In its second year, the SIGGRAPH Business Symposium provides an intimate, interactive forum for discussion of the business of our business from a high-level, experiential vantage point. This full-day experience brings together leaders, creators, global business entrepreneurs, legal professionals, artists, financiers, producers, and executives from a broad spectrum of computer graphics, animation, education, motion pictures, gaming, and visual effects to explore the present and future of our industry and community.
SYMPOSIUM SCHEDULE
8:30 - 9:30 am
Breakfast, collaborative activity, round tables, guided ice breaker
9:30 - 9:45 am
Break
9:45 - 10:30 am
The Business of the Business: The State of the Union in 2011-2012
Leaders from the global community talk about feature and television production, unions, education, what's global, and what's local.
Will Cohen
Managing Director/Executive Producer for Mill Film and Mill TV
Patrick Davenport
Vice President Creative Operations, Method Studios
Mark Driscoll
President, Executive Producer and Co-Founder, Look Effects Inc.
Hael Kobayashi
Executive Director, Creative Innovation, University of Technology, Sydney
Lee Berger
President, Rhythm & Hues' Film Division and CEO, East Grand Films
Habib Zargarpour
Creative Director, Microsoft Studios
10:30 am
Networking Break
11 am - noon
Featured Speaker
Carl Rosendahl
Founder Pacific Data Images, Venture Capitalist, Co-Director, Carnegie Mellon University's Entertainment Technology Center-Silicon Valley
12 - 12:45 pm
Networking Lunch
1 - 2 pm
Workshop: Breaking the Box
Operating creatively in a business-oriented universe
2:15 - 3:15 pm
Featured Speaker
John Textor
Chairman and Chief Executive Officer, Digital Domain Media Group
3:15 - 3:45 pm
Networking Break
3:45 - 4:30 pm
Show Me the Money!
The legalities, technicalities, and particulars of international transmedia finance
Jonathan Garson
Vice President, Worldwide Marketing & Franchise, Pixar Animation Studios
Shannon Blake Gans
Co-founder and CEO, New Deal Studios
Ondraus Jenkins
Head of Strategy and Corporate Development, Bungie, Inc.
Sara Cardone
Vice President, Global Strategy and Business Development, SDI Media
Sanford Rosenberg
Managing Director, Discus Ventures
Gregg Lukomski
CEO and Founder, (SlideRule)inc
4:30 - 4:45 pm
Break
5 - 5:30 pm
Cocktails & Conversation
Moderator for the Day
Don McGowan
General Counsel, The Pokémon Company International
Facilitator for the Day
Bob Berger
The Fundamentals Seminar is an entertaining three-hour introduction to computer graphics concepts for new attendees who want to optimize their time at SIGGRAPH 2012. This session is open to all attendees.
Topics include strategies for getting the most from the conference, the graphics pipeline, the graphics hardware displayed in the Exhibition, modeling, rendering, and animation.
The Fundamentals Seminar is especially important for educators.
COURSE SCHEDULE
9 am
Welcome and Overview
9:10 am
How to Attend SIGGRAPH
9:20 am
The Graphics Process
9:40 am
Graphics Hardware
10 am
Modeling
10:30 am
Break
10:45 am
Maybe Our Vision Isn't as Good as We Think It Is
10:50 am
Rendering
11:15 am
Animation
11:50 am
Finding Additional Information
Noon
Q&A
Learn how the industry is evolving worldwide and collaborate with attendees from five continents. The International Center offers informal translation services, and space for meetings, talks and demonstrations.
Interact with the latest systems before they become hot topics in mainstream media and blogs. Emerging Technologies presents innovative technologies and applications in several fields, from displays and input devices to collaborative environments and robotics, and technologies that apply to film and game production.
Unique perspectives reveal moments of wonder in a technologically mediated world.
What is the Studio?
It's a hands-on creative space for art and design of all kinds. A collaborative working environment where the latest technologies and brightest minds come together to learn, experiment, and create. The Studio spans the gamut of digitally enabled and traditional creative practice. It also crosses many disciplines: film, architecture, art, fashion, jewelry, music, photography, printmaking, and sculpture.
Explore the Studio and try out a wide range of new techniques and media with help from experienced hands. Play with the latest in 3D printing, modeling, and animation software. Bring your ideas to life with tomorrow's technologies in gigapixel imaging, motion capture, and more.
For attendees interested in interactive techniques, especially for education. IVRC is the International Collegiate Virtual Reality Contest, which is organized with the Virtual Reality Society.
Student, in-progress, and late-breaking work on novel interactive techniques and in-depth research in specific areas.
Representatives from various animation and visual effects production studios talk about what they look for in student demo reels.
This session is for educators interested in sharing experiences with teaching OpenGL, including its new features, and taking into account its deprecated ones.
Chairman Ton Roosendaal presents work on the free open-source program Blender in the past year and discusses future plans. Everyone is invited to join and provide feedback.
A recent surge in production of 2D-to-3D converted films has established this technique as a permanent part of the stereoscopic entertainment industry. Proper conversion is not a simplistic post-production process. It requires exceptionally complex and nuanced stereoscopic visual effects that, if improperly applied, can result in poor quality films and physical pain on the part of the audience.
This course presents case studies from Digital Domain's recent stereoscopic conversions (for example, "Transformers 3") that demonstrate how to convert high-quality stereoscopic content through both traditional and hybrid stereoscopic workflows. It also explains in detail how proper conversion is mathematically identical to geometry generated from stereoscopic capture, shows how to articulate and identify poor quality conversion, reviews when it is appropriate to convert materials, and provides tips on how to shoot specifically for 2D-to-3D conversion.
New body-monitoring technologies are transforming the way we understand and see human bodies in the 21st century.
This course provides the first comprehensive overview of computational displays for the graphics community. These display architectures employ co-design of optical elements, efficient computational processing, computationally tractable models for human perception, and advanced mathematical analysis.
The course reviews all aspects of computational displays in detail, from concept introduction to a variety of example displays that exploit joint design of optical components and computational processing for applications such as high-dynamic-range and wide-color-gamut display, extended depth-of-field projection, and high-dimensional information display for computer-vision applications. In particular, the course focuses on how high-speed displays, multiple stacked LCDs, and directional backlighting combined with advanced mathematical analysis and efficient computational processing provide the foundations of 3D displays of the future. It also reviews psycho-physiological aspects that are of importance for display design and demonstrates how perceptually driven computational displays can enhance the capability of current technology.
COURSE SCHEDULE
2 pm
Introduction and Overview
Computational Displays as a Next-generation Display Technology
Wetzstein
2:25 pm
Computational Light Field Displays - Hardware Architectures, Fabrication, Content Generation, and Optimization
Lanman and Hirsch
3 pm
Perceptually-Driven Computational Displays
Gutierrez
3:20 pm
Summary and Q&A
All
This talk presents solutions for challenges related to Avalanche Studios' vast game environments, such as Just Cause 2 and unannounced titles, including precision issues, streaming, occlusion culling, rendering, optimization, and how to better utilize the available memory in current-generation consoles.
Real-time human networking. Streaming content from the SIGGRAPH 2012 session rooms. Wireless access. Comfy chairs.
A practical guide for researchers who are exploring the new frontiers of 3D shape analysis and managing the complex mathematical tools that most methods rely on. Many research solutions come from advances in pure and applied mathematics, as well as from re-reading classical mathematical theories. Managing these math tools is critical to understanding and solving current problems in 3D shape analysis. This course is designed to help mathematicians and scientists communicate in a world where boundaries between disciplines are (fortunately) blurred, so they can quickly find the right mathematical tools for a bright intuitive idea and strike a balance between theoretical rigor and computationally feasible solutions.
The course presents basic concepts in differential geometry and proceeds to advanced topics in algebraic topology, always keeping an eye on their computational counterparts. It includes examples of applications to shape correspondence, symmetry detection, and shape retrieval that show how these mathematical concepts can be translated into practical solutions.
