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A first outline for a UI for a fully GEGLed GIMP

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thank you everybody for waiting and watching really let's get
started with my talk I will be in that the 1st use this so it's
going to be a technology miracle working out of bombs that good morning my name is because sitting on the interaction architects Our in which a company in Berlin and this is also my 5th don't you every year old my anniversary of being protein to give so in every year I try to do talked to sort of point forward I show you slides at the beginning of my my talk this like what's interaction the what he will reduce years just to have contrast that this 1 no architect does the environment is free to a landscape and design is not about not about me pretty is about shaping experience when you approach and into the building and were believed there that's what
I do it's really similar and the environment here is just weather or handheld and again it's not about making things pretty it's about the experience of using programs have certainly given how well you can get a job done when you get a be due to and it's about how to lost the tool for losses yeah the topic i want to talk about this the integration of guaranteeing uh I thought I'd give a 2 minute introduction to what intellectually is uh it's basically all the inside and it's about a different way of storing and processing images so I hope
not enough progress for that OK what we point this slide was to show that there's a huge graph you're thinking of releasing details in 1 cell that would be a pretty good so but will be the only to be more OK they're the scene I'm highlighting is at the bottom I'm show you some elements of of what's in the world of the 1st thing is these are things that generate content is distinct reads the image from follow in this little box generates text in vector of into pixels and and then it gets processed food and for all this change of commonsense do stuff with these pixels moved and transform the blurred with etc. basically that tend of treatment sort of chain-like structures that we've done quite a bit of that in parallel and then the drug compositors that makes things and things on top of each other with different blending modes can get a lot of different compiled composite compositors and morning built-in and there's also a of for which I think it's mostly for effective so as to where would it all together then this is kind of interesting that get out of the system in this case that the display 1 of more and you're right it's we exporting your composition because that's what we're talking about the about image with a vertical position you exported to some power from the point of the and Europe or Japan so so yeah great so what's got to do with me
Mr. who error so 4 years ago around him it was really a factor to joint project they're getting goes move from handling loads disposal bit maps and operate directly on to describe a system where the images themselves and never touched just go through a pipeline of operations and speak out at the other side and when you save this scale tree into a file then the images are also never change so you're always able to change the operations in between also a year later so you got lossless editing and that can be quite exciting because that's so as a potential to shake off all the some of the old ways of working and a purist some of the existing illustrated graphics processing where 2 people or in the program and then it really was a factor in the deciding to join the club so today I want to talk about this OK you see a bit of the technicalities and although the art overview picture didn't work out so well that was just a small part of it was a really any chance intensive of objects will talk together and so I'm going to talk about what kind of I'm thinking of to integrate this into being so 1 of the things you can do with the technical model is to put directly on screen you really didn't see anything and
then there are these are all neutral boxes with the parameters and then and the role of the together which opposes the admissible the blender screenshot of the fun and its imaging its processing this images through all this graph down to the end I think this is not something for creative people to use or not in general for artists who were for work within the vision of game so but this is a visual programming last year
requests came like what this will will be what you want to show the graph and I was like known vision problems we notice from the nineties and and no I don't see that creative people or mostly 1 work with it might turn out this kind of modeling game because biology is to work to really be about the research of of algorithms and to really dig deep inside the representation of the process in itself but it will be sort of separated corner just like the spot of division these slightly separated from the rest of the statements about high photo processing and creating original so long what you should do is sort of bridge what goes on technically on the standard and then go to users and focus on those dictated
folders on what's it like doing this kind of high and photo and art-making work and generalize that understand it to understand what kind of models of playing there the users had and here's what I can with so the focus is
