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Entertainment

Engineering

CHANGE AND GROWTH

VOLUME 10 ISSUE 3 Persun & Wiebusch, Inc.

Publishers/Editors: Terry Persun

P: 360-379-6885

E: terry@entertainmentengineering.com Bruce Wiebusch P: 440-503-3013

E: bruce@entertainmentengineering.com

Design & Production: Verv Creative www.vervcreative.com

Editorial Contributors: Dan Cook, Ph.D.,

Program Coordinator, Entertainment Engineering and Design, UNLV

Gerald Braude S. Korobeinik

Richard Mandel Mark Persun

Editorial Board:

Greg Hale, VP Advanced Technology Disney Parks and Resorts

Kevin Russelburg, Sr. Project Engineer ITW Pancon

John Lewis, Sr. Writer, Cognex Corp.

I feel lucky to have lived in places where I can appreciate the changing of the seasons. I’m not wild about winters, but they are part of the cycle of life here. Like the world around me, I feel I’ve gone through seasons in my life. Being a parent started with a blossoming baby. Now that my oldest son is eighteen, I feel my warm summer of parenting giving way to fall. This magazine started the day I came out of the Cleveland Clinic, after being successfully treated for Gillian-Berre Syndrome, which temporarily paralyzed me, as if I were frozen in winter’s icy grip. Since that start more than 100 issues ago, we have gone on to publish dozens of fun and important stories. There was one about the Cleveland Clinic’s software that helped Dreamworks’ Shrek. I also enjoyed working with Steve Wozniak a few times, numerous Disney engineers, and many other entertainment engineers and supporters of the industry. It is time for us to start thinking ahead to spring again. The world continually changes and we must change with it, or perhaps because of it. It took me a long time to learn how to walk after my encounter with Gillian-Berre. But I kept going. And with the help of my family, I made huge changes in my life for the better over a period of years. This magazine was part of my therapy. But now it is time again to do a re-design of the enterprise. So, please be patient with us while we temporarily chill and do a re-invent of this enterprise and grow it into something that works better for everyone. Send your input to bruce@ entertainmentengineering.com .

Sales

Mark Wiebusch Vice President, Media Solutions & Sales P: 440-835-9733 markw@entertainmentengineering.com

Bruce Wiebusch

bruce@entertainmentengineering.com

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Entertainment Engineering TECHNOLOGY. CREATIVITY. FUN.

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EDITORIAL

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3D MODELING SOFTWARE

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Volume 10 Issue 3

Change and Growth

For artists and designers.

VIDEO CONTROL CENTER College produces sports coverage

WEARABLE 3D PRINTED CLOTHES Hit Paris fashion week


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3D MODELING SOFTWARE LightWave 11.5 is the newest version of 3D modeling, animation, and rendering software for artists and designers. A no-charge upgrade is available to registered LightWave 11 customers.

LightWave 11.5 includes features and functionality to enhance creativity and streamline productivity for everyone—from individual artists and designers to large animation or visual effects studios. Features include the Genoma character rigging system with modular presets, predator and prey Flocking capabilities, per-object Instancing control, and soft-body Bullet Dynamics with support for FiberFX. Also included are Interchange Tools supporting Adobe After Effects cameras and

“Leveraging the rich collection of new tools in LightWave 11.5 allows us to continue to deliver movies on time and on budget,” 6

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The Genoma character rigging system is a modular instant-rigging system that can be used to quickly rig a simple biped or quadruped for animation in Modeler without the need for specialized rigging tools.


of the Camera Tracker in After Effects and to provide pixel-perfect matching between the two programs. GoZ technology for Pixologic’s ZBrush allows a user to send models to and from LightWave with automatic node flows for textures and normal maps. ZBrush styling tools can also be imported into LightWave and attached to objects for interactive creativity. The Zbrush interchange tools in LightWave 11.5 allows users to send models to and from LightWave with automatic node flows for textures and normal maps.

The FiberFX enhancements in LightWave 11.5 allows for bundling around guide chains to create advanced fiber braiding and twisting effects.

