Creation of a 3D animated film titled "Made and the Lost Spirit"

Computer Graphics (CG) is a vast, important, and popular discipline. In Computer Science, over 90 percent of the undergraduate curricula have an optional CG course. The 2D aspects of CG such as vector primitives, 2D curves, halftoning, and 2D transformations are important in creating 2D content. Acquisition and reproduction of 2D content also requires knowledge of the Image Processing (IP) discipline. These aspects are of major importance since most of the content created, acquired, reproduced, and visualized is 2D. Yet, in typical CG courses, 2D CG and IP are only briefl presented since the focus is on 3D. This paper proposes a course on 2D CG and IP as an alternative way to introduce CG. These two disciplines have strong theoretical relationships which can be easily exploited in a single course. In this sense, our main contributions are: (1) the description of a course on 2D CG and IP; (2) the identificatio of the relationships between CG and IP; (3) the identificatio of the benefit and the drawbacks of the proposed course; (4) an open source framework to create assignments and example topics for assignments. As a basis to the work presented in this paper, undergraduate Computer Science curricula1 were looked at with a focus on the type of courses: traditional 3D CG, advanced CG, mixes of CG, IP, and Human-Computer Interaction (HCI). Even though CG can be introduced in many ways [Brown et al. 1988; LarrondoPetrie et al. 1994; Cunningham 2002], it is typically presented in an introductory course that concentrates on 3D [Wolfe 1999; Hitchner et al. 1999]. Such a course also has to deal with IP, since the main goal is image synthesis. It also has to deal with HCI since the user interacts with the 3D objects. Despite the link between CG, IP, and HCI, 84 percent of the introductory courses are typical 3D CG courses that spend most of the time on 3D topics. There are so many topics to cover in an undergraduate Computer Science curriculum that it may be appropriate to cover some parts of CG with another discipline. At the present time, only 3 percent of the courses on CG introduce it together with IP. This paper argues that this percentage should significantl increase.

At present the rendering tasks are made easer thanks to the numerous 3D graphics cards available on the marketplace. But automatic digitizing for 3D objects is the key challenge for todays 3D camputer graphics. The goal of this paper is to present research avenues towards direct 3D digitizing with multi-views cameras, in order to design 3D objects as simply as 2D scanning. Recent advances in low level vision analysis gave interesting results related to Automatic neurofocalisation, and perceptive grouping, mainly thanks to Professor Burnod researches and his team in the field of Neuro Visual hardware models. These techniques are based on multiscale hypercomplex filters such as Gaussian, Laplacian derivatives, and are able to automatically compute highly informative points or zones such as: vertices, vectors, lips, eyes, mouth etc... on natural scenes. These informations can be the basis of keypoints for spline control points. These image analysis tools are giving Neurofocalisation output informations. They simulate the low level attractiveness of the Neuro-Visual system in the brain: Neurons can be considered functionnally as hardware filters, as they perform sum of products. Neuro-visual simulations demonstrate for example that neuron ouputs are giving directly matrix transform coefficients, and edge transition in the brain. It would be envisageable to consider a new kind af filterbased data structures instead af splines/polygons. Such data base could facilitate the gap between 3D objetcs and image processing elements. (The terms used in MPEG4/SNHC is VOP for video object planes: It's the first time that an image element other than contour, edge, etc, is considered as an object. Some demonstrations and hardware simulations will be presented. Moreover, these results can be implemented in hardware. The cortical column as defined by Professor Burnod is a set of complex filters which can be simulated and integrated as well as classic digital filters. Such informations can be used as inputs for new modelling systems which could design 3D objects without interactive graphical interface via software modellers. At present, only interactive US commercial products are available. These products need an operator who must interactively input in the system vertices and polygon positions. These tasks are very long and boring, thus already a little bit easier than traditionnal modelling systems which need a complete construction with mathematical shapes, or adaptive meshing. The real take-off for 3D graphics will begin when 3D digitizing will be as simple as a camera or scanner. Some NASA systems are beginning to automate this digitizing task. Such techniques could enhance classical input design for a large sets ofobjects. Moreover, it would be possible to define new data structures based on generalized multiscale filters more than splines/polygons. A new direct bridge could be created between image analysis and synthesis, and for mixing hybrid scenes. (as in MPEG4-SNHC goals). Recent simulation models of the Neural Visual Cortex in the brain have been developped for merging 3D image & object analysis with 3D Synthesis for ultra-high image compression (MPEG4) and analysis research environment.

