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How to create a dynamic maelstrom in Maya 8.XA tutorial on how to make an animated giant whirlpool with foam and spray. Inspiration from Pirates of the Caribbean: At Worlds End.
1. Start by creating a NURBS or a polygon plane. NURBS is propably best, but I used polygons on this one. Make it a high resolution, like 80x80.
2. Go into Polygons>Mesh>Sculpt Geometry Tool. Or if using NURBS go into Surfaces>Edit NURBS>Sculpt Geometry.
3. Model a valley in the middle of your plane.
4. Select your plane and go to Animation>Deform>Create Nonlinear>Twist. Resize the deformer, so that it fits just like on the image to the right.
5. Start playing with the Start Angle under the derformer’s attributes. After finding a suitable value, then start sizing the plane. As we scale it through the y-axis, the deformed plane will now twist like a whirlpool.
6. Go to frame 1 and extend the duration of your timeline. I went with 400 frames. At frame 1 keyframe the scale of the y-axis. Size to the point, where you want the shape to begin. Then go to frame 400 and scale the y-axis out, so that the malstroem will be at its final state. Key- frame and watch the animation. Simple, but if done properly it looks cool.
Download pdf How to create a dynamic maelstrom in Maya 8.XTCP/IP Internetworking With gawkThis chapter provides a (necessarily) brief introduction to computer networking concepts. For many applications of gawk to TCP/IP networking, we hope that this is enough. For more advanced tasks, you will need deeper background, and it may be necessary to switch to lower-level programming in C or C++.
There are two real-life models for the way computers send messages to each other over a network. While the analogies are not perfect, they are close enough to convey the major concepts. These two models are the phone system (reliable byte-stream communications), and the postal system (best-effort datagrams).
Reliable Byte-streams (Phone Calls)
When you make a phone call, the following steps occur:
1. You dial a number.
2. The phone system connects to the called party, telling them there is an incoming call. (Their phone rings.)
3. The other party answers the call, or, in the case of a computer network, refuses to answer the call.
4. Assuming the other party answers, the connection between you is now a duplex (two-way), reliable (no data lost), sequenced (data comes out in the order sent) data stream.
5. You and your friend may now talk freely, with the phone system moving the data (your voices) from one end to the other. From your point of view, you have a direct end-to-end connection with the person on the other end.
The same steps occur in a duplex reliable computer networking connection. There is considerably more overhead in setting up the communications, but once it’s done, data moves in both directions, reliably, in sequence.
Download pdfAfter Effects Compositing BasicsThis tutorial is a continuation of the “VIllus Capillary” tutorial where you went through the basics of creating a Maya scene from A-to-Z. You’re now ready to stitch together a final movie from the individual sequences of images that were rendered in Maya. In addition to simply ‘stitching’ the sequences together, we will explore a few different compositing tasks as well. For example, there are benefits to rendering a single image/shot into multiple ‘render passes’ where different elements of the scene are separated out onto different layers and rendered independently with an alpha channel (i.e. transparency information).
These passes need to be overlaid and blended together in ‘post’ (i.e. in a compositing package like After Effects). With this extra step you gain additional control over processes that would otherwise take longer to render ‘in camera’ (i.e. in your 3D package). We will composite together one of the sequences from your movie in order to add fake depth-of-field effects (i.e. blurring), a process that can be tricky and processor-intensive at render time in Maya. Begin by opening the After Effects program – the standard layout for this application (v7Pro) contains a number of preset panels:
- the “Project” panel in the upper left: this is where you can import and organize the raw materials for your final composite
- the horizontal “Timeline” panel at the very bottom: it show layers on the left and the actual timeline (and any keyframes you will place on it) on the right.
- the “Composition” panel to the rightSAS Add-In for Microsoft OfficeEach day business users everywhere gather, manipulate and report information using Microsoft Office applications. But in most cases, the data that is needed for analyses and reports originates in, or is analyzed by, systems and applications outside of the Microsoft Office suite. Business analysts frequently need access to large data sources that exceed the limitations of Microsoft Office tools.
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Download pdf SAS Add-In for Microsoft OfficeA New Paradigm in Data Intensive Computing: Stork and the Data-Aware SchedulersThe unbounded increase in the computation and data requirements of scientific applications has necessitated the use of widely distributed compute and storage resources to meet the demand. In a widely distributed environment, data is no more locally accessible and has thus to be remotely retrieved and stored. Efficient and reliable access to data sources and archiving destinations in such an environment brings new challenges. Placing data on temporary local storage devices offers many advantages, but such “data placements” also require careful management of storage resources and data movement, i.e. allocating storage space, staging-in of input data, staging-out of generated data, and de-allocation of local storage after the data is safely stored at the destination. Traditional systems closely couple data placement and computation, and consider data placement as a side effect of computation. Data placement is either embedded in the computation and causes the computation to delay, or performed as simple scripts which do not have the privileges of a job.
The insufficiency of the traditional systems and existing CPU-oriented schedulers in dealing with the complex data handling problem has yielded a new emerging era: the data-aware schedulers. One of the first examples of such schedulers is the Stork data placement scheduler. In this paper, we will discuss the limitations of the traditional schedulers in handling the challenging data scheduling problem of large scale distributed applications; give our vision for the new paradigm in data-intensive scheduling; and elaborate on our case study: the Stork data placement scheduler. Index Terms— Scheduling, data-aware,E3 Show / Nokia N-gage Arenaprojection screens into the design of the Nokia N-gage booth. ... The installation of 3 Fogscreens at each end of the booth ...
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