Hamlet Comparison Essay Movie vs. Play - 2586 Words

Ambrosia Mitchell 3/6/13 English 12 And the Academy Award for Being Over Dramatic Goes To†¦ Tony Robbins said, â€Å"To effectively communicate, we must realize that we are all different in the way we perceive the world and use this understanding as a guide to our communication with others†. Shakespeare’s writing has had many different ways of being presented because people perceive it in different ways. Whether it is a literal representation or a spin, directors like to show viewers the way they perceive the text. In the movie version of Hamlet the director, Kenneth Branagh, wanted the viewers to find Shakespeare interesting and full of action and drama. Kenneth chose the right direction to go in to keep the audience’s attention but it†¦show more content†¦Kenneth Branagh made it seem like Hamlet was following his father’s orders even though in the play he wasn’t. This made the audience feel better about Hamlet because he was actually taking action. Although Kennethâ₠¬â„¢s version of Hamlet’s character took action it is not as tragic as Hamlet’s character in the play because by Hamlet not taking action it shows how sensitive and hurt he was. Hamlet’s father died a tragic death. Shakespeare never clearly states the atmosphere and setting of where Claudius poisoned his brother but Branagh chose a clever way to show it. The scene started off outside of the castle on a snowy day. King Hamlet was taking a nap in a chair when Claudius snuck up behind him. Claudius poured poison in the ear of the king and that is when Hamlet awoke from his sleep and started choking. He looked his brother in the eye and died. Kenneth really made it apparent how evil Claudius is. He watched his own brother die and he felt nothing. He made Claudius act the same way as Shakespeare wrote his character to be. Shakespeare had chosen to have Claudius tell the people of Denmark that Hamlet had been killed by a snake. The snake is a perfect symbol of Claudius. Ever since the beginning of time snakes have been viewed as evil because of the story of Adam and Eve. G-d told Adam and Eve to not eat the fruit from the tree of knowledge. While Adam was e lsewhere a snake, the devil, came to Eve. He used his sly ways to convince Eve to eatShow MoreRelatedGp Essay Mainpoints24643 Words   |  99 Pages GP NOTES 2010 (ESSAY) Content Page 1. Media a. New vs. Traditional b. New: narcissistic? c. Government Censorship d. Profit-driven Media e. Advertising f. Private life of public figures g. Celebrity as a role model h. Blame media for our problems i. Power + Responsibility of Media j. Media ethics k. New Media and Democracy 2. Science/Tech a. Science and Ethics b. Government and scientist role in science c. Rely too much on technology? d. Nuclear technologyRead MoreMasculinity in the Philippines12625 Words   |  51 Pagespropaganda of gender dimorphism and a militarized form of male initiation. Among the many schools that participated in this experiment, t w v t h e University of the Philippines (UP) and, a decade later, the Philippine Military Academy (PMA)-would play a central role as cultural mediators in constructing this new national standard for manhood. To translate a foreign masculine form into a Filipino cultural idiom, the cadet corps at UP and the PMA appropriated local traditions of male initiation, usingRead MoreDeveloping Management Skills404131 Words   |  1617 PagesSUPPLEMENTARY MATERIAL 24 Diagnostic Survey and Exercises 24 Personal Assessment of Management Skills (PAMS) 24 What Does It Take to Be an Effective Manager? 28 SSS Software In-Basket Exercise 30 SCORING KEY AND COMPARISON DATA 42 Personal Assessment of Management Skills 42 Scoring Key 42 Comparison Data 42 What Does It Take to Be an Effective Manager? 43 SSS Software In-Basket Exercise 43 PART I 1 PERSONAL SKILLS 44 45 DEVELOPING SELF-AWARENESS SKILL ASSESSMENT 46 Diagnostic Surveys forRead MoreStephen P. Robbins Timothy A. Judge (2011) Organizational Behaviour 15th Edition New Jersey: Prentice Hall393164 Words   |  1573 PagesSelf-Assessment Library What’s My Negotiating Style? 467 An Ethical Choice Using Empathy to Negotiate More Ethically 468 Point/Counterpoint Player–Owner Disputes Are Unnecessary 471 Questions for Review 472 Experiential Exercise A Negotiation Role-Play 472 Ethical Dilemma The Lowball Applicant 473 Case Incident 1 Choosing Your Battles 473 Case Incident 2 Mediation: Master Solution to Employment Disputes? 474 S A L 15 Foundations of Organization Structure 479 What Is OrganizationalRead MoreOrganisational Theory230255 Words   |  922 PagesTable 9.1 Table 9.2 Table 9.3 Table 10.1 Table 10.2 Knowledge constituting philosophical assumptions Hierarchy of science and organization theory Fatalism and optimism in the ‘new’ modernist organization Bell’s stages of societal development Fordism vs. post-fordism The incidence of part-time work in European Union member states Modernism versus postmodernism Affirmative versus sceptical postmodernism The changing condition of knowledge Pay and profits: Long run performance of FTSE 100 companies (2002Read MoreBhopal Gas Disaster84210 Words   |  337 Pagesclean -up is imperative to restrict consideration by the government of mindless offers from Dow s friends in India to remediate Bhopal s waste on its behalf. 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Self Is The Most Fundamental Question That Human Ask...

