62 Sentences With "computer generated graphics"

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In fact, they look just like videos — not computer-generated graphics.
But Marsha Cottrell, who specializes in computer-generated graphics, isn't so concerned with exactness.
While the latest movies and games amaze with their computer-generated graphics, there's still something magical about hand-drawn animation.
Last week in Vancouver, the world of computer-generated graphics companies gathered at the SIGGRAPH conference to discuss their trade.
While the added degree of freedom is welcome, the fact that it's using computer-generated graphics might not be appealing to a wide majority of the fans.
Rather than using boring old computer-generated graphics, a team of American scientists made what might be the most complex video of a cell in action yet.
Generally, filmmakers only see concept art and animation while filming, so they are unable to see computer-generated graphics combined with the actors in-scene until post-production.
And look, the truth is in our world of computer-generated graphics and other camera tricks, we're certainly not the first show to deal with a pregnant star.
But Pixar came out of the gate as a unique breed: a studio that dared to release a full-length animated movie created entirely with computer-generated graphics.
He made frame-by-frame, stop-animation short films long before we had access to computer-generated graphics or digital post-production, and long before music videos as we know them came on the scene.
Over the past two months, aided by the good folks at YouTube and its less-scrupulous overseas equivalents, I have watched all 21970 previous Super Bowls—roughly 493 hours worth of football, salesmanship, injury timeouts, and increasingly intense computer-generated graphics.
Three different NHL teams use the technology inside their arenas, and Belch says fans find it to be one of the more realistic VR experiences out there — in part because STRIVR uses actually video footage, not computer-generated graphics, for the demo.
Cartoonish drawings give way to books and handsome box sets decorated with lavish color paintings and computer-generated graphics as Dungeons & Dragons morphed into a global mass-market transmedia property with its own novels, magazines, video games, television series and other products.
Director J.J. Abrams may have stressed the importance of practical effects in the creation of The Force Awakens, but anyone who's seen the seventh Star Wars movie will know that his proclamations didn't mean the series would be moving away from computer-generated graphics.
They describe Samsung NEON as offering: Entertainment services, namely, production of special effects including model-making services, computer-generated imagery and computer-generated graphics for the production of motion pictures, videos and movie trailers; augmented reality video production; creating computer generated characters; design and development of computer-modeled versions of human beings using computer animation for use in movies, television, internet and other applications; design and development of software for virtual characters; creating for others custom computer-generated imagery, animations, simulations and models used for entertainment.
Computer-generated graphics were provided by Mehau Kulyk for issues #27 through #52.
The visuals for the Crystalline Entity were some of the first computer generated graphics on the television show.
A. Vincent and Jayanan Vincent were roped in for the special effects photography, as there were no computer-generated graphics during the time.
The music video was created by Hyperbolic Systems and featured computer generated graphics with occasional images of the band members dancing along tribal figures.
We are embarrassed by the two technologies' mutual exclusivity, just as we blush and groan when computer-generated graphics stick out sorely from live action.
In 1993, the film Jurassic Park became the first popular film to use computer-generated graphics extensively, integrating the simulated dinosaurs almost seamlessly into live action scenes. This event transformed the film industry; in 1995, the film Toy Story was the first film to use only computer- generated images and by the new millennium computer generated graphics were the leading choice for special effects in films.
The facility also has State-of-the-art classrooms which are able to feature computer generated graphics and multimedia source material that comes right from the Operations room.
"Prixm" features computer-generated graphics coupled with hand drawn animation to create a unique experience. The visuals from "Prixm" bring a whole different level of futuristic world creating various emotions for viewers.
The laserdisc cutscenes were taken out of the final game, and the road and backgrounds were changed to computer-generated graphics. The prototype cabinet was eventually found, and it is now playable at California Extreme.
Expanding on his color palette, he also incorporated a few additional colors. Daphnis' employment of computer- generated graphics and use of the Atari ST to develop his radical digital landscapes can best be understood as a proto New Media attitude.
