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46)All-woman BSF bikers create historical past with Republic Day presentación; Twitterati beam with take great pride in

India Republic Day -- To celebrate Indias 69th Republic Morning a grand parade was held in Rajpath in New Delhi like every year after Best Minister Narendra Modi paid homage to the nations martyrs by laying a wreath at Amar Jawan Jyoti. But this time around the on-lookers were in for a splendid wonder when a newly-formed Border Security and safety Forces Womens Motor Cycle crew Seema Bhawani made a spectacular debut with their daredevil stunts at the parade. Led by means of Sub-Inspector Stanzin Noryang the actual squad performed breathtaking stunts for the audience including a salute to the President! Out of the 12 stunts an d acrobatics fish riding side riding faulaad prachand baalay shaktiman hoke fighting sapt rishi seema prahari bharat ke mustaid prahari sarhad ke nigheban and flag march pyramid were the highlights. With 113 women the Seema Bhawani made a phenomenal entrance on 26 350cc Suprême Enfield motorcycles. While the viewers cheered for them and even gifted them a sta
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Computer animation

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Computer animation is the process used for digitally generating animated images. The more general term computer-generated imagery (CGI) encompasses both static scenes and dynamic images, while computer animation only refers to moving images. Modern computer animation usually uses 3D computer graphics to generate a two-dimensional picture, although 2D computer graphics are still used for stylistic, low bandwidth, and faster real-time renderings. Sometimes, the target of the animation is the computer itself, but sometimes film as well. Computer animation is essentially a digital successor to stop motion techniques, but using 3D models, and traditional animation techniques using frame-by-frame animation of 2D illustrations. Computer-generated animations are more controllable than other, more physically based processes, like constructing miniatures for effects shots, or hiring extras for crowd scenes, because it allows the creation of images that would not be feasible using any other tec
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Explanation

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To trick the eye and the brain into thinking they are seeing a smoothly moving object, the pictures should be drawn at around 12 frames per second or faster. (A frame is one complete image.) With rates above 75-120 frames per second, no improvement in realism or smoothness is perceivable due to the way the eye and the brain both process images. At rates below 12 frames per second, most people can detect jerkiness associated with the drawing of new images that detracts from the illusion of realistic movement. Conventional hand-drawn cartoon animation often uses 15 frames per second in order to save on the number of drawings needed, but this is usually accepted because of the stylized nature of cartoons. To produce more realistic imagery, computer animation demands higher frame rates. Films seen in theaters in the United States run at 24 frames per second, which is sufficient to create the illusion of continuous movement. For high resolution, adapters are used.
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History

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Early digital computer animation was developed at Bell Telephone Laboratories in the 1960s by Edward E. Zajac, Frank W. Sinden, Kenneth C. Knowlton, and A. Michael Noll. Other digital animation was also practiced at the Lawrence Livermore National Laboratory. In 1967, a computer animation named "Hummingbird" was created by Charles Csuri and James Shaffer. In 1968, a computer animation called "Kitty" was created with BESM-4 by Nikolai Konstantinov, depicting a cat moving around. In 1971, a computer animation called "Metadata" was created, showing various shapes. An early step in the history of computer animation was the sequel to the 1973 film Westworld, a science-fiction film about a society in which robots live and work among humans. The sequel, Futureworld (1976), used the 3D wire-frame imagery, which featured a computer-animated hand and face both created by University of Utah graduates Edwin Catmull and Fred Parke. This imagery originally appeared i
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Animation methods

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In most 3D computer animation systems, an animator creates a simplified representation of a character's anatomy, which is analogous to a skeleton or stick figure. They are arranged into a default position known as a bind pose, or T-Pose. The position of each segment of the skeletal model is defined by animation variables, or Avars for short. In human and animal characters, many parts of the skeletal model correspond to the actual bones, but skeletal animation is also used to animate other things, with facial features (though other methods for facial animation exist). The character "Woody" in Toy Story , for example, uses 700 Avars (100 in the face alone). The computer doesn't usually render the skeletal model directly (it is invisible), but it does use the skeletal model to compute the exact position and orientation of that certain character, which is eventually rendered into an image. Thus by changing the values of Avars over time, the animator creates motion by maki
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Modeling

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3D computer animation combines 3D models of objects and programmed or hand "keyframed" movement. These models are constructed out of geometrical vertices, faces, and edges in a 3D coordinate system. Objects are sculpted much like real clay or plaster, working from general forms to specific details with various sculpting tools. Unless a 3D model is intended to be a solid color, it must be painted with "textures" for realism. A bone/joint animation system is set up to deform the CGI model (e.g., to make a humanoid model walk). In a process known as rigging , the virtual marionette is given various controllers and handles for controlling movement. Animation data can be created using motion capture, or keyframing by a human animator, or a combination of the two. 3D models rigged for animation may contain thousands of control points — for example, "Woody" from Toy Story uses 700 specialized animation controllers. Rhythm and Hues Studios labored for two years t
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Equipment

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Computer animation can be created with a computer and an animation software. Some impressive animation can be achieved even with basic programs; however, the rendering can require much time on an ordinary home computer. Professional animators of movies, television and video games could make photorealistic animation with high detail. This level of quality for movie animation would take hundreds of years to create on a home computer. Instead, many powerful workstation computers are used. Graphics workstation computers use two to four processors, and they are a lot more powerful than an actual home computer and are specialized for rendering. Many workstations (known as a "render farm" ) are networked together to effectively act as a giant computer, resulting in a computer-animated movie that can be completed in about one to five years (however, this process is not composed solely of rendering). A workstation typically costs $2,000-16,000 with the more expensive stations being ab
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