An old man returns to his beach where he spent his childhood, the wind rises, a storm approaches, and submerge him little by little into his memories.
In a dark subway tunnel, a group of mice find a gold ring-pull that seems to have a mysterious effect on one of them. Not so far from them, an owl and his enslaved rats are watching. The owl sends his rats to get hold of this strange object...
A journey of a 7-years-old boy's acceptance of his grandpa's death in a traditional Taiwanese funeral.
With a classic look and experimental perspectives, "Wild Eyes" takes us into the dark world of the blind girl Kitana. Through her eyes, we can see again and understand how big the sacrifice was. A 2d animated short about friendship and guilt.
The purpose of this study is to improve the comfortability of the space using digital signage and the effectiveness of the advertisement to be displayed. So we have developed a system that only reached sound information to people who need it, like people watching a screen. This system is composed of head direction and human position detected by a camera and super directive sound by a parametric speaker. These make the sound volume increase only when the head faces camera, and the speaker to be used is automatically selected according to the position of the person. Because of the super directive sound, it is designed not to be outputted to anyone who does not need it. The experiment using the system was conducted. Compared to the conventional loudspeaker, this system has improved space comfortability while maintaining advertising effect. This suggests that this system can create a more comfortable environment for customers.
Light Fields let us experience freedom of motion and realistic reflections and translucence like never before in VR. Explore the Gamble House, Mosaic Tile House, and Space Shuttle Discovery. These navigable light field stills showcase the emerging technology Google is using to power its next generation of VR content.
Not everything is at it seems when 8-year-old Lucy's imagination proves to be a reality. Wolves in the Walls is an immersive-fable that asks the question: What would it be like to interact, have a relationship, and go on a quest with a character inside a virtual reality movie?
As the field of Wearable Computing and Augmented Reality progressed, very few inexpensive solutions to augment the reality of the visually impaired have been witnessed. We present an interactive demonstration of open-source augmented reality wearable device that assists visually impaired individuals by providing them with smart vision via auditory feedback.
The original Peanuts material, defined by Charles Schulz' unique 2D language, presented a huge challenge to the development of The Peanuts Movie (2015). It required Blue Sky Studios to go beyond a mere conversion from 2D to 3D by embracing the 2D artwork and finding a unique look and fresh animation style in the spirit of the original comic strip. Three of the most recognizable and unique aspects of Schulz' work are his use of silhouette and ink line work for the drawings of the eyes, the extreme character poses implied by the comic strip, and the highly stylized indication of motion blur. To achieve a respectful 3D equivalent we found a language for the surrounding, prominent ink or expression lines by implementing sliding eyes and 'poseable' textures for animation. Additionally, we developed a unique multi-part character setup, and an approach to 3D motion blur that was inspired by the original 2D techniques of "multiples" and "smears". These techniques gave us the flexibility we needed to keep the Peanuts look while still being renderable in our photorealistic pipeline.
A few of the key environmental art pipeline goals on The Order: 1886 were to build a lighting and material model capable of capturing specular representation to a high degree of accuracy and to develop a surfacing and environment construction pipeline that allowed a larger team of artists to deliver consistently high quality assets across a diverse set of environments and props.
We present a novel and efficient pipeline for interactive entertainment integrating a real-time 3D character into real-world environments. Instead of conventional 3D environment creation, our method reconstructs the z depth of real-world video footage, allowing a 3D character to navigate it in real-time. Three processes afford this: 3D match moving, photogrammetric 3D model generation of environments, and HDRI lighting. 3D match moving software determines the position of each real-world camera shot in relation to 3D model space. Environment geometry is rendered as invisible shadow-catchers, beyond which video footage itself is projected as a texture. 3D characters, for example, are then added, lit with HDR images of the location, and made interactive in a game engine.
The creative demands of bringing The Peanuts Movie to the silver screen called for cinematography that would maintain Schulz' classic 2D comic appeal in a three dimensional world. Depth and scope needed to be added to a world drawn in a minimalist style and camera movement and shot progression needed to be created based on implied cinematic principles in the strip. To address these issues we designed a new camera, changed the workflow for staging set elements, and created a precise shooting style. The result is a previously unseen yet faithfully appealing look for the Peanuts world in 3D.
The villain of Kung Fu Panda 3 has a penchant for chains. In addition to the links adorning his belt, he uses long chains, attached to a pair of wide bladed swords, to control or destroy the environments that he encounters. To give our artists the power to freely drive these chains, we developed a series of tools focused on interactive user control, all without dismissing the harsh rigidity of solid metal.
When using social networking, users often upload digital media to capture their experiences, and this includes video or photos of meals, landscapes, gatherings of friends, etc. These events are captured with a camera, recorded by a microphone, or archived using a video camera. Such media provides us with visual, audible, or integrated audio-visual experiences. However, up until now, sharing one's corresponding haptic experiences has not been possible. If this haptic experience can be shared, the sensory feedback will be sufficiently compelling and easy to understand in order for a more complete experience from a first-person perspective.
Trees have been a pillar of our lives not just for human but for all the species living in the earth. Despite of its blessings for our lives, the heaps of problems around forestry have not been solved. One of the major problems in this field is that most of the forest are not been sorted into an organized database. Detailed natural data have never been provided even in famous map applications, Google earth for instance, induced from its difficulty. The forest database has been demanded in many regions as it provides beneficial information for both industrial and environmental aspects. It even helps many divisions such as CG animations to simulate not only a tree itself but also the mountain or the forest as a whole depending on given natural conditions.
The field of micrometeorology is primarily concerned with smaller-scale meteorological phenomena, specifically those which occur within the lowest atmospheric layer called the Atmospheric Boundary Layer (ABL). The primary defining characteristic of the ABL is that wind dynamics within this layer are influenced by the Earth's topography, as well as time-dependent temperature changes in the Earth's surface. In forests and connected valleys, weak-wind flows transport moisture, heat, gases and potential contaminants, directly impacting adjacent ecosystems [Thomas et al. 2012].
It is a common philosophical question as to whether your blue is the same as my blue. The two-tone striped dress shown in Figure 1, which attracted a lot of attention on the Internet, gave us a clear answer: "No." Some people see the dress as blue and black, whereas others insist it's white and gold. So your blue can be my white. Why is it that people looking at the same picture perceive totally different color combinations?
Mid-air imaging has the advantage of expression along the depth direction. For example, MARIO [1], a mid-air display, can form an image in the depth range of 30 cm by physically moving the light source display. Multi-layered mid-air images can be displayed at various depths, but such multi-layered images are transparent and experience color mixture due to the addition of light from the light source displays. It is difficult to see the front of transparent images because they have no occlusion expression.
The vast environments for The Good Dinosaur cover miles of terrain with procedurally generated geometry and instanced vegetation assets. Early sequence profiles revealed large memory costs attributable to tracing offscreen trees. Given the variety of vegetation in a set, many assets were not repeated enough to be instanceable and some instances only appeared offscreen. Our rendering procedurals employed both stochastic and frustum pruning. However, ray traced objects were excluded from frustum pruning or a large buffer was applied to minimize shadow popping. Stochastic pruning was still applied but as if the object was onscreen.
The unique visual look and gameplay envisioned for The Tomorrow Children demanded that we implement real-time Global Illumination (GI) as well as dynamically modifiable landscapes all running at 30hz on the PlayStation 4 console hardware. Users needed to be able to dig holes in fallen monsters and create vast structures all at runtime without any pre-baking and have beautiful GI 100% of the time. To achieve this we used a variant of Voxel Cone Tracing [Crassin et al. 2011] to provide both direct and 3 bounce indirect illumination.
