The aim of this project was to build and render digital landscape models that reflect natural element characteristics and use the resulting data sets as source material for fine art investigation and production. The project utilized 3D computer modeling techniques, selected output technology and studio facilities. Computer-generated virtual landscapes material was incorporated into studio practice by providing observed environmental content for the development of works for exhibition. An accompanying exegesis explored the relationship and tensions between digital landscape data sets and the broader use of landscape as a motif within an Australian context.

A Preservação Digital 3D é uma área da Computação Gráfica que visa gerar modelos tridimensionais virtuais de objetos que possuem valor cultural ou cientifico. A preservação digital possibilita a visualização realística do objeto através de museus virtuais ou aplicações científicas; e a restauração do objeto preservado, em caso de desgaste natural ou acidentes. Nesta área, a representação detalhada das caracteristicas do objeto é essencial, visto que armazena informações importantes sobre o objeto preservado. Neste contexto, este trabalho apresenta um estudo sobre a geração de textura para modelos tridimensionais. Nele, é feita uma revisão sobre a modelagem da geometria e da fotometria, e é desenvolvido um algoritmo para preservar a aparência do objeto original através do uso de fotografias de alta resolução na geração de textura para o modelo 3D. Os modelos 3D renderizados com as texturas obtidas através do processo desenvolvido neste trabalho são exibidos em um museu virtual. Entre os patrim^onios digitalizados estão artefatos indígenas pertencentes ao acervo do Museu de Arqueologia e Etnologia da UFPR, e conchas e fósseis pertencentes ao Museu de Ciências Naturais da UFPR. O algoritmo desenvolvido calcula a textura de um objeto a partir do seu modelo 3D e um conjunto de imagens obtidas por um scanner a laser e uma câmera fotográfica de alta resolução. O método desenvolvido gera texturas de alta qualidade, aumentando substancialmente o realismo do modelo 3D em comparação com texturas geradas apenas por imagens do scanner. Ele também não requer nenhum aparato especial ou um grande número de fotografias coloridas, simplificando seu uso por outros pesquisadores._________________________________________________________________________________________ ABSTRACT: 3D Digital Preservation aims to generate tridimensional virtual models of objects that have cultural or scientific value. The digital preservation provides realistic visualization of objects through virtual museums or scientific applications; and the preserved object’s restoration, in case of natural wear or accidents. In this area, the detailed representation of the object characteristics is essential since they store important information about the preserved object. In this context, this work presents a study about texture generation for 3D models of objects. It makes a review about the geometric and photometric modeling, and develops an algorithm to preserve the appearance of the original object, through the use of high resolution photographs during the 3D models texture generation. The 3D models using the generated texture are exhibited in a 3D virtual museum. Amongst the preserved assets, there are Brazilian Indigenous artworks, from UFPR’s Archaeology and Ethnology Museum, and shells and fossils from UFPR’s Natural Science Museum. The developed algorithm calculates the texture of an object from its 3D model and a set of images obtained from a laser scanner and a high resolution photographic camera. It generates high quality textures, improving substantially the realism of the 3D model as compared to textures generated only from scanner images. Also, it does not require any special apparatus nor a large number of color images, simplifying its use by other researchers.

Ljus är så pass självklart att vi oftast inte tänker på hur viktigt det är för oss. Det finns teorier som menar att ljus har en stor betydelse för hur vi upplever saker. Därför kan ljussättning spela en viktig roll inom exempelvis film. Med hjälp av två ljussättningstekniker som används inom film har jag skapat två olika känslor inom en och samma digitala 3D-miljö, för att undersöka om det med enbart ljussättning går att påverka hur vi upplever stämningen inom en 3D-miljö. Sedan har jag intervjuat nio personer för att undersöka om detta är möjligt med enbart hjälp av belysning eller om det krävs fler moment att ta in i beräkningen. Efter intervjuerna var det svårt att dra direkta slutsatser men det fanns tendenser som ledde fram till en avslutande diskussion om vad som är viktigt att tänka på för att betraktaren ska bli påverkad av ljussättningen i en digital 3D-genererad miljö.

