Star Trek Wasn’t Wrong

21 04 2009

            We all, no matter who we are, or if we have ever watched, are aware that the phrase “Captain’s Log. Star date….” is one of the most iconic “Star Trek” lines. From its beginning, the show pushed the boundaries of reality. Though certainly not the first Science Fiction show set in space, it is certainly the most far-reaching. In part, this is because references to events in the show have come up in every other genre. For example, the teleportation scene in “Willy Wonka and the Chocolate Factory” where Ed TV is shrunken down and sent into the television is reminiscent of the ‘beaming’ method of traveling on and off the ship in the first “Star Trek” series. The obsession with “Star Trek” goes beyond referencing it, to the point of making it part of our everyday lives. Twenty-five years ago, the show’s creator, Gene Roddenberry, gave his support to Riverside, Iowa’s push to be included in Trek lore as the future birthplace of Captain James T. Kirk. The town celebrates his birthday every year at the local bar and hosts Trek Fest in the summer.

More influential though is that the show has predicted many modern day technologies, though not quite in the form they have taken. We have mobile phones with push-to-talk and speakerphone capability instead of handheld communicators. Where later “Star Trek” series used their badges as hands-free communicators, we have clip-on microphones for our cell phones. “Star Trek” ‘beamed’ people from one place to another. We can be in two places at once via streaming video feeds or real-time hologram transmissions. Instead of phasers, we have electric cattle prods and stun-guns, though thankfully there is no designated “Kill” setting. The show, throughout it various series, used computer technology to archive data, create interactive programming, guide the ship, and assess damage and threats. The real has followed, moving computing from mathematical calculations to being able to do everything shown in the show, except generate a force field. We can even use handheld and room-mounted devices for diagnosing medical problems as occurred during the series.

While scientists and developers have created a large number of items from the show. The holodeck can be considered the most elusive. Though we have recently developed holograms that can be programmed to move through space, essentially choreographing them around live actors and set pieces, we have not been able to achieve the tactile aspect that was found on the holodeck (and in the case of the Doctor from Voyager who existed only as a computer generated hologram). We have however created many things that separately simulate physical interaction with a virtual world. The first was the virtual reality suit. This get-up provided video-gamers with a sensation of being in the game. It does not, however, replicate the holodeck as it blocks out the other people around the user, replacing real people in one’s vicinity with virtual replicas of themselves. VR does, however, utilize an important tool in the potential creation of a holodeck, total immersion. By being fully surrounded by projected images, whether they be projected on the walls and floor around you, or sent to a head mounted display, the experience is more realistic. A more modern, and Trekkian, approach is the video wall with holograms used to create the illusion of other people and objects within the room. For the immersion to be realistic in this particular setup, the images must all be of very high quality, and taken so that the image on the wall is displayed seamlessly. Micoy has unveiled a new process that can create a seamless 3-dimensional video. By wearing a pair of 3-D glasses and sitting within a spherical dome, the brain can be tricked into thinking that you are moving through the space that was filmed/generated.

To move further, total immersion is not enough to replicate the holodeck. Something must be done to provide for tactile interaction with characters, other users connected via the Internet, and objects within the virtual physical space. Medical research is the place to find the answer. In this field, there has been a degree of success with electrode stimulation. Scientists have placed electrodes onto subjects, and by sending different electrical signals through them, have replicated sensations such as heat, cold, and pressure. With the electrode technology at its current state, it would be possible to create a body suit laced with electrodes and connected to the hologram software in such a way as to send different signals to different areas of the body as the user moved through physical space. It is even conceivable that at some point in the future, this technology could be adapted to utilize a single electrode, which by varying the signal, could tell the brain not only that there is heat, but that the right hand is experiencing that heat. This particular possibility still requires much research into the way in which the brain organizes information from different areas of the body.

However, biomedical research aside, by combining electronic stimulation, total video immersion, live-feed holograms, computer programming, and the internet, it is currently possible to create a tactile virtual environment in which individuals can move and interact with real individuals regardless of location, and computer generated characters.

