Graphics Teacher

Record Video in 720p Instead of 1080i

2012-05-10T08:08:00.001-07:00

Most of the people think that video in 1080i quality is better then 720p ,and this because most of them think that 1080i is bigger number or they mix up 1080i and 1080p.
In reality there is a huge difference between 1080i and 1080p or 720p.The alphabet "i" means interlaced video and if this is 1080i ,it means interlaced video in 1080i mode. Now the second one is "p" that means progressive,this video quality make video in progressive video quality(explained below).
When we deal with interlaced video,the viewer actually saw the half resolution because the video frame is divided in two fields,one is even and other is odd field.Both together make a frame that we call the interlaced frame.This video technique was useful in early days when there were bandwidth limitations.But now with help of new technology we can see Full image in single frame with high quality i:e 720p and 1080p.
Now the question is How 720p works ? Answer is quite simple,In 720p there are 720 horizontal lines in each frame but in 1080i ,you only see half of the line that are 540 lines.So this means 720p is better then 1080i.In interlaced resolution when object is moving fast and if you abruptly stop the video,you will see the fast moving object looks is smearing across the screen instead of looking natural.
This is the sequence of high Resolution
1080p

720p

1080i

480p

480i

and others...

How to be a Creative Person

2012-03-03T08:23:00.000-08:00

Get A Paper and Pencil and write the Golden Points to become a creative person,Because every person is creative but it need to be polished.

Problems cannot be solved by the same level of thinking that created them.”

Albert Einstein

Animated Movies Graphics not Unrealistic Anymore

2012-02-25T11:51:00.001-08:00

Adventure of Tintin Behind the scene

The Art of Motion Capture

2012-02-14T08:49:00.000-08:00

Motion Capture is the process of recording movement and translating that movement on to a digital model Usually used in military, entertainment, sports, and medical applications, and for validation of computer vision and robotics and mostly in filmmaking.

You need Supercomputers For Rendering

Thousands of processor to run

Hundred of Visual experts Required

petabyte of Storage Required

In films Camera movements can also be motion captured so that a virtual camera in the scene will pan, tilt, or dolly around the stage driven by a camera operator while the actor is performing, and the motion capture system can capture the camera and props as well as the actor's performance.A computer processes the data and displays the movements of the actor, providing the desired camera positions in terms of objects in the set. Retroactively obtaining camera movement data from the captured footage is known as match moving or camera tracking.

3D Motion capture provide following advantages:

Tracking Cameras

More rapid, even real time results can be obtained. In entertainment applications this can reduce the costs of keyframe-based animation. For example: Hand Over.

The amount of work does not vary with the complexity or length of the performance to the same degree as when using traditional techniques. This allows many tests to be done with different styles or deliveries.

Complex movement and realistic physical interactions such as secondary motions, weight and exchange of forces can be easily recreated in a physically accurate manner.

The amount of animation data that can be produced within a given time is extremely large when compared to traditional animation techniques. This contributes to both cost effectiveness and meeting production deadlines.

Potential for free software and third party solutions reducing its costs.

Avatar

Movie avatar is best example of Motion Capture and Visual effects.The lead visual effects company was Weta Digital in Wellington, New Zealand, at one point employing 900 people to work on the film. Because of the huge amount of data which needed to be stored, cataloged and available for everybody involved, even on the other side of the world, a new cloud computing and Digital Asset Management (DAM) system named Gaia was created by Microsoft especially for Avatar, which allowed the crews to keep track of and

coordinate all stages in the digital processing. To render Avatar, Weta used a 10,000 sq ft (930 m2) server farm making use of 4,000 Hewlett-Packard servers with 35,000 processor cores running Ubuntu Linux and the Grid Engine cluster manager.The render farm occupies the 193rd to 197th spots in the TOP500 list of the world's most powerful supercomputers. A new texturing and paint software system called Mari, was developed by The Foundry in cooperation with Weta.Creating the Na'vi characters and the virtual world of Pandora required over a petabyte of digital storage, and each minute of the final footage for Avatar occupies 17.28 gigabytes of storage. To help finish preparing the special effects sequences on time, a number of other companies were brought on board, including Industrial Light & Magic, which worked alongside Weta Digital to create the battle sequences. ILM was responsible for the visual effects for many of the film's specialized vehicles and devised a new way to make CGI explosions. Joe Letteri was the film's visual effects general supervisor.

