影视剧美术设计风格及其对影片的影响探析

影视剧的美术设计能够体现文化与艺术的双重魅力,其设计风格主要有戏剧性风格、民族性风格、纪实性和假定性风格等形式。影视剧美术设计风格对影片的影响主要表现在以下几个方面:增强造型美感,提升色彩及光影表现力,丰富艺术形象。     

中职服装设计教学中的问题及策略研究分析

随着经济的发展，人们对物质的要求也愈加增高，在服装上，对其质量和样式也有了更高的要求，然而服装设计是多数中职学校的重要课程，所以中职学校也更注重服装设计。本文主要讲述中职服装设计教学中的问题及策略研究分析。     

上旋高手4

对于上一期编辑部流行游戏中，没把同样天天鏖战本憔的ZHR写在里面一直令本人耿耿于怀（笑）。这款游戏我群信打过网球的玩家都对其真实性深有体会，2KSPORT游戏的特色就是这样，一如既往的真实．角色的每一个动懈都自然合理。在追求拟真的同时玩起来也不会觉得缺乏乐趣。     

杰科G5700真4K UHD蓝光播放机家庭影院必备之选

当下不少人对家庭影院的要求越来越高,普通的流媒体的数字资源以及传统的影片解码已经不足以满足对家庭影音有高需求的人群,而由于疫情,现在去影院那样的封闭环境是不安全的,而且影院也不能随时按自己的要求播片.所以今天就来介绍一款超硬核的家庭影院必备的真4K UHD蓝光播放机——杰科G5700.     

《枪神》

我们的最初目标是在《枪神》中真实地重现吴宇森式的影片风格，也希望玩家的游戏感受就像经历一部香港功夫大片一样。但更重要的是，我们希望他们能够在其中随心所欲地控制角色、“导演”剧情。如果玩家在不经意中把自己当成了大反派，就像吴字森经典之作《辣手神探》中的周润发一样，那么，我们就成功了!     

尽情虚构

说马良是一个迷恋于摄影虚构的摄影家并不为过。"摄影虚构",一个明显包含了矛盾的词组。一般认为,摄影似乎注定就与真实为伍,根本无法容忍虚构。但现在,随着摄影真实性神话的不断破产,随着数码技术的日新月异,摄影只能"写真"的这个既成形象的改变,也就成为题中应有之义。摄影不仅是一种描写客观"真实"(即使这个"真实"神话已经漏洞百出)的手段,也是一种表达主观的方式。而写"真"的摄影与虚构的影像表现之间的张     

双剑合璧 留下网络视频

最近常常在Google Video和YouTube上闲逛看影片，其中当然不乏一些有趣或是想收藏的影片，以前也用过VDownloader之类的下载软件，可是始终觉得太麻烦了．要是能够在线搞定这一切就好了。功夫不负有心人，还真让我找到了![编者按]     

浅析服装设计教学的大众定位

随着社会的发展和经济的腾飞,人们对服装的要求不仅仅局限于遮羞避寒的原始功能,而更多的关注其审美的功能,服装设计应运而生。文章通过探讨服装设计教学存在的问题,寻找服装设计教学的合理定位。文章认为,服装设计应当适应最广泛的消费者的需求,因此,服装设计的教学也应当有一个大众的定位。     

拼布艺术在现代服装设计中的应用研究

拼布艺术具有秩序美、肌理美、色彩美、工艺美和意境美等审美特征,将拼布艺术应用到服装设计中可以丰富服装设计的元素和表现形式。对服装风格的塑造具有重要作用。     

精彩Flash MTV增强播放器

在“Flash”横行互联网的今天，几乎每一个网站都用上了Flash制作的动画，真可谓“无处不闪”！网络上也有许多地方提供Flash制作的MTV动画，这些MTV载歌载舞，精彩的故事动画配上动人的音乐，无疑成为我等音乐爱好者青睐的对象。不过精彩的FlashMTV当然需要一个增强的播放器，现在我们就利用Authorware6.5来制作一个时尚的“FlashMTV增强播放器”。【设计思路】FlashMTV增强播放器功能描述：通过文件（File）菜单打开并播放指定的FlashMTV影片，尽情欣赏有声有色的动感MTV情节；播放过程中可随时控制FlashMTV影片，包括影片…     

