26 research outputs found
ΠΠ½ΡΠΌΠΎΠ²Π°Π½ΠΈΠΉ ΠΆΠΈΠ²ΠΎΠΏΠΈΡ Π² Π½ΠΎΠ²ΠΎΠΌΡ ΠΌΠ΅Π΄ΡΠΉΠ½ΠΎΠΌΡ ΠΌΠΈΡΡΠ΅ΡΡΠ²Ρ: ΡΠ΅Ρ Π½ΠΎΠ»ΠΎΠ³ΡΡΠ½Ρ ΡΠ° ΠΊΠΎΠΌΡΠ½ΡΠΊΠ°ΡΠΈΠ²Π½Ρ ΠΎΡΠΎΠ±Π»ΠΈΠ²ΠΎΡΡΡ
Purpose of article. The purpose of the research is to investigate the animated painting as the kind of New Media Art. Methodology. The methodology of the research is based on using communicativistics and the concept theory as the basic methodological approaches in the analysis of the contemporary audiovisual art. Scientific novelty. The scientific novelty of the work consists in considering animated painting as an outstanding artistic kind that significantly influences the development of the contemporary audiovisual culture. Conclusions. The collocation Β«animated paintingΒ» most fully corresponds to the newest kind of the New Media Art that represents painting in dynamics, which, however, is not an animation in its classical sense. The main technological features of the animated painting are reproducibility, transgressivity, diffusion in exhibiting. The most important communicative features of animated painting are the use of well-known cultural codes, as well as their parody; the use of non-narrative tools of influence on the audience. Thus, there could be observed the hybrid type of the technological embodiment and communicative specificity of the animated painting that substantially transforms the contemporary audiovisual art. The further investigation of the animated painting could shed more light on the problem of changing classic artistic tradition that takes place in the contemporary audiovisual art.