S. Yamaguchi, Christopher Chen, Danyo Yoon, Danielle Gregoire
During the past decade, Film industry in Asia grew rapidly in many technical domains. The accomplishments helped filmmakers to expend their creativities and to improve the quality of their works. However, there is one major struggle that stops filmmakers going beyond their imaginations. It's the lack of PreVisualization [Pre Vis]. PreVis is known as an indispensable and critical process for film-making in Europe and the United States, but its significance has not been fully perceived throughout Asia yet. Asian people working for film industry have many traditional stories and particular ideas. With such stories and ideas, film-making in Asia will be possibly shaped even better by PreVis. Among many difficulties for making high-quality movies in each Asian country, the most serious problem seems time and money. Film-makers in Asia have no choice but to try to use their limited resources in an even more effective way than Hollywood, and PreVis can surely support doing this. Meanwhile, film-making is requiring both techniques of digital and analog today. Although filmmakers and students have to learn both of them, unfortunately digital and analog are separated from each other in education. PreVis can help them to learn both of them as it can bridge the differences between digital and analog. However, there are not enough institutions to teach PreVis in Asia. Accordingly, the education for PreVis is becoming highly important for next generation of film-making in Asia. The talents and the environments for PreVis have to be developed for making higher quality movies in Asia. Kenji, Christopher, Danyo and I, who stand on a platform, have established "PREVIS SOCIETY ASIA" for growth of PreVis in Asia this year. This panel is one of our efforts. The target for this panel is to discuss how to develop education of PreVis in Asia with experienced panelists and audience. It will discuss what the problems are, what is needed and what is different from Hollywood system to do this. We will make the first step for next generation film-making in Asia at SIGGRAPH ASIA 2015.
在过去的十年中，亚洲的电影工业在许多技术领域发展迅速。这些成就帮助电影人拓展了他们的创造力，提高了他们的作品质量。然而，有一个主要的困难阻碍了电影人超越他们的想象。这是缺乏预可视化。在欧洲和美国，预演被认为是电影制作不可或缺的关键过程，但它的重要性尚未在亚洲得到充分认识。在电影行业工作的亚洲人有很多传统的故事和独特的想法。有了这样的故事和想法，亚洲的电影制作可能会被preis塑造得更好。在每个亚洲国家制作高质量电影的诸多困难中，最严重的问题似乎是时间和资金。亚洲的电影制作人别无选择，只能尝试以比好莱坞更有效的方式利用他们有限的资源，而PreVis当然可以支持这样做。与此同时，今天的电影制作对数字和模拟技术都有要求。虽然电影制作人和学生都要学习这两种技术，但不幸的是，数字技术和模拟技术在教育中是分开的。PreVis可以帮助他们学习这两种方法，因为它可以弥合数字和模拟之间的差异。然而，亚洲没有足够的机构来教授PreVis。因此，对于亚洲的下一代电影制作来说，preis的教育变得非常重要。为了在亚洲制作高质量的电影，必须开发PreVis的人才和环境。Kenji, Christopher, Danyo和我站在一个平台上，为了今年PREVIS在亚洲的发展，成立了“PREVIS SOCIETY ASIA”。这个小组是我们的努力之一。本次小组讨论的目标是与经验丰富的小组成员和观众一起讨论如何在亚洲发展PreVis教育。它将讨论问题是什么，需要什么，以及与好莱坞系统有什么不同。我们将在SIGGRAPH Asia 2015上迈出亚洲新一代电影制作的第一步。
{"title":"PreVisualization: how to develop previs in Asia?","authors":"S. Yamaguchi, Christopher Chen, Danyo Yoon, Danielle Gregoire","doi":"10.1145/2818498.2818515","DOIUrl":"https://doi.org/10.1145/2818498.2818515","url":null,"abstract":"During the past decade, Film industry in Asia grew rapidly in many technical domains. The accomplishments helped filmmakers to expend their creativities and to improve the quality of their works. However, there is one major struggle that stops filmmakers going beyond their imaginations. It's the lack of PreVisualization [Pre Vis]. PreVis is known as an indispensable and critical process for film-making in Europe and the United States, but its significance has not been fully perceived throughout Asia yet. Asian people working for film industry have many traditional stories and particular ideas. With such stories and ideas, film-making in Asia will be possibly shaped even better by PreVis. Among many difficulties for making high-quality movies in each Asian country, the most serious problem seems time and money. Film-makers in Asia have no choice but to try to use their limited resources in an even more effective way than Hollywood, and PreVis can surely support doing this. Meanwhile, film-making is requiring both techniques of digital and analog today. Although filmmakers and students have to learn both of them, unfortunately digital and analog are separated from each other in education. PreVis can help them to learn both of them as it can