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DISCOVER KUMANDRA
A precocious street kid from Tail always up for a business deal, Boun is an adult in a child’s body, capable and self-sufficient. He is the self-styled "owner, manager, chef and captain" of his boat, the Shrimporium. Deep down, he’s a vulnerable child who has lost his parents to the Druun. Creating Boun. BIG HERO 6 : INTO THE PORTAL Big Hero 6 : Into the Portal David Hutchins 1 Olun Riley 2 Jesse Erickson3 Alexey Stomakhin 4 Ralf Habel 5 Michael Kaschalk 6 Walt Disney Animation Studios Figure 1: Left: Proxy geometry scene layout. Middle: Effects artist reference render. THE COLLABORATION BETWEEN ART AND TECHNOLOGY: MAKING SIGGRAPH ’20 Talks, August 17, 2020, Virtual Event, USA Gipson, Gomez, Anderson, Robbins, Lee and Russell A new in-house tool named Swoop was developed and used for WALT DISNEY ANIMATION STUDIOS Walt Disney Animation Studios COMPUTER-ASSISTED ANIMATION OF LINE AND PAINT IN DISNEY'S Computer-Assisted Animation of Line and Paint in Disney’s Paperman Brian Whited Eric Daniels Michael Kaschalk Patrick Osborne Kyle Odermatt Walt Disney Animation StudiosINTRODUCTION
Contents The scene is made up of 20 elements containing meshes with more than 90 million unique quads and triangles along with 5 millioncurves.
INTERACTIVE SCRIPT BASED DYNAMICS IN BIG HERO 6 Permission to make digital or hard copies of part or all of this work for personal or classroom use is granted without fee provided that copies are not made or A PRACTICAL AND CONTROLLABLE HAIR AND FUR MODEL FOR Chiang et al. / A Practical and Controllable Hair and Fur Model for Production Path Tracing Figure 1: Path-traced multiple scattering (top) vs. its Dual Scattering approximation (bottom). AUGMENTED MPM FOR PHASE-CHANGE AND VARIED MATERIALS Figure 2: An apple is pulled from liquid candy and it hardens on contact with the air, creating a candied, sticky apple. c Disney. treatment of the Eulerian evolution of the dilational part, and care- PHYSICALLY BASED SHADING AT DISNEY materials is: f(l;v) = di use + D( h)F( d)G( l; v) 4cos lcos v The di use term is a function of unknown form. Lambert di use is often assumed and is represented by a constant value.DISCOVER KUMANDRA
A precocious street kid from Tail always up for a business deal, Boun is an adult in a child’s body, capable and self-sufficient. He is the self-styled "owner, manager, chef and captain" of his boat, the Shrimporium. Deep down, he’s a vulnerable child who has lost his parents to the Druun. Creating Boun. BIG HERO 6 : INTO THE PORTAL Big Hero 6 : Into the Portal David Hutchins 1 Olun Riley 2 Jesse Erickson3 Alexey Stomakhin 4 Ralf Habel 5 Michael Kaschalk 6 Walt Disney Animation Studios Figure 1: Left: Proxy geometry scene layout. Middle: Effects artist reference render. THE COLLABORATION BETWEEN ART AND TECHNOLOGY: MAKING SIGGRAPH ’20 Talks, August 17, 2020, Virtual Event, USA Gipson, Gomez, Anderson, Robbins, Lee and Russell A new in-house tool named Swoop was developed and used for WALT DISNEY ANIMATION STUDIOS Walt Disney Animation Studios COMPUTER-ASSISTED ANIMATION OF LINE AND PAINT IN DISNEY'S Computer-Assisted Animation of Line and Paint in Disney’s Paperman Brian Whited Eric Daniels Michael Kaschalk Patrick Osborne Kyle Odermatt Walt Disney Animation StudiosINTRODUCTION
Contents The scene is made up of 20 elements containing meshes with more than 90 million unique quads and triangles along with 5 millioncurves.
INTERACTIVE SCRIPT BASED DYNAMICS IN BIG HERO 6 Permission to make digital or hard copies of part or all of this work for personal or classroom use is granted without fee provided that copies are not made or A PRACTICAL AND CONTROLLABLE HAIR AND FUR MODEL FOR Chiang et al. / A Practical and Controllable Hair and Fur Model for Production Path Tracing Figure 1: Path-traced multiple scattering (top) vs. its Dual Scattering approximation (bottom). AUGMENTED MPM FOR PHASE-CHANGE AND VARIED MATERIALS Figure 2: An apple is pulled from liquid candy and it hardens on contact with the air, creating a candied, sticky apple. c Disney. treatment of the Eulerian evolution of the dilational part, and care- PHYSICALLY BASED SHADING AT DISNEY materials is: f(l;v) = di use + D( h)F( d)G( l; v) 4cos lcos v The di use term is a function of unknown form. Lambert di use is often assumed and is represented by a constant value. WALT DISNEY ANIMATION STUDIOS Walt Disney Animation StudiosINTRODUCTION
Contents The scene is made up of 20 elements containing meshes with more than 90 million unique quads and triangles along with 5 millioncurves.
