Spalter identifies that many of the devices that are described in this article, 3D Input and Output, are expensive and difficult to access. And although some artists have the ability to use these types of programs through art residence programs, adjusting to the institution is still an issue. But with advancements in the field these devices are eventually going to become easier to access and learn. In terms of different types of 3D devices Spalter discusses many options. 3D input which allows the user to see translations of gestures in motions within three dimensions. 3D mice and trackballs offer the artist six “degrees of freedoms” (Spalter, 1998, pg. 300) when moving an object but are not efficient because of the difficultly of holding objects still in your hand over long periods of time. Trackers are used to record positions by transmitting and receiving signals of ranges of motion. In the systems of tracking there are a few different options examples of these are puppets, which are moveable models and eye tracking, follow the view of the user. In the area covering output virtual reality is an important point. And finding yourself in the world of virtual reality can be achieved in a variety of ways, either by viewing devices that incorporated in a helmet or areas such as the CAVE environment that project the simulation on different walls.
In Spalter’s chapter on 2D and 3D animation and video common concepts within these areas are discussed. Linear interpolation is important when calculating “new positions at equal intervals along a straight line” (Spalter, 1998, pg. 328). This is an interesting aspect of animation since this is found in every type of computer graphics. This is also contributes to the appearance of an object such as its color, shape or transparency. But this does method does not create realistic animations where nonlinear interpolation, which uses curves to define motion, can. When breaking down the workings of an animation program the interface either uses cels or a timeline for controlling the animation process. There are also the aspects of the differences between the design and display spaces, the design space representing the 3D world and the display scene as the sequence of 2D images that represent, which are important in working and production spaces in a program.
Alan Joch’s article discuses the uses of 3D representations in the design of courtrooms and how it can enable design teams to find problems with costly issues that can arise after construction. The walkthroughs that are generated by PC do not allow for the full view of sight, you are only given a straightforward sightline. CAVE environments were then used in the process to set sightlines in a wraparound screen to reproduce a life-size virtual courtroom to help with the engineering. Not only does it give a life size view, but it also has the capability of rearranging elements within the space. These models are not only limited to the visual aspects of the space, but also the acoustics. A 3D sound model was also used to simulate speech which aided in the adjustments of sound absorbing materials.
I find that these authors are using 3D animation and Virtual Reality in the context of interior architecture in through their applications to real world environments. Through the use of these types of programs it enables the designer to interact with the environment or product that they are creating. Being able to be immersed within these virtual environments also helps deal with problematic areas, such as lines of sight in the courtroom seen in Joch’s article, or manipulating pieces of furniture around a space to achieve the best possible solution. Animations can benefit the area of product design through showing the different capabilities of pieces of furniture with moveable parts.
Although many of these machines that are discussed in theses selections are very expensive and difficult to access without special permissions, I believe that through learning and accessibility the use of these programs will become more main stream. In today’s animations it is evident that the possibility of artists being able to access these programs is becoming more attainable. With the advancements that are already being seen in animations such as Disney cartoons, I am sure that in the future the already life-like images that are generated by computers will get to a point were there will be no distinction between life and computer generated.
Anne Morgan, S. (1998). The Computer in the Visual Arts. Reading, Massachusetts: Addison-Wesley Professional.
Joch, A. (2011). Virtual reality and digital modeling go on trial for a federal courtroom design. Architectural Record. Retrieved February 21, 2011, from http://archrecord.construction.com/features/digital/archives/0501dignews-1.asp
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