Methods in Costume and Projection Design for Theatre

A report detailing multiple practices for theatre design in costumes and projection. It is focused on playscript analysis, the design process, and the final build of the design for production

Designing a 3D Model of Batu Night Spectacular as an Asset, Animation Video, Learning Media, and Tourism Promotion

Abstrak: Persaingan bisnis sektor pariwisata sangat bergantung pada kapasita promosi kepada para calon wisatawan baik local maupun mancanegara. Penelitian ini bertujuan untuk mengembangkan rancangan 3D objek wisata Batu Night Spectacular (BNS) sebagai media promosi sekaligus media belajar. Penelitian ini menggunakan metode pengembangan dari Borg and Gall dengan modifikasi menjadi tiga tahap utama yakni pra-produksi, produksi dan pasca produksi. Beberapa proses pengem-bangannya dimulai dengan observasi dan pengumpulan data, membuat sketsa unit dan pemodelan sketsa 3D, setting topologi 3D, material dan texturing, detailing, polishing, item merger, lighting, composition, rendering dan uji coba produk dalam bentuk survei pengguna. Hasil penelitian ini berupa beberapa asset 3D yang telah dinilai layak standar mutu dan hasil survei pengguna yang menunjukan kepuasan atau kelayakan yang tinggi. Dapat disimpulkan bahwa objek 3D BNS dapat digunakan sebagai media promosi objek wisata sekaligus media belajar bagi para siswa.Abstract: Business competition in the tourism sector depends on the capacity of promotion to potential local and foreign tourists. This study aims to develop a 3D design of the Batu Night Spectacular (BNS) tourist attraction as a promotional media and a learning medium. This research uses the development method from Borg and Gall with modifications into three main stages: pre-production, production, and post-production. Some development processes started with observation and data collection, unit sketching and 3D sketch modeling, 3D topology settings, materials and texturing, detailing, polishing, item mergers, lighting, composition, rendering, and product testing in the form of user surveys. The results of this study are in the form of several 3D assets that assess as worthy of quality standards and the consequences of user surveys that show high satisfaction or feasibility. It can conclude that the BNS 3D object can be used as promotional media for tourism objects and learning media for students

Analyzing and Developing Aspects of the Artist Pipeline for Clemson University Art

Major digital production facilities such as Sony Pictures Imageworks, Pixar Animation studio, Walt Disney Animation Studio, and Epic Games use a production system called a pipeline. The term “pipeline” refers to the structure and process of data flow between the various phases of production from story to final edit. This paper examines current production pipeline practices in the Digital Production Arts program at Clemson University and proposes updates and modifications to the workflow. Additionally, this thesis suggests tools that are intended to improve the pipeline with artist-friendly interfaces and customizable integration between software and remote-production capabilities

Visual Aesthetics in Digital Games: A Comparative Analysis Between Photorealism and Stylized Graphicsgraphics

This dissertation starts from the assumption that every digital game has some kind of visual display. Based on that, it investigates photorealistic and stylized graphics, two popular visual styles in digital games, in order to comprehend the process of creating a prototype that incorporates those styles, as well as the technological artistic challenges of implementing each style in a solo development scenario, with the goal of assisting in the practice of designing this type of content. A literature review on digital game appearance and the development of both photorealistic and stylized styles was conducted to ground the development of a prototype. The result of the prototype creation is documented, so its findings can lead to the expansion of knowledge that can be used in practice and can inform practitioners and other designers

A total visual design of Samuel Beckett's Waiting for Godot

In the first semester of graduate school at The University of North Carolina at Greensboro, this designer collaborated with another graduate student who was studying in acting and directing to produce Samuel Beckett's Waiting for Godot. The play offers several challenges to the designer. Waiting for Godot begins with a stage direction on the setting, "A country road. A tree. Evening." That is all that is given. Unlike other playwrights, Samuel Beckett does not explain by use of detailed stage directions the milieu in which the characters are to act. In one sense this is good, for it means the designer will have to rely heavily on his creative imagination to convey the mood of the play through the use of line, color, and mass. Furthermore, the designer is challenged to effectively utilize the different elements of theatre design to give the total visual picture. A meaningful relationship must be established between setting, lighting, costumes, and the play. Also, here is the opportunity to design a world-renowned contemporary classic that has been categorized by many theatre intellectuals and critics alike as a play of the Theatre of the Absurd. Finally, from a financial standpoint, a single set show fits more realistically into the budget ceiling allowed to thesis productions

Walking in the world of ruins : explorations in the processes and products of autobiographical fiction

