The individual photos were then composited together into this single image.
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Photo composited from images via Wikipedia Commons and Flickr user Bruce Guenter.
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Why the extremely non-technical video shot on green screen with stock backgrounds composited in?
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He then composited this footage on top of the the fiery ring and action figure footage.
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Back in the 1930s, it was done by filming two different sets of shots that were composited together.
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"[It's] multiple shots of the model composited together with a completed fabricated, digitally painted surrounding scene," he explains.
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In fact, he sees his style of digitally composited nudes as related to the techniques of these masters.
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Then he built the VFX in Cinema 4D, composited them in After Effects, and edited it all together in Premiere.
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It's a collection of fonts, images and layers of edits and other things taken in from other places, composited together.
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Once they're happy, we'll start receiving plates or shots that these designs need to be composited into and animated to.
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So the composite is not two images from the same night, but two images taken at different times and composited together.
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The four images are then composited into one frame, with supposedly better detail and color accuracy, without hampering the 42MP resolution.
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This includes the shadows of the performers, which had to be digitally composited, frame-by-frame, as characters moved through scenes.
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Director Rian Johnson used some practical hangar sets and an A-Wing fighter in the scene, around which animators composited their digital magic.
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Is he looking at a previsualization of what it will look like with the apes composited in, or is he just working with the actors?
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Finally, the images produced from both neural network training sessions are then composited together to create the best approximation of what the original image might be.
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The printer starts work on a mix of ingredients, which is composited based on an ever-growing, ever-evolving database of feedback from users like you.
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He composited half a dozen photos of deserts, lakes, broken mirrors, and a fish to create the illusion of a pristine lake that shattered upon hitting the shore.
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The fact that many effects and backgrounds can be rendered ahead of time and shot in-camera rather than composited in later saves a lot of time and money.
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After that, he scanned these back into the computer and composited them on Photoshop to form one continuous shape, which he again printed and modified with pencil and acrylic.
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This effect was achieved through a clever combination of a body double and extensive facial prosthetics composited into a single shot, according to an interview Cunningham did with The Hollywood Reporter.
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How you use the app, what you put into your library and listen to are all factors in how Chill (and the other two playlists, New Music and My Favorites) gets composited.
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Cue the Training MontageIn the film, Edwards gets whipped into Olympic shape in Germany, where he meets the fictionally composited character of Bronson Peary, a onetime great American skier played by Hugh Jackman.
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As you might have guessed, a lot of magic happens in Photoshop — everything needs to be composited together into a single image — but there's still a lot of work that's done by hand.
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Yang is basically attempting to gamify civic-mindedness—which has been likened by some to the Black Mirror episode "Nosedive," where every human interaction is numerically rated and composited into a personal score.
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The images from the cameras are then composited and processed together to create a single hologram that, when viewed through the screen on your phone or tablet, can be placed into your own physical environment.
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The latest observations, which were made on April 7th and 8th by New Horizons' Long Range Reconnaissance Imager and composited in the gif below, smash the spacecraft's own record for our closest encounter with a KBO.
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I'm glad you asked this question because of course, most people initially think that in this day and age of ubiquitous photoshop, that I probably photographed the animals and then composited in preexisting locations from somewhere else.
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It may take a few tries to get it just right and perfectly composited back into your original photo, but the results are so convincing you'll be rolling in likes and accolades once you post it to Facebook.
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The PEN F records video at up to 1080p full HD resolution and also shoots 4K timelapses (which are composited together into a video clip)— same as the OM-D E-M10 Mark II. The PEN F costs $1,199.99 for the body.
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Image © Nexus Interactive Arts Nexus have also created an experimental behind the scenes 360 VR video of the work, which we're premiering below, showing Forest Folk in situ along with showing it in the studio being composited and created which you can see by moving the camera around or looking behind you.
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Composited in their final form, as diptychs and triptychs, the series does that that thing that is all but impossible for a BDSM practitioner to verbally explain to the uninitiated: it shows how sexuality can be elevated to psychological and even spiritual levels using but a few objects, honest communication, and a willingness to play.
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High-end racecars' guts get exposed in Fabian Oefner's explosive latest work via Dubai's M.A.D. Gallery, a series called Disintegrating II. To create the physics-defying effects of the surreal explosions, Oefner individually photographed each nut, bolt, and spark plug that goes into one of these vehicles, then composited them into a photograph with the car's body.
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The individual drawings were composited into sequences using AfterEffects, and output as QuickTime files, which were then edited using Final Cut Pro.
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Carbon fibers are also composited with other materials, such as graphite, to form reinforced carbon-carbon composites, which have a very high heat tolerance.
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Also, because there can be other DirectX applications running alongside DWM on the DWM-managed desktop, they must be able to access the GPU in a shared manner, necessitating scheduling. Though this is true for Microsoft's implementation of a composited desktop under Windows Vista, on the other hand, a composited desktop need not theoretically require a new display driver model to work as expected. Successful implementations of composited desktops were done before Windows Vista on other platforms such as Quartz, Compiz, WindowFX. The approach Microsoft attempted was to try to make sure WDDM was a unified experience across different GPUs from multiple vendors by standardizing their features and performance.
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Whilst the series is mainly shot in at West London Film Studios, there were also some exterior shots and sequences filmed on location. The exterior of Justice City Police Department is filmed at the main entrance to the Dagenham Civic Centre on Rainham Road North, Dagenham Essex, with the JCPD sign above the door digitally composited to replace the crest above the doorway and a city skyline composited behind the building.
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These are printed and composited to create a single image. Handwritten text is added later by the artist and placed over the image. Gayeton has called his approach "flat films".
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Bert Yukich then composited them into the scene with the singer. He then added lighting effects to the practical water elements to give them the mirror-like texture of mercury.
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A separate scene, featuring a car hitting a green post was then filmed. The two separate images were then composited together. Producer Paul Rabwin later described the scene as "effective".
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Some films make heavy use of chroma key to add backgrounds that are constructed entirely using computer-generated imagery (CGI). Performances from different takes can be composited together, which allows actors to be filmed separately and then placed together in the same scene. Chroma key allows performers to appear to be in any location without leaving the studio. Advances in computer technology have simplified the incorporation of motion into composited shots, even when using handheld cameras.
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The final image is composited onto a single surface by coloring each pixel according to the color and transparency of the corresponding pixel in all streams. Internally, the EVR uses a mixer object for mixing the streams. It can also deinterlace the output and apply color correction, if required. The composited frame is handed off to a presenter object, which schedules them for rendering onto a Direct3D device, which it shares with the DWM and other applications using the device.
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Thus the "front buffer" may contain only the composite image seen on the screen, while there is a different "back buffer" for every window containing the non-composited image of the entire window contents.
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Once the user's footage has automatically been composited into a movie clip and rendered as an .mp4 file, it can be shared via social media, such as Facebook, YouTube, and Twitter, and by e-mail.
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The black-and-white video consists of footage from old B-grade horror, science fiction, and thriller films. The band members, performing in white face makeup with heavy dark eye shadow, are composited into the scenes.
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More commonly, composited backgrounds are combined with sets – both full-size and models – and vehicles, furniture, and other physical objects that enhance the realism of the composited visuals. "Sets" of almost unlimited size can be created digitally because compositing software can take the blue or green color at the edges of a backing screen and extend it to fill the rest of the frame outside it. That way, subjects recorded in modest areas can be placed in large virtual vistas. Most common, perhaps, are set extensions: digital additions to actual performing environments.
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0, where it became a re-parenting window manager to allow it to run in a non-composited mode. Even though stumpwm does not draw typical window decorations, it reparents windows in a parent frame to display outlines.
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Early in his career while at ILM, Nelson modeled, animated, lit and composited several shots for Terminator 2: Judgment Day (1991), including the iconic scene in which the shotgunned head of the chrome terminator splits open and reseals.
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The first day was shot during active production, and the second was shot on the weekend. The latter of the two made use of chroma keying, and when the two scenes were finished, they were composited in post-production.
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The TV show is a combination of full live action for the prologue and epilogue scenes in Great Aunt Lizzie's house, and live action filmed against green screen then composited with colour saturated 2½d illustrated backgrounds for the story world.
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Deep images can be composited like regular images. The depth component makes it easier to determine the layering order. Traditionally this had to be input by the user. Deep images have that information for themselves and need no user input.
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In North America, the animation was screened theatrically by Fathom Events on 14 November 2016 and aired on BBC America from 19 November 2016. For the 2020 re-release, the animation was re-composited and some sections were re-animated.
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Under X, how video is finally drawn depends largely on the X window manager in use. With properly installed drivers, and GPU hardware such as supported Intel, ATI, and nVidia chip sets, some window managers, called compositing window managers, allow windows to be separately processed and then rendered (or composited). This involves all windows being rendered to separate output buffers in memory first, and later combined to form a complete graphical interface. While in (video) memory, individual windows can be transformed separately, and accelerated video may be added at this stage using a texture filter, before the window is composited and drawn.
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They Fly at Çiron was designed and composited by Olav Martin Kvern; subsequent Incunabula titles were designed and composited by the multiple award-winning book designer, John D. Berry. After a long hiatus, the company became active and solicited subscription payments for a museum-quality edition of John Crowley's classic 1981 novel, Little, Big, featuring a thoroughly edited, corrected, and lightly revised text, over 300 reproductions from the art of Peter Milton, and a 10,000-word afterword by Harold Bloom. This edition, originally slated for publication in spring 2007, had not yet been published as of July 2020.
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Duality is a Star Wars fan film created by Mark Thomas and Dave Macomber that made its debut on the internet on February 10, 2001. It is one of the first fan films to exclusively use bluescreen footage composited onto virtual backgrounds.
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Multiple SIDosis, written by, directed by and starred Sid Laverents, features as many as twelve split-screen "copies" of Laverents playing various conventional and improvised instruments simultaneously. The separately-recorded performances of the various parts were overdubbed and visually composited to create the final piece.
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The studio boasts 130 specialized artists and technicians accompanied by experience in 2D, Traditional Cut Out, and Paperless Animation. ASI works primarily on long format 2D animation. A majority of the studio's projects involve work scopes that concern scene layouts, composited animations, storyboards, and designs.
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Additionally, complex multiplane shots giving a sense of depth were possible. Unlike the analog multiplane camera, the CAPS multiplane cameras were not limited by artwork size. Extensive camera movements never before seen were incorporated into the films. The final version of the sequence was composited and recorded onto film.
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Due to Zemeckis' dynamic camera moves, the animators had to confront the challenge of ensuring the characters were not "slipping and slipping all over the place." After rough animation was complete, it was run through the normal process of traditional animation until the cels were shot on the rostrum camera with no background. The animated footage was then sent to ILM for compositing, where technicians animated three lighting layers (shadows, highlights, and tone mattes) separately, to make the cartoon characters look three-dimensional and give the illusion of the characters being affected by the lighting on set. Finally, the lighting effects were optically composited on to the cartoon characters, who were, in turn, composited into the live-action footage.
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On 14 April 2019 the film was shown under the title Solyaris at the Barbican Centre in London (as part of the Stanislaw Lem on Film series within the Kinoteka festival of Polish film) with English subtitles commissioned for the screening that were composited over the film live by the translator.
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Armstrong was replaced by David Hayter in the role of Sean. The film was more well-received critically than its predecessor. The original film poster is commonly used as an example of deceptive advertising; the shot is composited to imply Hamill is the Guyver, rather than playing a supporting character.
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Prints are still being made from the composited camera negative. Usually such a print run is limited to a few prints. These are variously called "showprints", and are generally reserved for the producer and for exhibition in first-run engagements. Other exhibitors will almost always receive conventional prints made from internegatives.
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In addition, when they used white inlay, the glaze was intentionally composited to make cracks. Light was scattered by the small cracks. So degrees of color of the celadon depend on the location of view. Pattern such as clouds, cranes, and flowers were placed on edges to exploit crack patterns.
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20th Century Fox. In another scene in the episode, Homer shows his family an advertisement for his security company. In it, a monster is seen breaking into an elderly woman's house. When the woman screams, the screen freezes and Homer is composited to the screen, instructing the audience about SpringShield's telephone number.
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The reservoirs of the Midway- Sunset field are composited layers of mostly unconsolidated sandstones of late Miocene age, shallowly buried. The shallow burial depth and ideal nature of the sandstones make them almost perfectly suited for steam injection. As a result, the amount of oil that can be recovered has greatly increased.
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Alan Rickman voices the Caterpillar, who in this adaptation is named Absolem. (early draft of the film script, first started Feb. 2007) Rickman was filmed while recording his voice in a studio, but his face was not composited onto the character's face as originally planned. He appears five times in the movie.
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It features both CGI content and CGI characters composited into filmed live action sequences. The series' production framework sidesteps many of the labor and time intensive activities normally associated with animated content creation. Character animations are obtained via acted motion capture methods, with instrumented puppetry rigs being used for facial and other auxiliary animations.
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Some of the bridge scenes employ a shooting miniature of a bridge support, which was then composited in post-production over live footage of the real support; this is the bridge section that the "sixtopus" is seen clinging to in the final scene.Dalton, Tony. Ray Harryhausen: An Animated Life. London: Aurum, 2003, p. 73.
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Designer, Carol Winstead Wood worked on product placement (see below) to increase her budget enabling her to design & build more 'over scale' prop and set elements. The film was digitally composited on three Apple Mac computers, using After Image and Ultimate software, at Cundey's home before it was sent to the Dream Quest effects company for finessing.
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In the first image, a wide-angle view of Campbell River is shot for background use in the final result. In the second image, a lifecast of Cherry is positioned against a green screen and severed in pieces. In the third image, the first and second image are composited to be presented among the continuity of the film.
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The entire scene is painted on the glass, except for the area revealing the background where action is to take place. This area is left clear. Photographed through the glass, the live action is composited with the painted area. A classic example of a glass shot is the approach to Ashley Wilkes' plantation in Gone with the Wind.
