Crystal Zoetrope: New Visual Medium for Displaying 3D Animation

Leonardo ◽  
2012 ◽  
Vol 45 (1) ◽  
pp. 98-99
Author(s):  
Woohun Lee ◽  
JinHa Seong
Keyword(s):  
Life Cycle ◽  
Three Dimensional ◽  
3D Animation ◽  
Visual Medium ◽  
Everyday Objects ◽  
Glass Disc ◽  
The Universe

The authors have turned the Zoetrope, initially an optical toy from the pre-cinema era, into a three-dimensional (3D) animation display. “Crystal Zoetrope” is a new visual medium involving a glass disc with numerous engraved objects that displays a sophisticated 3D animation. It can be built in small sizes and even be embedded in everyday objects or environments. Using this new visual medium, the authors produced the 3D animation “Sea of Stars” that portrays the life cycle of planets in the universe.

The experience of employment of the mathematical cartography methods in cosmology

2017 ◽  
Vol 923 (5) ◽  
pp. 7-16
Author(s):  
A.V. Kavrayskiy
Keyword(s):  
Background Radiation ◽  
Three Dimensional ◽  
Spherical Coordinates ◽  
Linear Element ◽  
Microwave Background ◽  
Euclidian Space ◽  
Microwave Background Radiation ◽  
Rectangular Coordinates ◽  
The Universe ◽  
Length Distortion

The experience of mathematical modeling of the 3D-sphere in the 4D-space and projecting it by mathematical cartography methods in the 3D-Euclidian space is presented. The problem is solved by introduction of spherical coordinates for the 3D-sphere and their transformation into the rectangular coordinates, using the mathematical cartography methods. The mathematical relationship for calculating the length distortion mp(s) of the ds linear element when projecting the 3D-sphere from the 4-dimensional Euclidian space into three-dimensional Euclidian space is derived. Numerical examples, containing the modeling of the ds small linear element by spherical coordinates of 3D-sphere, projecting this sphere into the 3D-Euclidian space and length of ds calculating by means of its projection dL and size of distortion mp(s) are solved. Based on the model of the Universe known in cosmology as the 3D-sphere, the hypothesis of connection between distortion mp(s) and the known observed effects Redshift and Microwave Background Radiation is considered.

scholarly journals Correction to “Life-Cycle Assessment of Gingko-Wood Three-Dimensional Membrane for Wastewater Treatment”

ACS Omega ◽  
2020 ◽  
Vol 5 (42) ◽  
pp. 27733-27733
Author(s):  
Faiza Niaz ◽  
Qasim Khan ◽  
Mustafa Ali ◽  
Wenxing Shen
Keyword(s):  
Wastewater Treatment ◽  
Life Cycle Assessment ◽  
Life Cycle ◽  
Three Dimensional

DRIEDIMENSIONAAL NIEUWS

2019 ◽  
Vol 3 (2) ◽  
pp. 128-152
Author(s):  
Tessel X. Dekker
Keyword(s):  
Nineteenth Century ◽  
The Netherlands ◽  
Mass Medium ◽  
Three Dimensional ◽  
Reciprocal Relationship ◽  
Visual Medium ◽  
The Public ◽  
Wax Models

THREE-DIMENSIONAL NEWS The Amsterdam wax museum as a competitor of the illustrated newspaper, 1882-1919 The nineteenth-century wax museum can be viewed as a contemporary mass medium that showed people scenes from the news. The Nederlandsch Panopticum was the first of its kind in the Netherlands, located in Amsterdam between 1882 and 1919. As an informative visual medium, the Panopticum had to compete with other media, like the illustrated newspaper, for the attention of the public. At the same time, the wax museum also depended on photographs published in these same papers: wax models were often, and in the course of time almost exclusively, modelled after photos. This reciprocal relationship can be seen as an example of ‘intermediality’. In the end, the wax museum lost ground, foremost, to the new mass medium of the time, cinema, which took over both as an urban attraction and as a popular visual medium.