The song was not released in the United Kingdom. "Spread Your Love" was only released in a few European territories and a studio video was not filmed for the track. Instead, footage of live performances fused with computer generated graphics were used. By the time this single was released, the duo had announced their split.
The presentation of the Crystalline Entity alien this episode was re-created in computer generated graphics for the HD release on Blu-ray discs of Star Trek: The Next Generation. However, the original standard definition special effect from the 1990s was also computer generated, and it was one of the first uses of CGI graphics on the show.
Silent Steel is a 1995 submarine simulator computer game by Tsunami Games. It was created during the influx of interactive movies during the 1990s. The game is composed almost entirely of live-action full motion video, with sparse computer-generated graphics depicting external shots of the boat during torpedo attacks and atmospheric fly-bys. A version playable on DVD players was released in 1999, following from a DVD-ROM version in 1997.
Computer- generated graphics have potentially increased the techniques available to still-life artists. 3D computer graphics and 2D computer graphics with 3D photorealistic effects are used to generate synthetic still life images. For example, graphic art software includes filters that can be applied to 2D vector graphics or 2D raster graphics on transparent layers. Visual artists have copied or visualised 3D effects to manually render photorealistic effects without the use of filters.
Andrew Lockington composed the music for the film. The development and filming of the film was completed in Canada and Iceland in March 2006, followed by principal photography and production which began on April 20. In January 2007, New Line Cinema acquired distribution rights to the film. The film transposes the novel into the present day and is mostly live action, with only the landscape and creatures supplied by computer-generated graphics.
During 1988 to 1989 Judge Belew presided over the longest aviation trial in American history that lasted fourteen months and resulted from the wind shear related crash of Delta Flight 191 at Dallas/Ft. Worth Airport on August 2, 1985. The trial featured the first use of computer generated graphics as substantive evidence in federal court and earned the American Bar Association Journal cover story “The Final Minutes of Delta 191.”ABA Journal (Dec.1989).
Wilson worked as a Meteorological Office forecaster from 1972. He became a Fellow of the Royal Meteorological Society in 1973, and later a Chartered Meteorologist. In 1978, he joined Thames TV as weatherman, and joined the BBC Breakfast team in 1983, using computer-generated graphics for the first time on British television. Wilson joined Sky News in 1993 and, until June 2010, headed the weather department, which broadcast weather forecasts for Europe 24 hours a day.
The SMC-70G contains additional hardware to support video production, contains a higher wattage power supply (1.3A at 120V - 156 watts), an additional externally available expansion port (a total of four) on the expansion bus, two additional internal I/O expansion ports (used by the genlocking hardware), and an NTSC video genlocker. The SMC-70GP has a PAL video genlocker. The system interfaced with video devices (e.g. laserdisc player, videotape system) to mix computer generated graphics with live video.
Unlike later mission control centers which featured computer generated graphics, this Mercury era display operated with a physical two-dimensional representation of the capsule suspended and lit in front of the map. More modern mission control centers were split between launch control, which is located at the launch site such as Cape Canaveral, and mission control which is located at the Lyndon B. Johnson Space Center for the Apollo and Space Shuttle programs or at the Jet Propulsion Laboratory for unmanned missions.
This technology is used for visual effects because they are high in quality, controllable, and can create effects that would not be feasible using any other technology either because of cost, resources or safety. Computer-generated graphics can be seen in many live-action movies today, especially those of the action genre. Further, computer-generated imagery has almost completely supplanted hand-drawn animation in children's movies which are increasingly computer-generated only. Examples of movies that use computer-generated imagery include Finding Nemo, 300 and Iron Man.
Johanna Basford was born in 1983 in Scotland and grew up on her parent's fish farm in Auchnagatt in Aberdeenshire. She graduated from Duncan of Jordanstone College of Art and Design (DJCAD) in Dundee in 2005 with a degree in textile Design and a specialization in screen printing. Basford lives and works in Aberdeenshire, Scotland where she owns a small studio in a converted farmhouse with large windows that overlook the surrounding fields. She believes computer generated graphics can feel "cold and soulless," which is why she uses traditional media.