Technologies in digital cinema are quickly changing the way contemporary filmmakers create films and how audiences currently perceive them. As we move onward into the digital turn, it becomes ever more apparent that the medium of film has been emancipated from its dependence on the photograph. Directors are no longer required to capture the objectively real as it sits before the photographic lens, but can essentially construct it via groundbreaking advancements in computer-generated imagery, motion capture technology, and digital 3D camera systems and display technologies. Since the origins of film, spectators and filmmakers have assumed an existing relationship between reality and the photographic image. Yet digital film technologies now provide us with hyper-facsimiles of reality that are perceived as photographic, but are often created by way of computer processes. Digital cinema currently allows the viewer to inhabit and interact with cinematic realities in unprecedented ways, and it is this contemporary paradigmatic shift from the analog to the digital that has catalyzed fundamentally new ways of looking at the filmic image. In this paper, I will examine the perceptual complexities of contemporary digital film through the lens of these cinematic technologies by examining their impact on the viewer’s experience.

Submitted by Izabel Franco (izabel-franco@ufscar.br) on 2016-10-26T18:21:47Z No. of bitstreams: 1 DissPPSeL.pdf: 4068768 bytes, checksum: 7c8ea6a69927c82c229fac660e7735fc (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-11-08T18:29:10Z (GMT) No. of bitstreams: 1 DissPPSeL.pdf: 4068768 bytes, checksum: 7c8ea6a69927c82c229fac660e7735fc (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-11-08T18:29:16Z (GMT) No. of bitstreams: 1 DissPPSeL.pdf: 4068768 bytes, checksum: 7c8ea6a69927c82c229fac660e7735fc (MD5) / Made available in DSpace on 2016-11-08T18:29:23Z (GMT). No. of bitstreams: 1 DissPPSeL.pdf: 4068768 bytes, checksum: 7c8ea6a69927c82c229fac660e7735fc (MD5) Previous issue date: 2016-08-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / The research herein is consolidated in fantastical narratives presented in animation movies allied with deep perception exploration. Its development aims to investigate how visual resources are used in animation movies to emphasize fantastical narratives in current contexts. The focus is placed on animations made by digital three-dimensional environment and on the use of stereoscopy working as tools that influence on the composition of narrative tension. The study is based upon the animation movies "How to Train Your Dragon" (DreamWorks, 2010), "How to Train Your Dragon 2" (DreamWorks, 2014) and "Frozen" (Disney, 2013) because of the fantastical storytelling, which evaluates their relations with stereoscopy's visuality and three-dimension digital space. At first a historical background to consolidate stereoscopy and animation techniques is described, which leads to contemporary cinematographic scenery and the use of 3D modeling. Then the research is directed to the study of film narratives previously mentioned followed by an evaluation of three-digital-dimensional language and the three-dimension characters building, in addition to their physical and psychological characteristics. In the end of the study, an analysis of the use of stereoscopy alongside with the narrative, characters and settings modeling of the three movies is proposed, verifying the stereoscopic space use in scenes with different dramatic intensity and how stereoscopy contributes to these narratives. / O presente trabalho tem como foco as narrativas fantásticas apresentadas em filmes de animação, aliadas à exploração da percepção de profundidade. Seu desenvolvimento tem o intuito de investigar como recursos visuais são utilizados em filmes de animação para reforçar narrativas fantásticas dentro do contexto contemporâneo. O foco se mantém nas animações criadas em ambiente digital tridimensional e no uso da estereoscopia como ferramenta que influencia a tensão da composição narrativa. Para realizar esse estudo, tem-se como base os longas-metragens de animação 3D "Como Treinar Seu Dragão" (How To Train Your Dragon – DreamWorks, 2010), "Como Treinar Seu Dragão 2" (How To Train Your Dragon 2 – DreamWorks, 2014) e "Frozen: Uma Aventura Congelante" (Frozen – Walt Disney 2013) devido às narrativas de cunho fantástico, onde avalia-se a visualidade proposta pela estereoscopia e ambientação em espaço digital tridimensional. Inicialmente, é descrito um panorama histórico para consolidar as técnicas da estereoscopia e da animação, o qual culmina no cenário cinematográfico atual e no uso de modelagem 3D. Em um segundo momento, a pesquisa se direciona ao estudo das narrativas dos filmes supracitados, seguido de uma avaliação sobre a linguagem tridimensional digital e da criação de modelos tridimensionais dos personagens, suas características físicas e psicológicas. Por último, é proposta uma análise sobre o uso da estereoscopia em conjunto com a narrativa e a modelagem dos personagens e cenários nos três filmes, verificando o uso do espaço estereoscópico em cenas de diferentes intensidades dramáticas e as maneiras como a estereoscopia contribuiu com as narrativas fílmicas.