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It was then edited by Randy Carter and composited with special effects by Stuart Scoon. The movie premiered on 16 August 2013 at the Fetish Convention, held in Tampa Bay and was put on sale on Amazon.com. In 2018, Cuti sold the Moonchild franchise to Nakoma DeMitro. The series is being rebooted with no known tentative release date.
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She was filmed moving away from the camera and the footage was reversed to create an inhuman movement. Her visage was composited with a skeletal model for the monstrous transformation. Freeman, Lacey and Kahler's death scenes were created using different models. A mold was made of Kahler's face for Dietrich; it was lined with bladders filled with air.
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Video files on the editing timeline must be composited with a line-21 VBI graphic layer known in the industry as a "blackmovie" with closed caption data. Alternately, video editors working with the DV25 and DV50 FireWire workflows must encode their DV .avi or .mov file with VAUX data which includes CEA-608 closed caption data.
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Students are said to have got the impression that he was creating teaching material on the spot and that they were witnessing the formation of something new. He was writing formulae on the table beautifully although they were composited from Greek, Latin or Gothic letters. He requested the same from students. They had to write distinctly.
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The XOR mask conforms to the bit depth specified in the BMP header and specifies the numerical color or palette value for each pixel. Together, the AND mask and XOR mask make for a non- transparent image representing an image with 1-bit transparency; they also allow for inversion of the background. The height for the image in the ICONDIRENTRY structure of the ICO/CUR file takes on that of the intended image dimensions (after the masks are composited), whereas the height in the BMP header takes on that of the two mask images combined (before they are composited). Therefore, the masks must each be of the same dimensions, and the height specified in the BMP header must be exactly twice the height specified in the ICONDIRENTRY structure.
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For the animation work, the storyboards were done digitally, but the character animation itself was hand-drawn on paper before each frame was scanned and digitally colored and composited into the backgrounds. Clark Kent/Superman was voiced by John Newton, who played the character in the first season of the 1988 Superboy TV series, while Lois Lane was voiced by his wife Jennifer.
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Digital images can be copied without quality loss. This means that multi-layer digital composites can easily be made. For example, models of a space station, a space ship, and a second space ship could be shot separately against blue screen, each "moving" differently. The individual shots could then be composited with one another, and finally with a star background.
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The filmmakers researched the film by traveling on The Canadian, north of Lake Superior, living on the train for two weeks, collecting stories. The stop motion animation took them more than five years. Critics lauded the film for its groundbreaking stop-motion animation techniques. Portrait artist Jason Walker created the technique of adding composited human eyes to the stop motion puppets.
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For quality and safety reasons, video transfers are almost always made from an interpositive. An internegative is a less desirable alternative. On rare occasions, the composited camera negative may be used for video transfers, but it will have to be carefully retimed for color/density. Where a color-reversal intermediate was used, a positive-to-positive color process could be achieved.
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Moviestorm has been used as a low-cost alternative for bands wanting to create animated videos. The first commercial band to do so was Vice Romania in November 2008. Their video to This Is It was created by Lucinda McNary of Two Moon Graphics in Kansas. Moviestorm footage was combined with a character filmed in DAZ3D and composited using greenscreen.
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Cinesite was in charge of the time travel shot featured in the film, which was over a minute long. The main action was filmed on a steadicam against bluescreen, and four minutes of background footage was shot separately. The background was then sped up and composited behind the main action. Two other plates of background footage were tiled together as the camera turned.
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The pelvis (hip) of Vancleavea, composited from multiple specimens. The pubis is reconstructed from that of its close relatives. As with other reptiles, each hip of Vancleavea is formed by three plate-like bones: the ilium (above the hip socket), the pubis (in front of the hip socket), and the ischium (behind the hip socket). The ilium of Vancleavea is particularly unusual.
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The visual effects in the film are a mixture of practical and digital. The fairies that appear in the film are actors composited into the film with some digital enhancements. According to actor Jason Isaacs, the filmmakers were impressed with actress Ludivine Sagnier's performance and decided to abandon their plans to make Tinker Bell entirely computer animated. The film also features a large, computer-generated crocodile.
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This artwork may have looked messy to the naked eye or to a modern consumer digital camera - covered in various pieces of paper attached with adhesive or wax and composited with white out, gouache, tape and blue pencil (non-reproducible) and red masking film, black or clay-based paint (reproducible as black) - but appeared perfectly uniform to the monochrome reproducing camera used for print reproduction.
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The video is set in the United Nations General Assembly room and directed by Joshua Atesh Litle. For filming, the UN allowed the cameramen special access in order to film the video. Sixty actors played UN delegates, changing their wardrobes five times. The various musicians were filmed at other locations and digitally composited into the front of the room by The Syndicate and Phoenix Editorial Designs.
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A matte of the scenes was cut and the scenes were composited. Due to the fact that the shot was an extended scene, Paul Rabwin later noted that the effects were "a little tricky" to get right; Rabwin noted that the shots' mattes had to cover the "little strands of hair" on Anderson's head, because missing the strands is what "gives [the effect] away".
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Conventional release prints, which are made from timed internegatives, usually contain black motor and changeover cue marks as the printing internegatives are "punched" and "inked" for this specific purpose. Showprints, being made from the composited camera negatives, which are never "punched" or "inked", have white motor and changeover cue marks as these marks are punched (or scribed) directly on the prints by hand, in the lab.
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Special effects artist Steve Gawley created the Ark's spirits. He suspended small robed puppets in a clouded water tank in front of a blue screen. They were shaken to create a natural movement that was composited into the live footage. A Lucasfilm receptionist, dressed in a long white robe, was suspended in the air in front of a blue screen for the close-up of the ghost.
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The video, directed by Big TV! (Andy Delaney and Monty Whitebloom) was shot during the week of July 8, 1991. Filming took place in two different locations with backgrounds for the video being shot in Hawaii, with Abdul and her backup dancers being filmed separately on a sound stage and later composited through blue screen. Abdul was unable to attend filming in Hawaii due to prior commitments.
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To achieve the piece's characteristic weathered look, three copies of the film stock (5245 Eastman EXR 50D and 5246 Kodak Vision 250D) were graded separately to emphasize the grain of the film and the earthen tones of the subjects. The three passes were then composited and reworked further in Inferno, an online visual effects system."Stella Artois, Doctor", The Moving Picture Company website. Retrieved 26 October 2008.
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It was the first ride film to predominantly use computer-generated imagery, with the characters created using traditional cel animation techniques and optically composited. This was the first of three simulator ride attractions to be built inside Soundstage 42 in Universal Studios Florida, followed by Jimmy Neutron's Nicktoon Blast and the current Despicable Me Minion Mayhem, as well as the first motion simulator at Universal Orlando Resort.
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Since artists typically painted over frames once they had been photographed, of the 65,000 produced during the course of the project only 1,000 survived. The film uses a form of rotoscoping. Production for the film began with a live-action cast filming against a green screen. After filming, editors composited Van Gogh paintings into scene backgrounds, and finally cut the film together as usual.
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From 1991 to 1994, Burbank Animation Studios utilized Australia's Unlimited Energee as its production facility. The shows were traditionally drawn but then digitally inked, painted, and composited to first Betamax and then Ampex cartridge recording systems, which allowed for some unusually detailed backgrounds, various digital FX, and infrequent 3D (sparingly used due to low budgets). In 1994 Burbank Animation Studios chose to switch production facilities to Colorland Studios of China.
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The cover artwork was designed by guitarist Joby J. Ford. The music video for "History's Stranglers" was directed by Mike Piscitelli. It depicts camcorder footage of a child's outdoor birthday party, with the band members' heads composited over some of the children's. The children engage in various activities such as playing on a playground and in an inflatable structure, receiving balloon models from a clown, and breaking a piñata.
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Swindler stories focused on elaborate deception for monetary gain. The most famous swindler stories collection is The Book of Swindles by Zhang Yingyu finished in Late Ming. The book is composited with 24 sub-categories of swindles, which covered merely all kinds of deception in Ming society. Zhang wrote the book for a manual of self-protection as well as an expert guide to the art of deception.
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The Stolen Airship (; ) is a 1966 live-action/animated film by Czech filmmaker Karel Zeman. The story is based loosely on Jules Verne's novels Two Years' Vacation and The Mysterious Island. The film in Art Nouveau style consists of live-action scenes, generally shot in black and white, as well as hand-drawn, stop motion, and cutout animation. Various live-action and animated elements are often composited into the same scene.
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Firehouse Tales was originally produced by Firehouse Productions, LLC as a 22-minute pilot, created and developed by animation producer Sidney J. Bailey and animation director Clark James. It was sold to Warner Bros. Television in 2004, which following their process, the program was redeveloped as a CG program composited over 2D backgrounds – 26 half hours were subsequently produced by Warner Bros. Animation and aired on Cartoon Network's Tickle-U worldwide.
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The crew could not touch any part of the cave's wall or floor, and were confined to a walkway. The production encountered several technical difficulties in working with the 3-D cameras in a documentary setting. At the time of production, 3-D films were typically shot on stages with heavy use of digital manipulation. Often, foreground and background elements would be shot separately and digitally composited into the finished shot.
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Then, the different heads were filmed against a green screen and composited. Various light effects were then interlaid to "make it look scary" and more "angelic". After watching a rough cut of the episode, Shiban and Spotnitz decided that they were "far from the end". Feeling that something was missing, the two decided to frame the happenings of the episode with two scenes featuring Scully in a church confessional.
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The final scene, featuring Burt's face superimposed onto the cityscape, was created by special effects supervisor Mat Beck. The only actual footage in the scene is a pull-back shot of the carnival that was filmed with the use of a crane. A CGI cityscape was then created that resembled Burt Reynolds' head. The two shots were composited together, and a blur effect was added to "[make] it sell".
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Chow was invited to sing the theme song "咖啡在等一個人" which was included in the movie soundtrack. Chow's first gospel album "HIM" was released on 18 December 2014. The album was produced by Chow and issued by Emperor Group Music and Linfair Record Limited. The English song "A Love Like This" was composited by Chow is about how her faiths changed her life.
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Another character, an animatronic parrot, appears in some scenes on the pirate ship. A complex harness was built to send the live-action actors rotating and gliding through the air for the flight sequences. They were then composited into the shots of London and Neverland, although they are sometimes replaced with computer-generated figures. One other aspect of bringing the story to life was the complex sword-fighting sequences, for which the actors were trained.
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The switch also led to increased production costs and a greater subdivision of the creative staff for Final Fantasy VII and subsequent 3D games in the series. Final Fantasy VIII, along with VII and IX, used pre- rendered backgrounds. Starting with Final Fantasy VIII, the series adopted a more photo-realistic look. Like Final Fantasy VII, full motion video (FMV) sequences would have video playing in the background, with the polygonal characters composited on top.
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The first CGI ship ever used in the Star Trek franchise was created by Dennis Blakey and Dorene Haver. It was 3D computer model of the "Runabout" shuttle for Star Trek: The Next Generation. Previously, Star Trek had exclusively used physical models, which at the time were composited by Adam Howard and Steve Scott at Digital Magic. VisionArt's 3D model of the Runabout was primarily used for the stretching effect when it jumped to warp.
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Fox and Lloyd were filmed against a reflective mylar blue screen set to match the car park's wet surface and composited into the trails of fire. Reflections of the actors were matte paintings filmed through a ripple glass to add texture. A stuntman in a dog suit portrays Doc's dog when in the moving car. It was suggested that the DeLorean emerges from the time slice in sections that slam into each preceding section.
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Monitors visible to the viewer were fed playback footage of the band performing 'as normal'. For the breakdown and coda, Manson removed her clothing (except her boots and gloves) and performed an invisible striptease, and then walked across the room towards a bathroom mirror displaying her composited reflection. The twist ending showed the invisible Manson urinating while standing up. Manson dyed her red hair to platinum blonde the night prior to the shoot.
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Yasumi and Overtoom were the film's animation-timing directors, concentrating on the sheets. The SpongeBob SquarePants Movie was animated at Rough Draft Studios in South Korea. The animators worked semi-digitally; pencil-drawn poses would be composited into layouts in Photoshop. Series writer and storyboard artist Erik Wiese left the show for a year to work on Samurai Jack and Danny Phantom, but returned to do storyboards and character layout for the film.
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Once dynamic braking had been defeated by the helper engineer's emergency brake application the enormous weight of the heavily loaded cars caused rapid acceleration that could not be resisted solely by mechanical braking. The train catapulted from the 35 mph curve next to Duffy Street, scattering locomotives and cars, as well as lading. It was composited by 4 EMD SD40T-2s, 2 EMD SD40-2s and 69 hopper cars loaded with trona.
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The film was shot by cinematographer Christian Ditlev Bruun and Heather Greer on two main cameras at 24 frames/second, as well as several other video formats for b-roll. The film was unconventionally color corrected and composited using several different types of software as well as in-camera adjustments creating a unique, photographic expression. Motion graphics, titles, and color grading as well as the official poster and website was designed by Christian D. Bruun.
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VCE's special effects were composited with the live-action reels through a two-headed optical printer to create the final print. Few optical effects were used in Conan the Barbarian. Milius professed ambivalence to fantasy elements, preferring a story that showcases accomplishments realized through one's own efforts without reliance on the supernatural. He also said that he followed the advice of Cobb and other production members on the matters of special effects.
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When new animated elements are composited back into the original live-action shot, they will appear in perfectly matched perspective and therefore appear seamless. As it is mostly software-based, match moving has become increasingly affordable as the cost of computer power has declined; it is now an established visual-effects tool and is even used in live television broadcasts as part of providing effects such as the yellow virtual down-line in American football.
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Crocadoo is an Australian animated series produced by Energee Entertainment and the Nine Network from 1996 to 1998. It follows the adventures of a group of blue crocodiles trying to protect their riverbank from a mad developer. CROCADOO was Energee Entertainment's first original series, its first season being digitally colored and composited with Apple computers running Adobe, Linker Systems and COSA software. First season's 3D backgrounds (Hotel, hotel interiors) were created using SGI Power Animator.