Playmates called upon the development team at DIC—which, coincidentally, was working with Pangea Corporation, which assisted in the development of DIC's New Kids on the Block and Playmates's earlier hit, Teenage Mutant Ninja Turtles. DIC, Pangea, and Playmates's marketing group created an ensemble of character names, traits and profiles, which were spun into a series offering. Under a product placement deal, Compaq computers were prominently featured in the series and were used to generate the show's computer-generated graphics. Elements of this series are used in the anime series adaptation of Gridman, the Hyper Agent, SSSS.Gridman.
The Graphics Group, which was one third of the Computer Division of Lucasfilm, had been associating with Industrial Light & Magic on computer generated graphics in the early 1980s. In 1984, the group produced an animated short titled The Adventures of André and Wally B., which premiered at the annual SIGGRAPH conference to great fanfare. The group, which numbered 40 individuals, was spun out as a corporation in February 1986 with investment by Steve Jobs shortly after he left Apple Computer. Jobs paid $5 million to George Lucas for technology rights and put them and $5 million cash as capital into the company.
Traditionally rendering techniques were taught in a "master class" practice (such as the École des Beaux-Arts), where a student works creatively with a mentor in the study of fine arts. Contemporary architects use hand-drawn sketches, pen and ink drawings, and watercolor renderings to represent their design with the vision of an artist. Computer generated graphics is the newest medium to be utilized by architectural illustrators. During the past 20–30 years, many professional architectural illustrators came from an education in architecture first, then moved into the profession as their (mostly self taught) skills in illustration progressed.
However, 2 years after launch, the idents were replaced by an animated sequence of the letters spelling out Children's with an outline of an object corresponding to that letter. This was replaced by a computer generated sequence in 1990. In 1991, the BBC corporate revamp meant that Children's BBC was given a makeover. The result was a logo centred on a stylised Children's with a corporate BBC logo at the bottom of the screen. In 1994, the Children's BBC idents changed in style; many featured cartoons or computer generated graphics where the stylised Children's and the BBC corporate logo would feature somewhere.
Though evolved from the field of realistic medical illustrations (such as those created by Flemish anatomist Andreas Vesalius in the 16th century), medical animations are also indebted to motion picture technology and computer-generated imagery. The term medical animation predates the advent of computer-generated graphics by approximately three decades. Though the first computer animation was created at Bell Telephone Labs in 1963, the phrase "medical animation" appears in scholarly contexts as early as 1932 in the Journal of Biological Photography. As discussed by Clarke and Hoshall, the term referred to two-dimensional illustrated motion pictures produced for inclusion in films screened for medical students.
Screenshot of the test with new computer generated graphics The hazard perception test is administered as part of the theory test and is taken immediately after the multiple-choice questions. Learner drivers can sit the test from the age of 17. Those on the higher rate component of Disability Living Allowance are able to take the test at 16. For the purposes of the test, a "developing hazard" is something that requires a motorist to change speed and / or direction. This includes cars entering traffic from an adjoining road, pedestrians crossing the road, cyclists entering the motorist’s lane while manoeuvring around a stopped vehicle and a preceding car stopping suddenly.
Similarly, M.A.C.H. 3 and Cube Quest were vertical scrolling shooters that used the LaserDisc video for the background and computer graphics for the ships. The Firefox arcade game included a Philips LaserDisc player to combine live action video and sound from the Firefox film with computer generated graphics and sound. The game used a special CAV LaserDisc containing multiple storylines stored in very short, interleaved segments on the disc. The player would seek the short distance to the next segment of a storyline during the vertical retrace interval by adjusting the tracking mirror, allowing perfectly continuous video even as the player switched storylines under control of the game's computer.
