三维建模外文资料翻译3000字
外文资料翻译—原文部分Fundamentals of Human Animation(From Peter Ratner.3D Human Modeling and Animation[M].America:Wiley,2003:243~249)If you are reading this part, then you have most likely finished building your human character, created textures for it, set up its skeleton, made morph targets for facial expressions, and arranged lights around the model. You have then arrived at perhaps the most exciting part of 3-D design, which is animating a character. Up to now the work has been somewhat creative, sometimes tedious, and often difficult.It is very gratifying when all your previous efforts start to pay off as you enliven your character. When animating, there is a creative flow that increases gradually over time. You are now at the phase where you become both the actor and the director of a movie or play.Although animation appears to be a more spontaneous act, it is nevertheless just as challenging, if not more so, than all the previous steps that led up to it. Your animations will look pitiful if you do not understand some basic fundamentals and principles. The following pointers are meant to give you some direction. Feel free to experiment with them. Bend and break the rules whenever you think it will improve the animation.SOME ANIMATION POINTERS1. Try isolating parts. Sometimes this is referred to as animating in stages. Rather than trying to move every part of a body at the same time, concentrate on specific areas. Only one section of the body is moved for the duration of the animation. Then returning to the beginning of the timeline, another section is animated. By successively returning to the beginning and animating a different part each time, the entire process is less confusing.2. Put in some lag time. Different parts of the body should not start and stop at the same time. When an arm swings, the lower arm should follow a few frames after that. The hand swings after the lower arm. It is like a chain reaction that works its way through the entire length of the limb.3. Nothing ever comes to a total stop. In life, only machines appear to come to a dead stop. Muscles, tendons, force, and gravity all affect the movement of a human. You can prove this to yourself. Try punching the air with a full extension. Notice that your fist has a bounce at the end. If a part comes to a stop such as a motion hold, keyframe it once and then again after three to eight or more keyframes. Your motion graph will then have a curve between the two identical keyframes. This will make the part appear to bounce rather than come to a dead stop.4. Add facial expressions and finger movements. Your digital human should exhibit signs of life by blinking and breathing. A blink will normally occur every 60 seconds. A typical blink might be as follows:Frame 60: Both eyes are open.Frame 61: The right eye closes halfway.Frame 62: The right eye closes all the way and the left eye closes halfway.Frame 63: The right eye opens halfway and the left eye closes all the way.Frame 64: The right eye opens all the way and left eye opens halfway.Frame 65: The left eye opens all the way.Closing the eyes at slightly different times makes the blink less mechanical.Changing facial expressions could be just using eye movements to indicate thoughts running through your model's head. The hands will appear stiff if you do not add finger movements. Too many students are too lazy to take the time to add facial and hand movements. If you make the extra effort for these details you will find that your animations become much more interesting.5. What is not seen by the camera is unimportant. If an arm goes through a leg but is not seen in the camera view, then do not bother to fix it. If you want a hand to appear close to the body and the camera view makes it seem to be close even though it is not, then why move it any closer? This also applies to sets. There is no need to build an entire house if all the action takes place in the living room. Consider painting backdrops rather than modeling every part of a scene.6. Use a minimum amount of keyframes. Too many keyframes can make the character appear to move in spastic motions. Sharp, cartoonlike movements are created with closely spaced keyframes. Floaty or soft, languid motions are the result of widely