COURSE SCHEDULE
MODULE 1 [Spagnuolo and Biasotti]
2 pm
Introduction and Welcome
2:05 pm
Mathematics and Shape Analysis Challenges
2:15 pm
Mathematical Guide, Part 1
3:10 pm
Examples of Applications, Part 1
MODULE 2 [Biasotti and Spagnuolo]
3:45 pm
Mathematical Guide, Part 2
4:30 pm
Examples of Applications, Part 2
5 pm
Conclusions
Matte paintings, a mainstay in the filmmaker's repertoire, are used to create realistic illusions while working within strict budgets. This course focuses on matte painting in film, ranging from traditional matte paintings to modern techniques including 3D projections and software-generated matte backgrounds.
An understanding of physics is essential for creating believable animated motion. Many basic concepts in animation (such as follow-through, drag, and weight shift) are clearer when considered in the context of basic mechanics.
This course was developed with support from the National Science Foundation by Alejandro Garcia, who was on leave at the Department of Artistic Development at DreamWorks Animation SKG, where he presented over 30 classes and special lectures on physics as it applies to animation. The course covers essential topics from physical mechanics to basic bio-mechanics that apply specifically to character animation.
COURSE SCHEDULE
2 pm
Welcome and Introduction
2:05 pm
Timing, Spacing, and Scale
2:20 pm
Law of Inertia
2:35 pm
Momentum and Forces
2:50 pm
Center of Gravity
3:05 pm
Weight Gain and Loss
3:20 pm
Action and Reaction
3:35 pm
Break
3:45 pm
Basic Poses
4:10 pm
Jumps
4:35 pm
Walks
5 pm
Concluding Remarks
5:05 pm
Q & A
With recent improvements in hardware performance, there has been an increased demand in various industries, including game development, film production, and architectural visualization, for realistic image rendering with global illumination (GI). But current algorithms can not fulfill the strict speed and quality requirements of modern applications. Many-light rendering solves this problem. By reducing light-transport simulation to rendering the scene with many light sources, the many-light formulation offers a unified view of the global-illumination scene. Unlike other GI algorithms, the quality-speed trade-off in the many-light methods produces artifact-free images in a fraction of a second while converging to the full GI solution over time.
This course presents a coherent summary of the state of the art in many-light rendering. It covers the basic many-light formulation and recent work on its use for computing global illumination in real time, on improving scalability with a large number of lights, on using the many-light method as a basis for a full GI solution, and on rendering participating media. The course focuses on the clarity of the underlying mathematical concepts as well as on the practical aspects of the individual algorithms. One segment of the course is devoted to the practical considerations of using many-light methods in the Autodesk Cloud Rendering service.
COURSE SCHEDULE
2 pm
Introduction and Welcome
Křivánek
2:05 pm
Instant Radiosity - Principles and Practice
Keller
2:35 pm
Handling Difficult Light Paths
Hašan and Křivánek
3:05 pm
Scalability With Many Lights I
Walter
3:30 pm
Break
3:45 pm
Scalability With Many Lights II
Hašan
4:05 pm
Real-Time Many-Light Rendering
Dachsbacher
4:40 pm
Many-Light Methods in Autodesk Cloud Rendering
Arbree
5:10 pm
Conclusion - Q & A
Join us to discuss the year-round activities of the ACM SIGGRAPH Digital Arts Community, including online curated exhibitions, our virtual community, and discussions. Bring announcements and ideas.
This session is for educators who wish to interact with the newly formed Khronos Institute for Training and Education by sharing educational materials and advising on certification .
Artists and developers of the free open-source program Blender present work they did for film and games and how it was created. Open stage!
With nine Academy Award nominations and three BAFTA awards, 2011 ASC Lifetime Achievement Award recipient Roger Deakins, ASC, BSC, is one of the world’s leading cinematographers. His over 30-year contribution to cinema as both cinematographer and visual consultant has helped to define how global audiences see moving pictures, from "Fargo" and "True Grit" to "Wall-E" and "Rango". This course offers a rare opportunity to hear him discuss his ideas and approach to both live-action and animated features.
A hands-on, do-it-yourself workshop on how to make basic electronic circuits from scratch for ready-to-use devices.
Although motion tracking has existed in research labs and some niche markets for decades, only recently has it gained mainstream acceptance in the living room in the form of the Nintendo Wii, the Playstation Move, Microsoft's Kinect, and the Sixense Razer Hydra. These devices and their corresponding software have pushed human-computer interaction to new levels in gaming. Is this just another passing fad that will move back to the laboratory or is it here to stay? Will motion control move beyond gaming to control a wide range of digital media? Or is it only appropriate for a small subset of technologies? This panel of motion-tracked game pioneers will debate the tradeoffs of different tracking technologies, discuss important aspects of the end-user experience, predict the future of motion-controlled gaming, and discuss how this technology will affect other industries.
The panelists represent a broad range of expertise, ranging from art to business to engineering, and they have led the efforts to bring this new form of motion control to the masses.
Topics include:
• What technologies are the most appropriate for what types of games?
• How the specific technologies affect user experience
• The role, if any, for hardcore gaming
• Buttons versus no buttons
• How media and marketing have affected the perception of motion tracking
• The future of gaming
• The role of motion control in industries beyond gaming
An entertaining, illuminating summary of SIGGRAPH 2012 Technical Papers in an exciting two-hour session! The author(s) of each paper are allowed a little less than a minute to wow the crowd with their results and entice attendees to hear their complete paper presentation later in the week.
This session is for attendees from Taiwan and everyone interested in graphics research or the computer graphics industry in Taiwan.
Virtual production is changing how directors, actors, and stories interact. The ability to capture the subtleties of actors’ performance digitally and move digital-environment data among pre-production, production, and post is opening up new worlds, new kinds of characters, and new ways of telling stories.
After gaining wide public visibility on "Avatar", virtual production is sweeping through the feature film world – and beyond. Because blending live and CGI elements is not only possible, but now practical, virtual production has been embraced to improve the standard of previsualization, to augment motion capture in games creation to enhance overall quality, and to enable film directors to see more of what their world will look like while they’re in production. In short, virtual production has branched out.
A panel of leading virtual-production practitioners discusses and debates:
• Advances and considerations in motion capture
• Relative benefits of separate vs. in-scene facial capture
• SimulCam – its evolution and where it is heading
• The client/filmmaker experience
Programmers and artists have invented a broad range of generative systems that create art and music. These powerful systems sometimes produce results that surprise their human collaborators, but the surprises are not always welcome or useful. Machine creativity needs a computational self-critical function that can guide generative systems toward valuable creative output.
This course provides a fast-moving, state-of-the-art overview of computational aesthetic evaluation. Some notable limited successes aside, computational aesthetic evaluation is far from a solved problem, and a "how to" course is not possible at this time. The intent of this course is to identify all of the significant trail heads, to share what previous explorers have found, and to encourage future journeys by artists and researchers along the paths that seem most promising.
The course begins with a brief summary of terminology, then reviews classic formulaic and geometric theories of aesthetics that are possibly amenable to digital exploitation, including Birkhoff's "aesthetic measure", the golden ratio, Zipf's law, fractal dimension, basic gestalt design principles, and the rule of thirds. A section on evolutionary art systems focuses on aesthetic evaluation in fitness functions, including interactive systems, strategies for automated evaluation such as performance goals, error measures, complexity measures, multi-objective and Pareto optimization, and biologically inspired methods that produce emergent aesthetic fitness functions such as coevolution, niche construction, swarm behavior, and curious agents. The course concludes with a review of the future of computational aesthetic evaluation, recent developments in the empirical study and psychological modeling of aesthetics, and the nascent field of neuroaesthetics.
COURSE SCHEDULE
9 am
Introduction
9:03 am
Formulaic, Geometric, and Design Aesthetic Theories
9:15 am
Neural Network Models
9:18 am
Evolutionary Systems and Fitness Functions
9:31 am
Complexity-based Models of Aesthetics
9:34 am
The origins of Art and the Art Instinct
9:37 am
Psychological Models of Human Aesthetics
9:46 am
Empirical Studies of Human Aesthetics
9:54 am
Neuroaesthetics
10:18 am
Conclusion
10:20 am
Q&A
This paper investigates "Schelling points" on 3D meshes, feature points selected by people in a pure coordination game due to their salience.
