Gollum—Disassemble the Monster to Reassemble the Hybrid Actor

2015 ◽  
Vol 7 (3) ◽  
pp. 34-48
Author(s):  
Marta Dopieralski
Keyword(s):  
Motion Capture ◽  
Technical Innovation ◽  
Lord Of The Rings ◽  
The Creation ◽  
Human Participants ◽  
Capture Techniques ◽  
Human Actors ◽  
Digital Processes ◽  
Live Action

This article aims to outline the distributed agency within the creation of computer-generated characters for live-action movies that use Motion Capture techniques. This technique requires a tight interplay between human actors, technical artefacts and digital processes. With the help of ANT the relationships within this heterogeneous collective can be presented more precisely in order to assign agency to human and non-human participants. Considerations concerning a combined interplay of humans and computer-driven actions result in the figure of the hybrid actor. Gollum, a computer-generated character from Peter Jackson's adaptation of the Lord of the Rings, serves as case example to carve out the attributes of this composite agent. The aim of the article is to show how these types of agents tackle the film industry's inherent ontology revolving around human actors and their products. The article contributes an insight how the mentioned network reacts to the emerging problem of crediting in the context of Motion Capture as technical innovation and how the involved community preserves their notion of artistry.

scholarly journals OPTIMALISASI GERAK ANIMASI MODERN DANCE PADA TEKNOLOGI MOTION CAPTURE DENGAN TEKNIK MOTION LAYER MENGGUNAKAN ICLONE 6 PRO

2018 ◽  
Vol 3 (1) ◽  
pp. 169-175
Author(s):  
Yosua Jonathan Taringan ◽  
Ina Agustina ◽  
Fauziah Fauziah
Keyword(s):  
Motion Capture ◽  
Modern Dance ◽  
Layer Method ◽  
The Creation ◽  
Capture Techniques ◽  
Movement Differences

Motion Capture is an attractive technology for making a movement in the making of movies and games. This technique relies on the recording and motion sampling of an object as data to be transform into 3D form.The purpose of this paper will explain how to optimize movement animation  modern dance by using Motion Layer method, presents optimized movement differences that have not been optimized, providing solutions to the creation of animated movements that are still rough. So that can be a reference in the making of movies, 3D animations, or games by combining Motion Capture techniques and Motion Layer method so that every movement produced and shown to be more perfect.

Operative Ontologien – ein Versuch, einen klaren Begriff zu verunreinigen

2017 ◽  
Vol 8 (2) ◽  
pp. 187-192
Author(s):  
Gertrud Koch
Keyword(s):  
Motion Capture ◽  
Human Being ◽  
Visual Effects ◽  
Human Environment ◽  
Ontological Question ◽  
Media And Technology ◽  
Live Action ◽  
Capture Technique

"Operative Ontologien werden in diesem Artikel als relationale kommunikative Situationen vorgestellt, in denen Medien und Technik Teil einer Praxis sind, aber nicht einfach mit dieser zusammenfallen. Die Ontologie bezieht sich auf eine temporäre Konstellation, beispielsweise eine Verknüpfung von Maschine, Körper und Bild, in der die ontologische Frage der Anthropologie perspektivisch immer wieder verschoben wird. Wie das genau zu verstehen ist, wird am Fallbeispiel der Motion-Capture-Technik deutlich, in der durch eine Verschmelzung von Live Action Movie und der animierten Welt der Visual Effects eine permanente Veränderung dessen erfolgt, was als Mensch oder menschliche Umwelt angesehen wird. This article presents operational ontologies as communicative situations in which media and technology are part of a practice, but do not simply coincide with it. Ontology refers to a temporary constellation, for example a link between machine, body and image, which shifts the ontological question of anthropology in perspective time and again. This thesis is further illustrated by a case study of the motion capture technique, whose merging of live action movie and the animated world of visual effects leads to a permanent modification of our notions of the human being and human environment. "

Restoration and re-creation in the Eastern Han

2018 ◽  
Author(s):  
Christopher Cullen
Keyword(s):  
Han Dynasty ◽  
Theory And Practice ◽  
Early Years ◽  
Technical Innovation ◽  
Astronomical Observation ◽  
Fundamental Innovation ◽  
The Creation ◽  
Zhang Heng ◽  
Eastern Han ◽  
New System