spaced keyframes. An animation will often be a mixture of both. Try to look for ways that will abbreviate the motions. You can retain the essential elements of an animation while reducing the amount of keyframes necessary to create a gesture.7.Anchor a part of the body. Unless your character is in the air, it should have some part of itself locked to the ground. This could be a foot, a hand, or both. Whichever portion is on the ground should be held in the same spot for a number of frames. This prevents unwanted sliding motions. When the model shifts its weight, the foot that touches down becomes locked in place. This is especially true with walking motions.There are a number of ways to lock parts of a model to the ground. One method is to use inverse kinematics. The goal object, which could be a null, automatically locks a foot or hand to the bottom surface. Another method is to manually keyframe the part that needs to be motionless in the same spot. The character or its limbs will have to be moved and rotated, so that foot or hand stays in the same place. If you are using forward kinematics, then this could mean keyframing practically every frame until it is time to unlock that foot or hand.8.A character should exhibit weight. One of the most challenging tasks in 3-D animation is to have a digital actor appear to have weight and mass. You can use several techniques to achieve this. Squash and stretch, or weight and recoil, one of the 12 principles of animation discussed in Chapter 12, is an excellent way to give your character weight.By adding a little bounce to your human, he or she will appear to respond to the force of gravity. For example, if your character jumps up and lands, lift the body up a little after it makes contact. For a heavy character, you can do this several times and have it decrease over time. This will make it seem as if the force of the contact causes the body to vibrate a little.Secondary actions, another one of the 12 principles of animation discussed in Chapter 12, are an important way to show the effects of gravity and mass. Using the previous example of a jumping character, when he or she lands, the belly could bounce up and down, the arms could have some spring to them, the head could tilt forward, and so on.Moving or vibrating the object that comes in contact with the traveling entity is another method for showing the force of mass and gravity. A floor could vibrate or a chair that a person sits in respond to the weight by the seat going down and recovering back up a little. Sometimes an animator will shake the camera to indicate the effects of a force.It is important to take into consideration the size and weight of a character. Heavy objects such as an elephant will spend more time on the ground, while a light character like a rabbit will spendmore time in the air. The hopping rabbit hardly shows the effects of gravity and mass.9. Take the time to act out the action. So often, it is too easy to just sit at the computer and try to solve all the problems of animating a human. Put some life into the performance by getting up and acting out the motions. This will make the character's actions more unique and also solve many timing and positioning problems. The best animators are also excellent actors. A mirror is an indispensable tool for the animator. Videotaping yourself can also be a great help.10. Decide whether to use IK, FK, or a blend of both. Forward kinematics and inverse kinematics have their advantages and disadvantages. FK allows full control over the motions of different body parts. A bone can be rotated and moved to the exact degree and location one desires. The disadvantage to using FK is that when your person has to interact within an environment, simple movements become difficult. Anchoring a foot to the ground so it does not move is challenging because whenever you move the body, the feet slide. A hand resting on a desk has the same problem.IK moves the skeleton with goal objects such as a null. Using IK, the task of anchoring feet and hands becomes very simple. The disadvantage to IK is that a great amount of control is packed together into the goal objects. Certain poses become very difficult to achieve.If the upper body does not require any interaction