Graphical Image Rendering: Modeling, Animation of Facial or Wild Images

In this comparative study, we intend to analyse different methodologies to perform 3-Dimensional modeling and printing, by using raw images as input without any supervision by a human. Since the input consists of only raw images, the foundation of the methods is finding symmetry in images. But the images that seem symmetric are not symmetric due to the perspective effect and utterance of other factors. The method uses factors like depth, albedo, point of view, and lighting from the input image to formulate 3D shapes. A 3D template model with feature points is created, and by deforming the 3D template model, a 3D model of the subject is then reconstructed from orthogonal photos. The number and locations of the proper amount of feature points are derived. Procrustes Analysis and Radial Basis Functions (RBFs) are used for the deformation. Images are then mapped onto the mesh following the deformations for realistic visualization. Characterization of the input image shows an asymmetric cause of shading, lighting, and albedo rendering the symmetry of images. The experiments show that using these methods can give exact 3D shapes of objects like human faces, cars, and cats

Coraline

Coraline (Henry Selick, 2009) is stop-motion studio LAIKA's feature-length debut based on the popular children's novel by British author Neil Gaiman. Heralding a revival in global interest in stop-motion animation, the film is both an international cultural phenomenon and a breakthrough moment in the technological evolution of the craft. This open access collection brings together an international group of practitioners and scholars to examine Coraline’s place in animation history and culture, dissect its politics, and unpack its role in the technological and aesthetic development of its medium. More broadly, it celebrates stop motion as a unique and enduring artform while embracing its capacity to evolve in response to cultural, political, and technological changes, as well as shifting critical and audience demands. Divided into three sections, this volume’s chapters situate Coraline within an interconnected network of historical, industrial, discursive, theoretical, and cultural contexts. They place the film in conversation with the medium’s aesthetic and technological history, broader global intellectual and political traditions, and questions of animation reception and spectatorship. In doing so, they invite recognition – and appreciation – of the fact that Coraline occupies many liminal spaces at once. It straddles the boundary between children’s entertainment and traditional ‘adult’ genres, such as horror and thriller. It complicates a seemingly straight(forward) depiction of normative family life with gestures of queer resistance. Finally, it marks a pivotal point in stop-motion animation’s digital turn. Following the film’s recent tenth anniversary, the time is right to revisit its production history, evaluate its cultural and industry impact, and celebrate its legacy as contemporary stop-motion cinema’s gifted child. As the first book-length academic study of this contemporary animation classic, this volume serves as an authoritative introduction and a primary reference on the film for scholars, students, practitioners, and animation fans. The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com

Zoetrope Blues

Zoetrope Blues surveys the zoetrope style of animation from its inception to its contemporary practitioners, discussing both the unique charms of the medium and the technical elements that make it work. This paper delineates the process behind zoetrope creation while also investigating the effects made possible by modern technology. The zoetrope was the world’s first motion picture format, using the flicker of a handheld carousel to transform a spinning disc into the illusion of a moving image. This Victorian parlor trick changed our understanding of vision and laid the foundation for cinema, but was largely forgotten with the invention of the film projector. Despite being a “dead medium,” the zoetrope has seen recent applications as varied as turntablism, sculpture, and augmented reality. Its quirks give it a careworn aesthetic which stands out against the glossy sheen of digital design, and its mandala-like polar grid gives it a psychedelic edge

A study on virtual reality and developing the experience in a gaming simulation

A thesis submitted to the University of Bedfordshire in partial fulfilment of the requirements for the degree of Masters by ResearchVirtual Reality (VR) is an experience where a person is provided with the freedom of viewing and moving in a virtual world [1]. The experience is not constrained to a limited control. Here, it was triggered interactively according to the user’s physical movement [1] [2]. So the user feels as if they are seeing the real world; also, 3D technologies allow the viewer to experience the volume of the object and its prospection in the virtual world [1]. The human brain generates the depth when each eye receives the images in its point of view. For learning for and developing the project using the university’s facilities, some of the core parts of the research have been accomplished, such as designing the VR motion controller and VR HMD (Head Mount Display), using an open source microcontroller. The VR HMD with the VR controller gives an immersive feel and a complete VR system [2]. The motive was to demonstrate a working model to create a VR experience on a mobile platform. Particularly, the VR system uses a micro electro-mechanical system to track motion without a tracking camera. The VR experience has also been developed in a gaming simulation. To produce this, Maya, Unity, Motion Analysis System, MotionBuilder, Arduino and programming have been used. The lessons and codes taken or improvised from [33] [44] [25] and [45] have been studied and implemented

The Assistant Personal Robot Project: From the APR-01 to the APR-02 Mobile Robot Prototypes

This paper describes the evolution of the Assistant Personal Robot (APR) project developed at the Robotics Laboratory of the University of Lleida, Spain. This paper describes the first APR-01 prototype developed, the basic hardware improvement, the specific anthropomorphic improvements, and the preference surveys conducted with engineering students from the same university in order to maximize the perceived affinity with the final APR-02 mobile robot prototype. The anthropomorphic improvements have covered the design of the arms, the implementation of the arm and symbolic hand, the selection of a face for the mobile robot, the selection of a neutral facial expression, the selection of an animation for the mouth, the application of proximity feedback, the application of gaze feedback, the use of arm gestures, the selection of the motion planning strategy, and the selection of the nominal translational velocity. The final conclusion is that the development of preference surveys during the implementation of the APR-02 prototype has greatly influenced its evolution and has contributed to increase the perceived affinity and social acceptability of the prototype, which is now ready to develop assistance applications in dynamic workspaces.This research was partially funded by the Accessibility Chair promoted by Indra, Adecco Foundation and the University of Lleida Foundation from 2006 to 2018. The funders had no role in the design of the study; in the collection, analyses, or interpretation of data; in the writing of the manuscript; or in the decision to publish the results

Coraline

Coraline (Henry Selick, 2009) is stop-motion studio LAIKA's feature-length debut based on the popular children's novel by British author Neil Gaiman. Heralding a revival in global interest in stop-motion animation, the film is both an international cultural phenomenon and a breakthrough moment in the technological evolution of the craft. This open access collection brings together an international group of practitioners and scholars to examine Coraline’s place in animation history and culture, dissect its politics, and unpack its role in the technological and aesthetic development of its medium. More broadly, it celebrates stop motion as a unique and enduring artform while embracing its capacity to evolve in response to cultural, political, and technological changes, as well as shifting critical and audience demands. Divided into three sections, this volume’s chapters situate Coraline within an interconnected network of historical, industrial, discursive, theoretical, and cultural contexts. They place the film in conversation with the medium’s aesthetic and technological history, broader global intellectual and political traditions, and questions of animation reception and spectatorship. In doing so, they invite recognition – and appreciation – of the fact that Coraline occupies many liminal spaces at once. It straddles the boundary between children’s entertainment and traditional ‘adult’ genres, such as horror and thriller. It complicates a seemingly straight(forward) depiction of normative family life with gestures of queer resistance. Finally, it marks a pivotal point in stop-motion animation’s digital turn. Following the film’s recent tenth anniversary, the time is right to revisit its production history, evaluate its cultural and industry impact, and celebrate its legacy as contemporary stop-motion cinema’s gifted child. As the first book-length academic study of this contemporary animation classic, this volume serves as an authoritative introduction and a primary reference on the film for scholars, students, practitioners, and animation fans. The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com