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Holoshop: Haptic Drawing in 3–D

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but it were well but there is
1 idea which underpins this presentation and that it has that the reception all the perception of the imagery is backward compatible and for that reason before I tell you what I'm doing now I'd like to remind you of some of the very important visual um conventions which have been established over the centuries which we just take for granted when we read imagery because image this is quite different from the real world from reading the real world and there are a lot of very well established ways of reading injury that we use all the time and so i'd like to mention them so that you can understand why certain things in hologram's can't be written can't be understood and certain things can and this is the only slide about this to start off with this is at the top all all over this set the physical object ready for making an analog graph made back in the 18 nineties on a test later this whole a grammar this bar in the MIT Lecture so at the top you see all the optics sitting up there the holographic plate is going to be mounted inside the mirror behind the bar being played meter and a half wide 95 by it's better recall that that image that room there with a resolution that's actually higher than in any other kind of image type final and in fact only carries more information acuity wise and we're actually capable of resolving and for that reason and and
will call the crown the frame of reference because I'm going to talk about frames of reference the whole time the frame of reference for the reason of resolution along often means that in reading the images hologram's we elicit a response to the real world so here's the real world and the whole ground was going to be mounted as a mirror and rate we can use very highly structured context of a
physical by now let's go back to what I really mean by backward compatible this image of is a 1st call on on on the left will be there in in the fine art historical work and on the other side is a computer graphic model that I had made which shows where the life he's with respect to figure in his compositions these case studies the taken from a walk by the brilliant part historian Michael Backes all wrote a book called shadows enlightenment and I would highly recommend that book to you because it describes how the representations of shadows in the western world revealed thinking and psychological perception and he chose a case study by just 1 such owned by Leonardo as as indicating 3 major shift in thinking and representation now we can see in this just that the life is actually coming from to the FIA so we're actually seeing aside and see the lights in the computer graphic model is a little figure it and we see the light shining on to her the viewer is actually standing in the way that light is knowing religious book what that does is it actually constructs the viewer as a light source which is a very interesting idea but this kind of our use of the representation of light is just known simply as modelling time and it's used to represent a three-dimensional objects on this basis that the the greater the the tilt of the three-dimensional object is away from the source the doctorate becomes that's modeling time is something which is used in every
kind of representation and K is the next case study this is the Sochi or the and on such shows lighting of which is the light coming from top left and shining slightly over the shadow diagonally is probably the most common type of a representation of life in the world and in fact when you 1st got a computer and pull down the Computer menu there was a shadow underneath that pull-down menu and weighting the light source the imaginary light source on that pull-down menu came from it came from the top of that and the reason why isn't such you said that visual pictorial covered in stars and that's why he started here
um and him on a we we shifted things around a bit and I just next to me is a drawing by Leonardo da Vinci another divinity and although I didn't really give full credit what those artists did on Monday just really choosing 1 of the dominant quality OK I'm not talking about all of the incredibly intricacies but then not divinity and you know sort of change his mind every day of the week that he was 1 of the 1st people who actually sort of darkness as something that emanated from the souls the and actually kind of shown on cable if you can imagine shining darkness onto something and the doctor sexually became less as it went on like the inverse square law for life so the listen this stock as it went out and that he was really the genius of on concealing microstructures within drawings by having 1 overall life in a pattern which was very similar to just go and within that nesting of a whole lot of different sorts of lights which were contrary to the overall lighting patterns and so on the street on pictures I showed you with the subject of my 1st research project of the thermography which was funded by on the street in Research Council the strain response a university people to do research and the outcome was this hologram might here on the left which is produced that several imaging very beautifully by the same technique is the Bob Marley with it and it has a every single quality it's a it's a three-channel reflection holograph the you can see here this is a photo of it in a gallery and on so what I did was he like a transpose three-dimensionally these 3 different types of darkness and have an existing three-dimensional space no hologram so as you walk from side to side in the hologram can actually see the differences in darkness made by your terms such only another to on