Photogrammetry and Structure-from-Motion (S-f-M) is a low-cost method of producing digital 3D models of rock samples that can be used for many different research and educational purposes. A 3D model of a delicate rock sample would enable the preservation of the sample and reduce the need of physical manipulation. This thesis presents a systematic workflow to document and study rock samples by using photogrammetry and S-f-M. The manual in this work describes how to use the set up SOOSI (Spinning Object Optical Scanning Instrument) found at the Department of Earth Sciences at Uppsala University to produce digital 3D models of geological samples. The thesis gives a background to photogrammetry in Earth sciences, and it presents the fundamentals of photogrammetry and the camera. It explains the processing chain of photogrammetry and how computers assist in the photogrammetric process for the reader to understand the importance of the steps in the manual. 3D models produced from following the workflow are presented as well as implications of choices that can be made when following the workflow. The addition of a fixed lens to the camera setup would improve the method’s robustness. The models are currently limited due to a lack of absolute scale. A suggestion for developing a method to capture Ground Control Points (GCPs) to solve the scale problem is presented. / Fotogrammetri och Structure-from-Motion (S-f-M) är en billig metod för att producera digitala 3D-modeller av stuffer som kan användas i olika forsknings- och undervisningssyften. Modeller av stenstuffer minskar behovet av att fysiskt ta i dem och används därför i syfte att bevara ömtåliga stuffer. Denna uppsats presenterar ett systematiskt arbetsflöde för att dokumentera stuffer genom att använda fotogrammetri och S-f-M. Manualen beskriver hur den fotogrammetriska fotostudion SOOSI (Spinning Object Optical Scanning Instrument), som finns på institutionen för geovetenskaper vid Uppsala universitet, används för att producera digitala 3D-modeller. Uppsatsen ger en bakgrund till fotogrammetri inom geovetenskapen och den beskriver kamerans och fotogrammetrins grunder. Vidare förklaras fotogrammetrins bearbetningskedja och hur datorer bidrar i den fotogrammetriska processen för att läsaren ska förstå de olika stegen i manualen. 3D-modeller producerade genom att följa arbetsättet presenteras och de olika val som kan tas när en följer manualen och dess implikationer på resultaten diskuteras. Arbetsättet skulle förbättras om ett objektiv med fast brännvidd införskaffades till fotostudion. 3D-modellernas användningsområde begränsas av att de saknar absolut skala därför presenteras ett förslag till att utveckla arbetsmetoden med hjälp av Ground Control Points (GCP:er).

The bulk of research in digital 3D animation is focused on problem solving and the development of new techniques and innovations for the 3D animation software of the future. However, little consideration is given for the underlying reasons why problems arise from a psychological perspective, and if 3D animation is to establish itself as a discipline in academia, strides must be taken to strengthen its foundations with existing academic disciplines.This undergraduate thesis examines the possible causes of joint deformation problems inherent to digital human character rigs in Autodesk Maya using cognitive psychology, specifically theories of perception, with additional considerations for the roles of the Uncanny Valley effect and suspension of disbelief. An experiment was devised to evaluate the presence of joint deformation problems on a basic human character rig and in two approaches of solution.The results supported the presented hypothesis on what causes the viewer to notice joint deformation problems, but further investigation is required for test it definitively. The study also implied that whilst joint deformation problems may be noticed by the viewer and cause distraction from the content of a digital film, other factors also strongly affect the viewer’s experience in a similar manner. The results of further studies could help digital artists better understand how the audience may respond to the presence of joint deformation problems and optimise their workflow. / Den övergripande forskningen kring digital 3D-animation är främst fokuserad på problemlösning samt utvecklingen av ny teknik och innovation för framtida programvaror utformade för 3D-animation. Dock har det sällan tagits någon hänsyn till de underliggande anledningarna om varför problemen uppstår, och inte heller genom ett psykologiskt perspektiv. Om 3D-animation ska bli mer etablerat inom den akademiska disciplinen så behöver framsteg göras för att skapa en starkare grund.Denna vetenskapliga uppsats undersöker möjliga anledningar till varför joint-deformationsproblem upplevs med riggen för digitala mänskliga karaktärer i Autodesk Maya. Detta utforskas genom att använda kognitiv psykologi, speciellt teorier kring perception, med ytterligare överväganden om att ”the Uncanny Valley” och ”Suspension of disbelief” skulle vara avgörande faktorer. Ett experiment var utformat för att utvärdera närvarandet av joint-deformationsproblem gällande en grundläggande mänsklig karaktär samt två möjliga lösningar till problemet.Den presenterade hypotesen, om vad som påverkar att en betraktare noterar joint-deformationsproblem, stärktes av undersökningens givna resultat. Dock är fortsatta forskningar kring ämnet nödvändiga för att definitivt bekräfta hypotesens reliabilitet och validitet. Undersökningen visade att problem med joint-deformationer kan noteras av betraktaren och därmed skapa en distraktion för filmens handling, men att andra faktorer kan vara mer avgörande för samma innebörd. Framtida forskningar kan resultera i att hjälpa digitala artister att underlätta deras förståelse om hur en publik kan tänkas reagera på närvarandet av joint-deformationsproblem och att effektivisera deras arbetsprocess.

