Computer Generated Imagery

In modern times such as this, the world of entertainment, especially in the film really enjoy doing.Various types of films emerging and very interesting to watch. In the modern era oftelecommunications today, technology is very influential. Mainly in the manufacture of variousfilms. Start of animas to fiction films. At that moment the application of multimedia technology ofcomputer generated imagery is needed, to make a movie that the film will be alive and visible. Inthe filming of Transformers lot of computer generated imagery using this technology, because ofthe effects of a car that turns into a robot is not possible using the manual method such as dressingsets per set of movie. Therefore Computer Generated Imagery is used this technology. In theatmosphere of the original, just needed the room with the green screen background and then willbe processed into a computer and software specifications are quite high. Starting from the effectsof flying to the moon, meteor fall, the tran...

In this research paper, we run python code to train a generative adversarial network that generate images of human faces. We test the hyperparameters suggested by previous authors, such as update values for the generator function and changes to the learning rate.
The research shows that image generation is possible with relatively low input quality (64x64 pixels) and short training (2k runs). Altering parameters resulted in changed loss function values, but did not prove vital to the visual results. This is likely caused by low quality of input data and few training cycles.
The code used here is accessible on GitHub.

This paper contributes a digital-aesthetics approach to relevant new media discourse topics concerning the market, power and control, and identity formation by way of discussing the phenomenon of computer-generated imagery (CGI). Specifically, I will examine experimental digital artists who, directly or indirectly, harness imperfection and/or use 'disruptive CGI' aesthetics in their experimental digital art. The artists on whom I will focus on are Alan Warburton, Claudia Hart, and Mike Pelletier. I will argue that through noticeable, disruptive, and non-photorealistic CGI aesthetics, these artists provide (self-)awareness of the medium of the computer, and the generated imagery it helps humans produce. This reflexive awareness confronts viewers with contemporary and future usages and values linked to a) mainstream aesthetics in corporate-driven CGI (i.e. Hollywood, game culture, etc.) and its relation to the political sphere, as well as b) questions inherent to (the possibilities and limitations of) the medium's human-machine relationship to corporeality and environments.

Computer Graphics or Computer Generated Imagery or CGI is a sub-field of Computer Science. CGI produces fascinating and jaw dropping results. At times CGI diminishes the thin line between reality and vitality , as it gets difficult to identify the original from CGI. The jaw dropping effects however require a lot of efforts and follow a strict process and procedure. This paper tries to broadly explain the process and procedure commonly known as pipeline of CGI.

The use of computer-generated imagery is becoming increasingly ubiquitous across many fields including media, advertising, architecture and art. This represents a fundamental shift within visual culture, as imagery can now be produced routinely by means of rendering algorithms based on spatial representations. We propose that the account of the image provided by Gilles Deleuze in his books on cinema provides a rich philosophical framework for understanding such contemporary imaging practices. By providing a Deleuzian reading of James Kajiya's 1986 rendering equation we argue that there is a tacit ontology of the image underwriting both Deleuze's work on cinema and current computer graphics technologies. This ontology frees the image from traditional transcendent categories of subject positions or vantage points and instead revolves around the concept of an immanent image. We argue that these considerations lead us to a reformulation of the notion of the virtual, one that challenges its rigid segregation from the real.

This thesis aims to study the usage of computer generated imagery in VJ
Performance. The main workflow of VJ Practices has been divided into content, process, and output. The project includes the creation of computer generated visual material via generative/creative coding defined as content, VJ performance with these materials defined as process, and presentation of visuals via Video Projection Mapping Technology defined as output.

