#Autodesk vault add in

[symetriuk]

Digital Transformation in the Building Industry: Naviate Leading the Way

One of our contributions to the building and infrastructure industry is Naviate - a product portfolio of Civil 3D and Revit add-in software that is fully integrated within Autodesk Revit and Civil 3D. The platform maximises user productivity and reduces risk of errors through an integrated suite of workflow enhancement tools, educational content and technical support.

[shalin-designs]

Exploring Top Product Design Trends at Shalin Designs

The engineering service industry constantly struggles to stay competitive and updated with the latest product design trends to provide cutting-edge products to its clientele. The upcoming year 2024 will not remain different and may foster some innovative industrial product design trends. Let’s dive deep to learn the latest trends with Best Product design service provider compnay.

Digitalization of Engineering Processes

The engineering and industrial product design sector has switched from paper-based to digital drawings very early. The product design industry enhances many areas, such as design efficiency, team collaboration, product delivery, and customer interactions.

Therefore, the product design industry is witnessing the following trends:

Creating 3D models first and generating 2D drawings for construction, manufacturing, and production.

Adaptation of the electronic review process of the design, thanks to emerging new technologies and tools. It enhances the visibility of the design process, declines review time, and fosters sustainable design practices by avoiding printing processes.

Digital simulation provides innovative designs, cuts waste, and enhances product dependency.

Digitalization of the design process offers safe and secure storage of design outcomes, facilitates project data exchanges, and rapid transmission of design documents to promote a remote work environment. Autodesk Vault is an excellent example of it.

You might be like to read this also: https://shalindesigns.com/blog/product-design-trends/

Cloud-based Design Environment

3D Product Design in Emerging Markets with cloud adaptation, which fostered the industry’s collaborative environment. Moreover, the cloud provides a massive ecosystem to connect people, processes, partnerships, projects, workflow, and data. Cloud enables an organization to share real-time data between systems and departments. Thus, functions among marketing, sales, management, fabrications, and other departments become smooth and collaborative.

The following technologies and tools support remote work and collaboration for the CAD design and drafting service team.

Autodesk Platform Service:

It offers APIs and services to access design and engineering data through cloud services.

Fusion 360:

It is a cloud-based 3D modeling platform with CAD, CAM, CAE, and PCB design capabilities for design professionals in various engineering streams like 3D Modeling beneficial for Design & Development.

Autodesk Vault Gateway & Fusion 360 Manage:

They support remote work with helpful, collaborative features, functions, and tools.

Enhanced Automation for the Design Process

There are some processes that we can easily automate for design creation and design data management, such as:

Automate repetitive processes:

We can use them in day-to-day processes in AutoCAD, Autodesk Revit, Inventor, and Autodesk products like plugins.

Use of Advanced Methods for Product Comprehension:

We can use FEA (Finite Element Analysis) to understand the products in Autodesk Inventor Nastran.

Own Engineering Workflow:

You can use your engineering workflows that reflect the business process in Autodesk Vault or Fusion 360 Manage.

Streamlining Data Transfer:

You can use Autodesk Vault to streamline the transfer of engineering data with minimum disruption in your day-to-day operations. You can also streamline sync between Autodesk Vault and ERP.

Develop Automation In-house:

You can use iLogic or add-ons in the Inventor to create automation in-house for various Autodesk products.

In short, simple to complex process automation can boost design speed, cut labor-intensive tasks, and provide efficiencies in the design team and their processes.

Apart from these disruptive ongoing product design trends, some trends initiated previously are worth mentioning here, such as:

Transparent Design Trend

Transparent design refers to a product design approach. It stresses clarity, simplicity, and honesty in how a product communicates its functionality and purposes to users. What are you think that Outsourcing Product Design is the Right Choice? Yes, because it involves making a product’s inner workings, mechanisms, and processes visible (Transparent) or comprehensive to its users. A designer can achieve transparency using various design elements, including clear UIs, intuitive interactions, and straightforward visual clues. What are you think that Outsourcing Product Design is the Right Choice.

Transparent product design has some key aspects, such as:

Intuitive UIs.

Clear communication.

Visible process and feedback.

Minimalistic aesthetics.

Revealing inner workings

User-centric approach.

Honesty and authenticity.

Accessibility and inclusivity.

Adaptability and scalability.

Sustainability and ethical consideration.

In short, transparent design fosters trust, engagement, and positive UX. So, users can easily comprehend, interact, and get benefits from the features and functionality of an industrial or engineering product.

Brutalist Design Trend

The term Brutalist Design has been borrowed from the Brutalist Architecture Movement initiated in the mid-20th century. Let’s know some principles of this design trend in brief:

In Brutalist design, material appears in the most basic form by shredding excessive embellishment. Thus, you can find rough surfaces using untreated wood, concrete, and steel materials.

The design is often bold and functional.

The design may incorporate geometric shapes, sharp angles, and linear forms.

The products may be designed keeping the focus on practicality and durability using sturdy materials and techniques.

The design may have imperfections and rough textures.

It uses a limited color palette.

Its emphasis is on craftsmanship.

It is an anti-decoration design.

It provokes a reaction from viewers.

It can adapt to various contexts, including furniture electronics to everyday objects.

Sustainability-focused Design Trend:

Selection of product materials:

Use the materials in product design and manufacturing that leave nil to the most minuscule environmental hazards.

Energy efficiency:

The product designer should create the product design, and the company goes manufacturing using processes requiring minimum energy. The same holds for the use of product and its disposal.

Life Cycle assessment:

Design should conduct a life cycle assessment to comprehend the product’s environmental impacts. It includes used resources, emissions, and waste generation.

Modularity & repairability:

Modular products are easy to use, repair, or maintain. The product must promote a circular economy with product reuse, repair, and recycling instead of short-term disposal.

Packaging & transportation:

Sustainable products favor packaging and transportation methods that support the least emissions and waste creation during manufacturing and product usage. It involves recyclable packaging materials.

Dispose:

Design should create products that can be easily disassembled, recycled, or biodegradable naturally without harming the environment.

Local sourcing and production:

Using local suppliers and manufacturing facilities may support the local economy and reduce emissions and costs on transportation.

User education:

Educating users about the products’ sustainable features and how to use and dispose of them safely can positively impact product sustainability.

Certification:

The product must adhere to sustainability standards and obtain certificates, such as LEED, cradle-to-cradle, Energy Star, etc.

Ethical and social considerations:

Designers must count ethical and social considerations focusing on sustainable practices, social equity, and community well-being.

Your Product Design Company

Shalin Design is a renowned product CAD design company offering CAD design services with experienced and expert product engineers and designers serving global clients for years. Would you like to check our portfolio and get a free quote? Please call our team.

[raogbl]

Autodesk launched Advance Steel 2019, the most updated version of it’s structural steel detailing software. Given below, some exclusive features of the software.

1 – Improved interoperability with Revit 2019: The Advance Steel 2019 Extension for Revit 2019 transmits steel members and steel connections to Advance Steel 2019. The parametric steel connection is transmitted among the two products as well as individual components of custom connections like plates, bolts, anchors and welds. It will facilitate the steel detailers and fabricators to optimize the steel model designed in Revit.

2 – Improvements with migrate custom settings tool: The Migrate Custom Settings tool creates a modern and informative interface for migrating the custom settings and files from a earlier release to Advance Steel 2019. It facilitates recognizing customized settings and selecting which ones should have been migrated.

There are more migration options with customized settings like mapping definition, customized symbols, approval comments and status, and much more.

3 – New tool for fabricated anchors: Advance Steel 2019 contains a new dedicated “Bolt cage” tool (accessible in the Connection Vault) to add customized fabricated anchors to your base plates.

With the properties dialog, it is possible to identify these custom anchors with different shapes, sizes, complete with Tie Bars/Tie Plate and Washer possibilities.

There exist total 11 variations along with Rectangular, Triangular and Circular options for arrangements.

4 – Display horizontal grid lines on elevation views: If there are grid lines in your 3D models on distinct levels, it is possible to illustrate these grid lines on the elevation views of your drawing.

For that, it is required to activate the default “Display horizontal grid line in details” option that is available in the Management Tools, prior to generate the view on the drawing.

While adding a vertical dimension to this grid line on your drawing, one will be able to snap to “Preferred for manual dimensions” snap point to obtain smart dimensions which are modified automatically if the dimensioned grid line gets moved in the project.

5 – Enhanced drawing update behavior: In Advance Steel 2019, the drawing update behavior is improved for smart dimensions. In this newest version, smart dimensions stay in exact location at the time of updating a drawing.

Besides, the compass symbol stays in exact location and retains the style assigned to it when the drawing is updated.

Download a free trial version of Advance Steel 2019 www.autodesk.com

[sitespeediowa]

Autodesk mesh enabler

Since in 3D printing we aim to produce correctly meshed models, to be exported as. In the Select Vault Location dialog box, browse for the new location in the vault and then click OK.Ĭan you use Autodesk Inventor for 3D printing?.From the Edit menu, select Move to Folder.Note: The project specified in Autodesk Inventor Project Settings will be used for file resolving….Move Files 1) Start a new English based part (or go to Tools -> Document Settings -> Unit and change it to inch). You can automatically scale the mesh by doing the following. Mesh geometry displays with varied fidelity depending on data resolution and the Inventor document in which it is used. Mesh data, while it can be stored in a CAD native format, often is exchanged or shared in a neutral format such as STL or OBJ. Mesh geometry is a common exchange currency for 3D models. Within the preview window, select Save Copy As or Send to 3D Print Service.Select Options and choose desired resolution and click OK.Select IPro > Print > 3D Print Preview.A solid will be created only if the mesh is closed. The Convert to Base Feature dialog box opens and you can choose a Solid or Composite conversion. Once installed, to convert the mesh you can access the converter in the right-click menu. How do you make a mesh into a solid in Inventor? Open the produced SAT or DWG file in Inventor, then stitch and convert to solid as needed.Once the file has been imported, choose Export and select the file type *.Use 3ds Max to convert STL files to other formats How do I import and export STL mesh data into Inventor? Install the add-in on a working student edition of inventor 2016, but after installing add-in inventor crashes either during splash screen or after splash screen but before home page opens. You have to go to Tools>Addins then find it in the list, then enable it. Can you make sure the mesh addin is loaded after installation?.How is mesh data used in Autodesk Inventor?.How to download mesh enabler application for free?.How to install plugins like mesh enabler for inventor?.Can you use Autodesk Inventor for 3D printing?.How do I create an STL file in Inventor?.How do you make a mesh into a solid in Inventor?.How do I import and export STL mesh data into Inventor?.

[scubagreys]

Autodesk crack 2018

AUTODESK CRACK 2018 INSTALL

Turn off anti-virus software (Note also turn off Windows Defender) is extremely important.

Product key for X-Force 2018 Product NameĪutodesk AutoCAD Design Suite Premium 2018Īutodesk AutoCAD Design Suite Standard 2018Īutodesk Building Design Suite Premium 2018Īutodesk Building Design Suite Standard 2018Īutodesk Building Design Suite Ultimate 2018Īutodesk CFD Design Study Environment 2018Īutodesk Entertainment Creation Suite Ultimate 2018Īutodesk Factory Design Suite Premium 2018Īutodesk Factory Design Suite Standard 2018Īutodesk Factory Design Suite Ultimate 2018Īutodesk Infrastructure Design Suite Premium 2018Īutodesk Infrastructure Design Suite Standard 2018Īutodesk Infrastructure Design Suite Ultimate 2018Īutodesk Infrastructure Map Server 5 Activations 2018Īutodesk Inventor Engineer-to-Order Series 2018Īutodesk Inventor Engineer-to-Order Series Distribution Fee 2018Īutodesk Inventor Engineer-to-Order Server 2018Īutodesk Inventor ETO – Distribution 2018Īutodesk Plant Design Suite Standard 2018Īutodesk Plant Design Suite Ultimate 2018Īutodesk Product Design Suite Premium 2018Īutodesk Product Design Suite Ultimate 2018Īutodesk Robot Structural Analysis Professional 2018Īutodesk Smoke – desktop subscription 2018Īutodesk Structural Fabrication Suite 2018Įnterprise Add-on for Autodesk Vault 2018 This post will be continued to update and edit the latest, please follow Azdly.Īnd if you want to activate the software, see the section below to download X-force 2018 extremely standard version. Press Ctrl + F to find the key for your product. This is a complete list of Product Keys for all Autodesk products. In this case, it requires different product keys even for the same Autodesk product version, to distinguish different product packages.

AUTODESK CRACK 2018 INSTALL

The product key is required when you install an Autodesk product as a point product or from a product suite. X-Force 2018 is the jailbreak software for Autodesk products of the 2018 version and is more complicated to use than the old versions.