Frogs is a single-player action arcade game developed by Sega-Gremlin in 1978. It is the first video game with a jumping character (predating Donkey Kong by 3 years).Frogs, Earl Green, Phospher Dot Fossils, retrieved 2010-2-16 The player controls a frog on lilypads and attempts to catch (with the frog's tongue and while jumping) various insects (butterflies and dragonflies) worth different numbers of points in a set amount of time. The game's graphics are "projected" by laying the monitor flat on its back and reflecting the computer-generated graphics of the frogs and flies toward the player via a mirror at a 45-degree angle.
Furthermore, different versions in other languages (such as German, French and Spanish) were produced by Industrial Light & Magic.Star Wars Episode IV: A New Hope DVD commentary With the advent of computer-generated graphics, the crawls for the prequel trilogy were achieved much more quickly. The 2004 DVD special edition versions of the original trilogy were later updated with computer-generated crawls as part of their restoration and enhancement. Lucasfilm president Kathleen Kennedy stated that the 2016 spin-off film Rogue One would "more than likely" eschew certain traditional elements of the franchise, including the crawl, in an effort to distinguish it from the main film series.
A section of the stage detached itself and rolled the entire band along a catwalk, creating an "island" B stage in the middle of the stadium. Unusual stage designs in and of themselves have been a feature since Rolling Stones Tour of the Americas '75. The introduction featured fireworks and computer- generated graphics representing the literal Big Bang. The four band members' faces hazily appear, and further graphics depicting fast travel through a city's streets before Keith Richards appeared on the screen to the sound of the band's opening song (mainly "Start Me Up" or "Jumpin' Jack Flash" although a handful of other numbers opened shows on the tour).
The explosion of the Stumpf was filmed using an actual New Orleans ferry in a portion of the Mississippi River sectioned off especially for the event; the occurrence took over four hours to prepare. Under the supervision of pyrotechnics expert John Frazier, the ferry was coated entirely with fire retardant and rigged with fifty gasoline bombs including black dirt and diesel, each one set to detonate within a five-second range. People and cars were added in later as elements of computer-generated graphics. Chris Lebenzon was largely responsible for moving clips from each of the sixteen cameras in place to create the sensation of an extended explosion sequence.
For digital cameras using smaller electronic imagers such as " and " format CCD or CMOS sensors, the focal length of "miniature" fisheye lenses can be as short as 1 to 2 mm. These types of lenses also have other applications such as re- projecting images that were originally filmed through a fisheye lens, or created via computer generated graphics, onto hemispherical screens. Fisheye lenses are also used for scientific photography such as recording of aurora and meteors, and to study plant canopy geometry and to calculate near-ground solar radiation. They are perhaps most commonly encountered as peephole door viewers to give the user a wide field of view.
Sweet Land was filmed in 24 days in October 2004 in and around Montevideo, a city in Chippewa County, Minnesota. Local residents served as extras in the film as well as contributed antique cars and farm implements to the filmmaking effort. Reaser does not speak German and had to learn her lines phonetically despite only four sessions with a dialogue coach. The film uses some computer-generated graphics: The northern lights in the scene where Inge walks through the fields to Olaf's house to take a bath (the scene was actually filmed in the daytime), and, later in the film, the geese flying over Olaf's house.
Prime Time got a refresh in September 2005, with a new logo, new computer-generated graphics, and Arrigoni being the voice-over host who presented the programs. In 2005, Disney Channel Italy launched a new series called Quelli dell'intervallo, which led to the similar versions in the UK, US, Australia and other countries under the title As the Bell Rings. In 2006, Disney Channel Italy began airing many English language series from Disney Channel US. These versions were moved to a new channel called Disney in English in 2008. In February 2007, Prime Time changed its logo once again, and Patrizio Prata became its new voice-over host, although the set design and cartoons remained the same.
Sydney – A Story of a City is a film originally shot in the IMAX format and shown in IMAX cinemas around Australia in 1999. The film was subsequently digitally re-mastered from the original large film format and released on DVD in 2001. The film presents the viewer with spectacular scenes of the city, its harbour, the Sydney Opera House and the Blue Mountains and uses archive film footage, computer generated graphics combined with live footage to tell the story of Sydney's past and present. Featuring the themes of history, archaeology, architecture and genealogy with a simple love story, the film educates and entertains and serves as a showcase for the vibrant city of Sydney.