Pixologic’s Zbrush, stereoscopic and depth-of-field motion blur in the Viewport Preview Renderer (VPR), major workflow enhancements, and more. “Leveraging the rich collection of new tools in LightWave 11.5 allows us to continue to deliver movies on time and on budget,” said Scott Wheeler, visual effects supervisor at Rogue State and LightWave beta team member. “No other software gives us the scalability to do small team projects while still being capable of handling major studio effects movies.” Soft Body Bullet Dynamics are for effects such as cloth, rubber, jelly or other deforming properties. Bullet meshes are also reactive to bone deformations and wind forces can be added for rippling effects. After Effects and ZBrush Interchange Tools offers a new LWtoAE button that allows users to select elements in a scene and see them in Adobe After Effects, including animation, lights and camera settings. The After Effects Camera can also be exported to LightWave to take advantage

New Interactive Modeling Tools provide functionality and architectural advancements in Modeler for faster interactivity, performance, and tool development. LightWave 11.5 introduces many new tools like UV Unwrap, Edit Edges, Place Mesh, Slice, Thicken, and Heat Shrink, which emphasize the system’s power and lay the groundwork for future third-party modeling tool development. Fiber FX respects soft bodies, offers improved Z-buffer support, and adds bundling around guide chains to create advanced fiber braiding and twisting effects. FiberFX now also supports curve poly types, the sketching of curves in Modeler, and rendering directly in FiberFX without using the Strand Maker conversion. The Genoma Character Rigging System introduces a new modular instant-rigging system that can be used to quickly rig a simple biped or quadruped for animation in Modeler without the need for specialized rigging tools. It offers modular rig presets that consist of skeletal parts such as spines, wings, arms, legs, hands, and feet. Complete rigs for biped and quadrupeds can easily be customized using Genoma. LightWave 11.5 also expands its suite of Virtual Studio Tools for virtual production and adds support in the Viewport Preview Renderer (VPR) for depthof-field (DOF) motion blur, node-edge rendering, and stereoscopic 3D. It also provides new functionality for Flocking and Instancing and offers many new workflow enhancements throughout the software.

For More Information Click Below:

LightWave Home > LightWave Gallery >

LightWave Reel > LightWave Free Trial >

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VIDEO CONTROL CENTER Boston College produces coverage of multiple sports in multiple venues

The Boston College Athletics Department is using a Granite™ 2000 Video Control Center™ to produce live in-house video scoreboard presentations for Eagles basketball, hockey, and football home games. When hockey and basketball games are not broadcast, Boston College streams its productions live to Web. Housed in Conte Forum, the indoor arena for hockey and men’s and women’s basketball, the control room is connected to Alumni Stadium via fiber for football coverage. The Athletics Department purchased its Granite last summer through Access AV in Concord, N.H., and installed it in time for its first home hockey game of the season last October. According to Eric Girard, associate director of interactive media for the Boston College Athletics Department, the control room had been equipped with a Broadcast Pix Slate™ 1000 for three years. Originally, the Slate was used for advertising clips and graphics playback, while the video scoreboard presentation was switched using a Ross switcher. For the past two years, however, the Slate was used exclusively during the production. When it was time to update the control room, Boston College upgraded to the Granite 2000 because it offered more versatility, including increased I/O and a larger control panel. “The ability to see more on those panels is a huge plus,” he said. A typical football production uses up to four cameras, a combination of tripod and handheld units, while 88

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basketball and hockey can have as many as five cameras for game coverage and replays. Girard said they sometimes use video feeds from production trucks that are producing the game for broadcast for additional coverage. The department uses the Fluent™ Watch-Folders feature almost daily, according to Girard. Production graphics are created in Avid and Adobe After Effects, then dragged into Watch-Folders via the network for instant access during productions. The built-in Harris Inscriber CG, part of the Fluent workflow tools included with each Broadcast Pix system, was another selling point. “It’s convenient and the compatibility with the program is nice,” he said. “For moderate budgets, you couldn’t ask for much more.” With no full-time TD on staff, Boston College relies on Fluent Macros to provide a consistent look for replays, sponsorship bugs, score tickers, and other onscreen graphics and transitions. Girard estimated there are almost 800 stored macros, and up to 100 macros are used during each game. “It’s a very easy way to get things done,” he explained. “They are extremely beneficial.”

