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BCIS 5130: Foundations of Business Presentation Design

BCIS 5130: Foundations of Business Presentation Design. Computer-Based Morphing. Carolco. Morphing. Morphing is tweening between different images. Morphing derives from “metamorphosis,” an ancient Greek word meaning “transformation.”. Tweening.

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BCIS 5130: Foundations of Business Presentation Design

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  1. BCIS 5130: Foundations of Business Presentation Design Computer-Based Morphing Carolco UNT, R. Vedder and D. Peak

  2. Morphing Morphing is tweening between different images. Morphing derives from “metamorphosis,” an ancient Greek word meaning “transformation.” UNT, R. Vedder and D. Peak

  3. Tweening Tweening isinterpolation. Tweening algorithms create mathematically the intervening series of images (or frames) between two similar “key” images (or frames) drawn by an artist. Tweening derives from “in-betweening,” a cartoonist term. UNT, R. Vedder and D. Peak

  4. Example of Tweening Anderson (1993) UNT, R. Vedder and D. Peak

  5. Pre-Computer Morphingexamples • Nature: caterpillar to butterfly • Greek myths: Medusa, Actaeon • Opera: Alberich the man-dragon • Film: The Wolf Man (1940) UNT, R. Vedder and D. Peak

  6. Traditional Morphing in Film • Immobilize actor in special chair • Shoot a few frames • Add some makeup • Shoot a few more frames, repeat • Was a-g-o-n-y for actor UNT, R. Vedder and D. Peak

  7. The Wolf Man (1940) Lon Chaney, Jr. “Larry Talbot” “The Wolf Man” UNT, R. Vedder and D. Peak

  8. Computerized Morphing • Uses mathematical techniques • Shifts pixels from one image to another • Mixes the corresponding shades and colors from one image to another • Offers 2D and 3D types of morphing UNT, R. Vedder and D. Peak

  9. Some Notable Morphs • 1982: ACM SIGGRAPH -- demonstration of a woman morphing into a lynx • 1988: Willow (first film use) • 1990: Plymouth Voyager (first ad use) UNT, R. Vedder and D. Peak

  10. Willow (1988)ostrich to turtle to tiger to woman UNT, R. Vedder and D. Peak

  11. Some Notable Morphs, 2 • 1991: Exxon car into running tiger • 1991: Terminator 2, Star Trek VI • 1991: M. Jackson’s Black or White • 1992: Explosion of use UNT, R. Vedder and D. Peak

  12. Exxon Car-Tiger (1991) UNT, R. Vedder and D. Peak

  13. Terminator 2 (1991) UNT, R. Vedder and D. Peak

  14. Terminator 2, cont. (1991) UNT, R. Vedder and D. Peak

  15. Star Trek VI (1991) UNT, R. Vedder and D. Peak

  16. Morphing Involves Two Types of Algorithms • Dissolving (creates transition morphs) • Warping (creates distortion morphs) UNT, R. Vedder and D. Peak

  17. Warp: Leopard to Rooster Dissolve: Leopard to Rooster Morphing Dissolving Warping UNT, R. Vedder and D. Peak

  18. Warping Algorithms • Are mathematical formulas for stretching or squeezing (pushing or pulling) part or all of an image, similar to a carnival house of mirrors • Can also map or intermix textures and colors between images UNT, R. Vedder and D. Peak

  19. Essentials of Warping • Same images • Key points (X, Y pairs) only around target feature • Control points (also called a mask) to anchor rest of image UNT, R. Vedder and D. Peak

  20. Building a Warp

  21. Mona Lisa Warp Demo Gryphon Software Corporation UNT, R. Vedder and D. Peak

  22. Dissolving Algorithms • Are mathematical formulas for blending or fading one image into another • Involve averaging the two images’ color palettes unless a “true color” (“millions of colors”, 24-bit pixel depth) system UNT, R. Vedder and D. Peak

  23. Dissolve Morph Processsample key frames Holsinger (1994) UNT, R. Vedder and D. Peak

  24. Essentials of Dissolving • Different images of identical size (if possible) • Key points as with a warp • No control points / mask unless tight control required UNT, R. Vedder and D. Peak

  25. Sample Morph: ViewSonic UNT, R. Vedder and D. Peak

  26. Advanced Morphing Methodsinclude • Dynamic morphing • Adjust key points during the morphing process • Used, ex., for very slow morphs • 3D morphing • Is very CPU-intensive • Is not suitable for some tasks (ex., transforming a doughnut into a cube) UNT, R. Vedder and D. Peak

  27. 3D Morphing Example #1pyramid to cylinder UNT, R. Vedder and D. Peak

  28. 3D Morphing Example #2Merlin (1998) UNT, R. Vedder and D. Peak

  29. Some Morphing Software create AVI files to use within PowerPoint • Morph Man(PC) • Elastic Reality(PC, Mac, SGI) UNT, R. Vedder and D. Peak

  30. Morph Man: Source File Types • Bitmapped still images (ex., BMP, PCX, JPG, GIF) • Individual frames captured from video source • Individual frames from AVI, MOV, FLC (crop with, ex., Graphic Workshop) • Other sources (see documentation) UNT, R. Vedder and D. Peak

  31. Morph Man: Preprocessing • Use images similar in size • Use images with similar backgrounds • Cut features present only in 1 image • Use a graphics package to alter, ex., • Graphic Workshop • Adobe Photoshop UNT, R. Vedder and D. Peak

  32. Morph Man Workspaceuses four main windows

  33. Morph Man Terminology • Source – image file morphing sequence starts with • Target – image file morphing sequence ends with • Morph project – .MPJ file containing source and target file names, window positions, settings, etc. UNT, R. Vedder and D. Peak

  34. Morph Man Terminology, 2 • Marker – a key point, paired with second key point on the other image. Selected pairs display in RED. • Simple shapes -- Markers describing a line, circle, polygon, etc; used for complex control needs (masks). UNT, R. Vedder and D. Peak

  35. Morph Man Source / Target Window • Selector for marker type (use “Point”) • Marker placement / editing tool (Ctrl + arrow to nudge) • Red marker current UNT, R. Vedder and D. Peak

  36. Morph Man Preview Window • Base-zero frame count • Type or scroll to desired frame • Thermometer • VCR-like controls UNT, R. Vedder and D. Peak

  37. Creating a Morph Movie • Edit / Output Options • Edit / Save Options • Check compression • File / Create / Movie UNT, R. Vedder and D. Peak

  38. Edit / Output Options Shows size of image marked beneath UNT, R. Vedder and D. Peak

  39. Edit / Save Options UNT, R. Vedder and D. Peak

  40. Choose Video Compressor Dialog UNT, R. Vedder and D. Peak

  41. File / Create / Movie UNT, R. Vedder and D. Peak

  42. Debugging a Morph Movie • Use more key points • Consider using a mask • Try a slower frame rate UNT, R. Vedder and D. Peak

  43. Quality Morphs Require • Common backgrounds • Images of same / similar size • Many key points • Good placement of key points UNT, R. Vedder and D. Peak

  44. Brakes on Morphing Useinclude • Lack of industry standards • Expense • Legal concerns UNT, R. Vedder and D. Peak

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