'FROZEN 2' : CREATING THE WATER HORSE SIGGRAPH ’20 Talks, August 17, 2020, Virtual Event, USA D. Hutchins et al. effect was produced by simulating a dense set of curves. Artists were able to modify the simulation using real-time expressions THE LOOK AND LIGHTING OF ``SHOW YOURSELF'' IN ``FROZEN 2'' Title: The Look and Lighting of ``Show Yourself'' in ``Frozen 2'' Author: Amol Sathe, Lance Summers, Matt Jen-Yuan Chiang, and JamesNewland Subject
WALT DISNEY ANIMATION STUDIOS CLOUD DATA SET LICENSING Walt Disney Animation Studios Cloud Data Set LICENSING: The contents of this package are Copyright 2017 Disney Enterprises, Inc. and are licensed under the Creative GAUSSIAN QUADRATURE FOR PHOTON BEAMS IN TANGLED Gaussian Quadrature for Photon Beams in Tangled Jared M. Johnson 1;2 Dylan Lacewell Andrew Selle Wojciech Jarosz3 1Walt Disney Animation Studios 2University of Central Florida 3Disney Research Zurich¨ Figure 1: Photon Beams used in the movie Tangled. (left) Photon beams only. (right) Final composited image. A DEFORMER-BASED APPROACH TO FACIAL RIGGING A Deformer-Based Approach to Facial Rigging John Kahwaty Gene S. Lee Greg Smith Andy Lin Matt Schiller Walt Disney Animation Studios ∗ (a) Hi-Res Rig without PSD (b) Wires w/PSD on Hi-Res Rig (c) Hi-Res Rig with PSD (d) Lo-Res Rig with PSD PERCEPTUALLY-BASED COMPENSATION OF LIGHT POLLUTION IN Perceptually-Based Compensation of Light Pollution in Display Systems Jeroen van Baar Disney Research Zurich¨ Steven Poulakos ETH Zurich¨Wojciech Jarosz
ENHANCED DUAL QUATERNION SKINNING FOR PRODUCTION USE Enhanced Dual Quaternion Skinning for Production Use Gene S. Lee Andy Lin Matt Schiller Scott Peters Mark McLaughlin Frank Hanner Walt Disney Animation Studios ∗† (a) No scale support (b) Partial scale support (c) Full scale support (a) Scale Compensation (b) SupportJoint in Blue
FLESH, FLAB, AND FASCIA SIMULATION ON ZOOTOPIA the volume with a Laplacian solve. For more control, additional paint surfaces can be positioned inside the volume. Another major workflow improvement was the use of a method weDISCOVER KUMANDRA
Venture into the world of Kumandra. See Raya and the Last Dragon March 5, 2021 in theaters and on Disney+ with Premier Access. BIG HERO 6 : INTO THE PORTAL Big Hero 6 : Into the Portal David Hutchins 1 Olun Riley 2 Jesse Erickson3 Alexey Stomakhin 4 Ralf Habel 5 Michael Kaschalk 6 Walt Disney Animation Studios Figure 1: Left: Proxy geometry scene layout. Middle: Effects artist reference render. THE COLLABORATION BETWEEN ART AND TECHNOLOGY: MAKING SIGGRAPH ’20 Talks, August 17, 2020, Virtual Event, USA Gipson, Gomez, Anderson, Robbins, Lee and Russell A new in-house tool named Swoop was developed and used for COMPUTER-ASSISTED ANIMATION OF LINE AND PAINT IN DISNEY'S Computer-Assisted Animation of Line and Paint in Disney’s Paperman Brian Whited Eric Daniels Michael Kaschalk Patrick Osborne Kyle Odermatt Walt Disney Animation Studios PAINTERLY RENDERING FOR ANIMATION Figure 1: Frames from a painterly rendered animation. The painterly renderer is particularly well-suited for abstracting natural textures like the cloudy sky, hay, and plowed ground in this example.INTRODUCTION
Contents The scene is made up of 20 elements containing meshes with more than 90 million unique quads and triangles along with 5 millioncurves.
