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Music-Driven Character AnimationAnimations, whether they are in movies, television, or video games, would not capture the viewer’s interest if they were not accompanied by music. Music can set the tone for a scene and is generally added after the animation has been completed. It takes a large amount of work to coordinate a piece of music with a final animation, especially when specific movements must occur at certain times in the song. This paper describes a method of automatically synthesizing an animation that synchronizes with the input music. Our system allows the user to choose a piece of music and a character and outputs a synchronized animation that expresses the emotion and intent of the music through movement.
The tempo, beat levels, and dynamic levels are extracted from the music and used to drive the animation. The user inputs a music file, a character created in Alias-Wavefront’s Maya, and a script file. The script file gives the user the freedom to decide what movements will be used in the animation, when they will be performed, and by which body part of the character. These mappings, as defined in the script file, allow the user to experiment with different ways of arranging movement and music to create a unique animation. Our animation system is designed for use by a wide range of users, not just those who are proficient at animation or musically inclined. Our technique concentrates on simplicity of movement and user control for creating a unique music-driven animation.
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Download PDFIntroduction to the Controller Area Network (CAN) PDF ManualA controller area network (CAN) is ideally suited to the many high-level industrial protocols embracing CAN and ISO 11898 as their physical layer. Its cost, performance, and upgradeability provide for tremendous flexibility in system design. This paper presents a brief introduction to the CAN operating principles, the implementation of a basic CAN bus using Texas Instrument’s CAN transceivers and DSPs, and a discussion of the robust error detection and fault confinement mechanisms.
Some of the properties of CAN, especially relating to the electrical layer and features of transceiver products, are then discussed at a tutorial level.
Download Introduction to the Controller Area Network (CAN) PDF ManualAgile IMS Service Composition – How to Quicker Respond to New Market DemandData traffic in telco networks grow much faster and correspond to an increasing part of profits in telco operators. Operator’s dependence on voice services only is quickly diminishing in favor of higher valued data services. As these operators leave their relative comfort zone of supplying voice services in monopoly or oligopoly constructs the need for agility increases. The search for the Holy Grail – that is the next killer application – is happening everywhere.
But what if there is no next one single killer application? What if the next killer is exposure of capabilities to be used in countless of use cases which no-one has thought of today? Or if it is the ability of quickly creating services supporting ever changing customer needs?
This paper is about how to enable and support agile IMS service composition on both the service layer, that is in low-latency call control type of contexts, and in the Service Delivery Platform, SDP, that is higher level course grained services.
What do we mean with Agile IMS Service Composition?
• Agile: Focus is Customer Collaboration and Responding To Change
• IMS: IP based network, with convergence in any dimension
• Service Composition: Being able to create a new service by the combination of development and/or existing services composing these together. With the use of the techniques presented here you will be able to:
• Quicker and with less risk try out new services much faster leading to increased profits from more services and more satisfied customer
• Increase the number of end-user services availableStatic Mesh PipelineCreating art in a 3D modeling package such as Max or Maya and then trying to get it to work in the Unreal Editor can sometimes be quite a feat, especially if you’ve never done it before. Hopefully this process will provide a basic understanding of the art pipeline for Unreal Ed and answer any questions you may have about getting your static meshes from the 3D package of your choice into the Unreal Editor and into your Mod.
First off, what is a static mesh? In Unreal Ed, a static mesh is a piece of geometry that does not have any animations. This is not to say it won’t move in game. A few examples of static meshes would be the decorative piping you see running along walls or ceilings, a tree stump, or even an elevator lift that moves once you step on it. In the case of the elevator lift, it is animated using Matinee, Unreal’s key frame animation system, not an external 3D package such as Max or Maya. For more examples of static meshes, simply hop into Unreal Ed, open up your favorite package and look at the static meshes in there.
Note: This tutorial is being created using Maya 2008 as the 3D package of choice. There are slight differences and peculiarities in how you export models from the various 3D packages.
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Download LinkAn Inside Look at the Evolution of DotNetNuke pdfAs much as I would like people to believe that DotNetNuke was intentionally created as a premier open source project for the Microsoft platform, it is unfortunately not the case. As is true with many open source projects, the software was created with commercial intentions in mind, and only when it was discovered that its true purpose would not be realized was it reconsidered as an open source project.