For High Precision Motion Tracing

At first glance, 3D animation movies seem a longshot to be created independently. With the complexity of animation, it seems a given that it should be created within the bounds of a 3D animation studio. If these studios take years to create a full-length feature, how about an independent filmmaker?

Camera Tracking Architecture

From optical/inertial, to encoded systems, to motion capture stages, to GPS/IMU outdoor tracking, Previzion can handle nearly any form of tracking device

Optical/Inertial. For Ultimate Tracking Flexibility.

The fusion of the Intersense IS1200 optical tracking camera and the Lightcraft Airtrack electronic gyro provides tracking for the broadest range of shots. From handheld and Steadicam, to dolly, jib, and Technocrane shots, this can handle nearly everything.

Using targets mounted overhead in the stage truss, a standard stage can be converted into a real time capable smart stage in a single day.
Recommended Softwares for motion capture effects are Adobe premiere pro, After effects, Sony vegas,Syntheye and many more.

Courtesy wikipedia | digitalacting.com | youtube

Best Way to Remove Background from a Picture

2012-01-31T07:00:00.000-08:00

Program : Adobe Photoshop (Download) (You can use any Version of Photoshop)

4K resolution televisions

2012-01-26T10:15:00.000-08:00

James Cameron’s movie, Avatar (2011), about “the giant blue dudes” helped drive high-resolution 4K Sony projectors into theaters around the world, and made a lot of money in the process. Movie studios keen to maintain that momentum have released a slew of 3D films–mostly converted from 2D–and continued the expansion of 3D cinemas.

However, this forward motion hasn’t translated to a success for 3D TV in the home.

“Manufacturers would have wanted 3D to be bigger than it was; they wanted it to be the next LED, but it didn’t work out,” Lamb said.

Given a so-far-mediocre response to 3D, and the expense and bulk of active glasses, manufacturers have begun to search for an alternative, and 4K offers a way increase the quality of the 3D image with passive glasses or get rid of them altogether.

The 4K TVs will be big and expensive for the next couple of years.

Both LG and Toshiba will release 4K displays in 2012, and in the absence of 4K media to watch, the main benefit would seem to be the enhancement of 3D quality. The resolution disadvantages of LG’s passive 3D system can, in theory, be overcome by doubling the number of horizontal and vertical pixels, allowing 4K passive displays like theLG 84LM9600 (due this summer) to deliver 1080p to both eyes.

The first consumer-grade 4K panel to hit the U.S. market will likely be a 55-inch Toshiba LCD that features autostereoscopic 3D, or “glasses-less 3D” as it’s known. It uses the Quad HD specification, which is four times HD at 3,840×2,160 pixels.

No other 4K flat-panel displays have been announced yet. Sony announced its 4K home theater projector, the VPL-VW1000ES, in September, but does not make the product available through its Web site or stores and instead sells it directly to custom installers. Meanwhile, JVC announced four projectors in 2011 that upscale 1080p content to 4K but currently are unable to display native 4K content. Courtesy | Usman Khalid

Animated Wall-E:3D Studio Max & After Effects

2012-01-22T02:03:00.000-08:00

Rendered Video

In this tutorial you will learn how to create, animate and render LED style eyes for characters like robots or even some products while creating presentations. In most of the cases character animation and especially facial animation is easier since there is actual geometry representing parts of the face, but how do you work with characters that have a different design or no mesh to manipulate for animation? Well in this tutorial you will

discover that process in no time. We will go through the theoretical part and explain why and where you could use this technique and what are the benefits of the process. We start by setting up the 3d scene, jumping in to After Effects, setting up the project there and then head back to 3ds Max for the final animation and rendering.

Tutorial

Basic 3D Max Animation

2012-01-22T00:19:00.000-08:00

In this tutorial I look at a great way to practice timing and placement of keys.

Video

Courtesy | 3dtotal

Polygonal Modeling

2012-01-22T00:14:00.000-08:00

Final Effect

All of the high-end 3d apps on the market, 3ds Max is by far one of the most powerful. It is, however, also one of the most complex and daunting 3d apps to learn. In this two part tutorial series, professional video game artist, Kaleb Aylsworth, will give you a detailed introduction to 3ds Max, as it pertains to polygonal modeling and the video game industry.

In this, the first part of the series,we will spend an hour and a half walking you through many key skills such as: navigation, changing views and shading modes, menus and tabs, and most importantly, the polygonal modeling tools. Then, in the second part, he will demonstrate how to apply the things that you have learned by using them to make a low-poly version of Guy van der Walt’s “Retro TV Set”.