now this is that this is just a channel just next to me this is again the hologram and this is just reminding you of G of her life in but remember that you're supposed to be where the where the light is now what we were able to do this hologram beyond all the unitary was made in minor home by computer graphic expert artists I have no talent in that area and uh what we were able to do was in fact change the life in every single pixel so that when the viewer looked at this image of the person where ever they all eyes were the light emanated from their eyes so that although the figure was fixed the lighting was mobile and we've seen quite a few things about that today so obviously when we make an analog hologram in some way the lines in the object can lead to the bound together but when we start to make digital things we can separate those things and and have them on how you
look quite different is another completely different kind of mom light I usually use this this figure as my kind of test subjects AC come up a lot but I don't know if anyone knows the artist that I'm always does allow painting like this distance here in that David crept cast but Friedrich's paintings like wander over the next which you can't see the person is alive behind and this is the opposite position of light from G also when it's usually a very low light but it has a particular meaning it's linked with romanticism and I think when we say we all we all understand it but of course are
very high and field in fact has its own predetermined lighting which was not it was not invented by an artist was not as established by anybody in the holographic community at all in fact it was established by special effects people to mate princess layer and if you look at the site by carefully you'll realize that the light source and the direction is in fact how most holograms are the trading films but the life rather than just falling on the object the light itself is also visible so on the
2nd research project I did I was concerning life and the representation of light in the media which is made from light itself so uh and of course we will realize that there's a huge difference between a computer graphic representation and the hologram itself so on hi
someone you idiots can help explain its
new come that have something and
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it was just this that Ch
which they got know
and all located at your own so this system footage of the hologram itself and you can see it is a
representation of all the piece of light coming down into the figure out what and um beyond thing that was animated in this work was a lot so over the 8 seconds the figures remain the same but the like
change so that it began as a like figure on a dark ground background and it is a dark figure on a light background and in this work I was using the
language of cinematography and filmic framing which affect users with those the formula and the other thing which I which is quite
different uh is that is that I
was using a uh a kind of forced perspective which simulated more the lensing will because obviously software like Meyer is designed to actually go into the film pipeline but we are not able to use those those landing effects because Allen's has to replicate the eye of the viewer meaning that a lot of digital work often actually replicated reality which really wasn't all that exciting so see how I make this 1 1 the the the the it's
not working in our just explained by looking at it is that this is actually a previous lization of solid grounds are being in the exhibition here at MIT and I just I could show you referred to make an inanimate that's
the that our there's 3 different kinds of widening it is actually fall so we have a reflection map which on interval I have I have so many people to thank and so many you know amazing things to say but I 1st saw reflection mapping my colleagues hubcap hologram and I think that the reflection that is actually a really important part of computer graphics in the official language of holograms because it implies a space beyond the viewer space that is you know really to leave it represents a three-dimensional space beyond the and so this is all a hologram of which was made whole graphics north by John perry here today I shows down at the bottom of the light is through the glosses and seems to be coming towards the view of the light in the top glosses seems to be coming from the person is looking at the whole hologram the light on the glosses frame is the same as G. also and the background has not relied on
it at all and it's very similar to having L a laser image projected into your private I had the great privilege of having Elizabeth projected beautiful image which I will always remember my whole life at the next and it seemed as tho it was inside my body it was just an extraordinary experience anyhow after spending 6 torturous years using my I decided that really something had to be done it was some it took so long to actually undo the image because the the the transparent image we realize that actually or course of Hollywood's our way of representing hologram's that when a holograms is at the end and the then did that own wants to and on because Hollywood sort of told people that holograms a transparent what what what we really found out was the more transparent a person is more relays the holographic and and and this is something which only happens in a hologram it doesn't happen in other media so on we really need a lot less information that is necessary in building things like my heart and so we had to do elaborate work-arounds to actually did you need and take out which make the rendering time even longer sick imagine that when you have to render several thousand frames which will have reflection maps and stuff like that it's just a very unworkable sort of scenario so saying is also I'm just terribly interested in working with a holographic video you know our Call me old-fashioned but you know it's my trained on I would love to be able to work in real time in the way that I'm used to doing because on a drawing destroying it in a nice easy going way without having to climb the Great cigarette on we are not would to let my and all of that kind of subtitles like together to make a few images rather quickly so of text seemed to me that a really