In 2001–2002 I was working for a medium-sized software consulting company that was providing outsourced software development services to a variety of large U.S. clients specializing primarily in e-Learning initiatives. The internal push was to achieve CMM 3.0 on a fairly aggressive schedule so that we could compete with the emerging outsourcing powerhouses from India and China. As a result there was an incredible amount of focus on process and procedure and somewhat less focus on the technical aspects of software engineering. Because the majority of the client base was interested in the J2EE platform, the company had primarily hired resources with Java skills — leaving myself with my legacy Microsoft background to assume more of an internal development and project management role. The process improvement exercise consumed a lot of time and energy for the company; attempting to better define roles and responsibilities and ensuring proper documentation throughout the project life cycle. Delving into CMM and the PMBOK were great educational benefits for me — skills that would prove to be invaluable in future endeavors. Ultimately the large U.S. clients decidedHow To Install MegaUploadThe MegaUpload software can be found on sourceforge, the project is located at http://sourceforge.net/projects/megaupload/ and the current version can be downloaded at the following address: http://umn.dl.sourceforge.net/sourceforge/megaupload/megaupload-1.45.tar.gz Here is how you download and extract the archive on Linux: [bozz@nightmare tmp]$ wget http://umn.dl.sourceforge.net/sourceforge/megaupload/megaupload-1.45.tar.gz –07:16:41– http://umn.dl.sourceforge.net/sourceforge/megaupload/megaupload-1.45.tar.gz => `megaupload-1.45.tar.gz’ Resolving umn.dl.sourceforge.net… 128.101.240.209 Connecting to umn.dl.sourceforge.net|128.101.240.209|:80… connected. HTTP request sent, awaiting response… 200 OK Length: 20,844 (20K) [application/x-gzip] 100%[==========================================>] 20,844 07:16:41 (130.08 KB/s) - `megaupload-1.45.tar.gz’ saved [20844/20844] [bozz@nightmare tmp]$ gunzip megaupload-1.45.tar.gz [bozz@nightmare tmp]$ tar -xf megaupload-1.45.tar [bozz@nightmare tmp]$ cd megaupload-1.45 [bozz@nightmare megaupload-1.45]$ ls cgi-bin Changes classic contrib docs
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Download pdf How To Install MegaUploadCreating a 3D immersive environment in MayaThe following tutorial will take you step by step through the creation of a natural environment in Maya. You will also setup a character inside the environment and to add interactivity in Virtools. This tutorial introduces you to Maya’s 3D Paint Effects allowing you to paint in 3D. A few strokes can paint trees, grass, flowers. The paint strokes from your brush are converted into 3D objects inside a 3D space. Maya’s ability to convert 3D Paint Effects to polygonal objects is helpful to create content for interactive environments. This tutorial requires Maya 5.0 and up.
You can control the strokes’ shape, color, density, while painting on the horizontal grid plane of the perspective view or directly on other 3D objects. Let’s grab a brush and start to paint trees and grass in 3D, let’s create the ground for your forest.
3.1 - Creating the ground
Open a new scene in Maya. Go to the top menu, select, “File” > “New Scene”. Select the “Modeling” module in the box located on the left of the “Status Line”. Create a polygonal plane for the floor of your scene. Go to, “Create” > “Polygon Primitives” > “Plane”
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The JMBD also tests and gives you the useful information of the browser and device: browser name, device manufacturer, mobile markup language (xhtml-mp, xhtml?, wml) support, image type (gif, wbmp, jpeg, png) support, CLDC version, MIDP version, etc. 5. Supported Handhelds, Platform, Browser Devices Mozilla, Openware, Nokia, MOTOROLA, RIM, ALCATEL, Microsoft, Ericsson, Sony, Sony Ericsson, Samsung, LG, SIEMENS, PHILIPS, SHARP, PANASONIC, SANYO, Palm, Symbian, Windows CE, MITSUBISHI, NTT, Arima, CECT, COMPAL, CTL, TCL, BIRD, SAXIAN, DBTEL, EastCom, PANTECH, DOPOD, EzWeb, Vodafone, Apple, HP, HTC, Treo, PSION, HAIER, KONKA, KEJIAN, LENOVO
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