The doubt regarding â€Å"self† is the most fundamental question that human ask themselves. Biologically the notion of self is numerous genes combine together to form an individual, but psychologically self is consciousness, conation, and emotion. From outside to inside, the only thing in common is that the self is unique. Descartes says in his â€Å"Meditations† that he needs something that is undoubted in order to rebuild his cognition; meanwhile, he finds â€Å"himself† is that undoubted thing. However, the word â€Å"self† should not be restricted to a specific definition because our appearances and thoughts are changing over time. Therefore, the self is experiences and it through these experiences to create memories and then form personality, thoughts, and beliefs. What is the â€Å"self† is always a topic which worthy of thinking deeply. I have had such an experience: someone wants to convey this information to me â€Å"I am that kind of person†, but what I am thinking is â€Å"that is not him or her†. In this case, I deny what I see or hear based on my senses. We think our body is ourselves because it is the most familiar part for us, but it does not like what Descartes wants to show in his second Meditation: things through our senses are fictitious. In his second Meditation, Descartes first defines himself as a man who is composed of body and soul, but after thinking, he describes himself just a â€Å"thinking thing†. The most important question is: what if one day we lose one part of our body, are weShow MoreRelatedThe Simile Of The Chariot Is A Passage From The Milindapaà ±ha,1405 Words   |  6 PagesMilindapaà ±ha, which are composed of questions asked by Menander I, king of Bactria to the Buddhist monk NÄ gasena. Using the simile of the chariot, the monk explains to the king the concept of non-self. The chariot itself is used many times in Buddhist allegories, with this passage being the most famous. The subject of AnattÄ , or non-self, is one of the fundamental precepts of Buddhism. It is one of the doctrines that allows the cessation of suffering; when there is no self, desire from attachment cannotRead MoreMoral Theology Helps Ethicists Study Human Behavior, And1493 Words   |  6 PagesMoral theology helps ethicists study human behavior, and ethics is at the heart of theology. The study of moral theology and ethics can be seen in many issues that plague society today, specifically abortion. Abortion is the premature ending of a fetus’s life for any number of reasons. It is a Christian issue, not a legal one and in Hauerwas’s work, he addresses Christians, not society. 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In the same manner, itRead MoreShould Slave Contracts be Legal?1278 Words   |  6 PagesAmericans, or other nationalities and races was a good thing, simply due to human rights violations and the philosophical invention of racism, philosophers as recent as Robert Nozick are able to ask a different quest ion with a similar moral implication: should someone be able to legally sell themselves into slavery free of coercion? While many philosophers disagree with Nozick’s affirmation of slave contracts, if principles of self-ownership are applied, it is apparent that slave contracts without coercionRead MoreEssay Human Nature and Proper Order1725 Words   |  7 PagesProper Order in Confucianism and as taught primarily by Mencius, the Chinese philosopher, is the conceptual theory that instructs how people can reach their highest potential of moral and material well being embodied in Mencius conception of human nature. The theory of proper order is the primary and philosophical means to that end. Although proper order may seem in many ways philosophically abstract, Mencius teachings of proper order in history have had lasting and tangible effects on modern East

Global Dimensions of Business for European- myassignmenthelp.com

