The aim of this thesis is creation of 3D model by a selected program. In the introduction of the thesis is a brief description of chosen object – St. Václav's temple in Brno. Next follows preparation works before measuring, creating of measuring net by GNSS and measuring of object by tachymetric method. In the following chapters is briefly described 2D and 3D computer graphic and program AutoCAD Civil 3D, which was used for create resulting model of the object.

No description available.

Dopo l’avvento del sonoro e quello del colore, la settima arte sta attraversando una terza, forse più radicale, fase di rivoluzione: un vero e proprio tsunami che corrisponde all’avvento del digitale, dove il video insidia il primato della pellicola e la Computer Grafica è sempre più dilagante nel campo degli effetti speciali. Muovendosi all’interno di questo quadro di sostanziale cambiamento la presente ricerca, intitolata "Il corpo nell’era digitale: dal simulacro alla Performance Capture", si sofferma in particolare sull’analisi delle nuove prospettive che il corpo (attoriale) deve affrontare con la smaterializzazione dell’elemento organico. A partire da una panoramica storica sull’avvento del digitale nel cinema contemporaneo, si arriva a tracciare una linea evolutiva del corpo e del volto per meglio contestualizzare i campi di azione della Performance Capture. Il digitale e la Performance Capture sono fenomeni il cui sviluppo è ancora pienamente in atto, dagli esiti futuri ancora imprevedibili. Il proposito di questa ricerca è stabilire se il cinema stia diventando come paventa Lev Manovich, “a slave to the computer” o se, al contrario, le nuove tecnologie possano rafforzare le capacità artistiche, e perciò profondamente umane, del mezzo. / After the revolutionary phases brought by the introduction of sound and color, the seventh art is going through another, even more radical, renewal: the digital tsunami, where video is taking over the film and Computer Graphic is ruling the field of special effects. This project , situated inside a perspective of substantial change, is focused on the analysis of the role of the new actor and of his body, reconstructed after the disappearance of the organic elements in favor of the digital ones. Starting from an historical overview on the advent of digital cinema, this research aims to follow the development of Performance Capture, a technique capable to rewrite the rules of acting and directing. Digital moviemaking, CGI and Performance Capture, in particular, are phenomena in constant development, whose future effects are still not predictable. The purpose of this research is to establish whether cinema is becoming, like Manovich suggests, like Lev Manovich says, a “slave to the computer” , or if, on the contrary, new technologies will be able to strengthen its artistic, therefore human, sides.

Ausgehend von einer Analyse computergrafischer Visualisierungen wird in diesem Beitrag eine formale Beschreibung grundlegend gestalterischer Herausforderung bei der wahrnehmungskonformen Darstellung von räumlichen Szenen vorgenommen. Anschließend werden erste algorithmische Umsetzungen zur perspektivischen Optimierung vorgestellt. Anwendungsbezüge werden an Hand von Fallbeispielen verdeutlicht. Ingmar S. Franke und Martin Zavesky, Technische Universität Dresden anlässlich beyond rendering, 8. Tagung der Deutschen Gesellschaft für Geometrie und Grafik, Berlin -16. bis 18. Mai 2012

The emergence of digital capture devices have enabled the developmentof 3D acquisition to scan the properties of a real object : its shape and itsappearance. This process provides a dense and accurate representation of realobjects and allows to avoid the costly process of physical simulation to modelan object. Thus, the issues have evolved and are no longer focus on modelingthe characteristics of a real object only but on the treatment of data fromacquisition to integrate a copy of reality in a process of image synthesis. In this thesis, we propose new representations for appearance functions from the acquisition with the aim of defining a set of multicale models of low complexity in size working in real time on the today's graphics hardware / L'émergence des périphériques de capture numériques ont permis le développement de l'acquisition 3D pour numériser les propriétés d'un objet réel : sa forme et son apparence. Ce processus fournit une représentation dense et précise d'objets réels et permet de s'abstraire d'un processus des imulation physique coûteux pour modéliser un objet. Ainsi, les problématiquesont évolué et portent non plus uniquement sur la modélisation descaractéristiques d'un objet réel mais sur les traitements de données issues de l'acquisition pour intégrer une copie de la réalité dans un processus de synthèse d'images. Dans ces travaux de thèse, nous proposons de nouvelles représentations pour les fonctions d'apparence issues de l'acquisition dont le but est de définir un ensemble de modèles multi-échelles, de faible complexité en taille, capable d'e^tre visualisé en temps réel sur le matériel graphique actuel.

This masters thesis deals with a real-time low vegetation rendering in 3D space. The low vegetation means grass and shrub. At first it looks on a implementation of vegetation in a 3D games that already exist and there investigate characteristics notable while playing and after that it comes to a evaluation of visual qualities. As next will follow design of solution of this problems and description of implementation. In final part will be summary of achieved product.

Ausgehend von einer Analyse computergrafischer Visualisierungen wird in diesem Beitrag eine formale Beschreibung grundlegend gestalterischer Herausforderung bei der wahrnehmungskonformen Darstellung von räumlichen Szenen vorgenommen. Anschließend werden erste algorithmische Umsetzungen zur perspektivischen Optimierung vorgestellt. Anwendungsbezüge werden an Hand von Fallbeispielen verdeutlicht. Ingmar S. Franke und Martin Zavesky, Technische Universität Dresden anlässlich beyond rendering, 8. Tagung der Deutschen Gesellschaft für Geometrie und Grafik, Berlin -16. bis 18. Mai 2012