yes on on the image on the results of and certainly gave general you working on the compositing that form a bunch of layers is very much ingrained into the model the composite thing and we highlight 1 of these layers then and you work and then you just you just 1 operation after another and you live with this with that you focus on that 1 layer in general at the same time another operation so all we look at this and I think we got a model we because of those layers so there is of course represented by the latest that in the application and you can do the same operations you get the quality the manipulation dialog manipulations that this working title and local completely sold and I think also not put some headings from this thing called already dialogs don't think this is a mockup is reduced the interaction model of how to use so now getting getting closer because this can be representation the foster complex get all through the use of grafted before that's what the only so so I think we're going to show you know how to how to work with this how to build a new operations that and they were really as people I
used to you choose from a menu so from tool-to-tool tool and they stop working and you see you get an and operation at the top that's that's highlighted and they dismissed that an agrarian which doesn't show it but it's not uh um they had with that we have already captured quite a bit so I what was in that in that there were not I have to show you here is that of operation fragments of names to to make it a bit more tangible what's going on so that's below the image that's that chain of operations that composite thing we talked about the 2 year and the output is over there and is put into an application is exactly the kind of things I talked to talk to about before I number contracted so when a new operation was the easy part right is more exciting new the goal like in the past and
revisits but all their operation you've done before later today maybe a month ago and regions that curve and by changing the of all the other ones will be applied on top again you immediately see the results while you are actually changing that curve in the dialog so that's where from to the wild stores so there when you see is low so more easy things that can be immediately done we we all of these guys layer visibility and we could do do the same for the operations and this which model insights sex because see before and after and of course you can you can do this also for the model operation to see still what difference is it still make so much so much of a a difference and maybe I should just our um but also quite cooling use that because it's got the same with structure images reordering operations and something to talk for a for a bigger impact if if proposal to the commented but that's the joy everyone is highlighted of also even start thinking about property and based 1 more of these operators and basically in the same layer spacing them in the different layers by just highlighting it induces a much more free way of thinking before to widen something else 1 thing that's a bit of a bit of a question is what is graph 1 here and problems all layer over there what happens then is that a copy or instead of removal the operation well if you you very much to the fossil force metaphor than you would say to move but I think it's going to be a copy of a multi sited on that 1 year so before was more cool stuff that like
Intermezzo and it's a very controlled countries that still have what's the Holy Trinity so if take this
image and I do something to its history airport gets invited invaded by the martians laser beams and then move yes my question is there a lot do they the time pixel to from tool box and
just like that's did that some kind of a the selection and then applies to operator on it or did put some adjustment layer normal over it and limited to use loss for this to work out the results and the answer is that it's not going to tell you that because as it doesn't matter you can see the difference and connection from point a to gain it really shouldn't matter what they already common is that they can be broken down in the and again every 1 of these actions to an operation that doing in some kind of a grayscale single-dimension mask of applying this is you smear with the tool this is what your selection actually is this is what the was also is so so what I'm declaring today and I will discuss this the forward with the ones and so is fully emancipation of full equality for these 3 ways of doing things and From the point of view of there's going to be no preferred way or no single way to get any of these things to get anything that is always going to be 3 ways the 3 ways that can before and and really even with our well with number 1 million users that it's totally up to the individual user on individual model moments in that the individual composition and making to really figure out what is the most logical and playing all these was to use for that it really depends also predominantly person and what comfortable with it and people down to the feeling that I like to have control really with the hand tool to to do it in a free-flowing ways that that determines what what they want to use the reason injecting this the talk is that in that's very necessary for the following reasons that is and that's