DELICIOUS LOOKING ICE CREAM EFFECTS WITH NON-SIMULATION Delicious Looking Ice Cream Effects with Non-Simulation Approaches Dong Joo Byun* James Mansfield Cesar Velazquez Walt Disney Animation Studios Figure 1: Left: Ice Cream Scooping. AUGMENTED MPM FOR PHASE-CHANGE AND VARIED MATERIALS Figure 2: An apple is pulled from liquid candy and it hardens on contact with the air, creating a candied, sticky apple. c Disney. treatment of the Eulerian evolution of the dilational part, and care- A PRACTICAL AND CONTROLLABLE HAIR AND FUR MODEL FOR Chiang et al. / A Practical and Controllable Hair and Fur Model for Production Path Tracing Figure 1: Path-traced multiple scattering (top) vs. its Dual Scattering approximation (bottom). MEDIA.DISNEYANIMATION.COM media.disneyanimation.comDISCOVER KUMANDRA
Venture into the world of Kumandra. See Raya and the Last Dragon March 5, 2021 in theaters and on Disney+ with Premier Access. BIG HERO 6 : INTO THE PORTAL Big Hero 6 : Into the Portal David Hutchins 1 Olun Riley 2 Jesse Erickson3 Alexey Stomakhin 4 Ralf Habel 5 Michael Kaschalk 6 Walt Disney Animation Studios Figure 1: Left: Proxy geometry scene layout. Middle: Effects artist reference render. THE COLLABORATION BETWEEN ART AND TECHNOLOGY: MAKING SIGGRAPH ’20 Talks, August 17, 2020, Virtual Event, USA Gipson, Gomez, Anderson, Robbins, Lee and Russell A new in-house tool named Swoop was developed and used for COMPUTER-ASSISTED ANIMATION OF LINE AND PAINT IN DISNEY'S Computer-Assisted Animation of Line and Paint in Disney’s Paperman Brian Whited Eric Daniels Michael Kaschalk Patrick Osborne Kyle Odermatt Walt Disney Animation Studios PAINTERLY RENDERING FOR ANIMATION Figure 1: Frames from a painterly rendered animation. The painterly renderer is particularly well-suited for abstracting natural textures like the cloudy sky, hay, and plowed ground in this example.INTRODUCTION
Contents The scene is made up of 20 elements containing meshes with more than 90 million unique quads and triangles along with 5 millioncurves.
DELICIOUS LOOKING ICE CREAM EFFECTS WITH NON-SIMULATION Delicious Looking Ice Cream Effects with Non-Simulation Approaches Dong Joo Byun* James Mansfield Cesar Velazquez Walt Disney Animation Studios Figure 1: Left: Ice Cream Scooping. AUGMENTED MPM FOR PHASE-CHANGE AND VARIED MATERIALS Figure 2: An apple is pulled from liquid candy and it hardens on contact with the air, creating a candied, sticky apple. c Disney. treatment of the Eulerian evolution of the dilational part, and care- A PRACTICAL AND CONTROLLABLE HAIR AND FUR MODEL FOR Chiang et al. / A Practical and Controllable Hair and Fur Model for Production Path Tracing Figure 1: Path-traced multiple scattering (top) vs. its Dual Scattering approximation (bottom). MEDIA.DISNEYANIMATION.COM media.disneyanimation.com DELICIOUS LOOKING ICE CREAM EFFECTS WITH NON-SIMULATION Delicious Looking Ice Cream Effects with Non-Simulation Approaches Dong Joo Byun* James Mansfield Cesar Velazquez Walt Disney Animation Studios Figure 1: Left: Ice Cream Scooping. POINT-BASED HAIR GLOBAL ILLUMINATION (SKETCHES POSTERS 0175) Point-based Hair Global Illumination (sketches_posters_0175) Ramón Montoya-Vozmediano Walt Disney Animation Studios* Figure 1: (a) Final render and (b) ambient occlusion component (© Disney Enterprises)Abstract becomes the input to Re A PROGRAMMABLE SYSTEM FOR ARTISTIC VOLUMETRIC LIGHTING A Programmable System for Artistic Volumetric Lighting: Supplemental Document Derek Nowrouzezahrai1 Jared Johnson 2Andrew Selle Dylan Lacewell Michael Kaschalk2 Wojciech Jarosz1 1Disney Research Zurich¨ 2Walt Disney Animation Studios Abstract This supplemental document includes RenderManTM shader code for our shading model, illustrations corresponding to the Target WALT DISNEY ANIMATION