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Virtual actor 235 Legal issues Critics such as Stuart Klawans in the New York Times expressed worry about the loss of "the very thing that art was supposedly preserving: our point of contact with the irreplaceable, finite person". More problematic, however, are issues of copyright and personality rights. An actor has little legal control over a digital clone of him/herself and must resort to database protection laws in order to exercise what control he/she has. (The proposed U.S. Database and Collections of Information Misappropriation Act would strengthen such laws.) An actor does not own the copyright on his/her digital clone unless he/she was the actual creator of that clone. Robert Patrick, for example, [6] [8] would have little legal control over the liquid metal cyborg digital clone of himself created for Terminator 2. The use of a digital clone in the performance of the cloned person's primary profession is an economic difficulty, as it may cause the actor to act in fewer roles, or be at a disadvantage in contract negotiations, since the clone could be used by the producers of the movie to substitute for the actor in the role. It is also a career difficulty, since a clone could be used in roles that the actor himself/herself would, conscious of the effect that such roles might have on his/her career, never accept. Bad identifications of an actor's image with a role harm careers, and actors, conscious of this, pick and choose what roles they play. (Bela Lugosi and Margaret Hamilton became typecast with their roles as Count Dracula and the Wicked Witch of the West, whereas Anthony Hopkins and Dustin Hoffman have played a diverse range of parts.) A digital clone could be used to play the parts of (for examples) an axe murderer or a prostitute, which would affect the actor's public image, and in turn affect what future casting opportunities were given to the actor. Both Tom Waits and Bette Midler have won actions for damages against people who employed their images in advertisements that they had refused to take part in themselves. [9] In the US, the use of a digital clone in advertisements, as opposed to the performance of a person's primary profession, is covered by section 43(a) of the Lanham Act, which subjects commercial speech to requirements of accuracy and truthfulness, and which makes deliberate confusion unlawful. The use of a celebrity's image would be an implied endorsement. The New York District Court held that an advertisement employing a Woody Allen impersonator would violate the Act unless it contained a disclaimer stating that Allen did not endorse the product. [9] Other concerns include posthumous use of digital clones. Barbara Creed states that "Arnold's famous threat, 'I'll be back', may take on a new meaning". Even before Brandon Lee was digitally reanimated, the California Senate drew up the Astaire Bill, in response to lobbying from Fred Astaire's widow and the Screen Actors Guild, who were seeking to restrict the use of digital clones of Astaire. Movie studios opposed the legislation, and as of 2002 it had yet to be finalized and enacted. Several companies, including Virtual Celebrity Productions, have in the meantime purchased the rights to create and use digital clones of various dead celebrities, such as Marlene Dietrich [10] and Vincent Price. [2] In fiction • S1m0ne, a 2002 science fiction drama film written, produced and directed by Andrew Niccol, starring Al Pacino. In business A Virtual Actor can also be a person who performs a role in real-time when logged into a Virtual World or Collaborative On-Line Environment. One who represents, via an avatar, a character in a simulation or training event. One who behaves as if acting a part through the use of an avatar. Vactor Studio LLC is a New York-based company, but its "Vactors" (virtual actors) are located all across the US and Canada. The Vactors log into virtual world applications from their homes or offices to participate in exercises covering an extensive range of markets including: Medical, Military, First Responder, Corporate, Government, Entertainment, and Retail. Through their own computers, they become doctors, soldiers, EMTs, customer service reps, victims for Mass Casualty Response training, or whatever the demonstration requires. Since 2005, Vactor Studio’s role-players have delivered thousands of hours of professional virtual world demonstrations, training
Virtual actor 236 exercises, and event management services. References [1] Brooks Landon (2002). "Synthespians, Virtual Humans, and Hypermedia". In Veronica Hollinger and Joan Gordon. Edging Into the Future: Science Fiction and Contemporary Cultural Transformation. University of Pennsylvania Press. pp. 57–59. ISBN 0812218043. [2] Barbara Creed (2002). "The Cyberstar". In Graeme Turner. The Film Cultures Reader. Routledge. ISBN 0415252814. [3] Nadia Magnenat-Thalmann and Daniel Thalmann (2004). Handbook of Virtual Humans. John Wiley and Sons. pp. 6–7. ISBN 0470023163. [4] Paul Martin Lester (2005). Visual Communication: Images With Messages. Thomson Wadsworth. pp. 353. ISBN 0534637205. [5] Andrew Darley (2000). "The Waning of Narrative". Visual Digital Culture: Surface Play and Spectacle in New Media Genres. Routledge. pp. 109. ISBN 0415165547. [6] Ralf Remshardt (2006). "The actor as imtermedialist: remetiation, appropriation, adaptation". In Freda Chapple and Chiel Kattenbelt. Intermediality in Theatre and Performance. Rodopi. pp. 52–53. ISBN 9042016299. [7] Simon Danaher (2004). Digital <strong>3D</strong> Design. Thomson <strong>Course</strong> Technology. pp. 38. ISBN 1592003915. [8] Laikwan Pang (2006). "Expressions, originality, and fixation". Cultural Control And Globalization in Asia: Copyright, Piracy, and Cinema. Routledge. pp. 20. ISBN 0415352010. [9] Michael A. Einhorn (2004). "Publicity rights and consumer rights". Media, Technology, and Copyright: Integrating Law and Economics. Edward Elgar Publishing. pp. 121, 125. ISBN 1843766574. [10] Los Angeles Times / Digital Elite Inc. (http:/ / articles. latimes. com/ 1999/ aug/ 09/ business/ fi-64043) Further reading • Michael D. Scott and James N. Talbott (1997). "Titles and Characters". Scott on Multimedia Law. Aspen Publishers Online. ISBN 1567063330. — a detailed discussion of the law, as it stood in 1997, relating to virtual humans and the rights held over them by real humans • Richard Raysman (2002). "Trademark Law". Emerging Technologies and the Law: Forms and Analysis. Law Journal Press. pp. 6—15. ISBN 1588521079. — how trademark law affects digital clones of celebrities who have trademarked their personæ External links • Vactor Studio (http:/ / www. vactorstudio. com/ )
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3D Rendering PDF generated using th
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Image-based lighting 64 Image plane
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References Article Sources and Cont
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3D rendering 2 Non real-time Animat
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3D rendering 4 The shaded three-dim
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Ambient occlusion 6 ambient occlusi
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Ambient occlusion 8 • ShadeVis (h