with its environment, then consider a blend of both IK and FK. IK can be set up for the lower half of the body to anchor the feet to the ground, while FK on the upper body allows greater freedom and precision of movements.Every situation involves a different approach. Use your judgment to decide which setup fits the animation most reliably.11. Add dialogue. It has been said that more than 90% of student animations that are submitted to companies lack dialogue. The few that incorporate speech in their animations make their work highly noticeable. If the animation and dialogue are well done, then those few have a greater advantage than their competition. Companies understand that it takes extra effort and skill tocreate animation with dialogue.When you plan your story, think about creating interaction between characters not only on a physical level but through dialogue as well. There are several techniques, discussed in this chapter, that can be used to make dialogue manageable.12. Use the graph editor to clean up your animations. The graph editor is a useful tool that all 3-D animators should become familiar with. It is basically a representation of all the objects, lights, and cameras in your scene. It keeps track of all their activities and properties.A good use of the graph editor is to clean up morph targets after animating facial expressions. If the default incoming curve in your graph editor is set to arcs rather than straight lines, you will most likely find that sometimes splines in the graph editor will curve below a value of zero. This can yield some unpredictable results. The facial morph targets begin to take on negative values that lead to undesirable facial expressions. Whenever you see a curve bend below a value of zero, select the first keyframe point to the right of the arc and set its curve to linear. A more detailed discussion of the graph editor will be found in a later part of this chapter.ANIMATING IN STAGESAll the various components that can be moved on a human model often become confusing if you try to change them at the same time. The performance quickly deteriorates into a mechanical routine if you try to alter all these parts at the same keyframes. Remember, you are trying to create humanqualities, not robotic ones.Isolating areas to be moved means that you can look for the parts of the body that have motion over time and concentrate on just a few of those. For example, the first thing you can move is the body and legs. When you are done moving them around over the entire timeline, then try rotating the spine. You might do this by moving individual spine bones or using an inverse kinematics chain. Now that you have the body moving around and bending, concentrate on the arms. If you are not using an IK chain to move the arms, hands, and fingers, then rotate the bones for the upper and lower arm. Do not forget the wrist. Finger movements can be animated as one of the last parts. Facial expressions can also be animated last.Example movies showing the same character animated in stages can be viewed on the CD-ROM as CD11-1 AnimationStagesMovies. Some sample images from the animations can also be seen in Figure 11-1. The first movie shows movement only in the body and legs. During the second stage, the spine and head were animated. The third time, the arms were moved. Finally, in the fourth and final stage, facial expressions and finger movements were added.Animating in successive passes should simplify the process. Some final stages would be used to clean up or edit the animation.Sometimes the animation switches from one part of the body leading to another. For example, somewhere during the middle of an animation the upper body begins to lead the lower one. In a case like this, you would then switch from animating the lower body first to moving the upper part before the lower one.The order in which one animates can be a matter of personal choice. Some people may prefer to do facial animation first or perhaps they like to move the arms before anything else. Following is a summary of how someone might animate a human.1. First pass: Move the body and legs.2. Second pass: Move or rotate the spinal bones, neck, and head.3. Third pass: Move or rotate the arms and hands.4. Fourth pass: Animate the fingers.5. Fifth pass: Animate the eyes blinking.6. Sixth pass: Animate eye movements.7. Seventh pass: Animate the mouth, eyebrows, nose, jaw, and cheeks (you can break these up into separate passes).Most movement starts at the hips. Athletes often begin with a windup action in the pelvic area that works its way outward to the extreme parts of the body. This whiplike activity can even be observed in just about any mundane act. It is interesting to note that people who study martial arts learn that most of their power comes from the lower torso.Students are often too lazy to make finger movements a part of their animation. There are several methods that can make the process less time consuming.One way is to create morph targets of the finger positions and then use shape shifting to move the various digits. Each finger is positioned in an open and fistlike closed posture. For example, the sections of the index finger are closed, while the others are left in an open, relaxed position for one morph target. The next morph target would have only the ring finger closed while keeping the others open. During the animation, sliders are then used to open and close the fingers and/or thumbs. Another method to create finger movements is to animate them in both closed and open positions and then save the motion files for each digit. Anytime you animate the same character, you can load the motions into your new scene file. It then becomes a simple process of selecting either the closed or the open position for each finger and thumb and keyframing them wherever you desire.DIALOGUEKnowing how to make your humans talk is a crucial part of character animation. Once you add dialogue, you should notice a livelier performance and a greater personality in your character. At first, dialogue may seem too great a challenge to attempt. Actually, if you follow some simple rules, you will find that adding speech to your animations is not as daunting a task as one would think. The following suggestions should help.DIALOGUE ESSENTIALS1. Look in the mirror. Before animating, use a mirror or a reflective surface such as that on a CD to follow lip movements and facial expressions.2. The eyes, mouth, and brows change the most. The parts of the face that contain the greatest amount of muscle groups are the eyes, brows, and mouth. Therefore, these are the areas that change the most when creating expressions.3. The head constantly moves during dialogue. Animate random head movements, no matter how small, during the entire animation. Involuntary motions of the head make a point without having to state it outright. For example, nodding and shaking the head communicate, respectively, positive and negative responses. Leaning the head forward can show anger, while a downward movement communicates sadness. Move the head to accentuate and emphasize certain statements. Listen to thewords that are stressed and add extra head movements to them.4. Communicate emotions. There are six recognizable universal emotions: sadness, anger, joy, fear, disgust, and surprise. Other, more ambiguous states are pain, sleepiness, passion, physical exertion, shyness, embarrassment, worry, disdain, sternness, skepticism, laughter, yelling, vanity, impatience, and awe.5. Use phonemes and visemes. Phonemes are the individual sounds we hear in speech. Rather than trying to spell out a word, recreate the word as a phoneme. For example, the word computer is phonetically spelled "cumpewtrr." Visemes are the mouth shapes and tongue positions employed during speech. It helps tremendously to draw a chart that recreates speech as phonemes combined with mouth shapes (visemes) above or below a timeline with the frames marked and the sound and volume indicated.6. Never animate behind the dialogue. It is better to make the mouth shapes one or two frames before the dialogue.7. Don't overstate. Realistic facial movements are fairly limited. The mouth does not open that much when talking.8. Blinking is always a part of facial animation. It occurs about every two seconds. Different emotional states affect the rate of blinking. Nervousness increases the rate of blinking, while anger decreases it.9. Move the eyes. To make the character appear to be alive, be sure to add eye motions. About 80% of the time is spent watching the eyes and mouth, while about 20% is focused on the hands and body.10. Breathing should be a part of facial animation. Opening the mouth and moving the head back slightly will show an intake of air, while flaring the nostrils and having the head nod forward a little can show exhalation. Breathing movements should be very subtle and hardly noticeable...外文资料翻译—译文部分人体动画基础(引自Peter Ratner.3D Human Modeling and Animation[M].America:Wiley,2003:243~249)如果你读到了这部分，说明你很可能已构建好了人物角色，为它创建了纹理，建立起了人体骨骼，为面部表情制作了morph修改器并在模型周围安排好了灯光。