I continue his [Sebald's] walks in the world of ruins, of what is dead. I continue his contact with a stimulating tendency of the contemporary novel, a tendency that opens new ground in between essay, fiction and autobiography... So writes Enrique Vila-Matas in his innovative text, Montano. In attempting to map this new ground, the processes and products of autobiographical fictions will be scrutinised with particular reference to questions of authenticity and voice, drawing examples from texts including James Frey's A Million Little Pieces, which problematise genre boundaries, question the relationship between reader and author, and demonstrate how life experience now, literally, has a price. The paper will conclude by proposing the first steps towards a reading and writing practice where, in the words of Goldberg, ‘every page trembles, vulnerable to manifold incursions - of prior texts, of future accidents, of reading and writing’

TRANSFER OF VEHICLES SI JUKI'S INTELLECTUAL PROPERTY RIGHTSFROM COMICS TO ANIMATION

Transfer of vehicles is removal and alteration. In a broader meaning, this term can even include the conversion of various types of science into works of art. Intellectual Property Rights are rights granted to the creators of Intellectual Property and include trademarks, copyrights, patents, industrial rights, and in some jurisdictional trade secrets. Art works including music and literature, as well as inventions, words, expressions, symbols, and designs can all be protected as intellectual property. Comics (noun) plural form, used with a single verb. Pictures and other symbols that are overlap (close together, next to each other) in sequentially thing, to provide information and/or achieve aesthetic responses from readers. Animation is a two-dimensional image or three-dimensional model that seems to move, because of the brain's ability to always save/remember images that were seen before. To enjoy the animation how to move a collection of images that are displayed sequentially with a certain speed that creates the impression of moving from the image

The Localisation of Video Games

The present thesis is a study of the translation of video games with a particular emphasis on the Spanish-English language pair, although other languages are brought into play when they offer a clearer illustration of a particular point in the discussion. On the one hand, it offers a descriptive analysis of the video game industry understood as a global phenomenon in entertainment, with the aim of understanding the norms governing present game development and publishing practices. On the other hand, it discusses particular translation issues that seem to be unique to these entertainment products due to their multichannel and polysemiotic nature, in which verbal and nonverbal signs are intimately interconnected in search of maximum game interactivity. Although this research positions itself within the theoretical framework of Descriptive Translation Studies, it actually goes beyond the mere accounting of current processes to propose changes whenever professional practice seems to be unable to rid itself of old unsatisfactory habits. Of a multidisciplinary nature, the present thesis is greatly informed by various areas of knowledge such as audiovisual translation, software localisation, computer assisted translation and translation memory tools, comparative literature, and video game production and marketing, amongst others. The conclusions are an initial breakthrough in terms of research into this new area, challenging some of the basic tenets current in translation studies thanks to its multidisciplinary approach, and its solid grounding on current game localisation industry practice. The results can be useful in order to boost professional quality and to promote the training of translators in video game localisation in higher education centres.Open Acces

THE ADAPTATION OF 3D VIDEO GAME PRODUCTION TECHNIQUES TO THE 2D GAME PLAY MECHANICS OF THE BEAT-EM-UP GENRE

In this paper, we address some of the technological issues and shortcomings that led to the recession in popularity of the Beat \u27em up video game genre. In particular, we adapt current technological advances and apply them to 3D video game development to mirror the mechanics of the 2D Beat \u27em up genre. We describe our assembly-line approach to 3D asset production that permits quick development of multiple and varied characters and environments. Our approach to 3D camera placement provides the same viewpoint used in the 2D game approach. We have developed various scripts to streamline the animation process. In addition, levels are designed retroactively with a go right\u27 mentality, and various programming techniques that facilitate swappable, and multiple enemy types with didifferent AI behaviors. Finally, we apply current hit detection technology to the spirit of the Beat \u27em up

Pacman's canon in C#: a quantum interpretation of video game canon.

The topic of what constitutes canon with a video game is an under-explored topic in critical discussion. We rely, as a field, on largely intuitive and insubstantial parameters for the elements that we choose to analyse. This paper outlines the role of canon in the creation of popular media franchises, and the specific complexities that arise from treating video games as part of the same broad spectrum as more passive media such as books and movies. It puts forward a theory of canonicty that allows for all expression of player agency to be canonical simultaneously for the purposes of analysis and discussion-this is a kind of quantum interpretation. It concludes with an argument as to why what we consider to be viable canonical elements within video games must be tightly constrained if we are to give ourselves the best intellectual base from which to function