[ruppmaranswuss]

Autodesk robot structural analysis professional 2018 free download 無料ダウンロード.X-Force Keygen for All Autodesk Products 2019

Autodesk robot structural analysis professional 2018 free download 無料ダウンロード.X-force 2022 KeyGenerator. Autodesk Products. (2022) ALL

                                                                          DETAILED MENU.Autodesk® Vault® Add-in_U1_ for SolidWorks® | Vault | Autodesk App Store

    Autodesk® Vault® Professional Add-In for SolidWorks® allows you to manage your SolidWorks , and , files using Autodesk Vault Professional Operating System: Win64  · X-Force Keygen for All Autodesk Products – a) Disable your Internet connection or just pull the network cable out (in order to disable Autodesk’s real-time online check). When it tells you that “ an Internet Connection is Required“, click “Close” and then click “Activate” once more. Done, enjoy! Autodesk App Store は、オートデスクが提供するマーケットおよび Web サービスで、サードパーティのプラグイン、他の連動アプリケーション、Revit のコンテンツおよび学習素材をで簡単に見つけて入手することができます。Revit 用の最新のアプリを確認できます。    

Autodesk robot structural analysis professional 2018 free download 無料ダウンロード.Robot Structural Analysis Professional | Download & Pricing

 · X-Force Keygen for All Autodesk Products – a) Disable your Internet connection or just pull the network cable out (in order to disable Autodesk’s real-time online check). When it tells you that “ an Internet Connection is Required“, click “Close” and then click “Activate” once more. Done, enjoy! Robot Structural Analysis Professional is structural load analysis software that verifies code compliance and uses BIM-integrated workflows to exchange data with Revit. It can help you to create more resilient, constructible designs that are accurate, coordinated, and connected to BIM Download free trials of Autodesk professional 2D & 3D design tools. Choose from AutoCAD, 3ds Max, Maya, Civil 3D, Inventor, Revit, and more         

 Autodesk Revit ソフトウェア エコシステムのポータルである Autodesk App Store からは、情報に富んだビルディング インフォメーション モデルの作成を効率化するアドインにアクセスできます。. Keep it private when you are away.

For use with the Innobrix platform. Saves seconds when communicating, costly minutes when modeling, and valuable hours throughout a project. An advanced way to transfer content and standards between one file and another or multiple. This application contains 11 useful tools for file purging and cleaning. This tool is designed to automatically create the floors from the lines.

ArchVISION OFFICE for REVIT Algo simplifies the production of your formal scheme and functional diagrams for architects, developers or any user looking for a simple and efficient solution to do feasibility studies on Revit. Organizes and shows all elements in your model for quick selection, editing and filtering by phase, level, workset, etc. The file format is open and has been adopted by other 3D graphics application vendors. This app will duplicate or place the activated view on a loaded title block or previously existing sheet of your choosing.

This button will show you a list of where your active view occurs in your project, whether a callout, elevation, section, or viewport and gives you the capability to jump to any of those views. Build Compound Walls by stepping walls along topo slopes. Push up or down Generic Model, Site Components and Pipe Accessories to toposurface. Distribute MEP Fixtures from CAD drawing such as Lighting fixtures, Sprinklers, Electrical Equipment, Air Terminal …etc. at different hosts Ceiling, Floor, Reference plans, Wall.

Individually, these tasks are simple and mundane, however, they are time-consuming, error-prone, and tedious. WebGL Exporter For Revit exports your model to an HTML file. Create Floor, Roof, Topography, Model Line or Wall elements that accurately match your point cloud data. A tool to help you join and unjoin quickly multiple elements selected by Category, Family, and Types. You can export, import and synchronize BIM data.

オンライン トレーニング クラスからソフトウェアのカスタマイズまで、Autodesk Services Marketplace で最高のコンサルタントを探すことができます。クリックすると、プロバイダが表示されます。. アプリケーションを検索 公開元を検索 Apps 公開元. Formwork Tools. SectionCart helps to select multiple and complex elements. Matterport Plug-in. Batch Detach Models. Batch detach for multiple central models. USD Archireport-Transfer plans from your BIM projects. CTC BIM Batch Suite Quickly and easily align elements, tags, and texts for perfect models. Export-Import Excel. COINS Auto-Section Box.

人気の有料アプリケーション TransferSingle. USD 9. BIM SOFT SOLUTIONS ALL TOOLS PACKAGE. M3dida Exporter. USD 3. Align Views To help with aligning views in the same location across sheets. USD 5. Warnings and cleaning package. Create Pipes, Ducts, Conduits and Trays from CAD.

glTF Exporter. Advanced filter with expanding capabilities and selection keeper. USD 1. Create floors from lines. Run Lookup. RV Browser RQuick Select. Select elements by family type and their properties. View Title Blocker. Jump 2 Referencing View. 注目の有料アプリケーション Import Link Manager. Topo Toolkit V1. Room Color 3D Pro. Managing room geometry visualization in 3D view.

Distribute MEP Elements from CAD. Realtime Toolkit. Engipedia Structural Layers. ByCheck paid. PointCloud to Surface Suite.

Batch Join, Unjoin Elements with custom order. 人気のオートデスク アプリケーション IFC IFC Structural Analysis Toolkit Advance Steel Extension. Autodesk App Store 開発者の方へ 開発した製品を数百万のオートデスク ユーザに公開できます。今すぐサインアップ!

コンサルタントに依��� オンライン トレーニング クラスからソフトウェアのカスタマイズまで、Autodesk Services Marketplace で最高のコンサルタントを探すことができます。クリックすると、プロバイダが表示されます。.

[blogwebdesign609]

Navisworks Freedom 2014 32 Bit Free Download

Navisworks Freedom 2014 32 Bit Free Download Microsoft

Navisworks Freedom Free Download

Navisworks Freedom 2014 32 Bit Free Download Windows 7

Request Demo Request Info Download Autodesk® Navisworks® Freedom software is the free* viewer for NWD and DWF™ file formats. Use Navisworks Freedom to extend the whole-project view to all project stakeholders, helping to improve communication and collaboration.

The Navisworks Freedom free download creates compressed, more secure, NWD format files. A practical solution to streaming large CAD models, NWD files require no model preparation, third-party server hosting, setup time, or ongoing costs. Navisworks Freedom 2013 - free NWD viewer for CAD/BIM data (32-bit) 649MB:: Navisworks Freedom 2013 - free NWD viewer for CAD/BIM data (64-bit) 725MB:: Navisworks Freedom 2014 R1 - free NWD viewer for CAD/BIM data: 718MB: 5.12.2013: Navisworks Freedom 2015 R2 - free NWD viewer for CAD/BIM data: 747MB: 2.4.2014.

Navisworks freedom 2016 32 bit download. Photo & Graphics tools downloads - Autodesk Navisworks Freedom 2016 by Autodesk and many more programs are available for instant and free download.

Im using Win 8.1 32 Bit and I cant find NAVISWORKS 2015 for 32 Bit and as far as I know only 64 Bit is available for download. Unless anyone here can teach or guide me or put a link where to download a 32 Bit NAVISWORKS.

Navisworks Freedom Free Download

File Download: ( + show all files )

Viewers Object Enablers AutoCAD Inventor, Fusion 360, Factory, Alias Design Review, DWF, DWG TrueView, SketchBook, A360 Navisworks, Showcase, BIM 360 C-Dilla, Licensing, AdLM Other Goodies Tools (standalone, Autodesk) TRIAL versions AutoCAD AutoCAD LT Mechanical, Electrical, ecscad, MDT Map, Civil 3D, Raster, InfraWorks, Vehicle Inventor, Fusion 360, Factory, Alias Architecture, MEP VIZ 3ds Max, Maya, Mudbox, Mental, MotionBuilder Design Review, DWF, DWG TrueView, SketchBook, A360 MapGuide, Topobase, Map Server Revit, Robot, Steel Vault, ADMS MechSoft (obsolete) Navisworks, Showcase, BIM 360 Plant 3D, P&ID Fabrication C-Dilla, Licensing, AdLM Simulation, CFD Fix CAD Utilities and add-ins Other Goodies Tools (standalone, Autodesk) OTHER UPDATES Revit Families Vault, ADMS CAD Studio Shareware (trial) Games CAD Utilities and add-ins Other Goodies Tools (standalone, Autodesk) DWG Libraries, dynamic blocks Microsoft HP

select a category and click on a disc icon to download a file, see also CAD Studio download (recently updated files in red) login for direct downloads