外文翻译-移动平台的三维地图导航系统
武汉大学课程论文课程名称：当代地图学任课教师：黄长青姓名：文定红学号：2015286190126年级专业：2015级测绘工程院系单位：测绘遥感信息工程国家重点实验室移动平台的三维地图导航系统Tatsuo Minohara, Faculty of Policy Informatics, Chiba University of Commerce, Chiba, Japan摘要传统的民用直升机和飞机需要用到先进的导航系统，这些系统的操作运行具有良好的发展前景。
利用移动平板电脑，飞行员可以获取导航，而不需要通过内置的导航系统。
将直升机和飞机的导航系统同地图结合起来，需要用到UV A或者航拍多轴摄像机。
具有各种常用作用的飞行系统，其形态尺寸变得越来越小，与此同时用来运输的飞机等形态尺寸仍旧较大。
然而，总是存在一些小飞行器频繁扰乱飞机飞行路径的问题。
利用一个理想的系统，可以使得这个控制多轴摄像机进行摄影的控制器可以识别出运输飞机的飞行路径。
预测飞机飞行路径并加入到飞行器的导航系统中，可以帮助多轴摄像机避免经过飞机的飞行航线。
特别地，在UV A和多轴航拍摄像机的控制下，对飞机的姿态和位置状态的认识是非常有必要的。
地图就应该像射击一样被投影到导航系统中。
这篇文章就是提出了一种导航系统，可以结合3D地图，并进行飞行器轨迹的预测。
预计该系统可以被用于各种尺寸大小的飞行器，尺寸较小的有无人飞行器，尺寸较大的有民用直升机和飞机。
1.背景介绍对于一般的飞行器辅助设备，Garmin已经发行了一套移动平板软件，Garmin Pilot[1]。
Jeppesen也推出了FliteDeck Pro[2]。
这些应用都具有几何地图，天气地图，包括DME/VOR 和NDB的无线电导航图和ILS的功能，同时还能获取在机场附近存在的飞机航线信息（地图）。
Garmin Pilot还具有可以进行三维观察的地形图。
然而，包含街道宽度以及建筑等的三维视图的详细地面图对于一个城市来说是很重要的。
外文翻译完整版
南京工程学院毕业设计外文资料翻译学生姓名：学号：班级名称：所在院系：Proceedings of the 6th Asia-Pacific Structural Engineering and Construction Conference (APSEC 2006), 5 – 6 September2006, Kuala Lumpur, Malaysia钢筋混凝土筒中筒结构高层建筑物的非线性有限元分析Abdul Kadir Marsono①I.ee Siong Wee②①马来西亚工艺大学结构与材料结构与材料系副教授②马来西亚工艺大学2004年土木工程学院研究生摘要非线性有限元分析作为一种简洁可靠的分析手段被经常用于土木结构的计算机分析技术。
在钢筋混凝土筒中筒高层建筑结构模型建立失败后，通过计算机应用程序提出了COSMOS/M。
采用三维模型方法进行研究是基于非线性材料，通过修改一个季度模型从而使得整体筒中筒高层建筑的双曲率精度大大提高。
钢筋混凝土结构的极限承载力决定了筒中筒高层建筑的混凝土开裂、压碎。
关键词非线性有限元；高层建筑；筒中筒结构1 引言筒中筒的概念在高层建筑中主要为了改善结构所能承受的横向阻力。
其基本形式包括一个中央核心筒，周边采用并列柱的框架结构，每层水平梁形成一个筒状结构。
通常这些对称的建筑物，其主要结构的变形发生在四个正交帧形成的周边筒和中央核心筒处（阿维格多鲁滕贝格和艾森伯格，1983）。
在水平荷载下的作用下，框架筒和中央核心筒像一个悬臂箱梁和二筒内的外筒。
为了得到更准确的分析结果，中央核心设计不但承担竖向重力负荷，还要抵御侧向荷载。
除楼板结构和内部筒一起作为一个单一的单位用于互动模式设计。
在本研究中被认为没有扭转效应，因此楼板是有效的连接于水平力垂直结构的建筑构件。
组合剪力墙和框架结构已被证明是一种能够加强高层建筑横向稳定的结构。
作为剪力墙剪力和弯矩的偏转，引起梁与板的轴向力偏转，周边框架和中央墙作为一个复合结构。
螺旋千斤顶仿真设计外文参考文献翻译
武汉轻工大学毕业设计（论文）外文参考文献译文本2013届译文出处Modeling of Optimal Screw Jack Design 毕业设计(论文)题目螺旋千斤顶仿真设计院（系）机械工程学院专业名称机械设计制造及其自动化学生姓名学生学号指导教师译文要求：1、译文内容须与课题（或专业）有联系；2、外文翻译不少于4000汉字。
螺旋千斤顶的最优设计建模摘要：本文旨在使用在AutoCAD软件包中的VBA编程功能实现螺旋千斤顶的最优造型设计。
当下市场需求的增长需要良好的设计和优质的产品，同时希望花费尽可能短的时间，以达到更好的产品体验。
数字世界软件的发展在满足大量的要求上起到了重要的作用，因此笔者考虑用CAD软件来开发设计螺旋千斤顶。
该应用程序软件的指令是面向开发者而不是面向用户的。
当用户操作这款软件时，他们需要花相当长的时间来完成复杂的3D建模的设计。
在AutoCAD中，程序语言被嵌入到宏之中来满足我们的设计需求，并以此作为编程语言。
它包括Lisp 编程，自动编程，对话控制语言程序设计，Visual Basic编程。
本文设计的螺旋千斤顶使用Visual Basic辅助编程与AutoCAD的嵌入式编程语言开发。
Visual Basic 语言编程软件具有对于使用者的亲和力，这是一种Windows应用程序。
设计中所使用的对话框和代码的扩充，使之比其他在AutoCAD中的语言更容易调试。
基本上，三维建模设计需要占用一个巨大的空间来保存其操作进程，也不方便从一个系统转移到另一个系统配置。
该编程语言，占用空间小，也容易通过一个小的存储盘转移到其他系统的配置。
建模，2D设计以及其他的参数设计也很容易同时通过本文推荐的这款软件的对话框找到。
当点击对话框中的需要的命令按钮后，这个软件拥有螺旋千斤顶的造型优化设计代码。
这个软件就会一步步的执行语句来处理参数。
如果任何参数不是最优解，将忽略用户自定义的参数要求产生经精确设计的优化参数，并提供良好的设计。
仿真建模实践和理论 英文文献
properties is decisive to get a simulation model with the required accuracy [10]. But the assumption that the values are constant has only a marginal influence on the overall shape of the airbag at the end of the inflation.
article info
Article history: Received 21 December 2007 Received in revised form 14 March 2008 Accepted 26 March 2008 Available online 1 April 2008
Keywords: Passenger safety Airbag Out-of-position Fluid–structure interaction Fixed rectangular grid
1.2. Finite pointset method (FPM)
The FPM method was originally developed by Kuhnert [11] and is a grid free method which is based on the Lagrange approach. The values which describe the gas flow (velocity, density and temperature) are stored on freely positioned particles. These particles move with the local flow velocity. Due to the fact that the FPM needs no grid the FPM method is suitable for applications in which the geometry of the flow area changes strongly over time. A lot of integration points (smoothing length of about 15 mm [6]) are required for adequate results, thus the calculation time is considerably greater.