Π¦Π΅Π»Ρ ΡΠ°Π±ΠΎΡΡ β ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°ΡΡ Π°Π½ΠΈΠΌΠΈΡΠΎΠ²Π°Π½Π½ΡΡ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΡ ΠΊΠ°ΠΊ ΡΠ²Π»Π΅Π½ΠΈΠ΅ Π½ΠΎΠ²ΠΎΠ³ΠΎ ΠΌΠ΅Π΄ΠΈΠΉΠ½ΠΎΠ³ΠΎ ΠΈΡΠΊΡΡΡΡΠ²Π°. ΠΠ΅ΡΠΎΠ΄ΠΎΠ»ΠΎΠ³ΠΈΡ ΠΈΡΡΠ»Π΅Π΄ΠΎΠ²Π°Π½ΠΈΡ Π±Π°Π·ΠΈΡΡΠ΅ΡΡΡ Π½Π° ΠΏΡΠΈΠΌΠ΅Π½Π΅Π½ΠΈΠΈ ΠΊΠΎΠΌΠΌΡΠ½ΠΈΠΊΠ°ΡΠΈΠ²ΠΈΡΡΠΈΠΊΠΈ ΠΈ ΡΠ΅ΠΎΡΠΈΠΈ ΠΊΠΎΠ½ΡΠ΅ΠΏΡΠ° ΠΊΠ°ΠΊ Π²Π΅Π΄ΡΡΠΈΡ
ΠΌΠ΅ΡΠΎΠ΄ΠΎΠ»ΠΎΠ³ΠΈΡΠ΅ΡΠΊΠΈΡ
ΠΏΠΎΠ΄Ρ
ΠΎΠ΄ΠΎΠ² Π² ΠΈΠ·ΡΡΠ΅Π½ΠΈΠΈ ΠΏΡΠΎΠΈΠ·Π²Π΅Π΄Π΅Π½ΠΈΠΉ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠ³ΠΎ Π°ΡΠ΄ΠΈΠΎΠ²ΠΈΠ·ΡΠ°Π»ΡΠ½ΠΎΠ³ΠΎ ΠΈΡΠΊΡΡΡΡΠ²Π°. ΠΠ°ΡΡΠ½Π°Ρ Π½ΠΎΠ²ΠΈΠ·Π½Π° ΡΠ°Π±ΠΎΡΡ ΡΠΎΡΡΠΎΠΈΡ Π² ΠΈΠ·ΡΡΠ΅Π½ΠΈΠΈ Π°Π½ΠΈΠΌΠΈΡΠΎΠ²Π°Π½Π½ΠΎΠΉ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΠΈ ΠΊΠ°ΠΊ Π²ΡΠ΄Π°ΡΡΠ΅Π³ΠΎΡΡ Ρ
ΡΠ΄ΠΎΠΆΠ΅ΡΡΠ²Π΅Π½Π½ΠΎΠ³ΠΎ ΡΠ²Π»Π΅Π½ΠΈΡ, Π·Π°ΠΌΠ΅ΡΠ½ΠΎ Π²Π»ΠΈΡΡΡΠ΅Π³ΠΎ Π½Π° ΡΠ°Π·Π²ΠΈΡΠΈΠ΅ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΉ Π°ΡΠ΄ΠΈΠΎΠ²ΠΈΠ·ΡΠ°Π»ΡΠ½ΠΎΠΉ ΠΊΡΠ»ΡΡΡΡΡ. ΠΡΠ²ΠΎΠ΄Ρ. Π‘Π»ΠΎΠ²ΠΎΡΠΎΡΠ΅ΡΠ°Π½ΠΈΠ΅ Β«Π°Π½ΠΈΠΌΠΈΡΠΎΠ²Π°Π½Π½Π°Ρ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΡ» наиболСС ΠΏΠΎΠ»Π½ΠΎ ΡΠΎΠΎΡΠ²Π΅ΡΡΡΠ²ΡΠ΅Ρ Π½ΠΎΠ²Π΅ΠΉΡΠ΅ΠΌΡ ΡΠ΅Π³ΠΌΠ΅Π½ΡΡ Π½ΠΎΠ²ΠΎΠ³ΠΎ ΠΌΠ΅Π΄ΠΈΠΉΠ½ΠΎΠ³ΠΎ ΠΈΡΠΊΡΡΡΡΠ²Π°, ΠΏΡΠ΅Π΄ΡΡΠ°Π²Π»ΡΡΡΠ΅ΠΌΡ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΡ Π² Π΄ΠΈΠ½Π°ΠΌΠΈΠΊΠ΅, ΡΡΠΎ, ΠΎΠ΄Π½Π°ΠΊΠΎ, Π½Π΅ ΡΠ²Π»ΡΠ΅ΡΡΡ Π°Π½ΠΈΠΌΠ°ΡΠΈΠ΅ΠΉ Π² Π΅Π΅ ΠΊΠ»Π°ΡΡΠΈΡΠ΅ΡΠΊΠΎΠΌ ΠΏΠΎΠ½ΠΈΠΌΠ°Π½ΠΈΠΈ.Β ΠΡΠ½ΠΎΠ²Π½ΡΠΌΠΈ ΡΠ΅Ρ
Π½ΠΎΠ»ΠΎΠ³ΠΈΡΠ΅ΡΠΊΠΈΠΌΠΈ ΠΎΡΠΎΠ±Π΅Π½Π½ΠΎΡΡΡΠΌΠΈ Π°Π½ΠΈΠΌΠΈΡΠΎΠ²Π°Π½Π½ΠΎΠΉ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΠΈ ΡΠ²Π»ΡΡΡΡΡ Π²ΠΎΡΠΏΡΠΎΠΈΠ·Π²ΠΎΠ΄ΠΈΠΌΠΎΡΡΡ, ΡΡΠ°Π½ΡΠ³ΡΠ΅ΡΡΠΈΠ²Π½ΠΎΡΡΡ, Π΄ΠΈΡΡΡΠ·Π½ΠΎΡΡΡ Π² ΡΠΊΡΠΏΠΎΠ½ΠΈΡΠΎΠ²Π°Π½ΠΈΠΈ. ΠΠ°ΠΈΠ±ΠΎΠ»Π΅Π΅ Π²Π°ΠΆΠ½ΡΠ΅ ΠΊΠΎΠΌΠΌΡΠ½ΠΈΠΊΠ°ΡΠΈΠ²Π½ΡΠ΅ ΠΎΡΠΎΠ±Π΅Π½Π½ΠΎΡΡΠΈ Π°Π½ΠΈΠΌΠΈΡΠΎΠ²Π°Π½Π½ΠΎΠΉ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΠΈ β Π·Π°Π΄Π΅ΠΉΡΡΠ²ΠΎΠ²Π°Π½ΠΈΠ΅ ΡΠΈΡΠΎΠΊΠΎ ΠΈΠ·Π²Π΅ΡΡΠ½ΡΡ