For More Information Click Below:

Broadcast Pix Home > Broadcast Pix Control Room > Broadcast Pix Fluent Rapid CG > Broadcast Pix Contact >


WEARABLE 3D PRINTED PIECES HIT PARIS FASHION WEEK

Iris van Herpen collaborates with Prof. Neri Oxman, Julia Koerner, Stratasys, and Materialise for latest fashion collection. Stratasys, a manufacturer of 3D printers and production systems for prototyping and manufacturing and Materialise, a Belgian-based pioneer in Additive Manufacturing software and solutions, announced the unveiling of 3D printing collaborations on the catwalks of Paris Fashion Week as part of Iris van Herpen’s Haute Couture show, ‘VOLTAGE’. Dutch designer van Herpen’s eleven-piece collection featured two 3D printed ensembles, including an elaborate skirt and cape created in collaboration with artist, architect, designer and professor Neri Oxman from MIT’s* Media Lab, and 3D printed by Stratasys. An intricate dress was also designed in collaboration with Austrian architect Julia Koerner, currently lecturer at UCLA Los Angeles, and 3D printed by Materialise, marking the second piece created together with Koerner and the ninth with Materialise. The 3D printed skirt and cape were produced using Stratasys’ unique Objet Connex multi-material 3D printing technology, which allows a variety of material properties to be printed in a single build. This allowed both hard and soft materials to be incorporated within the design, crucial to the movement and texture of the piece. “The ability to vary softness and elasticity inspired us to design a “second skin” for the body acting as armor-in-motion; in this way we were able to design not only the garment’s form but also its motion,” explains Oxman. “The incredible possibilities afforded by these new technologies allowed us to reinterpret the tradition of couture as “tech-couture” where delicate hand-made embroidery and needlework is replaced by code.” Van Herpen adds, “I feel it’s important that fashion can be about much more than consumerism, but also about new beginnings and self-expression, so my work very much comes from abstract ideas and using new

techniques, not the re-invention of old ideas. I find the process of 3D printing fascinating because I believe it will only be a matter of time before we see the clothing we wear today produced with this technology, and it’s because it’s such a different way of manufacturing, adding layer-by-layer, it will be a great source of inspiration for new ideas.” According to van Herpen, motivation to collaborate with Oxman came after seeing her “Imaginary Beings: Mythologies of the Not Yet” collection – 3D printed by Stratasys’ matchless Objet Connex multi-material 3D printing technology – that featured in the Multiversités Créatives exhibition at the Centre Pompidou, Paris, last spring. Oxman explains that the joint venture is very much an extension of the series: “This project has taken ‘Imaginary Beings’ to ‘Wearable Beings’, myths that one can wear. The original collection includes 18 Stratasys 3D printed prototypes for the human body inspired by www.entertainmentengineering.com

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lasers (in a process known as Laser Sintering) and would have been impossible to realise any other way. Julia Koerner explains, “My collaboration with Materialise for the 3D printed dress for Iris van Herpen’s Haute Couture Show ‘Voltage’ 2013 reveals a highly complex, parametrically generated, geometrical structure. The architectural structure aims to superimpose multiple layers of thin woven lines which animate the body in an organic way. Exploiting computational boundaries in combination with emergent technology selective laser sintering, of a new flexible material, lead to enticing and enigmatic effects within fashion design. New possibilities arise such as eliminating seams and cuts where they are usually placed in couture.”

For More Information Click Below:

Jorge Luis Borges’ Book of Imaginary Beings. They are human augmentations inspired by nature; but not all wearable. For Iris’ collection at Paris Fashion Week it was important to take the series to the next level, thinking not only about form and materials, but also about movement and wearability. This was a new challenge for me and for my colleagues – Prof. W. Craig Carter (Department of Materials Science & Engineering) and Keren Oxman. It inspired us to design algorithms that could map physical movement and material behaviour to geometrical form and morphological variation in a seamless and continuous wearable surface.” Van Herpen, Koerner and Materialise have continued testing the limits of 3D printing with this 3D printed dress, proving once again that normal rules don’t apply when fashion and high technology combine. In last season’s ‘Hybrid Holism’ collection, they first introduced the use of Materialise’s Mammoth Stereolithography machines for a stunning semi-transparent dress that one spectator compared to liquid honey. For this latest collection, ready for an even greater challenge, an experimental new material was put to use in the creation of a flexible, soft dress of stunning complexity. The piece’s intricate lace-like texture was created with precision by 10

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Stratasys Home > Stratasys Objet Home > Materialise Home > MIT—Imaginary Beings Video >

EE Issue 3, 2013  

3D Modeling Software Video Control Center Wearable 3D Printed Clothes