Courtesy| cg.tutsplus

Introduction to 3ds Max

2012-01-22T00:05:00.000-08:00

3D Max

Autodesk 3ds Max, formerly 3D Studio MAX, is 3D computer graphics software for making 3D animations. It was developed and produced byAutodesk Media and Entertainment. It has modeling capabilities, a flexible plugin architecture and can be used on the Microsoft Windows platform. It's frequently used by video game developers, TV commercial studios and architectural visualization studios. It is also used for movie effects and movie pre-visualization.

In addition to its modeling and animation tools, the latest version of 3ds Max also features shaders (such as ambient occlusion and subsurface scattering), dynamic simulation, particle systems, radiosity, normal map creation and rendering, global illumination, a customizable user interface, and its own scripting language

MAXScript: MAXScript is a built-in scripting language that can be used to automate repetitive tasks, combine existing functionality in new ways, develop new tools and user interfaces, and much more. Plugin modules can be created entirely within MAXScript.
Character Studio: Character Studio was a plugin which since version 4 of Max is now integrated in 3D Studio Max, helping users to animate virtual characters. The system works using a character rig or "Biped" skeleton which has stock settings that can be modified and customized to the fit character meshes and animation needs. This tool also includes robust editing tools for IK/FK switching, Pose manipulation, Layers and Keyframing workflows, and sharing of animation data across different Biped skeletons. These "Biped" objects have other useful features that help accelerate the production of walk cycles and movement paths, as well as secondary motion.
Scene Explorer: Scene Explorer, a tool that provides a hierarchical view of scene data and analysis, facilitates working with more complex scenes. Scene Explorer has the ability to sort, filter, and search a scene by any object type or property (including metadata). Added in 3ds Max 2008, it was the first component to facilitate .NET managed code in 3ds Max outside of MAXScript.
DWG Import: 3ds Max supports both import and linking of DWG files. Improved memory management in 3ds Max 2008 enables larger scenes to be imported with multiple objects.
Texture Assignment/Editing: 3ds Max offers operations for creative texture and planar mapping, including tiling, mirroring, decals, angle, rotate, blur, UV stretching, and relaxation; Remove Distortion; Preserve UV; and UV template image export. The texture workflow includes the ability to combine an unlimited number of textures, a material/map browser with support for drag-and-drop assignment, and hierarchies with thumbnails. UV workflow features include Pelt mapping, which defines custom seams and enables users to unfold UVs according to those seams; copy/paste materials, maps and colors; and access to quick mapping types (box, cylindrical, spherical).
General Keyframing: Two keying modes set key and auto key offer support for different keyframing workflows.; Fast and intuitive controls for keyframing including cut, copy, and paste — let the user create animations with ease. Animation trajectories may be viewed and edited directly in the viewport.
Constrained Animation: Objects can be animated along curves with controls for alignment, banking, velocity, smoothness, and looping, and along surfaces with controls for alignment. Weight path-controlled animation between multiple curves, and animate the weight. Objects can be constrained to animate with other objects in many ways — including look at, orientation in different coordinate spaces, and linking at different points in time. These constraints also support animated weighting between more than one target.; All resulting constrained animation can be collapsed into standard keyframes for further editing.
Skinning: Either the Skin or Physique modifier may be used to achieve precise control of skeletal deformation, so the character deforms smoothly as joints are moved, even in the most challenging areas, such as shoulders. Skin deformation can be controlled using direct vertex weights, volumes of vertices defined by envelopes, or both.

Features

Capabilities such as weight tables, paintable weights, and saving and loading of weights offer easy editing and proximity-based transfer between models, providing the accuracy and flexibility needed for complicated characters.

The rigid bind skinning option is useful for animating low-polygon models or as a diagnostic tool for regular skeleton animation.

Additional modifiers, such as Skin Wrap and Skin Morph, can be used to drive meshes with other meshes and make targeted weighting adjustments in tricky areas.

Skeletons and Inverse Kinematics (IK): Characters can be rigged with custom skeletons using 3ds Max bones, IK solvers, and rigging tools powered by Motion Capture Data.; All animation tools — including expressions, scripts, list controllers, and wiring — can be used along with a set of utilities specific to bones to build rigs of any structure and with custom controls, so animators see only the UI necessary to get their characters animated.

Four plug-in IK solvers ship with 3ds Max: history-independent solver, history-dependent solver, limb solver, and spline IK solver. These powerful solvers reduce the time it takes to create high-quality character animation. The history-independent solver delivers smooth blending between IK and FK animation and uses preferred angles to give animators more control over the positioning of affected bones.

