Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.

Topics - tusar.mtca

Pages: [1]
MCT / 3D Defined - What is 3D?
« on: August 23, 2013, 02:46:50 PM »
If you start anywhere on this site, this article is as good a jumping off point as any!

We wrote this content to be as accessible as possible for someone exploring 3D computer graphics for the first time, whether through an interest in 3D film, 3D visual effects, or production for animation and/or video games.

It's meant to serve as a broad introduction to 3D, so we'll define the term in a general sense, explain how it relates to the resources and articles on this site, and give you an idea of where to look for more information.
So, What is 3D?

In the broadest definition of the term, "3D" would describe any object that occurs on a three-axis Cartesian coordinate system. If that sounds a tad technical, fear not—we'll clear it up right away.

A Cartesian coordinate system is basically a fancy way of describing the X and Y axes we're all familiar with from high-school geometry (think graph paper).

You remember making little graphs and charts with the X axis being horizontal, and the Y axis being vertical, right? Things are very much the same in the world of 3D, with one exception—there's a third axis: Z, which represents depth.

So by definition, any object that can be represented on a three-axis system is 3D. This isn't the whole story, of course.
3D in Relation to Computer Graphics:

Chances are you're reading this because you have at least a passing interest in "3D" as it's referred to in the computer graphics industry, which includes film, television, advertising, engineering, and video game development.

A few key points on 3D computer graphics:

    The basic definition of 3D space stays the same: Everything about the X, Y, and Z-axis still holds true, but there's one catch. While real world 3D objects physically exist in three dimensions, in the digital world of computer graphics 3D objects can only be represented mathematically.

    3D Models: Any representation of an object in digital space, is called a 3D model. If you took a look at the raw information that comprises a basic 3D model, it would simply (or not so simply) be a collection of data points that mark thousands or millions of different coordinates in Cartesian space.

    The software does the math: Luckily for artists, 3D software deals with most of the difficult mathematics. Within the graphical user interface of a 3D software package like Autodesk 3ds Max or Maya, 3D models are automatically interpreted and visually represented as geometric objects made up of edges, vertices, and polygonal faces. Most software environments have built in real-time render engines capable of displaying 3D models with semi-realistic lighting, shadows, and textures.

More On the Z-Axis:

Since the Z-axis is such an essential characteristic of 3D space, let's take a closer look at what "Z" really means in a 3D software environment. The Z coordinate can be used to measure four things in 3D computer graphics:

    The depth of an object in terms of size. As in, 5 units wide, 4 units tall, and 3 units deep.

    The location of an object in relation to the origin. The origin in any 3D scene is (0,0,0) with the third number usually being "Z". There are a few smaller 3D packages that use Z as the vertical axis, but these cases are rare.

    The distance of an object from the rendered camera, known in computer graphics as z-depth. Z-Depth is often used to apply depth of field effects in post-production, and in video games it's used for level of detail optimizations.

    The Z-axis of rotation. For example, a ball rolling away from a camera would be said to be rotating along the negative Z-axis.

3D in Relation to Film/Cinema:

The word 3D means something entirely different when used in reference to 3D movies (the kind that require you to wear glasses and make you want to reach out and try to touch the things popping out of the screen). 3D films can, and often do, have an aspect of 3D computer graphics, however there are plenty of traditionally shot, non-CG films that have taken advantage of the recent resurgence of 3D cinema.

The defining characteristic of "3D" as we think about it at the movie theater (and now in the home theater), is that the filmmakers must use some means to trick the human visual system into an illusory perception of depth.

    Binocular Disparity:The key to human depth perception has everything to do with the fact that our eyes each send a slightly different image to the brain. Our brain derives a perception of distance by interpreting the difference in the image from the left and right eye. This is known as binocular disparity.

    A full discussion of how the 3D illusion is brought to life can get quite long-winded, and this isn't the appropriate forum for it. We will give you one final definition, which serves as the basis for how 3D films are created today:

    Stereoscopy: To create the illusion of depth, filmmakers have had to develop ways to mimic binocular disparity. The common means for achieving this is to use dual or alternating projection systems in conjunction with polarized glasses that ensure that the left and right eye always receive a slightly different image. This is known as stereoscopy, hence the term stereoscopic 3D.