Ansätze zur verbesserten Umformung von Papier*/Approaches to improved forming of paper

2017 ◽  
Vol 107 (10) ◽  
pp. 714-718
Author(s):  
P. Prof. Groche ◽  
W. Franke ◽  
A. Ackermann
Keyword(s):  
Life Cycle Assessment ◽  
Life Cycle ◽  
Material Properties ◽  
Anisotropic Material ◽  
Three Dimensional ◽  
Size Accuracy ◽  
Packaging Industry ◽  
Industry Sectors

Ein breiterer Einsatz von Papier könnte sich auf die Umweltbilanz zahlreicher Branchen zum Beispiel der Verpackungsindustrie positiv auswirken. Allerdings stehen der Umsetzung zahlreiche Herausforderungen im Wege. Bei der umformtechnischen Herstellung dreidimensionaler Produkte aus Papier erfordern insbesondere die anisotropen Werkstoffeigenschaften geeignete Maßnahmen. Dieser Fachbeitrag zeigt, wie durch gezielte, lokal angepasste Werkzeugtemperierung die Maßhaltigkeit der Produkte zu verbessern ist.   A broad use of paper could improve the life cycle assessment of industry sectors like the packaging industry. However, there are many obstacles to the application. Especially the anisotropic material properties need suitable measures to the forming manufacturing of three-dimensional products made of paper. This article presents how to improve the size accuracy of products made of paper by the use of targeted, locally heated tools.

scholarly journals FILM SERI ANIMASI 3D BELAJAR BAHASA INDONESIA BERSAMA MADE SEBAGAI MEDIA PEMBELAJARAN BAHASA INDONESIA UNTUK PENUTUR ASING DI UNDIKSHA

2017 ◽  
Vol 6 (1) ◽  
pp. 20
Author(s):  
I Putu Andika Subagya Putra . ◽  
I Gede Mahendra Darmawiguna, S.Kom, M.Sc . ◽  
I Made Putrama, S.T., M.Tech. .
Keyword(s):  
Research And Development ◽  
Foreign Students ◽  
Three Dimensional ◽  
3D Animation ◽  
Average Percentage ◽  
Animated Film ◽  
The Mean ◽  
Film Series ◽  
Foreign Speakers ◽  
Bahasa Indonesia

Tujuan dari penelitian ini adalah untuk mengembangkan Film Seri Animasi 3d “Belajar Bahasa Indonesia Bersama Made” Sebagai Media Pembelajaran Bahasa Indonesia Untuk Penutur Asing Di Undiksha, agar mahasiswa asing yang tinggal atau berkunjung ke Indonesia dengan mudah dapat mempelajari Bahasa Indonesia. Metode penelitian yang digunakan dalam penelitian ini adalah Research and Development (R&D) dengan menggunakan model pengembangan ADDIE. Film animasi 3 dimensi ini dikembangkan dengan menggunakan software Blender dengan beberapa tahap pembuatan animasi, yaitu pra produksi, produksi, dan pasca produksi. Hasil dari penelitian ini, yaitu produk film animasi 3 dimensi berupa DVD dan respon dari peserta didik BIPA di Undiksha Singaraja terhadap Film Seri Animasi 3d “Belajar Bahasa Indonesia Bersama Made” Sebagai Media Pembelajaran Bahasa Indonesia Untuk Penutur Asing Di Undiksha yang terkategorikan sangat positif dengan rata-rata persentase 91,44%. Berdasarkan analisis dari 12 peserta didik BIPA diketahui 3 siswa memberikan respon yang sangat positif dan 9 siswa memberikan respon yang positif terhadap film animasi ini.Kata Kunci : BIPA, film Animasi, Animasi 3 Dimensi The purpose of this study is to develop a 3D Animation Film Series "Belajar Bahasa Indonesia Bersama Made" As an Indonesian Learning Media For Foreign Speakers In Undiksha, so that foreign students who stay or visit to Indonesia can easily learn Indonesian language. The method used in this research is the Research and Development (R & D) by using ADDIE development model. 3-D animated film is developed using software Blender with several stages of animation creation, are pre-production, production and post-production. The results of this study, three-dimensional animated film products such as DVD and the response of learners BIPA in Undiksha Singaraja to 3d Animation Film Series "Belajar Bahasa Indonesia Bersama Made" As an Indonesian Learning Media For Foreign Speakers In Undiksha are categorized very positively with the mean average percentage of 91,44%. Based on an analysis of 12 learners BIPA note 3 students gave a very positive response and 9 students responded positively to this animated film.keyword : BIPA, Animation Film, 3D Animation