Three dimensional (3D) laser scanning is an important documentation technique for cultural heritage. This technology has been adopted from the engineering and aeronautical industry and is an invaluable tool for the documentation of objects within museum collections [1]. The datasets created via close range laser scanning are extremely accurate and the created 3D dataset allows for a more detailed analysis in comparison to other documentation technologies, such as photography. The dataset can be used for a range of different applications including: documentation; archiving; surface monitoring; replication; gallery interactives; educational sessions; conservation and visualization. However, the novel nature of a 3D dataset is presenting a rather unique challenge with respect to its sharing and dissemination. This is in part due to the need for specialised 3D software and a supported graphics card to display high resolution 3D models. This can be detrimental to one of the main goals of cultural institutions, which is to share knowledge and enable activities such as research, education and entertainment. This has limited the presentation of 3D models of cultural heritage objects to mainly either images or videos. Yet with recent developments in computer graphics, increased internet speed and emerging technologies such as Adobe's Stage 3D [2] and WebGL [3] it is now possible to share a dataset directly within a webpage. This allows website visitors to interact with the 3D dataset enabling them to explore every angle of the object, gaining an insight into its shape and nature. This can be very important considering that it is difficult to offer the same level of understanding of the object through the use of traditional mediums such as photographs and videos. Yet this presents a range of problems: this is a very novel experience and very few people have engaged with 3D objects outside of 3D software packages or games. This paper presents results of research that aims to provide a methodology for museums and cultural institutions for prototyping a 3D viewer within a webpage, thereby not only allowing institutions to promote their collections via the internet but also providing a tool for users to engage in a meaningful way with cultural heritage datasets. The design process encompasses evaluation as the central part of the design methodology; focusing on how slight changes to navigation, object engagement and aesthetic appearance can influence the user's experience. The prototype used in this paper, was created using WebGL with the Three. Js [4] library and datasets were loaded as the OpenCTM [5] file format. The overall design is centred on creating an easy-to-learn interface allowing non-skilled users to interact with the datasets, and also providing tools allowing skilled users to discover more about the cultural heritage object. User testing was carried out, allowing users to interact with 3D datasets within the interactive viewer. The results are analysed and the insights learned are discussed in relation to an interface designed to interact with 3D content. The results will lead to the design of interfaces for interacting with 3D objects, which allow for both skilled and non-skilled users to engage with 3D cultural heritage objects in a meaningful way. An implementation of the viewer documented within this paper is now live on the National Museums Liverpool website [6].

Abstract. Three dimensional (3D) laser scanning is an important documentation technique for cultural heritage. This technology has been adopted from the engineering and aeronautical industry and is an invaluable tool for the documentation of objects within museum collections (La Pensée, 2008). The datasets created via close range laser scanning are extremely accurate and the created 3D dataset allows for a more detailed analysis in comparison to other documentation technologies such as photography. The dataset can be used for a range of different applications including: documentation; archiving; surface monitoring; replication; gallery interactives; educational sessions; conservation and visualization. However, the novel nature of a 3D dataset is presenting a rather unique challenge with respect to its sharing and dissemination. This is in part due to the need for specialised 3D software and a supported graphics card to display high resolution 3D models. This can be detrimental to one of the main goals of cultural institutions, which is to share knowledge and enable activities such as research, education and entertainment. This has limited the presentation of 3D models of cultural heritage objects to mainly either images or videos. Yet with recent developments in computer graphics, increased internet speed and emerging technologies such as Adobe's Stage 3D (Adobe, 2013) and WebGL (Khronos, 2013), it is now possible to share a dataset directly within a webpage. This allows website visitors to interact with the 3D dataset allowing them to explore every angle of the object, gaining an insight into its shape and nature. This can be very important considering that it is difficult to offer the same level of understanding of the object through the use of traditional mediums such as photographs and videos. Yet this presents a range of problems: this is a very novel experience and very few people have engaged with 3D objects outside of 3D software packages or games. This paper presents results of research that aims to provide a methodology for museums and cultural institutions for prototyping a 3D viewer within a webpage, thereby not only allowing institutions to promote their collections via the internet but also providing a tool for users to engage in a meaningful way with cultural heritage datasets. The design process encompasses evaluation as the central part of the design methodology; focusing on how slight changes to navigation, object engagement and aesthetic appearance can influence the user's experience. The prototype used in this paper, was created using WebGL with the Three.Js (Three.JS, 2013) library and datasets were loaded as the OpenCTM (Geelnard, 2010) file format. The overall design is centred on creating an easy-tolearn interface allowing non-skilled users to interact with the datasets, and also providing tools allowing skilled users to discover more about the cultural heritage object. User testing was carried out, allowing users to interact with 3D datasets within the interactive viewer. The results are analysed and the insights learned are discussed in relation to an interface designed to interact with 3D content. The results will lead to the design of interfaces for interacting with 3D objects, which allow for both skilled and non skilled users to engage with 3D cultural heritage objects in a meaningful way.

