19 research outputs found
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ãªéžæãç¹°ãè¿ãçããŠããŠããšããããšæ¯ãåããããããããäžçã«ç®ãåããã°éžæã®äœå°ã®ãªã人ã
ããããå£æªãªç°å¢ã«çãã人ããããä¿¡ããããããšã ãããããäžã«ã¯ãééã§å£²è²·ãããåäŸãã¡ãèåšå£²è²·ã®æ²åãå€æ°å ±åãããŠããããåããã人ãã¯ãç®æ°ããå®åšæè±ããªè¡šçŸã§ç®ãåŒãããèªå販売æ©ã貚幣çµæžã俯ç°ããããã®ãã¬ãŒã ãšããŠæããå°ãªããšãèªèŠãä¿ãããšãç®çãšããäœåã§ãããThis is a report on the entire process of creation of âEntangledâ, an artwork exhibited at Roppongi Art Night 2019. âEntangledâ is a video installation in which people look as if they are trapped into a vending machine. It a projection of studio-filmed videos played on two 43 inch LCDs with polycarbonate boards attached, all cased in a steel frame case. Filming techniques and the unique construction of the projection device creates the illusion of real people being behind a frosted glass. The objective was to offer an opportunity to recognize the broad conception of people living in a monetized economy. We all make our living by selling our time, which in essence is selling small bits and pieces of our lives for money. Life is about continuous and repetitive decision-making which at times unfortunately end up throwing ourselves around. However, there are people in the world who donât have the governance to make their own decisions, such as children in human trafficking or victims of tragic organ trades. âEntangledâ is not just an eye-catcher with its new type of realistic presence, but an artwork that looks at vending machines as a frame through which we can view ourselves living in a monetized economy
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ã³ã³ãã¥ãŒã¿ã°ã©ãã£ãã¯ã¹ïŒä»¥äžïŒDCGïŒã¯ãããŒããšãœããã®é²æ©ã«ãããç»æãšããŠã®æçæãè¿ãã€ã€ãããå°ãªããšãçå±ã®äžã§ã¯ã圢äœããªããã®ã¯ãªããšèšããã°ãªããªããåéãçäœãèŽäœãé éšã«èŠç«ãŠãããšãã¢ã€ãã£ã¢ãšããŠèš±å®¹ãããæ代ã¯ãã¯ããããªãã«éãå»ãã人éããªã¢ã«ã«äœãããšãåœããåã«ãªã£ãçŸåšãCG ã¯ãªãšã€ã¿ãŒã¯ã现å¯ãªèåç»ãæãç»å®¶ãšåããããã®æååãèŠæ±ãããŠãããããã¯ãªããã²ãŒã å¶äœã«ä»£è¡šãããCG æ¥çã¯ã瀟äŒäººã«ãªãããšããåŠçã«ããã®èŠæ±ãçªãã€ãããäžæ¹ãé«æ ¡ãŸã§ã®çŸè¡æè²ã¯ãå¯å®¹ãªæŸä»»äž»çŸ©ã§ããããæå¡ä»»ãã®å人䞻矩çãªæè²ã«çµå§ããŠããå Žåãå€ããèªç±ã§ããããšæããããŠããåŠçã¯ã倧åŠåéšã®æ®µéã«ãªã£ãŠåããŠãæè¡ãå¿
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¥ãããã®åœ¹å²ã¯å€§åŠã®åçæè²ãšããŠæ±ããã°ãªããªããªã£ããããããCG ã³ãŒã¹ã«ãããæ¬æ¥ã®ã«ãªãã¥ã©ã ã«å ããŠãç¶ç¶æ§ãå¿
èŠãªãããµã³æè²ãæ±ãããšã¯å®¹æã§ã¯ãªãããŸããæ Œå·®ã倧ããããšããåé¡ãè€éåãããŠãããæ¬çš¿ã§ã¯ããã®åé¡ã«å¯Ÿå¿ããããã«è¡ã£ãããã°ãµãŒãã¹ã掻çšãããããµã³æè²ã®ããæ¹ãšãã®ææã«ã€ããŠå ±åãããWith the improvement of 3DCG hardware and software, the 3DCG tools have reached its maturity stage. Thinking logically, every model can be made with 3DCG. Nowadays, 3DCG creators are capable of creating a model so realistic that they are able to provide the same quality of art as the professional artists. So, the CG based Industry making games expects these qualities of the graduating students. But the process of fine art education till high school is without any interference policy from the teacher allowing the student to practice the art by themselves which will result in lack of basic art knowledge that must be practiced before going to the university.They finally realize the lack of basic art knowledge when they appear in the entrance exam of the university. Thatâs why the university should bear the responsibility of teaching them the basic art which was being taught by the art preparation school so far. In the CG course curriculum it is not easy to teach every student the knowledge of art due to the disparity between students.To overcome these difficulties and get the progressive result from a student this blog design education system is thought