bridge the differences between digital and analog. However, there are not enough institutions to teach PreVis in Asia. Accordingly, the education for PreVis is becoming highly important for next generation of film-making in Asia. The talents and the environments for PreVis have to be developed for making higher quality movies in Asia. Kenji, Christopher, Danyo and I, who stand on a platform, have established \"PREVIS SOCIETY ASIA\" for growth of PreVis in Asia this year. This panel is one of our efforts. The target for this panel is to discuss how to develop education of PreVis in Asia with experienced panelists and audience. It will discuss what the problems are, what is needed and what is different from Hollywood system to do this. We will make the first step for next generation film-making in Asia at SIGGRAPH ASIA 2015.","PeriodicalId":337326,"journal":{"name":"SIGGRAPH Asia 2015 Symposium on Education","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123659240","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We propose D-FLIP Paintings, a dynamic, flexible, and interactive display method of paintings aimed at education of art appreciation. This system dynamically makes a flexible layout of hundreds of paintings in real time according to the variety of interactions among the users. It is expected to provide proactive learning and new insights through dialogues among students for communicative art appreciation. To clarify the performance of a system using this method, we conduct a comparative experiment on practical teaching in the field by using our system and existing inflexible digital media. The results show that D-FLIP Paintings is useful for communicative art appreciation. In using D-FLIP Paintings. students proactively choose paintings of interest from a large body of paintings, and the dialogue among students during their group appreciation sessions is more active.
{"title":"A dynamic, flexible & interactive display method of paintings for communicative art appreciation among students","authors":"Shoko Usui, Chen He, Katsumi Sato, Y. Kitamura","doi":"10.1145/2818498.2818508","DOIUrl":"https://doi.org/10.1145/2818498.2818508","url":null,"abstract":"We propose D-FLIP Paintings, a dynamic, flexible, and interactive display method of paintings aimed at education of art appreciation. This system dynamically makes a flexible layout of hundreds of paintings in real time according to the variety of interactions among the users. It is expected to provide proactive learning and new insights through dialogues among students for communicative art appreciation. To clarify the performance of a system using this method, we conduct a comparative experiment on practical teaching in the field by using our system and existing inflexible digital media. The results show that D-FLIP Paintings is useful for communicative art appreciation. In using D-FLIP Paintings. students proactively choose paintings of interest from a large body of paintings, and the dialogue among students during their group appreciation sessions is more active.","PeriodicalId":337326,"journal":{"name":"SIGGRAPH Asia 2015 Symposium on Education","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131491377","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of game AI education is not only to help people understand the theory but also to help them to effectively use the techniques in game development. However, it is difficult to comprehend AI techniques by simply hearing a lecture about game AI. SQUARE ENIX AI Academy is a five session seminar series with lectures and workshops that was held by the SQUARE ENIX Advanced Technology Division in the summer and autumn of 2014. The workshops were held after a lecture to give attendees the opportunity to experience the use of the techniques as introduced in the lecture segment. For the first and third seminars a board game workshop was held. For the second seminar, a hands-on session with an AI software tool was held. Finally, for the fourth seminar, a workshop using blackboards in an agent's internal achitecture and agents' communication was held. In this workshop, several groups of participants engage in a practical example application of the blackboard techniques used in digital game chracter's AI that are introduced in the lecture.