The history-dependent solver can solve within joint limits and is used for machine-like animation. IK limb is a lightweight two-bone solver, optimized for real-time interactivity, ideal for working with a character arm or leg. Spline IK solver provides a flexible animation system with nodes that can be moved anywhere in 3D space. It allows for efficient animation of skeletal chains, such as a character’s spine or tail, and includes easy-to-use twist and roll controls.
Integrated Cloth Solver: In addition to reactor’s cloth modifier, 3ds Max software has an integrated cloth-simulation engine that enables the user to turn almost any 3D object into clothing, or build garments from scratch. Collision solving is fast and accurate even in complex simulations.(image.3ds max.jpg)

Local simulation lets artists drape cloth in real time to set up an initial clothing state before setting animation keys.

Cloth simulations can be used in conjunction with other 3ds Max dynamic forces, such as Space Warps. Multiple independent cloth systems can be animated with their own objects and forces. Cloth deformation data can be cached to the hard drive to allow for nondestructive iterations and to improve playback performance.

Integration with Autodesk Vault

Autodesk Vault plug-in, which ships with 3ds Max, consolidates users’ 3ds Max assets in a single location, enabling them to automatically track files and manage work in progress. Users can easily and safely share, find, and reuse 3ds Max (and design) assets in a large-scale production or visualization environment.

3ds Max Design enables architects, designers, and civil engineers to get a deeper understanding of how projects work before they’re built. Designers can create better designs; make informed decisions; test, refine, and validate concepts; and market buildings and products that don’t yet physically exist.

Explore—Develop unique organic forms. Experiment with shape, scale, and look. Generate and control architectural entities and design concepts procedurally with scripts.
Validate—Create animated walk-throughs, line-of-sight studies, and physically near accurate daylight analysis, to help better understand and communicate how the design functions in context.
Communicate—Help customers make crucial decisions during design reviews and gain valuable buy-in during various stages of the design process with more emotionally engaging narratives.

Featured Stories

	ArcHaus This small architectural firm in New Zealand uses Autodesk Revit Architecture and Autodesk 3ds Max Design software to design more-sustainable buildings and remain competitive with larger firms. ArcHaus Customer Story (pdf - 1554Kb)

	Scott Wilson Group See how Scott Wilson Group, an international consultancy firm, uses Autodesk 3ds Max Design to deliver integrated professional services in the transportation, buildings and infrastructure, environment, and natural resources sectors.

More info Courtesy | Autodesk.com,Wikipedia

Advance Camera Tracking

2012-01-21T09:22:00.000-08:00

After Effects Camera Tracker and Match Mover

CAMERATRACKER for After Effects® allows you to pull 3D motion tracks and matchmoves without having to leave AE. It analyses the source sequence and extracts the original camera's lens and motion parameters, allowing you to composite 2D or 3D elements correctly with reference to the camera used to film the shot.

You can now match camera moves within Adobe® After Effects®' 2.5D environment, opening up new, robust options for the placement of composite elements, such as the creation of Fringe / Heroes style 'in scene' titles, insertion of animated design elements, match-moved virtual set extensions, motion-tracked projection mapping and much more .This 3d motion tracking technology was previously only available in NUKEX, the Foundry's high-end film compositing tool. You can now do all this in Adobe® After Effects® without exiting your application.

CAMERATRACKER: Motion Tracking in Action

In this sequence, Mark T. Aro of Hyperactive Studios demonstrates using CAMERATRACKER for Adobe® After Effects® to insert and mask graphical titling elements on a shot for Finding Hope Now.

Battlefield 3

2012-01-21T09:11:00.000-08:00

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FIFA 12 (PC/MAC/XBOX)

2012-01-21T09:10:00.000-08:00

FIFA 12-RELOADED FIFA 2012

FIFA 12 (c) Electronic Arts Inc RELEASE DATE: 09/2011
DISC(S): 01 SIZE: 6.8 GB
GAME TYPE: SPORTS

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Jet Simulator:2012

2012-01-21T09:02:00.000-08:00

Jet Simulator. Gold Edition (2012/ENG/DE)
Language: English, German
PC | Developer: Verlagsgesellschaft mbH | Publisher: City Int. | 2012 | 697.34 MB
Genre: Flight Sim / 3D