Navisworks Freedom 2014 32 Bit Free Download Microsoft

Navisworks Freedom 2014 32 Bit Free Download Torrent

Navisworks Freedom Free Download

FileSizeDateInfoBuyAutodesk - freeViewers--AutoCAD mobile for Windows 10 tablets and phones, V4.14.0 (former AutoCAD 360, free DWG editor, DXF/DWF/PDF viewer, print and markup tool), UWP37MB2.12.2018Autodesk Design Review 2009 - view, print, measure and redline/markup 2D and 3D DWF and DWFx files, build 9.0/96, for Windows Vista/XP/2000 (free) install DWG TrueView and plugins42.9MB25.3.2008Autodesk Design Review 2010 - view, print, measure and redline/markup 2D and 3D DWF and DWFx files, build 10.0.0.108; for Windows Vista/XP (free) use the INFO button for a bootstrap installer; install also DWG TrueView and plugins36MB25.3.2009Autodesk Design Review 2011 - view, print, measure and redline/markup 2D and 3D DWF and DWFx files, build 11.0.0.86; for Windows 7/Vista/XP (free) use the INFO button for a bootstrap installer; install also DWG TrueView and plugins38MB25.3.2010Autodesk Design Review 2012 - view, print, measure and redline/markup 2D and 3D DWF and DWFx files, build 12.0.0.98; for Windows 7/Vista/XP (free) install also DWG TrueView47MB19.7.2011Autodesk Design Review 2013 - view, print, measure and redline/markup 2D and 3D DWF and DWFx files, build 13.0.0.82; for Windows XP/7/8 (free) install also DWG TrueView, see also the mobile version51MB28.3.2012Autodesk Design Review 2018 - view, print, measure and redline/markup 2D and 3D DWF and DWFx files, build 14.0.0.148; for Windows 7/8/10 (free) install also DWG TrueView, see also the mobile version421MB5.4.2017Autodesk DWG TrueView 2007 - free AutoCAD DWG file viewer, converter and measure tool (any DWG version, incl. DWG-2007; for Windows XP/2000; old version)122MB15.4.2006Autodesk DWG TrueView 2009 - free AutoCAD DWG file viewer, converter and measure tool (any DWG version, incl. DWG-2009; for Windows Vista/XP; 32-bit version ; former DWG Viewer)193MB26.3.2008Autodesk DWG TrueView 2009 64-bit - free AutoCAD DWG file viewer, converter and measure tool (any DWG version, incl. DWG2009; for Windows Vista64/XP64)238MB26.3.2008Autodesk DWG TrueView 2010 - free AutoCAD DWG file viewer, converter and measure tool (any DWG version, incl. DWG-2010; for Windows Vista/XP; 32-bit version ; former DWG Viewer)157MB26.3.2009Autodesk DWG TrueView 2010 64-bit - free AutoCAD DWG file viewer, converter and measure tool (any DWG version, incl. DWG2010; for Windows Vista64/XP64)183MB26.3.2009Autodesk DWG TrueView 2011 - free AutoCAD DWG file viewer, version converter and measure tool (any DWG version, incl. DWG-2010; for Windows 7/Vista/XP; 32-bit version ; former DWG Viewer)181MB25.3.2010Autodesk DWG TrueView 2011 64-bit - free AutoCAD DWG file viewer, version converter and measure tool (any DWG version, incl. DWG2010; for Windows 7-64/Vista64/XP64)211MB25.3.2010Autodesk DWG TrueView 2012 - free AutoCAD DWG file viewer, version converter and measure tool (any DWG version, incl. DWG-2010; for Windows 7/Vista/XP; 32-bit version ; former DWG Viewer)212MB24.3.2011Autodesk DWG TrueView 2012 64-bit - free AutoCAD DWG file viewer, version converter and measure tool (any DWG version, incl. DWG2010; for Windows 7-64/Vista64/XP64)272MB24.3.2011Autodesk DWG TrueView 2013 32-bit - free AutoCAD DWG file viewer, version converter and measure tool (any DWG version, incl. DWG2013; for Windows 7/XP)233MB28.3.2012Autodesk DWG TrueView 2013 64-bit - free AutoCAD DWG file viewer, version converter and measure tool (any DWG version, incl. DWG2013; for Windows 7-64/XP64)305MB28.3.2012Autodesk DWG TrueView 2014 32-bit - free AutoCAD DWG file viewer, version converter and measure tool (any DWG version, incl. DWG2013; for Windows 8/7/XP)252MB26.3.2013Autodesk DWG TrueView 2014 64-bit - free AutoCAD DWG file viewer, version converter and measure tool (any DWG version, incl. DWG2013; for Windows 8/7/XP)334MB26.3.2013Autodesk DWG TrueView 2015 32-bit - free AutoCAD DWG file viewer, version converter and measure tool (any DWG version, incl. DWG2013; for Windows 8.1/8/7)252MB21.3.2014Autodesk DWG TrueView 2015 64-bit - free AutoCAD DWG file viewer, version converter and measure tool (any DWG version, incl. DWG2013; for Windows 8.1/8/7)334MB21.3.2014Autodesk DWG TrueView 2016 32-bit - free AutoCAD DWG file viewer, version converter and measure tool (any DWG version, incl. DWG2013; for Windows 8.1/8/7)387MB19.3.2015Autodesk DWG TrueView 2016 64-bit - free AutoCAD DWG file viewer, version converter and measure tool (any DWG version, incl. DWG2013; for Windows 8.1/8/7)469MB19.3.2015Autodesk DWG TrueView 2017 32-bit - free AutoCAD DWG file viewer, version converter and measure tool (any DWG version, incl. DWG2013; for Windows 10/8.1/8/7)571MB21.3.2016Autodesk DWG TrueView 2017 64-bit - free AutoCAD DWG file viewer, version converter and measure tool (any DWG version, incl. DWG2013; for Windows 10/8.1/8/7)661MB21.3.2016Autodesk DWG TrueView 2018 32-bit - free AutoCAD DWG file viewer, version converter and measure tool (any DWG version, incl. DWG2018; for Windows 10/8.1/8/7)576MB21.3.2017Autodesk DWG TrueView 2018 64-bit - free AutoCAD DWG file viewer, version converter and measure tool (any DWG version, incl. DWG2018; for Windows 10/8.1/8/7)790MB21.3.2017Autodesk DWG TrueView 2019 32-bit - free AutoCAD DWG file viewer, version converter and measure tool (any DWG version, incl. DWG2018; for Windows 10/8.1/7)554MB21.3.2018Autodesk DWG TrueView 2019 64-bit - free AutoCAD DWG file viewer, version converter and measure tool (any DWG version, incl. DWG2018; for Windows 10/8.1/7)641MB21.3.2018Autodesk DWG TrueView 2020 64-bit - free AutoCAD DWG file viewer, version converter and measure tool (any DWG version, incl. DWG2018; for Windows 10/8.1/7)668MB27.3.2019Autodesk FBX Review 1.4.1 - free FBX,DXF,3DS,OBJ,DAE viewer for iOS7 (iPad/iPhone)61MB30.11.2016Autodesk FBX Review 1.4.1 - free FBX,DXF,3DS,OBJ,DAE viewer for MacOS15MB30.11.2016Autodesk FBX Review 1.4.1 - free FBX,DXF,3DS,OBJ,DAE viewer for Windows 7/8/10 64-bit21MB17.2.2017Autodesk Inventor Publisher Mobile Viewer V1.8 for Android (3D IPM, free)18MB25.7.2014Autodesk Inventor Publisher Mobile Viewer V1.8 for Apple iPad, iPhone (3D IPM, free)26MB28.7.2014Autodesk LandXplorer CityGML Viewer 2009 - free CityGML 3D viewer183MB16.10.2009Autodesk Showcase Viewer 2010 - free viewer for Showcase scenes (.A3S, .APF), Win32733MB1.5.2009Autodesk Showcase Viewer 2012 - free viewer for Showcase scenes (.A3S, .APF), 32-bit534MB11.8.2011Autodesk Showcase Viewer 2012 - free viewer for Showcase scenes (.A3S, .APF), 64-bit583MB11.8.2011Autodesk Showcase Viewer 2013 - free viewer for Showcase scenes (.A3S, .APF), 32-bit83MB22.8.2012Autodesk Showcase Viewer 2013 - free viewer for Showcase scenes (.A3S, .APF), 64-bit92MB22.8.2012Autodesk Showcase Viewer 2014 - free viewer for Showcase scenes (.A3S, .APF), 64-bit123MB13.5.2013Autodesk Simulation CFD Viewer - free viewer for CAE results341MB1.8.2011MapGuide 6.5 free GIS viewer - ActiveX (ver. 6.5 - 6.5.6.11)3.1MB14.4.2007NavisWorks Freedom 2010 - free NWD viewer for CAD/BIM data (32-bit)86MB4.4.2009NavisWorks Freedom 2011 - free NWD viewer for CAD/BIM data (32-bit)622MB4.4.2010Navisworks Freedom 2013 - free NWD viewer for CAD/BIM data (32-bit)649MB19.10.2012Navisworks Freedom 2013 - free NWD viewer for CAD/BIM data (64-bit)725MB19.10.2012Navisworks Freedom 2014 R1 - free NWD viewer for CAD/BIM data718MB5.12.2013Navisworks Freedom 2015 R2 - free NWD viewer for CAD/BIM data747MB2.4.2014Navisworks Freedom 2016 - free NWD viewer for CAD/BIM data860MB4.5.2015Navisworks Freedom 2017 - free NWD viewer for CAD/BIM data931MB22.3.2016Navisworks Freedom 2018 - free NWD viewer for CAD/BIM data945MB3.4.2017Navisworks Freedom 2019 - free NWD viewer for CAD/BIM data686MB19.4.2018Autodesk Inventor View 2011 CZ, 32-bit (free Inventor Viewer, 2011/2010/2009/2008, for PCs without Inventor)339MB17.5.2010Autodesk Inventor View 2011 CZ, 64-bit (free Inventor Viewer, 2011/2010/2009/2008, for PCs without Inventor)522MB17.5.2010Autodesk Inventor View 2012 CZ, 32-bit (free Inventor Viewer, 2012/2011/2010/2009, for PCs without Inventor)344MB6.6.2011Autodesk Inventor View 2012 CZ, 64-bit (free Inventor Viewer, 2012/2011/2010/2009, for PCs without Inventor)527MB6.6.2011Autodesk Inventor View 2013 CZ, 32-bit (free Inventor Viewer, 2013/2012/2011/2010/2009, for PCs without Inventor)352MB18.6.2012Autodesk Inventor View 2013 CZ, 64-bit (free Inventor Viewer, 2013/2012/2011/2010/2009, for PCs without Inventor)527MB18.6.2012Autodesk Inventor View 2014 CZ, 32-bit (free Inventor Viewer, 2014/2013/2012/2011/2010/2009, for PCs without Inventor, Win7)673MB16.4.2013Autodesk Inventor View 2014 CZ, 64-bit (free Inventor Viewer, 2014/2013/2012/2011/2010/2009, for PCs without Inventor, Win7/Win8)775MB16.4.2013Autodesk Inventor View 2015 CZ, 32-bit (free Inventor Viewer, 2015/2014/2013/2012/2011/2010, for PCs without Inventor, Win7/Win8)277MB18.5.2014Autodesk Inventor View 2015 CZ, 64-bit (free Inventor Viewer, 2015/2014/2013/2012/2011/2010, for PCs without Inventor, Win7/Win8)394MB18.5.2014Autodesk Inventor View 2016 CZ, 32-bit (free Inventor Viewer, 2016/2015/2014/2013/2012/2011, for PCs without Inventor, Win7/Win8)251.6MB9.4.2015Autodesk Inventor View 2016 CZ, 64-bit (free Inventor Viewer, 2016/2015/2014/2013/2012/2011, for PCs without Inventor, Win7/Win8)406MB9.4.2015Autodesk Inventor View 2017 CZ, 32-bit (free Inventor Viewer, 2017/2016/2015/2014/2013/2012, for PCs without Inventor, Win7)311MB18.4.2016Autodesk Inventor View 2017 CZ, 64-bit (free Inventor Viewer, 2017/2016/2015/2014/2013/2012, for PCs without Inventor, Win7/Win8/Win10)505MB18.4.2016Autodesk Inventor View 2018 CZ, 64-bit (free Inventor Viewer, 2018/2017/2016/2015/2014/2013, for PCs without Inventor, Win7/Win8.1/Win10)493MB7.4.2017Autodesk Inventor View 2019 CZ, 64-bit (free Inventor Viewer, 2019/2018/2017/2016/2015/2014, for PCs without Inventor, Win7/Win8.1/Win10)440MB2.4.2018Autodesk Inventor View 2020 CZ, 64-bit (free Inventor Viewer, 2020/2019/2018/2017/2016/2015, for PCs without Inventor, Win7/Win8.1/Win10)555MB2.4.2019Volo View 3 - DWG/DWF viewer for 2D/3D CAD data (now free, old/obsolete - use Autodesk Design Review)95MB1.1.2008Tools (standalone, Autodesk)AutoCAD mobile for Android, V4.5.18 (former AutoCAD 360, free DWG editor), now with 3D, GPS, ePrint, Design Feed29MB4.7.2018AutoCAD mobile for iOS, V4.4 - free DWG editor for Apple iPad, iPhone, iPod (iOS 9+) - incl. 3D, GPS, ePrint, OpenGL, Google Drive, Leica Disto366MB9.7.2018Autodesk 123D Sculpt+ 2.0 - 3D sculpting and modeling, OBJ, 3ds Max (free for Android)473MB14.1.2015Autodesk 123D Sculpt+ 2.0 - 3D sculpting and modeling, OBJ, 3ds Max (free for iPad; iOS7+)488MB19.3.2015Autodesk DWG TrueConvert 2007 - free standalone DWG file version batch drawing converter (AutoCAD V2-2007), for WinXP/2000 (see TrueView2008)33.1MB24.3.2006Autodesk FormIt V13.2 for Android (Pro trial) - free conceptual 3D BIM editor, compatible with Revit56MB8.4.2016Autodesk FormIt V17.0 for iOS (Pro trial) - free conceptual BIM editor for Apple iPad, map and weather data, compatible with Revit102MB19.3.2019Autodesk FormIt V17.2 for Windows (Pro trial) - free conceptual BIM editor for Windows 7/8/10 64-bit, map and weather data, skp, Dynamo, compatible with Revit639MB16.5.2019

V17.2

Autodesk Freewheel - DWF/DWFx rendering service - web viewer01.6.2010Autodesk Homestyler - free interior design software01.9.2010Autodesk Maya PLE 8.5 (Personal Learning Edition) - free for non-commercial use (Windows or Mac OS X)240MB25.6.2007Autodesk MeshMixer 3.5 - 3D freeform modeler/printer, STL, OBJ, 3MF (MacOS, EN/JP)96MB26.4.2018Autodesk MeshMixer 3.5 - 3D freeform modeler/printer, STL, OBJ, 3MF (Win64, EN/JP)105MB26.4.2018Autodesk Screencast 2.3 for Mac - free screen recording utility for AutoCAD+LT 2013-2017, Fusion 360 (MacOS)22MB30.3.2016Autodesk Screencast 3.6 - free screen recording utility for AutoCAD+LT 2013-2020, Inventor+LT 2014-2020, Revit 2013-2020, Fusion 360, InfraWorks, SimStudio (Win)43MB2.4.2019Autodesk SketchBook 1.8.5 for Windows 10 (free)70MB21.1.2019Autodesk SketchBook for Android, V5.0, painting+sketching (free)77MB29.5.2019Autodesk SketchBook for iPhone and iPad (iOS), V5.0, painting+sketching (free)160MB29.5.2019BIM 360 (next gen) - mobile client for Android phones and tablets, V2.18.0 (free)63MB2.4.2019BIM 360 (next gen) - mobile client for iOS - iPhone, iPad, V2.12 (free)239MB2.4.2019TRIAL versionsTRIAL - Autodesk EAGLE 9.4 (Win 64-bit, EN), PCB design - free: 2 schematic sheets, 2 signal layers, up to 80 cm2 board area115MB22.4.2019

V9.4

Patches + updatesAutoCADR2004AutoCAD 2004 3D Orbit ACGS hot-fix (freezing or fatal error)431kB6.5.2004Inventor, Fusion 360, Factory, AliasInventor2013Inventor Fusion 2013 R1.2 for Mac, free, no expiration (Mac OS X), EN777MB8.3.2013Inventor2019Autodesk Inventor HSM Express 2019.3 (6.4.0.16913) for Inventor 2019/2018/2017/2016 and LT 2019/2018/2017/2016, free 2.5D CAM (64-bit, EN/CZ/DE.)424MB18.2.2019Inventor2020Autodesk Inventor HSM Express 2020 (CAM Express; 7.0.0.17443) for Inventor 2020/2019/2018/2017 and LT 2020/2019/2018/2017, free 2.5D CAM (64-bit, EN/CZ/DE.)499MB3.5.2019Design Review, DWF, DWG TrueView, SketchBook, A360SketchbookAutodesk Sketchbook 8.6, Win64 (free)87MB30.4.2018Revit, Robot, Steel--Dynamo 2.0 - visual programming for Revit, free222MB4.12.2018Lumion LiveSync for Revit 2020-2015 (Revit-Lumion synchronization, free)1.9MB20.5.2019