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There are some films (reversal film) that can go from positive to positive or negative to negative but are not used very often. Each time the original camera negative, the only image source, is run through the printing machine, there is a hazard that the film could be damaged. Printing release prints from the composited camera negative was common until about 1969. Thereafter, most printing was done from internegatives which were made from an interpositive.
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The process of combining a partially transparent color with its background ("compositing") is often ill- defined and the results may not be exactly the same in all cases. For example, where color correction is in use, should the colors be composited before or after color correction? This image shows the results of overlaying each of the above transparent PNG images on a background color of #6080A0. Note the gray fringes on the letters of the middle image.
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Following the resignation of Fairfax commentator Mike Carlton, The Daily Telegraph published a 2-page spread attacking Carlton and competing newspaper the Sydney Morning Herald. The spread included a composited image of Boston Marathon bombing victim James Costello, with Mr Carlton's face and wearing an Arab headdress. The photoshopped image portrayed Carlton 'escaping Gaza'. The image manipulation drew widespread criticism on social media, and forced the editor to apologise, saying he was unaware of the origin of the image.
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216 To create the floating hospital scene, footage shot on a small door set was composited with a CGI hospital. Initially, the scene used a straight flat "piece of cement" as the bottom of the building. The effects team tried adding a "big piece of earth" under the building, but Paul Rabwin felt it looked too much like The Little Prince, so the piece of earth was removed. The final result also removed the cement-like base.
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Separate footage of the rig exploding, created by combining actual shots of the rig with CGI, was then filmed, and the two shots were composited on top of one another.Hardy, 41:4541:59. The episode featured the penultimate appearance of the alien black oil; it would appear for a final time via flashback in the series finale. Visual effects for the black oil were created by combining molasses and chocolate syrup with computer-generated imagery (CGI) imagery.
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Because of the size of the Hall of Warriors, cinematographer Jonathan West used bleached muslin to hide fluorescent lamps in the window treatments. The bridge of the Bird of Prey was lit by overhead lights through patterned grids. One scene which featured over a hundred Klingons on scene was shot with only fifty extras. West used a split-screen effect filmed three times with a locked off camera each time which was then composited together in post effects.
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Sopor Aeternus has released promotional videos to accompany their music. Most videos are noticeably abstract, with several layers of footage composited to create a distinctly blurred effect. Deep the Eternal Forest received two versions: one with Varney in white robes, and the second with Varney in black robes. The first six listed here were included as part of the box set Like a Corpse Standing in Desperation, while In der Palästra was included on its own DVD single.
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The brothers' electric chairs were miniatures composited into footage of the seated, costumed actors. Distortion effects such as the ghosts being squeezed were created using completed effect shots that were rephotographed through mylar material that could be warped to affect the underlying image. For the scene in which Nunzio carries the prosecutor upside-down from the courtroom, a stuntwoman was hung upside down on a rail. Reitman wanted her to pass through the doorway while seeing above it.
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"A First Look", p. 27 All filming was done entirely in front of a blue screen, and the digitized information was later loaded into the Silicon Graphics computers, which synchronized the relative motion of computer-generated, three-dimensional background art. Next, the live action and the backgrounds were composited using advanced techniques controlled by Petro Vlahos's UltiMatte system. The computer imaging components made Phantasmagoria a very different experience for Maris than his usual film industry work.
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In 1994, Steve teamed with executive producer John Delmage. The resulting Freaky Stories pilot premiered during YTV's "Dark Night 3" Halloween block on October 28, 1995, and the series itself premiered as a one-hour special as part of "Dark Night 5" on October 24, 1997. While most episodes were finished on digibeta, the pilot was shot on film using traditional animation techniques but completed on video. The subsequent series was digitally inked, painted and composited.
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Strike focuses on Mike Sokolowski, a Ukrainian immigrant from Galicia who was killed by Royal Northwest Mounted Police on "Bloody Saturday", 21 June 1919. The account of his life is heavily fictionalized, and is character is composited with another Ukrainian-Canadian labourer. Sokolowski begins the play as an anti-Semite who loathes so-called Jewish Bolshevism, but learns better due in part to a romantic sub-plot involving his godson Stefan (originally Myron) and his Jewish neighbour Rebecca.
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This allowed the background behind him to be composited on an optical printer with footage from Fox Plaza, and footage of cannon-shot confetti that looked like falling bearer-bonds. Rickman had to fall backward onto the bag, something even stuntmen avoid to control their fall. Even so, McTiernan convinced Rickman by demonstrating the stunt himself and falling onto a pile of cardboard boxes. Rickman was told he would be dropped on a count of three.
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Each episode, the live-action greenscreen footage is keyed and composited over a virtual 3D set by members of the Pixel Corps. This process is explained in the "Road to 1080p" episodes. Starting in April 2007 with the release of MacBreak #65, "MacBreak Minutes" hosted by Merlin Mann and Kenji Kato began to appear along with full MacBreak episodes. MacBreak Minutes are short tips that consisted of an application or tool featured in a one- minute condensed video.
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The final product was taken from different performances by different actors to make them appear seamless and appropriate. The voice work by one actor could be composited over a different actor's physical performance for a specific outcome. The in-game animations were crafted similarly, using a combination of different motion capture performances. For the gameplay and animations, the team redid a lot of the work from previous games, wanting Grand Theft Auto IV to "feel next-generation".
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Arctor's house was located on Eric Circle in Southeast Austin. The previous tenants had left a month prior to filming and left the place in such a state that production designer Bruce Curtis had to make few modifications so that it looked like a run-down home. The filmmakers had looked at 60 houses before settling on this one. Linklater shot a lot of exteriors in Anaheim, California and then composited them into the Austin footage in post- production.
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Thus, rather than being a peer to the other "INT", geospatial intelligence might better be viewed as the unifying structure of the earth's natural and constructed features (including elevations and depths)—whether as individual layers in a GIS or as composited into a map or chart, imagery representations of the earth, AND, the presentation of the existence of data, information, and knowledge derived from analysis of IMINT, SIGINT, MASINT, HUMINT, and other intelligence sources and disciplines.
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The team would attempt to complete ten scenes to send to AKOM per week, which would be returned in a cleaned-up form after two weeks. Shots were then composited together at Film Roman out of necessity as the backgrounds relied on the 3-D. Most stereo elements for 3-D were picked out after shots were cleaned up, while others were manipulated in post-production with After Effects. The short was more costly than the average episode of the television show.
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Because of the distinctively industrial, workaday image of embossing tape, it has been common for designers to use images of embossing tape as lettering. The practice was particularly common during the 'grunge typography' graphic design period of the 1990s and 2000s, which often used composited images produced by computer. Embossing tape lettering has been used by bands such as Snow Patrol and The Libertines and poet Rick Holland; it may be intended to evoke labelling used to mark magnetic tapes.
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The drawings were composited by the optical crew for the finished effects. Also, in an interview on Predator Special Edition, actor Carl Weathers said many of the actors would secretly wake up as early as 3 a.m. to work out before the day's shooting, in order to look "pumped" during the scene. Weathers also stated that he would act as if his physique was naturally given to him, and would work out only after all the other actors were nowhere to be seen.
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Stewart, p.87 Despite the budget escalating to over $50 million, Disney moved forward on production because they were enthusiastic to work with Spielberg. VistaVision cameras installed with motion-control technology were used for the photography of the live-action scenes which would be composited with animation. Rubber mannequins of Roger Rabbit, Baby Herman, and the Toon Patrol would portray the animated characters during rehearsals to teach the actors where to look when acting with "open air and imaginative cartoon characters".
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All of the shots outside of the Jeep are entirely computer generated three-dimensional models. The actors were shot in vehicles similar to the ones in the film but the exterior shots of the vehicles, the jet, the highway, and background scenery in the movie are composited from still photographs and video applied to three-dimensional digital models. About 50% of the shots in the interior of the Jeep are digital effects.Savlov, Marc. "Wild Ride" The Austin Chronicle, March 2, 2001.
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Alternatively, back-faces may be rendered solid-filled, with their vertices translated along their vertex normals in a vertex shader. After drawing the outline, back-face culling is set back to normal to draw the shading and optional textures of the object. Finally, the image is composited via Z-buffering, as the back-faces always lie deeper in the scene than the front-faces. The result is that the object is drawn with a black outline and interior contour lines.
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The ray is clipped by the boundaries of the volume in order to save time. Then the ray is sampled at regular or adaptive intervals throughout the volume. The data is interpolated at each sample point, the transfer function applied to form an RGBA sample, the sample is composited onto the accumulated RGBA of the ray, and the process repeated until the ray exits the volume. The RGBA color is converted to an RGB color and deposited in the corresponding image pixel.
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The Alien is portrayed by both Woodruff Jr. in a suit and a rod puppet filmed against bluescreen and optically composited into the live-action footage, with the rods removed by rotoscoping. A mechanical alien head was also used for close- ups. The suit adapted the design used in Aliens so Woodruff could walk on all fours. Woodruff's head was contained in the neck of the suit, because the head was filled with animatronics to move the mouth of the Alien.
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He was the third keeper at 2006 UEFA European Under-19 Football Championship qualification, behind Andrea Consigli and Giacomo Bindi. Despite the team failed to qualify to the elite round in October, he played for the team as overage player in the friendlies from December 2005 to May 2006, which FIGC organised difference friendly for U-19 and Italy U-20 team but both team composited with players born 1987 (but also consist of other age group). He substituted Salvatore Sirigu and Consigli (twice) respectively.
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Sid Caesar's writer's room has been fictionally recreated many times. Neil Simon, one of the writers, memorialized it in his play Laughter on the 23rd Floor; it formed the centerpiece of the 1982 film My Favorite Year, and most famously, it was the office in which Rob Petrie worked in The Dick Van Dyke Show. Kallen and Selma Diamond, who were composited to make Rose Marie's character, Sally, were the only women writers on Your Show of Shows and Caesar's follow-up show, Caesar's Hour.
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The video, performed by Drew Colby, uses shadowgraphy or "hand shadow puppetry" to show two birds struggling to find food for their chicks. Colby used hand shadows to produce the images of birds, spiders and landscapes, which were there composited together digitally. Text at the end of the video explains that since 1966, the UK has lost over 40 million birds and that "time is running out to save the rest". The RSPB also created a subtitled video, highlighting the name of each bird as it sings.
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Screenshot of preset included in MilkDrop, a PC based music visualization software (version 1.04d, 2001) Music visualization or music visualisation, a feature found in electronic music visualizers and media player software, generates animated imagery based on a piece of music. The imagery is usually generated and rendered in real time and in a way synchronized with the music as it is played. Visualization techniques range from simple ones (e.g., a simulation of an oscilloscope display) to elaborate ones, which often include a number of composited effects.
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Feature detection is necessary to automatically find correspondences between images. Robust correspondences are required in order to estimate the necessary transformation to align an image with the image it is being composited on. Corners, blobs, Harris corners, and differences of Gaussians of Harris corners are good features since they are repeatable and distinct. One of the first operators for interest point detection was developed by Hans P. Moravec in 1977 for his research involving the automatic navigation of a robot through a clustered environment.
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Later in the film, a separate fragment of generic remarks by President Clinton, speaking about Saddam Hussein and Iraq at a different press conference in October 1994, was lifted out of context and inserted into Contact:The President's News Conference. William J. Clinton at The American Presidency Project, October 7, 1994. On July 14, 1997, three days after the film opened in the United States, Warner Bros. received a letter from White House Counsel Charles Ruff protesting against the use of Clinton's digitally-composited appearance.
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The slow links it was introduced to help were typically insecure, and RFB (VNC) over a secure shell connection -- which includes compression -- proved faster than LBX, and also provided session resumption. Finally, it was shown that greater speed improvements to X could be obtained for all networked environments with replacement of X's antiquated font system as part of the new composited graphics system, along with care and attention to application and widget toolkit design, particularly care to avoid network round trips and hence latency.
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While a few aliens would be rendered in CGI, most of them were constructed in person, filmed against a blue screen, and then composited with background footage of hand-crafted miniature film sets. The team eventually finished 24 alien characters and animations (12 new, and 12 returning), which required extensive personnel to engineer, program, film, and convert to digital video. The developers also added an isometric pseudo-3D view option to the combat screen. This led to aiming challenges that required more dynamic camera-movement.
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Animating an episode often took between three and five months alone. The animation was hand-drawn on paper, which was then digitally composited and painted with digital ink and paint. Executive producer Fred Seibert compared the show's animation style to that of Felix the Cat and various Max Fleischer cartoons, but said its world was equally inspired by "the world of videogames ". While the episodes were being handled in South Korea, the production crew in the United States worked on retakes, music scoring, and sound design.
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An image of Orion's Belt composited from digitized black-and-white photographic plates recorded through red and blue astronomical filters, with a computer synthesized green channel. The plates were taken using the Samuel Oschin Telescope between 1987 and 1991. Astrophotography, also known as astronomical imaging, is photography of astronomical objects, celestial events, and areas of the night sky. The first photograph of an astronomical object (the Moon) was taken in 1840, but it was not until the late 19th century that advances in technology allowed for detailed stellar photography.
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Taking several high resolution stills from those takes, he created three background plates. During a day of additional photography, both the supporting characters who would appear in the foreground and pairs of dancers who would appear in the middle ground were shot against a greenscreen. The visual effects supervisor then composited up to a dozen elements to create shots which appear to contain the bride, her bridesmaids and the young man and young woman characters in the midst of a ballroom full of dancing couples. A potential continuity error was fixed with visual effects.
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For "Brighton Rock", the climactic sequence of Baby Driver, DNEG enhanced footage with computer-generated shots for safety and damage control. First, to portray characters being pummeled by cars, the team filmed the accidents in stages. The footage was then composited into complete shots, lending a sense of realism and control. The shot of Buddy's stolen police car falling in the parking garage atrium from the top level required setting up a shorter, safer drop at another side of the garage with a crane, to comply with the owner's demands.