Minimum System Requirements:
System: Microsoft Windows XP/Vista/7
Processor: Intel Pentium D 3,0 GHz or AMD Athlon64 X2 4400 + 2.2 GHz
Memory: 1 GB Windows XP / 2 GB for Windows Vista / 7
Video Card: 256 MB of graphics memory
Sound card: compatible with Direct X 9.0c

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Man of Prey-PROPHET

2012-01-21T08:59:00.000-08:00

Man of Prey-PROPHET
Release: 2012
Genre: Strategy | Developer: Buka Entertainment
Language: English | PC Game
Size: 2.18 GB | MuLTi

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Call of Duty: Black Ops

2012-01-21T08:57:00.000-08:00

Minimum System Requirements
* OS: Windows Vista / XP / 7
* Processor:Intel Core2 Duo E6600 or AMD Phenom X3 8750 or better
* Memory: 2GB
* HDD:12GB
* Video: Shader 3.0 or better 256MB NVIDIA GeForce 8600GT / ATI Radeon X1950Pro or better
* Sound: DirectX 9.0c-compatible
* DirectX: 9.0c

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King Arthur II: Dead Legions (PC/ENG/2012)

2012-01-21T08:55:00.000-08:00

System requirements:

Minimum system requirements:
Operating system: Windows XP with SP3; Windows Vista with SP2; Windows 7
Processor: Intel Core 2 Duo (or equivalent) running at 2 GHz or greater; AMD Athlon 64 X2 (or equivalent) running at 2 GHz or greater
Memory: 1 Gbyte RAM (XP) or 1,5 Gbyte RAM (Vista, Win7)
Hard disk space: 12 Gbyte
Video card: ATI 3850 512MB or greater; Nvidia 8800GTS 512MB or greater
Sound card: DirectX 9c compliant sound card
DirectX®: 9.0c or higher
Recommended system requirements:
Operating system: Windows XP with SP3; Windows Vista with SP2; Windows 7
Processor: Intel Core 2 Quad 2.4 GHz Processor or equivalent; AMD Phenom II X4 2.8GHz or Equivalent
Memory: 2Gb
Hard disk space: 12 Gbyte
Video card: ATI 5850 or greater; Nvidia 460 or greater
Sound: DirectX 9-compliant sound card
DirectX®: 9.0c or higheR

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Nightmare House 2 :2010

2012-01-21T08:52:00.000-08:00

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F.E.A.R. 3 v16.0.20. 2011

2012-01-21T08:50:00.000-08:00

Features:
• Teamwork: fight together for a common goal ... or die alone.
• The new incarnation of fear: Make your way into the heart of nightmares.
• On the other side of reality: using creepy paranormal abilities.
• Scary network battles: Destroy the enemies and rivals at any price.

System requirements:
• Operating System: Microsoft ® Windows ® XP/Vista/7
• Processor: Intel Core 2 Duo 2.4 GHz or equivalent Athlon X2
• RAM: 2 GB
• Video: 3D-graphics adapter with 512 MB memory, compatible with DirectX ® 9.0 (GeForce 8800GT or Radeon HD3850)
• Sound Card: Sound device compatible with DirectX ® 9.0
• Free space on hard disk: 4 GB

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Mirror 3 :

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Gears of War 3 RAAMS Shadow Pack 2 DLC XBOX 360

2012-01-21T08:37:00.000-08:00

Gears of War 3 RAAMS Shadow Pack 2 DLC XBOX360-MoNGoLS
Publisher: Microsoft | Developer: Epic Games | Size: 1.9 GB

Gears of War 3 is the spectacular conclusion to one of the most memorable and celebrated sagas in video games. Developed by Epic Games exclusively for Xbox 360, Gears of War 3 plunges you into a harrowing tale of hope, survival, and brotherhood.

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COD: Modern Warefare 2 Repack

2012-01-21T08:29:00.000-08:00

COD: Modern Warefare 2 Repack
Size : 6.6 GB

How 3D Technology Work?

2012-01-21T07:23:00.000-08:00

In 1838, Sir Charles Wheatstone first described the process of stereopsis: the process by which humans perceive three dimensions from two highly similar, overlaid images. Or, the process by which Avatar looks like a mind-blowingly immersive alien landscape instead of a bunch of brightly colored fuzz.

3D technology has come a long way since Wheatstone developed his stereoscope, then used to view static images and eventually pictures. Now we get to wear Wayfarer knock-offs and enjoy 3D films, television shows and video games.