SEM Stop-Frame, Color, 3D Animation for Motion Pictures

1998 ◽  
Vol 4 (S2) ◽  
pp. 16-17
Author(s):  
David Scharf ◽  
Jacob Wilbrink ◽  
John A. Hunt
Keyword(s):  
High Resolution ◽  
Three Dimensional ◽  
Three Dimensions ◽  
3D Animation ◽  
Special Effects ◽  
Projection Screen ◽  
Traditional Format ◽  
Stereo Motion ◽  
Large Projection ◽  
Animation System

A stop-frame animation system has been developed for producing high-resolution, color and stereo motion picture animation sequences. The first of these sequences can be seen in the recently released IMAX 3D movies, “Four Million House Guests” a.k.a. “The Hidden Dimension”. IMAX movies have long been known for their breathtaking special effects that seem incredibly realistic because of the large projection screen (about 7 stories high) which is close to the entire audience, high resolution, and powerful audio effects. IMAX 3D is an extention to the traditional format that allows the audience to see three dimensional special effects with the aid of electronically shuttered viewing glasses. IMAX movies are an ideal medium to demonstrate the high resolution digital images that are possible with the SEM.The goal of the SEM movie project was to produce movie sequences where viewers feels like they are flying smoothly through micro-space past microscopic creatures and objects in three dimensions and in color.

Production, Delivery and Playback of 3D Graphics

2011 ◽  
pp. 855-862
Author(s):  
Thomas Di Giacomo ◽  
Chris Joslin ◽  
Nadia Magnenat-Thalmann
Keyword(s):  
Three Dimensional ◽  
Personal Digital Assistants ◽  
Main Concern ◽  
3D Graphics ◽  
Time Model ◽  
New Era ◽  
Everyday Objects ◽  
Network Connection ◽  
General Expectation

Three-dimensional (3D) representation is one of the cornerstones of Computer Graphics (CG) and multimedia content. Advances in this domain, coupled with the highly fuelled progression of 3D graphics cards, have pushed the complexity of these representations into a whole new era, whereby a single real-time model can consist of more than a million polygons. Huge architectural buildings, everyday objects, even humans themselves, can be represented using 3D graphics in such detail that it is difficult to distinguish between real and virtual objects. Concurrently, and much towards the other end of the scale, many devices, such as Personal Digital Assistants (PDAs), mobile phones, laptops and so forth, are now “3D capable” to enhance a user’s experience and to provide much more depth to the information presented. In many cases, these devices access the same content from the same service provider; for example, providing virtual maps/guides, multi-user games and so forth. It is this broadness of content and the heterogeneity of devices in terms of performance, capability, network connection and more that is the main concern in a continuously expanding market. It is also the concern of users to obtain the best quality for their device; that is, the general expectation of any device of higher performance is that overall the quality of the experience will be better.

scholarly journals Clustering, Isotropy, and Redshift Cutoff

1986 ◽  
Vol 119 ◽  
pp. 447-454
Author(s):  
Patrick S. Osmer
Keyword(s):  
Optical Depth ◽  
Three Dimensional ◽  
Radial Distance ◽  
Specific Question ◽  
Dimensional Distribution ◽  
Steep Decline ◽  
Age Of The Universe ◽  
Short Time ◽  
The Universe ◽  
Luminosity Evolution