Question: Discuss about theGlobal Dimensions of Business for European and Asian. Answer: The Euro countries debt crisis started in the year 2010 with Greece and rapidly spread in other adjoining countries like Spain, Italy and Portugal. Many observers believe that Greece crisis was due to indefensible fiscal situation and mismanagement of the countries. While few others believe that the crisis was due to extreme reliance on foreign investment. Much before 2010, the periphery countries started borrowing funds from abroad for supporting their housing boom and domestic expenditure. Borrowing countries had to face extreme alteration pressures when the foreign countries resisted extending further credits. The consequence of such pressure made them withdraw private capital to invest in their domestic spending and government to keep in alignment with domestic incomes(Sinn). Although, the tightening in credit situation of borrowing countries economies established considerably less than expected which is the reason these countries had sustained so far. Many Euro central banks ext ended their credit limit as a component of Euro systems method to manage payment imbalances between member countries. These balances of payments funding was divided under several policies to deliver liquidity to borrowing countries commercial banks to counterbalance the loophole of foreign funding. If these Euro systems methods would have not been present, the countries could have faced even steeper recessions due to withdrawal of foreign funds. Although the borrowing countries followed a standard pattern, and were supported by Euro banks still its sheer consequences were visible in these countries. Sharp fell in currency made exports cheaper in foreign legal tenders. Imports became expensive for domestic buyers. Typically, the balance of payment crisis made Euro countries suffer painful retrenchment in domestic spending in both private and public sectors as they had to struggle to end up their foreign borrowings. In addition to it, the financial system of the countries faced a mass ive collapse as all the investors started pulling out their money(Klitgaard). In 1997, Asian countries had to face similar kind of balance of payment crisis due to which the adjoining countries were shaken by persistent banking crisis. The attacks of Thai Baht in 1997 forced the authorities to dispose the fixed exchange rate systems against US dollar. The crisis within no time spread in adjoining countries like Indonesia, Philippines, South Korea and Malaysia. After the attack, both Indonesian and Philippine banks gave up equivalent amount to the US dollar and introduced a float. Along with it, Malaysian and Korean fiscal systems fell sharply in international marketplace. The banking crisis forced Thailand and Indonesian authorities to close many financial institutions. Other countries like China, Vietnam, Hong Kong and Taiwan were also affected as they suffered critical deterioration in their competitiveness as compared to other significant countries that faced depreciation in their currencies(Frenkel). Basically, the whole Asian region had to face declines i n equity prices along with facing closures of financial institutions. Although, many packages were introduced by government to develop while coordinating with IMF, restoring investors confidence seemed very sturdy. Drop in real estate prices along with reduced foreign exchange rates made the situation worse. The severe attacks and financial hits in Asian countries affected economic prospects of the country while showing vulnerable nature of those countries. The financial imbalances triggered the currency of the affected countries due to which economic activities and asset prices had to face severe plummet while observing deficits in foreign exchanges. Budget deficits, foreign indebtedness, decrease in corporate sector investments and political instability are some of the few factors behind Asian crisis for which the entire nation had to suffer balance of payment crisis(Corsetti, Pesenti and Roubini). References Corsetti, Giancarlo, Paolo Pesenti and Nouriel Roubini. What caused the Asian currency and financial crisis? April 1999.Web. 30 April 2018 https://www.newyorkfed.org/medialibrary/media/research/economists/pesenti/whatjapwor.pdf. Frenkel, Michael. What explains the Asian balance of payments crisis? A simple third-generation approach. 2000.Web. 30 April 2018 https://link.springer.com/chapter/10.1007%2F978-3-642-57674-4_7. Klitgaard, Matthew Higgins and Thomas. The Balance of Payments Crisis in the Euro Area Periphery. 02 Nov 2014.Web. 30 April 2018 https://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.642.3751rep=rep1type=pdf. Sinn, Hans-Werner. THE EUROPEAN BALANCE OF PAYMENTS CRISIS. Jan 2012.Web. 30 April 2018 https://www.cesifo-group.de/DocDL/Forum-Sonderheft-Jan-2012.pdf.