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眮ã®ãã¶ã€ã³ãšèšçœ®ã®æ¹æ³ã«ããã芳客ã®å°è±¡ã«æ®ãäœåã®å¶äœã¯å¯èœã ãšæãããã³ããèœéžããäºã€ã®ã³ã³ãäŒç»ã®ç«æ¡ãéããŠåŸãããã§ãããæ¬çš¿ã§ã¯ããã®çºæ³ããå¶äœãŸã§ã®çµç·¯ãšä»åŸã®æ§æ³ã«ã€ããŠè¿°ã¹ãããInstallation artwork involving video images have a tendency to use large or large scale screens. The author, too, has long pursued displaying his original 3DCG characters at the actual size he envisioned the character to be. This was an effort to set his artwork free from the conventional framework of imaging which tends to be limited by the standards of the reproduction system, and has accomplished a certain level of success in this direction. Naturally, such artwork require large scale screens and reproduction systems and the environment needs to be set up for the reproduction as well. Thus, exhibition opportunities are extremely limited, which is a disadvantage. At the same time, digital signages have become a norm in the streets, especially in train stations. Even if they are creatively used, there is no freshness in artwork using these screens which were once perceived as high definition but now feels rather coarse. For these reasons, the author decided to change his approach to utilize small-sized monitors which now have high definition with the evolution of smartphones and tablet PCs. This comes from hints learned through participating in two unsuccessful competitions; powerful artwork capable of leaving a strong impression to the audience can be created using small sized screens if the reproduction device is creatively designed and displayed. This paper will elaborate on how this idea started through its production process as well as on the authorâs future artwork plan
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Quon ã¯ã2009 幎ã«ç¥æžããšã³ããŒã¬ã«åºåãã3DCGZOO ã«ãããŠç«äœæ åãšããŠçºè¡šããããããããã®ãã£ã©ã¯ã¿ãŒãã€ã³ã¹ã¿ã¬ãŒã·ã§ã³äœåã®äžéšãšããŠã ãå¶äœããŠããããã§ã¯ãªããé
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ãšããŠæç«ããããšãç®æšã«ããŠãããæ¶ç©ºã®ãã£ã©ã¯ã¿ãŒã ãããã詳现ãªè³ªæè¡šçŸã«ãã ãããè¡šé¢çãªä¿¡ææ§ãéèŠããŠããããã®æ¹æ³è«ã«ã€ããŠãæ¬çš¿ã§èšåãããäžæ¹ãåäœã«é¢ããŠã¯ãå¹ççãªã¢ãã¡ãŒã·ã§ã³å¶äœã®ããã«ãã£ã©ã¯ã¿ãŒãã«ã¹ã¿ãã€ãºããããšãéèŠããŠãããã«ã¹ã¿ãã€ãºã®èŠç¹ã¯ãäœã®åéšåãäž»ããåäœã«é£åããä»çµã¿ãæ§ç¯ããããšã§ãããæã代衚çãªäŸãšããŠãæ©è¡åäœã«ãããã€ãŸå
ãšéå¿ã®é£åããããããšãã§ããããã®ãããªã«ã¹ã¿ãã€ãºãæœãããšã§åçŽã«ã¢ãã¡ãŒã·ã§ã³ãããèŠçŽ ãæžããããšãã§ããããã®äŸã§ããã°ã3 ã€ã®ã¢ãã¡ãŒã·ã§ã³ãã¹ãèŠçŽ ã2 ã€ã«ããããšãã§ãããããããå®éã«ã¯åçŽã«äœæ¥éãæžããšããããšä»¥äžã®æ§ã
ãªæ©æµããããããããã¯ãã¢ãã¡ãŒã¿ãŒã«ãã£ã©ã¯ã¿ãŒãæœåšçã«æã£ãŠããåãã®å¯èœæ§ãæ°ä»ããããšããå¹æã ã[Quon] issued an announcement as a 3D Image in 3DCGZOO that had been exhibited in the Kobe Biennale in 2009.This character was not produced as a part of the installation work only.We required to produce it as an active 3D Image as a main character but unfortunately it did not advanced at all. For the efficient animation production the most important point is the customization or set up of the character.The point that should be considered in the customization process is to construct the mechanism that each part of the body synchronizes withthe main action performed.For example,thesynchronization of the gearing of the center of gravity withthe movement of the toe in a wallking action which cansimply decrease an element that an animation processneeds by customizing in this way.In the case of the exampleabove the element count of the animation process isdecreased from three elements to two elements.Not onlythe element count is decreased but also different otherbenifits are provided to the animators for easy animationprocess.Also,this introduce the animator with the possibleproperty of movement and potential of the character