a very general related the layer abuse that we've seen for years and years 1st of all there is the head of the nineties and the adjustment later as we know from Photoshop and they get from the mothers are working believed that when a single photo and sort of yes represented as a single layer and I just wanna fine-tuned the curves and we also available to fine-tune the lady later when we do that in a non-destructive way than you get would in the layer on and it's like wait a minute it's my fault so it's a single layer why current induced that directly on it so all I've been a long time even at all against adjustment layers in but because of the Trinity announcing like it's the 3rd way of doing things themselves fully supported but now that kind of use so the other thing is that in discussions about going along with the people involved in implementing it there's a lot of talk when in the graph sort of parallel branches and like or maybe a couple of pieces of text that generated next that's the talk is pretty select in each 1 goes a little later in life whole wait a minute stop right there and that is not sufficient in any of the 1st one there will think it's like well these are the legislator Williamson so somewhere buttons and that sort of thing wouldn't vision of games the work so Canada's of 1 text later introduced level of like that and get it done the so so that's the stock and In the use don't and all the users who decides to create layers the commands really say something like a new layer copper based layer etc. that's obvious conscious ways to do to make layers love life but we're doing all basic should show up as the fake layer or something or you need to be shown as a layer in between divided from their own it's user's choice and not ours so the so we can adhere to music use layers as a logical or organization of the file and is there logical organization and know what solution that we are going to force them to use more layers than they are comfortable with there was number 1 from there was a reason for really stressing always renting the thing about these 4 it's always what to
implications that I this will realize if you fully through and that's the first one is OK should be doing we have to do anything with hand tools so that means in the in the painting with anything so I also example of oranges noise and or that would be nice if you could just fix to 1 and noise and it really goes out to the any point in you should be able to paint with the results on your campus and applied with the loss that you're actually building of these are also included sets in developers have never seen before you know is the conversion effect and smeared on the compass but I think it is really interesting if you combine this with the new paint dynamics that that special elections introducing animals working on this collide with any kind of fact that you can use here with a lot of control from interpolant on on the canvas is is something that gives them quite excited about and get us out of this is of course you just layers and the ones that have what I have to accept and also have to have to buy anything not just the basic building operators and stuff like that it's got work with any point in same that you don't have the Holy Trinity and and that's that's in the world so effective orange prior so we
don't read about his grayscale masks and this is a representation of layer marked in the in the later so we got a near then you know you can also have and there this is when use that handle from tool box you smearing and on doing effects plot which is settings plus that grayscale lost interconnection show next to it in the actual operation if you apply some kind of London on selection and that selection becomes the grayscale colossus right there and then that that's pretty cool because 1 year later you go back to your file and just like layer mask you you actually highlighted muscle you highlight that must itself can and again this crazy debates needs to be there inside the file already warned about the events that may need some clever sharing the same loss of cells just pile up the needs of the data because it's part of the operation did 1 year ago going to be able to do change that it also includes adjusting your painting by erasing operate and using some of dangerous to go over it so Russian was couple more topics a more hence we would have a 1 thing
that's quite tricky is facing image material inside and later so in the so the
question was idea of a singing like some of the technical people say well that's 1st of all a little later on that goes to read that like total number 1 minute and special because of the Trinity are we pay something that's just an operation on this layer and it becomes part of it of course it needs to be done almost a little and need to be on the stack because the year later you need to be able to revisit that and we highlighted you may move the thing to another place and apply other operations on talking about applying operations and page before you make down later that's something that I see the power of the really forties that probably means that we the little triangle there and so later of it's really such layer of of operations all the places that's so we don't get hierarchy inside the actual operations so we will need to when something like this this is similar to the labor groups and go inside it is similar to to address to having vector layers and then having a bunch of them that can also be stacked So we need some apparently inside too much of its back in and we 1 of the