V3.53

Revit2012Revit Extensions (Q3 update) - Architecture 2012 (subscription only) - Roads and Terrain, Wood Framing Walls, Excel Model Generator, Frame Generator, Grids Generator, Freeze Drawings, Compare Models, Shared Parameters Converter .. (EN)323MB10.11.2011Revit2016CoBIE Extension for Revit 2016 (free)3.2MB20.2.2016IFC for Revit 2016 (V16.6) - updated IFC import/export module (free)1.5MB30.3.2017Revit2017Advance Steel 2017 Extension for Autodesk Revit 2017 - synchronize structural BIM data in LOD350 (free)58MB22.4.2016CoBIE Extension for Revit 2017 (free)3.2MB18.5.2016IFC for Revit 2017 (V17.4) - updated IFC import/export module (free)1.9MB19.7.2017Revit2018COBie Extension for Revit 2018 (free)3.5MB14.9.2017Enhanced DWG Exporter for Revit 2018 (free)83MB5.11.2018IFC for Revit 2018 (V18.4) - updated IFC import/export module (free)3.2MB26.6.2018Revit2019Advance Steel 2019 Extension for Autodesk Revit 2019 - synchronize structural BIM data in LOD350 (free)50MB4.5.2018Enhanced DWG Exporter for Revit 2019 (free)57MB5.2.2019IFC for Revit 2019 (V19.1) - updated IFC import/export module (free)2.4MB30.6.2018Revit2020Advance Steel 2020 Extension for Autodesk Revit 2020 - synchronize structural BIM data in LOD350 (free)50MB18.4.2019Navisworks, Showcase, BIM 360--Autodesk Navisworks 2019.1 (Freedom, Simulate, Manage) subscription release74MB17.8.2018Autodesk Navisworks NWC Exporter Utility 2011 for AutoCAD, Revit, 3ds Max, Bentley Microstation, Graphisoft ArchiCAD (free export to .NWC files)983MB13.4.2010Autodesk Navisworks NWC Exporter Utility 2012 for AutoCAD, Revit, 3ds Max, Bentley Microstation, Graphisoft ArchiCAD (free export to .NWC files)375MB4.9.2011Autodesk Navisworks NWC Exporter Utility 2013 for AutoCAD, Revit, 3ds Max, Bentley Microstation, Graphisoft ArchiCAD (free export to .NWC files)503MB19.4.2012Autodesk Navisworks NWC Exporter Utility 2014 for AutoCAD, Revit, 3ds Max, Bentley Microstation, Graphisoft ArchiCAD (free export to .NWC files)539MB18.6.2013Autodesk Navisworks NWC Exporter Utility 2015 for AutoCAD, Revit, 3ds Max, Bentley Microstation, Graphisoft ArchiCAD (free export to .NWC files)603MB21.5.2014Autodesk Navisworks NWC Exporter Utility 2016 for AutoCAD, Revit, 3ds Max, Bentley Microstation, Graphisoft ArchiCAD (free export to .NWC files)617MB5.11.2015Autodesk Navisworks NWC Exporter Utility 2017 for AutoCAD, Revit, 3ds Max, Bentley Microstation, Graphisoft ArchiCAD (free export to .NWC files)445MB5.11.2016Autodesk Navisworks NWC Exporter Utility 2018 for AutoCAD, Revit, 3ds Max, Bentley Microstation, Graphisoft ArchiCAD (free export to .NWC files)446MB3.4.2017Autodesk Navisworks NWC Exporter Utility 2019 for AutoCAD, Revit, 3ds Max, Bentley Microstation, Graphisoft ArchiCAD (free export to .NWC files)486MB19.4.2018COBie Extension for Navisworks Manage 2016 (free)32MB13.9.2016COBie Extension for Navisworks Manage 2017 (free)32MB13.9.2016COBie Extension for Navisworks Simulate 2017 (free)32MB13.9.2016Autodesk Navisworks 2010 Service Pack 1 (NW Freedom, Manage, Review, Simulate)638MB15.9.2009Autodesk Navisworks 2011 Service Pack 1 (NW Freedom, Manage, Simulate), 32-bit207MB15.9.2010Autodesk Navisworks 2012 Service Pack 1 (NW Freedom, Manage, Simulate, incl. Suite versions), 32-bit195MB21.9.2011Autodesk Navisworks 2012 Service Pack 1 (NW Freedom, Manage, Simulate, incl. Suite versions), 64-bit257MB21.9.2011Autodesk Navisworks Freedom 2013 Service Pack 1, 64-bit158MB20.6.2012Autodesk Navisworks Freedom 2013 Service Pack 2, 64-bit (incl. SP1)149MB20.9.2012Autodesk Navisworks Freedom 2014 Service Pack 1, 64-bit201MB19.7.2013Navisworks Freedom 2015 Service Pack 1 (SP1; incl. heartbleed fix)204MB6.6.2014Navisworks Freedom 2015 Service Pack 2 (incl.SP1)201MB15.7.2014Navisworks Freedom 2015 Service Pack 3 (incl.SP1/SP2)202MB6.8.2014Free applications and CAD utilities (mostly our freeware)CAD Studio Shareware (trial)CITin 2018 - .CIT raster file support for AutoCAD 2018 or Map/Civil 3D 2018 or LT 2018 (32/64-bit, free trial)265kB13.6.2017CITin 2019 - .CIT raster file support for AutoCAD 2019 or Map/Civil 3D 2019 or LT 2019 (32/64-bit, free trial)265kB13.8.2018CITin 2020 - .CIT raster file support for AutoCAD 2020 or Map/Civil 3D 2020 or LT 2020 (64-bit, free trial)134kB9.4.2019ExcellinkExcellink Helper Macros - free add-on functions for Excellink users (VBA)2.8kB7.5.2004Games--MineSweeper3D - free minesweeper game for Autodesk Inventor 2013/2012 32/64-bit5.3MB16.12.2012Piškvorky - Tic-Tac-Toe game for Inventor 2017-2019+, free, by CAD Studio946kB13.12.2018CAD Utilities and add-insAutoLISP Debugger for AutoCAD R12 (free LISP debugger)AutoLISP Debugger for AutoCAD R13c4 (free LISP debugger)AutoLISP Debugger for AutoCAD R14 (free LISP debugger)40kBAutoLISP Debugger for IntelliCAD (free LISP debugger)45kB11.2.2001DTM - free Digital Terrain Model application for AutoCAD - TIN, volume, elevations, flowlines, meshes (VLX for AutoCAD and Map 3D)24kB20.2.2018DWGsign Reader - read watermarks (signatures) in DWG drawings, free (for AutoCAD 2016)2.4MB12.4.2016DynReset - restores missing grips on dynamic blocks (VLX for AutoCAD)86831.12.2008GeoCode - free forward and reverse geocoding for AutoCAD 2014-2019 maps - point to postal address, address to position, what3words (VLX LISP)538kB11.10.2018

V1.4

LinCatalog - draws a catalog of complex linetypes defined in a .LIN file or in the DWG (free AutoLISP utility)21kB13.8.2013SphereProj - project 2D curve(s) to a sphere (freeware VLX LISP for AutoCAD)14kB9.12.2012srxTEXT - search and replace AutoCAD drawing texts using regular expressions, supports batch scripts, table replacements, numeric intervals (trial)25kB7.3.2018TRANS - easy translation of AutoCAD drawing texts - either manual, Trados-assisted (translation memory), database-driven (dTrans), or automatic via Google Translate or Bing Translator - gTrans/bTrans (limited free version)40kB22.6.2017VPFL command - freeze VP layer by picking an object (LSP)45212.9.2007Fusion360F-Tools V0.1 - CADstudio Fusion Tools, free version of add-on tools for Autodesk Fusion 360 (Win)754kB5.6.2018

V0.1

InventorX-Tools LT - CADstudio Inventor Tools, free limited version for Inventor 2013 and 20144MB16.4.2015X-Tools LT V2.5 - CADstudio Inventor Tools, free limited version for Inventor 2015, 2016, 2017, 2018 and 20194.8MB22.3.2018--CAD standardy v1.5 - freeware nadstavba AutoCADu, J.Remeš (CZ-èesky)2.9MB18.10.2009GGmenu v1.99 - stavaøská nadstavba AutoCADu, freeware J.Remeš (CZ-èesky)15.9MB18.10.2009GGmenu v1.99+ribbon - stavaøská nadstavba AutoCADu, freeware J.Remeš, automatická instalace A2011/2010, ribbon ovládání, beta (CZ-èesky)8.8MB6.2.2011Other GoodiesAdditional free .PAT hatch patterns (šrafy) for AutoCAD and LT (stone, wood, parquet, pavement, fan, random..)21kB2.8.2012Additional free .PAT hatch patterns (šrafy) for AutoCAD and LT (stone, wood, roof, landscape, hydroisol..), Trebulka552kB15.7.2014CADVault 6 Runtime - free object enabler for CADVault 6.0.7.5 (32-bit) - AutoCAD 2015-2000 and LT (by CADLock)2MB19.10.2014CADVault 6 Runtime - free object enabler for CADVault 6.0.7.5 (64-bit) - AutoCAD 2015-2000 and LT (by CADLock)3.9MB19.10.2014CADVault Runtime - free object enabler for CADVault 5.0.2.10 - AutoCAD 2009-2000 (by CADLock)1.1MB20.4.2009CSHatch - 64 new .PAT hatch patterns (šrafy) for AutoCAD (free) (by C.Sweeney)137kB4.1.2001LCD fonts - free segmented TrueType fonts (TTF) for CAD design and technical documentation41kB13.7.2010OSIfont - free technical TrueType font (TTF) for european CAD projects (see also ISOCPEUR)38kB31.5.2012Sketch++ (SKPP) - freehand and spray painting in AutoCAD (2000/i/2002/2004) and ADT, no more free9kB23.5.2002VBA Macro Recorder - simple macro recorder for AutoCAD (free utility by Joe Sutphin)38kB10.2.2006XGL Viewer - free 3D viewer for XGL and ZGL files (OpenGL data), EXE + source code553kB2.9.2009Tools (standalone, Autodesk)Autodesk ReMake (formerly Memento) v117.25.67 - digitize to 3D models, mesh editor/fixer - Free/Trial version, MacOS (only till 31.3.2017)200MB15.12.2016Autodesk ReMake (formerly Memento) v17.25.3.1 - digitize to 3D models, mesh editor/fixer - Free/Trial version, Win 64-bit - see ReCap Photo267MB27.6.2017Additional files (Microsoft+HP)MicrosoftMS PowerPoint Viewer 2003 (free viewer)1.9MB29.11.2004Windows 10 upgrade - free Win10 for Win7/8.x users3GB29.7.2015

How to load a LISP application (.LSP/.VLX) into AutoCAD? See the Tip 7245.

Navisworks Freedom 2014 32 Bit Free Download Windows 7

Many other files also on CAD Studio Helpdesk, CAD blocks in the Block catalog.

Octopus box lg software version 2.5.1 free download. • LG C360 - added Read Codes, Repair IMEI, Write Firmware (in Test Mode), Read/Write/Repair EEPROM, Repair BT Address, Read Full Flash, Format File System, Read Info. • LG C195N - added Read Codes, Repair IMEI, Write Firmware, Read/Write/Repair EEPROM, Repair BT Address, Read Full Flash, Format File System, Read Info. > > > > Octopus LG Software v2.2.7 - lots of stuff User Name Remember Me? Octopus Box LG Software v2.2.7 Added support via Micro USB cable for: • LG C195 - added Read Codes, Repair IMEI, Write Firmware, Read/Write/Repair EEPROM, Repair BT Address, Read Full Flash, Format File System, Read Info.

[symetriuk]

Feature comparison on secondary formats and BOM: Autodesk Vault enhanced with Sovelia Vault

While Autodesk Vault is a powerful tool, adding Sovelia Vault unlocks its full potential. The combination of both tools leads to superior product data.Learn more about Sovelia Vault, an add-on to Autodesk Vault.

[the-fitsquad]

Laptop And Telecommunications Solutions

Standing Laptop Workstation

AirClean® Systems offers two varieties of PCR Workstations, each common with UVTect microprocessor controller, that aid the researcher by stopping background and cross-contamination. A two-tier 19″ cabinet developed for installing the central unit of the technique or other kinds of electronic devices. HP’s reinvention of detachable PCs started earlier this year with the introduction of the HP Spectre x2 and the HP Elite x2. Today’s introduction of the HP ZBook x2 completes HP’s trifecta with its most effective detachable resolution targeted for the inventive neighborhood. Powered by Intel’s newest Sandy Bridge-primarily based XEON processor family members, the E5-2600, HP’s new Z series machines advantage from the CPU’s integrated memory controllers, Hyper-Threading and Turbo Boost technology. In a previous organization there had been 6 CAD2 badged workstations and the supplier was on site the next day as there have been significant problems with the machines crashing using PDMworks.

That CPU upgrade also brings the type of perks normally restricted to desktops, such as support for a whopping 64GB of memory and Thunderbolt three ports that can handle dual 4K displays. But Cinema 4D is one particular of the pieces of software program that is most closely linked with specialist-good quality 3D design and style perform. Ahead of we take a look at the HP workstations, it’s critical to first think about what is essential for 4K video editing. HP worked straight with partners like Adobe and Avid to create computer software that’s optimized specifically to take benefit of HP hardware and the NVIDIA CUDA platform to wring even a lot more powerhouse performance out of the GPU. Based on the newest Intel® Core two Duo, Dual & Quad Processors. I haven’t built a box from scratch but, but I’ve been upgrading, re-purposing and modifying hardware and operating systems for my specific workflow for lengthy time.

Both hardware approaches give powerful security for administrative accounts against credential theft and reuse. Our properly-created screens and partition panels aid the ‘think’ tank desk configuration, retain privacy and lessen noise in a fashionable way utilizing our desk based partition screens Workplace workstation screens come in a assortment of different colours and dimensions generating for a trendy, groovy and functional office desk workstation. Now the idea behind this build is that it really is an all goal workstation that is not necessarily application particular however has plenty of area for upgrades depending on application or if extra functionality is necessary down the line. The ZDesigner LP 2844 Driver works completely with both the LP 2844 and the ZP 450 thermal printers.

If you do not see the Public Access Station, End-of-Variety PAC Station, On-Line Monitor Stand or Pc Workstation you are seeking for, please get in touch with our friendly Client Service Employees for help at 800-548-7204. ~ Gorgeous desks for house workplace spaces assist generate much more than just workspaces. The details that would truly make this expertise effective for me is to learn how to market my enterprise, to develop robust client relationships, and to set my own requirements of operating a business so I can stay true to my beliefs and get the appropriate sort of client. Our in-property CAD and workplace design and style group give the initial step in generating the perfect workplace match out solutions for your space and folks needs. This bundle involves a 256GB PCIe SSD, which makes it possible for this mobile workstation to begin Windows and applications amazingly quick.