A music video for a shortened version of the original song was created in 1983, featuring military clips with false colour, simple computer-generated graphics such as colour blocks and geometric lines, digitised video of band members at very low resolution and framerate, and a short appearance of the game Zaxxon (reportedly the Apple II port). The colour blocks were created using Peter Saville's colour-coded alphabet. On the Australian show Rage, a video was shown containing footage taken from their BBC Top of the Pops performance with the studio track dubbed over it. The music video for "Blue Monday '88" appears on the Substance video collection (released as a companion to the album of the same name).
George Coates (born March 19, 1952) is an American theatre director most notable for his work with George Coates Performance Works (GCPW), which he founded in 1977 in San Francisco, CA. The company produced over 20 multi-media live performances over a span of 25 years, winning a multitude of awards for its international performances, earning critical acclaim in Asia, Europe and South America and gaining North American attention at Brooklyn Academy of Music's Next Wave Festival. In the 1990s, he was the first to merge live performers within stage environments created by computer generated graphics in real time live theatre. Coates became known as a pioneer of experimental live theatre using stereographic projections and 3-D glasses populated by live actors and musicians.
A small Sebenza cutting a knot There are currently two size models of the Sebenza 31, small and large. The Small 31 has a 2.99" (76.17mm) blade and the Large 31 has a 3.61" (91.69mm) blade. First introduced in 1990, the current basic model has a sand-blasted titanium handle and a stonewashed finish CPM S35VN steel blade. There are numerous options for the embellishment of the Sebenza's titanium handles, such as computer-generated graphics, custom (unique) graphics, or inlays such as exotic wood, micarta, or mammoth ivory. Originally the Chris Reeve Sebenza was available with a blade of ATS-34 steel. In 1996, the blade material was changed to BG-42 blade steel, and later in 2001, the Sebenza blade material transitioned to CPM S30V steel.
One such successful product of theirs using their precision CRT technology was their FR-80 film recorder introduced in 1968. It was capable of recording black and white (and later color as an option) digital imagery to motion picture or still transparency film at a maximum resolution of 16384x16384, making it an ideal system for generating either Computer Output Microfilm (COM), computer-to-film negatives for making printing plates, and other computer-generated graphics. However, Triple-I is most notable for its commercially unsuccessful ventures; a number of one-or-two of a kind systems which included CRT based computer displays used at the Stanford AI Lab, an OCR system based on PDP-10's (two were sold), and The Super Foonly F-1 - which was used for movie special effects.
Augmented reality games, while not limited to mobile devices, are also common on newer mobile platforms where the device includes a reverse-facing camera. While playing the game, the player aims the device's camera at a location and through the device's screen, sees the area captured by the camera plus computer-generated graphics atop it, augmenting the display and then allowing the player to interact that way. The graphics are generally drawn as to make the generated image appear to be part of the captured background, and will be rendered appropriate as the player moves the device around. The starting location may be a special marker that is picked up by the camera and recognized by the software to determine what to present, or may be based on the location through GPS.
Immersive nonfiction and immersive journalism might be compared to news or documentary games because the pieces are typically set in what has been previously solely the terrain of gaming platforms and relies on computer generated graphics. However, there are a number of distinctions, particularly to news games, with the most important being that games work best as systems. Games are better at reproducing the conditions under which events unfold rather than outlining the details of the events themselves. That means linear narrative structures or presentation of multiple specific facts, which can be key to nonfiction stories, do not work as well with a gaming setup. Often, players advance through the game by passing “levels” that do not necessarily relate to the inherently unchangeable nature of a nonfiction narrative (no matter from whose perspective it has been constructed).