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Chief John Big Tree (born Isaac Johnny John, June 2, 1877 - July 6, 1967) was a member of the Seneca Nation and an actor who appeared in 59 films between 1915 and 1950. He was born in Buffalo, New York and died in Onondaga Indian Reservation, New York. His interment was also there. Big Tree claimed to be one of three Native American chiefs whose profiles were composited to make the portrait featured on the obverse of the United States' Indian Head nickel, designed by sculptor James Earle Fraser.
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Example of an RGBA image with translucent and transparent portions, composited over a checkerboard background RGBA stands for red green blue alpha. While it is sometimes described as a color space, it is actually the three-channel RGB color model supplemented with a fourth alpha channel. Alpha indicates how opaque each pixel is and allows an image to be combined over others using alpha compositing, with transparent areas and anti-aliasing of the edges of opaque regions. The term does not define what RGB color space is being used.
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ICAD provided a declarative language (IDL) using New Flavors (never converted to Common Lisp Object System (CLOS)) that supported a mechanism for relating parts (defpart) via a hierarchical set of relationships. Technically, the ICAD Defpart was a Lisp macro; the ICAD defpart list was a set of generic classes that can be instantiated with specific properties depending upon what was represented. This defpart list was extendible via composited parts that represented domain entities. Along with the part-subpart relations, ICAD supported generic relations via the object modeling abilities of Lisp.
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The tight schedule had an impact on the special effects quality. A scene where Marty's hand fades away as his future is altered was considered disappointing by Ralston. Fox was filmed separately from his hand and the two were composited together; because the hand was filmed with a wide-angle lens, it appeared larger than normal and had to be scaled down. Zemeckis wanted the fade to be subtle, but it resulted in a small circle of the hand fading away and there was no time to fix it.
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44 A separate plate used exploding water balloons shot at 1,000 frames per second; this high frame rate allowed for the use of slow motion. The layers were then composited into a single sequence, with the elements transitioning into 3D models of the characters and water after the initial collision.issue 3, page 65, The FX Factor, Alex Irvine Special effects were also a major aspect of production. For example, hydraulics were used in "The Magnificent Seven" to break the devil's trap on the ceiling, and required two takes to film.
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Just as the formula for the mix has changed several times over the years, so has the Aunt Jemima image. In 1968, the face of Aunt Jemima became a composited creation. She was slimmed down from her previous appearance, depicting a more “svelte” look, wearing a white collar, and geometric print "headband" still resembling her previous kerchief. In 1989, as she marked her 100th anniversary, her image was again updated, with all head-covering removed, revealing wavy, gray-streaked hair, gold-trimmed pearl earrings, and replacing her plain white collar with lace.
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The overload of layers and elements would cause the software to crash. The final episode was the result of multiple composited shots, stitched together: "They basically had to output it and then rotoscope over the top of it in order to get the final fixes in," Roiland said. There are subtle differences in several but not all duplicated shots. When the in-house animation unit for Rick and Morty would receive shots back from their international partner, Bardel Entertainment, they would attempt to edit shots further for more variety.
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Various debris was incorporated within the tentacles to give the creature a sense of weight and fast movement. The Alphas were given a definable head area to show their status as more sentient, while receiving a different color and a bigger size compared to the Mimic grunts. Cinesite created the mechanical Mimics used in the training areas, while MPC created the Omega in a digital environment into which the effects artists composited underwater footage filmed at Leavesden's water tank. Animators created digital versions of the battle suits, at times with the soldiers inside them.
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Concurrently an ink and paint system was written by Christine Chang, Jodi Slater and Ken Perlin for production. This early paint system would fill in color within character line borders, apply shadow, highlight and a blur to the color areas in order to produce an airbrush 2 1/2 D effect. The final painted characters and CG rendered backgrounds were digitally composited, color corrected and light scanned back onto film with a Celco camera for lab processing and delivery back to Disney. In 1984, MAGI opened an office in Los Angeles, California.
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Knight, p. 20 When the burning of the titular creature in the episode "Wendigo" was not sufficient using special effects, a wire-frame mannequin wrapped in steel wool was then burned, with the scene being composited into the original footage to draw out the wendigo's death. To make it appear that the Hook Man is invisible as he scrapes his hook along the wall for one of the scenes in "Hook Man", a wire was placed inside plaster walls and then pulled out; the wire later was digitally removed in post- production.Knight, p.
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It provides good data scaling and can provide good performance scaling, but it requires the intermediate images from processing nodes to be alpha composited to create the final image. As the image resolution grows, the alpha compositing overhead also grows. A load balancing scheme is also needed to maintain performance regardless of the viewing conditions. This can be achieved by over partitioning the object space and assigning multiple pieces to each processing unit in a random fashion, however this increases the number of alpha compositing stages required to create the final image.
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In the film Gladiator, for example, the arena and first tier seats of the Roman Colosseum were actually built, while the upper galleries (complete with moving spectators) were computer graphics, composited onto the image above the physical set. For motion pictures originally recorded on film, high-quality video conversions called "digital intermediates" enable compositing and other operations of computerized post production. Digital compositing is a type of matting, and one of four basic compositing methods. The others are physical compositing, multiple exposure, and background projection, a method which utilizes both front projection and rear projection.
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Film critic Kim Newman said the budget was "not expensive", with most of it used for special effects. Some special effects shots were the earliest taken for the picture. For example, shots with Randy Stewart were taken against a black velvet backdrop and then composited with shots of Williams on an enlarged living room set. Their movements were synchronized using negatives from the first exposed scene in the camera gate, with the opposite done for the other scene. Sound production began on May 31. An oversized dollhouse was built for Williams on Stage 28.
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Similar controls can be applied to animate an entire human-like model. Human image synthesis is technology that can be applied to make believable and even photorealistic renditionsPhysics-based muscle model for mouth shape control on IEEE Explore (requires membership)Realistic 3D facial animation in virtual space teleconferencing on IEEE Explore (requires membership) of human-likenesses, moving or still. It has effectively existed since the early 2000s. Many films using computer generated imagery have featured synthetic images of human-like characters digitally composited onto the real or other simulated film material.
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Starting from Windows 7, Canonical Display Driver no longer renders to the system memory copy when a WDDM 1.1/DXGI 1.1 compliant video driver is present. For applications using DirectX to write to a 3D surface, the DirectX implementation in Windows Vista uses WDDM to share the surface with DWM. DWM then uses the surface directly and maps it on to the window meshes. For Windows presentation foundation (WPF) applications (which are DirectX applications), the compositor renders to such shared surfaces which are then composited into the final desktop.
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MoviePlus provides non-linear, non-destructive editing of any compatible video format. It supports unlimited simultaneously composited video tracks; unlimited audio tracks; as well as standard ripple, roll, slip, slide, scrub, razor blade and time remapping edit functions. It comes with a range of dissolve, iris, distortion and basic 3D transitions and a range of video filters. MoviePlus, like all current NLE systems also has the ability to up-convert standard definition material to high definition as well as the ability to cross-convert video of differing frame rates.
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Google Earth's imagery is displayed on a digital globe, which displays the planet's surface using a single composited image from a far distance. After zooming in far enough, the imagery transitions into different imagery of the same area with finer detail, which varies in date and time from one area to the next. The imagery is retrieved from satellites or aircraft. Before the launch of NASA and the USGS's Landsat 8 satellite, Google relied partially on imagery from Landsat 7, which suffered from a hardware malfunction that left diagonal gaps in images.
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171–172 The missile silo used for the episode's climactic scene was incomplete when the scene was filmed, as the crew did not have enough time or money left to complete the set. The crew built the incomplete silo on a sound stage around a completed spacecraft prop, and were able to digitally extend the set with computer generated interiors to give the impression of a much larger silo. Exterior shots of the silo building were also enhanced digitally, with various buildings and machinery created with computer generated imagery and composited into the exterior shots.
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In addition to Beck and Crowded House, Sherrod has contributed to various musical recordings including writing music for Tracie Spencer with his brother Paul Sherrod and participating in the Beck-composited metal band Wounded Cougar. He has also produced and worked with groups such as NOFX, Macy Gray, Seiko Matsuda, Donna De Lory, and others. Sherrod is the drummer on the 1991 release of the Atlanta funk rock quint Follow for Now. On their debut and only CD Sherrod is the studio drummer on eleven of the twelve songs.
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Instead of working with the actors on set, Coppola directed while viewing video monitors in the "Silverfish" (nickname) Airstream trailer, outfitted with then state-of-the- art video editing equipment.The Electronic Cinema—special feature documentary from One From the Heart DVD, Fantoma Films/American Zoetrope, released January 27, 2004. Video feeds from the five stages at the Hollywood General Studios were fed into the trailer, which also included an off-line editing system, switcher, disk-based still store, and Ultimatte keyers. The setup allowed live and/or taped scenes to be composited with both full size and miniature sets.
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In post production, the shot was digitally divided in two; digital movement was added for each car and two separate background plates were composited to create the illusion of different taxi interiors. The film contains 117 visual effects shots, all of which are designed to be "invisible". When producer Kwesi Collision solicited bids from VFX houses, he received an initial estimated VFX budget of over $1 million, followed by a $400,000 "low budget" estimate. Collision decided to execute all of the effects himself, spending four months using Adobe After Effects and Shake to complete the necessary shots.
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Scenery left over from the filming of Tatooine scenes in Onk Jmel, Tunisia Multiple global locations were used for filming locations during the production of the Star Wars films to provide the setting for alien planets in the Star Wars Universe. Most locations were used to shoot principal photography with actors; more recently as digital filmmaking has become more common, some prequel trilogy locations were shot with no actors present and digitally composited into the films to provide a backdrop of a story setting. In addition to filming locations, a list of film studios is also included for reference.
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The Dutch actor Derek de Lint in a composited live-action scene from Tears of Steel that used VFX On October 2, 2011, the fourth open movie project, codenamed "Mango", was announced by the Blender Foundation. A team of artists assembled using an open call of community participation. It is the first Blender open movie to use live action as well as CG. Filming for Mango started on May 7, 2012, and the movie was released on September 26, 2012. As with the previous films, all footage, scenes and models were made available under a free content compliant Creative Commons license.
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O'Brien's protegé, Ray Harryhausen, who later worked with him on several films, stated that O'Brien's second wife noticed that there was so much of her husband in Kong. The backdrop of Skull Island seen when the Venture crew first arrive was painted on glass by matte painters Henry Hillinck, Mario Larrinaga and Byron C. Crabbé. The scene was then composited with separate bird elements and rear projected behind the ship and the actors. The background of the scenes in the jungle (a miniature set) were also painted on several layers of glass to convey the illusion of deep and dense jungle foliage.
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For the moment where it mimics Bud and Lindsey's faces, Ed Harris had eight of his facial expressions scanned while twelve of Mastrantonio's were scanned via software used to create computer-generated sculptures. The set was photographed from every angle and digitally recreated so that the pseudopod could be accurately composited into the live-action footage. The company spent six months to create 75 seconds of computer graphics needed for the creature. The film was to have opened on July 4, 1989, but its release was delayed for more than a month by production and special effects problems.
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The composited camera negative of Citizen Kane was destroyed in a New Jersey film laboratory fire in the 1970s. Subsequent prints were derived from a master positive (a fine-grain preservation element) made in the 1940s and originally intended for use in overseas distribution. Modern techniques were used to produce a pristine print for a 50th Anniversary theatrical reissue in 1991 which Paramount Pictures released for then-owner Turner Broadcasting System, which earned $1.6 million in North America. In 1955, RKO sold the American television rights to its film library, including Citizen Kane, to C&C; Television Corp.
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Currie did not inform National Geographic of these problems. On August 13, 1999, the team submitted a manuscript titled "A New Toothed Bird With a Dromaeosaur-like Tail" under the names of Stephen Czerkas, Currie, Rowe, and Xu, to the journal Nature in London. The paper mentions in two places, and includes a figure illustrating the point that, one of the legs and the tail are counterparts that were composited into the main slab. On August 20 Nature rejected the paper, indicating to the Czerkases that National Geographic had refused to delay publication, leaving too little time for peer review.
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Arcade system boards have been using specialized graphics circuits since the 1970s. In early video game hardware, the RAM for frame buffers was expensive, so video chips composited data together as the display was being scanned out on the monitor. A specialized barrel shifter circuit was used to help the CPU animate the framebuffer graphics for various 1970s arcade games from Midway and Taito, such as Gun Fight (1975), Sea Wolf (1976) and Space Invaders (1978). The Namco Galaxian arcade system in 1979 used specialized graphics hardware supporting RGB color, multi-colored sprites and tilemap backgrounds.
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Wood- engraved blocks could be used on conventional printing presses, which were going through rapid mechanical improvements during the first quarter of the 19th century. The blocks were made the same height as, and composited alongside, movable type in page layouts—so printers could produce thousands of copies of illustrated pages with almost no deterioration. The combination of this new wood engraving method and mechanized printing drove a rapid expansion of illustrations in the 19th century. Further, advances in stereotype let wood-engravings be reproduced onto metal, where they could be mass-produced for sale to printers.
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Virgin Interactive invested huge amounts of money into the game, which ended up costing in excess of US$8 million. In addition to Lloyd and Castellanata, the cast includes several well-known actors and voice actors such as Tim Curry, David Ogden Stiers and Jim Cummings. Toonstruck features scan-line compressed FMV that is composited with hand-drawn animated sequences produced by Burst, Nelvana and Rainbow Animation. Toonstruck was well received by gaming critics, who mostly praised the quality of the animation, puzzles and performances by Lloyd and Castellanata, although it was a financial disappointment for Virgin.
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Scanline VFX completed the reveal shots of the Helicarrier, from the moment Black Widow and Captain America arrive on the carrier deck to the point where it lifts off. Evil Eye Pictures composited digital backgrounds into shots filmed against a greenscreen for scenes taking place inside the Helicarrier. Colin Strause of Hydraulx said, "We did the opening ten minutes of the movie, other than the opening set-up in space" including Loki's arrival on Earth and subsequent escape from the S.H.I.E.L.D. base. Luma Pictures worked on shots featuring the Helicarrier's bridge and incorporated the graphic monitor displays that were developed by Cantina Creative.