This chapter presents the introductory notes on altars or offering stands that used to be temporarily erected under the open sky, with roofed altars and offering houses, and with 'spirit ladders' and 'inverted post'. A categorical distinction between good and evil spirits was apparently an established concept among the Bahau of Central Borneo. Spirits of another kind that may seem to have been regarded as categorically evil were the spirits of persons who had died a bad death. In other words, human souls and free spirits were both conceived of as being essentially immaterial and normally invisible; occasionally, however, they would assume human or animal forms. The human soul was often imagined as taking bird form when leaving the body. The first soul was sometimes said to be like the whole human being, the latter like a smoke soon vanishing.Keywords: animal forms; Central Borneo; evil spirits; good spirits; human soul; inverted post; offering houses

PurposeThis paper aims to provide a series of new methods for projecting a three-dimensional (3D) object onto a free-form surface. The projection algorithms presented can be divided into three types, namely, orthogonal, perspective and parallel projection.Design/methodology/approachFor parametric surfaces, the computing strategy of the algorithm is to obtain an approximate solution by using a geometric algorithm, then improve the accuracy of the approximate solution using the Newton–Raphson iteration. For perspective projection and parallel projection on an implicit surface, the strategy replaces Newton–Raphson iteration by multi-segment tracing. The implementation takes two mesh objects as an example of calculating an image projected onto parametric and implicit surfaces. Moreover, a comparison is made for orthogonal projections with Hu’s and Liu’s methods.FindingsThe results show that the new method can solve the 3D objects projection problem in an effective manner. For orthogonal projection, the time taken by the new method is substantially less than that required for Hu’s method. The new method is also more accurate and faster than Liu’s approach, particularly when the 3D object has a large number of points.Originality/valueThe algorithms presented in this paper can be applied in many industrial applications such as computer aided design, computer graphics and computer vision.

The study is devoted to the modern practical experience of the formation of innovative architectural objects in the urban environment, highlighting the peculiarities of their architectural design and visualisation. Clarifying key concepts and terms necessary for defining the issues of designing and visualising these innovative architectural objects, such as architectural idea, architectural creativity, architectural concept, architectural environment, architectural form, and model, is a focal point. Theoretical exploration and analysis of the experiences of forming innovative architectural objects reveal them to be complex and unique structures, buildings, and complexes in the urban environment. Creating such objects demands careful consideration of various influencing factors, including urban planning, architectural planning, constructional, ecological, aesthetic, and economic aspects. The article considers different types of architectural design and visualisation of innovative architectural objects. Furthermore, the concept of ‘visualisation’ is defined as a specific way of demonstrating the nature of the model of architectural objects. We highlighted the role of automated design systems in creating innovative architectural objects, showcasing their ability to save time due to the automation of many typical operations and ensure maximum accuracy of drawings. The discussion extends to the features of using two-dimensional and three-dimensional computer graphics and animation. Two-dimensional computer graphics are a collection of images created with the help of a computer, while three-dimensional graphics are intended to simulate photography or video recording of pre-prepared three-dimensional objects. The main functions of three-dimensional graphics programs are defined as the creation of three-dimensional objects and two-dimensional drawings, visualisation of 3D drawings, and calculation functions. The article identifies the most common software for creating innovative architectural objects and their surrounding environment, including AutoCAD, ArchiCAD, and 3D Studio MAX. Artlantis R, SketchUp, Maya, Cinema 4D, SolidWorks, V-Ray, and Blender, among others, are also used for visualising innovative architectural objects. A few advantages of using modern computer architectural design and visualisation capabilities have been revealed. Notably, the realistic graphic demonstration of a projected 3D model of an innovative architectural object provides the most comprehensive idea of its future appearance and the nature of its surroundings. Such a model makes it possible to see the object from different angles in the exterior as well as evaluate its quality characteristics in the interior. We conclude by outlining prospective trends in the design and visualisation of innovative architectural objects, underscoring the ongoing evolution in this dynamic field. Keywords: architectural design, visualisation, innovations, architectural object, environment.