We’ll be focusing on PCs that run Windows operating systems, rather than Linus or MacOS, due to the method specifications of a lot of popular CAD applications. With our control space workstation you can monitor all methods in production, guaranteeing both the good quality and compliance of the merchandise. Back in 2009, the initial Z800 sported a pair of quad-core Xeon CPUs operating at three.2GHz, and 18GB of DDR3 memory while the refreshed Z800 , released a year later, featured a pair of six-core CPUs, running at three.33GHz. Comparatively less costly, workstations are fundamentally more for official jobs such as emailing, document creation and presentation, internet browsing and other organization-related performances. This write-up focuses primarily on the top end models—the Z420, Z620, and Z820—and will examine the benefits that HP workstations offer and how to configure them for 4K post-production function.

Currently, Sun Microsystems companies the only workstations, which use x86-64 microprocessors and Windows, Mac OS X, Solaris 10 and Linux-distributed operating systems. If you can afford it, possessing several SSDs (1 for the OS and AutoCAD and a second committed for active projects) along with a larger traditional drive for storage is even much better. If a buyer with an older machine wants a problem fixed, HP can usually go back to this vault and uncover the solution to investigation and solve the problem. There will be ‘cheaper’ possibilities in the Z6 and Z4. The Z6 caps the memory at 384GB with the dual Xeon CPU. Like all HP workstations, the Z620 is made to satisfy the ever-increasing demands of pros who work with huge and complicated datasets, complex 3D models, require a number of displays, or for organizations that just need a higher-functionality and reputable system for their personnel.

Figure 12. A computer model with a number of supported graphics cards to decide on from. On December three, 1999, a 40-year-old tower-painting-firm owner, his 16-year-old stepson, and a 19-year-old employee died following falling 1,200 feet when the hoist line on a portable capstan hoist used to raise them up the side of a 1,500-foot-higher radio tower started slipping around the capstan, causing the hoist operator to lose handle of the hoist line. Powered by Intel® Xeon® processors and NVIDIA® Quadro® graphics, this dual-processor workstation is 1 tough performer. Prepared for the most demanding design and style applications, the Broadberry CyberStation Graphics® variety can be configured with up to 1.5TB of memory. You can add users to the RealNex CRM either from Database Manager on the server Pc, or from inside the RealNex CRM Desktop application even though logged in as an Administrator.

Numerous of the desks we discuss have designated spots for personal computer towers, keyboards and mice, and shelves for office supplies. Today, these nations, specially the United states, invest big sums of capital which aid advance the technology and productivity of so-referred to as ‘backward societies’. It is to be surrendered this plotting out social gathering is in the furnishings enterprise for far more than 10 years and have been providing shocking high quality and top quality issues and satisfying our regarded consumers other than. Mobile personal computer desk stations are revolutionary and hugely ergonomic operate solutions for your residence workplace or even your corporate job. Want to visualize what these inventive workstations and private offices will look like in distinct colors?

Intel’s C612 chipset can help dual, subsequent generation Intel Xeon E5-2600 v3 or E5-2600 v4 series processors. CELSIUS H770: a mobile workstation with NVIDIA Quadro graphics for a 4K resolution display along with the newest mobile Intel Xeon processors and Fujitsu’s special PalmSecure technologies. There are lots of firms, who are now manufacturing various kinds of modular furniture and furnishing products, which are being employed by the interior decorator or furnishing contractors to help for beginners their respective client to get the maximum utilization of the available space and also the corporate look of their workplace. Nonetheless, I do inform men and women of the program requirements and how the distinct pieces of hardware match in with Autodesk application and what minimum specs I advocate.

Although the end-outcome (the video) is visual”, video encoding is a computationally intensive, traditionally CPU-based application in the way that CFD or FEA simulation applications are computationally intensive and traditionally CPU-based applications. The evening auditor ought to also be familiar with the nature of cash transaction affecting the front office accounting system. Ergonomic and versatile contemporary office furniture such as height adjustable tables let the staff to sit and stand whilst functioning as per their comfort. HP performs with each national retailers and specialized neighborhood resellers to bring our workstations to you with excellent client service. Of course, like most dual processor workstations, the burden of two high-end Xeons weighs heavy with the all round cost of the machine coming in at £5,620.

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[shannonsmithnc]

Top 10 Features in Advance Steel 2018

The new release of Advance Steel 2018 has been out for a few months now. Here is a highlight of the top 10 features in case you haven’t had the chance to get familiar with them yet.

  1 – One Advance Steel installation

By combining the functionality of the two products into a single executable, there is no need any more for customers to separately install both AutoCAD 2018 and Advance Steel 2018 software on their desktop.

When you install Advance Steel 2018 you will see an icon for Advance Steel on the desktop. Selecting the Advance Steel icon will give the user access to the Advance Steel and embedded AutoCAD functionality.

Tip: users who would like to run just the AutoCAD functionality of the product can select ‘Autodesk Advance Steel 2018 – AutoCAD’ from the Start Menu.

2 – Migrate custom settings tool

The Migrate Custom Settings tool offers a modern and informative interface for migrating your custom settings and files from a previous release to Advance Steel 2018.

It helps detect and identify customized settings and enables you to choose which ones you would like to migrate. A summary report created from the migration offers comprehensive information in an easy-to-read format.

Tip: If you change your mind about migrating settings from a previous release, you can easily restore Advance Steel default settings using the Reset tool, which is available from the Start menu.

3 – Combine model views with cameras

Model views combined with cameras help simplify the process of creating general arrangement drawings.

Advance Steel 2018 now enables you to combine a model view with a camera and use it for drawing creation by assigning it a specific drawing style & scale. By using a Drawing Process, you can automate the creation of general arrangement drawings based on these cameras. As a result, you get drawings automatically labelled and dimensioned based on your preferences.

4 – Call out on drawing

With the new “Create callout view” feature, you can now create a call out view from a 2D view or 3D view directly within the drawing.

Once you have created the call out, you can move the title placement with its grip and you can control the frame appearance and change it – for example from a rectangle to a circle or vice-versa.

This new feature helps you create more compelling drawings more quickly and easily.

Tip: when creating the call out, by pressing S like Settings, you can access a dialog where you can specify the scale and assign a specific presentation to be used.

5 – Drawing styles for manual cut views on drawings

Advance Steel 2018 offers the possibility to better control ready-to-use presentations available when adding a manual cut or a call out view on a drawing.

The drawing styles manager enables you to select which view presentations you would like to have available with a new option “Used for Cuts and Callouts” located under “View properties” tab.

When inserting a manual cut or a call out view within a drawing, press S like Settings to access the “View settings” dialog containing the predefined view templates and select the one you want to use for the view you add to the drawing.

6 – Enhanced local content for the US market

The weld symbol has been enhanced (text & symbol size) to match better local requirements.

The US release is also delivered with dedicated drawing styles for shop drawings of U and C shape beams. It also has some presentation enhancement such as the hatch pattern representation for holes on shop drawings.

7 – Multi-ball stanchions handrail

Advance Steel 2018 provides a new automatic & parametric macro for inserting prefabricated ball stanchions.

These ball stanchions are from Australian & New Zealand providers and are inserted as special parts in the 3D model.

8 – Cold rolled purlin connections

Advance Steel 2018 provides a new automatic & parametric connection for cold rolled sections (such as purlins and side rails).

The connection can be started from the Connection vault and offers various options in regards to the brackets (from Australia & New Zealand) available by default.

Tip: It is easy to adjust the settings from the properties dialog box, you can add more vendors within the database controlling the macro.

9 – Custom objects stored in the DWG file of the 3D model

If your Advance Steel model contains custom properties such as custom sections or materials, you can choose to write this information in the DWG file so that other project team members or stakeholders can visualize the entire model in other products such as Navisworks, AutoCAD Plant 3D, BIM 360, or A360 Viewer.

Tip: if you change your mind about including custom properties in your Advance Steel DWG file, you can use the “Delete stored data” icon available in the User Interface.

10 – Localized online help documentation

The online help documentation, which has been available only in English until now, is also available in French and German languages.

If you want to see some of these features in action, watch the Advance Steel 2018 New Features playlist on YouTube.

The post Top 10 Features in Advance Steel 2018 appeared first on BIM and Beam.

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[youtube-hero-animated-blog]

YouTube Hero Animated: creation and understanding of digital art

Mykyta Kudin

Professor Paweł Frelik

Audiovisual Culture in the USA (4219-AW110-OG)

09.03.2017

University of Warsaw

 1. INTRODUCTION

Although the current project’s creation was primarily encouraged by the necessity of passing a course of Audiovisual Cutlure in the USA, its inspiration is drawn from its author’s frequent visits to YouTube, the greatest vault of video-materials, most often than not non-academic in their nature. Admittedly, writing about YouTube might seem a sign of a particularly bad taste considering how noticeable YouTube’s presence is in lives of the modern digital society. „What is there still to know about YouTube?” one may ask: everything one wishes to find about YouTube, from history of its creation, to guidelines of usage and advertising, to statistics can be located on the official page of YouTube (“About YouTube”). This basic knowledge, in its turn, can be expanded by exploring the first few results from the simplest browser search.

            To answer the posed question: this work’s intention is to focus on video materials published on YouTube with the purpose of identifying what variables came into play during creation of the said videos, and how these variables shape the meaning of the images.

2. DEFINING MATERIALS

From what has been mentioned, one might have guessed that the given project is to deal with videos created by certain individuals, whom YouTube chooses to call creators (“YouTube Creator Hub”). One can be a creator in so many ways however – YouTube alone offers a broad choice of what creative content one may wish to produce: Let’s Play and How To videos, reviews and commentaries, reaction videos, vlogs, comedy sketches (“The 13 most Popular Types of YouTube Videos”), streams and many others. What is it that the chosen creators produce that arouses interest of the given project? What makes its author believe that there is a greater truth to be discovered behind the culture that YouTube videos are the foundation of?

          The people whose works are going to be examined are specialized, among other things, in animations, some of which can be classified as fanfiction. It is these instances of animated fanfiction dedicated to the channel of Markiplier and focused mainly on his gaming content that are of a particular interest to the project due to a unique look they offer into modern creativity.

          According to Rick Parent, animate means ‘give life to’ and includes live-action puppetry . . . and the use of electromechanical devices to move puppets, such as animatronics. . . .” This work, however, chooses to interpret animation as „devices that use a sequence of individual still images to create the effect of a single moving image . . . ”[i] (4).

          Andrew Chong, on the other hand, adds that this effect Parent is referring to is merely an „illusion of movement,” while animation is „the process that creates [it] . . .” (8).

         Rick Parent then proceeds to expanding on the original definition of animation, naming its various forms:

                 „The rich heritage of hand-drawn animation in the United States makes it natural to consider it the precursor to computer animation, which also has strong roots in the United States. However, computer animation has a close relationship to other animation techniques as well.

                  A good comparison can be made between computer animation and some of the stop-motion techniques, such as clay and puppet animation. Typically, in the three-dimensional computer animation, one of the first steps is the object modelling process.” (8)

         This work happens to have located examples that illustrate most of the mentioned categories in the list provided by Parent: the two dimensional animation completed in the style of hand-drawn animation, clay and puppet animation, and three-dimensional computer animation. The two dimensional animations, in truth, are not produced by hand in a conventional manner, but rather - on a tablet using complementary tools as will be demonstrated later. Nevertheless, they still belong to the aforementioned category.

         Thomas Bronwen holds that fanfiction,

                  „(sometimes abbreviated as fanfic) refers to stories produced by fans based on plot lines and characters from either a single source text or else a ‘canon’ of works; these fan-created narratives often take the pre-existing story world in a new, sometimes bizarre, direction.” (1)

            Raph Koster, in a podcast „Futures of Entertainment 2: ‘Fan Labor’” lists this practice and many others, such as building virtual worlds, 3D modelling and other sort of content creation and identifies them as „fan labor.” („Podcast: Futures of Entertainment 2: ‘Fan Labor’”)

            Fanfiction animation, however, is merely a label one can give to a video. There seems no better way to capture what a video is other than refer to Chandler’s discussion on semiotics, where he mentioned certain ways of delivering information (modalities) as more reliable information vessels than others (Chandler 63). Seeking to illustrate his point, he compared a moving, coloured, audible image with a detailed description that provides the viewer with more information than an abstract description, compared to a still, monochromatic, and silent image.

            It can, therefore, be expected of the given project to analyze the chosen video sequences, at the same time minding their unconventional nature and how rich the singular frames that constitute them are in signs, „dominant codes or myths or referent systems” (Rose 138).

3. VIDEOS PER SE

Having elucidated the primary objectives of the project and the type of content to be analyzed, the natural order of things suggests that the reader be introduced to the video sequences themselves. They are going to be presented in the chronological order of their being posted on the official channel of Markiplier („Markiplier”), referencing all the information related to the original creators of the videos, their art style and tools used. Further analysis, comparison and contemplations will be presented in the following sections of the given paper.

         The first video, thus is „Markiplier Animated | MEET THE MEDIPLIER” („Markiplier Animated | MEET THE MEDIPLIER”):

Figure 3.1

Date of publication: 19 Apr 2014 Original creator of the video: Coyotemation („Coyotemation”) Art style: three-dimensional animation Tools and techniques used: „Autodesk Maya 2015, Adobe Photoshop CS6, Adobe Premiere Pro, Adobe After Effects, Sony Vegas Pro 12, Source Filmmaker. If I use anything else in a video I'll describe it in the description!” („Coyotemation/about”). The original video did not mention any additional tools (“Mediplier – ‘Surgery’”).

