Computer-generated imagery in the context of Documents

Computer graphics deals with generating images and art with the aid of computers. Computer graphics is a core technology in digital photography, film, video games, digital art, cell phone and computer displays, and many specialized applications. A great deal of specialized hardware and software has been developed, with the displays of most devices being driven by computer graphics hardware. It is a vast and recently developed area of computer science. The phrase was coined in 1960 by computer graphics researchers Verne Hudson and William Fetter of Boeing. It is often abbreviated as CG, or typically in the context of film as computer generated imagery (CGI). The non-artistic aspects of computer graphics are the subject of computer science research.

Computer graphics is responsible for displaying art and image data effectively and meaningfully to the consumer. It is also used for processing image data received from the physical world, such as photo and video content. Computer graphics development has had a significant impact on many types of media and has revolutionized animation, movies, advertising, and video games in general.

A document is a written, drawn, presented, or memorialized representation of thought, often the manifestation of non-fictional, as well as fictional, content. The word originates from the Latin Documentum, which denotes a "teaching" or "lesson": the verb doceō denotes "to teach". In the past, the word was usually used to denote written proof useful as evidence of a truth or fact. In the Computer Age, "document" usually denotes a primarily textual computer file, including its structure and format, e.g. fonts, colors, and images. Contemporarily, "document" is not defined by its transmission medium, e.g., paper, given the existence of electronic documents. "Documentation" is distinct because it has more denotations than "document". Documents are also distinguished from "realia", which are three-dimensional objects that would otherwise satisfy the definition of "document" because they memorialize or represent thought; documents are considered more as two-dimensional representations. While documents can have large varieties of customization, all documents can be shared freely and have the right to do so, creativity can be represented by documents, also. History, events, examples, opinions, stories etc. all can be expressed in documents.

Animation is a filmmaking technique whereby still images are manipulated to create moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Animation has been recognized as an artistic medium, specifically within the entertainment industry. Many animations are either traditional animations or computer animations made with computer-generated imagery (CGI). Stop motion animation, in particular claymation, is also prominent alongside these other forms, albeit to a lesser degree.

Animation is contrasted with live action, although the two do not exist in isolation. Many filmmakers have produced films that are a hybrid of the two. As CGI increasingly approximates photographic imagery, filmmakers can relatively easily composite 3D animated visual effects (VFX) into their film, rather than using practical effects.

Computer animation is a digital successor to stop motion and traditional animation. Instead of a physical model or illustration, a digital equivalent is manipulated frame-by-frame. Also, computer-generated animations allow a single graphic artist to produce such content without using actors, expensive set pieces, or props. To create the illusion of movement, an image is displayed on the computer monitor and repeatedly replaced by a new similar image but advanced slightly in time (usually at a rate of 24, 25, or 30 frames/second). This technique is identical to how the illusion of movement is achieved with television and motion pictures.

Live-action animation is a film genre that combines live-action filmmaking with animation.Projects that are both live-action and computer animation tend to have fictional characters or figures represented and characterized by cast members through motion capture and then animated and modeled by animators. Films that are live-action and traditional animation use hand-drawn, computer-generated imagery (CGI), or stop-motion animation.

Visual effects (sometimes abbreviated as VFX) is the process by which imagery is created or manipulated outside the context of a live-action shot in filmmaking and video production.The integration of live-action footage and other live-action footage or computer-generated imagery (CGI) elements to create realistic imagery is called VFX.

VFX involves the integration of live-action footage (which may include in-camera special effects) and generated-imagery (digital or optics, animals or creatures) which look realistic, but would be dangerous, expensive, impractical, time-consuming or impossible to capture on film. Visual effects using CGI have more recently become accessible to the independent filmmaker with the introduction of affordable and relatively easy-to-use animation and compositing software.

In filmmaking, a practical effect is a special effect produced physically, without computer-generated imagery or other post-production techniques. In some contexts, "special effect" is used as a synonym of "practical effect", in contrast to "visual effects" which are created in post-production through photographic manipulation or computer generation.

Practical effects often use principles from magic tricks, exploiting the camera's single viewpoint to create convincing illusions that may work only from certain angles, or using specially created props designed to achieve the desired effect. These effects require an interdisciplinary skill set, combining artistic craftsmanship with technical expertise in mechanics and engineering to achieve the desired result.

An occultation is an event that occurs when one object is hidden from the observer by another object that passes between them. The term is often used in astronomy, but can also refer to any situation in which an object in the foreground blocks from view (occults) an object in the background. In this general sense, occultation applies to the visual scene observed from low-flying aircraft (or computer-generated imagery) when foreground objects obscure distant objects dynamically, as the scene changes over time.