 

Holodeck1

Holodeck

Video Wall

Electrode Stimulation

Holographic “Performance”

Riverside, Iowa





MoCap Paper

7 04 2009

Artists have always been fascinated by the study of motion. The study and replication of motion have made their way into all artistic mediums in styles ranging from realism to the abstract. Film and video have attained the most lifelike view of motion, in their ability to show a complete motion at all points within the range of the motion without the viewer having to fill in the gaps between images. Subsequently, video has begun to be used to attempt to capture motion for use in graphing the motion of a computer-generated character. It is this process that has been dubbed “Motion Capture”.


Motion “Capture” began as Motion Replication – we saw the way in which bodies moved and sought to approximate that movement in the way in which we drew. By creating images of bodies at various points in a movement and passing them quickly in front of the eye, via flip books and  analog or digital motion pictures, we were able to “capture” for review the way in which living beings moved and “transfer” their movement onto drawn characters

Now, as computing has become more developed, we are able to place markers on a person’s face and body, video tape their performance with special camera and lighting setups, and digitally trace the motion of the markers we have placed. The paths of these markers are then applied to  corresponding points in a wireframe image of a digital character, the wireframe covered with and attached “skin” (a pattern that when placed over a wireframe gives it the coloration and details present in the final rendering of the character. This method has become more lifelike as it has been further developed, however characters still tend to lack lifelike changes in the texture of their “skins” as certain movements are made, and the movements themselves are not always perfectly replicated because markers can only be placed so close and still be readable by the computer as independent points to follow.

One company (ImageMetrics) has surpassed the others working on motion capture by developing a software application that negates the need for markers to be laced on an actor’s face while a performance is being given for an animated character. this process also negates the need for anything more complex than a standard definition video camera and an evenly lit space. the software analyzes the motion of the speaker’s face, picking up on things like the direction of the actor’s eyes  and the crinkling of their nose, etc. All of this can then be mapped onto an animated character and tweaked in any animation program to fit in the scene properly.  

With the popularity of motion capture it is not unthinkable to assume that soon photo-real animation will be extended to full body movement.  This capability could even allow for live animals to be recorded as bases for the animation of animal-like characters.  without markers, such a process would be identical to working with an animal actor in a live action piece, and would provide animation paths without causing the animal any discomfort.  It is even possible that with enough time spent analyzing the captured motion, and applying it to bio-mechanical and engineering purposes, software could be developed that negates the need for actors in photo-real character animation.  Wireframes could be mapped with “bones” and “muscles” and be triggered to move on their own.  More immediately, however, previously captured footage of actors could be catalogued and data-based, allowing directors to pick the eye movement from one capture, a walk from another, and hand gestures from yet another.

 

YouTube – Image Metrics Emily CG Facial Animation is Too Real

YouTube – Real-Time Emily Demo

Image Metrics : Performance-Driven Facial Animation Solutions for the Digital World

San Francisco Bay Area Breaking News Video from KGO

Vicon | Applications | Life Sciences | Biomechanical Research

Vicon | Applications | Engineering

Vicon | Applications | Animation

Welcome To Captive Motion

THE FUTURE OF MOTION CAPTURE | Articles | Post Magazine

Animation – Wikipedia, the free encyclopedia





MoCap Research

24 03 2009

Motion Capture:

Motion “Capture” began as Motion Replication – we saw the way in which bodies moved and sought to approximate that movement in the way in which we drew. By creating images of bodies at various points in a movement and passing them quickly in front of the eye, via flip books and  analog or digital motion pictures, we were able to “capture” for review the way in which living beings moved and “transfer” their movement onto drawn characters

Now, as computing has become more developed, we are able to place markers on a person’s face and body, video tape their performance with special camera and lighting setups, and digitally trace the motion of the markers we have placed. The paths of these markers are then applied to  corresponding points in a wireframe image of a digital character, the wireframe covered with and attached “skin” (a pattern that when placed over a wireframe gives it the coloration and details present in the final rendering of the character. This method has become more lifelike as it has been further developed, however characters still tend to lack lifelike changes in the texture of their “skins” as certain movements are made, and the movements themselves are not always perfectly replicated because markers can only be placed so close and still be readable by the computer as independent points to follow.