MCT / Getting Started in 3D Modeling and Animation
« on: August 23, 2013, 02:41:03 PM »
Its very Important before you enter the 3D world!  :)

So, you've seen countless movies, games, and commercials full of robots, futuristic buildings, alien spaceships and vehicles that make your jaw hit the floor. You know they couldn't possible exist in the real world, but at the same time you're not quite sure how the artists and filmmakers are able bring such amazingly complex concepts to the silver screen.
One thing you do know, is you'd love to give it a try.

Well look no further. In this series we'll discuss three quick steps to put you well on your way toward making 3D computer graphics of your own.

3D is a complex and wildly varying craft, but the payoff for learning it is well worth the effort put forth. Whether you'd like to one day make a career out of 3D animation, become a modder for your favorite video game, or just want to try your hand at a new creative medium, there are a great deal of ways to begin making 3D.
"Just installed Maya—what the heck do I do now?"

That's the exact text of a message I recently received from friend of mine, and I think it's a very typical reaction for people launching a 3D software application for the first time. It's natural to want to "jump right in," when you start learning something new, however 3D can be incredibly technical, and there are multiple paths you can take to achieve almost any specific goal.

You could sit down and jump right in, and maybe you'd eventually succeed with 3D. But often, this sort of haphazard approach will lead to uncertainty and frustration. It can be very easy to get lost in the world of 3D computer graphics if you don't approach it with some sort of plan

Following a structured path toward learning 3D can be incredibly beneficial, and can make the process a whole lot smoother.

The rest of this article series won't teach you how to make a 3d model, or show you how to become a rock-star animator—that will take months or years of practice and learning. But hopefully it'll set you off on an organized path and will point you toward the resources to eventually get you to where you want to be in the world of 3D.

I know our first step seems incredibly obvious, but considering this question ahead of time can make all the difference in the world:
Which aspect of 3D are you most interested in?

As I said, there are a huge variety of outlets for 3D computer graphics. If you're reading this, I'd wager there's a good chance you've got one of the following ideas in mind:

    Animation: “I'd like to try computer animation, like I've seen in Toy Story, Shrek, Wall-E, etc.”

    3D Modeling: “I'd like to try making 3D models like I've seen in video games and films like Transformers.”

    Visual Effects: “I want to make things explode like they do in the movies."

    Product Design: “I'm interested in product design and would like to explore 3D design tools."

    Graphic/Commercial Design: “I'm a graphic/motion designer interested in adding 3D skills to my design tool-set.

    Architecture/Engineering: “I'm interested in architecture, engineering, or automotive design, and would like to try 3d pre-visualization for those industries.”

    Stereoscopic: “I'm a traditional filmmaker, but I'm interested in using stereoscopic 3D for my films."

And this doesn't even cover the full gamut.

Although these are some of the common end-goals for learning 3D, we really only covered a relatively narrow aspect of the entire computer graphics pipeline. In the previous list, we made no mention of surfacing, 3D lighting, technical direction, nor any reference to the research (computer science) aspect of the field.
The reason we ask you to carefully consider which aspect of 3D you're most interested in is because, in the end, your specific interests will drastically affect what direction you take through the process of learning 3d. The learning path of someone who eventually specializes in animation is entirely different than someone who wants to make 3D CAD models for the automotive industry. It helps tremendously to know what your interests are ahead of time so that you can choose your software and learning resources more effectively.