ΠΊΡΠ»ΡΡΡΡΠ½ΡΡ
ΠΊΠΎΠ΄ΠΎΠ², Π° ΡΠ°ΠΊΠΆΠ΅ ΠΈΡ
ΠΏΠ°ΡΠΎΠ΄ΠΈΡΠΎΠ²Π°Π½ΠΈΠ΅; ΠΈΡΠΏΠΎΠ»ΡΠ·ΠΎΠ²Π°Π½ΠΈΠ΅ Π½Π΅Π½Π°ΡΡΠ°ΡΠΈΠ²Π½ΡΡ
ΠΈΠ½ΡΡΡΡΠΌΠ΅Π½ΡΠΎΠ² Π²Π»ΠΈΡΠ½ΠΈΡ Π½Π° Π°ΡΠ΄ΠΈΡΠΎΡΠΈΡ. Π’Π°ΠΊΠΈΠΌ ΠΎΠ±ΡΠ°Π·ΠΎΠΌ, Π½Π°Π±Π»ΡΠ΄Π°Π΅ΡΡΡ Π³ΠΈΠ±ΡΠΈΠ΄Π½ΡΠΉ Ρ
Π°ΡΠ°ΠΊΡΠ΅Ρ ΡΠ΅Ρ
Π½ΠΎΠ»ΠΎΠ³ΠΈΡΠ΅ΡΠΊΠΎΠ³ΠΎ Π²ΠΎΠΏΠ»ΠΎΡΠ΅Π½ΠΈΡ ΠΈ ΠΊΠΎΠΌΠΌΡΠ½ΠΈΠΊΠ°ΡΠΈΠ²Π½ΠΎΠΉ ΡΠΏΠ΅ΡΠΈΡΠΈΠΊΠΈ Π°Π½ΠΈΠΌΠΈΡΠΎΠ²Π°Π½Π½ΠΎΠΉ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΠΈ, ΡΡΠΎ ΡΡΡΠ΅ΡΡΠ²Π΅Π½Π½ΠΎ ΠΈΠ·ΠΌΠ΅Π½ΡΠ΅Ρ ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠ΅ Π°ΡΠ΄ΠΈΠΎΠ²ΠΈΠ·ΡΠ°Π»ΡΠ½ΠΎΠ΅ ΠΈΡΠΊΡΡΡΡΠ²ΠΎ. ΠΠΎΡΠ»Π΅Π΄ΡΡΡΠ΅Π΅ ΠΈΠ·ΡΡΠ΅Π½ΠΈΠ΅ Π°Π½ΠΈΠΌΠΈΡΠΎΠ²Π°Π½Π½ΠΎΠΉ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΠΈ ΠΌΠΎΠΆΠ΅Ρ ΠΏΡΠΎΠ»ΠΈΡΡ Π±ΠΎΠ»ΡΡΠ΅ ΡΠ²Π΅ΡΠ° Π½Π° ΠΏΡΠΎΠ±Π»Π΅ΠΌΡ ΡΡΠ°Π½ΡΡΠΎΡΠΌΠ°ΡΠΈΠΈ ΠΊΠ»Π°ΡΡΠΈΡΠ΅ΡΠΊΠΈΡ
Ρ
ΡΠ΄ΠΎΠΆΠ΅ΡΡΠ²Π΅Π½Π½ΡΡ
ΡΡΠ°Π΄ΠΈΡΠΈΠΉ, ΠΊΠΎΡΠΎΡΡΠ΅ ΠΈΠΌΠ΅ΡΡ ΠΌΠ΅ΡΡΠΎ Π² ΡΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎΠΌ Π°ΡΠ΄ΠΈΠΎΠ²ΠΈΠ·ΡΠ°Π»ΡΠ½ΠΎΠΌ ΠΈΡΠΊΡΡΡΡΠ²Π΅.ΠΠ΅ΡΠ° ΡΠΎΠ±ΠΎΡΠΈ β Π΄ΠΎΡΠ»ΡΠ΄ΠΈΡΠΈ Π°Π½ΡΠΌΠΎΠ²Π°Π½ΠΈΠΉ ΠΆΠΈΠ²ΠΎΠΏΠΈΡ ΡΠΊ ΡΠ²ΠΈΡΠ΅ Π½ΠΎΠ²ΠΎΠ³ΠΎ ΠΌΠ΅Π΄ΡΠΉΠ½ΠΎΠ³ΠΎ ΠΌΠΈΡΡΠ΅ΡΡΠ²Π°. ΠΠ΅ΡΠΎΠ΄ΠΎΠ»ΠΎΠ³ΡΡ Π΄ΠΎΡΠ»ΡΠ΄ΠΆΠ΅Π½Π½Ρ Π±Π°Π·ΡΡΡΡΡΡ Π½Π° Π·Π°ΡΡΠΎΡΡΠ²Π°Π½Π½Ρ ΠΊΠΎΠΌΡΠ½ΡΠΊΠ°ΡΠΈΠ²ΡΡΡΠΈΠΊΠΈ ΡΠ° ΡΠ΅ΠΎΡΡΡ ΠΊΠΎΠ½ΡΠ΅ΠΏΡΡ ΡΠΊ ΠΏΡΠΎΠ²ΡΠ΄Π½ΠΈΡ
ΠΌΠ΅ΡΠΎΠ΄ΠΎΠ»ΠΎΠ³ΡΡΠ½ΠΈΡ
ΠΏΡΠ΄Ρ