Di zaman modern seperti saat ini, dunia hiburan khususnya pada film sangat di gemari. Berbagai jenis film bermunculan dan sangat menarik untuk di tonton. Di era modern telekomunikasi saat ini, teknologi sangat berpengaruh. Seiring berkembangnya teknologi yang sangat maju tidak di imbangi dengan pengadaan fasilitas pembuatan film. Sehingga kadang dalam proses pembuatan film akan terjadi kesalahan bahkan cendrung film akan menjadi tidak bagus. Dengan menggunakan teknologi Computer Generated Imagery memungkinkan pembuatan film akan berjalan dengan baik. Multimedia yang di tampilkan akan sesuai dengan skenario dan sesuai dengan kebutuhan pada tahap produksi. Dalam artikel ini, di identifikasi permasalahannya adalah dalam pembuatan film Transformers jika tidak menggunakan CGI, dampak pengeluaran biaya aka menjadi besar, pengertian dari Computer Generated Imagery tersebut,  keuntungan dan kelemahan menggunakan teknologi CGI, serta manfaat dalam pengunaan metode CGI ini. Pada implementasinya, pengguna teknologi CGI ini akan berdampak positif pada pembuatan film yang banyak menggunakan visual efek. Teknologi CGI ini berandil besar dalam pengembangan dunia perangkat lunak maupun keras pada dunia komputer, dan menjadi solusi dalam pembuatan film dengan aksi dan efek yang memukau.
Kata Kunci : Multimedia, Computer Generated Imagery, Teknologi

Terrence Malick’s "Voyage of Time" puts the latest technology into the search for the oldest images we can think about, those of our origin. Taking this paradox as a starting point, we will explore precedents of visual effects in science documentaries and their role in Malick’s particular quest for wonder. Are VFX capable of truth?

Between Art and Truth with MachineLearning: A brief history of ArtificialIntelligence from the code of Ur-Nammu to the Generative NeuralNetworks. From autofiction to the open collective author. English translation of the French original “Entre l’art et la vérité“, in La Cinquième Saison: Revue littéraire romande, volume 6, ‘Portrait des robots’. 2019.

Di zaman modern seperti saat ini, dunia hiburan khususnya pada film sangat di gemari. Berbagai jenis film bermunculan dan sangat menarik untuk di tonton. Di era modern telekomunikasi saat ini, teknologi sangat berpengaruh. Seiring berkembangnya teknologi yang sangat maju tidak di imbangi dengan pengadaan fasilitas pembuatan film. Sehingga kadang dalam proses pembuatan film akan terjadi kesalahan bahkan cendrung film akan menjadi tidak bagus. Dengan menggunakan teknologi Computer Generated Imagery memungkinkan pembuatan film akan berjalan dengan baik. Multimedia yang di tampilkan akan sesuai dengan skenario dan sesuai dengan kebutuhan pada tahap produksi. Dalam artikel ini, di identifikasi permasalahannya adalah dalam pembuatan film Transformers jika tidak menggunakan CGI, dampak pengeluaran biaya aka menjadi besar, pengertian dari Computer Generated Imagery tersebut, keuntungan dan kelemahan menggunakan teknologi CGI, serta manfaat dalam pengunaan metode CGI ini. Pada implementasiny...

Computer-generated images have become the common means for architects and developers to visualise and market future urban developments. This article examines within the context of the experience economy how these digital images aim to evoke and manipulate specific place atmospheres to emphasise the experiential qualities of new buildings and urban environments. In particular, we argue that computer-generated images are far from ‘just’ glossy representations but are a new form of visualising the urban that captures and markets particular embodied sensations. Drawing on a 2-year qualitative study of architects’ practices that worked on the Msheireb project, a large-scale redevelopment project in Doha (Qatar), we examine how digital visualisation technology enables the virtual engineering of sensory experiences using a wide range of graphic effects. We show how these computer-generated images are laboriously materialised in order to depict and present specific sensory, embodied regimes...

https://journalistethics.com/
Free book available for download at

The cover page features Princess Harry? I think?