Tropical Rainforests Essay Example For Students

Tropical Rainforests Essay IS 490 SPECIAL TOPICSComputer GraphicsMay 6, 1996Table of ContentsIntroduction3How It Was3How It All Began4Times Were Changing6Industrys First Attempts7The Second Wave10How the Magic is Made11Modeling12Animation13Rendering13Conclusion15Bibliography16Introduction Hollywood has gone digital, and the old ways of doing things are dying. Animation andspecial effects created with computers have been embraced by televisionnetworks,advertisers, and movie studios alike. Film editors, who for decadesworked by painstakinglycutting and gluing film segments together, are now sitting in front ofcomputer screens. There, they edit entire features while adding sound that is not onlystored digitally, butalso has been created and manipulated with computers. Viewers arewitnessing the results ofall this in the form of stories and experiences that they never dreamedof before. Perhapsthe most surprising aspect of all this, however, is that the entiredigital effects andanimation industry is still in its inf ancy. The future looks bright. We will write a custom essay on Tropical Rainforests specifically for you for only $16.38 $13.9/page Order now How It WasIn the beginning, computer graphics were as cumbersome and as hard tocontrol as dinosaursmust have been in their own time. Like dinosaurs, the hardware systems,or muscles, ofearly computer graphics were huge and ungainly. The machines oftenfilled entire buildings. Also like dinosaurs, the software programs or brains of computergraphics were hopelesslyunderdeveloped. Fortunately for the visual arts, the evolution of bothbrains and brawn ofcomputer graphics did not take eons to develop. It has, instead, takenonly three decadesto move from science fiction to current technological trends. Withcomputers out of thestone age, we have moved into the leading edge of the silicon era. Imagine sitting at acomputer without any visual feedback on a monitor. There would be nospreadsheets, no wordprocessors, not even simple games like solitaire. This is what it waslike in the earlydays of computers. The only way to interact with a computer at thattime was through toggleswitches, flashing lights, punchcards, and Teletype printouts. How ItAll Began In 1962, all this began to change. In that year, Ivan Sutherland, aPh.D. student at (MIT),created the science of computer graphics. For his dissertation, hewrote a program calledSketchpad that allowed him to draw lines of light directly on a cathoderay tube (CRT). Theresults were simple and primitive. They were a cube, a series of lines,and groups ofgeometric shapes. This offered an entirely new vision on how computerscould be used. In1964, Sutherland teamed up with Dr. David Evans at the University ofUtah to develop theworlds first academic computer graphics department. Their goal was toattract only the mostgifted students fr om across the country by creating a unique departmentthat combined hardscience with the creative arts. They new they were starting a brand newindustry and wantedpeople who would be able to lead that industry out of its infancy. Outof this unique mix ofscience and art, a basic understanding of computer graphics began togrow. Algorithms forthe creation of solid objects, their modeling, lighting, and shadingwere developed. Thisis the roots virtually every aspect of todays computer graphicsindustry is based on. Everything from desktop publishing to virtual reality find theirbeginnings in the basicresearch that came out of the University of Utah in the 60s and 70s. During this time,Evans and Sutherland also founded the first computer graphics company. Aptly named Evans Sutherland (ES), the company was established in 1968 and rolled out itsfirst computergraphics systems in 1969. Up until this time, the only computersavailable that couldcreate pictures were custom-designed for the military and prohibitivelyexpensive. ESscomputer system could draw wireframe images extremely rapidly, and wasthe first commercialworkstation created for computer-aided design (CAD). It found itsearliest customers inboth the automotive and aerospace industries. Times Were Changing Throughout its early years, the University of Utahs Computer ScienceDepartment wasgenerously supported by a series of research grants from the Departmentof Defense. The1970s, with its anti-war and anti-military protests, brought increasingrestriction to theflows of academic grants, which had a direct impact on the Utahdepartments ability tocarry out research. Fortunately, as the program wound down, Dr. Alexander Schure, founderand president of New York Institute of Technology (NYIT), steppedforward with his dream ofcreating computer-animated feature films. To accomplish this task,Schure hired EdwinCatmull, a University of Utah Ph.D., to head the NYIT computer graphicslab and thenequipped the lab with the best computer graphics hardware available atthat time. Whencompleted, the lab boasted over $2 million worth of equipment. Many ofthe staff came fromthe University of Utah and were given free reign to develop both two-and three-dimensionalcomputer