Simulation of the non-visual effects of daylight

2011 ◽  
Author(s):  
Mardaljevic
Keyword(s):  
Visual Effects

Visual effects by Claude Simon

Paragraph ◽  
1987 ◽  
Vol 10 (1) ◽  
pp. 45-64
Author(s):  
Celia Britton
Keyword(s):  
Visual Effects ◽  
Claude Simon

Operative Ontologien – ein Versuch, einen klaren Begriff zu verunreinigen

2017 ◽  
Vol 8 (2) ◽  
pp. 187-192
Author(s):  
Gertrud Koch
Keyword(s):  
Motion Capture ◽  
Human Being ◽  
Visual Effects ◽  
Human Environment ◽  
Ontological Question ◽  
Media And Technology ◽  
Live Action ◽  
Capture Technique

"Operative Ontologien werden in diesem Artikel als relationale kommunikative Situationen vorgestellt, in denen Medien und Technik Teil einer Praxis sind, aber nicht einfach mit dieser zusammenfallen. Die Ontologie bezieht sich auf eine temporäre Konstellation, beispielsweise eine Verknüpfung von Maschine, Körper und Bild, in der die ontologische Frage der Anthropologie perspektivisch immer wieder verschoben wird. Wie das genau zu verstehen ist, wird am Fallbeispiel der Motion-Capture-Technik deutlich, in der durch eine Verschmelzung von Live Action Movie und der animierten Welt der Visual Effects eine permanente Veränderung dessen erfolgt, was als Mensch oder menschliche Umwelt angesehen wird. This article presents operational ontologies as communicative situations in which media and technology are part of a practice, but do not simply coincide with it. Ontology refers to a temporary constellation, for example a link between machine, body and image, which shifts the ontological question of anthropology in perspective time and again. This thesis is further illustrated by a case study of the motion capture technique, whose merging of live action movie and the animated world of visual effects leads to a permanent modification of our notions of the human being and human environment. "

PERANCANGAN 3D PROPERTI MAKANAN UNTUK KEPERLUAN LOOK DEVELOPMENT EFEK VISUAL PADA FILM PENDEK “MIE MEDAN”

2020 ◽  
Vol 12 (2) ◽  
pp. 53-58
Author(s):  
Matheus Prayogo ◽  
Christian Aditya
Keyword(s):  
Short Film ◽  
Visual Effects ◽  
Visual Effect ◽  
Real Scale

Visual Effect can be used to enhance storytelling in the filmmaking process. The Visual Effects technology itself already has grown to become faster and better in production. However, in the Visual Effects Department, the artist needs digital props to show what’s on the screen. Therefore, this study seeks to create props for Visual Effects needs. This present study describes how to create believable props for visual effects needs in a short film called “Mie Medan”. It concludes that to create a visual effect props, we have to consider to create real-scale and proportion in each set and props to gain believability in film, the hue, and saturation of the color and texture itself will gain more realistic and sense of flavor to the film.

scholarly journals FaceLab: Scalable Facial Performance Capture for Visual Effects

2020 ◽  
Author(s):  
Curtis Andrus ◽  
Junghyun Ahn ◽  
Michele Alessi ◽  
Abdallah Dib ◽  
Philippe Gosselin ◽  
...  
Keyword(s):  
Visual Effects ◽  
Performance Capture

The integrative biology of pigment organelles, a quantum chemical approach

2021 ◽  
Author(s):  
Florent Figon ◽  
Jérôme Casas
Keyword(s):  
Quantum Chemistry ◽  
Main Property ◽  
Computational Method ◽  
Phenotypic Trait ◽  
Visual Effects ◽  
Cellular Environment ◽  
Integrative Studies ◽  
Quantum Chemical Approach ◽  
Cellular Components ◽  
Physical And Chemical

Abstract Coloration is a complex phenotypic trait involving both physical and chemical processes at a multiscale level, from molecules to tissues. Pigments, whose main property is to absorb specific wavelengths of visible light, are usually deposited in specialized organelles or complex matrices comprising proteins, metals, ions and redox compounds, among others. By modulating electronic properties and stability, interactions between pigments and these molecular actors can lead to color tuning. Furthermore, pigments are not only important for visual effects but also provide other critical functions, such as detoxification and antiradical activity. Hence, integrative studies of pigment organelles are required to understand how pigments interact with their cellular environment. In this review, we show how quantum chemistry, a computational method that models the molecular and optical properties of pigments, has provided key insights into the mechanisms by which pigment properties, from color to reactivity, are modulated by their organellar environment. These results allow to rationalize and to predict the way pigments behave in supramolecular complexes, up to the complete modelling of pigment organelles. We also discuss the main limitations of quantum chemistry, emphasizing the need for carrying experimental work with identical vigor. We finally suggest that taking into account the ecology of pigments (i.e. how they interact with these various other cellular components and at higher organizational levels) will lead to a greater understanding of how and why animals are vividly and variably colored, two fundamental questions in organismal biology.

Deepfaking Keanu: YouTube deepfakes, platform visual effects, and the complexity of reception

2021 ◽  
pp. 135485652110304
Author(s):  
Lisa Bode
Keyword(s):  
Film Studies ◽  
Media Theory ◽  
Digital Rhetoric ◽  
Visual Effects ◽  
After Effects ◽  
Starting Point ◽  
Media Creation ◽  
Media Practices

On July 14, 2019, a 3-minute 36-second video titled “Keanu Reeves Stops A ROBBERY!” was released on YouTube visual effects (VFX) channel, Corridor. The video’s click-bait title ensured it was quickly shared by users across platforms such as Facebook, Twitter, and Reddit. Comments on the video suggest that the vast majority of viewers categorised it as fiction. What seemed less universally recognised, though, was that the performer in the clip was not Keanu Reeves himself. It was voice actor and stuntman Reuben Langdon, and his face was digitally replaced with that of Reeves, through the use of an AI generated deepfake, an open access application, Faceswap, and compositing in Adobe After Effects. This article uses Corridor’s deepfake Keanu video (hereafter shorted to CDFK) as a case study which allows the fleshing out of an, as yet, under-researched area of deepfakes: the role of framing contexts in shaping how viewers evaluate, categorise, make sense of and discuss these images. This research draws on visual effects scholarship, celebrity studies, cognitive film studies, social media theory, digital rhetoric, and discourse analysis. It is intended to serve as a starting point of a larger study that will eventually map types of online manipulated media creation on a continuum from the professional to the vernacular, across different platforms, and attending to their aesthetic, ethical, cultural and reception dimensions. The focus on context (platform, creator channel, and comments) also reveals the emergence of an industrial and aesthetic category of visual effects, which I call here “platform VFX,” a key term that provides us with more nuanced frames for illuminating and analysing a range of manipulated media practices as VFX software becomes ever more accessible and lends itself to more vernacular uses, such as we see with various face swap apps

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