doppelganger, doppelgangers, doppelgänger, doppelgängers, bodydouble, bodydoubles,  body doubles, disguise, disguises, camouflage, green screen, plastic surgery, wigs, holograms, cgi, computer generated imagery, hologram, deep fake, deepfake, deep fakes, deepfakes, clone, clones,  computer generated images, photoshop, airbrush,  airbrushed,  fake, fake news, wig, kgb, cia, mi6, spy, spies, House of Windsor Crime Family, digital, tricks, special effect, special effects, make up

Computer generated images have become the common means for architects and developers to visualise and market future urban developments. This article examines within the context of the experience economy how these digital images aim to evoke and manipulate specific place atmospheres to emphasize the experiential qualities of new buildings and urban environments. In particular, we argue that CGIs are far from ‘just’ glossy representations but are a new form of visualising the urban that captures and markets particular embodied sensations. Drawing on a two year qualitative study of architects’ practices that worked on the Msheireb project, a large scale redevelopment project in Doha (Qatar), we examine how digital visualisation technology enables the virtual engineering of sensory experiences using a wide range of graphic effects. We show how these CGIs are laboriously materialised in order to depict and present specific sensory, embodied regimes and affective experiences to appeal to clients and consumers. Such development has two key implications. Firstly, we demonstrate the importance of digital technologies in framing the ‘expressive infrastructure’ (Thrift 2012) of the experience economy. Secondly, we argue that although the Msheireb CGIs open up a field of negotiation between producers and the Qatari client, and work quite hard  at being culturally specific, they ultimately draw “on a Westnocentric literary and sensory palette” (Tolia-Kelly 2006) that highlights the continuing influence of colonial sensibilities in supposedly postcolonial urban processes.

This paper examines to what extent contemporary realism relies on the materiality of signifiers for the validation of its referential strategies. It is argued that plurimedial texts—in this case courtroom dramas, music videos, independent films, urban performance art, and computer-generated images—deploy a referential apparatus within which heterogeneous signifiers entertain dialogical interactions. These dialogical tensions have the capacity to problematize or, on the contrary, favor the realist mapping of contemporary social reality. The methodological purpose of this argument consists in evaluating whether the resistance to semiotic negotiation characterizing the “heavier,” materially-based signs of plurimedial texts may serve as a criterion for realist representation. Courtroom dramas, in this logic, are shown to revolve around the ostension of materially-based evidence deemed more reliable than verbal accounts. Music videos, on the contrary, privilege technologically processed signs that seem to dissolve material performers and settings. Independent films—Jim Jarmusch’s Ghost Dog, for instance—set up complex dialogical interactions among materially-based ( “heavy”) signs and signs that are metaphorically speaking "lighter," i.e. amenable to aesthetic rewriting and fashioning. Urban performance art—“freerunning” or “Parkour”—explores the urban scene by means of a practice seemingly restricted to matter-oriented gestures. Trhough these examples, the paper indicates i that the analysis of semiotic materiality may lead us to reintegrate within the referential apparatus of realism signs ostensibly dedicated to disembodiment and virtualization—the technosigns music videos as well as computer-generated imagery.

This article examines the Lytro Illum, a “plenoptic” or “light-field” camera. This device captures information on the colour, intensity and angle of incidence of each incoming photon and uses that to reconstruct the three-dimensional environment of the scene in the frame. The output file is an image that is quite easy to navigate and refocus. This type of image derives from the hybridization of digital photography, computer vision and computer-generated imaging within the fast-growing broader field of computational photography.
This article starts by addressing the Lytro’s theoretical and technological bases; more precisely, it highlights the Lytro’s place in the wider quest to develop a device that can completely recreate reality in digitalised form. The spotlight then shifts to two aspects of computational photography that are significant for visual theory: its relationship with the interactive effort of the human imagination (following Pietro Montani’s idea) and its importance in the context of a broader theory of the sensors as basic apparatuses of enunciation.