A new generation of computational cameras is emerging, spawned by the introduction of the Lytro light-field camera to the consumer market and recent accomplishments in the speed at which light can be captured. By exploiting the co-design of camera optics and computational processing, these cameras capture unprecedented details of the plenoptic function: a ray-based model for light that includes the color spectrum as well as spatial, temporal, and directional variation. Although digital light sensors have greatly evolved in the last years, the visual information captured by conventional cameras has remained almost unchanged since the invention of the daguerreotype. All standard CCD and CMOS sensors integrate over the dimensions of the plenoptic function as they convert photons into electrons. In the process, all visual information is irreversibly lost, except for a two-dimensional, spatially varying subset: the common photograph.
This course reviews the plenoptic function and discusses approaches for optically encoding high-dimensional visual information that is then recovered computationally in post-processing. It begins with an overview of the plenoptic dimensions and shows how much of this visual information is irreversibly lost in conventional image acquisition. Then it discusses the state of the art in joint optical modulation and computation reconstruction for acquisition of high-dynamic-range imagery and spectral information. It unveils the secrets behind imaging techniques that have recently been featured in the news and outlines other aspects of light that are of interest for various applications before concluding with question, answers, and a short discussion.
COURSE SCHEDULE
9 am
Introduction and Overview
Wetzstein
9:10 am
High Dynamic Range Imaging
Heidrich
9:20 am
Spectral Imaging
Ihrke
9:30 am
Light Field Acquisition
Lanman
9:40 am
Insight the Lytro Camera
Akeley
10 am
Light Capture With a Trillion Frames Per Second
Raskar
10:20 am
Further Light Properties
Wetzstein
10:25 am
Summary and Q&A
All
Interact with the latest systems before they become hot topics in mainstream media and blogs. Emerging Technologies presents innovative technologies and applications in several fields, from displays and input devices to collaborative environments and robotics, and technologies that apply to film and game production.
Unique perspectives reveal moments of wonder in a technologically mediated world.
What is the Studio?
It's a hands-on creative space for art and design of all kinds. A collaborative working environment where the latest technologies and brightest minds come together to learn, experiment, and create. The Studio spans the gamut of digitally enabled and traditional creative practice. It also crosses many disciplines: film, architecture, art, fashion, jewelry, music, photography, printmaking, and sculpture.
Explore the Studio and try out a wide range of new techniques and media with help from experienced hands. Play with the latest in 3D printing, modeling, and animation software. Bring your ideas to life with tomorrow's technologies in gigapixel imaging, motion capture, and more.
Real-time human networking. Streaming content from the SIGGRAPH 2012 session rooms. Wireless access. Comfy chairs.
VirtualBand is an interactive system that produces high-quality musical accompaniment of human improvisations. The system produces stylistic databases by capturing essential elements of the playing style of accompanying musicians from analysis of their recordings. During performance, VirtualBand uses these databases to back-up musical improvisations.
Synthesis of walking and running controllers for physically simulated 3D humanoids with sagittal hip, knee, and ankle joint degrees of freedom actuated using musculotendon models with biologically motivated control laws. Using biologically based actuators and objectives for optimization measurably increases the realism of gaits generated by locomotion controllers.
In “Hugo”, Martin Scorsese’s love letter to classic cinema and cinema history, the director was passionate about pushing the capabilities of stereoscopic filmmaking to new heights. Pixomondo developed custom workflows to handle complex challenges in VFX and capture all of the live-action production data required to accommodate the rigorous effects and post-production demands of the project. This Pixomondo panel discusses the creative and technical challenges they overcame to achieve Scorsese’s vision for early filmmaking in stereo 3D. Also joining them: New Deal Studios visual effects supervisor, Matthew Gratzner, who was responsible for creating the train crash sequence in the film.
Image Credit: © 2011 GK Films, LLC, All Rights Reserved.
In traditional manufacturing, the more complex the shape, the more it costs to make. Additive manufacturing, also known as 3D printing, takes about the same time for simple shapes as for complex ones, but the materials used are more costly. This workshop teaches some design principles and introduces software tools to get the most from 3D printing.
This consistent lightcuts algorithm achieves convergence with a fixed-memory footprint by iteratively accumulating individual lightcuts solutions, each using a different virtual-point-light (VPL) set and removing VPL clamping bias by employing a novel progressive clamping relaxation scheme.
For educators and their sysadmins interested in learning how remote software and systems delivery and optimized pipelines can enhance their students work and productivity.
Student, in-progress, and late-breaking work on novel interactive techniques and in-depth research in specific areas.
Learn how the industry is evolving worldwide and collaborate with attendees from five continents. The International Center offers informal translation services, and space for meetings, talks and demonstrations.
Success is a group project. Learn how the 10,000 Hour Theory can be taught to and implemented by students to achieve effective goal-setting, time management, and skill development.
ACM SIGGRAPH 2012 Award Recipients
Greg Turk
Georgia Institute of Technology
Computer Graphics Achievement Award
Karen Liu
Georgia Institute of Technology
Significant New Researcher Award
Jean-Pierre Hébert
University of California, Santa Barbara
Distinguished Artist Award for Lifetime Achievement in Digital Art
David Kasik
The Boeing Company
ACM SIGGRAPH Outstanding Service Award
This session examines various approaches to teaching abstract and intangible topics essential to procedural workflows.
Faculty and students from all institutions of higher learning are invited to join us as we discuss our undergraduate research efforts, our successes and failures, and future ideas.
Members of the Art Galley committee offer 30-minute guided tours to introduce attendees to In Search of the Miraculous. The daily tours begin in the Art Gallery.
This course introduces partially resident textures (PRTs), a new GPU feature for virtual texturing, and contrasts them with software-based methods of virtual texturing. PRTs are available in the Southern Islands (Radeon HD 7xxx) family of graphics processors.
The basic idea of virtual texturing is simple: instead of maintaining a separate texture for each object rendered on the screen, all textures are stored in a "virtual texture". The size of the virtual texture is on the order of billions of texels, and each object is assigned unique virtual-texture coordinates from the virtual texture. When used in a shader, the virtual-texture coordinates are translated into physical-texture coordinates, which are used to access the physical texture that contains the working set of all required tiles.
Existing approaches implement the entire virtual texturing algorithm in software. The software is required to update the page table (another texture used for translating virtual texture coordinates to physical ones), perform address translation, and deal with hardware differences when it comes to supported texture types, formats, and filtering modes. The first part of the course outlines this process and discusses difficulties encountered when this technology is deployed in RAGE. PRTs eliminate the need for maintaining the page table and address translation and provide support for all texture types, formats, and filtering modes. The second part of the course describes the hardware architecture as it relates to PRTs. The third part of the course introduce the new AMD sparse-texture OpenGL extension that exposes PRTs to software applications. The course includes several PRT use cases, a technical demo, and a summary of the strengths and weaknesses of PRT technology.
COURSE SCHEDULE
2 pm
Introduction to Virtual Texturing
Obert
2:10 pm
Software Virtual Textures (Megatexture) in RAGE
van Waveren
2.30 pm
Partially Resident Textures
Obert
2:50 pm
OpenGL Sparse Texture Extension
Sellers
3:10 pm
Demo (RAGE Running PRTs)
van Waveren and Sellers
3:20 pm
Conclussion and Discussion
Obert, van Waveren and Sellers
OpenGL is the most widely available library for creating interactive computer graphics applications across all of the major computer operating systems. Its applications range from creating systems for scientific visualization to computer-aided design, interactive gaming, and entertainment, and with each new version, its capabilities reveal the most up-to-date features of modern graphics hardware. This course provides an accelerated introduction to programming OpenGL, emphasizing current methods for using the library. While there have been numerous courses on OpenGL in the past, the recent sequence of revisions to the API, culminating in OpenGL version 4.2, provide a wealth of new functionality and features for creation of ever-richer content.
In recent years, OpenGL has undergone numerous updates that have fundamentally changed how programmers interact with the application programming interface (API) and the skills required for being an effective OpenGL programmer. The most notable of those changes are the introduction of shader-based rendering, which has expanded to subsume almost all functionality in OpenGL, and the depracation of immediate-mode functions. Course attendees are introduced to each of the shader stages in OpenGL version 4.2, along with methods for specifying data to be used in rendering with OpenGL.