            The second video sequence bears the name „Markiplier Animated | STRANDED DEEP” („Markiplier Animated | STRANDED DEEP”):

Figure 3.2

Date of publication: 24 Apr 2015 Original creator of the video: Cranbersher („Cranbersher”) Art style: clay and puppet animation Tools and techniques used: Stop-motion animation („Cranbersher/about”)

             Unfortunately, no additional information on tools is provided, which is why this project assumes that the same rules apply to it as described by Angela Thomas and Nicole Tufano:

                      „(1) it uses the technique of producing a series of still images – each capturing incremental changes in the scene – before converting this series of images into a film sequence; (2) it plays on the viewer’s ‘persistence of vision’ (Webster, 2005, p. 4). That is, it creates an optical illusion whereby the viewer experiences a slight delay in vision, and the eyes naturally fill in the gaps between the still images and actually interpret them as moving images . . . .” (162)

             The third video is called „Markiplier Animated | MARK'S ODD MEDICAL CONDITION” („Markiplier Animated | MARK'S ODD MEDICAL CONDITION”):

Figure 3.3

Date of publication: 4 Feb 2016 Original creator of the video: LixianTV („LixianTV”) Art style: Hand drawn animation Tools and techniques used: Adobe Flash CS3 Professional

           Lixian does not provide any specifics as to the software or tools he is using, however, from his videos describing the creation process, one can gather that he is using an Adobe software specified above, while the drawin itself is made using an unidentified tablet with an electronic pencil („Making Of - *Markiplier Animated - Mark's Odd Medical Condition*”):

Figure 3.4

             The fourth animation is „Markiplier Animated | WORLD'S 2nd QUIETEST LET'S PLAY” („Markiplier Animated | WORLD'S 2nd QUIETEST LET'S PLAY”):

Figure 3.5

Date of publication: 3 Feb 2017 Original creator of the video: RushLightInvader („RushLightInvader”) AKA Jordan Miller („Cartoons / Animations”). Art style: Hand drawn animation Tools and techniques used: Not specified

4. ANALYSIS PROPER

4.1. Summarizing content of the videos

It is in the best interests of the author of the given project that the potential reader has a general understanding of what is happening in the videos even without having watched them. The reader, however, is encouraged to get acquainted with the examples being studied by proceeding to the links provided in the text or at the end of the paper in order to have a more thorough experience of the material being examined.

            Rose states that mise-en-scene „is a result of decisions about what to shoot and how to shoot it” (48). This subsection will analyze the videos to locate their general trends and find the particular details of their construction.

4.1.1 First video

The stage of the first animation is set in an operation room with three distinguishable depth planes: the plane closest to the viewer containing patient-victim Bob, the second plane – where the viewer finds Markiplier and the third and subsequent plane where all the hospital equipment is located and no action takes place. A high intensity lighting from above is provided by the surgical lights. The patient is represented by a model of a Team Fortress 2 Heavy Weapons Guy („Heavy”) character, while Markiplier is represented by a model of a Medic („Medic”), dressed up in a business costume with sleeves rolled up and a set of headphones on top of his head.

           The video can be broken down into five parts, lasting from 00:00 – 00:22, 0:23 – 00:41, 00:42 - 01:17, 01:18 – 02:09, 02:10 – 02:29. Throughout the majority of animated sequence, the camera adopts the „third person shot” (Monaco How to read a film: the world of movies . . . 211), sometimes taking the perspective of the patient. The first through fourth scenes are separated by a greyscale still frame of Markiplier character with a pink moustache attached to his face as a reference to Markiplier’s scenical alter ego Wilford Warfstache („Warfstache Interviews Markiplier”), the third scene is superseded by a test screen. The fourth part, despite being a part of a video, is not a scene – it can be considered an example of closing credits screen, yet a more commonly accepted definition would be „outro” or „end screen” („Tutorial: How to create a custom YouTube end slate . . .”).

            The first scene depicts Markiplier’s only interaction directly with the other character and not with his mangled body. It starts of at a medium shot distance, capturing Markiplier from waist up. The patient is trying to stand up from an operation table where Markiplier forces him back only to be stab him in the face with an oversized syringe. The scene ends with blood and gore unravelling a low-angle shot „looking up at the scene” (Rose  49). According to James Monaco, the low camera angle may present the character look more powerful (Celebrity . . . 68-69). Seeing how Markiplier has freedom to hack, saw, drill, and otherwise disfigure his patient, this shot is telling.

             During the second scene, the Markiplier character is more prone to establishes eye-contact with the audience, something that could be understood as breaking the fourth wall, something Tom Brown identifies as „direct address” and ascribes to „characters in movie fictions who appear to acknowledge our presence as spectators . . .” (x):

Figure 4.1.1.1

Otherwise, it may serve as a reminder of what role Markiplier as a real person usually plays as a YouTuber, addressing his audience directly. The headphones on his head can probably be a similar sign, anchoring the Markiplier character in reality and connecting him to his real counterpart. Some of the more drastic movements in this scene get more attention from the camera, having it perform minor tracking shots in various vectors.

           The third scene, apart from consisting mostly of low-angle shots, also introduces zoom shots at certain emotionally charged moments, introducing additional tension to the sequence:

Figure 4.1.1.2

            Coyotemation also switches the video to greyscale when the patient dies on the operation table:

Figure 4.1.1.3

The choice is justified, since not only is gray associated with sadness in the internet culture, the research by Kaya Naz under the supervision of Professor Dawson Hall confirms the negative undertone the colour bears:

                          “Finally, the color gray was mainly associated with negative emotions (89.8%); including the feelings of sadness, depression, boredom, and confusion, as well as tiredness, loneliness, anger, and fear. Reasons given for negative emotional responses to gray consistently showed that the color gray tends to make reference to bad weather, rainy, cloudy or foggy days and brings out the feelings of sadness, depression, and boredom.” (400)

A few seconds of greyscale grief is followed by a rapid comic relief where Markiplier rolls the corpse of a victim off onto the floor.

           The final scene has numerous changes of camera angles, varying from low-angle to high-angle shots, from head and shoulder shots to long shots, comleting ever so slight tilts and rolls until the closing shot.

           When comparing the video itself with an original one produced by Markiplier („Surgeon Simulator 2013 | Part 1 | I'M A DOCTOR!!”), one will immediately notice two trends in the audio accompanying the animation. Firstly, the audio often misrepresents the actions of Markiplier in the original video, taking some of his more dramatic voice cues out of context to to overlay them upon the video sequences of actions that are much more drastic and exaggerated. Consider the audio cue from the original video from 01:24 and the same cue in the animation at 00:18. Certainly a virtual flip off does not equal a stab in the face with a syringe:

Figure 4.1.1.4

Secondly, the creator has modified the audio in what Hilary Wyatt and Tim Amyes identify as „audio post production.” According to them, post production of sound „refers to that part of the production process which deals with the tracklaying, mixing and mastering of a soundtrack . . . ” while the process can be used to „complete an illusion of reality and perspective through the use of sound effects and recreation of natural acoustics in the mix . . .” as well as „to fix any problems with the location sound by editing, or replacing dialogue in post production . . .” (3).

           These techniques are used masterfully by the animator: he manipulates the order of the lines, improves its quality by reducing noises, and adds additional effects, all of which serve only to enhance the experience of reality.

4.1.2 Second video

The next video can be logically divided into scenes 00:00 - 00:08, 00:09 – 00:21, 00:22 – 00:30, 00:31 – 00:32, 00:33 – 01:01, 01:02 – 01:05, 01:06 – 01:18, 01:19 – 01:45, 01:46 – 02:00. Each scene is separated from the other by a white noise screen, apart from the last but one and the last scenes, the former one, as previously, being an outro. The whole animated sequence has the Markiplier puppet interacting directly with the viewers apart from the scene 01:06 – 01:18, where he is talking to a Shark.

              The first scene has Markiplier introduce himself to an audience, the camera capturing him at a frontal angle from a waist up on a black background. He is represented with a puppet dressed in a black shirt with a capital stylized letter „M” and a pink moustache, both objects having become a logo of his channel over the years (enough for one to google „Markiplier logo” to make sure it is so). At one point it assumes a high-angle position over the shoulder of the puppet to capture the paper reassuring the viewers that the game is going to be set underwater.

             The second scene opens onto a setting of a plane about to crash, the Markiplier puppet captured at a three-quarters shot at a three-quarter frontal angle, sat into a chair. The laptop resting on a table in front of him is also turned around towards the viewer at an angle impractical for its potential user in order to show off a sticker referring to a GameGrumps (“GameGrumps”), a well known YouTube channel dedicated to gaming. In a moment the setting is altered by an explosion, which the author cleverly orchestrated as a rapid succession of three frames of a lamp shining through the torn hull of the plane:

Figure 4.1.2.1

followed by swift change from the brightness of explosion back to how the setting was before, the air rushing into the plane represented by cotton or some similar material:

Figure 4.1.2.2

The arising turbulence and instability of the vehicle in the air is denoted by a series of sharply separated bounces of the camera angle by several degrees upwards and downwards. As in the original video by Markiplier (“SHARKS CAN FLY!! | Stranded Deep - Part 1”), the scene ends with an abrupt fade to black.

           The new scene opens up on a small island, with three palm trees out of focus due to the camera’s „shallow focus” (Rose 49). Markiplier walks into a shot, his face expressing unease with the new setting is zoomed in. The camera then swiches to a long shot of the character, the focus turns into a deep one and the full breadth of the new scenery is presented to us. The change of the focus and length of shot is probably made to help the viewer identify with the character, surprised at discovering the new environment around him.

           The next scene is a short sequence of one second capturing the Markiplier puppet from a low-angle, his upper part of the body zoomed in and in sharper focus than the background, the camera being slightly rolled to the right. The briefness of it most probably serves the purpose of introducing comedy into the situation, while the camera work seems to counterbalance the comedy by trying to represent anxiety that the character should be experiencing.

           The part 00:33 – 01:01 continues the theme of mock-panic, capturing Markiplier literally „getting all [his] panicking out of [his] system.” In the process the camera switches from a middle shot to a long shot when the character switches from speaking to the viewers to „panicking.”

           The creator of the animation eddited the audio to create the effect of distance whenever the camera switched to a long shot. Cranbersher also showed his inventiveness by placing a beach ball with a painted red face on it: a clear reference to the movie Cast Away (Zemeckis) casting Tom Hanks as a FedEx representative surviving on a deseted island:

Figure 4.1.2.3

           Another scene is opening underwater, the camera shooting Markiplier from over the „shoulder” of a shark. A perspective that would otherwise be considered to convey threat is swiftly dismissed by showing the harmless „face” of a shark.

           The last scene captures the Markiplier puppet at full hight standing triumphantly over the carcass of a murdered shark. Then the creator of the animation attempts to relate the broken game mechanics in his animation in the span of 01:26 – 01:45. He seems to have found no creative way of animating the time lapse from 01:26 to 01:29, since the camera is staring mostly at the ground and the only suggestion as to what is going on is the voice of Markiplier. The camera then switches to a long-shot to depict Markiplier puppet falling victim of a bug in the game; the audio follows a previously established fashion of appearing to be more dispersed, as if heard from the distance. After a sudden collapse back to the ground, Markiplier, sprawled on the ground, is shot from a high angle, echoing his vulnerable position and state:

Figure 4.1.2.4

4.1.3 Third video

This next animation lacks distinctions between its scenes as clear as the animations preceding it. Logically, it can be broken down into the following parts: 00:00 – 00:14, 00:15 – 00:30, 00:31 – 00:47, 00:48 – 00:58, 00:59 – 01:24, 01:25 – 01:30, 01:31 – 01:54.

           It is completed in a minimalistic hand-drawn cartoon-like style with multiple visual digressions focused around Markiplier character’s emotions and commentary. The animation does not have any rigorous rules as to its structure and order and appears to be more of a highlight of the moments in the original video (“World's Quietest Let's Play”) worthy of attention of the audience and the author. Throughout various scenes, the animator resorts to using text in 00:07 – 00:10; producing a mock introductory screen of the Happy Wheels („Welcome to the Happy Wheels Wiki”) game being played in the original video by Markiplier in the frame at 00:14; mimicking the style of the game in 00:17 – 00:28, 00:30 – 00:31, 00:35, 00:54 – 00:58:

Figure 4.1.3.1

animating certain emotions and expressions of Markiplier in a comically literal, as in „ . . . I received another ball. An odd medical condition . . . ”:

Figure 4.1.3.2

or exaggerated way:

Figure 4.1.3.3

in the sections 01:02 – 01:07; 00:29, 00:35, 00:40, 00:47, 00:59, 01:20, 01:29.        

           The video mostly depicts the Markiplier character referring directly to an audience, unless placed in the circumstances when he is interacting with a gaming environment, in which rare moments, exceptionally, he no longer faces the audience and breaks the eye contact. Most of the time the camera approaches Markiplier from a frontal or three-quarter angle. The scene 01:02 – 01:06 is the only one capturing Markiplier’s profile. The segment 00:50 – 00:54 is the only one truly capturing motion. It consists of two elements: Markiplier approaching the static camera at a frontal angle while gaining momentum for a rope swing; and Markiplier moving through the air, whereas motion is represented by the lines rapidly passing the character in the direction opposite to his movement and the slight change in the angle of the swing as the camera tracks the character’s movement only along the horizontal plane. Frames 01:00 – 01:02 see the camera zoom in on the character’s face.