STUDIOS Walt Disney Animation Studios ARTIST FRIENDLY LEVEL-OF-DETAIL IN A FUR-FILLED WORLD Artist Friendly Level-of-Detail in a Fur-filled World Sean Palmer and Kendall Litakery Walt Disney Animation Studios Figure 1: (a) A final render of hundreds of furry characters in Zootopia, (b) A preview of fur with LOD applied (right) and without (left). MULTIPERSPECTIVE PANORAMAS FOR CEL ANIMATION Multiperspective Panoramas for Cel Animation Daniel N. Wood1 Adam Finkelstein1,2 John F. Hughes3 Craig E. Thayer4 David H. Salesin1 1University of Washington 2Princeton University 3GVSTC 4Walt Disney Feature Animation Figure 1 A multiperspective panorama from Disney’s 1940 film Pinocchio. (Used with permission.) EFFICIENT IMPLEMENTATION OF THE DUAL SCATTERING MODEL IN light reaching the eye is either the result of global multiple scatter-ing or its combination with the scattering events around the shading point (i.e. local multiple scattering). THE ART AND TECHNOLOGY OF SIMULATING HAIR IN DISNEY'S MOANA The Art and Technology of Simulating Hair in Disney's Moana Christopher Evart Walt Disney Animation Studios christopher.evart@disneyanimation.com MATERIAL POINT METHOD FOR SNOW SIMULATION Material Point Method for Snow Simulation Alexey Stomakhin, Craig Schroeder, Lawrence Chai, Joseph Teran & Andrew Selle January 18, 2013 1 Di erentiating energy MEDIA.DISNEYANIMATION.COM media.disneyanimation.comDISCOVER KUMANDRA
A precocious street kid from Tail always up for a business deal, Boun is an adult in a child’s body, capable and self-sufficient. He is the self-styled "owner, manager, chef and captain" of his boat, the Shrimporium. Deep down, he’s a vulnerable child who has lost his parents to the Druun. Creating Boun. THE COLLABORATION BETWEEN ART AND TECHNOLOGY: MAKING SIGGRAPH ’20 Talks, August 17, 2020, Virtual Event, USA Gipson, Gomez, Anderson, Robbins, Lee and Russell A new in-house tool named Swoop was developed and used for COMPUTER-ASSISTED ANIMATION OF LINE AND PAINT IN DISNEY'S Computer-Assisted Animation of Line and Paint in Disney’s Paperman Brian Whited Eric Daniels Michael Kaschalk Patrick Osborne Kyle Odermatt Walt Disney Animation Studios WALT DISNEY ANIMATION STUDIOS Walt Disney Animation Studios BIG HERO 6 : INTO THE PORTAL Big Hero 6 : Into the Portal David Hutchins 1 Olun Riley 2 Jesse Erickson3 Alexey Stomakhin 4 Ralf Habel 5 Michael Kaschalk 6 Walt Disney Animation Studios Figure 1: Left: Proxy geometry scene layout. Middle: Effects artist reference render. INTERACTIVE SCRIPT BASED DYNAMICS IN BIG HERO 6 Permission to make digital or hard copies of part or all of this work for personal or classroom use is granted without fee provided that copies are not made or A PRACTICAL AND CONTROLLABLE HAIR AND FUR MODEL FOR Chiang et al. / A Practical and Controllable Hair and Fur Model for Production Path Tracing Figure 1: Path-traced multiple scattering (top) vs. its Dual Scattering approximation (bottom). THE ART AND TECHNOLOGY OF SIMULATING HAIR IN DISNEY'S MOANA The Art and Technology of Simulating Hair in Disney's Moana Christopher Evart Walt Disney Animation Studios christopher.evart@disneyanimation.com MATERIAL POINT METHOD FOR SNOW SIMULATION Material Point Method for Snow Simulation Alexey Stomakhin, Craig Schroeder, Lawrence Chai, Joseph Teran & Andrew Selle January 18, 2013 1 Di erentiating energy MEDIA.DISNEYANIMATION.COM media.disneyanimation.comDISCOVER KUMANDRA