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Anisotropic filtering 10 will only
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Beam tracing 12 Beam tracing Beam t
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Bilinear filtering 14 Are all true.
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Binary space partitioning 16 togeth
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Binary space partitioning 18 Other
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Binary space partitioning 20 [1] Bi
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Bounding interval hierarchy 22 Prop
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Bounding volume 24 bounding boxes b
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Bump mapping 26 Bump mapping Bump m
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CatmullClark subdivision surface 28
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CatmullClark subdivision surface 30
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Conversion between quaternions and
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Cube mapping 34 Advantages Cube map
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Cube mapping 36 Related A large set
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Diffuse reflection 38 2), or, of co
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Displacement mapping 40 Meaning of
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DooSabin subdivision surface 42 Ext
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False radiosity 44 False radiosity
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Geometry pipelines 46 Geometry pipe
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Global illumination 48 Rendering wi
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Gouraud shading 50 Gouraud shading
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Graphics pipeline 52 Graphics pipel
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Graphics pipeline 54 References 1.
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Hidden surface determination 56 imp
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High dynamic range rendering 58 Hig
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High dynamic range rendering 60 Ton
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High dynamic range rendering 62 Fro
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High dynamic range rendering 64 •
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Irregular Z-buffer 66 Applications
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Lambert's cosine law 68 than would
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Lambertian reflectance 70 Lambertia
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Level of detail 72 Well known appro
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Level of detail 74 Hierarchical LOD
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Newell's algorithm 76 Newell's algo
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Non-uniform rational B-spline 78 Us
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Non-uniform rational B-spline 80 of
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Non-uniform rational B-spline 82 ar
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Non-uniform rational B-spline 84 Ex
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Normal mapping 86 How it works To c
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OrenNayar reflectance model 88 Oren
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OrenNayar reflectance model 90 , ,
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Painter's algorithm 92 The algorith
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Parallax mapping 94 • Parallax Ma
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Particle system 96 A cube emitting
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Path tracing 98 History Further inf
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Path tracing 100 Scattering distrib
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Phong reflection model 102 Visual i
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Phong reflection model 104 Because
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Phong shading 106 Visual illustrati
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Photon mapping 108 Rendering (2nd p
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Photon tracing 110 Advantages and d
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Potentially visible set 112 • Can
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Potentially visible set 114 Externa
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Procedural generation 116 increases
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Procedural generation 118 • Softi
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Procedural generation 120 Reference
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Procedural texture 122 Self-organiz
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Procedural texture 124 References [
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3D projection 126 The distance of t
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Quaternions and spatial rotation 12
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Radiosity 140 Overview of the radio
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Radiosity 142 This is sometimes kno
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Radiosity 144 References [1] " Mode
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Ray casting 146 the light will reac
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Ray tracing 148 Typically, each ray
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Ray tracing 150 independence of eac
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Ray tracing 152 On June 12, 2008 In
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Reflection 154 Reflection Reflectio
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Reflection 156 Glossy Reflection Fu
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Reflection mapping 158 Cube mapping
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Render Output unit 160 Render Outpu
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Rendering 162 • indirect illumina
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Rendering 164 Ray tracing Ray traci
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Rendering 166 Academic core The imp
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Rendering 168 • 1984 Distributed
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Retained mode 170 Retained mode In
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Scanline rendering 172 Comparison w
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Screen Space Ambient Occlusion 174
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Screen Space Ambient Occlusion 176
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Shadow mapping 178 Algorithm overvi
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Shadow mapping 180 Drawing the scen
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Shadow mapping 182 Further reading
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Page 271 and 272: Image Sources, Licenses and Contrib
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