           The only scenes that truly establish the logical sequence of the events are the first and the last but one, being, respectively, the introduction and the ending followed by an outro sequence. The rest of them are unconnected scenes perormed in an appealing, yet simplistic style with no strict rules as to the camera distance and angle. The animator did not modify the sound in any particular manner apart from cutting it or switching its order.

4.1.4 Fourth video

The last animated sequence is also an instance of a two-dimensional animation. Accoring to Encyclopaedia Britannica, an „artistic style in which the artist seeks to depict not objective reality but rather the subjective emotions,” incorporating such elements as “distortion, exaggeration, primitivism, and fantasy” (“Expressionism”) is called expressionism. This animated sequence is therefore created in a quality expressionistic style, rich in both colour, details, and action. The scenes depicting actions in this particular animation count up to 12 images per second.

           The video can, with a certain degree of effort, be broken down into scenes or sequences as follows: 00:00 – 00:16, 00:17 – 00:33, 00:49 – 01:06, 01:07 – 01:14, 01:15 – 01:23, 01:24 – 01:33, 01:34 – 02:05, 02:06 – 02:24, 02:25 – 02:35.

          The first scene takes place in a cosy guest room dimly lit by a fireplace. Markiplier is placed in the first plane, sat in an antique velvet armchair, facing the camera at a three quarter angle. He is dressed in a crimson evening dress with a jabot at his collar and cufflinks on his cuffs, holding a pipe in his left hand. Soft light from the fireplace is capturing the right side of his face. The setting invites a comparison of Markiplier to a benevolent host of the lavish house or an evenin-show, greeting his guests to a private conversation or to a part in an attraction of one sort of another. A painting is hung right above the fireplace, depicting a creature from another animation of Markiplier’s („Markiplier Animated | CLOWN RAGE!”) video by the same author:

Figure 4.1.4.1

Which in its turn is a reference to yet another video by Markiplier („MMMMMMMMMMM | Spore - Part 4”):

Figure 4.1.4.2

           The second scene presents Markiplier towering over Little Johnny (as Markiplier chose to name him). The camera assumes a sort of over-the-shoulder perspective behind Little Johnny, nevertheless both characters’ faces are made visible by the animator, most likely to show the unwillingness of Little Johnny to participate. In a moment, the scenery changes from a purple circular gradient to present purple mountains or building blocks and the orange sky, which are going to be the background of the action for the rest of the animated sequence. The choice of outfit for Markiplier (a simple red shirt and grey trousers) establishes a sharp contrast between the home setting and the action sequence about to take place. The scene ends with the Little Johnny character punching Markiplier in the face, during which the camera zooms out from Little Johnny, horizon distorted with a mild effect of a fisheye lens:

Figure 4.1.4.3

           During the third scene Markiplier is chacing the Little Johnny character over the corner of the building. First camera captures Markiplier heading in the direction of the corner, after which the second camera sees Markiplier appear from behind the corner , tracking the curved of his motion to the point where he hits something with a fist. The third camera assumes an over-the-shoulder position behind a greyed out silhouette of what the fourth camera reveals to be a clown whom Markiplier had hit. Then the camera tracks the motions of the clown, picking a heavy wooden hammer out of his nose. After that the camera switches to track the hammer:

Figure 4.1.4.4

up until the point where it drives Markiplier’s face into the wall.

           01:07 – 01:14 switch from an animated indignation of the Markiplier character to the two slowly zoomed in images depicting his words, as in litterally tearing off the clown’s posterior:

Figure 4.1.4.5

The images differ from the rest of the video in saturation, lighting and shades applied to them.

           The scene 01:34 – 02:05 starts off with Markiplier turned in the direction of the camera at a three quarter angle, Little Johnny further off in the second plane. Markiplier makes a motion to throw the sword. When his hand passes the camera, the camera follows the sword, zooming in fast towards the upper body portion of the Little Johnny character. He dodges the sword and is left in the right side of the frame for a few moments, facing left, shot in three quarters. Then the camera switches to Markiplier, shot in a similar fashion, but turned to the right. This helps intensify the opposition between the two characters. Another camera then shoots frustrated Markiplier from a low angle, highlighting the determination of his character, followed by a long shot of his right profile. From this position Markiplier launches into motion, disappearing beyond the frame, where another camera picks up, tracking his movement. The camera then stops, showing Markiplier approaching to a point where the tracking shot turns into a closeup of his face, then arm, then a sword, indicating his motion towards the antagonist. The camera again turns to tracking the blade to the eye level of Little Johnny, where the camera placed at the profile of the two characters  sees the blade break in slow motion. Yet another camera sees Markiplier in the first plane, landed behind Little Johnny, the broken blade of the sword, being closest to the camera is further enlarged by the fisheye lens, which once again distorts the horizon into a curved. The last sequence shows Little Johnny reveal his true identity as a clown and eating Markiplier in a closeup following directly into his mouth.

           The last scene finds Markiplier in the dark, looking at three groups of clowns representing his friends from real life. The camera, most likely assumes the perspective of his eyes. Two different still shots are slowly zoomed in to intensify the feeling of threat, their faces captured by dim lighting originating somewhere beyond the frame, accentuating their features. The last group is of clowns is properly animated: by approaching the camera, they create an illusion of referring directly to Markiplier. There is a blue and white clown standing out from the rest in the last group, serving as a reference to the animator of the video, whose YouTube avatar is similar in fashion (“Markiplier Animated | WORLD'S 2nd QUIETEST LET'S PLAY”):

Figure 4.1.4.6

The animator manipulates the sound of the original video by Markiplier just as in the instance of the first animated sequence described: he cuts it and repositions it for the convenience of his animation and adds additional sound effects where they are needed. The video is also rich in phrases depicted literally, just as in the third video analyzed by this project. Consider the following phrase from 00:39: „Five balls! It seems my medical condition has worsened . . .”

Figure 4.1.4.7

Seeing how the tendency to focus on testicles is invited by Markiplier’s exaggerated and facetious manner of speaking, it is no surprise that the animator decided to use this as inspiration for his video. By doing so, however, he concented to an interaction with at least one other content creator mentioned in this project and multiple others by having chosen Markiplier to make animations based upon. RushLight Invader puts numerous references in this particular animated sequence and, as a result of his imagination, many inanimate objects Markiplier directed his anger towards assumed character. The clown, for instance, often appearing in other animator’s videos, acts in this one, likewise, as an uncontrollable force that opposes the protagonist. („Markiplier Animated | CLOWN RAGE!”).

4.2. Production

4.2.1 Technology

In order to be able to speak of how the animations to be decoded, it is worth mentioning the forces that influenced their creation. Right from the start, it is easy to fall into a trap of trying to define which one of the sites and its modalities is more significant in the creation of a still or moving image. Despite Gillian Rose often mentioning other authors referring to certain aspects of visual work creation as being more important (5 - 32), the author believes, that it would be unjust to consider any site or any modality more worthy than the other if it helps understand the reasons behind the shaping of a piece of art. The only argument against thoroughly examining all planes would be the time and space at the disposal of this project.

           Technology in a major way defines how the sequences discussed in the previous subsection look. The work has presented the samples from the videos under investigation, wherein one can see the possible limitations and benefits offered by each of the methods. The video presented in Figure 3.1, for instance, created with help of Source Film Maker , serves as a perfect example of how one without knowledge of three-dimensional modelling or particular drawing skills may still create a good-quality animation. The instance of the second video (Figure 3.2) on the other hand illustrates how potentially limiting the usage of clay and puppet animation can be without additional digital effects applied to it, even if there happened to have been more camera work in the presented video. The third video compared to the fourth one (Figure 3.3, 3.4), on the other hand, work together to show how time invested into the work and the skill of the author can drastically affect the end result. As a result, the fourth video is more simplistic and less detailed in looks, incorporates less camera work and has less intermediary frames between certain actions.

           The final look of the animation likewise depends on the maximal resolution the final video allows. This, in its turn, means that one should also consider the network bandwidth of the potential viewers when publishing content. All the four videos, however, offer a maximum resolution of 1920 by 1080 pixels, presently, quite comfortable for the average viewer’s eye. Due to YouTube modifying quality of videos to suit the needs of bigger audiences with varied access to internet on various devices, however, there are at least six versions of each video on YouTube (republications, reversed versions, versions played backward and attempts of circumventing copyright not included): 256*144 pixels, 426*240 pixels, 640*360 pixels, 854*480 pixels, 1280*720 pixels, and finally 1920*1080 pixels (“Recommended resolutions & aspect ratios”). This would mean that the end user’s satisfaction with the animation would also depend on how well adjusted the video is to his expectations, his screen and his wallet.

           A question of hight importance is posed by Gillian Rose:

                      „How different is a reproduction in a book of an altarpiece from seeing the original in a church? Clearly at one level these are technological questions concerning the size, colour and texture, for example, of the image. At another level . . . [–] how an image is looked at differently in different contexts. You don't do the same things while you're flicking through a book of renaissance altarpieces as you do when you're in a church looking at one.” (25)

          This question quite naturally concerns the choice of technology: some images unavoidably are made a physical part of the vessels they are painted on, be it canvas for an oil painting or stone wall for graffity; or by the nature of propriety arrested in certain locations they are presented at. The animated sequences posted on YouTube do possess several truly unique qualities. Primarily, the videos YouTube displays to its viewers are not fixed in any particular location, unless one considers Google servers a place of display. Additionally, the videos can be embedded on other domains: not only conveniently introduced into a message field on Facebook, but really embedded into an html code of the standalone web page („Embed YouTube Videos”). This ties closely into the idea of Marshall McLuhan, who in his „The Medium is the Message” states that „the personal and the social consequences of any medium – that is, of any extension of ourselves – result from the new scale that is introduced into our affairs by each extension of ourselves” (qtd. in Media and cultural studies 107). The meaning is, therefore, that the existence of Internet and, in this particular case of YouTube, allows for visual imagery to be perceived differently from the social and personal perspective. From the one hand it qualifies any type of video as something potentially worth while of attention of the audience thus making any material from any location in any style by any person applicable as the stuff of art. From the other it potentially makes any place fathomable appropriate for contemplation of this potential art. The choice of the platform and place for viewing the animated sequences chosen in this project is really dependent on the viewer’s comfort, monetary state and location.

4.2.2 Composition

„Some writers argue that it is the conditions of an image’s production that govern its compositionality. This argument is perhaps most effectively made in relation to the genre of images into which a particular image fits” (Rose 19). This project has already made an attempt at classifying the videos examined in it. In terms of placement, first and foremost, they belong to the digital domain of the World Wide Web. Unless put behind a firewall, contained in an internal network, or stored on some device or vessel unconnected to the network (private PC, hard disc drive, solid-state drive, flash drive or, Heavens forbid, DVD, CD or a floppy disk), these videos are available for the Whole Wide World[ii] to see. The identification can be further narrowed down to Google as the company owning YouTube and then further to YouTube as the site hosting the videos. The videos belong in the category of animation, varying from straightforward digital animation to clay and puppet animation. Further narrowing down the placement of the videos in a particular genre, one could apply the term proposed by Raph Koster to them, namely „fan labor” (“Podcast: Futures of Entertainment 2: ‘Fan Labor’”). Wylie Sypher, in his definition of comedy, stated that

           „We have, in short, been forced to admit that the absurd is more than ever inherent in human existence: that is, the irrational, the inexplicable, the surprising, the nonsensical-in other words, the comic.” (20)

             What videos have been presented to the readers in this work seem to be abundant in this irrational, inexplicable, surprising, non-sensical and in many other ways comic content, which seems to place the animations under investigation in a category of comedy.

4.2.3 Social modality

Should one focus on the social modality of the production process, the videos’ being published on YouTube calls for mentioning an important social phenomenon of „virtual identity,” something techopedia.com („Virtual Identity”) defines as a „part of an interface that represents the user in a virtual world such as a chat room, video game, or virtual common space.” The virtual identity does not necessarily have to be representative of the real identity of a person or a group of persons. It is often times built on information provided by the user on his or her profile page and an avatar, complementing the description with further details. David Sobel describes anonimity of the internet as allowing „to seek information – and disseminate it – while maintaining [one’s] privacy and reputations in both cyberspace and the material world” (1). The creators of the animations fully exploit their right for anonymity, most often never presenting their faces to the audiences, or restricting the contact to voice only. In such instances, the works they create speak most accurately of what they wish to represent, albeit depicting them in a rather limited manner as merely creators of animated content rather than real multifaceted human beings. Just as in Rose’s interpretation of Westerbeck and Meyerowitz’s argument that „to do street photography . . . the photographer has to be there, in the street, tough enough to survive”(qtd. in Rose 22), we have to assume that the animators possess the qualities that define them as such, all the same knowing them exclusively through the content they produce.