Club or Society of DIU / Diu Creative Park
« on: August 20, 2013, 10:02:21 PM »
Diu Creative Park (Club) based on Department of MTCA

MCT / Basic 3D Animation (3sec) Spin Ball
« on: August 20, 2013, 09:31:41 PM »
Hello All,
Today I am share my 1st Basic 3D animation.  :)

Title: 3D Spin ball
Tool: Autodesk 3D MAX
Subject: Concept of Animation

MCT / Array in C Programing
« on: August 20, 2013, 04:49:45 PM »

In C programming, one of the frequently arising problem is to handle similar types of data. For example: If the user want to store marks of 100 students. This can be done by creating 100 variable individually but, this process is rather tedious and difficult. These type of problem can be handled in C programming using arrays. An array is a sequence of data item of same type value.
There are two types of array:
•   One Dimensional Array
•   Multi-Dimensional Array

1. One Dimensional Array:-
example:  int num[6];
[6] Specifies the number of elements to be stored in array. I can also explain this matter below this format.
A[0]   A[1]   A[2]   A[3]   A[4]   A[5]

2. Multi-Dimensional Array:-

   C programming language allows to create arrays of arrays known as multidimensional arrays.
   For example: int a[3][6];
   Here, a is an array of two dimension, which is an example of multidimensional array. This array has 3 rows and 6 columns

   Col 1    Col 2    Col 3    Col 4    Col 5    Col 6
Row 1    A[0][0]    A[0][1]    A[0][2]    A[0][3]    A[0][4]    A[0][5]
Row 2    A[1][0]    A[1][1]    A[1][2]    A[1][3]    A[1][4]    A[1][5]
Row 3    A[2][0]    1[2][1]    A[2][2]    A[2][3]    A[2][4]    A[2][5]


MCT / The World Disney Studios History
« on: August 19, 2013, 12:43:44 PM »
   The Walt Disney Company started in 1923 in the rear of a small office occupied by Holly-Vermont Realty in Los Angeles. It was there that Walt Disney, and his brother Roy, produced a series of short live-action/animated films collectively called the ALICE COMEDIES. The rent was a mere $10 a month. Within four months, the ever-growing staff moved next door to larger facilities, where the sign on the window read "Disney Bros. Studio." A year later, in 1925, the Disneys made a deposit on a Hyperion Avenue lot in the Silver Lake district of Los Angeles. Construction began on the new studio shortly thereafter. During the next 14 years, many changes took place at the Disney studio: Mickey Mouse was "born" in 1928, followed by Pluto, Goofy, Donald Duck, and the rest of the Disney gang.


In 1937, Disney's innovative first full length animated feature, SNOW WHITE AND THE SEVEN DWARFS, was released to critical acclaim and worldwide success. In order to expand and meet the expectations of his audience, Walt saw a need to increase the size of his studio. With profits from SNOW WHITE, he made a deposit on 51 acres of land in Burbank and began designing a modern studio specifically for the purpose of making animated films.

Walt was personally involved with all aspects of designing the studio. From the layout of the buildings to design of the animators' chairs, nothing was left to chance. His main concern was to produce a self-sufficient, state-of-the-art production factory that provided all the essential facilities for the entire production process.    
   Walt and company discuss the progress made at the new Studio lot.
Walt and company discuss the progress made at the new Studio lot.

   The Animation Building, housing the Disney Artists and animators, was planned in the center of the lot. Across a small street were built the Inking and Painting and the Camera buildings, where the artwork was completed and photographed.

Next to Camera, in the Cutting building, the post production process occurred. Sound facilities included dubbing, scoring, effects, and voice recording studios. Many of the buildings were linked together by an underground tunnel, so even in bad weather, the process of making animated films was not disrupted. To enhance the campus-like setting, all of the utilities were placed underground which was an innovation for 1940.

During the 1940s and 1950s many prominent animated features were produced in Burbank, including FANTASIA, BAMBI, CINDERELLA, ALICE IN WONDERLAND, and PETER PAN.

   Beginning in the late 1940s, Disney launched into the production of live-action features and television programs. The Studio lot was subsequently expanded during the 1950s, to include sound stages and production craft facilities.

Sound Stages
Many of the interior scenes for Disney films were shot on five live-action sound stages.

Stage 1 is part of the original lot that was built in 1940. It was first used for filming the live-action scenes for FANTASIA. Stage 2 was built in 1949 in conjunction with Jack Webb, who used the stage for the filming of the television series DRAGNET. A popular television show filmed there was THE MICKEY MOUSE CLUB. Stage 2 is one of the largest sound stages in Los Angeles at approximately 31,000 square feet.