If the closer body does not entirely conceal the farther one, the event is called a transit. Both transit and occultation may be referred to generally as occlusion; and if a shadow is cast onto the observer, it is called an eclipse.

In digital photography, computer-generated imagery, and colorimetry, a grayscale (American English) or greyscale (Commonwealth English) image is one in which the value of each pixel holds no color information and only expresses a shade of gray. Pixel values are typically stored in the range 0 to 255 (black to white).

Grayscale images, are black-and-white or gray monochrome, and composed exclusively of shades of gray. The contrast ranges from black at the weakest intensity to white at the strongest. Grayscale images are distinct from one-bit bi-tonal black-and-white images, which, in the context of computer imaging, are images with only two colors: black and white (also called bilevel or binary images). Grayscale images have many shades of gray in between.

In computer graphics, alpha compositing or alpha blending is the process of combining one image with a background to create the appearance of partial or full transparency. It is often useful to render picture elements (pixels) in separate passes or layers and then combine the resulting 2D images into a single, final image called the composite. Compositing is used extensively in film when combining computer-rendered image elements with live footage. Alpha blending is also used in 2D computer graphics to put rasterized foreground elements over a background.

In order to combine the picture elements of the images correctly, it is necessary to keep an associated matte for each element in addition to its color. This matte layer contains the coverage information—the shape of the geometry being drawn—making it possible to distinguish between parts of the image where something was drawn and parts that are empty.

2D computer graphics is the computer-based generation of digital images—mostly from two-dimensional models (such as 2D geometric models, text, and digital images) and by techniques specific to them. It may refer to the branch of computer science that comprises such techniques or to the models themselves.

2D computer graphics are mainly used in applications that were originally developed upon traditional printing and drawing technologies, such as typography, cartography, technical drawing, advertising, etc. In those applications, the two-dimensional image is not just a representation of a real-world object, but an independent artifact with added semantic value; two-dimensional models are therefore preferred, because they give more direct control of the image than 3D computer graphics (whose approach is more akin to photography than to typography).

Andy Lomas (born 1967 in Welwyn Garden City, England) is a British artist with a mathematical background, formerly a television and film CG supervisor and more recently a contemporary digital artist, with a special interest in morphogenesis using mathematical morphology.

Lomas previously worked on visual effects using computer graphics (CGI) for television and films such as The Matrix Reloaded (2003), The Matrix Revolutions (2003) and Avatar (2009). before becoming a digital artist. In 2006 he appeared in The Tech of 'Over the Hedge', a short documentary. With his collaborators, in 1999 Lomas won the 51st Primetime Emmy Awards Outstanding Special Visual Effects for a Miniseries or a Movie for the 1999 film Alice in Wonderland.

GoldenEye is a 1995 action spy film, the seventeenth in the James Bond series produced by Eon Productions, and the first to star Pierce Brosnan as the fictional MI6 agent James Bond. Directed by Martin Campbell, it was the first in the series not to use any story elements from the works of novelist Ian Fleming. GoldenEye was also the first James Bond film not produced by Albert R. Broccoli, following his stepping down from Eon Productions and replacement by his daughter, Barbara Broccoli (along with Michael G. Wilson, although Broccoli was still involved as a consultant producer; it was his final film project before his death in 1996). The story was conceived and written by Michael France, with later collaboration by other writers. In the film, Bond fights to prevent rogue ex-MI6 agent Alec Trevelyan (Sean Bean) from using a satellite weapon against London to cause a global financial collapse.

GoldenEye was released after a six-year hiatus in the series caused by legal disputes, during which Timothy Dalton's contract for the role of James Bond expired and he decided to leave the role, being replaced by Brosnan. M was also recast, actress Judi Dench becoming the first woman to portray the character, replacing Robert Brown. The role of Miss Moneypenny was also recast, Caroline Bliss being replaced by Samantha Bond. Desmond Llewelyn was the only actor to reprise his previous role, as Q. It was the first Bond film made after the dissolution of the Soviet Union and the end of the Cold War, which provided a background for the plot. Principal photography for GoldenEye took place from January to June 1995 in the UK, Russia, Monte Carlo, and Puerto Rico; it was the inaugural film production to be shot at Leavesden Studios. The first Bond film to use computer-generated imagery (CGI), GoldenEye was also the final film in the career of special effects supervisor Derek Meddings, and was dedicated to his memory.