The course begins with an overview of the complete OpenGL pipeline, introducing all the latest shader stages. Then it focuses on the shader-based pipeline, which requires an application to provide both a vertex shader and a fragment shader. It also includes an summary of key graphics concepts: the synthetic-camera model, transformations, viewing, and lighting.
COURSE SCHEDULE
2 pm
Greeting and Course Overview
Angel
2:15 pm
OpenGL Pipeline Introduction
Shreiner
2:35 pm
A Prototype Application
Angel
3:05 pm
Basic Graphics Concepts
Shreiner
3:30 pm
Break
3:45 pm
The OpenGL Shading Language (GLSL)
Shreiner
4:10 pm
The Fundamental Pipeline – Part 1: Vertex Shaders
Angel
4:35 pm
The Fundamental Pipeline – Part 2: Fragment Shaders
Angel
5 pm
Wrap Up and Q&A
Angel and Shreiner
The techniques and workflow used to create a very art-directed digital sky in the movie "Puss In Boots".
Mojito is an MVC application framework built on YUI 3 that enables agile development of web applications. It allows developers to write client and server components in the same language (JavaScript), using the same framework. Because Mojito applications are written in JavaScript, they can run on both client and server.
A new representation for image-processing algorithms, which separates intrinsic algorithm from execution order and storage, enables clean, modular code to compile to high-efficiency implementations across many architectures. The compiler produces high-performance implementations on ARM, x86, and GPUs, targeting SIMD units, multiple cores, and complex memory hierarchies.
Processing is an open-source language used in interactive design and computational arts. The 2.0 release incorporates several improvements: a high-performance 3D renderer based on OpenGL-ES 2, a faster video library built on top of the GStreamer multimedia toolkit, and a new JavaScript mode for web output.
Leaders of the visual effects teams from Industrial Light & Magic and Weta Digital will discuss the unique effects challenges that this blockbuster film presented and how the studios broke new ground with their respective approaches to creating the seamless effects work. From the epic Mountain Battle between Iron Man and Thor and the climatic alien invasion of Manhattan to bringing the Hulk to life, the supervisors will detail what worked, what didn’t and the complexities involved in bringing "The Avengers" to the big screen.
Image Credit: Marvel's "The Avengers"still photo courtesy of Marvel Studios. TM & © 2012 Marvel & Subs. www.marvel.com
Currently there are only two real options for core pipeline software: buy it or build it. This year, we offer an alternative: sharing.
This paper proposes a new analytical model for light reflection from woven textiles, which predicts texture as a function of viewing, illumination, and the geometric structure of the cloth.
Algorithmic art combines computational algorithms with design principles to create visual art. This session explores algorithmic art as a context for teaching and motivating computational thinking skills in the classroom.
Educators from around the world are invited to discuss issues in 3D animation educations identified through surveys in the United States and Japan.
A complete measurement system for obtaining spectral reflectance data in a wide spectral range at high spectral and spatial resolution. The paper shows results for several applications: the interplay between the visual capabilities and appearance of birds, and analysis of artifacts from geology and cultural heritage.
This work synthesizes detailed and physically plausible hand-object manipulations from motions of the full body and the object. By sampling contact positions between the hand and the object, a variety of complex finger gaits with contact rolling, sliding, and relocation are discovered efficiently and automatically.
From bouncing red curls to gusty dark forests, this panel summarizes how Disney•Pixar created their summer 2012 film: “Brave.” The artists lead a guided tour through “Brave’s” production pipeline, illustrating the kind of exploration and problem-solving required to move an asset from initial design through characters and sets, animation, and lighting, and into a final rendered frame.
Algorithms for finding proxies at three levels of detail (points, shapes, joint hierarchy). The proxies allow simulated cloth and other objects to interact with a 2D hand-drawn character.
This talk analyzes the view-independent symmetric Stokes reflectance field under constant-incident spherical illumination, which is either circularly polarized, or unpolarized, and demonstrates that both types of incident lighting can be used to reliably estimate specular normals.
Real-time rendering of complex and diverse water effects.
Originally an investigation into the relationships between rhythm and technology, RhythmSynthesis applies color, shape, and sound to demonstrate how our understanding of visual music, computation, and tangible, audio-visual interactions can be applied in musical compositions.
The last 10 years have seen profound changes in algorithms, techniques, and applications of visualization and the advent of visual analytics. This session discusses the resulting changes to the curricula.
This session is for people interested in tinkering with things, breaking things, and remaking things - breaking codes and teaching computational concepts through physical objects.
The leading annual festival for the world's most innovative, accomplished, and amazing digital film and video creators. An internationally recognized jury receives hundreds of submissions and presents the best work of the year in Daytime Selects and the Electronic Theater. Selections include outstanding achievements in time-based art, scientific visualization, visual effects, real-time graphics, and narrative shorts.
For attendees interested in the CG show of Yoichiro Kawaguchi, an established Japanese CG artist, and those who would like to reunite or socialize with other attendees.
Share professional and personal updates with colleagues from around the world at the SIGGRAPH community's highest-energy, most-anticipated social event of 2012. Delicious desserts and toast-worthy beverages for celebrating the past year's achievements and future challenges.
Learn how the industry is evolving worldwide and collaborate with attendees from five continents. The International Center offers informal translation services, and space for meetings, talks and demonstrations.
Student, in-progress, and late-breaking work on novel interactive techniques and in-depth research in specific areas.
Physically based shading is increasingly important in both film and game production. By adhering to physically based, energy-conserving shading models, one can easily create high-quality, realistic materials that maintain that quality under a variety of lighting environments. Traditional “ad-hoc” models require extensive tweaking to achieve the same result, so it is no surprise that physically based models have increased in popularity in film and game production, particularly because they are often no more difficult to implement or evaluate.
This course was last presented at SIGGRAPH 2010. With extensive updates, the SIGGRAPH 2012 course presents two years of advances in physically based shading. It includes new research in the area and more production examples from film and game. The course begins with a brief introduction to the physics and mathematics of shading before instructors share examples of how physically based shading models are being used in production. Real-world examples are a particular focus of this year’s course, which is designed to give attendees a practical grounding in the subject.
COURSE SCHEDULE
9 am
Introduction: The Importance of Physically Based Shading
Hill
9:05 am
Background: Physically Based Shading
Hoffman
9:30 am
Calibrating Lighting and Materials in Far Cry 3
McAuley
10 am
Beyond a Simple Physically Based Blinn-Phong Model in Real-Time
Gotanda
10:30 am
Break
10:45 am
Physical Production Shaders With OSL
Martinez
11:15 am
Physically Based Shading at Disney
Burley
11:45 am
Reflection Model Design for WALL-E and Up
Smits
Interact with the latest systems before they become hot topics in mainstream media and blogs. Emerging Technologies presents innovative technologies and applications in several fields, from displays and input devices to collaborative environments and robotics, and technologies that apply to film and game production.
Unique perspectives reveal moments of wonder in a technologically mediated world.
What is the Studio?
It's a hands-on creative space for art and design of all kinds. A collaborative working environment where the latest technologies and brightest minds come together to learn, experiment, and create. The Studio spans the gamut of digitally enabled and traditional creative practice. It also crosses many disciplines: film, architecture, art, fashion, jewelry, music, photography, printmaking, and sculpture.
Explore the Studio and try out a wide range of new techniques and media with help from experienced hands. Play with the latest in 3D printing, modeling, and animation software. Bring your ideas to life with tomorrow's technologies in gigapixel imaging, motion capture, and more.
In recent years, various methods have been introduced to exploit pre-recorded data to improve the performance and/or realism of dynamic deformations, but their differences and similarities have not been adequately analyzed or discussed. So far, the proposed methods have been explored mainly in the research context. They have not been adopted by the computer graphics industry.