Proceedings of the 2011 joint ACM workshop on Human gesture and behavior understanding

The 3D short animation movie "Barley Manusia Ikan" takes place in Labuan Bajo’s Messa Island precisely. The 3D short animation movie 'Barley Manusia Ikan' is set on Messa Island in Labuan Bajo, it is one of the Indonesia's national tourist priority destinations. The movie tells about the beauty of the landscape, community activities as well as the anatomical and metabolic features of the Bajo tribe from Messah Island. The production process involves pre-production, production, and post-production stages. Pre-production includes creating the script, storyboarding, designing characters, creating voiceovers, and designing the environment/map. Production involves modeling characters, creating assets and properties, designing textures, rigging, animating, and creating 3D special effects. Post-production includes editing and compositing, adding sound effects and music, and final rendering. The Labuan Bajo islands' landscape is surrounded by the ocean. Therefore, the movie's production process requires a complex method, which includes dynamic simulation, such as water splash, wake, ripple, bubble and many more. The 3D effect simulation process requires several experiments, which are quite time-consuming. For instance, obtaining the most realistic results for a scene with a duration of 2.5 seconds (water splash) takes 50 minutes. The research resulted to a realistic-looking 3D animation movie with 3D dynamic visual effects of 7 minutes duration.

The mythology and social history of the Slavs, as well as the messages left by the ancient Greek and Roman authors, is the basis on which you can approximate the picture of animal treatment in ancient Slavs. These messages also include the beginning of animal treatment in Ukraine, because as a Slavic people we are part of the historical and cultural life of all Slavs. Due to the fact that the development of human or animal medicine in all nations has the same course, and that in the period of development of civilization of this people and medicine there has been similar progress, therefore, the development of animal treatment in the Slavs had a similar form. In general, more diseases were caused by external factors, and especially in surgical cases, such as wounds, arrow penetration. Data on the occurrence of diseases due to parasites or poisons – this is the main cause of diseases of internal origin by external factors, the so-called theory of foreign bodies. The causes of all diseases in the beginning were of natural origin, so they were tried to cure with the help of the simplest natural treatment. With the further spiritual development of the Slavs and the emergence of the first religious beliefs, joining the natural causes of the disease is still a religious element, but without rejecting the main factor. The most ancient religious belief of the Slavs was the belief in the ancestral spirits, the so-called “animism”. For the reasons described above, attempts have been made to prevent pet illnesses by providing the spirits or the above-ground creatures with evidence of memory by making sacrifices. When an animal fell ill and was suspected of being out of spirit, humans tried to reassure him with sacrifices or spells. On the other hand, good and evil spirits have been endeavored to receive help from good spirits against evil ones. Religious treatment, however, did not rule out the simplest healing procedures. In addition to religious activity, priests in the Slavs were treating both humans and animals. They were called “priests”. Among them were doctors and magi. Natural remedies were not sufficient for a primary understanding of the treatment of a patient or wound, therefore, the “doctor”, using primitive and simple methods of treatment, to increase their actions over patients or wounds, conspired loudly to the disease. The Magi did just not loudly, but in a whisper. However, little information in the field of medicine in the Slavs tells us a great deal. This is evidence that in ancient times the treatment was developed in ancient Slavs. At that time, the Slavs were already well aware of the danger of sap, or swelling of the salivary glands, and tried to prevent this through surgery. Due to the fact that the Slavs did not show great differences in culture at that time, the way of treating animals in all Slavs was common. Like every primitive nation, so did the Slavs, with the exception of the priests, the animals were treated by men engaged in the elderly, who, through their long lives, innate abilities and experience, have learned certain treatments, and have studied the medicinal value of herbs and other remedies, used during treatment. Subsequently, the treatment of certain species of animals goes to the people who have the greatest contact with the animals, and therefore it is shepherds, sheep farmers, keepers of dogs, poultries. Medicines were home-made herbs, then various animal products, of which today we can count part of the so-called pharmacy, then minerals and finally various magical procedures such as conspiracy.

Immersive virtual reality using a head-mounted display (HMD-VR) is increasing in use for motor learning and motor skill training. However, it remains unclear how visual information for action is processed in an HMD-VR environment. In the real world, actions towards three-dimensional (3D) objects are processed analytically and are immune to perceptual effects, such as processing object dimensions irrelevant to performing the action (i.e., holistic processing). However, actions towards two-dimensional (2D) objects are processed holistically and are susceptible to perceptual effects. In HMD-VR, distances are often underestimated, and the environment can appear flatter compared to the real world. Thus, actions towards virtual 3D objects in HMD-VR may be processed more like 2D objects and involve holistic processing, which is susceptible to perceptual effects. In an initial study, we used a Garner interference task to examine whether vision-for-action in HMD-VR is processed holistically and hypothesized that vision-for-action towards virtual 3D objects in HMD-VR would result in a Garner interference effect, suggesting holistic processing. We found Garner interference effects for reaction times to reach maximum grip aperture and to complete movement. These results show that visual processing of actions towards virtual 3D objects in HMD-VR may involve holistic processing of object shape. These findings demonstrate that visual information for action in HMD-VR is processed differently compared to real 3D objects and is susceptible to perceptual effects, which could affect motor skill training in HMD-VR.