For some people, seeing cool images might be enough. But others might be curious how Pandora was brought to life, or how TRON: Legacy zapped them into its glowing world. The answer is both reassuringly simple and inordinately complex, depending on who you ask and how you look at it.

How do 3D films work? What’s the difference between polarity and anaglyph (we’ll get there), and what are the next steps for 3D gadgets and imagery? Have a look below for a breakdown of how today’s “it” technology functions. Plus, we put in some sweet looking pictures. What’s not to love?

A tremendous thank you to David Leitner, Rob Willox and Professor Ian Howard for their collective insight and help in describing the various forms of 3D technology below.

Stereoscopy 101

Big words! Academic nomenclature! Relax, this is actually the easy part. 3D, or “stereoscopy,” refers to how your eyes and brain create the impression of a third dimension. Human eyes are approximately 50 mm to 75 mm apart — accordingly, each eye sees a slightly different part of the world. Don’t believe me? Hold up a pen, pencil or any other thin object. Close one eye. Now switch.

The image on either side should be pretty similar but slightly offset, like that line behind the woman’s head in the picture above. These two slightly different images enter the brain, at which point it does some high-powered geometry to make up for the disparity between the two images. This disparity is “3D” — essentially, your brain making up for the fact that you’re getting two different perspectives of the same thing.

This is also, essentially, what modern 3D technology is trying to replicate. All those silly sunglasses and silver-coated projectors are all designed to feed your individual eyes different perspectives of the same image. Easy, right?

Well, yes. It is pretty easy for your brain to figure out the disparity between the two images. Your brain can automatically figure out all the angles and math and geometry to sync the images. The hard part is getting a camera to do the same thing, and to get those individual images to your individual eyes without butchering the whole effect.

Films

Film has been one of the pioneers of 3D, thanks to its hefty budgets and some technological daring. There are largely two ways 3D has been achieved in motion pictures: anaglyph and polarized glasses.

Anaglyph is a fancy way of referring to the red-and-blue glasses we used to wear. By projecting a film in those colors — one in red, one in blue — each eye would get an individual perspective and your brain would put the 3D effect together. Other colors could be used, providing they were distinct enough to be separated on screen. This technique, however, didn’t allow for a full range of color and had a tendency to “ghost,” or have the once-distinct images bleed into one another. Not cool.

Much more common is the use of polarized glasses, which take advantage of the fact that light can be polarized, or given different orientations. For example, one image can be projected in a horizontal direction while the second can be projected in a vertical direction. The corresponding glasses would allow horizontal polarization in one eye and vertical polarization in the other. The problem is that this kind of 3D requires you to keep your head still, à la A Clockwork Orange. Tilting your head can distort how the waves get to your eyes, messing with the color and 3D effect. Also not cool.

This is the tricky part. To counteract this, 3D now uses rotational polarity, meaning the film being projected actually has two different spins to it. The glasses then pick up those opposite rotations — clockwise in one eye, counterclockwise in another eye — to separate the image. Now you can tilt your head or place it on your boy/girlfriend’s shoulder and still be able to watch the movie.

Television

It’s possible to use the same techniques in film projectors for home theaters, but you would need some serious cash. Films use special silver-coated screens that are much better at reflecting light back to the viewing audience. Your television, unfortunately, is not silver-coated. There are, however, two ways to get 3D at home: active and passive.

The most common, active 3D, involves wearing those electronic RoboCop glasses. The glasses are synced up to your television and actively open and close shutters in front of your eyes, allowing only one eye to see the screen at a time. This sounds like a recipe for a stroke, but the shutters move so quickly that they’re hardly noticeable. These shutter lenses are made possible because of the refresh rate on televisions. 3D-enabled televisions have high image refresh rates, meaning the actual image on screen is quickly loaded and reloaded. Through the glasses, you receive one constant image instead of a flicker.

Passive systems are less common but run much like your 3D film. These televisions have a thin, lenticular screen over the standard display. A lenticular screen is made up of a series of incredibly thin magnifying strips that show a slightly different perspective of the screen to each eye, as illustrated above. While this technology doesn’t require bulky, expensive glasses, it can limit the image quality. Essentially, each eye only sees one half of the screen at any given time. For example, if a screen had 100 pixels, 50 pixels would be magnified and sent to the left eye and the other 50 pixels would be magnified and sent to the right eye. In practice, your brain is actually able to put the two images together and retain the entire 100 pixel fidelity.