ΠΎΠ΄ΡΠ² Ρ Π²ΠΈΠ²ΡΠ΅Π½Π½Ρ ΡΠ²ΠΎΡΡΠ² ΡΡΡΠ°ΡΠ½ΠΎΠ³ΠΎ Π°ΡΠ΄ΡΠΎΠ²ΡΠ·ΡΠ°Π»ΡΠ½ΠΎΠ³ΠΎ ΠΌΠΈΡΡΠ΅ΡΡΠ²Π°.Β ΠΠ°ΡΠΊΠΎΠ²Π° Π½ΠΎΠ²ΠΈΠ·Π½Π° ΡΠΎΠ±ΠΎΡΠΈ ΠΏΠΎΠ»ΡΠ³Π°Ρ Ρ Π²ΠΈΠ²ΡΠ΅Π½Π½Ρ Π°Π½ΡΠΌΠΎΠ²Π°Π½ΠΎΠ³ΠΎ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΡ ΡΠΊ Π²ΠΈΠ·Π½Π°ΡΠ½ΠΎΠ³ΠΎ ΠΌΠΈΡΡΠ΅ΡΡΠΊΠΎΠ³ΠΎ ΡΠ²ΠΈΡΠ°, ΡΠΎ ΠΏΠΎΠΌΡΡΠ½ΠΎ Π²ΠΏΠ»ΠΈΠ²Π°Ρ Π½Π° ΡΠΎΠ·Π²ΠΈΡΠΎΠΊ ΡΡΡΠ°ΡΠ½ΠΎΡ Π°ΡΠ΄ΡΠΎΠ²ΡΠ·ΡΠ°Π»ΡΠ½ΠΎΡ ΠΊΡΠ»ΡΡΡΡΠΈ. ΠΠΈΡΠ½ΠΎΠ²ΠΊΠΈ. Π‘Π»ΠΎΠ²ΠΎΡΠΏΠΎΠ»ΡΡΠ΅Π½Π½Ρ Β«Π°Π½ΡΠΌΠΎΠ²Π°Π½ΠΈΠΉ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΒ» Π½Π°ΠΉΠ±ΡΠ»ΡΡ ΠΏΠΎΠ²Π½ΠΎ Π²ΡΠ΄ΠΏΠΎΠ²ΡΠ΄Π°Ρ Π½ΠΎΠ²ΡΡΠ½ΡΠΎΠΌΡ ΡΠ΅Π³ΠΌΠ΅Π½ΡΡ Π½ΠΎΠ²ΠΎΠ³ΠΎ ΠΌΠ΅Π΄ΡΠΉΠ½ΠΎΠ³ΠΎ ΠΌΠΈΡΡΠ΅ΡΡΠ²Π° ΡΠ° ΡΠ΅ΠΏΡΠ΅Π·Π΅Π½ΡΡΡ ΠΆΠΈΠ²ΠΎΠΏΠΈΡ Π² Π΄ΠΈΠ½Π°ΠΌΡΡΡ, ΡΠΎ, Π²ΡΡΠΌ, Π½Π΅ΠΌΠΎΠΆΠ½Π° Π½Π°Π·Π²Π°ΡΠΈ Π°Π½ΡΠΌΠ°ΡΡΡ Π² ΡΡ ΠΊΠ»Π°ΡΠΈΡΠ½ΠΎΠΌΡ ΡΠΎΠ·ΡΠΌΡΠ½Π½Ρ.Β ΠΡΠ½ΠΎΠ²Π½ΠΈΠΌΠΈ ΡΠ΅Ρ
Π½ΠΎΠ»ΠΎΠ³ΡΡΠ½ΠΈΠΌΠΈ ΠΎΡΠΎΠ±Π»ΠΈΠ²ΠΎΡΡΡΠΌΠΈ Π°Π½ΡΠΌΠΎΠ²Π°Π½ΠΎΠ³ΠΎ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΡ Ρ ΡΠ΅Ρ
Π½ΡΡΠ½Π° Π²ΡΠ΄ΡΠ²ΠΎΡΡΠ²Π°Π½ΡΡΡΡ, ΡΡΠ°Π½ΡΠ³ΡΠ΅ΡΠΈΠ²Π½ΡΡΡΡ, Π΄ΠΈΡΡΠ·Π½ΡΡΡΡ Π² Π΅ΠΊΡΠΏΠΎΠ½ΡΠ²Π°Π½Π½Ρ. ΠΠ°ΠΉΠ²Π°ΠΆΠ»ΠΈΠ²ΡΡΡ ΠΊΠΎΠΌΡΠ½ΡΠΊΠ°ΡΠΈΠ²Π½Ρ ΠΎΡΠΎΠ±Π»ΠΈΠ²ΠΎΡΡΡ Π°Π½ΡΠΌΠΎΠ²Π°Π½ΠΎΠ³ΠΎ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΡ β Π·Π°Π»ΡΡΠ°Π½Π½Ρ ΡΠΈΡΠΎΠΊΠΎ Π²ΡΠ΄ΠΎΠΌΠΈΡ
ΠΊΡΠ»ΡΡΡΡΠ½ΠΈΡ
ΠΊΠΎΠ΄ΡΠ² ΡΠ° ΡΡ
ΠΏΠ°ΡΠΎΠ΄ΡΡΠ²Π°Π½Π½Ρ; Π²ΠΈΠΊΠΎΡΠΈΡΡΠ°Π½Π½Ρ Π½Π΅Π½Π°ΡΠ°ΡΠΈΠ²Π½ΠΈΡ
ΡΠ½ΡΡΡΡΠΌΠ΅Π½ΡΡΠ² Π²ΠΏΠ»ΠΈΠ²Ρ Π½Π° Π°ΡΠ΄ΠΈΡΠΎΡΡΡ. Π’Π°ΠΊΠΈΠΌ ΡΠΈΠ½ΠΎΠΌ, ΡΠΏΠΎΡΡΠ΅ΡΡΠ³Π°ΡΡΡΡΡ Π³ΡΠ±ΡΠΈΠ΄Π½ΠΈΠΉ Ρ
Π°ΡΠ°ΠΊΡΠ΅Ρ ΡΠ΅Ρ
Π½ΠΎΠ»ΠΎΠ³ΡΡΠ½ΠΎΠ³ΠΎ Π²ΡΡΠ»Π΅Π½Π½Ρ ΡΠ° ΠΊΠΎΠΌΡΠ½ΡΠΊΠ°ΡΠΈΠ²Π½ΠΎΡ ΡΠΏΠ΅ΡΠΈΡΡΠΊΠΈ Π°Π½ΡΠΌΠΎΠ²Π°Π½ΠΎΠ³ΠΎ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΡ, ΡΠΎ ΡΡΡΡΡΠ²ΠΎ Π·ΠΌΡΠ½ΡΡ ΡΡΡΠ°ΡΠ½Π΅ Π°ΡΠ΄ΡΠΎΠ²ΡΠ·ΡΠ°Π»ΡΠ½Π΅ ΠΌΠΈΡΡΠ΅ΡΡΠ²ΠΎ. ΠΠΎΠ΄Π°Π»ΡΡΡ Π΄ΠΎΡΠ»ΡΠ΄ΠΆΠ΅Π½Π½Ρ Π°Π½ΡΠΌΠΎΠ²Π°Π½ΠΎΠ³ΠΎ ΠΆΠΈΠ²ΠΎΠΏΠΈΡΡ ΠΌΠΎΠΆΡΡΡ ΠΏΡΠΎΠ»ΠΈΡΠΈ Π±ΡΠ»ΡΡΠ΅ ΡΠ²ΡΡΠ»Π° Π½Π° ΠΏΡΠΎΠ±Π»Π΅ΠΌΡ ΡΡΠ°Π½ΡΡΠΎΡΠΌΠ°ΡΡΡ ΠΊΠ»Π°ΡΠΈΡΠ½ΠΈΡ