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Although most modern animation has switched to hybrid methods such as the Cintiq, Regular Show has been described as "far more low-fi", and is animated traditionally by hand using paper which is then digitally composited and painted with digital ink and paint. Although Cintiqs were initially optioned to be used for the program, Quintel has stated that he has felt more comfortable working on paper, considering it to be more organic and more representative of each artist's individual style. Board artist Calvin Wong said, "the tools of the trade as being pencils, pens, white out and occasionally light boxes and electric erasers".
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To create the scene in which a huge number of insects swarm Scully's tent, popcorn and foam peanuts were blown by a large fan onto the soundstage; images of crickets were then digitally composited on top of the detritus during post-production. Over 50,000 dead crickets were also rented by the show and strewn about on the stage of the floor to further the effect. A large portion of the episode was based on the ancient astronaut theory, which proposes that intelligent extraterrestrial beings have visited Earth in antiquity or prehistory and made contact with humans.Hurwitz and Knowles, p. 169.
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Makeup artist Brian Penikas (Pirates of the Caribbean trilogy, Indiana Jones and the Kingdom of the Crystal Skull) fulfilled Baker's duties. The extended shooting schedule owed much to the fact that scenes where ghosts and human characters interacted had to be filmed twice; once with human characters acting on set, and then with the ghost characters acting against a blue screen. The two elements would later be digitally composited into one shot with the use of split screen photography. Such sequences required precise timing from the cast as they traded dialogue with characters who were merely blank air.
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Since the VG3D terminal was not able to calculate perspective internally, the portions of the animation showing the view along the trench had to be rendered on the host computer and then composited into the resulting frame. Each frame took about two minutes to create on the PDP-11/45 host, which then triggered the camera as before. The animation as a whole was expected to take a total of 12 hours to render, but it invariably crashed after about 30 minutes. Eventually, they gave up late on Saturday before the film had to be delivered on Monday.
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The show was an instant hit, and a second series twice as long as the first was commissioned the next year, closely followed by a third the year after that. By the time this third series finished, Child felt the dungeon format was getting too restrictive, and he needed something new. Because of this, the fourth series saw the introduction of many 'outdoor' scenes, filmed around places such as medieval castles across the UK, and composited into the blue room using the usual chromakey technique. This series also saw the introduction of the "Eye Shield", which acted as an 'eye' for the dungeoneer.
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It was discovered that in addition to the negative motion picture stocks commonly used on feature films, Lucas had also used Color Reversal Internegative (CRI) film, a reversal stock subsequently discontinued by Kodak. CRI proved to deteriorate faster than negative stocks did, although it theoretically was of higher quality, as it saved two generations (an interpositive followed by an internegative), where employed. Because of this, the entire composited negative had to be disassembled, and the CRI portions cleaned separately from the negative portions. Once the cleaning was complete, the film was scanned into the computer for restoration.
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For scenes set in the ship's engines, footage of the SS Jeremiah O'Briens engines were composited with miniature support frames, and actors shot against a greenscreen. In order to save money, the first-class lounge was a miniature set incorporated into a greenscreen backdrop behind the actors. The miniature of the Lounge would later be crushed to simulate the destruction of the room and a scale model of a First-Class corridor flooded with jets of water while the camera pans out. Unlike previous Titanic films, Cameron's retelling of the disaster showed the ship breaking into two pieces before sinking entirely.
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Matte paintings by Michael Pangrazio were composited into the filmed footage to create more elaborate backgrounds: these included the establishing shot of Marion's Nepalese bar and the warehouse where the Ark is later stored. Spielberg disliked the painting of the China Clipper plane as he did not think it looked real against the water they had filmed. Jones' attire—a leather jacket and khaki pants—was based on Humphrey Bogart's in The Treasure of the Sierra Madre (1948) and Charlton Heston in Secret of the Incas (1954). Costume designer Deborah Nadoolman Landis found Jones' hat in Bermans & Nathans, London.
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The new specimen also showed no sign of the nuchal crest, indicating that the crest inferred from the holotype specimen may be an artifact of taphonomic distortion. Numerous further specimens likely belonging to Microraptor have been uncovered, all from the Shangheshou Bed of the Jiufotang Formation in Liaoning, China. In fact, Microraptor is the most abundant non-avialan dinosaur fossil type found in this formation. In 2010, it was reported that there were over 300 undescribed specimens attributable to Microraptor or its close relatives among the collections of several Chinese museums, though many had been altered or composited by private fossil collectors.
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After a series of design revisions and reviews, these skeletal designs are then rendered as 3D models in Autodesk 3ds Max, employing a variety of animation and special effects techniques. The illustration team takes various screenshots of the 3D models once they have been completed, and the resulting images are enhanced by specialized artists in After Effects. The characters are composed in Illustrator using referential material, among them photos of models and actors in costume. Because Archer is produced using limited animation, characters are rendered as digital puppets, and not hand-drawn on paper and digitally composited for traditional cel animation.
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Rappertunie leaves Tatooine to continue his career after Jabba's death, but his knowledge of computer technology leads him to employment as an engineer for a manufacturer of MSE-6 droids. Rappertunie was an 0.3 meter (0.98 foot)-tall puppet digitally composited into new and existing footage of the film, and was nicknamed "Jedi Rapper" by the filmmakers during production. Rystáll Sant is a colorful female "near-human" singer and dancer from Coruscant. Her mother was human, and her father a Theelin, but Rystáll is orphaned as a small child without ever knowing them and she is taken in by Ortolan musicians.
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227 and also composited images shot in New Mexico and a blue sky to make it look more authentic. The painting of the quarry was achieved with a series of cranes, and required the permission of local environmental groups.Gradnitzer and Pittson, pp. 80–81 When early seasons of the show were re-released in 16:9 widescreen for home video and streaming services in 2016, this practical effect became noticeable as sections of gray, unpainted quarry were visible at the edges of the frame which would not have been viewable on 4:3 televisions at the time of the original broadcast.
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The DVD and Blu-ray Disc was released in the United States on May 29, 2012, with a rating of PG-13. The disc contains a 20-minute featurette which shows behind-the-scenes footage, with an explanation of how various shots or effects were achieved. For instance, producer Lorenzo explains how shots of the crowd were composited onto a green chroma keying carpet, laid down underneath the fake ledge used for shots recorded in-studio. For those who are visually impaired, a version of the film is included where a voiceover explains everything that is happening so that people with these visual ailments are still able to enjoy the film.
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While in hospital Len shows some compassion to Avram Klein (a Jewish militant who has been shot in the jaw having shot three British policemen),Klein is based in part on Dov Gruner . Gruner was executed on charges of "firing on policemen, and setting explosive charges with the intent of killing personnel on His Majesty's service". He had not himself actually shot anybody, although others who died at about the same time had. Gruner was hanged three months before the events of the Sergeants Affair; for this purpose in the character of Avram Klein the series has composited Gruner with the perpetrators of the Acre Prison Break.
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Many films using computer generated imagery have featured synthetic images of human-like characters digitally composited onto the real or other simulated film material. Towards the end of the 2010s deep learning artificial intelligence has been applied to synthesize images and video that look like humans, without need for human assistance, once the training phase has been completed, whereas the old school 7D-route required massive amounts of human work. The website This Person Does Not Exist showcases fully automated human image synthesis by endlessly generating images that look like facial portraits of human faces. The website was published in February 2019 by Phillip Wang.
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The video earned recognition from critics for its special effects: the floor appears to move while the rest of the room stays still. At some points, the camera tilts up or down to show the floor or ceiling for a few seconds, and when it returns to the central position, the scene has completely changed. Other scenes show a crow flying across the room, a cockroach on the floor, the couches bleeding and the other members of Jamiroquai in a corridor being blown away by wind. This became the second video released by Jamiroquai to be successfully done in one complete, albeit composited, shot; "Space Cowboy" was the first.
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It was used in the scene where Kong is shaking the sailors off the log, as well as the scene where Kong pushes the gates open. The Williams process did not use bipacking, but rather an optical printer, the first such device that synchronized a projector with a camera, so that several strips of film could be combined into a single composited image. Through the use of the optical printer, the special effects crew could film the foreground, the stop-motion animation, the live-action footage, and the background, and combine all of those elements into one single shot, eliminating the need to create the effects in the camera.Dyson, Jeremy. (1997).
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Some display systems support multiple background layers that can be scrolled independently in horizontal and vertical directions and composited on one another, simulating a multiplane camera. On such a display system, a game can produce parallax by simply changing each layer's position by a different amount in the same direction. Layers that move more quickly are perceived to be closer to the virtual camera. Layers can be placed in front of the playfield—the layer containing the objects with which the player interacts—for various reasons such as to provide increased dimension, obscure some of the action of the game, or distract the player.
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There were also weekly competitions, and many informational segments such as "Out There!" and "Astounding Squirt Facts". It was notable for Dunedin-based production company TaylorMade, and Animation Research Limited's (ARL) pioneering use of "live" motion capture, used in the 3D animation of the digital co-host Spike The Penguin. A performer was off camera in a special costume, making all the moves and vocal responses to the main host's comments, which played back in real time on a monitor for the crew, while all the motion was digitally recorded, which could then be applied to a fully rendered Spike, and composited into shot in post-production, ready for broadcast.
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Orwell originally wrote a preface complaining about British self-censorship and how the British people were suppressing criticism of the USSR, their World War II ally: Although the first edition allowed space for the preface, it was not included, and as of June 2009 most editions of the book have not included it. Secker and Warburg published the first edition of Animal Farm in 1945 without an introduction. However, the publisher had provided space for a preface in the author's proof composited from the manuscript. For reasons unknown, no preface was supplied, and the page numbers had to be renumbered at the last minute.
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The concept of Albie involves a small boy who keeps encountering exotic animals in his garden whose sole purpose seem to be to get him into trouble. This includes a herd of Welsh water buffalo on a mission to nick the bath from Albie's house, Geordie elephants obsessed with buns and a couple of Sahara-missing cockney camels living in the sand-pit. Albie's interaction with the animals is left open as to whether the occurrences are real or not. From a technical point of view, the show is noteworthy as the human characters and backgrounds were 2D, while the animals were all 3D CGI, with the two elements composited together.
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Four images of the same subject, removed from their original backgrounds and composited onto a new background Compositing is the process or technique of combining of visual elements from separate sources into single images, often to create the illusion that all those elements are parts of the same scene. Live-action shooting for compositing is variously called "chroma key", "blue screen", "green screen" and other names. Today, most, though not all, compositing is achieved through digital image manipulation. Pre-digital compositing techniques, however, go back as far as the trick films of Georges Méliès in the late 19th century, and some are still in use.
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WebGL (Web Graphics Library) is a JavaScript API for rendering interactive 2D and 3D graphics within any compatible web browser without the use of plug-ins. WebGL is fully integrated with other web standards, allowing GPU-accelerated usage of physics and image processing and effects as part of the web page canvas. WebGL elements can be mixed with other HTML elements and composited with other parts of the page or page background. WebGL programs consist of control code written in JavaScript and shader code that is written in OpenGL ES Shading Language (GLSL ES), a language similar to C or C++, and is executed on a computer's graphics processing unit (GPU).
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A frame from the "Beauty and the Beast" ballroom dance sequence. The background was animated using computer generated imagery which, when the traditionally animated characters are composited against it using Pixar's CAPS system, gives the illusion of a dollying film camera. Production of Beauty and the Beast was to be completed on a compressed timeline of two years rather than the traditional four-year Disney Feature Animation production schedule; this was due to the loss of production time spent developing the earlier Purdum version of the film. Most of the production was done at the main Feature Animation studio, housed in the Air Way facility in Glendale, California.
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It was built in eight-foot sections, with hinges allowing each section to be opened to film through. Ford and Connery were filmed against bluescreen; the sequence required their car to have a dirty windscreen, but to make the integration easier this was removed and later composited into the shot. Dust and shadows were animated onto shots of the plane miniature to make it appear as if it disturbed rocks and dirt before it exploded. Several hundred tim-birds were used in the background shots of the seagulls striking the other plane; for the closer shots, ILM dropped feather-coated crosses onto the camera.
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900 hand-cut images were composited onto a background to create the opening title sequence. Juno's opening title sequence, depicting a rotoscoped Juno walking through her town while drinking a bottle of SunnyD orange drink, was put together over 7–8 months by a small design studio, Shadowplay Studio, based in Los Angeles. Reitman had met the studio's co-founder Gareth Smith in Japan on the short film festival circuit where they each had shorts screening. Shadowplay created the opening title sequence for Reitman's previous film, Thank You for Smoking, and he contacted them again when he found out he was going to direct Juno.
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When some United States Air Force personnel were invited to view the reconstructed B-52 cockpit, they said that "it was absolutely correct, even to the little black box which was the CRM." It was so accurate that Kubrick was concerned about whether Adam's team had carried out all its research legally. In several shots of the B-52 flying over the polar ice en route to Russia, the shadow of the actual camera plane, a Boeing B-17 Flying Fortress, is visible on the icecap below. The B-52 was a scale model composited into the Arctic footage, which was sped up to create a sense of jet speed.
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Movable Type's features include the ability to host multiple weblogs and standalone content pages, manage files, user roles, templates, tags, categories, and trackback links. The application supports static page generation (in which files for each page are updated whenever the content of the site is changed), dynamic page generation (in which pages are composited from the underlying data as the browser requests them), or a combination of the two techniques. Movable Type optionally supports Lightweight Directory Access Protocol (LDAP) for user and group management and automatic blog provisioning. Movable Type is written in Perl, and supports storage of the weblog's content and associated data within MySQL natively.
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The negative is usually 2.66:1 or, in rare cases, 2.55:1 or 2.35:1. The sole purpose of the change to 2.39:1 and, later, to 2.40:1, was to better hide so-called "negative assembly" splices (splices employed in the composited camera negative. This was not a production change, rather it was a recommended projection change.) A Chilean film, Post Mortem, used anamorphic lenses with 16 mm film, to be projected at an ultra-widescreen 2.66:1 for a unique look. Super gauges – The full negative frame, including the area traditionally reserved for the sound track, is filmed using a wider gate.