Like much of the Bliss Corporation's music videos, this one was done in a green screen garage studio at BlissCoMedia, and it featured computer- generated graphics that were done in 3ds Max. With very few resources, tutorials and books, and only one editing machine, the video was made between 1998 and 1999 in a garage in about 2 to 3 months, much like other videos made by BlissCo.[6] Former BlissCo employee Davide La Sala has explained about coming up with the story for the video: "We had brainstorming sessions and we were a very imaginative team, huge fans of sci-fi movies and video games: Blade Runner, Star Wars, etc… we were master in doing our best and working with the few tools we had to create complete short stories in a very short period of time." Similar to other music videos by BlissCo, a total of five people worked on this video.
Another innovation of the HLN SportsTicker was the fully automated combination of computer-generated graphics with a wire news service. Jim Alexander, Director of CNN Research who proposed (on October 13, 1989) and developed the HLN SportsTicker, worked with Ken Mullins who created the computer programming to recognize the conventions and labels in the wire service data and convert them into the words and symbols displayed along the screen. The speed of the scroll and font type became important as to not distract the viewers from content on the rest of the screen, but readable for viewers that started watching the network for the ticker itself. The increased viewership (for example, Headline News saw 60% increase in male viewers aged 25–54 in the Saturday 3:00–10:00pm ET period during the fourth quarter of 1994) demonstrated a market for this type of data and the ability of people to visually navigate a screen with more than one set of content.
The campaign lasted into 1986 and coincided with both the exclusivity deal signed with Paramount for films (see below) and a graphical upgrade to the network's presentation to include computer-generated graphics. Black Monday. On August 10, 1985, after Time Inc. and cable provider Tele-Communications Inc. (TCI) jointly submitted a bid to buy the company for $900 million and the assumption of $500 million in debt as well as an earlier offer by American Express the previous month to buy out Warner's share of the company (under a clause in the agreement that allowed either company the option of buying out their partner's stake in Warner-Amex), Warner Communications exercised an option to acquire American Express' 50% share of Warner-Amex Cable Communications for $450 million. Among the options, barring that it chose to sell Viacom a 50% interest in the company for $450 million, the deal originally excluded Warner-Amex's 19% interest in Showtime- The Movie Channel, Inc.
Namco demonstrated Xevious 3D/G at the 1996 Amusement Operator's Union (AOU) tradeshow in February, alongside games such as Prop Cycle, Ace Driver Victory Lap, and Namco Classic Collection Vol. 2. Its 3D computer-generated graphics, cinematic cutscenes, and affordable price point were heavily pushed in marketing. The game was officially released in Japan on May 1; it was only sold as a conversion kit for other System 11 arcade games or Namco-manufactured arcade cabinets. A North American released was published later in the year, released in generic black-colored machines. The August 1996 issue of Edge magazine listed a European release date as "TBA", however it is unknown if it was ever officially released in Europe. In early March 1997, GameFan announced that Namco was reportedly underway with porting Xevious 3D/G to the PlayStation, in production alongside a conversion of Time Crisis. Titled Xevious 3D/G+, it was released on March 28 in Japan. Namco demonstrated the game at E3 1997 in North America, presented in conjunction with games like Ace Combat 2, Treasures of the Deep, and Namco Museum Vol.
Visual effects editor Marc Varisco, who had previously collaborated with director Scott on the 2005 film Domino, worked again with Scott to develop Déjà Vu into a fully-fledged work. In total, approximately 400 visual effects scenes were shot during the production of Déjà Vu. They had acquired a LIDAR device, which incorporated lasers to scatter light with the intent of mapping out a small region, during the production of Domino; Scott and Varisco decided to use the apparatus again during the production of Déjà Vu. Additionally, the two utilized the Panavision Genesis high definition camera to film the shots that would encompass the past that the Snow White team would peer at throughout the film, as well as the various night scenes. The LIDAR apparatus, which was operated by a hired Texan company devoted to the device, performed scans of Claire Kuchever's apartment, the ferry, the ATF office, and actress Paula Patton, among others. Effects editor Zachary Tucker combined the elements created by the Texan LIDAR company with computer- generated graphics to make possible the scenes of time-travel experienced in the film.

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