of digital classification: reflectance-based or the digital number of each pixel, and object-oriented. The areas of each polygon were calculated, which allowed each polygon to be segregated into size classes. Thematic maps were built from the resulting polygon size classes and summary statistics generated from each size class for each area. It was found that most forest fragments in Maringá were smaller than 500 m². There was also a difference of 58.44% in the amount of vegetation between the high-resolution imagery and medium resolution imagery due to the distinct spatial resolution of the sensors. It was concluded that high-resolution geotechnology is essential to provide reliable information on urban greens and forest cover under highly human-perturbed landscapes.
Resumo:
This paper presents Palco, a prototype system specifically designed for the production of 3D cartoon animations. The system addresses the specific problems of producing cartoon animations, where the main obj ective is not to reproduce realistic movements, but rather animate cartoon characters with predefined and characteristic body movements and facial expressions. The techniques employed in Palco are simple and easy to use, not requiring any invasive or complicated motion capture system, as both body motion and facial expression of actors are captured simultaneously, using an infrared motion detection sensor, a regular camera and a pair of electronically instrumented gloves. The animation process is completely actor-driven, with the actor controlling the character movements, gestures, facial expression and voice, all in realtime. The actor controlled cartoonification of the captured facial and body motion is a key functionality of Palco, and one that makes it specifically suited for the production of cartoon animations.