The popularity of special effects movies and video games has introduced thousands of new terms, techniques, and software applications to both the computing professional and the general user. This unique dictionary is a comprehensive reference for the diverse fields of computer graphics and game development. The book and CD-ROM include over 4,000 definitions and 1,000 illustrations.
Superblack, superblock, supercase, superquadric, supersampling, superred, supergreen, and superblue are just a few of the words which make up the language of computer graphics. This new edition of a widely acclaimed dictionary provides a guide to this fast-moving subject for both relative novices and professionals working in the field. The main changes have been to add new terminology relating to virtual reality and the related topics of robotics and networked simulation. This dictionary covers the software, hardware, and applications of computer graphics and contains hundreds of terms not found elsewhere. Definitions are clear and concise, with special attention given to alternate spellings and meanings. Acronyms are decoded, and pronunciation of the seemingly unpronounceable is given, from WYSIWYG (whizzy-wig) to NAPLPS (nap-lips).
Superblack, supercase, supercomputer, supersonic, superimpose, superquadric (including superellipsoid), superred (and the supergreen and superblue superprimaries), supersampling, supershift, superuser, Super VGA, Super VHS, and superwhite are just a few of the words that make the language of computer graphics. The Dictionary of Computer Graphics Technology and Applications guides novices and specialists alike through the maze of terminology surrounding one of the most exciting growth areas of computers. This dictionary covers the software, hardware, and applications of computer graphics. It contains hundreds of terms not found elsewhere, aiding specialists with the jargon of unfamiliar applications areas and allied technologies. Definitions are clear and concise, with special attention given to alternate spellings and meanings. Acronyms are decoded, and pronunciation of the seemingly unpronounceable is given, from NAPLPS (nap-lips) to WYSIWYG (whizzy-wig).
Dr AIvy Ray Smith Executive Vice President, Pixar The pOlyglot language of computer animation has arisen piecemeal as a collection of terms borrowed from geometry, film, video, painting, conventional animation, computer graphiCS, computer science, and publishing - in fact, from every older art or science which has anything to do with pictures and picture making. Robi Roncarelli, who has already demonstrated his foresight by formally identifying a nascent industry and addressing his Computer Animation Newsletter to it, here again makes a useful contribution to it by codifying its jargon. My pleasure in reading his dictionary comes additionally from the many historical notes sprinkled throughout and from surprise entries such as the one referring to Zimbabwe. Just as Samuel Johnson's dictionary of the English language was a major force in stabilizing the spelling of English, perhaps this one will serve a similar purpose for computer animation. Two of my pets are "color" for "colour" and "modeling" "modelling", under the rule that the shorter accepted spelling is always preferable. [Robi, are you reading this?] [Yes, AIvy!] Now I commend this book to you, whether you be a newcomer or an oldtimer.
Written by leading researchers, the 2nd Edition of the Dictionary of Computer Vision & Image Processing is a comprehensive and reliable resource which now provides explanations of over 3500 of the most commonly used terms across image processing, computer vision and related fields including machine vision. It offers clear and concise definitions with short examples or mathematical precision where necessary for clarity that ultimately makes it a very usable reference for new entrants to these fields at senior undergraduate and graduate level, through to early career researchers to help build up knowledge of key concepts. As the book is a useful source for recent terminology and concepts, experienced professionals will also find it a valuable resource for keeping up to date with the latest advances. New features of the 2nd Edition: Contains more than 1000 new terms, notably an increased focus on image processing and machine vision terms; Includes the addition of reference links across the majority of terms pointing readers to further information about the concept under discussion so that they can continue to expand their understanding; Now available as an eBook with enhanced content: approximately 50 videos to further illustrate specific terms; active cross-linking between terms so that readers can easily navigate from one related term to another and build up a full picture of the topic in question; and hyperlinked references to fully embed the text in the current literature.