浅析手绘在服饰中的应用

文章通过介绍手绘的发展、特点和运用全面阐述了手绘在服装设计中的装饰作用。手绘有着当代机器染织工艺不可替代的优点,它能根据每个人的不同喜好与要求进行选材造型,体现了服饰织物因人而异。当然,基于手绘服饰相对服装主体的从属性,其自由度是有限的。手绘的风格必须以服装的风格为主弦,必须考虑与之相关的物质或人文的因素。同时,手绘纺织品在显示独立个性和审美情趣上得到特殊的心理满足。     

流行文化影响下的动漫服装风格定位研究

本文对当前流行文化的特点及其影响下的动漫服装消费群体的特征进行归纳分析,提出动漫服装风格的定位方法及主要风格类型,为设计师提供理论指导,使他们能更有效的结合动漫设计和服装设计这两个不同学科领域的艺术表达形式,把动漫服装设计成既有服用功能,又兼具艺术性与观赏性的服装,使其成为需求文化的特殊商品,促进产业及产业间的发展融合。     

Visual Perception in Realistic Image Synthesis

Realism is often a primary goal in computer graphics imagery, and we strive to create images that are perceptually indistinguishable from an actual scene. Rendering systems can now closely approximate the physical distribution of light in an environment. However, physical accuracy does not guarantee that the displayed images will have authentic visual appearance. In recent years the emphasis in realistic image synthesis has begun to shift from the simulation of light in an environment to images that look as real as the physical environment they portray. In other words the computer image should be not only physically correct but also perceptually equivalent to the scene it represents. This implies aspects of the Human Visual System (HVS) must be considered if realism is required. Visual perception is employed in many different guises in graphics to achieve authenticity. Certain aspects of the visual system must be considered to identify the perceptual effects that a realistic rendering system must achieve in order to reproduce effectively a similar visual response to a real scene. This paper outlines the manner in which knowledge about visual perception is increasingly appearing in state‐of‐the‐art realistic image synthesis. After a brief overview of the HVS, this paper is organized into four sections, each exploring the use of perception in realistic image synthesis, each with slightly different emphasis and application. First, Tone Mapping Operators, which attempt to map the vast range of computed radiance values to the limited range of display values, are discussed. Then perception based image quality metrics, which aim to compare images on a perceptual rather than physical basis, are presented. These metrics can be used to evaluate, validate and compare imagery. Thirdly, perception driven rendering algorithms are described. These algorithms focus on embedding models of the HVS directly into global illumination computations in order to improve their efficiency. Finally, techniques for comparing computer graphics imagery against the real world scenes they represent are discussed.     

Hardware security platform for multicast communications

Secure multicast applications of multimedia contents, such as Internet TV, pay per view, satellite TV, etc., need to maintain a high number of keys. In these applications, a user contracts a group of channels or even specific content (films, sports, etc.) which do not have to coincide with the services contracted by other users, so different keys are needed to encrypt the contents. These keys must be recalculated, encrypted and redistributed when a user joins or unjoins a specific group in order to prevent users who do not belong to a group from being able to access the contents. Original algorithms generate only one group key for all users, so this key must be recalculated and resent when a user joins or unjoins in the user group. This is an important problem, because a group key could be changed even when one content is performing. This paper presents a high performance implementation of one of the most employed algorithms of group key maintenance, the LKH algorithm, using reconfigurable hardware and a very high and realistic number of users (8,388,609). The performance obtained by this study improves a lot other results found in the literature in terms of both performance and number of users.     