How It’s Made

Cameras

There is a lot of fancy footwork that goes into creating 3D. The real heavy lifting, however, is all just a matter of geometry and precision. To get a 3D image, you essentially need two versions of the same scene filmed from the precisely correct angle as if your eyes were seeing the same scene. Filmmakers need to triangulate the distance between the two cameras and make sure they are focused on the same object. They also need to zoom and track, or move, at the same speed, otherwise the images won’t sync up. In modern film rigs, these two cameras are bolted into place preventing any unwanted jostling or disparity.

Close-ups, a staple of modern film, are hard to capture in 3D because the cameras need to be extraordinarily close together to mimic the angle of your eyes. To solve this, filmmakers sometimes use mirror rigs. Mirror rigs film through one lens, and that image is then bounced by a tiny internal mirror to another camera where a second image can be recorded. Providing there are no imperfections on the mirror (including scratches, dirt or warping), the close-up will be filmed in 3D.

Computer Graphics

There is a difference between creating three-dimensional graphics and images that appear to be 3D in the theater. Again, it’s all just a matter of some high-tech geometry. To get a movie like Toy Story 3 into 3D, animators create two versions of each frame, one from the perspective of each eye. Because computer-generated movies don’t need cameras, it’s much easier to get perfectly synced images and to fine-tune any mistakes in post-production. The downside is that this technique requires a lot of time and elbow grease to get perfect.

It’s possible to create a 3D video game using the same technique; however, games add their own complications. Films and shows are largely pre-recorded and all have a fixed perspective — you can’t move the camera’s focus or orientation when you’re watching a film. Video games allow you to change the perspective by moving your on-screen character. This creates a labor-intensive problem since animators need to create objects that can be seen in 3D from a variety of angles depending on where the user is looking and moving.

The Future

One of the toughest problems to solve with 3D technology is the fundamental halving of any image. Lenticular screens send half the image to each eye, shutter lens glasses physically block one eye from seeing the image, and polarized glasses only send half the displayed light to each eye.

The human eye needs approximately 50 frames per second in order to see film as one continuous image. 3D effectively halves that so each eye would only see 25 frames per second and get some nauseating flicker. Modern technology has been able to significantly up that frame rate (or refresh rate in televisions) so that we can achieve the illusion of 3D.

Advances in computing and memory have also made 3D possible in a number of handheld and consumer products. There are already prototypes for 3D laptops, cameras, camcorders, and a variety of other tech

In the coming years, keep a look out for technology that uses autostereoscopy, or 3D that doesn’t require glasses in any way. The Nintendo 3DS, Nintendo’s newest portable 3D gaming device, is one such device. One of its tricks is syncing a lenticular display with its forward-facing camera. By using eye recognition, it can track where the user’s face is and shift the display to accurately display 3D no matter how the user views the screens. Look for autostereoscopy to test the waters on handheld devices before it heads to large format screens.

We’re just at the start of what 3D can offer, with a lot more successes and failures to occur in the meantime. Let us know in the comments what you hope to see for the future of 3D, or what 3D-enabled tech you’re looking to scoop up.Courtesy | mashable.com

3D graphics programming in Java

2012-01-14T09:21:00.000-08:00

In order to build a true Java platform, Sun realized early on that it needed to fill out the API picture beyond the limited functionality available in the Java 1.0 core platform. Sun has grown the core a great deal with the 1.1 and impending 1.2 releases, but there are still some pieces missing from the Java puzzle.

Sun and its partners developed the Java Media and Communication APIs to provide the missing multimedia programming pieces. Two of the biggest pieces, 2D and 3D graphics, are targeted with the Java 2D and 3D APIs, respectively. Java 2D is a core platform API beginning with Java 1.2, while Java 3D will be released as an Extension API shortly after the 1.2 platform becomes available. We have recently finished a series of columns on Java 2D; now we turn our attention to Java 3D.

Java 3D is meant to give Java developers the ability to write applets and applications that provide three dimensional, interactive content to users. Sun has some heavy competition from other 3D graphics technologies in this arena, and Java 3D has an uphill battle ahead of it if it's to defeat the incumbent graphics standard, OpenGL.

A request for reader comments on 3D graphics APIs for Java indicated serious interest in Java 3D and Java OpenGL bindings, so I've decided to concentrate my efforts on these technologies in the coming months.

A more limited amount of interest was expressed in VRML. Consequently, I am going to deal with VRML by demonstrating its use in Java 3D with VRML97 content loaders and Sun's Java 3D VRML97 browser. Direct3D received very little interest, so I've decided not to pursue this path, except to mention where one of the other technologies may support or interoperate with it.