In 1954, Sound Stage 3 was built specifically for 20,000 LEAGUES UNDER THE SEA, complete with watertank. Stage 4, completed in 1958, was first used for DARBY O'GILL AND THE LITTLE PEOPLE. In 1988, it was divided into two television stages, thus creating Stages 4 and 5.


Riverside Lot
Across the street from the Studio now stands the new Feature Animation Building and The ABC Building. This is where Walt was planning to build a place called Mickey Mouse Park. There were to be lifelike statues of Mickey and Donald, and guests could take pictures with their favorite characters and enjoy a train ride. However, as Walt's ideas continued to grow, he realized more space was needed to fulfill his dreams. Shortly thereafter he acquired more than 200 acres of orange groves in Anaheim, California. Those orange groves became the site of Disneyland.

The back-lot shops were built to provide the many crafts and services required by live action productions. The Machine Shop, which is no longer in use, housed machines and equipment that produced innovative camera and projection objects for the film industry. During the construction of Disneyland in the mid-fifties, this shop's engineers designed and hand-built many of the automobiles, train parts, boats, trams and carts that were required by the new park. Hollywood Records now occupies the building.

Close by you'll find the Electric / Plumbing building containing machines and equipment for repairing and maintaining the many systems within the Studio complex.

Nearby was the Staff Shop where they made molds, plaster casts, and fiberglass figures, many of which are in use at Disneyland and Walt Disney World.

The Electric/Plumbing building has its own machines for installing and repairing all plumbing and mechanical equipment within the Studio, along with equipment for work in sheet metal, welding, and plastics.

Next to Electric/Plumbing was the Special Effects shop, where our craftspeople created the myriad of unique effects that have come to be associated with Disney films. Flying cars, spaceships, miniature paddle wheelers, and medieval armor that comes to life are just some of the effects produced by this department.

The Paint Shop, which is in another large metal building, does everything from spraying cars and furniture to be used on a movie set, to spraying the set itself.

Other prominent shops throughout the back-lot include Sign Graphics, Craft Services, and the Mill.

Back Lot
For more than 30 years, the back-lot featured exterior sets used for outdoor live-action filming. These consisted of a Western Street, Zorro Pueblo, Residential Street, and Town Square.

Most of the buildings on the Western Street were constructed in 1958 for the ELFEGO BACA and TEXAS JOHN SLAUGHTER television shows. Other productions which modified the structures for filming were DARBY O'GILL AND THE LITTLE PEOPLE, THE LOVE BUG, THOSE CALLOWAYS, and THE APPLE DUMPLING GANG. The last major feature films to utilize the street extensively were HOT LEAD AND COLD FEET and THE APPLE DUMPLING GANG RIDES AGAIN.

Sets representing a downtown area were constructed in 1965 for THE UGLY DACHSHUND and FOLLOW ME BOYS. They were changed extensively for various films, and then completely demolished in 1981 to make way for a new town set for SOMETHING WICKED THIS WAY COMES.

There were four original buildings on the Residential Street originally constructed in 1960 for THE ABSENT-MINDED PROFESSOR, including the main house and garage used for the laboratory. Other houses were used for THE SWAMP FOX and the original THAT DARN CAT.

A well-known set was constructed for the ZORRO television series in the 1950s. This was once the Pueblo de Los Angeles with a fort, a jail, a square, an inn, and a church. Later, one of the old Spanish squares was redesigned to become a French village. Hills, pools, berms, and caves were built nearby for other productions.

With the increased use of "on location" shooting, the back lot sets were gradually replaced by the Property building, the Zorro parking structure, the Frank Wells office building, and Stages 6 & 7.

The Golden Oak Ranch
Walt Disney first leased the Golden Oak Ranch, which is situated in the nearby Santa Clarita area, in the mid-1950s for the SPIN AND MARTY segments of THE MICKEY MOUSE CLUB. Because of the variety of natural settings available there, the Studio purchased the 700-acre property in 1959. Disney films shot at the Ranch include: OLD YELLER, TOBY TYLER, THE PARENT TRAP, THE SHAGGY DOG, FOLLOW ME BOYS, and more recently THE SANTA CLAUSE, PEARL HARBOR, PRINCESS DIARIES II and the PIRATES OF THE CARIBBEAN II & III.

