Animation Design Based on 3D Visual Communication Technology

The depth synthesis of image texture is neglected in the current image visual communication technology, which leads to the poor visual effect. Therefore, the design method of film and TV animation based on 3D visual communication technology is proposed. Collect film and television animation videos through 3D visual communication content production, server processing, and client processing. Through stitching, projection mapping, and animation video image frame texture synthesis, 3D vision conveys animation video image projection. In order to ensure the continuous variation of scaling factors between adjacent triangles of animation and video images, the scaling factor field is constructed. Deep learning is used to extract the deep features and to reconstruct the multiframe animated and animated video images based on visual communication. Based on this, the frame feature of video image under gray projection is identified and extracted, and the animation design based on 3D visual communication technology is completed. Experimental results show that the proposed method can enhance the visual transmission of animation video images significantly and can achieve high-precision reconstruction of video images in a short time.

Visualizing G30s/PKI Tragedy Through Interactive Projector Media at Monumen Pancasila Sakti

Projection mapping adalah bentuk teknologi yang memproyeksikan citra ke permukaan atau platform. Sekarang ini, projection mapping sering digunakan untuk memberikan sensasi tersendiri berupa pengalaman kepada para pengunjung suatu tempat. Dalam penelitian ini, projection mapping digunakan di dalam Monumen Nasional Pancasila Sakti untuk memberikan sensasi dan pengalaman baru kepada pengunjung. Metode penelitian menggunakan kualitatif dengan teknik pengumpulan data berupa observasi lokasi, wawancara kepala bimbingan objek penelitian dan beberapa pengunjung. Hasil dari proyek ini berupa proyeksi interaktif berupa visual animasi bergerak yang dapat diinteraksikan, sehingga pengunjung mendapatkan pengalaman cerita yang realistis. Diharapkan dengan pemanfaatan animasi yang menarik, museum di Indonesia dapat bersaing dengan tempat-tempat lain yang banyak dikunjungi oleh kaum muda.

Animated Urban Surfaces: Spatial Augmented Reality in public discourse

Today´s projection art on public surfaces developed from the mutual approximation of painting, architecture, and lighting during centuries. The terms “Spatial Augmented Reality” (SAR) and “projection mapping” describe mostly temporary large screen projections on urban surfaces. The façade architecture becomes the screen for the content, mostly projected 2D and 3D animations. In essence, many of these artworks generate illusionistic clips deriving from the existing façade structure, allowing reality and fiction to merge audio visually. Artists, architects, curators, and institutions are increasingly aware of their responsibility related to this form of the mediatization of architecture, as shown, for example, by the Brazilian artist group Visualfarm. Their members approach their work as a counterpoint to the commercialization of public space in its appropriation by industry, propaganda, and advertising. But on the other hand, they also make a living from commercial assignments. Artists and architects often see themselves as pioneers and experimental researchers for possible developments in the coming digitized cities. By presenting various examples by selected artists like Corrie Francis Parks, Pablo Valbuena and Robert Seidel, the role of animation in connection with an alternative approach to the concepts of augmented realities within this process of social and urban evolution will be discussed. These artists try to integrate digital content into the cityscape in a harmonious sense.

Persistence of Illusion: Using Spatial Illusion as a Visual Performance Mechanism

<p>This thesis presents the design of a real-time visual performance system for live performances. Building on a research analysis of historical context and precedents, it is evident that software systems currently available to Live Cinema and VJ performers are often complex to navigate and counter intuitive to perform with. An alternative approach to visual performance system design is investigated in this thesis, where the spatial zone of the physical performance is used as the basis for the design, rather than purely placing the focus on software architecture. The investigation focuses on how the creation of live visual content can be achieved through the virtual and physical spatial relationships within the performance and how the performer then interacts with these relationships through bodily response and navigation. This is achieved through combining the successes of contemporary visual performances, the interaction techniques used in pre-cinema instrumentation and the use of projection mapping as a means of visually addressing the entire space of the performance. These investigations are demonstrated through a series of experiments and theoretical studies culminating in a set of design criteria, put together in a final system design accompanied by a demonstrative performance. The significance of this research is to provide the design basis for a successfully intuitive visual performance instrument, which can provide immediate results yet still require skill and experience to master. This will move the skill base of visual performance away from software navigation and more towards the physical ability to create and perform complex visual compositions in real time.</p>

Persistence of Illusion: Using Spatial Illusion as a Visual Performance Mechanism

<p>This thesis presents the design of a real-time visual performance system for live performances. Building on a research analysis of historical context and precedents, it is evident that software systems currently available to Live Cinema and VJ performers are often complex to navigate and counter intuitive to perform with. An alternative approach to visual performance system design is investigated in this thesis, where the spatial zone of the physical performance is used as the basis for the design, rather than purely placing the focus on software architecture. The investigation focuses on how the creation of live visual content can be achieved through the virtual and physical spatial relationships within the performance and how the performer then interacts with these relationships through bodily response and navigation. This is achieved through combining the successes of contemporary visual performances, the interaction techniques used in pre-cinema instrumentation and the use of projection mapping as a means of visually addressing the entire space of the performance. These investigations are demonstrated through a series of experiments and theoretical studies culminating in a set of design criteria, put together in a final system design accompanied by a demonstrative performance. The significance of this research is to provide the design basis for a successfully intuitive visual performance instrument, which can provide immediate results yet still require skill and experience to master. This will move the skill base of visual performance away from software navigation and more towards the physical ability to create and perform complex visual compositions in real time.</p>

Geometric Correction Method Applying the Holographic Ray Direction Control Technology

In recent years, there has been an increasing need for larger screens and higher definition displays, while projectors are becoming smaller and cheaper. Furthermore, an ultra-short-throw projector that can display on a large screen while significantly reducing the distance between the projector and screen is being developed. However, ultra-short-throw projectors are required to be precisely aligned with the screen, and if the screen is not flat, the projected image becomes distorted. Therefore, geometric correction projection technology is attracting attention for projection on curtains and the walls of living rooms instead of screens for realizing the correction of distortion during projection with ultra-short-throw projectors, projection mapping, signage, etc. We focused on developing a hologram with perfect command of the ray. Conventional geometry-correction systems are expensive systems that require a personal computer and a camera. In this study, we developed a geometric correction method applying holographic ray direction control technology to control a holographic ray at a low cost and in real time. In this paper, we studied the exposure technology and proposed a ray-direction control technology that combines a scanning laser projector that uses a hologram and a micro electro mechanical systems mirror. We also proposed and demonstrated the basic principle of a holographic surface projector (HSP), which uses hologram geometry correction technology. Finally, we constructed a geometrically corrected hologram exposure system using a depth camera and conducted geometrically corrected projection experiments.