graphics tools. Their goal was to soon produce a full -lengthcomputer animatedfeature film. The effort, which began in 1973, produced dozens ofresearch papers andhundreds of new discoveries, but in the end, it was far too early forsuch a complexundertaking. The computers of that time were simply too expensive andtoo under powered, andthe software not nearly developed enough. In fact, the first fulllength computer generatedfeature film was not to be completed until recently in 1995. By 1978,Schure could no longerjustify funding such an expensive effort, and the labs funding was cutback. The ironicthing is that had the Institute decided to patent many more of itsresearchers discoveriesthan it did, it would control much of the technology in use today. Fortunately for thecomputer industry as a whole, however, this did not happen. Instead,research was madeavailable to whomever could make good use of it, thus accelerating thetechnologiesdevelopment. Industrys First AttemptsAs NYITs influence started to wane, the first wave of commercialcomputer graphics studiosbegan to appear. Film visionary George Lucas (creator of Star Wars andIndiana Jonestrilogies) hired Catmull from NYIT in 1978 to start the LucasfilmComputer DevelopmentDivision, and a group of over half-dozen computer graphics studiosaround the country openedfor business. While Lucass computer division began researching how toapply digitaltechnology to filmmaking, the other studios began creating flying logosand broadcastgraphics for various corporations including TRW, Gillette, the NationalFootball League, andtelevision programs, such as The NBC Nightly News and ABC World NewsTonight. Althoughit was a dream of these initial computer graphics companies to makemovies with theirc omputers, virtually all the early commercial computer graphics werecreated for television. .ue0ac09c883fca6e38d83ae2228918c49 , .ue0ac09c883fca6e38d83ae2228918c49 .postImageUrl , .ue0ac09c883fca6e38d83ae2228918c49 .centered-text-area { min-height: 80px; position: relative; } .ue0ac09c883fca6e38d83ae2228918c49 , .ue0ac09c883fca6e38d83ae2228918c49:hover , .ue0ac09c883fca6e38d83ae2228918c49:visited , .ue0ac09c883fca6e38d83ae2228918c49:active { border:0!important; } .ue0ac09c883fca6e38d83ae2228918c49 .clearfix:after { content: ""; display: table; clear: both; } .ue0ac09c883fca6e38d83ae2228918c49 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .ue0ac09c883fca6e38d83ae2228918c49:active , .ue0ac09c883fca6e38d83ae2228918c49:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .ue0ac09c883fca6e38d83ae2228918c49 .centered-text-area { width: 100%; position: relative ; } .ue0ac09c883fca6e38d83ae2228918c49 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .ue0ac09c883fca6e38d83ae2228918c49 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .ue0ac09c883fca6e38d83ae2228918c49 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .ue0ac09c883fca6e38d83ae2228918c49:hover .ctaButton { background-color: #34495E!important; } .ue0ac09c883fca6e38d83ae2228918c49 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .ue0ac09c883fca6e38d83ae2228918c49 .ue0ac09c883fca6e38d83ae2228918c49-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .ue0ac09c883fca6e38d83ae2228918c49:after { content: ""; display: block; clear: both; } READ: Business Law EssayIt was and still is easier and far more profitable to create graphicsfor televisioncommercials than for film. A typical frame of film requires many morecomputer calculationsthan a similar image created for television, while the per-second filmbudget is perhapsabout one-third as much income. The actual wake-up call to theentertainment industry wasnot to come until much later in 1982 with the release of Star-Trek II:The Wrath of Kahn. That movie contained a monumental sixty seconds of the most excitingfull-color computergraphics yet seen. Called the Genesis Effect, the sequence starts outwith a view of adead planet hanging lifeless in space. The camera follows a missilestrail into the planetthat is hit with the Genesis Torpedo. Flames arc outwards and raceacross the surface ofthe planet. The camera zooms in and follows the planets transformationfrom molten lava tocool blues of oceans and mountains shooting out of the ground. Thefinal scene spirals thecamera back out into space, revealing the cloud-covered newly bornplanet. These sixtyseconds may sound uneventful in light of current digital effects, butthis remarkable scenerepresents many firsts. It required the development of severalradically new computergraphics algorithms, including one for creating convincing computer fireand another toproduce realistic mountains and shorelines from fractal equations. Thiswas all created bythe team at Lucasfilms Computer Divisi on. In addition, this sequencewas the first timecomputer graphics were used as the center of attention, instead of beingused merely as aprop to support other action. No one in the entertainment industry hadseen anything likeit, and it unleashed a flood of queries from Hollywood directors seekingto find out bothhow it was done and whether an entire film could be created in