{"title":"Square Enix AI academy: AI workshop for blackboard architecure","authors":"Youichiro Miyake","doi":"10.1145/2818498.2823472","DOIUrl":"https://doi.org/10.1145/2818498.2823472","url":null,"abstract":"The purpose of game AI education is not only to help people understand the theory but also to help them to effectively use the techniques in game development. However, it is difficult to comprehend AI techniques by simply hearing a lecture about game AI. SQUARE ENIX AI Academy is a five session seminar series with lectures and workshops that was held by the SQUARE ENIX Advanced Technology Division in the summer and autumn of 2014. The workshops were held after a lecture to give attendees the opportunity to experience the use of the techniques as introduced in the lecture segment. For the first and third seminars a board game workshop was held. For the second seminar, a hands-on session with an AI software tool was held. Finally, for the fourth seminar, a workshop using blackboards in an agent's internal achitecture and agents' communication was held. In this workshop, several groups of participants engage in a practical example application of the blackboard techniques used in digital game chracter's AI that are introduced in the lecture.","PeriodicalId":337326,"journal":{"name":"SIGGRAPH Asia 2015 Symposium on Education","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132923669","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper demonstrates how a team of honours-level students explored a new area of game interaction, supported by an academic structure that provided flexibility, opportunity and encouraged independent exploration. This project combines the cinematic aesthetic of film, the interactivity of video gaming and the immersion of virtual reality (VR) to create a compelling and unique visual experience, at a production quality level equal to an industry prototype. The academic structure similarly was required to show great flexibility and respond to the students needs with agility. Along this journey the students gained skills with advanced 3D modelling techniques, motion-capture, the 3D goggles Oculus Rift, the game engine Unreal Engine 4, as well as other supporting skills such as script writing and concept art.
{"title":"Taking animation project learning into the virtual environment","authors":"G. Hodgkinson","doi":"10.1145/2818498.2818506","DOIUrl":"https://doi.org/10.1145/2818498.2818506","url":null,"abstract":"This paper demonstrates how a team of honours-level students explored a new area of game interaction, supported by an academic structure that provided flexibility, opportunity and encouraged independent exploration. This project combines the cinematic aesthetic of film, the interactivity of video gaming and the immersion of virtual reality (VR) to create a compelling and unique visual experience, at a production quality level equal to an industry prototype. The academic structure similarly was required to show great flexibility and respond to the students needs with agility. Along this journey the students gained skills with advanced 3D modelling techniques, motion-capture, the 3D goggles Oculus Rift, the game engine Unreal Engine 4, as well as other supporting skills such as script writing and concept art.","PeriodicalId":337326,"journal":{"name":"SIGGRAPH Asia 2015 Symposium on Education","volume":"59 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133007418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The use of stereoscopic 3D (S3D) is increasing in movies and game contents, and it has spread also into animation. However, in the Japanese animation industry, human resources with applicable knowledge and competence in S3D production skills are insufficient. In order to improve this situation, we have set out to develop new education materials that provide basic knowledge and training in production skills. The aims of these education materials are to make S3D computer graphics (CG) animation that can be used in universities, vocational schools and companies. The education materials consist of curriculum and corresponding syllabus, digital textbooks, digital workbooks, animation, production work materials, production assignments and tests (Figure 1). In this paper, we will describe the education materials we developed, the experimental classes using these materials, and the practical tests done by subjects who participated in the experimental classes. Further, we will point out the possibilities of skills measurement using practical tests and the effectiveness of the materials, in addition to the tendencies of the subjects whose performance improves.