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¥ããŠèæ¡ãããšã³ãããŒãã«ãããã§ã€ã·ã£ã«ã»ããã¢ããã®ææ³ãå ±åãããTo represent a 3DCG character with lively expression, facial expression plays a vital role. That means the facial expression must be very rich and delicate. To achieve such rich emotional facial expression in a character one should be an excellent animator or in the case of facial motion capture, there is a need of a very trained actor. Also, the main point to consider is the facial setup of 3DCG characters. Even with excellent data input, if there is no potential to output rich facial expression on the character side, it does not make any sense. Traditionally, facial setup was performed using shape animation but it was found that there is a limitation to determine advanced emotional facial expression.So to overcome these limitations of shape animation an alternative method is thought, which is setting up the facial muscles using a spline control and skeleton. However, because the original facial structure of human being is complex, the process of setting up the face with spline control and skeleton is a very complex method. In this paper, there is the explanation of the method of facial setup which can be enveloped and used and also will be taught in the classroom
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šæ§ã確ä¿ããæ§é ç©ãæ§ç¯ããªããŠã¯ãªããªãããã ãåœç¶ãªãããçŸè¡äœåã§ãã以äžãç·åçãªãã¶ã€ã³æ§ãéèŠã§ãããããçšåºŠä»¥äžã®å€§ããããªããŠã¯ãå±å€ã«ãããŠèŠæ ããããªãã§ãããäºãäºæ³ã§ããããŸããé®®çãªæ åãéåºããããã®ä»çµã¿ãèæ¡ããªããŠã¯ãªããªããæ¬çš¿ã§ã¯ããããã®è«žåé¡ãåŠäœã«è§£æ±ºããäœåãå®çŸããã«è³ã£ããããã®çµç·¯ã«ã€ããŠå ±åãããThis study will elaborate on the physical structure elements of âGIMONâ, a video installation work exhibited at the Kobe Biennale 2015 Japanese Guest Artist Exhibition by the request of the Organizing Committee for KOBE Biennale. It was November 2014 that a request to create a âvideo installation work at Higashi yuenchi Park, adjacent to the Kobe City Hall (6 chome, Kano-cho, Chuo-ku, Kobe City), was received. To continuously play a video in a public space such as a park for as long as 40 days initially seemed tremendously difficult if not impossible. This is because a robust structure, securing the safety of an undetermined number of viewers, needed to be created within a limited budget. Needless to say, the structure itself is part of the artwork and the overall design was important. It also needed to be of substantial size to be presentable outdoors. Further, a mechanism to showcase video with fresh and vivid impact had to be created. This study will report on the process of how these difficulties were overcome and how the installation work came to life
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èŠããããããããèžãŸããæ°ãããã£ã©ã¯ã¿ãŒãèšèšããã¢ãã¡ãŒã·ã§ã³ãåæãšãããªããžã§ã¯ããšããŠæç«ãããŸã§ã®ããã»ã¹ãå®è·µãããåŠçã®å¶äœã«å¹æçã§ããããšã念é ã«ã¯ãŒã¯ãããŒãæ§ç¯ããããšãç®çãšããŠãããæ¬çš¿ã¯ããããã®ããã»ã¹ãå ±åãããã®ã§ãããTo make an original character which can be animated in the 3D Computer Graphics,one should pass through a great deal of processes.Especially,process from the idea sketch to the conceptual model and then converting the 2D model completely to the 3D model is a tough process.Using only the polygon modeling to overcome the process mentioned above consumes great time and efforts. In spite of such hard efforts it is not sure that the quality will be better and error will be less in the models. So, to overcome these the sculpting modeling process is used along with the polygon modeling process which will give the better result comparing to the polygon modeling process only. However,it cannot be said that the process will influence equally to every type of subject because the animation process follows after the modeling process. But,with the skills of different 3D software and utilizing it correctly will allow one to get best final result .In this manuscript, there is the explanation from setting up a new character considering the workflow of animation process in prerequisite which will help the students in systematic work flow of the modeling process