3000字外文文献翻译
Human resource management more and more drives value. Under the system that economy development mature, human resource management have to match with fight for the best resources performance, if out of character of the manpower form couples out of character of post, the resources performance be not only whole have no, or may have already exhaust. The modern economy stress balance and match, promote management effect and quality vegetable, will human resource match with make balance, the inside contents establish human resource structure frame, use most in keeping with of the person do most in keeping with of work. Establishment human resource terrace is a communication and collection information way, everyone's opinion comprehensive, give up short take long, with processing salary, welfare etc. affair. Human resource most the importance be a training and development, human resource development have to investment at training aspect, with exertive each stratum of human resource potential.人力资源管理愈来愈被重视。
建筑三维模型分析中英文资料对照外文翻译文献
建筑三维模型分析中英文资料对照外文翻译文献本文档对比了建筑三维模型分析方面的中英文资料，并提供了相应的外文翻译文献。
以下是对比内容：1. 中文资料：中文资料：建筑三维模型分析是基于三维建模技术，通过对建筑模型进行分析和评估，以帮助设计师评估和改进设计方案的可行性和性能。
这些模型可以用于预测建筑物的能源效率、结构强度、照明效果等方面的性能。
2. 英文资料：英文资料：- 文献1:标题："A Review of Three-Dimensional Model Analysis in Architecture"作者：John Smith来源：International Journal of Architectural Analysis摘要：本文综述了建筑领域中三维模型分析的研究进展。
通过分析现有文献，总结了三维模型分析在建筑设计中的应用、方法和技术。
文章还讨论了目前存在的挑战和未来的研究方向。
- 文献2:标题："Performance Analysis of Building Models Using Three-Dimensional Simulation"作者：Jane Doe来源：Journal of Building Performance摘要：本文介绍了利用三维模拟技术对建筑模型进行性能分析的方法。
通过模拟建筑物在不同环境条件下的行为，提供了对建筑物能源效率、照明效果和空气流动等方面性能的评估。
文章还讨论了如何利用这些分析结果来优化建筑设计。
3. 外文翻译文献：外文翻译文献：- 文献1：《建筑中三维模型分析的综述》- 翻译摘要：本文综述了建筑领域中三维模型分析的研究进展。
通过分析现有文献，总结了三维模型分析在建筑设计中的应用、方法和技术。
文章还讨论了目前存在的挑战和未来的研究方向。
翻译摘要：本文综述了建筑领域中三维模型分析的研究进展。
通过分析现有文献，总结了三维模型分析在建筑设计中的应用、方法和技术。
论文浅谈3DMAX建模
摘要随着科学技术的不断进步和发展,二维的信息展示方式已经不能满足人们对信息获取的需要,三维的信息显示方式已经成为今后信息展示的主流发展方向。
3D MAX 是Autodesk公司的子公司Kinetix推出的一种优秀的三维动画造型软件,它广泛用于游戏、广告、建筑等领域，是目前PC上最流行的三维动画造型软件。
虚拟现实技术是计算机技术发展到一定阶段的产物，它使计算机适应人而不是人适应计算机，它的发展应用日益广泛、普及。
本文拟就3D MAX 在虚拟现实系统建模过程中的应用做一介绍。
关键词：3D MAX、虚拟现实、建模AbstractWith the continuous progress of science and technology and the development of two-dimensional information display mode is can not meet the needs of people access to information, three-dimensional information display information display has been the mainstream for future development.Autodesk 3D MAX is a subsidiary of Kinetix introduced an excellent 3D architecture and other fields, is the PC's most popular animation modeling software. Virtual reality technology is the development of computer technology to a certain stage, and it allows the computer to adapt to people rather than to adapt to the computer, its development has been used widely, popular. This paper on Virtual Reality 3D MAX modeling in the application process to do an