good tool for drawing with me this the phantom which I've seen I mean many years ago as an insane when Lesniak spring work with on modeling forms with this haptic interface so for those of you haven't seen 1 before this thing that thing lying down close to the front is the I think it's called Gimble something anyhow it's it's the thing of all that's like pain and you can see it's got our and articulated arm and on this great you can see a little model all the phantom itself that's highly calibrated when you 1st start up the and what this cool little machine about is 8 9 years 3 D in space where your hand is so without learning anything you can actually pick it up you can make ones that well you can thanks to will really people and collaborating with you and I should just mention that that on I am looking these uh mass attack Asoka who's the head of the Scientific Visualization Laboratory at us in university and his student shakily at his written most of the software and our method sector sick is just a fantastic human interface person is willing to try anything and I was also working on this project with RDF history and John dead choose the world expert on color in are probably get on to that later so what I did was really saying what we need in terms of software for drawing food for creating content period easily to make digital holograms and become mathematically generated holograms as well because in the 1st instance the information is mathematical so you don't have to go scan the real world and do that because it exists as it as a mathematical form immediately as soon as you draw it already covered it so it's very easy to to export it's very easy to apple and is computationally very light so I started I thought that it was
important to have a kind of a haptic interface because of its voting possible to draw in three-dimensional space without some sort of frame of reference without being on the on something so I'll use the laser scans that we make your project and started using greedy inside of them is a lot like pretty tragic
so I realize that wasn't the way to go about the template was poor and artist Julie thought as I to a flight will have this really the best person in the whole world who knows all about this and the answer immediately came to me Michelangelo and so I was very fortunate to be on given access to the cabinet it does on that a balloon to Michelangelo's
drawings to study and our last year spent 3 months there are going through his collection of drawings and actually making notation to see how he did it how we created these solutions which really are they kind of the bible they kind of variables so we understand when we look at the representation at least a few years so I'll just tell you a few of the really brilliant ideas that he came up with and you can see in this drawing Princeton's have a look at this 1 2 you'll notice that the direction of the lines going in different directions doing 2 different tasks the ones that are going to let us slide slanting diagonally describing the shadow and the ones that are mainly going down the figure are actually describing the consul even though the shadow lines are they more regularly spaced and so it's the last separation and call recombination of the vertical ones which actually tells you a lot more about the contour and the diagonal lines tell about shading
here's another example of a of a different idea where a lot of lines of grouped together in there of different thicknesses it's a bit hard to make these out but also there's a lot of kind of screwed really underdrawing before the actual lines of the finished work are applied and the lines tend to go around the Shiite OK so whenever you get your institution a class and they draw something the 1st thing they draw is the outline of what is the we can't have an outline of course when you move to a different position outlines in the wrong place so it is not going to be any downward marks in our time a style and the other very important
thing getting back to transparency is that of Michelangelo policy find that that on the other thing I wanted to mention that this
is Michelangelo doesn't ever draw all with the same kind of marks on 1 side of the body is on the other side of Nanos a lot of on to computational time is taken up with the line on things like not seeing the back of something I reckon that the have to get away with the young to see the back and the front at the same time making it very like if we can't just differentiate if we can just use this really good
idea that he had and is another fantastic idea is that the amount of detail on 1 side of the figure is far greater than on the other side so that means that when you rotate you're around if 1 side is fully feeling and turn it around you don't actually have a problem and that in fact you can you can read right into the volume and so this is stretched out of
it to the side but we could see that you can't actually just make up when you get to draw off a whole a video you gonna draw with white because is gonna be you go draw with like you gonna have white you know can have black cat but I wanted my perceptual thing he's have come on the image on your right looks wrong image on the left to right so we can't go into making drawing probably
video and then just make it an immediate so using these laser scans that
standard unique this is the 1st little drawing test idea just respects gets the underpinning peers David
Michelangelo's David lake with the different kinds of marks this is with the template which we can in turn off this is