This course bridges the gap between research labs and industry to present a unifying theory and understanding of data-driven methods for dynamic deformations that may inspire development of novel solutions. It focuses on application of data-driven methods to three areas of computer animation: dynamic deformation of faces, soft volumetric tissue, and cloth. And it describes how to approach these challenges in a data-driven manner, classifies the various methods, and demonstrates how data-driven methods can work in other settings.
COURSE SCHEDULE
9 am
Introduction and Overview of Methods
Otaduy
9:20 am
Tissue and Cloth Mechanics
Otaduy
9:50 am
Capturing Deformation Examples
Bradley
10:30 am
Break
10:45 am
Facial Animation
Bickel
11:25 am
Cloth Animation
Wang
12:05 pm
Conclusion/Q & A
All
Real-time human networking. Streaming content from the SIGGRAPH 2012 session rooms. Wireless access. Comfy chairs.
This talk presents the creative and technical challenges of developing the custom toolset used to grow the giant magic beanstalk in "Puss In Boots".
Women In Animation International hosts this annual gathering to promote networking and camaraderie at Siggraph. All are welcome to join this fun event.
ZBrush is a digital sculpting and painting program that has revolutionized the 3D industry with its powerful features and intuitive workflows. Expand your creative possibilities with ZBrush in multiple industries.
This paper describes a collaboration between an arts-technology research team and a performing-arts organization to create a computationally augmented, multimedia dance performed on a vertical wall.
Color affects many areas of the computer-graphics pipeline, From texture painting to lighting, rendering, compositing, image display, and the theater, handling color is a tricky problem. Tired of getting your images right on the monitor only to have them fall apart later on? This course presents the best practices used in modern visual-effects and animation-color pipelines, and how to adapt apply these concepts for home use.
The course begins with an introduction to color processing and its relationship to image fidelity, color reproducibility, and physical realism. Topics include: common misconceptions about linearity, gamma, and working with high-dynamic-range (HDR) color spaces. Pipeline examples from recent films by Sony Pictures Imageworks explain which color transforms were used and why. The course concludes with a brief discussion of recent developments in color standardization at the Academy of Motion Picture Arts & Sciences and how attendees can experiment with all of these concepts for free using open-source software.
Download Course Notes for Cinematic Color: From Your Monitor to the Big Screen
COURSE SCHEDULE
9 am
Color Science
9:30 am
Motion-Picture Color Management
10 am
Implementation, Examples, Q&A
The meeting is for the industry advisors to the CreativeIT - Collaborative Studios project at Texas A&M University.
Welcome to “Hotel Transylvania”, Dracula’s lavish five-stake resort, where monsters and their families can live it up, free to be the monsters they are without human interference. For one special weekend, Dracula invites some of his best friends – Frankenstein and his bride, the Mummy, the Invisible Man, the Werewolf family, and more – to celebrate his beloved daughter Mavis’s 118th birthday. In this session, first-time feature director Genndy Tartakovsky (“Dexter’s Laboratory”, “Samurai Jack”, “Clone Wars”) and the creative team behind “Hotel Transylvania” explore the art, unique animation style, and technical achievements of Sony Pictures Animation’s new animated feature.
Articulated characters are widespread in computer animation, but we lack methods for automatic fabrication of articulated 3D models using modern 3D printers. Ths paper proposes a method for estimating a fabricatable single material and a colored volume model that approximates the kinematics of a virtual 3D articulated character (for example, a skinned character).
This fifth consecutive Beyond Programmable Shading SIGGRAPH course continues with the core mission of the course: discussing how GPU and CPU parallel computing are used in conjunction with the traditional 3D real-time rendering pipeline to improve image quality and performance or reduce power consumption. The course also explores future directions in real-time rendering innovation. Unlike previous years, this course assumes that the audience is already familiar with modern real-time rendering CPU and GPU hardware architecture and programming models.
The course focuses on applications of GPU and CPU compute to solve real-time illumination problems. It includes an updated discussion of game developers' requests to the rendering research community, a deep dive on power-efficient rendering algorithms, and a panel on how past research in this field has and has not affected the game and graphics hardware industry.
COURSE SCHEDULE
9 am
Introduction to Beyond Programmable Shading 2012
Lefohn
9:15 am
Five Major Challenges in Real-Time Rendering
Andersson
9:45 am
Intersecting Lights With Pixels: Reasoning About Forward and Deferred Rendering
Lauritzen
10:15 am
Dynamic Sparse-Voxel Octrees for Next-Gen Real-Time Rendering
Crassin
10:45 am
Power-Friendly GPU Programming
Ribble
11:15 am
Panel: From Publication to Product: How Recent Graphics Research Has (And Has Not) Shaped the Industry
Moderator: Fatahalian
Looking for opportunity? Interested in meeting with some inspiring companies? Discover your future at SIGGRAPH 2012. In the Job Fair, attendees connect with employers before, during, and after the conference via the CreativeHeads.net job board and candidate profiling system.
Discover all the resources you need to support your creativity, improve your efficiency, and grow your business. The SIGGRAPH 2012 Exhibition features hardware, software, and services from the leading companies in the industry.
This session is open to anyone interested in REST technology applied to 3D content.
A tech demo of volume-modeling Houdini plug-ins with optimizations to give users interactive feedback on very large volume resolutions. The demo is a technical paper simplified for a non-technical audience.
A theory of Monte Carlo visibility sampling, using statistical and pixel-light Fourier analysis. For a linear light, this paper shows that a variant called uniform jitter sampling is nearly optimal. For planar area lights, uniform jitter is better on circular lights, and stratified is better on square lights.
Art Gallery artists and designers discuss their work in context of the SIGGRAPH 2012 Art Gallery and contemporary Art and design practices.
This continuation of last year's Introduction to Python session moves into the basics of Maya, exploring small example scenarios gleaned from actual game and film productions.
A new stochastic algorithm for tomograpic reconstruction applied to imaging of the mixing process in fluids.
Nominated for a visual effects Academy Award, DreamWorks’ “Real Steel” was recognized not only for its rollicking boxing matches between CG robots, but also for the seamless way the film moves between practical robots and their CG counterparts. In this panel, some of the “Real Steel” filmmakers walk through robot design, explain key techniques and shots, and share the groundbreaking virtual-production process that they packed up and moved to Detroit, which compressed the shooting schedule to 71 days with no second unit.
Resonant Chamber is a responsive interior envelope system that deploys the principles of rigid origami to transform the acoustic environment through dynamic spatial, material, and electro-acoustic technologies. The project is developed through iterative research in computational testing and full-scale prototype installation.
Sony Pictures Imageworks’ visual effects for “Men in Black 3” included diverse and richly detailed characters and environments, all created with a heightened sense of realism. With a mix of humor and style, the Men in Black return to 1969 with a digital re-creation of New York’s Shea Stadium and the Apollo 11 rocket launch, and an action-packed monocycle chase through the streets of Brooklyn. This panel explores the challenges and achievements of producing the visual effects for “Men in Black 3”.
This session is for attendees interested in Web3D applications for CAD. Discussion topics include Web3D, STEP, B-REP, WebGL, and CAD data conversion.
Oblong Industries' mobile-based gesture applications interface with Processing through Substrate. In this hackathon, you'll build interactive applications that communicate with every person and every device in the room.
The Chapter Social is your opportunity to meet chapter officers, preview coming events, and socialize with chapter members. Everyone is welcome.
Poster authors meet and discuss their work with attendees during Poster Presentations.
This ACM SIGGRAPH Cartographic Visualization (Carto) session explores how viewpoints and techniques from the computer graphics community can be effectively applied to cartographic and spatial datasets.
This talk reviews the features that the AMD FirePro solutions provide for 3D graphics and compute through OpenGL, DirectX, and OpenCL. It describes how they apply to specific workflows for digital content creation or video processing. Demos combining 3D graphics and compute using the latest AMD GPU architecture provide deep-dive technical details on the best ways to combine rendering and compute tasks.
Members of the Art Galley committee offer 30-minute guided tours to introduce attendees to In Search of the Miraculous. The daily tours begin in the Art Gallery.
A meet-up for attendees interested in the motion capture, scanning, and other capabilities of the Kinect, ASUS Xtion, web cams, OpenNI, and PrimeSense.
