Movie Special Effects Processing Based on Computer Imaging Technology

The film space is the image of social life represented on the screen, which determines that the form of the film and television picture is a plane model, and it can only use a two-dimensional plane space to express an objective scene with a three-dimensional space. In order to improve the effects of special effects processing in movies, this paper applies computer imaging technology to the processing of movie characteristics. When performing specific scene simulations, the specific structure of each computer imaging particle system is derived on the basis of the general structure of the computer imaging particle system. In addition, this paper combines the improved algorithm to carry out several case analyses, and the reliability of this method is verified through simulation experiments, which promotes the application and promotion of computer imaging technology in movie special effects processing.

Incorporating Affective Computing Into an Interactive System With MakeyMakey

People's motions or behaviors often ensue from these positive or negative emotions. Set off either subconsciously or intentionally, these fragmentary responses also represent people's emotional vacillations at different times, albeit rarely noted or discovered. This system incorporates affective computing into an interactive installation: While a user is performing an operation, the system instantaneously and randomly generates corresponding musical instrument sound effects and special effects. The system is intended to enable users to interact with emotions through the interactive installation to yield a personalized digital artwork as well learning about how emotions affect the causative factors of consciousness and personal behaviors. At the end of the process, this project design renders three questionnaires for users to fill in as a means to enhance the integrity and richness of the system with a survey and to further increase the stability and precision of the system through progressive modifications aligned with user suggestions.

Reading the Simultaneous Motion and Reality Bending Concepts through Doctor Strange

In order to exemplify the interaction between architecture and science fiction films, Doctor Strange (2016), one of today's cinema examples, was chosen because of that the special effects created in computer environment by transferring the dreams to the film have a surrealist effect on the film; of the fantastic spaces that arise with the deformation of real places become the main character of the film; of foreseeing a different future in terms of architecture. Within the scope of the study, the film was read through the changes of time and space of the concepts of “reality bending” and “simultaneous motion”. As a result of the readings on these concepts, the relationship of cinema with architecture has gained a different dimension, and it has been seen that this film can create a fantastic perspective and inspiration to the designers about the future deconstructivist buildings.

The Future of Text ||

The second anthology of perspectives on the future of text, one of our most important mediums for thinking and communicating. Foreword by the founder of the modern Library of Alexandria, Ismail Serageldin. With astounding developments in computer special effects in movies and the emergence of powerful AI, text has developed little beyond spellcheck and blue links. In this work we look at myriads of perspectives to inspire a rich future of text through contributions from academia, the arts, business & tech. Ismail Serageldin • Frode Hegland • Alexandra Saemmer • Ann Bessemans • Barbara Tversky • Robert E. “Bob” Horn • Bob Stein • Brendan Langen • Daniel Berleant • Daveed Benjamin • Erik Vlietinck • Fabian Wittel & David Felsmann • Fabio Brazza • Faith Lawrence • Imogen Reid • Jad Esber • Jamie Joyce • Jay Hooper • Jeffrey Chan • Jessica Rubart • Joe Devlin • John Hockenberry • Jonathan Finn • Karl Hebenstreit, Jr. • Kyle Booten • Lesia Tkacz • Luc Beaudoin • Mark Anderson • Megan Ma • Niels Ole Finnemann • Peter Wasilko • Philippe Bootz • Rafael Nepô • Richard A. Carter • Rob Haisfield • Sam Brooker • Sam Winston • Sarah Walton • Stephen Fry • Tim Brookes • Vinton G. Cerf • Yohanna Joseph Waliya This is a Future of Text initiative, along with the software Author & Reader: www.augmentedtext.info

Fluid Equation-Based and Data-Driven Simulation of Special Effects Animation

This paper analyzes the simulation of special effects animation through fluid equations and data-driven methods. This paper also considers the needs of computer fluid animation simulation in terms of computational accuracy and simulation efficiency, takes high real-time, high interactivity, and high physical accuracy of simulation algorithm as the research focus and target, and proposes a solution algorithm and acceleration scheme based on deep neural network framework for the key problems of simulation of natural phenomena including smoke and liquid. With the deep development of artificial intelligence technology, deep neural network models are widely used in research fields such as computer image classification, speech recognition, and fluid detail synthesis with their powerful data learning capability. Its stable and efficient computational model provides a new problem-solving approach for computerized fluid animation simulation. In terms of time series reconstruction, this paper adopts a tracking-based reconstruction method, including target tracking, 2D trajectory fitting and repair, and 3D trajectory reconstruction. For continuous image sequences, a linear dynamic model algorithm based on pyramidal optical flow is used to track the feature centers of the objects, and the spatial coordinates and motion parameters of the feature points are obtained by reconstructing the motion trajectories. The experimental results show that in terms of spatial reconstruction, the matching method proposed in this paper is more accurate compared with the traditional stereo matching algorithm; in terms of time series reconstruction, the error of target tracking reduced. Finally, the 3D motion trajectory of the point feature object and the motion pattern at a certain moment are shown, and the method in this paper obtains more ideal results, which proves the effectiveness of the method.

TikTok and the new language of political communication

Introduction: Political parties struggle to reconnect to Young people by using social networks. Acknowledging that 2020 has been the year of TikTok, most Spanish political parties have joined this social network: Podemos, with 191.400 followers and 3.1 million likes, is the most followed political party on this platform. Method: Using multimodal content analysis, this paper aims at analyzing how the party is using this social network, and for which purposes, placing the attention on how Podemos has adapted to TikTok specificities in terms of both language and technical affordances. Results: Results show that while the party perfectly adapts to TikTok’s specific language and technical affordances (special effects, etc.), instead of focusing on entertainment, the platform’s main genre, it uses TikTok as a showcase for political activities, failing in favoring a renovating relationship with users. However, politics is represented through the “game frame”, that is to say, dramatized as a battlefield between Good and Evil, which strengthens the populist dichotomous vision of the world, endorsing emotional response. Conclusion: In this sense, it is possible to conclude that, although Podemos mainly displays political content, this content falls into the category of politainment. Considering that present trends in usage rates suggest that the short-video format is the future of social media, we might expect an increase in politainmement content.

Introduction

The Introduction juxtaposes the musicals of Tommy Tune during the 1980s with the large-scale British extravaganzas that dominated Broadway in the same decade. These imported “megamusicals,” featured lavish spectacle, special effects, cookie-cutter casting, and booming, pop-rock soundscapes. By contrast, Tune’s shows were simple, elegant, and filled with unique personalities (including Tune himself). The special effects in a Tommy Tune show were ingeniously staged singing and dancing. Tune coined the term “guzzintahs” to refer to the seamless melding of song, dance, and story, as in “this goes into that, and that goes into this.” The Introduction also offers a brief history of the director-choreographer, including George Balanchine, who integrated ballet into Broadway dance and Agnes de Mille, who established her choreographic authorship as of equal importance alongside a show’s book, score, and direction. The creative use of “guzzintahs” by later figures such as Jerome Robbins, Bob Fosse, Gower Champion, and Michael Bennett is explored, pointing the way toward Tune’s especially unified staging concepts.