Particle system

Particle system [p'ɑrtəkəl s'ɪstəm] - 粒子系統

source: http://en.wikipedia.org/wiki/Particle_system

The term particle system refers to a computer graphics technique to simulate certain fuzzy phenomena, which are otherwise very hard to reproduce with conventional rendering techniques. Examples of such phenomena which are commonly replicated using particle systems include fire, explosions, smoke, moving water, sparks, falling leaves, clouds, fog, snow, dust, meteor tails, hair, fur, grass, or abstract visual effects like glowing trails, magic spells, etc.

粒子系統是指一種電腦圖形技術來類比某些模糊的現象一詞，否則很難與傳統繪製技術重現。這種現象通常被覆制使用粒子系統，包括消防，如發光徑、 魔法技能等發生爆炸黑煙移動水、 火花、 落樹葉、 雲、 霧、 雪、 塵埃、 流星尾巴、 頭髮、 毛皮、 草或抽象視覺效果。

While in most cases particle systems are implemented in three dimensional graphics systems, two dimensional particle systems may also be used under some circumstances.

雖然在大多數情況下粒子系統在三個三維圖形系統中實現的也可用於兩個尺寸的粒子系統，在某些情況下。

IMAX

IMAX - Image MAXimum ['ɪmədʒ m'æksəməm] - 最大影像

Source: http://en.wikipedia.org/wiki/IMAX

IMAX (short for Image MAXimum) is a motion picture film format and projection standard created by Canada's IMAX Corporation. The traditional version of IMAX has the capacity to record and display images of far greater size and resolution than conventional film systems. A standard IMAX screen is 22 metres (72 ft) wide and 16.1 metres (53 ft) high, but can vary.
IMAX（Image MAXimum) 是由加拿大的IMAX Corporation創建的一種電影電影格式和投影標準。傳統版本的IMAX有記錄並顯示圖像更大尺寸和解析度比傳統膠片系統的能力。標準的套裝螢幕 22 米 （七十二呎) 寬、 16.1 米 (53 英尺) 高，但可能會有所不同。

The world's largest cinema screen and IMAX screen is in the LG IMAX theatre in Darling Harbour, Sydney. It is 29.42m (approximately 8 stories) high by 35.73m wide — covering an area of more than 1,015 square metres.
世界上最大的電影院螢幕和套裝螢幕是在 LG 套裝劇院的達令港，悉尼。這是 29.42 m (約 8 故事) 高乘 35.73 米寬 — 面積超過 1,015 方米。

IMAX is the most widely used system for large-format, special-venue film presentations. As of April 2009, there are 320 IMAX theatres in 42 countries, with about half of these located in the United States. About 60% of IMAX venues are commercial theatres with the other 40% being located in educational venues.
套裝是最廣泛使用的系統，為大幅面、 特殊地點的電影的演示文稿。截至四月 2009，有 320 套裝劇院的 42 個國家約一半的這些設在美國。約有 60%的套裝場地是商業劇院位於教育場地的其它 40 %。

Variations of the traditional IMAX format include IMAX Dome (using a tilted dome screen) which is sometimes called OmniMAX, IMAX 3D and IMAX Digital.
傳統的套裝格式的變化包括套裝罩 （使用傾斜的圓頂的螢幕） 有時稱為 OmniMAX，套裝 3D 和套裝數位。

背景音樂

Background music ['bæk.graυnd 'mjuzɪk] 背景音樂

背景音樂（Background music，簡稱BGM），也稱配樂，通常是指在電視劇、電影、動畫、電子遊戲、網站中用於調節氣氛的一種音樂，插入於對話之中，能夠增強情感的表達，達到一種讓觀眾身歷其境的感受。另外，在一些公共場合（如酒吧、咖啡廳、商場）播放的音樂也稱背景音樂。

BGM (Background music), also known as the soundtrack, usually refers to TV shows, movies, animation, electronic games, the site for regulating the atmosphere of a music, insert in its dialogue can enhance the expression of emotion, to a means of allowing the audience an immersive feel. In addition, in some public places (such as bars, cafes, shopping malls) where music is also known as background music.