thisfashion. Unfortunately,with the release of TRON later that same year and The Last Starfighterin 1984, the answerwas still a decided no. Both of these films were touted as a technological tour-de-force,which, in fact, theywere. The films graphics were extremely well executed, the best seenup to that point, butthey could not save the film from a weak script. Unfortunately, thetechnology was greatlyoversold during the films promotion and so in the end it wastechnology that was blamedfor the films failure. With the 1980s came the age of personalcomputers and dedicatedworkstations. Workstations are minicomputers that were cheap enough tobuy for one person. Smaller was better, aster, an much, much cheaper. Advances in siliconchip technologiesbrought massive and very rapid increases in power to smaller computersalong with drasticprice reductions. The costs of commercial graphics plunged to match,to the point wherethe major studios suddenly could no longer cover the mountains of debtcoming due on theiroverpriced centralized mainframe hardware. With their expenses mounting, and without the extra capital to upgradeto the newer cheapercomputers, virtually every independent computer graphics studio went outof business by1987. All of them, that is, except PDI, which went on to become thelargest commercialcomputer graphics house in the business and to serve as a model for thenext wave ofstudios. The Second Wave Burned twice by TRON and The Last Starfighter, and frightened by thefinancial failure ofvirtually the entire industry, Hollywood steered clear of computergraphics for severalyears. Behind the scenes, however, it was building back and wai ting forthe next big break. The break materialized in the form of a watery creation for the JamesCameron 1989 film,The Abyss. For this film, the group at George Lucas Industrial Lightand Magic (ILM)created the first completely computer-generated entirely organiclooking and thoroughlybelievable creature to be realistically integrated with live actionfootage and characters. This was the watery pseudopod that snaked its way into the underwaterresearch lab to get acloser look at its human inhabitants. In this stunning effect, ILMovercame two verydifficult problems: producing a soft-edged, bulgy, and irregular shapedobject, andconvincingly anchoring that object in a live-action sequence. Just asthe 1982 Genesissequence served as a wake-up call for early film computer graphics,this sequence for TheAbyss was the announcement that computer graphics had finally come ofage. A massiveoutpouring of computer-generated film graphics has since ensued withstudios from acrossthe entire spectrum participating in the action. From that point on,digital technologyspread so rapidly that the movies using digital effects have become toonumerous to list inentirety. However they include the likes of Total Recall, Toys,Terminator 2: JudgmentDay, The Babe, In the Line of Fire, Death Becomes Her, and of course,Jurassic Park. How the Magic is Made Creating computer graphics is essentially about three things: Modeling,Animation, andRendering. Modeling is the process by which 3-dimensional objects arebuilt inside thecomputer; animation is about making those objects come to life withmovement, and renderingis about giving them their ultimate appearance and looks. .uaa2eb65723bb038a4468a0829ecd0c74 , .uaa2eb65723bb038a4468a0829ecd0c74 .postImageUrl , .uaa2eb65723bb038a4468a0829ecd0c74 .centered-text-area { min-height: 80px; position: relative; } .uaa2eb65723bb038a4468a0829ecd0c74 , .uaa2eb65723bb038a4468a0829ecd0c74:hover , .uaa2eb65723bb038a4468a0829ecd0c74:visited , .uaa2eb65723bb038a4468a0829ecd0c74:active { border:0!important; } .uaa2eb65723bb038a4468a0829ecd0c74 .clearfix:after { content: ""; display: table; clear: both; } .uaa2eb65723bb038a4468a0829ecd0c74 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .uaa2eb65723bb038a4468a0829ecd0c74:active , .uaa2eb65723bb038a4468a0829ecd0c74:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .uaa2eb65723bb038a4468a0829ecd0c74 .centered-text-area { width: 100%; position: relative ; } .uaa2eb65723bb038a4468a0829ecd0c74 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .uaa2eb65723bb038a4468a0829ecd0c74 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .uaa2eb65723bb038a4468a0829ecd0c74 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .uaa2eb65723bb038a4468a0829ecd0c74:hover .ctaButton { background-color: #34495E!important; } .uaa2eb65723bb038a4468a0829ecd0c74 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .uaa2eb65723bb038a4468a0829ecd0c74 .uaa2eb65723bb038a4468a0829ecd0c74-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .uaa2eb65723bb038a4468a0829ecd0c74:after { content: ""; display: block; clear: both; } READ: Homeopathy (2683 words) EssayHardware is the brains and brawn of computer graphics, but it ispowerless without theright software. It is the software that allows the modeler to build acomputer graphicobject, that helps the animator bring this object to life, and that, inthe end, gives theimage its final look. Sophisticated computer graphics software forcommercial studios iseither