           Another aspect of social modality indispensable for the proper interpretation of the presented art is how it positions itself on the plane of the world’s economy. „To analyse images through this lens you will need to understand contemprary economic processes in a synthetic manner,” says Rose (21). And while this project does not aspire to become a handbook on economy, it is a common understanding that the exchange of services and goods keeps the economy going, while producing the said commodities usually costs resources, either in the form of raw materials or in the form of time. How do content creators participate in the world’s economy by publishing their content? Not only do they consume particular products facilitating their content creation, they also create a demand for their serivces and the Internet allowing these services to be distributed to the public. The animators and the form in which they present their content, in return, is also defined by the Internet, for they are reimburced for displaying their content on the Internet. If the reader has participated in at least the last few years of the internet development, he or she should be well aware that advertisement on the internet is the most wide spread source of income and is based on the rate of impressions, clicks, or sales or leads („How to Make Money From Your Website . . .”). Not surprisingly, YouTube offers a similar service to its users in order to help the time and work dedicated to creating content turn into profit („How to earn money from your videos”), a modern form of the renaissance patronage. If the content creator wishes to receive income from the videos published on YouTube (some of the animators, namely Coyotemation and RushLight Invader, monetize their original videos), monetization is one way in which his or her video will interact with the rest of the world on a social and economical level.

           This ties into a yet another point concerning reaching potential audiences. The videos presented in Figures 3.1 – 3.4 are located on Markiplier’s channel. The video from Figure 3.1 is also available on the channel of the original creator (“Mediplier – ‘Surgery’”), but, as You may see below, it is reduced to a teaser lasting 43 seconds instead of a full video, while the link directing the users to Markiplier’s channel states that the full video can only be found on Markiplier’s channel:

Figure 4.2.1

Cranbesher posted a full version of the video (“Markiplier Animated | STRANDED DEEP”) on his channel, but chose not to introduce any advertisement on it, while Lixian did not post the any counterpart of his video on his own channel, choosing to share only the footage (“Making Of - *Markiplier Animated - Mark's Odd Medical Condition*”) of him making the video. RushLight Invader chose to post the full video („Markiplier Animated | WORLD'S 2nd QUIETEST LET'S PLAY”) on his page and monetize it, the only point being different is the outro. Why is this predominant tendency for the animators to exclude themselves from the equasion, which in theory can reduce their profit? There are several possibilities to consider. Firstly, one might consider that Markiplier and the animators established a deal where Markiplier shares a part of the profits the respective videos of each animator makes on his channel, although there is no evidence for that. Perhaps most of them chose to treat their works as a gift and by doing so refused to earn anything in the result. The most likely explanation for this, from the perspective of the author of this project, is not a sudden manifestation of altruism on tha part of the animators. It is that the potential profit the animations could have made is of no significance when there is audience to gain. By allowing a bigger channel to post their works, they effectively used their animations as personal portfolios, reaching out to a much vaster audience then they could potentially have hoped to by placing the videos on their own channels.

           Quite coincidentally, the last points to be discussed in this subsection are the audience itself and the various animators. On the one hand, this project’s author has located at least a dozen other animators, some of whom are ErixOn (“ErixOn”), Charlie Grubel (“Charlie Grubel”), Jason King (“Jason King”) AKA KeeperOfPork, FoolishCapitainKia (“FoolishCapitainKia”) and others appearing in the playlist Markiplier Animated! („Markiplier Animated!”). Such an abundance of creative effort focused on one topic is bound to result either in competition or fraternization, either of which conditions stimulates the exchange of ideas, unfortunately, untraceable for the given work. On the other hand, the audience by itself, supposedly, imposes particular demands on the creators, thus shaping the final product. This is reminiscent of what linguistics tends to call audience design and which Allan Bell explains in the following manner:

                     “Style is essentially speakers' response to their audience. In audience design, speakers accommodate primarily to their addressee. Third persons – auditors and overhearers – affect style to a lesser but regular degree.” (145)

            Similar, if not the same, rules should apply to the creation process of the animations. If the animators truly expect the videos to be positively received by the audience, they have to appropriately adjust their style and performance.

4.3. Image

Roland Barth in his essay argues that when contemplating a work of art, we are no longer capable of distinguishing the origin of the message itself:

                   „We shall never know, for the good reason that writing is the destruction of every voice, of every point of origin. Writing is that neutral, composite, oblique space where our subject slips away, the negative where all identity is lost . . . .” (166)

           Truly, when perceiving the chosen pieces of animations, one can attempt to guess what „signifier[s]” each „signified[s]” represents (Saussure xvi) considering the original intention of the author, only to be confronted with an „unintentional and ungeneralizable” interpretation of the image, the „punctum” (Rose 83). In other words, to interpret the image as an independent site, one may just as well assume that the author has no more power over the message of his creation and it is up to the image to bear the power of its own meaning, regardless of what meaning was intended and whether it was intended at all. Consider the Figures 4.1.3.2 and 4.1.4.6: despite the best attempts at deciphering whether or not the authors of the respective animations meant for them to be referring to each other directly or only to the jokes produced by Markiplier or only to Markiplier’s original videos, it is the connection we end up with, provided that we know of the existence of the two independent videos.

           This is something, which Umberto Eco, in part, relates to in his book The Name of the Rose:

                          „Books often speak of other books. In a harmless book one finds but a seed, which may bloom in a dangerous one, or vice versa: sweet fruit is born by bitter roots. Could you not, by reading Albert, find out what Thomas says? Or by reading Thomas learn what Averroes spoke of?” (407)[iii]

           Just as books, the animations examined always turn out to refer of other videos, which refer to videos made by someone else. Instead of looking like strands, these connections look like webs, interconnecting animations with other videos they intentionally or unintentionally refer to, between themselves and other mediums of information. Thus, the videos examined in the given project all bear a similar semblance due to their belonging to the same genre. Some of them draw inspiration from other multiple works of art produces in particular styles. According to Rose, this tendency of works of art to draw upon each other’s messages is known as intertextuality, which according to her

                          „refers to the way that the meanings of any one discursive image or text depend not only on that one text or image, but also on the meanings carried by other images and texts.” (137)

           It is, therefore, impossible, to watch the video presented in the Figure 3.1 and claim with absolute assuredness that it is a comical animated sequence based around the character of a sadistic doctor and a patient who became a victim. Looking at the characters, one will recognize that they originate from the Team Fortress 2 video game; considering how the video was created, a knowledgeable person would conclude that the animator had to use Source Filmmaker; an analysis of the sound will reveal that some of it was modified, either in the Source Filmmaker or through the usage of additional software. By its existence the animation acknowledges the existence of all of the specified tools and all those who use them in order to produce similar content. At the same time, the video sequences discussed pay tribute not only to the tools of their creation, other works created using the same tools, other videos by the same authors. Through their final form they pay tribute to the works that had inspired them. In the particular example of the current project, Markiplier’s visual content is, among others, a most prominent influence on the final look of all of the examined videos. It would be wrong to state that Markiplier’s videos are the standalone variables in the equation.

           While the drawn or clay or three-dimensional Markiplier in each of the videos can be what Pierce describes as an index sign (qtd. in Rose 78) of himself in the original videos, the interrelation of signs does not stop here. The Markiplier in each of the original videos is not the real Markiplier and is only a sign of Markiplier who had at some point recorded the videos. Markiplier’s videos, in their turn, also appeared as a result of Markiplier choosing to play a particular game, which also had undergone numerous steps of a creation process. Finally, the animators of the clips that were chosen for the given project happened to be among the audience that was submitted to Markiplier’s work before they could make their animations. From spectators of the YouTuber playing a game, they turned into creators of the content, which was later on noticed by the said YouTuber, viewed by him, only then to be placed on his channel for his audience to once again contemplate. It turns out that the animators went full circle, starting off and ending as spectators, first of somebody else’s and then of their own work. Their works, on the other hand, incorporated all the abovementioned layers of signification and many others as part of their content, existing along with the visual images that by their mere being bears witness to the elaborate network of meanings that brought about their creation.

           Marshall McLuhan says that

                         „The electric light is pure information. It is a medium without a message, as it were, unless it is used to spell out some verbal ad or name. This fact . . . means that the ‘content’ of any medium is always another medium. The content of writing is speech, just as the written word is the content of print, and the print is the content of the telegraph.” (107)

           It is therefore highly unlikely that by pointing at some object or event that is, seemingly, the origin of a particular sign that one will arrive at defining the progenitor thought or idea that had set the events in motion in such a manner that the work of art currently contemplated by the one performing the unearthing of the reasons.

           The thought by Bal and Bryson, as quoted in Rose, complements and concludes the idea belonging to McLuhan:

                          "what one sign means depends on its relations with others. As Bal and Bryson (1991: 177) note, this makes the analysis of signs difficult because it is hard to know where to break into that relationality: `Meaning [arises] exactly from the movement from one sign or signifier to the next, in a perpetuum mobile where there could be found neither a starting point for semiosis, nor a concluding moment in which semiosis terminated and the meaning of signs fully ‘arrived''.' " (qtd. in Rose 91)

           Ultimately, the intertextuality, the dependance between the content and medium and the elusive, circular motion of the signs may create an impression that there is, in fact, no way to uncover the meaning behind the animated sequences presented in this project or, for that matter, any animated sequence, video or image ever created. And while it may well be true, this only concerns the objective truth of an image, for the viewer always has the privilege of having a subjective perspective, thus building the meaning of every work of art for him- or herself. While every time the viewer approaches the work of art in an attempt to interpret it, he or she is bound to come up with a different result due to how the viewer’s perspective alters with new knowledge and new contexts to consider.

5. FINAL WORDS

The work has done its best to present its audience with examples of a vast field of fan fiction digital animation videos, describing how the tools and techniques that were used in them. The project tried to illustrate how different the manifestations of the same trend can be and how inventiveness and skill translate into a unique vision of what otherwise may have been called a mere recreation.

The project did not attempt to establish the importance of various sites related to the videos’ interpretation, choosing to examine the sites of production and image in order not to intervene with the potential subjective interpretation the reader may have of the animations. Certain technical aspects of published videos have been discussed, followed by the discussion of the nature of intertextuality and circularity of the meaning of sign.

           Ultimately, this work does not intend to give decisive answers due to the lack of experience of its author in the selected field. The information it gathered, however, serves to provide food for thought for a potential addressee whatever purpose he or she may be pursuing. 

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End Notes

[i] Original accentuation preserved in all quotes unless stated otherwise.

[ii] My personal interpretation of www.

[iii] Translated from Polish by the author of the current project.

[symetriuk]

Design data challenges in Vault: From manual workflows to automation

If you are an Autodesk Vault user in the mechanical engineering and manufacturing industry, you are likely familiar with the challenges of managing design data. While Vault provides a solid foundation for storing and organizing design data, it falls short in some critical areas. You might have noticed this if you ever wanted to automate workflows or configure company-specific rules and processes in Vault. Let’s dive into these challenges and possible solutions. 

Limited possibilities to automate

Vault is good at what it does but lacks advanced automation capabilities. It is difficult to automate workflows such as the process of approving files. In practice, this means that the design data management takes a lot of time and includes a lot of manual work which leaves room for manual error and inconsistent data. Lack of automation means a lot of manual work. And with so much manual work, mistakes are inevitable. There is even the risk of sending incorrect data to production or purchasing. Users might get frustrated due to manual workflows.

Customization means programming?

Another thing is that Vault isn’t easily customizable to meet specific company or project needs, at least not without programming skills. We all have our own, company-specific needs or requests from the customer side, but Vault users often find themselves restricted by the out-of-the-box features. As a consequence, it might be difficult to meet the unique project requirements without the help of a programmer.

Sovelia Vault: Streamlined design data management with easy automation and customization

The solution to these problems is Sovelia Vault, an add-on to Autodesk Vault. Sovelia Vault is a game-changer for Autodesk Vault users and here's why:

With Sovelia Vault, you can easily automate workflows and define company-specific rules and processes without programming skills. Automated workflows save time and ensure that your product data is always up-to-date. You can automate for example property management, data export, secondary file format generation or job queue management. Just define the trigger (e.g. state change of a file) that starts the automated action (such as creating a PDF or updating property data).

By minimizing manual input, you can guarantee that the data is correct and uniform, no matter who does the job. Less manual work means fewer manual errors, more efficient operations and less training time for the users.

Customization options allow you to meet the specific requirements of your company or customer, again without programming skills, just by configuring the settings. Automation and customization features mean the Sovelia Vault is scalable and grows with your business to meet your evolving needs.

Sharing design data with other business-critical systems

One way to increase efficiency in operations is to share product data with other business-critical systems, like the ERP or PLM. When product and design data, such as drawings, specifications and Bill of Materials (BOMs) are shared with the ERP, the risk of using incorrect or outdated data decreases, leading to better product quality and fewer project delays. You will have more efficient product development processes, better inventory management, streamlined operations and better communication.

Sending and receiving data between Vault and other systems involves manual typing and data entry. This manual process is prone to mistakes, resulting in inconsistent data and wasted time. Sovelia Vault simplifies the sharing of product data with ERP systems by offering straightforward, "out of the box" functionality. This means that setting up the connection doesn't require any programming skills. Instead, users can configure Sovelia Vault according to their specific requirements.

Read more about integrating product data management (PDM) with ERP

Ready to boost efficiency? Try Sovelia Vault for free!

Don’t settle for manual workflows and lost time. Try out Sovelia Vault today and take your design data management to the next level! Download our free 30-day trial today. All you need to do is to fill out a form and you will receive an email with download links and instructions to get started.