2D to 3D non photo realistic character transformation and morphing (computer animation)

This research concerns the transformation and morphing between a full body 2D and 3D animated character. This practice based research will examine both technical and aesthetic techniques for enhancing morphing of animated characters. Stylized character transformations from A to B and from B to A, where details like facial expression, body motion, texture are to be expressively transformed aesthetically in a narrated story. Currently it is hard to separate 2D and 3D animation in a mix media usage. If we analyse and breakdown these graphical components, we could actually find a distinction as to how these 2D and 3D element increase the information level and complexity of storytelling. However, if we analyse it from character animation perspective, instance transformation of a digital character from 2D to 3D is not possible without post production techniques, pre-define 3D information such as blend shape or complex geometry data and mathematic calculation. There are mainly two elements to this investigation. The primary element is the design system of such stylizes character in 2D and 3D. Currently many design systems (morphing software) are based on photo realistic artifacts such as Fanta Morph, Morph Buster, Morpheus, Fun Morph and etc. This investigation will focus on non photo realistic character morphing. In seeking to define the targeted non photo realistic, illustrated stylize 2D and 3D character, I am examining the advantages and disadvantages of a number of 2D illustrated characters in respect to 3D morphing. This investigation could also help to analyse the efficiency and limitation of such 2D and 3D non photo realistic character design and transformation where broader techniques will be explored. The secondary element is the theoretical investigation by relating how such artistic and technical morphing idea is being used in past and today films/games. In a narrated story contain character that acts upon a starting question or situation and reacts on the event. The gap between his aim and the result of his acting, the gap between his vision and his personality creates the dramatic tension. I intend to distinguish the possibility of identifying a transitional process of voice between narrator and morphing character, while also illustrating, through visual terminology, the varying fluctuations between two speaking agents. I intend to prove and insert sample demonstrating “morphing” is not just visually important but have direct impact on storytelling

In and out of the mist: an artistic investigation of borderland and community

The main concern of this research is to initiate a new artistic approach, with photography as a medium and an artistic form of investigation, into the borderland and community that exists from Western China to the Himalayan Region, in order to distinguish it from documentary photography. The borderland exists as an ambiguous territory between governance structures, and the movements of the borderland community often seek to surpass the command of the states. The ideas of inclusion and exclusion, identity within one's community, and the relationship on the borderlands are hard to clearly define. This research develops the hypothesis that borderless borderland is possible with the intervention of fog and mist

Mindscapes: photographic encounters

My artworks take a critical view on the social, political and cultural issues in the world. I usually derive my photographic subjects and metaphors from everyday encounters and borderland discoveries that I have had the privilege to come across. There is no absolute right moment for photography. In that sense, what tends to be more important to me is the critical thinking that generates the content of the photographic series. Despite employing a variety of materials and processes in each of my projects, my methodology stays consistent. I allow the subject matter of each body of work to determine the materials and the form in which the work will take. Even if the materials differ, the recurring formal concerns and subject matter are intrinsically linked. I hope the person who experiences my work will be able to enter into his or her own contemplation through the journey from artwork to what the work inspires in them. The photographs you see in this book are individual works selected from various series that usually contain 15 to 35 pieces each in total. In a sense these are work in progress; it is an invitation to come together for the prospect of sharing knowledge and sharing experiences

Non-Standard Errors

In statistics, samples are drawn from a population in a data-generating process (DGP). Standard errors measure the uncertainty in estimates of population parameters. In science, evidence is generated to test hypotheses in an evidence-generating process (EGP). We claim that EGP variation across researchers adds uncertainty: Non-standard errors (NSEs). We study NSEs by letting 164 teams test the same hypotheses on the same data. NSEs turn out to be sizable, but smaller for better reproducible or higher rated research. Adding peer-review stages reduces NSEs. We further find that this type of uncertainty is underestimated by participants

Altered reality

In this issue I would like to take the opportunity to present and share with you a fresh series of conceptual studio “people” photography. Life is a drama in various storytellings from different individuals according to their personal experiences. I am always fascinated and attracted by human facial expressions where everyday we are almost in a play or an act in very diverse roles (you could be a boss, then a father at home, then a friend and many more). These expressions can be measured from simple to complex according to individual. Without a sufficient expression of these mental states, the tragic drama that is the original Psycho movie would have remained on a level of emotional indifference lacking substance. By this I take Alfred Hitchcock, the master of intense and suspenseful film directing as inspiration for my conceptual studio “people” photography. Time changes, and so do people’s outlook. Very often, I like to observe the character, mimic and outlook of a person while he or she is playing a role as himself or herself with multiple responsibilities. What happens when he or she is constrained in a room/studio. Who would he/she choose to be? An intense level of self-experimetation and self-realization is the key to expressing a convincing and successful play or an act in a single photograph. By that, I have started to experiment with the inner potrait of the models with my creative setup and imagination. In studio photography, besides making the concept work with its content, lighting is the key in bringing out the mood and attention of the main subject/s. Most of my photography works are colorful abd sensitive in the usage of color temperature. Therefore, I normally work with a single light first to get the primary subject lit before I use another light as hightlight for secondary important elements. Then, I will check if any color gel is needed. After that, I pay strong attention toward the model’s eye contact, facial and body expressions. “Weird” idea and concept is good because it can be very outstanding by capturing audience attention even if they don’t undertsand what is going on. Other than that, these “people” studio photos should have a soul and self-expression within it