Ρ
ΡΠ΄ΠΎΠΆΠ½ΡΡ
ΡΡΠ°Π΄ΠΈΡΡΠΉ, ΡΠΎ ΠΌΠ°ΡΡΡ ΠΌΡΡΡΠ΅ Π² ΡΡΡΠ°ΡΠ½ΠΎΠΌΡ Π°ΡΠ΄ΡΠΎΠ²ΡΠ·ΡΠ°Π»ΡΠ½ΠΎΠΌΡ ΠΌΠΈΡΡΠ΅ΡΡΠ²Ρ
Rendering of Wind Effects in 3D Landscape Scenes
AbstractVisualization of 3D landscape scenes is often used in architectural modeling systems, realistic simulators, computer virtual reality, and other applications. Wind is a common spread natural effect without which any scene would be unrealistic. Three algorithms for tree rendering under changeable wind parameters were developed. They have a minimal computational cost and simulate weak wind; mid-force wind, and storm wind. A 3D landscape scene is formed from a set of trees models that are generated from laser data and templates of L-systems. The user can tune the wind parameters and manipulate a modeling scene by using the designed software tool
Π‘ΡΠ²ΠΎΡΠ΅Π½Π½Ρ ΡΠ° Π²ΠΈΠΊΠΎΡΠΈΡΡΠ°Π½Π½Ρ Π΄ΠΈΠ½Π°ΠΌΡΡΠ½ΠΈΡ ΠΌΠ°ΡΠΎΠΊ ΠΏΡΠΈ ΡΠΎΠ·ΡΠΎΠ±ΡΡ ΡΡΠΈΠ²ΠΈΠΌΡΡΠ½ΠΈΡ ΠΌΠΎΠ΄Π΅Π»Π΅ΠΉ Π΄Π»Ρ ΠΌΠΎΠ±ΡΠ»ΡΠ½ΠΈΡ ΡΠ³ΠΎΡ
Π ΠΎΠ·Π³Π»ΡΠ½ΡΡΠΎ ΠΎΡΠ½ΠΎΠ²Π½Ρ Π΅ΡΠ°ΠΏΠΈ ΠΏΡΠΎΡΠ΅ΡΡ ΡΡΠ²ΠΎΡΠ΅Π½Π½Ρ Π΄ΠΈΠ½Π°ΠΌΡΡΠ½ΠΎΡΠ±Π°Π³Π°ΡΠΎΡΠ°ΡΠΎΠ²ΠΎΡ ΡΠ΅ΠΊΡΡΡΡΠΈ. ΠΠ° Π΄ΠΎΡΠ»ΡΠ΄ΠΆΠ΅Π½ΠΎΡ ΠΌΠ΅ΡΠΎΠ΄ΠΈΠΊΠΎΡ ΡΡΠ²ΠΎΡΠ΅Π½ΠΎ Π΄ΠΈΠ½Π°ΠΌΡΡΠ½Ρ ΠΌΠ°ΡΠΊΠΈ Π΄Π»Ρ ΡΠ³ΡΠΎΠ²ΠΎΠ³ΠΎ ΠΌΠΎΠ±ΡΠ»ΡΠ½ΠΎΠ³ΠΎ Π΄ΠΎΠ΄Π°ΡΠΊΡ.ΠΠΎΠ²Π΅Π΄Π΅Π½ΠΎ Π΅ΡΠ΅ΠΊΡΠΈΠ²Π½ΡΡΡΡ ΠΏΡΠ΄Ρ
ΠΎΠ΄Ρ Π΄Π»Ρ Π·Π½ΠΈΠΆΠ΅Π½Π½Ρ ΠΎΠ±ΡΡΠ³Ρ Π΄Π°Π½ΠΈΡ