difficult things that I got to know know a lot here is that cloning meets so there that the between again and these guys here are called cloned just above read and and this began described it so that's just something like it it can choose whatever comes in here in the input and teleport to waste so way somewhere else in the graph itself and if you change this is it also changes in the sky above there so so certainly in that direction from the master to the clone in words like this and pretty quickly the solution will for that was that was found to we get something concrete then you can use literally basic a copy of it you can also have this quality uh which will in turn in quite a few of main used to do things SAT close has but that's only the start of each arm I think yeah he just wants that is final teleported to somewhere else I can think of more things you can places according is take a layer the basis of cloning chemical later and the 1 and the same thing but and I can take a group of operators in my whatever operator where operators dialog and paste them as from somewhere else and if you change either side to the other ones change there was a need to be changed set of operators of the same things so this version of this column should be just like linking hard or soft cloning if there should be a master and slave relationship or should be really all the states you change 1 you always change 1 so this is where the money most and that's so that's something DVD finally have this is singular and another thing that is quite intriguing um where that all the Gaggle building to
to gaming and so the operator stack then the last hour of today will be that still we're able to using like this without the game state all if you not interested in joining operations on and off reordering them or revisiting the past change in the thinking words really fully for you and mostly like it was passed the course other changes but it will again just like you know it which would be all layers to me operations using box you stuff or things from menu and so this is a document that's also going to be pull through to the design phase that's at the end you know dependent on the on the general dialog with operation dialog to get your stuff done if you still the just in a linear way 1 gets that exported and get out of it so that's what
be fit fit the space 1 address that question
and the rest will need to discuss in the bank and 1 has a question yes you uncertainty little little I'm coming from and that many you want to move into the front because otherwise you're blocking the entry so please the seats enough here came this I'm just you know with the with all the Gago operations there are you going to have some sort of cataloging her tagset how do you know that something you use 2 years ago what did are you know rather than surges just going in there and fiddling with the machinery of the of the operations how do you remember what a series that you may have much more than 4 or 5 operations right will give image but 1st of all the lemmas stress that's really the operations that you saw new operations should be allowed to leave are just the same you see right now this all the filters that we call this the filters are all and only amounts of applying so although compositing will be called as it is right now as it is recognized by the whole graphics communities so it simply as a prerequisite is that when your operating in you know the tools you must have then you put in your couple years working with it to get to that level we working really well so your question how do you recognize those all operators really scales in the same way with how do I recognize to do my next step what do I need to do to get the next thing that so that's a mechanism of this name stands for this kind of effect that you that is used to recognize yourself or to play and how to do the next thing but if you look at your all operators and what I showed you once you click in the individual branches so you take it from there from the point where you were in you pick up from there to adjust to the new direction that you want to know so yeah this is building on the same mechanism as before you have to know what you're doing you have no culture blurred just for you to pick it also from the state of operational like I need to adjust my blog because it's just the right and the father could be a little bit more with less would be more you want so it is also at the end of game is a tool for losses and gender that learned analogically geographic stunned with the same set of operators that you know from last year and it will be there in 5 years time to that will just on that list of things you don't thank you very much for the few
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Metadaten

Formale Metadaten

Titel A first outline for a UI for a fully GEGLed GIMP
Serientitel Libre Graphics Meeting (LGM) 2010
Teil 03
Anzahl der Teile 46
Autor Sikking, Peter
Lizenz CC-Namensnennung - Weitergabe unter gleichen Bedingungen 3.0 Unported:
Sie dürfen das Werk bzw. den Inhalt zu jedem legalen und nicht-kommerziellen Zweck nutzen, verändern und in unveränderter oder veränderter Form vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen und das Werk bzw. diesen Inhalt auch in veränderter Form nur unter den Bedingungen dieser Lizenz weitergeben.
DOI 10.5446/21498
Herausgeber River Valley TV
Erscheinungsjahr 2012
Sprache Englisch

Inhaltliche Metadaten

Fachgebiet Informatik
Abstract The (eternally) imminent integration of GEGL into GIMP—or rather, fully basing GIMP on GEGL—holds great promise. Lossless editing and unlimited re-adjustment and reordering of image editing steps are only the beginning. However there is big gap between the nuts and bolts of the GEGL graph and nodes, and the world of GIMP users doing high-end image manipulation for artistic results. User interfaces bridge this gap and Peter Sikking, principal Interaction Architect at m+mi works, and lead Interaction Architect of GIMP, will outline in this talk the UI principles that can unlock the power of GEGL in a GIMP context.
Schlagwörter Libre Graphics Meeting (LGM)

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