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Office 2010 apps including Excel, PowerPoint, and Word support hardware accelerated graphics when installed on a machine with a DirectX 9.0c-compliant GPU that has at least 64 MB of video memory. Excel supports hardware accelerated chart drawing, and PowerPoint supports hardware accelerated animations, transitions, and video playback and effects; slideshow elements are now rendered as sprites, which are then composited with additional effects such as fades and wipes implemented using Pixel Shader 2.0. All Office 2010 apps support Direct3D hardware accelerated SmartArt and WordArt object and text rendering. Additionally, the background removal feature and image adjustments such as brightness and contrast are all accelerated when used on capable hardware.
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For the climactic race scene between Brian and Toretto, separate shots of both cars crossing the railroad and the train crossing the street were filmed, then composited together to give the illusion of the train narrowly missing the cars. A long steel rod was used as a ramp for Toretto's car to crash through the semi-truck and fly in mid-air. An alternate ending titled "More than Furious" was filmed, in which Tanner drops Brian off at the Toretto home, where he encounters Mia packing, intending to move away. Brian reveals that he resigned from the LAPD, who let him go quietly, and that he wants another chance with her.
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Meanwhile, Mulder's mental health begins to deteriorate, and a mysterious corpse is discovered on a New Mexico reservation. "Anasazi" is part of a three-episode storyline, with the plot carrying on in the third season episodes "The Blessing Way" and "Paper Clip". Series creator Chris Carter worked closely with series star David Duchovny, who shares a story credit with Carter for the episode. Because the series was filmed in Vancouver, the producers painted a disused quarry in Vancouver with of red paint and also composited in images shot in New Mexico and a blue sky in order to make the New Mexico rock quarry featured in the episode.
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However, this theory proved incorrect, and Vanessa Morley, who played the Samantha Mulder clones, was stung during filming. She kept quiet and did not react until the scene had finished filming, leading Spotnitz to call her "a trooper". The cold open for the episode, with multiple cloned boys, was achieved with motion control photography, allowing for two children to play all five of the clones; multiple takes were recorded with the boys in different positions, and with the camera controlled by a computer to follow exactly the same motions for each take, these could be seamlessly composited together. The episode title comes from the German word for "Master Race".
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Inherited from Final Cut Pro, Final Cut Express features RT Extreme, which allows previews of some video filters and transitions without rendering. Audio that is not in the native AIFF file format needs rendering before it can be played back. RT Extreme has three modes: 'Safe', for seeing multiple video layers at a quality that more or less guarantees a smooth playback; 'Unlimited', which allows the maximum number of composited video layers to be viewed at the same time; and 'Dynamic', which alternates between these settings depending on how many simultaneous video tracks are present. Frame dropping may result from using 'Unlimited' on low- resource machines.
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By compositing old negatives, Ho continued to produce new prints of scenes that have now vanished from modern Hong Kong. Many of the resulting composited prints were published for the first time in his final monograph A Hong Kong Memoir in 2014, following exhibits of the same title at Modernbook in summer 2011 and from December 2014 to January 2015. He died in San Jose on 19 June 2016 of pneumonia at the age of 84. Posthumously, thirty-two photographs taken in 1950s Hong Kong as well as related objects, including his Rolleiflex camera and an early book, Thoughts on Street Photography, were exhibited at Sotheby's Hong Kong gallery in the last half of June 2017.
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Hardware sprites are small bitmaps that can be positioned independently, composited together with the background on-the-fly by the video chip, so no actual modification of the frame buffer occurs. Sprite systems are more efficient for moving graphics, typically requiring 1/3 the memory cycles because only image data--not CPU instructions--need to be fetched, with the subsequent compositing happening on-chip. The downside of sprites is a limit of moving graphics per scanline, which can range from three (Atari 2600) to eight (Commodore 64 and Atari 8-bit family) to significantly higher for 16-bit arcade hardware and consoles, and the inability to update a permanent bitmap (making them unsuitable for general desktop GUI acceleration).
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The Computer Animation Production System (CAPS) was a digital ink and paint system used in animated feature films, the first at a major studio, designed to replace the expensive process of transferring animated drawings to cels using India ink or xerographic technology, and painting the reverse sides of the cels with gouache paint. Using CAPS, enclosed areas and lines could be easily colored in the digital computer environment using an unlimited palette. Transparent shading, blended colors, and other sophisticated techniques could be extensively used that were not previously available. The completed digital cels were composited over scanned background paintings and camera or pan movements were programmed into a computer exposure sheet simulating the actions of old style animation cameras.
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In 3D tracking, a process known as "calibration" derives the motion of the camera from the inverse-projection of the 2D paths, and from this a "reconstruction" process is used to recreate the photographed subject from the tracked data, and also any camera movement. This then allows an identical virtual camera to be moved in a 3D animation program, so that new animated elements can be composited back into the original live-action shot in perfectly matched perspective."Move for Move", by Audrey Doyle, Computer Graphics World, 9 September 2000 (retrieved 14 August 2012). In the 1990s, the technology progressed to the point that it became possible to include virtual stunt doubles.
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Die Hard 2 was the first film to use digitally composited live-action footage with a traditional matte painting that had been photographed and scanned into a computer. It was used for the last scene, which took place on a runway. One of the writers of the screenplay, Steven E. de Souza, later admitted in an interview for the book Action Speaks Louder: Violence, Spectacle, and the American Action Movie that the villains were based on America's "Central American" meddling, primarily the Iran–Contra affair.Action Speaks Louder: Violence, Spectacle, and the American Action Movie, page 165 Of the film's budget, Bruce Willis was paid $7.5 million for reprising his role for the film.
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Zellweger said that she had read a few of Beatrix Potter's stories growing up, but that she had never known anything about the woman herself. Noonan said that when growing up he had never read Beatrix Potter's stories, and that, "I was aware of her because of all that crockery with her characters on it." The film used animated versions of Beatrix Potter's characters and illustrations, which were composited into the live-action shots. According to Chris Knott (who had previously worked on Who Framed Roger Rabbit), VFX supervisor on the film for Passion Pictures, they were given access to collections of Potter's original work to help them recreate it for the animations.
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Vanlint worked closely with Scott to help construct the look and style of the film, utilizing in-camera lighting and working in conjunction with the art department to construct sets and lighting specifically to achieve Scott's intended imagery. He utilized large-format film stock and wide-angle camera lenses in order to capture the depth and detail of the set and lighting design, a key aspect in building the film's dark atmosphere. The film contained numerous visual effects shots utilizing scale models composited into rendered backgrounds. Vanlint's work on the film was critically acclaimed, and he earned nomination for a BSC Award for Best Cinematography. Vanlint served as cinematographer on the 1981 fantasy-adventure film Dragonslayer.
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In raster graphics, the lines of pixels in an image are typically composited and refreshed in top-to-bottom order with a slight delay (called the horizontal blanking interval) between drawing one line and drawing the next line. Games designed for older graphical chipsets—such as those of the third and fourth generations of video game consoles, those of dedicated TV games, or those of similar handheld systems—take advantage of the raster characteristics to create the illusion of more layers. Some display systems have only one layer. These include most of the classic 8-bit systems (such as the Commodore 64, Nintendo Entertainment System, Sega Master System, PC Engine/TurboGrafx-16 and original Game Boy).
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DirectShow 8 introduces the Video Mixing Renderer-7 (VMR-7) filter which uses DirectDraw 7 for video rendering, replacing the Overlay Mixer. VMR-7 can mix multiple streams and graphics with alpha blending, allowing applications to draw text (such as closed captions) and graphics (such as channel logos or UI buttons) over the video without flickering, and support compositing to implement custom effects and transitions.Video Mixing Renderer Filter 7 VMR-7 also supports source color keying, overlay surface management, frame-stepping and improved multiple-monitor support. VMR-7 features a "windowless mode" for applications to easily host video playback within any window and a "renderless playback mode" for applications to access the composited image before it is rendered.
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Directed by Syndrome, the video features Jibbs rapping the lyrics while he's moving around his old neighborhood. The video was shot entirely in a studio on green screen when the production company, Robot Films, lost the permit to shoot the video on the actual streets the night before the scheduled shoot. Everything from the ice cream truck, to the people running, was all simulated in a suburban St. Louis industrial park studio and composited in post-production at the Syndrome Los Angeles production facilities. To maintain the accuracy of Jibb's home neighborhood, James Larese of Syndrome visited the actual neighborhood and took an extensive series of still digital photographs which were added during post production.
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The footage was then played in reverse so the tentacle would appear to be grabbing at Aykroyd. The Van Horne scene combined the miniature river, matte paintings of the station, and a practical set for stairs leading to a tunnel. The scene in which Aykroyd, Ramis, and Hudson fall into the river was considered one of the most difficult effects to achieve; the actors were filmed falling from the Van Horne set, which was composited with the miniature river. Hudson's character being dragged away by the slime's current was filmed against a blue screen so he would appear in the river; his motion in the river had to be animated by hand against the river's natural movements.
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A program by Silicon Graphics was used to calculate the difference in lighting and color between the two types of footage, thereby speeding up the process of color correction. The footage was then composited and edited together with the animation by Burst's in-house animators. Richard Hare served as director of the live-action production. According to voice actor Dom DeLuise, the makeup and costume design for Lloyd was purposely done in a way that footage of his could be easily manipulated for the game; for instance, Lloyd's jacket costume had no buttons and his hair was combed right in the middle so that his likeness could be flipped right or left without being noticeable to players.
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Whitney developed a "paperless" animation process where animation drawn on paper was scanned into a computer to be colored and composited. He founded USAnimation in early 1992 with David Lipman as vice president and executive producer after he decided to use his technology to change how animation was produced. The animation industry was immediately receptive to this concept since digital capabilities were a powerful creative tool for the animation producer to improve the look of shows and do it more efficiently. USAnimation completed episodic projects such as Beavis and Butt-Head, The Ren & Stimpy Show and the first digitally colored episodes of The Simpsons, as well as commercial projects ranging from Lucky Charms cereal to Levi's jeans.
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Rushes was bought by Richard Branson in 1987 and sold to Liberty Livewire (rebranded Ascent Media Group) by the Virgin Group in 2000. The company famously posted Dire Straits' "Money for Nothing"; the first video ever to be played on MTV Europe and the launch advert for the Ford Puma featuring a composited late Steve McQueen. Rushes now post-produces commercials, pop-promos and feature film effects for worldwide audiences. The company was the first in the UK to acquire a Rank- Cintel URSA (replaced with a Thomson Spirit) and a C-Reality Telecine as well as being the first to adopt a Discreet (now an Autodesk subsidiary) Flame SGI based compositing suite.
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A game with pre-rendered backgrounds is forced to use fixed camera angles, and a game with pre-rendered video generally cannot reflect any changes the game's characters might have undergone during gameplay (such as wounds or customized clothing) without having an alternate version of the video stored. This is generally not feasible due to the large amount of space required to store pre-rendered assets of high quality. However, in some advanced implementations, such as in Final Fantasy VIII, real-time assets were composited with pre-rendered video, allowing dynamic backgrounds and changing camera angles. Another problem is that a game with pre-rendered lighting cannot easily change the state of the lighting in a convincing manner.
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This projection equipment is referred to as a rotoscope, developed by Polish-American animator Max Fleischer. This device was eventually replaced by computers, but the process is still called rotoscoping. In the visual effects industry, rotoscoping is the technique of manually creating a matte for an element on a live-action plate so it may be composited over another background."Through a 'Scanner' dazzlingly: Sci-fi brought to graphic life" USA TODAY, August 2, 2006 Wednesday, LIFE; Pg. 4D WebLink Chroma key is more often used for this, as it is faster and requires less work, however rotoscopy is still used on subjects that aren't in front of a green (or blue) screen, due to practical or economic reasons.
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The term is also used to describe an animation effect commonly used in music videos and, more frequently, title sequences. Brought to wide attention by the motion picture The Kid Stays in the Picture, an adaptation of film producer Robert Evans's memoir, it involves the layering and animating of two-dimensional pictures in three-dimensional space. Earlier examples of this technique include Liz Phair's music video "Down" (directed by Rodney Ascher) and "A Special Tree" (directed by musician Giorgio Moroder). On a larger scale, the 2018 movie In Saturn's Rings used over 7.5 million separate two-dimensional images, captured in space or by telescopes, which were composited and moved using multi-plane animation techniques.
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Scenes with the landed ship were shot in Bronson Canyon. Before filming, shots were plotted out with a styrofoam, "foam-core Voyager mockup for scale and perspective." Since the canyon could not provide enough space to show the entire landed ship, the Voyager set down with the forepart of the ship visible outside the mouth of the canyon against a matte painting backdrop. Visual effects supervisor Ronald B. Moore later admitted that the composited Voyager in the canyon was far too small with respect to the shooting location, though without any visible references for the audience, and by keeping the cast between the ship and camera, it was not obvious to anyone except the visual effects crew.
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The surface is read by the compositor and is composited to the desktop in video memory. Writing the output of GDI to system memory is not hardware accelerated, nor is conversion to the DirectX surface. When a GDI window is minimized, invisible or visible on the same monitor as a full screen DirectX application, by limitation of GDI, the GDI bitmap buffer is no longer received by the application when requesting a device context during painting or updating (this can sometimes be seen when a GDI operation copying from one window to another outputs black or empty regions instead of the expected window content). Thus, DWM uses the last bitmap rendered to the buffer before the application was minimized.
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Dunn resolved the situation by rephotographing Russell's close-ups with a tiny scrim inserted between the projector and camera, so as to soften the line of her cleavage. Dunn gained a technical Oscar (along with machinist Cecil Love) in 1944 for his work. Dunn continued to work at RKO after Howard Hughes bought the studio. After RKO had ceased to exist as a film production company, Dunn did the optical composites and title sequence for West Side Story (1961) and the elaborate fire-ladder sequence at the end of Stanley Kramer's It's a Mad, Mad, Mad, Mad World (1963), which required 21 different all-color elements to be composited into final images.