We look first at the situation in the early years of the restored Han dynasty. Liu Xin’s system continued in use for more than half a century. Then, in 85 CE, Liu Xin’s system was replaced. We have records of the practical and theoretical grounds on which the old system was rejected, and of the creation and implementation of a new system. Next we follow the story of how c. 92 CE Jia Kui advocated a fundamental innovation in both theory and practice: he insisted on the ecliptic as being central to astronomical observation and calculation. The richness of records from this period makes it easy to tell a detailed story of technical innovation in its fullest context, leading up to the work of Zhang Heng (78–139 CE), for whom astronomical calculation was just one of several fields in which he gained a reputation for exceptional originality.

scholarly journals FILM ANIMASI 2 DIMENSI, “JACK THE CHICKEN!”

2019 ◽  
Vol 5 (2) ◽  
pp. 091-106
Author(s):  
Ari Bakkas Pratama ◽  
Mahendradewa Suminto ◽  
Andri Nur Patrio
Keyword(s):  
Manual Work ◽  
Early Stages ◽  
Character Design ◽  
The Creation ◽  
Simple Character ◽  
Digital Processes

Animated movie “Jack The Chicken” tells story about a chicken named Jack that bored and ungrateful with anything that are given by his master. This animation tells the audiences about being grateful for everything they’ve got. This animation video has three minutes duration with simple character design. This animated movie setting and scenes are largely supported by its background and backsound because it has no dialogues. This movie was made with 2D technique where most of the creation processes were done digitally. These digital processes were done to make the works easier and shorten the duration of the works. Manual work progress also had been done especially on early stages of creation e.g. idea developing and character design.

Human Motion Capture Driven by Orientation Measurements

1999 ◽  
Vol 8 (2) ◽  
pp. 187-203 ◽  
Author(s):  
Tom Molet ◽  
Ronan Boulic ◽  
Daniel Thalmann
Keyword(s):  
Motion Capture ◽  
Human Motion ◽  
High Rate ◽  
Position Measurement ◽  
Human Motion Capture ◽  
Fast Tracking ◽  
Optical Motion ◽  
Optical Motion Capture ◽  
Tracking Object ◽  
Capture Techniques

Motion-capture techniques are rarely based on orientation measurements for two main reasons: (1) optical motion-capture systems are designed for tracking object position rather than their orientation (which can be deduced from several trackers), (2) known animation techniques, like inverse kinematics or geometric algorithms, require position targets constantly, but orientation inputs only occasionally. We propose a complete human motion-capture technique based essentially on orientation measurements. The position measurement is used only for recovering the global position of the performer. This method allows fast tracking of human gestures for interactive applications as well as high rate recording. Several motion-capture optimizations, including the multijoint technique, improve the posture realism. This work is well suited for magnetic-based systems that rely more on orientation registration (in our environment) than position measurements that necessitate difficult system calibration.

Multimedia learning materials for second language learners

2020 ◽  
Vol 55 (3) ◽  
pp. 175-192
Author(s):  
Xiaoling He ◽  
Haojiang Ying ◽  
Sureenate Jaratjarungkiat
Keyword(s):  
Second Language ◽  
Language Learning ◽  
Language Learners ◽  
Second Language Learners ◽  
Language Teachers ◽  
Community Exposure ◽  
Beginning Learners ◽  
Human Actors ◽  
Noisy Background ◽  
Live Action

Abstract As an important form of second language input, videos have been given much attention by both language teachers and SLA researchers. Second language learning videos typically come in two forms: live-action videos (with human actors in realistic settings) and animation videos. In this paper, we report on an empirical study on the relative merits of these two kinds of videos for beginning learners of Chinese. A total of 82 participants took part in this research as students in a Beginners’ Chinese Language course at a university in Singapore. Each participant attended four learning sessions, two of which being based on live-action videos and another two on animation videos. Post-tests showed that the efficacy of the two kinds of videos differed between students who had had richer community exposure to Mandarin before attending the course and students who did not have such exposure. The former group performed significantly better than the latter after attending live-video sessions. However, students in the latter group reported a preference for animation videos during the post-interviews due to the more well-controlled quality of the soundtracks (i.e., less noisy background).