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±æãåŒã¶ã®ã§ã¯ãªãããšæšå¯ãããå±ç€ºã¯å€§å€å¥œè©ã§ãã£ãããå±èŠ§äŒåŸã®å€éšè©äŸ¡ãé«ããå人çã«ã¯ãããŸã§å·çãã3DCG ãçšããè¡šçŸãæããæ°ããé åã«èžã¿åºããèšå¿µãã¹ãäœåã§ãããThis is a report on the entire process of creation ofâTrappedâ, an artwork exhibited at Roppongi Art Night 2018. âTrappedâ is a video installation artwork in which giantpersons sized over 3m are trapped in between buildings. Amovie file is projected via a PC from a tower built in a narrow strip of space between two buildings facing RoppongiMidtown. The tower housed three projectors that projected the artwork onto a screen with an unusual dimension of 48:9. Coupled with lighting effects, a realistic sense of existence was created when seen from the opposite side of the road. People living in big cities have a sense of being constraint. A typical example is the packed train duringãcommute hours. People are stuffed into minimal space while they all live with different and diverse thoughts and feelings inside, which leads to the formation of synesthesia. âTrappedâ has the power to bring a small smile to the audience. The artwork awakens senses of physical contacts and thus creates a sense of empathy or synesthesia. The exhibition was very well received by the public and also highly recognized by third parties. Personally, this is a commemorable piece of work in which I venture out to a new field stepping away from my expertise, 3DCG
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©éã§ããããšãäŒæ以éãæ°ããªè©Šã¿ãéããŠããããšããå¥ã«ãQuonããšããŠçºè¡šãããOctober 3,2009 âArt In Containerâ international exhibition was held until November 23,2009 as the main competition in the Kobe Biennale.In this competition every competators a re provided with a transportaion container free space to exibit their work.3DCGZOO is the project that I exhibited there.3DCGZOO replaces an image part of CGZOO announced by Kobe Biennale in 2007 with the stereoscopic vision to achieve the completeness and perfection of the CGZOOproject.In order to achieve the perfection and to enable the 3D image projection by rear projection, diffussin effecient and very hig quality screen was used which is the DLC screen.The DLC screen used in 3DCGZOO is a very effecient screen that the Tohoku University Graduate School of Engineering Research Course Uchida Laboratory developed and was produced by Lintec Co.Ltd..Moreover,It was necessary to research a new method for the production and reproduction of a stereoscopic vision including the sound system.It was necessary to devise it to appreciate without distributing stereoscopic glasses to the unspecified number of spectators
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ããŠå¿çšå¯èœãªæ®éæ§ãæããããšã蚌æãããã¯ãã§ãããThis study will elaborate on the production scheme and how the artistic presentation was derived for âGIMONâ, a video installation work exhibited at the Kobe Biennale 2015 Japanese Guest Artist Exhibition by the request of the Organizing Committee for KOBE Biennale. The concept was shaped by taking into consideration the fact that the invitation was based on a specific prize-winning work exhibited at the Kobe Biennale 2007 and blending this with the authorâs current research theme. Rimpa and other classical Japanese arts continue to present unique beauty that remain an appreciable value to date in the modern world. The author seeks the origin of the beauty in the âspirit of coexistenceâ. If this assumption is correct, regardless of media or technique of the artistic presentation, an artwork should be able to inherit the tradition of Japanese arts. When looking at the turmoil now engulfing the world, the spirit of coexistence long cherished by the Japanese seems to be a viable clue to finding a way out. If the spirit unique to Japanese culture can be inherited while replacing the techniques involved to modern techniques, the existence of a universal framework that can be applied regardless of time and place will be proved