ACME connects middle school through college learners to a mentoring network of peers, educators, and creative industry professionals via our online software platform. Tour our site and discuss mentoring.
After witnessing and experiencing the Great East Japan Earthquake on 11 March 2011, makers of the Growing Documentary introduced a concept to explore and expand the field of computer-supported collaborative video storytelling through promotion of interactive documentaries that could help people create and share their stories with the world.
This paper introduces an encoding of similarity relationships using fuzzy-point correspondences. The computational framework estimates fuzzy correspondences using only a sparse set of pairwise model alignments. Correspondences are further used to demonstrate applications towards view alignment, smart exploration, and faceted browsing.
Experience a sense of wonder in the digital era. Talk with the artists, designers, and Art Papers authors about their work. Meet the editors of Leonardo. And greet the members of the SIGGRAPH 2012 committee who organized this year's Art Gallery.
An efficient ray-tracing algorithm that, for the first time, does not store any data structures when performing spatial subdivisions and directly computes intersections inside the scene. This algorithm excels both at spontaneously solving large ray-primitive intersection problems and rendering dynamic scenes.
This new approach to handling free-surface and solid-boundary conditions in SPH liquid simulations captures realistic cohesion for the first time and avoids the spurious numerical errors of previous approaches, via a narrow layer of carefully defined ghost particles in the air and solid.
A framework based on spatial deformation with cages to automatically construct a compact and editable high-level representation of animated 3D mesh sequences, resulting in high compression factors and allowing easier post processing.
This course focuses on rigging, deformations, dynamics, and animation production practices in feature-film animation, visual effects, and videogame development. Topics include: analysis of performance requirements, motion-system setup, procedural rigging for secondary animation, and efficient extension of techniques over a wide range of primary and secondary characters.
COURSE SCHEDULE
2 pm
Course Introduction
McLaughlin
2:10 pm
Digital Character Development for Games
Cloward
3:10 pm
Digital Character Development for Feature Animation
Tooley
4:10 pm
Digital Character Development for Visual Effects
McLaughlin
5:10 pm
Q&A
Cloward, Tooley, and McLaughlin
A discussion led by animation educators for people interested in excellence in animation education and strategies for teaching in today's climate of shrinking resources and rapidly changing technology.
This session introduces artists to the basics of maxscripting through production examples. Attendees create their own macros to automate tedious tasks, write small scripts to simplify asset-creation, customize existing tools to their personal preferences, and embed scripts in the user interface.
Prerequisite: Intermediate knowledge of 3ds Max.
Sony Pictures Imageworks oversaw the visual effects for the untold story of Spider-Man, set in a gritty, edgy urban world. The VFX team established a visual style that naturally blends cutting-edge live-action stunt work, extensive digital environments, and CG character animation. This panel provides a revealing inside look at VFX production for an “amazing” film.
For the past two years, Crytek has been working with the film industry to transform its engine into a platform for linear content creation. This talk summarizes the promises and the pitfalls: why everyone's so interested, why there's been so little movement, and how Crytek addresses these challenges.
Next Limit demos the exciting new developments coming up in RealFlow 2013, from the new Hybrido2 solver to the RealFlow Graphs implementation. Examples demonstrate the power and flexibility of the new nodal systems. The session also includes a preview of some of the other great new features coming up in this release: Alembic, Maxwell Render integration, and RealFlow Renderkit3.0.
For attendees interested in OpenEXR version 2, including support for deep data and multi-part image files. This evolution of OpenEXR was co-developed by Industrial Light & Magic and Weta Digital.
Learn more about X3D Medical for 3D medical imaging in DICOM and the progress of X3D volume-rendering implementation.
This session is for attendees interested in motion graphics, video production and compositing. Come see cool projects, and exchange techniques and ideas!
This follow-up to last year's Practical Integration of Alembic focuses on Q & A the Alembic development team on application of the Alembic format in production environments.
Network with our innovative community of Web3D 3D content and application developers while learning about our X3D technologies and initiatives.
JogAmp provides OpenGL and OpenCL across devices using Java. Showcasing font, UI and video, high-level API utilization (Ardor3D, Java3D, etc.), and applications on Android, Linux, Window, OSX, and Solaris.
This course reviews the visual impact of specific color combinations and provides practical suggestions on digital color mixing for visualization.
The course begins by describing the red, green, Bbue (RGB) color model of color computer monitors (additive color) and the cyan, magenta, yellow and key black (CMYK) color model of printers and other output devices (subtractive color) and how to move between these two color models and other color models. Then it reviews color gamut, explaining that a color gamut and color model combine to define a color space, describes types of color systems such as the Munsell color system and the Pantone color-matching system, and introduces the color wheel and how to work with it to create digital media and visualizations.
Other topics include: digital color application illustrated by digital media and visualization examples inspired by artistic movements such as Pointillism, Impressionism, Fauvism, Cubism, and Color Field Painting; concepts introduced by Johannes Itten for successful color combinations and Josef Albers for understanding the interaction of color; and how color theories and tools are applied actual visualization projects.
The course concludes with a hands-on workshop session where attendees can work with online color scheme tools to build visualization color maps followed by a review of additional reading on applying color theory.
COURSE SCHEDULE
3:45 pm
Introduction
3:50 pm
Reviewing Additive and Subtractive Color Models
3:55 pm
Defining Color Gamut, Color Spaces & Color Systems
4:05 pm
Overview of Selected Artistic Movements Pertaining to Color Theory
4:15 pm
Visualization Case Studies
4:35 pm
Hands on Workshop Using Online Color Tools
5;10 pm
Wrap-Up , Other Resources & Concluding Remarks
A video deblurring method for effectively restoring sharp frames from blurry ones caused by camera shakes. The method detects sharp regions in the video and uses them to restore blurry regions of the same content in nearby frames.
This paper presents a method for controlling the motions of deformable characters by dynamically adapting rest shapes in order to induce deformations that, together with environment interactions, result in purposeful and physically
plausible motions.
Gabor noise by example is a method of estimating the parameters of bandwidth-quantized Gabor noise, a procedural noise function that can generate noise with an arbitrary power spectrum from exemplar Gaussian textures, a class of textures that is completely characterized by their power spectrum.
CentiLeo is a high-performance rendering engine that interactively renders huge scenes composed of hundreds of millions of polygons on a laptop accelerated with a GPU. Using the fastest ray tracing to render photorealistic images, the system supports arbitrarilly dynamic 3D scenes (deformed or exploding) and a huge number of large textures. Scenes can contain dozens or hundreds of gigabytes, and still the frames are interactively updateable on a laptop with a GPU.
An intro to peer-to-peer networks though the lens of the Signal Strength Project, a mobile, ad-hoc, offline activist network.
Delivering useful, honest and effective feedback to creatives is one of the biggest daily challenges faced by producers, supervisors, teachers, etc. When critiques “feel” subjective, feedback loops can have negative effects on morale and production, regardless of the validity of the criticism.
Art and design students learn and practice critique every day during, but after they embark on their careers those skills are quickly forgotten. For professionals in technical and scientific fields, where solutions and hypotheses can be proven right or incorrect, giving feedback on subjective matters (where all answers are shades of grey) or providing constructive criticism face to face can be very challenging.
Whether you are dusting off old skills or learning critique techniques for the first time, this hands-on workshop provides a simple, effective framework for delivering actionable criticism to your team everyday, regardless of environment. The course shows attendees how to establish a structure for providing critique that works in creative, technical, and academic environments, and then focuses on some specific techniques for delivering feedback.
Topics include: “client” expectations, defining expectations, problem definition, and constraints in creative briefs that serve as the backbone for the project or assignment; methods for delivering feedback against the brief; and the importance of building and sustaining environments that sustain trust and foster open and direct feedback. Actual critique methods are practiced in small groups during the course.
How to bring computer models of 3D geometry into the real world, quickly and at all scales.
In this panel and presentation, an array of artists and executives associated with the past and present of Rhythm & Hues Studios explore the many factors that have led to the studio’s longevity and success. Highlights include a retrospective of the company’s early days, from its origins at the pioneering CGI company Robert Abel and Associates in the 1970s and 80s and the founding of Rhythm & Hues in 1987, to its groundbreaking animation work in the 90s and its recent work “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe”, VFX Oscar-winner “The Golden Compass”, “The Incredible Hulk”, the “Alvin & The Chipmunks” franchise, and more.