Introduction

2000 ◽  
pp. 1-12
Author(s):  
Steve Clarke ◽  
Brian Lehaney
Keyword(s):  
Information Technology ◽  
Information Systems ◽  
Activity Systems ◽  
Starting Point ◽  
Complex Adaptive ◽  
Technical Systems ◽  
Consensus View ◽  
Human Participants ◽  
Human Actors ◽  
Technical Considerations

This chapter seeks to cast light on the commonly encountered ‘human-centred’ versus ‘technology’ debate in information systems (IS: Clarke and Lehaney, 1998; Clarke and Lehaney, 1999; Lehaney, Clarke et al., 1999). It takes as its starting point a view which sees information systems as complex, adaptive, human activity systems, enabled by information technology (IT). Two approaches dominate in trying to understand such systems. The first redefines them as purely technical systems, for which a fixed and definable objective can be determined: from this point, the problem becomes one of design. The second approach sees the whole system through the views of the human participants: here, the problem initially is one of debate, aimed at determining a consensus view of the system of concern before moving on to designing relevant solutions. The technical view outlined above might be seen as an attempt to reduce the system’s complexity, by removing the voluntaristic, probabilistic behaviour which the human actors bring to the system. Once this is done, more technologically focused IS managers are on comfortable ground, having redefined the system as one which is highly deterministic, and for which a solution can be achieved through the design of a new or improved system. Similarly, the human-centred view may be seen as excluding technical considerations in order to reach agreement on the part of participants before proceeding further.

Performing sorrow

2021 ◽  
pp. 172-215
Author(s):  
Filippo Bonini Baraldi
Keyword(s):  
Motion Capture ◽  
Temporal Structure ◽  
Melodic Line ◽  
Capture Techniques

This chapter analyzes the slow “sorrowful” (de jale) tunes that Roma often associate with crying. Three musical parameters characterize this repertoire: (1) the rhythmic and temporal structure (irregular aksak or unmeasured rhythm); (2) the slight asynchronies between the melody and the harmonic accompaniment, which creates a swinging effect; and (3) the complex elaboration of the melodic line, in particular the addition of ornaments and passing notes to create an effect that is known locally as “sweetness.” The analysis is supported by empirical measurements of timing durations, obtained by tracking the musician’s bow’s movements with motion capture techniques.

Measuring the Torsional Stiffness of a Space Frame Chassis Using 3D Motion Capture Techniques

2006 ◽  
Vol 3-4 ◽  
pp. 423-428
Author(s):  
C.A. Featherston ◽  
Karen M. Holford ◽  
C.A. Holt ◽  
D. Manning ◽  
A. Claisse
Keyword(s):  
Motion Capture ◽  
Torsional Stiffness ◽  
Space Frame ◽  
3D Motion ◽  
Capture Techniques ◽  
3D Motion Capture

scholarly journals body in its digital expansion

Palíndromo ◽  
2021 ◽  
Vol 13 (29) ◽  
pp. 54-74
Author(s):  
Francisco Javier Buendía ◽  
Lidia Alvira ◽  
Juan Sebastián Hernández
Keyword(s):  
University Students ◽  
Personal Experience ◽  
Research Process ◽  
Virtual Education ◽  
Fashion Design ◽  
Design Program ◽  
Context Variables ◽  
The Creation ◽  
Digital Processes ◽  
Fashion Students

Recognizing the importance of Tributo as a creation space where pedagogical and digital processes are linked, allows the Fashion Design program of the Corporación Unificada Nacionalde Educación Superior CUN in Bogota to move from a personal experience to virtual teaching, as a result of the context variables, to guide the creation processes of the students that areconsolidated from the distant viewpoint of the professor. Three fundamental elements are identified to articulate the research process: the otherness to understand the strategies from the virtual education; the possibility of diversifying the products from the digital creation andthe use of didactic tools, where it gamifies to harness the levels of motivation of the students;the pedagogic and creative practice from the sustainability. We find that teachers establish strategies to take the training of university students through a motivating route that is evidenced in the diversity of products that goes beyond the conventional costume format and focuseson the iconic message, photography, editing, visual and musical remix, which enhance other skills that fashion students in the search for a comprehensive, competitive, sensitive and creative professional.  

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