Skeletal Animation

Source：http://www.3d-canvas.com/3DCanvasDocumentation/tutorialskeletalanimation.htm

Skeletal Animation is a technique used to pose character models. A skeleton is embedded in, and attached to, a character model. Once the skeleton is attached, the character model becomes the skin. Posing the skeleton causes the skin to be deformed to match the position of the underlying bones.
骨骼動畫是一種用於構成角色模型的技術。將骨架嵌入，並連接到一個角色模組。一旦骨骼連接，角色模組就成了這個骨架的皮膚。而這模擬出來的骨架將是這一句角色模型變型的依據。

Skeletal Animation has a major advantage over jointed models in that a one piece mesh is used, so there are no seams.
骨骼動畫是利用模組的網格去做變型，對節理模型具有顯著優勢，所以沒有接縫。

Motion Capture

Source：http://www.metamotion.com/motion-capture/motion-capture.htm

Motion capture is defined as "The creation of a 3D representation of a live performance." in the book Understanding Motion Capture for Computer Animation and Video Games by Alberto Menache. This is in contrast to animation that is created 'by hand' through a process known as keyframing.
在書中可以了解到 Motion Capture 是用於電腦動畫以及電玩上的一種技術，他被Alberto Menache定義為"利用現場演出建立3D塑像"。相對於一般動畫製成，這是一個能利用真的"手"去揮動並且完成動畫製作。

Motion capture (AKA Mocap) used to be considered a fairly controversial tool for creating animation. In the early days, the effort required to 'clean up' motion capture data often took as long as if the animation was created by an animator, from scratch. Thanks to hard work by the manufacturers of motion capture systems as well as numerous software developers, motion capture has become a feasible tool for the generation of animation.
動作捕捉（又名Mocap）在以往製作動畫時，是個非常有爭議性的工具。在早期，這種需要努力'清理'動作捕捉數據經常發生，只要如果動畫是由一個動畫師負責，便要從頭開始。多虧了勤於動作捕捉系統以及其軟體開發的人員，動作捕捉，已成為一個廣被使用的動畫製作工具。

DreamWorks Uses Linux-based HP Technology to Create New Animated Film "Sinbad"

Source：http://h41131.www4.hp.com/uk/en/press/DreamWorks_Uses_Linux-based_HP_Technology_to_Create_New_Animated_Film_Sinbad.html

HP's advanced Linux-based technology played a critical role in the creation of "Sinbad: Legend of the Seven Seas," the newest animated movie from DreamWorks which opens to audiences tomorrow. The first film ever created entirely on Linux, Sinbad was developed on HP workstations and industry-standard servers.

「辛巴達：七海傳奇」融合傳統與數位動畫，角色兼具手工繪製、3D動畫的視覺效果，與高解析度，而創造出在視覺令人歎為觀止的可怕怪物、混亂女神、錯綜複雜的海底景觀，以及使用特效的船隻航行。所有的核心製作工程均採用HP的Linux工作站與伺服器，顯示電影娛樂工業正展開策略性的一步，擁抱開放系統與平台的先進能力。

More than 250 HP workstations running Red Hat Linux comprised the core of DreamWorks' graphics platform. The price and high-performance advantages of Linux-based HP workstations and servers enabled DreamWorks animators to create more movie in less time, saving significant time and money.

在整部電影的製作過程中，運用了超過250台，執行Red Hat Linux系統的HP工作站組成夢工場的繪圖核心平台。HP的Linux工作站與伺服器提供高效能成本比，讓夢工場的動畫製作人員能在更快的速度製作更多的電影，節省可觀的時間與成本。

"HP understands that today, innovative technology and truly cutting-edge digital animation go hand-in-hand," said Shane Robison, chief strategy and technology officer, HP. "Our goal in our alliance with DreamWorks is to continue to deliver more inventive technology that helps DreamWorks to continue to push the envelope of possibilities in digital animation - and in the process, to help them to retain their reputation as one of the premier Hollywood animation studios."

HP的策略長與技術長Shane Robison指出：「HP瞭解在現今創新性的技術和真正尖端的數位動畫技術是密不可分的，」「我們和夢工場的策略聯盟是不斷提供更多研發的科技，使夢工場能持續創作更新數位卡通動畫的可能性，同時，在過程中協助夢工場維繫是好萊塢中數一數二動畫工作室的美譽。」

"Creating a movie that is centered on scenes with water is a huge technical challenge in digital animation, and a challenge met successfully using HP's Linux-based workstations and servers," said Martin Fink, vice president of Linux, HP Enterprise Servers and Storage. "Our customers are using the flexibility of Linux on industry-standard hardware and open systems to save money and set new standards within their industry."