In current clinical practice, radiation therapy planning (RTP) has often been treated as a two-dimensional (2D) problem, mainly due to the limitations in visualization technology available to date. The slice-by-slice display format makes it difficult to visualize the path of radiation beam not perpendicular to the axis of the CT slices. This discourages consideration of treatment plans that utilize radiation beam out of the transverse plane. Human body anatomical structures are inherently three-dimensional (3D) objects, and tumors and tissues/organs involved in the RTP are all of 3D shapes. A clear of 3D spatial relationships among these structures, as well as the anatomic impact of 3D dose distributions, is essential for designing and evaluating radiation therapy plans. We have recently made an important breakthrough in the high-resolution 3D display technology and have made an initial attempt to apply it to RTP applications. By volumetric 3D display, we mean that each voxel in the displayed 3D images is located physically at the (x, y, z) spatial position where it is supposed to be, and emits light from that position to form real 3D images in the eyes of viewers. We have demonstrated the feasibility of our system design by building full-scale prototypes and achieved a multi-color, large display volume, true 3D display system with a high resolution of over 10 million voxels in a portable design. This type of true 3D display system is able to present a 3D image of a patient's anatomy with transparent skin, providing both physiological and psychological depth cues to oncologists in perceiving and manipulating radiation beam configuration in true 3D fashion, thus offering a unique visualization tool to ensure the safety, effectiveness, and speed of the RTP process. The 3D display technology holds promise to significantly enhance the accuracy, safety, and speed of RTP procedures. Such an understanding at a glance capability is necessary to keep the clinicians from becoming bogged down in details, as he/she would be if provided only with conventional 2D display of CT slices with overlaid isodose lines. The main focus of this paper is to provide technical details on the 3D display system we developed, and present some initial results on its capability of displaying true 3D images. While the system design framework of applying such technology into RTP is introduced, its full scale clinical applications to RTP is still an ongoing effort and will be reported later in other publications.

An improved simple flexible cryptosystem for 3D objects with texture maps and 2D images

The development of subak as a tourist attraction will be in line with the development of Balinese cultural tourism, considering that both are developed based on Balinese culture. This is an effort to maintain the sustainability of subak while controlling the conversion of paddy fields and supporting environmental sustainability. Today's tourists prefer to see beautiful scenery. Agrotourism is one type of tourism that utilizes agricultural business as a tourist attraction. One of the efforts made to continue to develop tourism but still maintain the existence of subak itself is to combine these two things into a new tourist attraction. The attraction that can be developed by combining tourism with agriculture is through the concept of agrotourism. Agrotourism is a tourism development that offers farmer activities in the fields as a tourist attraction. Not only the activities, but the use of agricultural products can also be used as agro-tourism-based tourism products. This research was conducted with the following objectives (1) How is the participation of farmers in the development of agro-tourism and (2) the factors that influence the participation of farmers on the development of agro-tourism. This research was conducted in Subak Jatiluwih, Penebel District, Tabanan Regency. The location of this research was determined purposively on the basis of the consideration that Jatiluwih Subak is one of the subaks targeted for agro-tourism development. The number of samples in Subak Jatiluwih is 199 people. The highest farmer participation is in the 80.2% agro-tourism development planning.

This paper investigates compression of 3D objects in computer graphics using manifold learning. Spectral compression uses the eigenvectors of the graph Laplacian of an object's topology to adaptively compress 3D objects. 3D compression is a challenging application domain: object models can have > 105 vertices, and reliably computing the basis functions on large graphs is numerically challenging. In this paper, we introduce a novel multiscale manifold learning approach to 3D mesh compression using diffusion wavelets, a general extension of wavelets to graphs with arbitrary topology. Unlike the global nature of Laplacian bases, diffusion wavelet bases are compact, and multiscale in nature. We decompose large graphs using a fast graph partitioning method, and combine local multiscale wavelet bases computed on each subgraph. We present results showing that multiscale diffusion wavelets bases are superior to the Laplacian bases for adaptive compression of large 3D objects.