Photo credit: "Life of Pi" © / TM 2012 Fox Studios, Image: Rhythm & Hues.
All Ohio State University alumni, but especially those who studied at CGRG/ACCAD are welcome to attend.
What works and what doesn't when it comes to getting personal projects done. How to take it out of the "hobby" realm and keep collaborators interested despite busy schedules.
Experts from the PowerVR Developer Technology team deliver the low-down on the great new features that have been added to the PowerVR Insider SDK and utilities. Learn how to tame textures, models, and shaders, and incorporate these leading development tools into your workflow to produce smarter, more portable game code. Then take a deep dive into the SDK's performance tools, PVRTune and PVRTrace, and how they are used, and the PVRScope API for extracting maximum performance from today's leading mobile and hand-held gaming platforms.
This session is for attendees interested in hearing about and discussing the latest trends in dynamic simulation (rigid, cloth, hair, fluids, etc.) in production. Come. Connect. Collaborate. Experience. Enjoy. Eat.
The leading annual festival for the world's most innovative, accomplished, and amazing digital film and video creators. An internationally recognized jury receives hundreds of submissions and presents the best work of the year in Daytime Selects and the Electronic Theater. Selections include outstanding achievements in time-based art, scientific visualization, visual effects, real-time graphics, and narrative shorts.
SIGGIG: Gays In Graphics is a social event for attendees involved in, interested in, or supportive of the GLBT community.
This celebration of excellence in modeling, shading, animation, lighting, effects, and more showcases images and short animations of extraordinary power and beauty. Each presenter has one minute to present an animation and describe the work.
Brought to you by DreamWorks Animation
In this session, Christophe Vacher talks about what it takes to become an art director for animation and visual development.
In this session, Christos Obretenov talks about the image-based lighting, multiple importance sampling, and raytracing techniques with the latest version of Pixar's RenderMan.
A practical guide to finite-element-method (FEM) simulation of 3D deformable solids reviews essential offline FEM simulation techniques: complex nonlinear materials, invertible treatment of elasticity, and model-reduction techniques for real-time simulation.
Simulations of deformable solids are important in many applications in computer graphics, including film special effects, computer games, and virtual surgery. FEM has become a popular method in many applications. Both offline simulation and real-time techniques have matured in computer graphics literature.
This course is designed for attendees familiar with numerical simulation in computer graphics who would like to obtain a cohesive picture of the various FEM simulation methods available, their strengths and weaknesses, and their applicability in various simulation scenarios. The course is also a practical implementation guide for the visual-effects developer, offering a very lean yet adequate synopsis of the underlying mathematical theory. The first section introduces FEM deformable-object simulation and its fundamental concepts, such as deformation gradient, strain, stress, and elastic energy, discusses corotational FEM models, isotropic hyperelasticity, and numerical methods such as conjugate gradients and multigrid. The second section presents the state of the art in model reduction techniques for real-time FEM solid simulation. Topics include linear modal analysis, modal warping, subspace simulation, domain decomposition, and which techniques are suitable for which application.
COURSE SCHEDULE
9 am
PART 1: The Classical FEM Method and Discretization Methodology
• Introduction to Elasticity and Finite Elements
• Elasticity in Three Spatial Dimensions
• Nonlinear Elastic Materials
• Practical Discretization
• Special Materials and Modeling tasks. Common Challenges
Sifakis
10:30 am
Break
10:45 am
PART 2: Model Reduction
• Vega FEM: A Free Simulator for Nonlinear (unreduced) FEM Elasticity
• Introduction to Model Reduction
• Linear Modal Analysis (and free software)
• Model Reduction for Large Deformations (and free software)
• Deformation Warping
• Model Reduction and Domain Decomposition
Barbic
Learn how the industry is evolving worldwide and collaborate with attendees from five continents. The International Center offers informal translation services, and space for meetings, talks and demonstrations.
Get a first-hand, 3D look at ParaNorman’s interdependent combination of stop-motion and CG in an environment where hand-crafted movement is seamlessly integrated with computer technology, from initial concept to final frame. In this session from LAIKA, Academy Award-winner Brian Van’t Hul (VFX Supervisor) is joined by Steve Emerson (Compositing Supervisor) and Andrew Nawrot (CG and Look Development Supervisor). They will discuss the collaborative relationship of the technologies in the upcoming feature ParaNorman (in theaters August 17).
Student, in-progress, and late-breaking work on novel interactive techniques and in-depth research in specific areas.
A method to automatically optimize degrees of freedom of skinning transformations for fast and high-quality shape deformation and character articulation.
Short presentations of all demonstrations.
Get hands-on with motion capture for facial animation. This workshop introduces various off-the-shelf facial-expression tools to create photo-realistic faces and animate realistic expressions. Attendees may also participate in demonstrations using facial motion capture technology.
Interact with the latest systems before they become hot topics in mainstream media and blogs. Emerging Technologies presents innovative technologies and applications in several fields, from displays and input devices to collaborative environments and robotics, and technologies that apply to film and game production.
This talk presents a heavily multithreaded dependency-graph engine built for a next-generation in-house character animation tool, as well as visualization tools designed to help riggers optimize their characters for such a highly parallel evaluation environment.
Unique perspectives reveal moments of wonder in a technologically mediated world.
What is the Studio?
It's a hands-on creative space for art and design of all kinds. A collaborative working environment where the latest technologies and brightest minds come together to learn, experiment, and create. The Studio spans the gamut of digitally enabled and traditional creative practice. It also crosses many disciplines: film, architecture, art, fashion, jewelry, music, photography, printmaking, and sculpture.
Explore the Studio and try out a wide range of new techniques and media with help from experienced hands. Play with the latest in 3D printing, modeling, and animation software. Bring your ideas to life with tomorrow's technologies in gigapixel imaging, motion capture, and more.
Real-time human networking. Streaming content from the SIGGRAPH 2012 session rooms. Wireless access. Comfy chairs.
Advances in real-time graphics research and the ever-increasing power of mainstream GPUs and consoles continue to generate an explosion of innovative algorithms suitable for fast, interactive rendering of complex and engaging virtual worlds. Every year, the latest video games employ a vast variety of sophisticated algorithms to produce ground-breaking 3D rendering that pushes the visual boundaries and interactive experience of rich environments.
This course is the next installment in the established series of SIGGRAPH courses on real-time rendering. It summarizes the best graphics practices and research from the game-development community and provides practical and production-proven algorithms. The first part of the course includes speakers from the makers of several award-winning games, such as Bungie, Activision Blizzard, Insomniac Games, CCP, Vicarious Visions, and Gobo Games, as well as R&D from Bosch and Disney Research. The focus of the course is on the intersection between the game-development community and state-of-the-art 3D graphics research, and the potential for cross-pollination of knowledge in future games and other interactive applications.
Topics covered include practical methods of real game-rendering pipelines; global illumination and reflections in real-time, high quality motion blur and ambient occlusion; complex lighting techniques; subsurface scattering and character rendering; practical approaches to shadows rendering in production scenarios; and other exciting production-proven techniques.
COURSE SCHEDULE
9 am
Welcome
Tatarchuk
9:15 am
Scalable High-Quality Motion Blur and Ambient Occlusion
Hennessy
10 am
Real-Time Global Illumination and Reflections in Dust 514
Malan
10:30 am
Separable Subsurface Scattering & Photorealistic Eyes Rendering
Jimenez
11:10 am
Accelerating Rendering Pipelines Using Bidirectional Iterative Reprojection
Yang and Bowles
11:40 am
CSM Scrolling, An Acceleration Technique for The Rendering of Cascaded Shadow Maps
Acton
12:10 pm
Q&A
Increasing display resolution by applying small vibrations to high-refresh-rate displays while rendering multiple low-resolution images. The viewer’s eye merges these images into a perceived high-resolution image.