「創造一部以水為中心的數位動畫電影，在技術上是一大挑戰，然而HP的Linux工作站及伺服器，成功地克服挑戰。」HP 企業儲存裝置與伺服器部門副總經理Martin Fink說。「我們的客戶運用彈性的Linux工業標準硬體及開放系統，不但大幅度節省支出，並且在電影事業中設立了一個新的里程碑。」

With HP Linux-based hardware, DreamWorks also developed Digital Animation Review Tool, an uncompressed and full resolution color accurate playback solution on the desktop. This tool replaced an Irix-based solution that was cost-prohibitive and limited in functionality. This new system is so cost effective that DreamWorks was able to build more director-review areas, which assisted in the efficiency of the production of Sinbad.

藉由HP Linux硬體設備，夢工廠發展出一套數位動畫片檢視工具，使得電腦上能呈現出沒有壓縮、全解析度正確色彩的畫面。這個工具取代了原本費用高昂，然而功能有限的Irix-based解決方案。新的系統不但具有成本效益，並且協助工作人員有效率的完成「辛巴達」的製作工作。 由於HP與夢工廠的技術合作，辛巴達劇組中的每一位畫家，都使用HP 3D加速雙螢幕工作站系統。雙螢幕的作業環境使畫家們可以同時開啟多個視窗，進而加快製作的工作流程。在以往，這種類型的作業架構，不但花費高昂，而且只有在廣泛使用的時候才會採行。不過運用HP Linux工作站，讓夢工廠在維持創作水準的同時，同時兼顧節省成本的需求。

NURBS(Non-Uniform Rational B-Splines)

Source：http://en.wikipedia.org/wiki/NURBS

Development of NURBS began in the 1950s by engineers who were in need of a mathematically precise representation of freeform surfaces like those used for ship hulls, aerospace exterior surfaces, and car bodies, which could be exactly reproduced whenever technically needed. Prior representations of this kind of surface only existed as a single physical model created by a designer.
NURBS的發展始於1950年代，它是由需要像在車體和船殼中使用的自由曲面的數學上的精確表示的工程師們所發現的，它可以在任何技術上需要的時候精確的複製出來。以前這類曲面的表示只存在於設計者創建的實體模型。

The pioneers of this development were Pierre Bézier who worked as an engineer at Renault, and Paul de Casteljau who worked at Citroën, both in France. Bézier worked nearly parallel to de Casteljau, neither knowing about the work of the other. But because Bézier published the results of his work, the average computer graphics user today recognizes splines — which are represented with control points lying off the curve itself — as Bézier splines, while de Casteljau’s name is only known and used for the algorithms he developed to evaluate parametric surfaces. In the 1960s it became clear that non-uniform, rational B-splines are a generalization of Bézier splines, which can be regarded as uniform, non-rational B-splines.
該發展的先驅包括：皮埃爾·貝茲（Pierre Bézier）， 他曾是Renault的工程師，以及Paul de Casteljau，他在Peugeot工作，兩個都是法國人。貝茲基本是和de Casteljau獨立發展的，兩人互相不知道對方的工作。但是因為貝茲發表了他的工作的結果，今天的一般的計算機圖形學用戶認為樣條 -- 通過在曲線上的控制點表示的那類 - 為貝茲樣條，而de Casteljau的名字僅作為他為計算參數化曲面所設計的演算法而為人所知。在1960年代，人們認識到非均勻有理基本樣條是貝茲曲線的一個推廣，而貝茲曲線可以視為非均勻有理B樣條。

A look at Disney and Pixar's 3-D movie technology

探究迪斯尼和皮克斯的3D電影技術

3D電影早已普遍。然而，經過技術處理的照片看起來十分亮眼，但幕後的過程卻相當繁瑣（那些笨重的眼鏡），且在片長稍長的電影時，很多觀眾都抱怨會使頭痛。 不過，這是舊的3D技術。迪斯尼公司在星期二宣布，它將釋放幾乎前所未有的3D動畫電影，其中包括幾名來自及其附屬皮克斯（“向上”，“玩具總動員3”和重新發布的“玩具總動員”、“玩具總動員2 “以及”汽車總動員2“）。在此之前，類似的宣布：夢工廠。 電影公司可以藉由現代的3D顯示技術達成，依賴於數位投影，而不是電影製作3D圖像。
下面是它的工作：要查看圖像在3D，你的兩個眼睛必須顯示略有不同的圖片，當這樣做是正確的，你的大腦兩個圖像解釋的方式，成為立體，或認為圖片是有深度的。 上一代使用的3D電影膠片要做到這一點：一個投影機將顯示兩個不同的照片在屏幕上同時進行。每個圖像是通過一根不同的線性極化濾波器，即每個圖像解碼只能通過一個特殊的過濾器-這些過濾器安裝在您的3D眼鏡。