the way and who knows what will be coming up in the future but basically a we can be sure that we have to build somehow on our existing visual language and we also have to come up with something which is uniquely suited to a system that is our using life the good news for artists who wanna get into on making the yearly each week that these little and 1 is a very cheap very easily available and hopefully the use of self will be to you and very quickly during content thank you very much few thank you polo and that smoking up to a few minutes of questions a too many requests Paul have you done any of actual imaging with a survey done on a Lagrangian with there's no I haven't I'm going to be making 1 to take to China on an under I wanted tested out on a few different systems so our properly making 1 0 I I forgot to say that the whole or the transparent goal that was made it all up and so I think I've printed out from in time period from Joel and from zebra and Michael Linux holograms the from I prepared some sort of trying out all the different our last available to look at all the different effects I'd love to be rich enough to be the same each across all the french that would be a really good test but on the ground right as i sai as he is not but these lines can be saved as of . OBJ files which means that it's very computationally light then we take like about 2 seconds to render which is quite different this and and this Our is someone of your goal is to develop the software so you can go into reflection mapping and he's you know keeping the from line you know developing more into the other of computer graphics so higher techniques this is not a role and in that direction it's are much more like painting and so on and the whole way of building images totally the opposite of that thanks for asking that question because I think that the mentality behind building something admirers like 0 well you get a thing you get a shape that you can put it in on making the hearing straight or whatever and then you get something to get on the outside and then you shine a light on it and then blob learning is a reflection of and all these things the life the shape everything is the we went to like that we don't like painting but the reason you need a lot more kind of damn well you need to be able to visualize where the light is because like the painting if you wanna see a high-level that cost you just directly put it there so although here this was a yearly version of the software and had white we've got 6 colors now we've got transparency and on the beauty of this program is that the object is not solid is totally very different from any other kind of computational object it's not made out of solid triangles it's an open form and so specifically designed for hologram's will be no reflection maps and if you wanted to reflection maps so you got what you mining something's reflection and this is a totally different ideas about how to construct a computer graphic image it's more like a painting but in three-dimensional so every little mark in the drawing has position of value and it's you and that's it and you can make joint set of thousands of marks and each 1 is individually located that's common how well that's my conception of how to work in so that this is gonna work is going to be an altered basically which I which in my mind as I said after 6 using using minor let us look please so that's that's why and I would yes yet and when you're when you're drawing what you're going with and what you're drawing on can alter the look of the driver you using particularly tools that you that you very there's right yeah that's a fantastic was seen at 1st when I 1st got the phantom I didn't know what to do light on i gotta on a major equipment grant I've seen yours at it in you have like a kind of was sweet little half of all types and and I decided that I get really big 1 because I like to draw like really beautiful not great get the people and and known you know we did we got to live maybe . about a box of we open up the Michelangelo file with David and as soon as I touched the here the whole machine like self-destructive rigged it's on because the force of the calls these here so long I thought yes right so we had we had to sort of on sensible is developed a 4th slide which means that 2nd the false right down the problem was that the three-dimensional templates on often 1 this kind of smoothness joints like it for anybody who's made 3 D print you realize that all holes living have to be also about nice that most computer graphics is like that it's really sort the IMO's lasers sense sure as heck can't like that figure phenomenally gaps around all the places where and when tho they were going to be holes so you sort of find itself falling through all the time and so I tried using the physical world my elbow because it's obvious when I 102 Michelangelo drawings that he mainly used his Reese disappeared and what he did was he match the scale of the Liam according to the arc of his arm so in other words if he was going to do on lines going around Lake he would draw the lake at such a size that the rotation from histories will be the correct curvature for a copy the future is not very smart kind scaling so I haven't really answered your question but there is a new our armrest available we can actually our move your elbow yet still haven't located at 1 plane and move your your wrist around which I don't have yet but I will be using because it is necessary to move in 3 D space B I change point all the human body when you join in 3 D but I haven't been up the master that yet but please understand this is like all brand new and I'm just kind of getting the hang of it but it seems to be that having something physical in the three-dimensional space as various is certainly a help so that the template which you can draw either on the inside of all the outside of will will will stay but you will develop more things the World Bank's very much but few
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Metadaten

Formale Metadaten

Titel Holoshop: Haptic Drawing in 3–D
Serientitel Photons, Neurons and Bits: Holography for the 21st Century (MIT Museum 2009)
Teil 09
Anzahl der Teile 13
Autor Dawson, Paula
Lizenz CC-Namensnennung 3.0 Unported:
Sie dürfen das Werk bzw. den Inhalt zu jedem legalen 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.
DOI 10.5446/30390
Herausgeber River Valley TV
Erscheinungsjahr 2012
Sprache Englisch
Produktionsort Cambridge

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