A precocious street kid from Tail always up for a business deal, Boun is an adult in a child’s body, capable and self-sufficient. He is the self-styled "owner, manager, chef and captain" of his boat, the Shrimporium. Deep down, he’s a vulnerable child who has lost his parents to the Druun. Creating Boun. THE COLLABORATION BETWEEN ART AND TECHNOLOGY: MAKING SIGGRAPH ’20 Talks, August 17, 2020, Virtual Event, USA Gipson, Gomez, Anderson, Robbins, Lee and Russell A new in-house tool named Swoop was developed and used for COMPUTER-ASSISTED ANIMATION OF LINE AND PAINT IN DISNEY'S Computer-Assisted Animation of Line and Paint in Disney’s Paperman Brian Whited Eric Daniels Michael Kaschalk Patrick Osborne Kyle Odermatt Walt Disney Animation Studios WALT DISNEY ANIMATION STUDIOS Walt Disney Animation Studios BIG HERO 6 : INTO THE PORTAL Big Hero 6 : Into the Portal David Hutchins 1 Olun Riley 2 Jesse Erickson3 Alexey Stomakhin 4 Ralf Habel 5 Michael Kaschalk 6 Walt Disney Animation Studios Figure 1: Left: Proxy geometry scene layout. Middle: Effects artist reference render. INTERACTIVE SCRIPT BASED DYNAMICS IN BIG HERO 6 Permission to make digital or hard copies of part or all of this work for personal or classroom use is granted without fee provided that copies are not made or A PRACTICAL AND CONTROLLABLE HAIR AND FUR MODEL FOR Chiang et al. / A Practical and Controllable Hair and Fur Model for Production Path Tracing Figure 1: Path-traced multiple scattering (top) vs. its Dual Scattering approximation (bottom). THE ART AND TECHNOLOGY OF SIMULATING HAIR IN DISNEY'S MOANA The Art and Technology of Simulating Hair in Disney's Moana Christopher Evart Walt Disney Animation Studios christopher.evart@disneyanimation.com MATERIAL POINT METHOD FOR SNOW SIMULATION Material Point Method for Snow Simulation Alexey Stomakhin, Craig Schroeder, Lawrence Chai, Joseph Teran & Andrew Selle January 18, 2013 1 Di erentiating energy MEDIA.DISNEYANIMATION.COM media.disneyanimation.com DELICIOUS LOOKING ICE CREAM EFFECTS WITH NON-SIMULATION Delicious Looking Ice Cream Effects with Non-Simulation Approaches Dong Joo Byun* James Mansfield Cesar Velazquez Walt Disney Animation Studios Figure 1: Left: Ice Cream Scooping. THE LOOK AND LIGHTING OF ``SHOW YOURSELF'' IN ``FROZEN 2'' Title: The Look and Lighting of ``Show Yourself'' in ``Frozen 2'' Author: Amol Sathe, Lance Summers, Matt Jen-Yuan Chiang, and JamesNewland Subject
EFFICIENT IMPLEMENTATION OF THE DUAL SCATTERING MODEL IN light reaching the eye is either the result of global multiple scatter-ing or its combination with the scattering events around the shading point (i.e. local multiple scattering). POINT-BASED HAIR GLOBAL ILLUMINATION (SKETCHES POSTERS 0175) Point-based Hair Global Illumination (sketches_posters_0175) Ramón Montoya-Vozmediano Walt Disney Animation Studios* Figure 1: (a) Final render and (b) ambient occlusion component (© Disney Enterprises)Abstract becomes the input to Re WALT DISNEY ANIMATION STUDIOS Walt Disney Animation Studios FROM ARMADILLO TO ZEBRA: CREATING THE DIVERSE CHARACTERS Title: From Armadillo to Zebra: Creating the Diverse Characters and World of Zootopia Author: Sean Palmer Keywords: environments, fur, vegetation, procedural modeling and animation, production pipeline MATERIAL POINT METHOD FOR SNOW SIMULATION Material Point Method for Snow Simulation Alexey Stomakhin, Craig Schroeder, Lawrence Chai, Joseph Teran & Andrew Selle January 18, 2013 1 Di erentiating energy A DEFORMER-BASED APPROACH TO FACIAL RIGGING A Deformer-Based Approach to Facial Rigging John Kahwaty Gene S. Lee Greg Smith Andy Lin Matt Schiller Walt Disney Animation Studios ∗ (a) Hi-Res Rig without PSD (b) Wires w/PSD on Hi-Res Rig (c) Hi-Res Rig with PSD (d) Lo-Res Rig with PSD AUGMENTED MPM FOR PHASE-CHANGE AND VARIED MATERIALS Figure 2: An apple is pulled from liquid candy and it hardens on contact with the air, creating a candied, sticky apple. c Disney. treatment of the Eulerian evolution of the dilational part, and care- MEDIA.DISNEYANIMATION.COM media.disneyanimation.com* Home
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