<p>A new approach for object replacement in 3D space is presented. Introducing a technique that replaces the older two dimensional (2D) based facial replacement method performed by compositing artist in motion picture productions and video commercial industry.</p><p>This method uses 4 digital video cameras filming an actor from 360 degrees, the cameras are placed with 90 degrees in between, the video footage acquired is then used to produce a 3D video texture consisting of video segments taken from different angles representing the object from 3D point of view.</p><p>The video texture is then applied to a 3D modelled head matching the geometry of the original object.</p><p>Offering the freedom of showing the object from any point of view from 3D space, which is not possible using the current two dimensional method where the actormust at all time face the camera.</p><p>The method is described in details with images showing every stage of the process.</p><p>Results are presented as still frames taken from the final video footage and as a video file demonstrating them.</p>

A new approach for object replacement in 3D space is presented. Introducing a technique that replaces the older two dimensional (2D) based facial replacement method performed by compositing artist in motion picture productions and video commercial industry. This method uses 4 digital video cameras filming an actor from 360 degrees, the cameras are placed with 90 degrees in between, the video footage acquired is then used to produce a 3D video texture consisting of video segments taken from different angles representing the object from 3D point of view. The video texture is then applied to a 3D modelled head matching the geometry of the original object. Offering the freedom of showing the object from any point of view from 3D space, which is not possible using the current two dimensional method where the actormust at all time face the camera. The method is described in details with images showing every stage of the process. Results are presented as still frames taken from the final video footage and as a video file demonstrating them.

Purpose – While single theoretical approaches related to visual humanities research and in particular digital 3D reconstruction – as the virtual, interpretative 3D modeling and visualization of historical objects – are widely described in compendia like Wikipedia, and various publications discuss approaches from certain disciplinary perspectives, a comprehensive and multidisciplinary systematization is still missing. Against this background, the research activity described within this article is intended to gain a wide and multidisciplinary overview for research approaches, theories, and methods which are relevant to investigate or explain knowledge-related phenomena in the context of visual humanities research and education. Design/methodology/approach – To meet these interests we intend to set up a Wiki resource as a structured repository. The content will be based on (a) interactive workshops held at conferences to collect and structure knowledge assets on visual knowledge involving experts from different domains. Moreover, (b) a student seminar starting in early 2017 is designated to describe some typical research designs as well as amend related methods and theories in the Wiki resource based on Wikipedia articles. A content structuring principle for the Wiki resource follows the guidelines of Wikimedia as well as plans for the results to be populated again in Wikipedia. Originality/value – While Wiki approaches are frequently used in the context of visual humanities, these resources are primarily created by experts. Furthermore, Wiki-based approaches related to visualization are often focused on a certain disciplinary context as, for example, art history. A unique aspect of the described setting is to build a Wiki on digital 3D reconstruction including expertise from different knowledge domains – i.e. on perception and cognition, didactics, information sciences, as well as computing and visual humanities. Moreover, the combination of student work and assessments by experts also provides novel insights for educational research. Practical implications – The intended product is a comprehensive and multidisciplinary structured repository on digital 3D reconstruction research approaches, methods, theories, publication bodies, and good practice examples. The editing of the project results into the Wikipedia will lead to a wide dissemination and visibility of group activities and outcomes as well as enhance competencies of all contributors on collaborative work.