The topics of clustering, isotropy, and redshift cutoff are in reality just different aspects of the problem of the three-dimensional distribution of quasars, assuming, of course that the redshifts are cosmological and therefore an indication of radial distance. The distribution in redshift has additional interest because of the substantial lookback times involved, up to four fifths of the age of the universe. The radial variation of quasar density between redshift zero and two, and the attendant questions of density and luminosity evolution, are discussed elsewhere in this symposium by Green and shall not be treated here. Rather we shall concern ourselves with the behavior at redshifts larger than two and the specific question of a steep decline of quasar density at redshifts near three. For simplicity we may characterize the problem as one of studying either the formation of quasars as we normally see them in a cosmologically short time or of the properties of the universe and its optical depth, should intergalactic absorption contribute significantly to blocking our view at redshift three. Of course other hypotheses are also possible.

FROM FLATLAND TO FRACTALAND: NEW GEOMETRIES IN RELATIONSHIP TO ARTISTIC AND SCIENTIFIC REVOLUTIONS

Fractals ◽  
1995 ◽  
Vol 03 (03) ◽  
pp. 617-625 ◽  
Author(s):  
RHONDA ROLAND SHEARER
Keyword(s):  
Social Values ◽  
Modern Art ◽  
Three Dimensional ◽  
Direct Access ◽  
New Paradigm ◽  
Social Commentary ◽  
Scientific Revolutions ◽  
History Of ◽  
New Ideas ◽  
The Universe

Abbott’s 19th century book, Flatland, continues to be popularly interpreted as both a social commentary and a way of visualizing the 4th-dimension by analogy. I attempt here to integrate these two seemingly disparate readings. Flatland is better interpreted as a story with a central theme that social, perceptual, and conceptual innovations are linked to changes in geometry. In such cases as the shift from the two-dimensional world of Flatland to a three-dimensional Spaceland, the taxonomic restructuring of human importance from Linnaeaus to Darwin, or the part/whole proportional shift from Ptolemy’s earth as the center of the universe to Copernicus’s sun, new geometries have changed our thinking, seeing, and social values, and lie at the heart of innovations in both art and science. For example, the two greatest innovations in art — the Renaissance with geometric perspective, and the birth of modern art at the beginning of this century with n-dimensional and non-Euclidean geometries — were developed by artists who were thinking within new geometries. When we view the history of scientific revolutions as new geometries, rather than only as new ideas, we gain direct access to potential manipulations of the structures of human innovation itself. I will discuss the seven historical markers of scientific revolutions (suggested by Kuhn, Cohen, and Popper), and how these seven traits correlate and can now be seen within the new paradigm of fractals and nonlinear sciences.

Research on the Application of Cellular Algorithm in 3D Modeling of Cartoon Characters

2014 ◽  
Vol 513-517 ◽  
pp. 1744-1747
Author(s):  
Feng Liu
Keyword(s):  
Design Method ◽  
Three Dimensional ◽  
Production Costs ◽  
3D Animation ◽  
Design Concepts ◽  
Three Dimensional Modeling ◽  
Modeling Software ◽  
High Production ◽  
Cartoon Characters ◽  
Time And Energy

The traditional design method of 3D animation modelings, by which can obtain attractive and precise 3D animation modelings, is to use three-dimensional modeling software such as Maya or 3D Max to draw directly. However, this method is faced with many problems, for instance, the lack of creativity, long design circle, high production costs, etc. For the problem of the lack of creativity, the reason is that animation designers are often subject to the limitation of the existing modelings and design concepts in the design process, therefore, they can not design creative modelings which are attractive and unforgettable enough. [For the problem of long design circle and high production costs, the reason is that although the 3D animation software are powerful, to skillfully master them not only requires users to have knowledge of computer technology and aesthetics at the same time, but also need a long learning process of modeling. Moreover, it takes the designers a lot of time and energy to design, draw and complete each modeling, and this will undoubtedly extend the design circle and increase the costs to some extent. Therefore, how to quickly and automatically generate creative 3D animation modelings has become a research focus of the present computer-aided creative design.

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