{"title":"Development and evaluation of education materials for stereoscopic 3D computer graphics animation","authors":"Ayumi Miyai, Yasushi Yamaguchi","doi":"10.1145/2818498.2818510","DOIUrl":"https://doi.org/10.1145/2818498.2818510","url":null,"abstract":"The use of stereoscopic 3D (S3D) is increasing in movies and game contents, and it has spread also into animation. However, in the Japanese animation industry, human resources with applicable knowledge and competence in S3D production skills are insufficient. In order to improve this situation, we have set out to develop new education materials that provide basic knowledge and training in production skills. The aims of these education materials are to make S3D computer graphics (CG) animation that can be used in universities, vocational schools and companies. The education materials consist of curriculum and corresponding syllabus, digital textbooks, digital workbooks, animation, production work materials, production assignments and tests (Figure 1). In this paper, we will describe the education materials we developed, the experimental classes using these materials, and the practical tests done by subjects who participated in the experimental classes. Further, we will point out the possibilities of skills measurement using practical tests and the effectiveness of the materials, in addition to the tendencies of the subjects whose performance improves.","PeriodicalId":337326,"journal":{"name":"SIGGRAPH Asia 2015 Symposium on Education","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130689376","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the game industry, the technologies of Game AI development have advanced in the last 15 years independently from academic AI research. Much knowledge had been enclosed within the game industry until 2000, but in game development conferences and books, some techniques have been made public to developers over the world. But even this was still limited to within the game industry. SQUARE ENIX AI Academy is a 5 session seminar series with lectures and workshops held by the SQUARE ENIX Advanced Technology Division in the summer and autumn of 2014. The purpose is to provide this industry knowledge to students, game developers, and teachers who want to learn game AI technologies used in the game industry. The seminar series registration is limited to 60 students. Many techniques and knowledge developed in the game industry have been independent of each other as collections of simple techniques, but recently they have been integrated to be a whole unified theory as digital Game AI theory. In the SQUARE ENIX Academy, the Game AI theory is introduced to attendees in lectures and workshops; they can study the knowledge during the lecture and learn how to apply the knowledge in the workshop. In this paper, a sketch of the theoretical framework for digital game AI and the workshop design are introduced. The goal of the paper is share knowledge about how to teach game AI such that anyone can understand how to use it.
{"title":"Square enix AI academy: a seminar series for the introduction of digital game AI","authors":"Youichiro Miyake","doi":"10.1145/2818498.2818514","DOIUrl":"https://doi.org/10.1145/2818498.2818514","url":null,"abstract":"In the game industry, the technologies of Game AI development have advanced in the last 15 years independently from academic AI research. Much knowledge had been enclosed within the game industry until 2000, but in game development conferences and books, some techniques have been made public to developers over the world. But even this was still limited to within the game industry. SQUARE ENIX AI Academy is a 5 session seminar series with lectures and workshops held by the SQUARE ENIX Advanced Technology Division in the summer and autumn of 2014. The purpose is to provide this industry knowledge to students, game developers, and teachers who want to learn game AI technologies used in the game industry. The seminar series registration is limited to 60 students. Many techniques and knowledge developed in the game industry have been independent of each other as collections of simple techniques, but recently they have been integrated to be a whole unified theory as digital Game AI theory. In the SQUARE ENIX Academy, the Game AI theory is introduced to attendees in lectures and workshops; they can study the knowledge during the lecture and learn how to apply the knowledge in the workshop. In this paper, a sketch of the theoretical framework for digital game AI and the workshop design are introduced. The goal of the paper is share knowledge about how to teach game AI such that anyone can understand how to use it.","PeriodicalId":337326,"journal":{"name":"SIGGRAPH Asia 2015 Symposium on Education","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128288826","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Film, television and media production are subject to consistent change due to ever-evolving technological and economic environments. Accordingly, tertiary teaching of subject areas such as cinema, animation and visual effects require frequent adjustments regarding curriculum structure and pedagogy. This paper discusses a multifaceted, cross-disciplinary approach to teaching Visual Narratives as part of a Digital Design program. Specifically, pedagogical challenges in teaching Visual Storytelling through Motion Capture and Visual Effects are addressed, and a new pedagogical framework using three different modes of moving image storytelling is applied and cited as case studies. Further, ongoing changes in film production environments and their impact on curricula for tertiary education providers are detailed, and appropriate suggestions based on tangible teaching experience are made. This paper also discusses the advantages of teaching Motion Capture in the context of immersive environments.