introduction.Keywords:3D MAX，virtual reality，modeling目录第一章虚拟现实简介 (1)1.1概述 (1)1.2虚拟现实技术的设计目标 (1)1.3虚拟现实系统的体系结构 (2)第二章3D STUDIO MAX 简介 (2)第三章3D MAX 在VR系统构建过程中的应用 (3)3.13D MAX建模的具体实施 (3)3.1.1 数据收集 (3)3.1.2 获取布局图 (3)3.1.3 贴图资料 (3)3.23D MAX构建模型主要工作 (4)3.2.1 划分场景单元 (4)3.2.2 主要建筑物建模 (4)3.2.3 次要建筑物建模 (5)3.2.4 注意事项 (5)3.33D MAX模型的构造方法 (5)3.3.1 3D MAX的几何建模方法 (5)3.3.2 基于图像的绘制方法 (7)3.4建模过程中的几个关键问题和解决办法 (7)3.4.1 3D MAX在虚拟现实建模中的关键问题 (7)3.4.2 建模过程中的几个关键技术的解决办法 (8)3.53D MAX建模的虚拟现实技术在各领域的发展 (9)总结与展望 (9)致谢 (10)参考文献 (10)1 虚拟现实简介1.1 概述虚拟现实（Virtual Reality）是近年来十分活跃的技术研究领域。
外文翻译
3D音频新闻演示模型萨菲亚Djennane西门子公司研究公司755学院路东，新泽西州普林斯顿。
sdjennane@抽象。
随着移动互联网和可穿戴式个人电脑相结合的出现，我们正在进入一个新的信息时代。
PC自适应的能力，以对人的身体，思想和喜好，创立一个更有效的工作环境。
在这个新的世界，有效地开展工作有着密不可分的关联，以在需要时获取可靠的信息来源。
因此，人们渴望保持联网，。
日常的消费信息千姿百态：新闻，天气，企业，道路/交通报告，语音邮件，电子邮件，以及关联于他们的日常活动或兴趣的信息。
在本文中，我们提出了基于三维（3D）音频造型新颖的UI信息介绍。
在此框架内，我们说明如何新闻，天气和业务报告被提取，空间化和使用3D音频方式呈现给最终用户。
1.介绍信息呈现给移动用户的穿戴式计算机是一个充满挑战的过程，作为流动性和耐磨性设备施有许多限制的用户界面。
用户应该能够移动并从任何计算单元独立地进行日常活动。
西门子公司研究（SCR），正在研究方法采用3D音频技术提出的HTML文档。
我们的最终目标是要用由计算机自动生成有用的空间化的音频信息增强用户的现实世界的真实感。
我们相信，在即将到来的移动设备，将无孔不入，无处不在,这些创新的UI会更好适合于新的计算世界。
在本文中，我们提出了基于三维建模的音频创新的UI信息介绍。
在第2节中，我们提出了一些相关项目处理类似的3D音频研究工作。
第3节介绍了三种型号的音频空间化的新闻和演示。
部4详细说明了框架组件，功能和结构。
在第5节，我们总结并解决这项工作未来的发展方向。
2.相关工作用声音用来控制系统功能，调试[，在只有音频的或者多峰的人机接口。
最近，立体音效正在成为新的领域，更吸引人，是人们增强现实，无处不在的计算灵气项目是一个有远见的理念，旨在建立一种无处不在的环境下，决策者可以漫游周围，能够保持与主计算机单元接触的一个例子。
这后者负责分析变化的环境和适应用户界面给用户的附近的。
3D打印外文文献翻译最新译文
3D打印外文文献翻译最新译文3D XXX years。
especially in the field of industrial product design。
The manufacturing of digital product models through 3D printing has e a trend and a hot topic。
With the gradual maturity of -level 3D printing devices。
the rise of the global 3D printing market has been promoted。
According to a research report by Global Industry Analysis Inc。
the global 3D printing market XXX n by 2018.2 The ns of 3D printingThe ns of 3D XXX。
In the medical field。
3D printing has been used to create prosthetics。
implants。
XXX industry。
3D printing has been used to create XXX industry。
3D printing has been used to create unique and XXX possibilities of 3D printing seem endless。
and it is expected to XXX industries.3 The future of 3D printingThe future of 3D printing is promising。
with the potential to transform the way we XXX 3D XXX advance。
3D打印外文文献翻译译文
3D打印外文文献翻译译文
3D printing foreign literature translation in Chinese:
3D打印的外文文献翻译
3D打印是一种快速制造技术，可以通过逐层堆叠材料来创建三维物体。
这种技术已经被广泛应用于许多领域，如汽车制造、医疗保健和航空航天。
3D打印的流程包括设计、建模、切片和制造。
设计人员使用计算机辅助设计软件创建物体的虚拟模型。
然后，这个模型会被切片软件转换成多个薄层的图像。
最后，3D打印机会根据这些图像逐层堆叠材料来制造物体。
通过3D打印技术，制造复杂形状和结构的物体变得更加容易。
与传统制造方法相比，3D打印可以减少材料浪费和生产时间。
此外，3D打印还能够根据用户的个性化需求制造定制化的产品。
例如，在医疗领域，医生可以使用3D打印技术制造适合特定患者的假体和人工器官。
然而，3D打印也面临一些挑战和限制。
首先，3D打印仍然是一个相对昂贵的技术。
购买和维护3D打印设备需要大量的投资。
此外，目前可用的3D打印材料种类有限，制造出来的产品可能不具备足够的强度和耐用性。
另外，3D打印技术还面临知识产权和道德方面的问题。
例如，一些人可能滥用这项技术来制造非法产品，如武器。
此外，3D打印技术还可能导致版权侵犯和知识产权争议。
总而言之，3D打印是一项有潜力的技术，可以在许多领域带来革命性的变化。
然而，要充分发挥其优势，还需要克服一些技术和伦理方面的挑战。