, ΡΠΎ ΠΎΠΏΠΈΡΡΡΡΡ ΡΡΠΈΠ²ΠΈΠΌΡΡΠ½Ρ ΠΌΠΎΠ΄Π΅Π»Ρ, ΡΠ° ΠΊΡΠ»ΡΠΊΠΎΡΡΡΠ·Π²Π΅ΡΠ½Π΅Π½Ρ Π΄ΠΎ ΠΏΠ°ΠΌβΡΡΡ ΠΏΡΠΈΡΡΡΠΎΡ ΠΏΡΠ΄ ΡΠ°Ρ Π²ΠΈΠΊΠΎΡΠΈΡΡΠ°Π½Π½Ρ Π΄ΠΎΠ΄Π°ΡΠΊΡ.The main stages of the development of a dynamic multilayer texture are considered. According to the investigated method,dynamic masks for a gaming mobile application are created. The effectiveness of the approach to reduce amount of datadescribing a three-dimensional model and the number of calls to device memory when using the application has been proven
Audeosynth: music-driven video montage
We introduce music-driven video montage, a media format that offers a pleasant way to browse or summarize video clips collected from various occasions, including gatherings and adventures. In music-driven video montage, the music drives the composition of the video content. According to musical movement and beats, video clips are organized to form a montage that visually reflects the experiential properties of the music. Nonetheless, it takes enormous manual work and artistic expertise to create it. In this paper, we develop a framework for automatically generating music-driven video montages. The input is a set of video clips and a piece of background music. By analyzing the music and video content, our system extracts carefully designed temporal features from the input, and casts the synthesis problem as an optimization and solves the parameters through Markov Chain Monte Carlo sampling. The output is a video montage whose visual activities are cut and synchronized with the rhythm of the music, rendering a symphony of audio-visual resonance.postprin
Learning Interactive Real-World Simulators
Generative models trained on internet data have revolutionized how text,
image, and video content can be created. Perhaps the next milestone for
generative models is to simulate realistic experience in response to actions
taken by humans, robots, and other interactive agents. Applications of a
real-world simulator range from controllable content creation in games and
movies, to training embodied agents purely in simulation that can be directly
deployed in the real world. We explore the possibility of learning a universal
simulator (UniSim) of real-world interaction through generative modeling. We
first make the important observation that natural datasets available for
learning a real-world simulator are often rich along different axes (e.g.,
abundant objects in image data, densely sampled actions in robotics data, and
diverse movements in navigation data). With careful orchestration of diverse
datasets, each providing a different aspect of the overall experience, UniSim
can emulate how humans and agents interact with the world by simulating the
visual outcome of both high-level instructions such as "open the drawer" and
low-level controls such as "move by x, y" from otherwise static scenes and
objects. There are numerous use cases for such a real-world simulator. As an
example, we use UniSim to train both high-level vision-language planners and
low-level reinforcement learning policies, each of which exhibit zero-shot
real-world transfer after training purely in a learned real-world simulator. We
also show that other types of intelligence such as video captioning models can
benefit from training with simulated experience in UniSim, opening up even
wider applications. Video demos can be found at
https://universal-simulator.github.io.Comment: https://universal-simulator.github.i