{"title":"Teaching visual storytelling for virtual production pipelines incorporating motion capture and visual effects","authors":"G. Bennett, J. Kruse","doi":"10.1145/2818498.2818516","DOIUrl":"https://doi.org/10.1145/2818498.2818516","url":null,"abstract":"Film, television and media production are subject to consistent change due to ever-evolving technological and economic environments. Accordingly, tertiary teaching of subject areas such as cinema, animation and visual effects require frequent adjustments regarding curriculum structure and pedagogy. This paper discusses a multifaceted, cross-disciplinary approach to teaching Visual Narratives as part of a Digital Design program. Specifically, pedagogical challenges in teaching Visual Storytelling through Motion Capture and Visual Effects are addressed, and a new pedagogical framework using three different modes of moving image storytelling is applied and cited as case studies. Further, ongoing changes in film production environments and their impact on curricula for tertiary education providers are detailed, and appropriate suggestions based on tangible teaching experience are made. This paper also discusses the advantages of teaching Motion Capture in the context of immersive environments.","PeriodicalId":337326,"journal":{"name":"SIGGRAPH Asia 2015 Symposium on Education","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122012121","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Evan Bonifacio, S. Deluna, M. Ellsworth, Bernhard Haux, Jonas Jarvers, Vladimir Kooperman, Ken Lao, Colin Levy, Albert Lozano, S. Skaria, Ron Zorman
In the Abstract Thought sequence of Pixar's Inside Out the characters find themselves in a specific part of Riley's brain that processes abstract notions. They go through various stages of transformation towards abstraction as they try to find their way out. A very particular art direction, which was different from the overall look of Inside Out, required a small team of artists to work very closely together in order to to keep communication lines short and workflows flexible. All departments had to react to changes promptly, bringing rough, new ideas from story to screen as quickly as possible in order to be evaluated in context.
{"title":"An abstract journey: production focus on the 'abstract thought' sequence in Pixar's 'inside out'","authors":"Evan Bonifacio, S. Deluna, M. Ellsworth, Bernhard Haux, Jonas Jarvers, Vladimir Kooperman, Ken Lao, Colin Levy, Albert Lozano, S. Skaria, Ron Zorman","doi":"10.1145/2818498.2818504","DOIUrl":"https://doi.org/10.1145/2818498.2818504","url":null,"abstract":"In the Abstract Thought sequence of Pixar's Inside Out the characters find themselves in a specific part of Riley's brain that processes abstract notions. They go through various stages of transformation towards abstraction as they try to find their way out. A very particular art direction, which was different from the overall look of Inside Out, required a small team of artists to work very closely together in order to to keep communication lines short and workflows flexible. All departments had to react to changes promptly, bringing rough, new ideas from story to screen as quickly as possible in order to be evaluated in context.","PeriodicalId":337326,"journal":{"name":"SIGGRAPH Asia 2015 Symposium on Education","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130289910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Dance has been a required subject in Physical Education in Japan since 2012 [MEXT 2010]. However, there are many Physical Education teachers at elementary and junior high schools who had never taught dance before it became a required subject in 2012. There are even many teachers among them who have never studied dance. It has been reported that there are many instructors who feel anxiety about teaching dance under such conditions [Miyamoto 2012 and Matsumoto 2013]. Accordingly, the authors considered that by using motion capture and using the data of CG animation, new and exciting methods could be found to help people learn dance. Now, there have been some studies on dance using motion capture; however, the studies so far on motion capture and dance, including these previously mentioned, focus on technical system development. Watabe [2005] and Sato [2009] have made attempts to support dance learners in their practice by using motion capture focusing on the educational use it. Sato [2010] reduced the information about expression, muscle, background, etc. by using motion capture so that the points to be viewed were made clear for learners. Thus, in this study, usefulness of CG animation in learning dance through utilizing tablet computer was examined.