A look at Disney and Pixar's 3-D movie technologyThree-dimensional movies have long gotten a bad rap. Sure, when the technology worked the pictures looked pretty good, but the process was cumbersome (those bulky glasses), and in feature-length films, many in the audience complained of headaches. But that was the old 3-D technology. On Tuesday Disney announced that it would release nearly all of its future animated movies in 3-D, including several from its subsidiary Pixar ("Up," "Toy Story 3" and re-releases of "Toy Story" and "Toy Story 2," and "Cars 2"). The move follows a similar announcement from Dreamworks. The studios can do this thanks to modern 3-D display technology, which relies on digital projection rather than film to produce 3-D images. Here's how it works: To see an image in 3-D, each of your eyes must be shown a slightly different picture; when this is done correctly, your brain interprets the two images in a way that creates "stereopsis," or the perception of depth in the picture. Last-generation 3-D movies used film to do this: A projector would display two different pictures on the screen simultaneously. Each image was fed through a different a linear polarization filter, meaning that each image could only be decoded through a special filter -- these were the filters mounted in your 3-D glasses.

如果你的頭尺寸剛好，你和你的左眼、右眼將各自看到一個完全不同的畫面，“船長行政主任”會是什麼樣子，他就在那兒。 但是，如果你沒有將你的頭擺對位置，圖像會有破裂-你的左眼會看到一個輕微的殘餘圖像影響著你的右眼，和你的右眼將會看到位的圖片影響著你的左邊。此破裂引起的頭痛。 新的3D技術由 Beverly Hills 發明並命名為 Real D。正相反兩幅圖像的顯示屏幕上同時，Real D用一個特殊的數位投影不斷的在您的右眼左眼顯示圖片。
REAL D 3D電影每秒顯示144幀，是正常電影放映機的6倍。這些照片迅速在您的右眼不斷切換，您的左眼為鏡頭和黑色框架。 你還是必須戴上3D眼鏡，但REAL D 3D這裡增加了一個創新。圖片意味著每個眼睛是“圓偏振”，也就是說它們的製造工藝更看不到，不是為了看到他們-這減少了圖像的遺漏，從讓觀賞電影更為舒適。 不是每個影院能夠放映電影。迪斯尼的第一個3D電影是2005年的“Chicken Little”;全國只有不到100家有配備去播放3D電影。但是，這並沒有影響電影的賣座，以及隨後的3D版本-例如，“Hannah Montana”的演唱會電影，今年早些時候發布的-一直很受歡迎。 你可以找到附近的3D影院在Real D的網站。此外，去嘗試Ray-Ban's那精美的3D眼鏡。

If you held your head just right, your left eye and your right eye would each see a different picture, and "Captain EO" would look like he was right there.
But if you didn't hold your head correctly, the images would "leak" into each other -- your left eye would see a slight remnant of the image meant for your right eye, and your right eye would see a bit of the picture meant for your left. This leak caused headaches.
The new 3-D technology was built by a Beverly Hills start-up called Real D. Instead of showing two images on screen at the same time, Real D uses a special digital projector to show pictures for both your right eye and your left eye in rapid succession.
Real D projectors show 144 movie frames every second, six times faster than a normal film projector. The pictures rapidly alternate between frames for your right eye, frames for your left eye, and black frames.
You've still got to wear 3D glasses, but Real D adds another innovation here. Images meant for each eye are "circularly polarized," meaning they're made much more invisible to the eye not meant to see them -- this cuts down on image leak between the eyes, making for a much more comfortable experience.
Not every theater is capable of showing these films. Disney's first 3D movie was 2005's "Chicken Little"; fewer than 100 theaters nationwide were equipped to show the film in 3-D. But those that did were well attended, and subsequent 3-D releases -- for instance the "Hannah Montana" concert film, released earlier this year -- have been very popular.
You can find a nearby 3-D theater at Real D's site. Also, check out Ray-Ban's stylish 3-D glasses.

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