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Samples are usually core samples composited over the height of the mining bench.Amelunxen, P. et al: Use of geostatistics to generate an orebody hardness dataset and to quantify the relationship between sample spacing and the precision of the throughput estimate. Autogenous and Semi-Autogenous Grinding Technology 2001, Vancouver, Canada, 2006 For hardness parameters, the variogram often increases rapidly near the origin and can reach the sill at distances significantly smaller than the typical drill hole collar spacing. For this reason the incremental model precision due to additional test work is often simply a consequence of the central limit theorem, and secondary correlations are sought to increase the precision without incurring additional sampling and testing costs.
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In the 1990 action film Die Hard 2, John McClane ejects from the cockpit of a grounded Fairchild C-123 Provider for a parachute recovery just before terrorists destroy it. A full-scale fuselage mock-up, molded from a real Provider, was rigged with 3,000 bullet hits, each one drilled and loaded with a charge, tapped, and wired to discharge in sequence. Actual pyrotechnics work was done at Indian Dunes, California, with actor Bruce Willis' ejection composited into the shot later. The 1990 film Air America loosely recounted the exploits of the Central Intelligence Agency proprietary airline in Southeast Asia in the 1960s and early 1970s and featured Fairchild C-123K Providers leased from the Royal Thai Air Force.
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As with Super Bowl 50, the stadium was equipped for Intel freeD instant replay technology, using an array of 36 5K resolution cameras positioned around the stadium to enable 360-degree views of plays. Fox introduced a new feature utilizing the system known as Be the Player, which composited the various camera angles into a single view of a play from the point-of-view of a player on the field. Fox constructed a temporary, two-floor studio in Discovery Green, which originated pre-game coverage, and broadcasts of Fox Sports 1 studio programs during the week leading up to the game, such as Fox Sports Live with Jay and Dan, The Herd with Colin Cowherd, Skip and Shannon: Undisputed, NASCAR Race Hub, and UFC Tonight.
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Its campaigns included supporting Radio Caroline, a pirate radio station, selling the Labour Party newspaper in Dublin pubs, and it produced a regular newsletter mostly written by Brian O'Higgins, including articles on the June 1967 War in the Middle East, which was composited and hand printed on a small old press in O'Higgins' house in Dublin. It had the only stall at Liberty Hall, Dublin, at the Party's annual conference at which Brendan Corish announced that: "The Seventies will be Socialist". The stall, at the entrance to the conference, sold Corish Speaks (a collection of speeches on national affairs by Brendan Corish, edited and introduced by Proinsias Mac Aonghusa), pamphlets by James Connolly, and other publications. Its members assisted the Party during elections.
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For the two series in 2010, the show was moved back a day to Thursday (recorded on Wednesday), with the exception of the episode after the 2010 general election, but returned to the original setup the following year. Due to the COVID-19 pandemic, the 59th series was not recorded in a studio, but with the participants filmed from home and composited into a virtual set. Due to the extra editing time required, this series was also recorded on Wednesdays (although broadcast on Fridays). The 60th series returned to a studio, but with a reduced capacity audience split across the studio, another room and a virtual audience watching over the Internet, and the panellists shielded from each other by perspex screens.
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The album's artwork features the photo of the Manhattan skyline taken from the rooftop of 500 Fifth Avenue (5th Ave/W 42nd St). Some famous buildings can be seen here, for example the Empire State Building is seen in front and the former World Trade Center is seen in the back. To create the cover photo, the photographer captured the same frame every half an hour in 18 hours during the whole day's course; the photos were digitally composited into the final picture. All of the singles released from this album contained artwork that was based on the album artwork; the shot used for "Go Let It Out" can be seen above one of the buildings at the front, which depicts five men playing football.
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Software which incorporates a node based interface include Natron, Apple Shake, Blender, Blackmagic Fusion, and The Foundry's Nuke. Layer-based compositing represents each media object in a composite as a separate layer within a timeline, each with its own time bounds, effects, and keyframes. All the layers are stacked, one above the next, in any desired order; and the bottom layer is usually rendered as a base in the resultant image, with each higher layer being progressively rendered on top of the previously composited of layers, moving upward until all layers have been rendered into the final composite. Layer-based compositing is very well suited for rapid 2D and limited 3D effects such as in motion graphics, but becomes awkward for more complex composites entailing numerous layers.
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In June 2011 both Benedetti and Minesso returned to their mother clubs for the same price (50% rights for €1 million). Again, Chievo had a positive equity of €679,516 and player asset of €20,156,304, but composited with players such as Benedetti (€2M) and Alessandro Bassoli (€3 million, recently joined from Bologna) On Vicenza side, the club also swapped Tonelli with Cesena before the closure of 2010–11 financial year. As Minesso had a "value" of €2 million in accounting, Vicenza failed to find a new club to buy him (or it may have had to write-down the inflated value). Instead Minesso's loan was renewed on 16 July 2011 After Vicenza relegated, Minesso returned to the club and took part in pre-season.
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To pull off such effects as the living morph where the hardtail chopper ("Grace") comes alive to become the "Hell Cycle" Sony enlisted teams of animators, models, effects artists, lighters & "Flame" artists. The department supervisors for these teams at Imageworks included Kevin Hudson, Brian Steiner, JD Cowels, Marco Marenghi, Joe Spadaro, Joanie Karnowski, Vincent Serritella & Patrick Witting. Patrick's team bore the brunt of the work as they created the fire using a custom pipeline that automated the set up starting with Maya animated geometry driving Maya Fluids, imported into Houdini and then rendered & composited on top of the live action plates. Patrick and his team set up the fire process and much of the front end automation was set up by Scott Palleiko and Joe Spadaro.
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The Playhouse composited using multiple exposures to show nine copies of Buster Keaton on screen at once. An in-camera multiple exposure is made by recording on only one part of each film frame, rewinding the film to exactly the same start point, exposing a second part, and repeating the process as needed. The resulting negative is a composite of all the individual exposures. (By contrast, a "double exposure" records multiple images on the entire frame area, so that all are partially visible through one another.) Exposing one section at a time is made possible by enclosing the camera lens (or the whole camera) in a light-tight box fitted with maskable openings, each one corresponding to one of the action areas.
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The right to use the title was eventually won two weeks later. The production team moved to the Bonneville Salt Flats to film three scenes, then returned to California to film in various places around Los Angeles, including Hughes Aircraft where sets for the cable company and Area 51 interiors were constructed at a former aircraft plant. Sets for the latter included corridors containing windows that were covered with blue material. The filmmakers originally intended to use the chroma key technique to make it appear as if an activity was happening on the other side of the glass, but the composited images were not added to the final print because production designers decided the blue panels gave the sets a "clinical look".
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The crew was pushed to make the movements of the Alien as quick as possible to the point where they were barely in control, and this led to, according to Edlund, "the occasional serendipitous action that made the alien have a character." The ease of this setup allowed the crew to film 60–70 takes of a single scene. Hoping to give the destroyed Bishop a more complex look that could not be accomplished by simple make-up, the final product was done entirely through animatronics, while a playback of Lance Henriksen's voice played to guide Sigourney Weaver. Scenes of the Emergency Escape Vehicle were shot with a 3.5-foot miniature against a blue-screen and composited onto large scale traditional matte paintings of the planet's surface.
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The results are composited into a 360° Video in Video (ViV), such that a synchronized recording of the desktop, both browser and non browser related, is played (what the participants did), synchronized with a web cam recording of the participant in their home or workplace (what the participant said, who they are, and what is their context) playing simultaneously. The first recorded online focus group was led by Bruce Hall (President, Eureka! Inventing) and Doug Brownstone (Rutgers University), both marketers at Novartis Consumer Health at the time based in Summit, New Jersey. While at a conference in Scottsdale, Arizona in June, 1995 they led an online focus group on the Perdiem laxative brand which included ten women recruited from the brand's customer database.
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Moreover, neo-classical features (i.e. semi-circular arches) were carefully composited into the horse carriage entrance (porte cochere), and each viewing turret bore a simple romanesque oculus to let light onto its newel staircase, rather than a pointed or quatrefoil gothic window or an oculus whose aperture was in the gothic style. The concept of introducing classical elements into a gothic design had previously used in England only on rare occasions, such as for the Little Castle at Bolsover in Derbyshire, built after the Reformation, from 1612. It symbolised a connection with Romanesque- Gothic religious buildings of continental Europe, such as the monastic basilica of St. Procopius, Trebic, Czech Republic, where Jewish and Christian cultures co-existed; now a UNESCO World Heritage Site.
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In "Omega", Alpha attempts to recreate the same composite event that he experienced, imprinting Echo simultaneously with every single personality she has ever experienced except for Caroline- whom he separately imprints into a waitress whom he has kidnapped, with the intention of allowing the newly composited Echo to kill her. Instead of destroying her original personality, however, Echo attacks Alpha, saying that even with all of her personalities, not one of them is the one that truly belongs inside of her body, and that she is nothing more than an empty shell. She mentions at that time, all of her personalities totals up to thirty-eight. She later chooses to save her original "wedge" so that one day Caroline can be imprinted back within her body.
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For example, a sequence involving giant scorpions attacking a motorcycle was first attempted using full-scale scorpion props, but they did not work and the resulting footage was unacceptable. The solution was to use actual scorpions composited onto live action footage using the blue screen process in post-production. Another action sequence with giant cockroaches used a combination of live Madagascar hissing cockroaches and large numbers of rubber bugs which looked unconvincing onscreen, as the strings pulling mats covered in fake insects were plainly visible. To complicate matters, according to director Jack Smight in his memoir, studio chief Alan Ladd, Jr. redirected about a quarter of Damnation Alley's production budget as completion funds for George Lucas' lower-budgeted film, Star Wars.
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This shot was drained of color entirely, and was combined with a series of blurring and framing effects in post-production to further enhance the intended image—to create the impression of waking from a dream. A scene featuring multiple clones of the character Kurt Crawford was achieved with motion control photography, allowing actor David Lovgren to portray all of the clones—multiple takes were recorded with the actor in different positions within the scene, and by using a camera controlled by a computer to follow exactly the same motions for each take, these could be seamlessly composited together. Producer Paul Rabwin has noted that achieving these shots was difficult due to the mixture of green and blue light sources in the scene.
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Shrek was originally set up to be a live-action/CG animation hybrid with background plate miniature sets and the main characters composited into the scene as motion-captured computer graphics, using an ExpertVision Hires Falcon 10 camera system to capture and apply realistic human movement to the characters. A sizable crew was hired to run a test, and after a year and a half of R & D, the test was finally screened in May 1997. The results were not satisfactory, with Katzenberg stating "It looked terrible, it didn't work, it wasn't funny, and we didn't like it." The studio then turned to its production partners at Pacific Data Images (PDI), who began production with the studio in 1998 and helped Shrek get to its final, computer-animated look.
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There ended up being a total of about 450 CGI shots in the film, with an estimated 30 percent of the film's shots containing CG matte paintings. Spielberg initially wanted brushstrokes to be visible on the paintings for added consistency with the previous films, but decided against it. The script also required a non-deforested jungle for a chase scene, but this would have been unsafe and much CGI work was done to create the jungle action sequence. Visual effects supervisor Pablo Helman (who worked on Lucas' Star Wars: Episode I – The Phantom Menace and Star Wars: Episode II – Attack of the Clones as well as Spielberg's War of the Worlds and Munich) traveled to Brazil and Argentina to photograph elements that were composited into the final images.
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In 1975 a small group of artists and technicians (including Richard Edlund who was to receive two Academy Awards for his work), revived the long-dormant format to create the special effects shots for George Lucas's space epic Star Wars. A retooled VistaVision camera dubbed the Dykstraflex was used by the group (later called Industrial Light & Magic) in complex process shots. For more than two decades after this, VistaVision was often used as an originating and intermediate format for shooting special effects since a larger negative area compensates against the increased grain created when shots are optically composited. By the early 21st century computer-generated imagery, advanced film scanning, digital intermediate methods and film stocks with higher resolutions optimized for special effects work had together rendered VistaVision mostly obsolete even for special effects work.
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Petr Harmáček (known online by the alias "Harmy") had watched a dubbed version of the original cut of Star Wars at the age of six, and had then seen the Special Editions of The Empire Strikes Back and Return of the Jedi on their 1997 release. Although initially admiring them, he became disappointed when he learned how much the films had been changed retroactively; he argued that replacing the original effects with re-composited digital effects was "an act of cultural vandalism". A fan of the original trilogy, he had written his undergraduate thesis on their cultural impact. After seeing a trailer for Adywan's cut of The Empire Strikes Back, Harmáček was inspired to create a version of the film that "undid" the post-1977 changes and restored the theatrical releases in high-definition.
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Typically, these images are composited to form a single image with data covering a larger portion of the object's spatial frequencies when compared to using a fully closed condenser (which is also rarely used). Another technique, 4 Pi microscopy uses two opposing objectives to double the effective numerical aperture, effectively halving the diffraction limit, by collecting the forward and backward scattered light. When imaging a transparent sample, with a combination of incoherent or structured illumination, as well as collecting both forward, and backward scattered light it is possible to image the complete scattering sphere. Unlike methods relying on localization, such system are still limited by the diffraction limit of the illumination (condenser) and collection optics (objective), although in practice they can provide substantial resolution improvements compared to conventional methods.
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Tatian was a pupil of 2nd-century Christian convert, apologist, and philosopher Justin Martyr Tatian was an Assyrian who was a pupil of Justin Martyr in Rome, where, Justin says, the apomnemoneumata (recollections or memoirs) of the Apostles, the gospels, were read every Sunday. When Justin quotes the synoptic Gospels, he tends to do so in a harmonised form, and Helmut Koester and others conclude that Justin must have possessed a Greek harmony text of Matthew, Luke and Mark. If so, it is unclear how much Tatian may have borrowed from this previous author in determining his own narrative sequence of Gospel elements. It is equally unclear whether Tatian took the Syriac Gospel texts composited into his Diatessaron from a previous translation, or whether the translation was his own.