{"title":"Learning Hawaiian hula dance by using tablet computer","authors":"Yoko Usui, Katsumi Sato, Shinichi Watabe","doi":"10.1145/2818498.2818507","DOIUrl":"https://doi.org/10.1145/2818498.2818507","url":null,"abstract":"Dance has been a required subject in Physical Education in Japan since 2012 [MEXT 2010]. However, there are many Physical Education teachers at elementary and junior high schools who had never taught dance before it became a required subject in 2012. There are even many teachers among them who have never studied dance. It has been reported that there are many instructors who feel anxiety about teaching dance under such conditions [Miyamoto 2012 and Matsumoto 2013]. Accordingly, the authors considered that by using motion capture and using the data of CG animation, new and exciting methods could be found to help people learn dance. Now, there have been some studies on dance using motion capture; however, the studies so far on motion capture and dance, including these previously mentioned, focus on technical system development. Watabe [2005] and Sato [2009] have made attempts to support dance learners in their practice by using motion capture focusing on the educational use it. Sato [2010] reduced the information about expression, muscle, background, etc. by using motion capture so that the points to be viewed were made clear for learners. Thus, in this study, usefulness of CG animation in learning dance through utilizing tablet computer was examined.","PeriodicalId":337326,"journal":{"name":"SIGGRAPH Asia 2015 Symposium on Education","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121066053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
3D displays have been used extensively in movies and games. They are also essential in mixed reality where virtual space and real space overlap. Therefore, engineers and creators should be trained to master 3D display technologies. For this reason, the Department of Information Media of the Kanagawa Institute of Technology has launched two relevant courses. This institute is a four-year private university located in Atsugi, Japan that has approximately 5,000 undergraduate students and 200 graduate students. The university's Department of Information Media is unique because it was established to train both engineers who have the minds of creators and creators who have the knowledge and skills of engineers. The background of the students in this Department is almost similar to that of students in other Departments; many students come from ordinary high schools while others come from technical and other types of high schools. Neither fine arts nor music are an entrance examination subject in this university, and a Bachelor's degree in engineering is presented at the time of graduation. Nevertheless, several students of the Department of Information Media seem to exhibit a strong interest in and aptitude for the arts; thus, the Department offers various courses that range from computer mechanisms and programming to the production of computer music, computer graphics (CG) animation and games.
{"title":"Courses on 3D image display for students who aim to become information media engineers and creators","authors":"K. Yanaka, Toshiaki Yamanouchi","doi":"10.1145/2818498.2818513","DOIUrl":"https://doi.org/10.1145/2818498.2818513","url":null,"abstract":"3D displays have been used extensively in movies and games. They are also essential in mixed reality where virtual space and real space overlap. Therefore, engineers and creators should be trained to master 3D display technologies. For this reason, the Department of Information Media of the Kanagawa Institute of Technology has launched two relevant courses. This institute is a four-year private university located in Atsugi, Japan that has approximately 5,000 undergraduate students and 200 graduate students. The university's Department of Information Media is unique because it was established to train both engineers who have the minds of creators and creators who have the knowledge and skills of engineers. The background of the students in this Department is almost similar to that of students in other Departments; many students come from ordinary high schools while others come from technical and other types of high schools. Neither fine arts nor music are an entrance examination subject in this university, and a Bachelor's degree in engineering is presented at the time of graduation. Nevertheless, several students of the Department of Information Media seem to exhibit a strong interest in and aptitude for the arts; thus, the Department offers various courses that range from computer mechanisms and programming to the production of computer music, computer graphics (CG) animation and games.","PeriodicalId":337326,"journal":{"name":"SIGGRAPH Asia 2015 Symposium on Education","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121444764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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