Pros and cons of Java 3D

This month we begin our tour of 3D graphics APIs for Java by exploring Java 3D. We'll start by discussing some of the API's major strengths and weaknesses. 3D graphics can seem at times rather obtuse and, thus, can be difficult to explain. If you have any lingering confusion about my examples or explanations, please feel free to write me with your questions or comments, and I'll do my best to address them.

Selling points for Java 3D:

It provides a high-level, object-oriented view of 3D graphics. Java 3D accomplishes this in part by using a scene graph-based 3D graphics model. (We'll discuss this concept in more detail later in the article.) This approach is intended to help programmers without much graphics or multimedia programming experience use 3D in their applications. In stark contrast to lower-level, procedural 3D APIs like OpenGL, which are designed to optimize for the best possible speed and give programmers the greatest possible control over the rendering process, Java 3D is meant to be straightforward enough for any experienced Java programmer to learn.
If you don't need low-level access to rendering operations, Java 3D may be an option. Rendering access is limited to requests via attributes and capability bits, similar in form and function to Java 2D's rendering hints. (See Resources for links to my previous series on Java 2D, which included discussion and examples of 2D's rendering hints).
Java 3D is optimized for speed where possible. The runtime uses rendering capability bits, in fact, to optimize the scene graph for the fastest possible renders. This approach makes Java 3D more applicable to interactive graphics environments (games, simulations, low-latency situations) than to offline, high-quality graphics applications (like render farms).
A large and growing number of 3D loaders are available to import content into the Java 3D runtime. Sun has made a Java 3D VRML97 file loader and browser freely available with code. Look for next month's Media Programming column to explore Java 3D loaders in more detail.
Java 3D requires vector math capabilities not available elsewhere in the Java platform. These math operations are currently located in the javax.vecmath package and may be moved into the core platform in the future.
Java 3D supports a number of exotic devices (wands, data gloves, and headsets, for example). Thecom.sun.j3d.utils.trackers package included with Sun's implementation provides classes for Fakespace, Logitech, and Polhemus devices. These devices are not widely used, however, so I will not discuss them in great detail.

Classic Films Turned To 3D: Finding Nemo

2012-01-14T08:38:00.001-08:00

Turns out that Disney loves the fishes because they’re going to be in 3D. Disney has announced that Pixar’s animated classic Finding Nemo will hit theaters this Fall for a limited, three-dimensional run. This isn’t the first time Disney has re-released 2D Pixar films in 3D. In the lead-up to Toy Story 3, the studio released Toy Storyand Toy Story 2 in a 3D double feature.

Finding Nemo 3D follows in the footsteps of Disney’s first 3D successes including The Lion King which earned $30 million when it was re-released in September and Beauty and the Beast which hit theaters on Jan. 13.

The studio is hoping that Finding Nemo 3D will have similar success. That shouldn’t be a problem given that a film about an animated clownfish trying to find his son broke some impressive records. Finding Nemo won the 2003 Oscar for best animated feature, at release it was the highest grossing G-rated movie ever, and was named one of the 10 greatest animated films by the American Film Institute in 2008.

Disney is also eyeing re-releases of The Little Mermaid and Monsters Inc. in 3D.

Finding Nemo 3D will have to deal with some interesting competition. Disney isn’t the only studio getting into the 3D re-release race. Fox is re-releasing Star Wars Episode I: The Phantom Menace in February. This April, Paramount is helping Fox put out a 3D version of James Cameron’s Titanic which was the highest grossing film of all time until it was beat by the 3D film Avatar, which Cameron also directed.

Crysis 2 Dev Build Leaks

2012-01-12T01:30:00.000-08:00

It would appear that Crysis 2 for the PC has leaked in some capacity. A quick look at some of the more popular sites when it comes to this kind of thing suggests that many thousands of people have no problem downloading Crytek’s unfinished game, which is due for release next month. Well, wasdue for release next month—who knows how this leak will affect development?

You’ll find no links here, of course, but the fact that such a big game leaked weeks before its intended release date is certainly worth mentioning as a news item.

According to various threads I’ve been reading, the game is absolutely playable and includes the CryEngine 3 editor.

Needless to say, this isn’t probably what the folks at Crytek (or EA) had in mind for their weekend.

It’s not rare for games to leak a few days before their official release date (and these are usually plain ol’ retail copies), but well over a month? There’s trouble afoot, that’s for sure.