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The MEU supported the Iwo Jima Amphibious Ready Group's presence operations during 160 overt Bab al-Mandeb Strait transits. The MEU composited as a full Marine Air-Ground Task Force (MAGTF) 26 May 2014, and began their Pre-deployment Training Program for their 2015 deployment. During the PTP, the MEU took part in Realistic Urban Training (RUT), PHIBRON/MEU Integration (PMINT), ARG/MEU Exercise (ARG/MEU Ex), Composite Training Unit Exercise (COMPTUEX), and Bold Alligator 15 before setting sail on their deployment in the middle of December. The MEU entered the U.S. 6th Fleet on 20 December and the three ships of the Iwo Jima Amphibious Ready Group—USS Iwo Jima, USS New York, and —steamed into the Mediterranean, each conducting separate port visits in Italy, Spain, and Israel.
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The film was set out in a sequence of the year's seasons, which, Reitman said, "really resonated with me when I read it, because they mirror the three trimesters of Juno's pregnancy." Because filming took place over only 30 days, fake flora were used to give the impression of different seasons while other flora were edited in post- production. Brown leaves were composited onto a fake tree outside Juno's house and cherry blossom trees outside Leah's house were touched up in a lighter shade of pink to depict autumn; a fan was used to blow leaves around in some scenes as if the leaves were falling from trees. Fake flowers were used in front of Paulie's house at the end of the film to give the impression of summer.
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In the year 2001, Flash Film works worked on the Eddie Murphy science fiction film The Adventures of Pluto Nash, creating computer generated Moonscapes for the actors to walk through. For the Arnold Schwarzenegger action film Collateral Damage, Flash Film works was responsible for over 200 visual effects shots including creating CG Helicopters and debris, multiple rig and wire removal shots and several other types of shots as well. For the Andy Davis directed film, Holes, based on the book by Louis Sachar, William Mesa was the visual effects supervisor as well as the Second Unit Director. For the film Flash Film works created and animated 3D lizards, designed and composited the "God's Thumb" mountain range and added desert and holes to many shots as well as considerable additional work.
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To do this, both Jackson and Gregg had tracking dots applied to their face during filming for which the VFX team could anchor the "hand-crafted" facial features that were composited primarily in Autodesk Flame. Lola's team included 40 primary compositors with another 15–20 junior compositors, and created approximately 500 different VFX shots, of which 385 made it in the final cut of film. This was the first time Lola de-aged an actor without using a body double, as it would take too long to re- film all of Fury's scenes with the double. Trixster did initial development on the look of Danver's Binary powers, and contributed the majority of visual effects for Goose the Cat, including movements that were impossible for real- life cats to act.
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Cassiopeia A: a false color image composited of data from three sources. Red is infrared data from the Spitzer Space Telescope, orange is visible data from the Hubble Space Telescope, and blue and green are data from the Chandra X-ray Observatory. Regarding Cassiopea A SNR, it is believed that first light from the stellar explosion reached Earth approximately 300 years ago but there are no historical records of any sightings of the progenitor supernova, probably due to interstellar dust absorbing optical wavelength radiation before it reached Earth (although it is possible that it was recorded as a sixth magnitude star 3 Cassiopeiae by John Flamsteed on 16 August 1680). Possible explanations lean toward the idea that the source star was unusually massive and had previously ejected much of its outer layers.
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Developed for Disney by Pixar, which had grown into a commercial computer animation and technology development company, CAPS/ink & paint would become significant in allowing future Disney films to more seamlessly integrate computer-generated imagery and achieve higher production values with digital ink and paint and compositing techniques. The Little Mermaid was the first of a series of blockbusters that would be released over the next decade by Walt Disney Feature Animation, a period later designated by the term Disney Renaissance. Accompanied in theaters by the Mickey Mouse featurette The Prince and the Pauper, The Rescuers Down Under (1990) was Disney's first animated feature sequel and the studio's first film to be fully colored and composited via computer using the CAPS/ink & paint system. However, the film did not duplicate the success of The Little Mermaid.
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Fulldome refers to immersive dome-based video projection environments. The dome, horizontal or tilted, is filled with real-time (interactive) or pre- rendered (linear) computer animations, live capture images, or composited environments. Although the current technology emerged in the early-to-mid 1990s, fulldome environments have evolved from numerous influences, including immersive art and storytelling, with technological roots in domed architecture, planetariums, multi-projector film environments, flight simulation, and virtual reality. Initial approaches to moving fulldome imagery used wide-angle lenses, both 35 and 70 mm film, but the expense and ungainly nature of the film medium prevented much progress; furthermore, film formats such as Omnimax did not cover the full two pi steradians of the dome surface, leaving a section of the dome blank (though, due to seating arrangements, that part of the dome was not seen by most viewers).
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Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 1993"Compositing Multiple Pictures of the Same Scene", by Steve Mann, in IS&T;'s 46th Annual Conference, Cambridge, Massachusetts, May 9–14, 1993 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard. On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image) of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the space shuttle at night that were digitally composited with additional digital graphic elements.
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Some distance shots of ship were entirely CG. Yvaine required a star glow effect for more than eighty shots. Two of the witches required a signature magical effect, Lamia had a green fire effect created using a combination of particle animation and joint-driven soft body ribbons, and Sal had a black smoke effect, created by turning animated geometry into a target-driven fluid simulation. The age transformation of Lamia was achieve using composite of multiple motion control plates, including a pass in the full prosthetic makeup, the transformed youthful Lamia, and a pass where the hair was pulled through a dummy head, played in reverse to give the appearance of hair growing, composited and blended with a procedural glow effect. Twenty feet of The Wall was built on location as a practical effect and extended into the distance using digital painting.
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The puppets had separate parts for the upper and lower parts of the head that could be exchanged for different facial expressions, and the characters of Coraline could potentially exhibit over 208,000 facial expressions. Computer artists composited separately-shot elements together, or added elements of their own, which had to look handcrafted instead of computer-generated – for instance, the flames were done with traditional animation and painted digitally, and the fog was dry ice. At its peak, the film involved the efforts of 450 people, including from 30 to 35 animators and digital designers in the Digital Design Group (DDG), directed by Dan Casey, and more than 250 technicians and designers. One crew member, Althea Crome, was hired specifically to knit miniature sweaters and other clothing for the puppet characters, sometimes using knitting needles as thin as human hair.
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Karel Zeman, in explaining his process, elaborated on the same point: Much of this impression was created in-camera, thanks to the film's production design. Zeman's crew made and used hard rubber paint rollers to add engraving-like hatching to scenery and costumes. (In a review of the film, Pauline Kael noted that "there are more stripes, more patterns on the clothing, the decor, and on the image itself than a sane person can easily imagine".) To complete the effect, Zeman and his crew composited the film with various forms of animation, including traditional, cut-out, and stop-motion, along with miniature effects and matte paintings, all designed to keep the engraving style seamlessly consistent. Even stock footage clips of birds, sea waves, and other details were adapted for the effect by printing the film with lined filters and matted-in sky backgrounds.
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The modest Budget of Star Wars dictates that Blalack gather obsolete VistaVision optical composite equipment, modernize and debug each mechanical and optical component, devise methods to mass-produce 365 Visual Effects composites, design the Rotoscope Department, and hire and train the Optical Composite and Rotoscope crew. Blalack supervises the design and fabrication of the world's first and only aerial-image diffraction-limited VistaVision-to-35mm optical composite system. The Star Wars 365 VistaVision Visual Effects shots contain 1,250 original VistaVision color negative elements, from which are generated more than 10,000 RGB Black & White Color Separations, mattes and other intermediate VistaVision composite elements. All of these VistaVision Visual Effects composite elements are photographed and composited during the final seven months of the Star Wars production. At the Star Wars 40th anniversary, Blalack spoke to the assembled crew: “All of us changed the direction of filmmaking.
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Final Cut Pro provides non-linear, non-destructive editing of any QuickTime-compatible video format including DV, HDV, P2 MXF (DVCProHD), XDCAM (via plug-in), 2K, 4K, 5K, and 8K film formats and can import projects directly from iMovie for iOS and iPadOS. It supports a number of simultaneously composited video tracks (limited mainly by video form capability); unlimited audio tracks; multi-camera editing for combining video from multiple camera sources; 360º video editing support; as well as the standard ripple, roll, slip, slide, scrub, razor blade and time remapping edit functions. It comes with a range of video transitions and a range of video and audio filters such as keying tools, mattes and vocal de-poppers and de-essers. It also has multiple color correction tools including color wheels, sliders and curves, video scopes and a selection of generators, such as slugs, test cards, and noise.
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This resulted in huge improvements in speed and efficiency compared to the traditional cross- referencing of texts by eye. The idea built on earlier work such as Carl Pulfrich's blink comparator used to help identify the former planet Pluto, and Hinman's work analysing aerial photographs during World War II. Hinman used his device to compare the many slightly different impressions of the First Folio of William Shakespeare's works. The printing and bookbinding processes used in the time of Shakespeare often resulted in variations in the pages bound into the final books, and the collator enabled Hinman to describe the exact order in which the Folios had been composited and printed. He used the collator to compare 55 different copies of the First Folio held by the Folger Shakespeare Library, and subsequently wrote about his findings in Printing and Proof-reading of the First Folio of Shakespeare in 1963.
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In trying to track the huge amount work done at the 18 studios, Tippe hung stills of all the shots throughout the Feature Animation faction's hallways, with completed ones marked in red. Features about the film's production, including one from the official website, emphasized its state-of-the art computer technology when it came to its live-action/animation hybrid; "this film could have not been made two years ago," claimed Cervone in 1996. Due to its mixture of various art mediums as well as the "broad sense of humor and entertainment" unique to the Looney Tunes, animation director Bruce W. Smith considered Space Jam an important part of diversifying the animation industry. Space Jam broke the record for amount of composited shots in a featured film, "roughly 1,043" according to Tippe, as well as a record number of FX shots, with around 1,100 in a single 90-minute film; Independence Day (1996), released the same year, had 700 FX shots within two hours of screen time.
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The methods mentioned above describe the techniques of an animation process that originally depended on cels in its final stages, but painted cels are rare today as the computer moves into the animation studio, and the outline drawings are usually scanned into the computer and filled with digital paint instead of being transferred to cels and then colored by hand. The drawings are composited in a computer program on many transparent "layers" much the same way as they are with cels, and made into a sequence of images which may then be transferred onto film or converted to a digital video format. It is now also possible for animators to draw directly into a computer using a graphics tablet, Cintiq or a similar device, where the outline drawings are done in a similar manner as they would be on paper. The Goofy short How To Hook Up Your Home Theater (2007) represented Disney's first project based on the paperless technology available today.
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However, most modern movie film projection systems have the film loaded on a very large horizontally-oriented platter (often colloquially known as a "cakestand"), in which all the reels of a movie are spliced together into one large contiguous wind of film filling the platter. Studios and preservation libraries that allow their archival or other rare prints to be exhibited typically demand that a twin projection system still be used so that their prints are not cut up for assembly. Such newer platter-based projectors would eliminate the need for cue marks, but the marks are still present on modern-day motion picture projection prints, mainly for older theaters and studio screening rooms still using 2-projector setups, and also to aid the projectionist in identifying reel ends during the splicing together of the reels onto a platter in newer theaters. In past years, certainly up to the late 1960s, cue marks were applied to the composited camera original negative, but no longer.
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Cue marks are now applied to the printing internegative, only, and these marks appear to be black, because the mark is made on a negative image, suitable for release print making, only. However, for many films, particularly those for which Academy consideration is anticipated, a special kind of film print, known variously as a "Showprint" (a trademark) or an "EK" (a generic name, after Eastman Kodak), is indeed made directly from the composited camera original negative. In these cases, the cue marks are manually applied to the finished film prints, and these marks appear to be white, because the mark is made on a positive image suitable for direct projection. A typical print run of such "Showprints" or "EKs" might be about five prints, with one being intended for a Los Angeles engagement (required by the Academy for its consideration), possibly one for a New York engagement, possibly one for the producer, possibly one for the distributor, and one for archival purposes.
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4AD reissued No Other on November 8, 2019. As stated on 4AD's website, the original tapes were remastered at Abbey Road Studios, featuring a 5.1 surround mix of the album created for the first time. All the studio tapes were forensically worked on and mixed by the duo of Gene Clark aficionado Sid Griffin and producer John Wood; the extra tracks have not been edited or composited in any way, "allowing for everything to be heard exactly as it went down in the studio and before any overdubbing took place". The remastered reissue was released as a standard CD, vinyl LP, deluxe double-CD set, and an expansive super deluxe box set with three hybrid SACDs, one Blu- ray disc (featuring the documentary film The Byrd Who Flew Alone: The Making and Remaking of No Other, directed by Paul Kendall), a silver-colored LP with original replica poster, and a hardbound 80-page book featuring essays, photos, lyrics and liner notes.
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Author Oliver Grau in his book, Virtual Art: From Illusion to Immersion, notes that the creation of an artificial immersive virtual reality, arising as a result of technical exploitation of new inventions, is a long-standing human practice throughout the ages. Such environments as dioramas were made of composited images. The Two Ways of Life, a moralistic photo montage of Rejlanders own work, 1857-a choice between vice (at left) and virtue (at right) Robinson's Fading Away (1858) The first and most famous mid-Victorian photomontage (then called combination printing) was "The Two Ways of Life" (1857) by Oscar Rejlander, followed shortly thereafter by the images of photographer Henry Peach Robinson such as "Fading Away" (1858). These works actively set out to challenge the then-dominant painting and theatrical tableau vivants. Carnival, South End Exhibition Rink, Halifax, Nova Scotia, Canada, February 1899; The carefully prepared photomontage composite was a Notman specialty, each figure being photographed separately and then combined as a single image In late Victorian North America, William Notman of Montreal used photomontage to commemorate large social events which could not otherwise be captured on film.
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