One company (ImageMetrics) has surpassed the others working on motion capture by developing a software application that negates the need for markers to be laced on an actor’s face while a performance is being given for an animated character. this process also negates the need for anything more complex than a standard definition video camera and an evenly lit space. the software analyzes the motion of the speaker’s face, picking up on things like the direction of the actor’s eyes  and the crinkling of their nose, etc. All of this can then be mapped onto an animated character and tweaked in any animation program to fit in the scene properly.  

The Future – Projections:

Image Metrics’ software will be expanded to incorporate full body motion

WE WON”T NEED THE TALENT – can we eventually just say i want that style mouth movement, those types of eyes, etc. and copy and paste from a database or install the appropriate tendons and muscles thereby only relying on talent to provide more human audio? (please oh please let this one happen!)

 

YouTube – Image Metrics Emily CG Facial Animation is Too Real

YouTube – Real-Time Emily Demo

Image Metrics : Performance-Driven Facial Animation Solutions for the Digital World

San Francisco Bay Area Breaking News Video from KGO

Vicon | Applications | Life Sciences | Biomechanical Research

Vicon | Applications | Engineering

Vicon | Applications | Animation

Welcome To Captive Motion

THE FUTURE OF MOTION CAPTURE | Articles | Post Magazine

Animation – Wikipedia, the free encyclopedia

 





History of Paper

24 02 2009

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Laura Murphy

IMA 505

February 23, 2009

 

 

Changes in art and information accessibility happen all the time. The most important thing to understand is the reason why these changes are able to come about. As time goes on and people develop new technologies, or improve on old ones, for providing a substrate on which to put the art or data, the way in which that art or data is created changes. One of the most influential mediums in this position is paper. Paper allowed data to be transferred from rock and pelt substrates to a lightweight medium that could be transported easily. Throughout its history, paper has evolved into a number of forms that allow for even smoother transfers of information.

 

Paper can be traced back to approximately 3000 B.C. The earliest forms of paper, collectively known as tapas, are made via a very simple process. Typically, the inner bark of a paper mulberry, fig, or daphne tree is harvested. This bast is flattened into a fibrous layer and then dissolved into a pulp. A screen is then set into a frame and submerged in water, at which point pulp is poured over the screen until enough has been added to produce a single sheet of paper. The pulp is next spread evenly by hand and the screen in then lifted carefully out of the water. Once most of the water has dripped from the screen, it is placed in the sun or near a fire to dry completely. Finally, the sheet can be carefully peeled from the screen and smoothed by hand.

         This process was obviously time consuming as only one sheet could be produced per screen until the sheet before had dried, and finding fresh material for bast was not always easy. Early in the 2nd century A.D., rag based paper was developed in China. From this discovery, the Chinese were able to make colored papers, and papers which had built-in insect protection. They also developed the use of bamboo fibers as a basis for paper, separating the fibers for paper production using lye. This technique soon spread to Korea and Japan, where many papers are still made by hand from long uncut fibers, and quickly re-submerged numerous times to build up a high-quality multilayered paper which is beautifully textured.

         The process of papermaking spread quickly into Central Asia, and was soon adopted by Arabs who had conquered as far east as Samarkan. The Arabian process, due to the lack of available fibers appropriate for paper, mainly used rag as the raw material. Their process, however, was flawed in its use of materials from poorly designed preparation mills. However, regardless of the poor grade of the pulp, the use of reed screens allowed the Arabian process to produce thinner sheets of paper that could be starched, providing a good writing surface.

         This paper and the secrets of its production were exported to Europe, mainly Italy. By the 13th century, Italian papermakers had begun to look into ways to improve the raw material used in the Arabian process as they made their own papers. The Italians, in doing this, developed the use of water power, the stamping mill (which was derived from those used in textile production, the wire mesh mould, the paper press, and the process of drying sheets on ropes.

         By the 14th century the mill-based papermaking system had been developed in Germany. Over the next 2 centuries this system would spread throughout Europe. This system housed all phases of papermaking, from the generation of raw materials to the finished sheet. Teams worked around a vat, with a different member adding more raw material, filling the screen, taking and transferring the sheet to a piece of felt, and peeling the damp sheet from the felt. The team would work the paper press together, and could produce as many as nine reams in a single thirteen hour working day.