Encyclopedia of Computer Graphics and Games (ECGG) is a unique reference resource tailored to meet the needs of research and applications for industry professionals and academic communities worldwide. The ECGG covers the history, technologies, and trends of computer graphics and games. Editor Newton Lee, Institute for Education, Research, and Scholarships, Los Angeles, CA, USA Academic Co-Chairs Shlomo Dubnov, Department of Music and Computer Science and Engineering, University of California San Diego, San Diego, CA, USA Patrick C. K. Hung, University of Ontario Institute of Technology, Oshawa, ON, Canada Jaci Lee Lederman, Vincennes University, Vincennes, IN, USA Industry Co-Chairs Shuichi Kurabayashi, Cygames, Inc. & Keio University, Kanagawa, Japan Xiaomao Wu, Gritworld GmbH, Frankfurt am Main, Hessen, Germany Editorial Board Members Leigh Achterbosch, School of Science, Engineering, IT and Physical Sciences, Federation University Australia Mt Helen, Ballarat, VIC, Australia Ramazan S. Aygun, Department of Computer Science, Kennesaw State University, Marietta, GA, USA Barbaros Bostan, BUG Game Lab, Bahçeşehir University (BAU), Istanbul, Turkey Anthony L. Brooks, Aalborg University, Aalborg, Denmark Guven Catak, BUG Game Lab, Bahçeşehir University (BAU), Istanbul, Turkey Alvin Kok Chuen Chan, Cambridge Corporate University, Lucerne, Switzerland Anirban Chowdhury, Department of User Experience and Interaction Design, School of Design (SoD), University of Petroleum and Energy Studies (UPES), Dehradun, Uttarakhand, India Saverio Debernardis, Dipartimento di Meccanica, Matematica e Management, Politecnico di Bari, Bari, Italy Abdennour El Rhalibi, Liverpool John Moores University, Liverpool, UK Stefano Ferretti, Department of Computer Science and Engineering, University of Bologna, Bologna, Italy Han Hu, School of Information and Electronics, Beijing Institute of Technology, Beijing, China Ms. Susan Johnston, Select Services Films Inc., Los Angeles, CA, USA Chris Joslin, Carleton University, Ottawa, Canada Sicilia Ferreira Judice, Department of Computer Science, University of Calgary, Calgary, Canada Hoshang Kolivand, Department Computer Science, Faculty of Engineering and Technology, Liverpool John Moores University, Liverpool, UK Dario Maggiorini, Department of Computer Science, University of Milan, Milan, Italy Tim McGraw, Purdue University, West Lafayette, IN, USA George Papagiannakis, ORamaVR S.A., Heraklion, Greece; FORTH-ICS, Heraklion Greece University of Crete, Heraklion, Greece Florian Richoux, Nantes Atlantic Computer Science Laboratory (LINA), Université de Nantes, Nantes, France Andrea Sanna, Dipartimento di Automatica e Informatica, Politecnico di Torino, Turin, Italy Yann Savoye, Institut fur Informatik, Innsbruck University, Innsbruck, Austria Sercan Şengün, Wonsook Kim School of Art, Illinois State University, Normal, IL, USA Ruck Thawonmas, Ritsumeikan University, Shiga, Japan Vinesh Thiruchelvam, Asia Pacific University of Technology & Innovation, Kuala Lumpur, Malaysia Rojin Vishkaie, Amazon, Seattle, WA, USA Duncan A. H. Williams, Digital Creativity Labs, Department of Computer Science, University of York, York, UK Sai-Keung Wong, National Chiao Tung University, Hsinchu, Taiwan Editorial Board Intern Sam Romershausen, Vincennes University, Vincennes, IN, USA
As the visual effects industry has diversified, so too have the books written to serve the needs of this industry. Today there are hundreds of highly specialized titles focusing on particular aspects of film and broadcast animation, computer graphics, stage photography, miniature photography, color theory, and many others. Visual Effects in a Digital World offers a much-needed reconsolidation of this knowledge. All of the industry's workers frequently need to understand concepts from other specialties, and this book-the only one of its kind-lets them look up and grasp the basics of any visual effects concept in a matter of seconds. It's a great way for everyone, regardless of experience, to find their way through the jargon and learn what they need to know. - Authoritative coverage from a winner visual effects expert-winner of a British Academy Award and two Emmys - Covers topics such as computer graphics, digital compositing, live action, stage, and miniature photography, and a wide range of computer and Internet concepts - Offers job descriptions for positions found throughout the industry - Demystifies the jargon used by practitioners in every subspecialty