A western street was created for the renowned television miniseries ROOTS II in the late 1970s, and remained an active filming location until it's removal in 2008. Other ranch sites include a rural bridge on a lake, an entertainment and event venue, "THE GOLDEN OAK HALL," farm houses, barns, fields, country roads, tree groves, a forest area, a creek bed, and a running waterfall. Currently being developed is a pine lake designed to give the feeling of a High Sierra setting.


Film imaging facilities have existed at the lot from its earliest days, starting with the Process Lab, building which was adjacent to Inking and Painting. Through the years the building housed a motion picture laboratory, primarily employed for animation, and photo/visual effects facilities.
In the 1950s, as live-action films increasingly played a major role in the success of the studio, so did the inclusion of visual effects. Such memorable films as 20,000 LEAGUES UNDER THE SEA and DARBY O'GILL AND THE LITTLE PEOPLE began a tradition of combining complex optical effects with miniatures and matte paintings to create rich fantasy worlds on the screen. Throughout the 1960s and 1970s, the Process Lab, renamed Photo Effects and then Visual Effects, was home to the distinguished artists and technicians responsible for the effects seen in MARY POPPINS, THE ABSENT MINDED PROFESSOR, BLACKBEARD'S GHOST, BEDKNOBS AND BROOMSTICKS, PETE'S DRAGON, and TRON.

During the 1980s, the unit was named Buena Vista Visual Effects Group and expanded its facilities into the Camera building to include a motion-control stage. In 1990, the unit became Buena Vista Visual Effects (BVVE) and shifted rapidly to digital-imaging technologies. Rooms within the Camera building, which formerly housed multi-plane cameras used to shoot animation, were filled with computer equipment. BVVE transitioned to Buena Vista Imaging in 1996.

Today, Buena Vista Imaging occupies the Camera building, providing a full range of photo-optical and digital-imaging services, which include a black and white lab, digital workstations, film recorders and scanners, optical printers, and title graphics.

Post Production Sound
The Main Theater is a state-of-the-art digital sound dubbing and screening facility that was first used to mix the sound for FANTASIA. Sound mixers blend dialogue, music, and sound effects tracks to the various levels appropriate for a movie theater. The acoustics are designed to simulate a theater that is three-quarters full. Although the theater is empty during the mixing session, extra padding in the seats and specially designed walls absorb and reflect the sound. This helps the sound mixers to know what the final product will sound like when it is released to the public.

Stage A, situated next to the Main Theater, was originally used for scoring. For many years, the music for innumerable Disney movies and cartoons was recorded here. In 1985, the stage was converted to a dubbing stage and theater. Like the Main Theater, Stage A is an all-digital, state-of-the-art dubbing facility.

Stages B & C were designed to provide sound elements for the animated films. Because of the Studio location near the Burbank Airport, special priority was given to soundproofing with "building within a building" design for noise reduction.

Stage B is known as the dialogue stage, where character voices were recorded for many animated classics including ALICE IN WONDERLAND, LADY AND THE TRAMP, PETER PAN, and THE JUNGLE BOOK. The tradition continues today, as Stage B is still used for such recent films as ALADDIN, THE LION KING, BEAUTY AND THE BEAST, and THE HUNCHBACK OF NOTRE DAME. Today, that tradition continues not only on Disney films, but also with Pixar hits such as TOY STORY, BUGS LIFE, TOY STORY 2, and MONSTERS INC. Stage B accommodates Automatic Dialog Replacement (ADR), a process that allows the talent to re-record their dialogue. One such use is for scenes shot on location, where an talent's lines were destroyed by outside sound or noise, such as a plane flying over at the time of filming.

Stage C was originally used for the recording of various sound effects for the animated features and short subjects. Many of the unique sound-effects props and gadgets for these processes were invented by Disney technicians. Today, Stage C serves as a dubbing stage for film and television. It was recently renovated in 2001 and like the other stages it features an all-digital, state-of-the-art film console.


Pages: [1]