         During this time, due to many business failures in papermaking shops, paper merchants took control of many of the paper mills, leasing the workspace to master papermakers. Additionally trends in bookmaking and the common practice of requiring bookmakers to pay for the cost of producing a book before sales revenues came in, led to publishers often being indebted to papermakers.

         The 17th century saw two new methods for smoothing paper after it was made. The smoothing hammer and the later hollander both caused stirs in the paper making community as each had it’s own camp that did not approve of the other’s method, and the traditionalist hand-smoothers did not agree with either group. In all cases, the feelings of disdain for the other methods were mutual.

         The rising demand for paper, spurred on by the introduction of moveable type printing to Europe, created a shortage of raw materials. Regulations on rag trade were introduced and alternatives like straw were tried, but found to be lacking in quality. Though the 18th century introduced basic papermaking machines, some of which used a rolling mesh to deposit a continuous sheet of paper onto a continuous felt, the problem of finding quality raw material was not solved until the mid 19th century with the inventions of ground wood and chemical pulps.

 

         Paper’s role in the present day has largely been influenced by its mechanization. Throughout the 19th and 20th centuries, various new machines and improvements on old machines have allowed paper making to eventually reach a fully automated state. Paper production also changed from primarily rag based to groundwood and chemical pulp based processes.

The automation of papermaking allowed for the production speed of paper to be 100 times faster in 1930 than it was only 100 years earlier. Machines have also allowed for more consistency in paper grades, and thereby a weight rating system has been established. In this way a consumer can be assured that a paper with a particular weight rating made by one company is comparable to a paper with the same weight rating made by another company.

Mechanization of paper production has also allowed for new types of paper to be produced, for example lightweight coated papers. This category of paper includes carbon paper, transfer paper, heat sensitive printer paper, and even photographic papers. These types of papers provide for ease of use in many situations. Carbon and transfer paper, once popular for duplication in a typewriter, are now found mostly in art, sewing, and stacked form/receipt usages. Heat sensitive printer papers are popular in retail establishments as they prevent the clerk from having to fuss with messy toner cartridges in between customers. The paper turns color wherever it is exposed to heat, allowing for inkless printing of register receipts. Photographic paper has not necessarily been created through mechanization of papermaking, but improved. Higher levels of consistency between sheets of light sensitive paper allow for photo developers to better gauge the exposure time for each negative they print.

 

The future of paper is rather controversial. Many believe that paper will be replaced by technology. However, with the current speed at which technologies are becoming antiquated many believe that paper will live on because of technology.

There seems to be no question that there will always be a place for paper in the arts. It is a popular substrate, in many of its forms, for paintings, sketches, and mixed media artworks. It is in business and printing where the controversy reigns. Proponents of a paperless society are confident that technology will be able to wipe out the need for paper in these fields. Publishing books online will greatly reduce the cost of publishing, allowing for greater potential returns, and books that publishers once would have chosen to forgo in favor of something with a larger potential audience may receive the publisher’s stamp of approval. Annual updates to encyclopedias would not only be much more cost efficient, but could become semiannual, or even monthly updates as new information is gathered. Businesses could keep all of their documentation in digital form, and with the appropriate accessories for their computers, even fill out forms by hand through a tablet or touch screen monitor, eliminating the need for physical paperwork to be generated.

The other side of the argument sees the need for paper as a back-up copy. They note the speed of technological changes as a reason to continue to resort to paper files. Technologies today are outdated by newer and more interactive technologies often before consumers have had a chance to get used to the older technologies. So many new technologies and improvements on older technologies leads to difficulties in upgrading. It is not always possible to carry over documents in older formats to newer ones. By keeping a paper file as backup, a user does not have to worry about file compatibility, they need only scan or photograph the paper document and re-save it, not necessarily as an image, but as text again with the help of text recognition software. Additionally, there is research being done to improve paper-packaging materials by making them biosensitive, allowing packages to detect microbes and changes in the chemicals exuded by foods as they go bad.

 

http://www.paperonline.org/history/history_frame.html

 

http://www.sfbg.com/printable_entry.php?entry_id=3930

 

http://www.bioactivepaper.ca/

 

http://www.vtt.fi/?lang=en

 

Read the rest of this entry »








Follow

Get every new post delivered to your Inbox.