浅谈影视动画中的角色表演

动画(Animation)一词源自于拉丁文的字根anima,意为灵魂,所以我们可以把动画表演理解为一种为动画角色赋予"灵魂"的艺术,是动画艺术表现的重要载体。其实,动画电影和真人电影一样,也是通过动画"演员"的精彩表演而形成的一部完整影片,不论是电视剧、舞台剧,还是电影、动画片,如果没有演员和角色的精彩表演,即使场景设计、服装设计、音响效果、灯光色彩、以及后期剪辑等各个环节做得再好,也只能算是个缺乏灵魂、毫无生气的躯壳。     

面向服装结构设计的服装穿戴模拟系统

计算机辅助设计系统已广泛应用到服装结构设计中,然而,传统的服装结构设计基于二维平面图纸,具有设计效果不直观、设计连续性差等缺点。另外,计算机图形领域的服装穿戴模拟大多只能实现形态上的粗略模拟,缺乏精确性,不能满足工业的参数化要求。鉴于此,设计实现了一个面向服装结构设计的穿戴模拟系统。该系统以标准的图纸作为输入,获取其中的特征参数。由此构造的三维立体服装能较真实地反映出图纸的设计效果,提高了模拟的精确性。同时,该系统能快速地将服装穿戴到人体模型上,帮助设计者实现直观的、连续的设计。     

Computer‐aided staging

This paper describes the genesis and main functionalities of a real‐time animation system for designing multimedia scenes. Users can create a system of synchronized events and give a structured shape to the various parts of a performance. Much work has been done on the production of realistic synthetic movies, but little to support planning and pre‐production. This system addresses the requirements of those who have to plan, preview and evaluate the spatial and temporal arrangements of human figures with other media before their practical realization in a real or virtual environment. To define a user staging process which is general and valid for different kinds of users and different applications, we have analysed current staging methodologies used in the theatre, cinema and TV. Since these fields lack standard procedures, obtaining a good degree of generality and completeness entailed an iterative work of specification, prototyping and testing with the help of professionals from such fields. Unlike traditional systems which treat media in separate software, e.g. human body motion alone or speech alone, we consider the elements in the scene altogether according to the theatrical paradigm which is the basic framework for describing the design of a performance. Copyright © 1999 John Wiley & Sons, Ltd.     

面向影视动画的真实感三维人脸快速建模算法

针对影视动画领域,利用LS_5000型三维激光扫描仪,提出了一套真实感三维人脸快速建模算法。只需输入真实演员人脸的三维扫描点云和未定标的照片,以及极少的人工交互,即可生成虚拟演员真实感的三维人脸模型（包括几何模型、纹理模型和面向动画的可变模型）。实验结果表明,算法输出的模型简洁规范,可直接应用于实际的影视动画制作,提高了人脸模型建模效率。     

影视制作中HDRI技术的应用与研究

当前的影视创作中,电脑三维、模型、实拍多元素结合一张画面中来增强视觉感染力,在此创作中使画面看的更为真实,天衣无缝,是影视后期制作者一直在研究的内容。HDRI高动态环境贴图的制作是摹拟真实环境、电脑三维中物体质感体现重要的环节,是影视创作中画面真实与细腻重要的手段。     

On the performance of scalable video coding for VBR TV channels transport in multiple resolutions and qualities

Video broadcast operators target a variety of receiving devices of different resolutions and processing capabilities. In such a heterogeneous TV network, the transport resource consumption is likely to increase. In this paper we estimate the required transport capacity for a broadcast TV network taking into account parameters as currently proposed in standardization bodies. We target constant video quality, hence the TV channel has variable bit rate (VBR). We consider a multicast-based transport system where only the required versions of a TV channel are transported; this leads to fluctuation of the consumed transport capacity over time. The main focus in this paper is on the comparison of a simulcast and a scalable video coding (SVC) transport scheme in several realistic examples with different encoding modes, including spatial and/or quality scalability. To estimate the required transport capacity for simulcast and SVC, we use a comprehensive toolkit based on a Gaussian approximation of the capacity demand. In order to obtain realistic input values for our calculation tools, we characterize the fluctuations of the bit rate associated with a TV channel by encoding a representative set of video clips. Based on the considered realistic examples, we explore under what conditions either the simulcast or the SVC transport scheme is more efficient.