purchased for $30,000 to $50,000, or developed in-house bycomputer programmers. Most studios use a combination of both, developing new software to meetnew project needs. Modeling Modeling is the first step in creating any 3D computer graphics. Modeling in computergraphics is a little like sculpting, a little like building models withwood, plastic andglue, and a lot like CAD. Its flexibility and potential are unmatched inany other art form. With computer graphics it is possible to build entire worlds andentire realities. Eachcan have its own laws, its own looks, and its own scale of time andspace. Access to these 3-dimensional computer realities is almost alwaysthrough the 2-dimensionalwindow of a computer monitor. This can lead to the misunderstandingthat 3-D modeling ismerely the production perspective drawings. This is very far from thetruth. All elementscreated during any modeling session possess three full dimensions andat any time can berotated, turned upside down, and viewed from any angle or perspective. In addition, theymay be re-scaled, reshaped, or resized whenever the modeler chooses. Modeling is the firststep in creating any 3-dimensional computer animation. It requires theartists ability tovisualize mentally the objects being built, and the craftspersonspainstaking attention todetail to bring it to completion. To create an object, a modeler startswith a blank screenan sets the scale of the computers coordinate system for that element. The scale can beanything from microns to light years across in size. It is importantthat scale staysconsistent with all elements in a project. A chair built in inches willbe lost in a livingroom built in miles. The model is then created by building up layers oflines and patchesthat define the shape of the object. AnimationWhile it is the modeler that contains the power of creation, it is theanimator whoprovides the illusion of life. The animator uses the tools at hisdisposal to make objectsmove. Every animation process begins essentially the same way, with astoryboard. A storyboard is a series of still images that shows how the elementswill move and interactwith each other. This process is essential so that the animator knowswhat movements needto be assigned to objects in the animation. Using the storyboard, theanimator sets up keypoints of movements for each object in the scene. The computer thenproduces motion foreach object on a frame by frame basis. The final result when assembled,gives the form offluid movement. RenderingThe modeler gives form, the animator provides motion, but still theanimation process is notcomplete. The objects and elements are nothing but empty or hollowforms without anysurface. They are merely outlines until the rendering process isapplied. Rendering is themost com putational time demanding aspect of the entire animationprocess. During therendering process, the computer does virtually all the work usingsoftware that has beenpurchased or written in-house. It is here that the animation finallyachieves its finallook. Objects are given surfaces that make it look like a solid form. Any type of look canbe achieved by varying the looks of the surfaces. The objects finallylook concrete. Next,the objects are lighted. The look of the lighting is affected by thesurfaces of theobjects, the types of lights, and the mathematical models used tocalculate the behavior oflight. Once the lighting is completed, it is now time to create what thecamera will see. The computer calculates what the camera can see following the designs ofthe objects in thescene. Keep in mind that all the objects have tops, sides, bottoms, andpossibly insides. Types of camera lens, fog, smoke, and other effects all have to becalculated. To createthe final 2-D image, the computer scans the resulting 3D world and pullsout the pixels thatthe camera can see. The image is then sent to the monitor, tovideotape, or to a filmrecorder for display. The multiple 2D still frames, when all assembled,produce the finalanimation. ConclusionMuch has happened in the commercial computer graphics industry since thedecline of thefirst wave of studios and the rise of the second. Software and hardwarecosts haveplummeted. The number of well-trained animators and programmers hasincreased dramatically. And at last, Hollywood and the advertising community have acknowledgedthat the digital agehas finally arrived, this time not to disappear. All these factors havelead to an explosionin both the size of existing studios and the number of new enterprisesopening their doors. As the digital tide continues to rise, only one thing is certain. Wehave just begun to seehow computer technology will change the visual arts. BIBLIOGRAPHYHow Did They Do It? Computer Illusion in Film TV , Alpha Books 1994;Christopher W. BakerComputer Graphics World, Volume 19, Number 3; March 1996;Evan Hirsch, Beyond RealityComputer Graphics World, Volume 19, Number 4; April 1996;Evan Marc Hirsch, A Changing LandscapeWindows NT Magazine, Issue #7, March 1996;Joel Sloss, Theres No Business Like Show BusinessCinescape, Volume 1, Number 5; February 1995;Beth Laski, Ocean of Dreams16