Auch im Wirtschaftsrecht setzt seit einigen Jahren die Digitalisierung vermehrt neue Akzente. In regulatorischer Hinsicht stellt sich daher die Herausforderung, nicht mehr nur klassische ökonomische Risiken, sondern zunehmen auch technologische Risiken in durch Angebote aus dem Bereich der Künstlichen Intelligenz überformten Märkten einzuhegen. Der Beitrag zeigt daher anhand dreier spezifischer Problembereiche auf, inwiefern kapitalmarktrechtliche bzw. allgemein wirtschaftsrechtliche Strukturen und Grundsätze zunehmend auch im Datenschutzrecht und Urheberrecht zu finden sind oder auf diese Gebiete übertragen werden könnten. Er widmet sich dabei den Problemen des anwendbaren Rechts, der Möglichkeit der Nutzung von personenbezogenen Daten und urheberrechtlich geschützten Werken zu Zwecken des KI-Trainings, sowie dem Schutz von KI-Erzeugnissen de lege lata und de lege ferenda.

Between Art and Truth with MachineLearning: A brief history of ArtificialIntelligence from the code of Ur-Nammu to the Generative NeuralNetworks. From autofiction to the open collective author.

English translation of the French original “Entre l’art et la vérité“, in La Cinquième Saison: Revue littéraire romande, volume 6, ‘Portrait des robots’. 2019.

Over the past five years, computer-generated images (CGIs) have become commonplace as a means to market urban redevelopments.  To date, however, they have been given relatively little attention as a new form of visualising the urban.  This paper argues that these CGIs deserve more attention, and attention of a particular kind.  It argues that, instead of approaching them as images situated in urban space, their digitality invites us to understand them as interfaces circulating through a software-supported network space.  The paper uses an Actor-Network-Theory understanding of 'network' and argues that the action done on and with CGIs as they are created takes place at a series of interfaces.  These interfaces – between and among humans, software and hardware – are where work is done both to create the CGI and to create the conditions for their circulation.  These claims are explored in relation to the CGIs made for a large urban redevelopment project in Doha, Qatar.  The paper concludes by suggesting that geographers need to reconsider their understanding of digital images and be as attentive to the interfaces embedded in the image as to the CGI's visual content.

Bell Labs was the origin point for a great number of 20th century innovations. Among these innovations were some of the first examples of computer graphics and "computer art" to be created in a laboratory environment. Over the course of the loosely outlined years 1962-1971, a tremendous outpouring of this work came from Ball Labs and began a medium that has proved to among the most influential in the history of technology.

Assessment of pavement surface condition is a crucial part for pavement maintenance and management systems. A comprehensive assessment for the pavement condition in a metropolitan area will result in an efficient resource allocation and a successful pavement maintenance plan. Pavement assessment is typically performed either by manual inspection, which is highly demanding in terms of man power, or automated and usually outsourced to specialized companies that use highly sophisticated and expensive equipments. Large cities and municipalities can afford to outsource such tasks. However, small size cities and municipalities cannot afford either the automated and/or the manual method due to limited resources. Hence, in this paper, a portable low cost system for geospatial assessment of pavement surface condition that can be used by small cities and municipalities will be implemented. System design and specification will be presented and discussed. Samples of the currently available resu...

Over the past five years, computer-generated images (CGIs) have become commonplace as a means to market urban redevelopments. To date, however, they have been given relatively little attention as a new form of visualising the urban. This paper argues that these CGIs deserve more attention, and attention of a particular kind. It argues that, instead of approaching them as images situated in urban space, their digitality invites us to understand them as interfaces circulating through a software-supported network space. The paper uses an Actor-Network-Theory understanding of 'network' and argues that the action done on and with CGIs as they are created takes place at a series of interfaces. These interfaces – between and among humans, software and hardware – are where work is done both to create the CGI and to create the conditions for their circulation. These claims are explored in relation to the CGIs made for a large urban redevelopment project in Doha, Qatar. The paper concludes by suggesting that geographers need to reconsider their understanding of digital images and be as attentive to the interfaces embedded in the image as to the CGI's visual content.