A hybrid computational design tool for individual or collaborative real-time, multi-modal interaction based on off-the-shelf components and open-source software.
Looking for opportunity? Interested in meeting with some inspiring companies? Discover your future at SIGGRAPH 2012. In the Job Fair, attendees connect with employers before, during, and after the conference via the CreativeHeads.net job board and candidate profiling system.
Discover all the resources you need to support your creativity, improve your efficiency, and grow your business. The SIGGRAPH 2012 Exhibition features hardware, software, and services from the leading companies in the industry.
This session shows how development frameworks can be used to create advanced visualization applications and UIs with fewer lines of code. It introduces the Qt Commercial cross-platform application and UI framework to create stunning graphics and an amazing UX. Qt Commercial is the strategic-development choice for leading production houses looking to shorten time to market, increase efficiency, drive creativity, and extend outreach. Demos show the development tool in action and explain how to quickly develop an easy-to-use UI. The session also covers how Qt Commercial’s cross-platform capabilities protect investments by enabling developers to write the same application once and deploy it on different OS targets.
For industry professionals who develop and maintain 3D modeling standards for their organizations, and for freelance artists who wish to improve their work by conforming to these standards.
Integrating a declarative approach to interactive 3D graphics directly into HTML, which enables its use in any web page.
This session is for Christians and others interested in Christianity who enjoy computer animation and graphics.
This session is for people interested in open-source rendering and scenegraphs. Topics range from OSG usage to the current state of development and new or planned features.
Join us to discuss ways to promote creative and technical collaboration in support of college and university curricula through partnerships with regional entertainment enterprises.
A method for synthesizing a gradual transition between source images with inconsistent color, texture, and structures. The meethod combines the benefits of patch-based, gradient-based, and texture-interpolation approaches. "Image melding" is applied in a variety of applications: seamless stitching, cloning, morphing, completion, harmonization, warping, and texture interpolation.
Some of the biggest movies on the horizon – “Avatar’s” sequels and “Lord of the Rings” prequels – will be presented in stereoscopic 3D high-frame-rate cinema. Peter Jackson and James Cameron are betting on their expectation that audiences will love the more immersive and detailed worlds that these 3D productions can offer. But what IS high-frame-rate cinema, and what will it mean to producers of content and to the audience experience? This panel of experts explains high-frame-rate cinema and discusses the implications of producing and experiencing cinematic content in the new medium.
KinÊtre lets people bring the world around them to life. With this system, anyone can interactively scan and "possess" inanimate objects. Possessed objects realistically follow users' movements as they walk, jump, and twist. KinÊtre makes animation a fun and playful experience for all.
A new method for modeling discrete constant mean curvature (CMC) surfaces. The method is capable of modeling CMC surfaces with fixed or free boundaries and is robust with respect to input mesh quality and topology changes.
Art Gallery artists and designers discuss the use of technology as creative medium, material and inspiration.
GPUs for mobile devices have to deliver ever-increasing performance and capability while living within strict power and memory bandwidth limits. This talk explores how these constraints influence the design of mobile GPUs and how applications can exploit GPU features to achieve the best power efficiency and performance.
A behind-the-scenes look at Peter Berg’s blockbuster sci-fi epic “Battleship”. The ILM production team reviews the film’s various challenges and describes why it was necessary to revamp the studio’s award-winning fluid-simulation system. Also, advances in CG destruction and simulation technology required to accurately depict everything from a resurrected World War II battleship to a fleet of modern-day naval ships, not to mention aliens and their formidable fleet of spacecraft.
All steps and systems involved in pre-baked destruction, beginning with physical simulation in 3ds Max, exporting the animation to CryENGINE, and adding final touches, such as camera-shake, particle effects, etc. The basic principles taught in this workshop apply to most state-of-the-art 3D game engines.
Prerequisite: Advanced knowledge of 3ds Max.
Learn more about how to extend X3D capabilities to support augmented reality (AR) and mixed reality (MR) applications. Also get an update on current AR standards activities.
For attendees interested in applications of advanced image processing for obtaining dream slides. The main objective is attaining a reduced-awake-states artistic creation bias.
This talk reviews the features that the AMD FirePro solutions provide for 3D graphics and compute through OpenGL, DirectX, and OpenCL. It describes how they apply to specific workflows for digital content creation or video processing. Demos combining 3D graphics and compute using the latest AMD GPU architecture provide deep-dive technical details on the best ways to combine rendering and compute tasks.
Poster authors meet and discuss their work with attendees during Poster Presentations.
X3D is the only open-standard (ISO), royalty-free file format and run-time player specification for 4D virtual environments. It remains the most robust and versatile open standard for implementation of high- integrity, high-capability 4D multimedia information spaces. With multiple encodings and API bindings, it is compatible with many web and industry technologies. The data-integration capacities and the rich set of componentized features are rapidly expanding X3D’s value across markets from mobile to AR, CAD, and medical. Meet our innovative community of content and application developers, who ensure interoperability, longevity, and ownership of your content. See the latest real-world interactive 3D applications and find out how you can build and protect your content investment in this ever-changing competitive market.
Leonardo community members and all SIGGRAPH attendees are invited to hear presentations from Leonardo Affiliate Member organizations on cutting-edge research and educational programs in art and science cience around the world.
Members of the Art Galley committee offer 30-minute guided tours to introduce attendees to In Search of the Miraculous. The daily tours begin in the Art Gallery.
Visual effects rendering complexity continues to increase ahead of budgets. This panel of pipeline experts discusses current rendering issues and answers your questions on render-management best practices.
Computing in Place is an on-going research project focused on a large-scale digital display in two public lobbies of a university, a type of space for which no theory currently exists. This talk demonstrates how to understand this setting through the lenses of human activity, interaction, and space.
A system best described as Voxel Greeble (procedurally layering up SDF representations of sculpts to create complex, highly detailed models) that can be further sculpted and textured once created.
This talk explores the performance of dynamic lighting on mobile devices and how to advance the state of the art. It describes how dynamic time-of-day lighting, including real-time radiosity, can be obtained and which additional hardware and API features would be most useful.
This session is for attendees from San Francisco who are interested in learning about the San Francisco ACM SIGGRAPH chapter activities.
Have you ever wanted to make a video game? This session shows you how to build a small level in the freely available CryENGINE 3 SDK.
This system allows animators to combine CG animation's strengths (temporal coherence, spatial solidity, and precise control) with traditional animation's expressive and pleasing line-based aesthetic by using semi-automatic algorithms to empower the line artist to create an animation style not previously feasible in a production environment.
This is an interdisciplinary meeting for people interested in both the CG and simulation communities. Topics range from 3D CG modeling to simulation modeling methods like DEVS or BIM.
A chance for technical trainers, technical writers, and training staff to meet and talk about the rewards and challenges of training artists in an animation, visual effects, or game studio.
The efficient, user-friendly, footprint-simulation workflow used in the movie "Ice Age: Continental Drift".
Advances in real-time graphics research and the ever-increasing power of mainstream GPUs and consoles continue to generate an explosion of innovative algorithms suitable for fast, interactive rendering of complex and engaging virtual worlds. Every year, the latest video games employ a vast variety of sophisticated algorithms to produce ground-breaking 3D rendering that pushes the visual boundaries and interactive experience of rich environments.
This course is the next installment in the established series of SIGGRAPH courses on real-time rendering. It summarizes the best graphics practices and research from the game-development community and provides practical and production-proven algorithms. The second part of the course includes speakers from the makers of several award-winning games, such as Epic, Ubisoft, Firaxis, and thatgamecompany, among others. The focus of the course is on the intersection between the game-development community and state-of-the-art 3D graphics research, and the potential for cross-pollination of knowledge in future games and other interactive applications.
Topics covered in this portion include practical methods of real game-rendering pipelines and shipping game engines, improvements to deferred shading and global illumination, new material models, particle rendering and simulation, post-processing pipelines, shader antialiasing, dynamic sand simulation and rendering, and other exciting production-proven techniques.
COURSE SCHEDULE
2 pm
Welcome Back
Tatarchuk
2:05 pm
The Technology Behind the “Unreal Engine 4 Elemental Demo”
Mittring
3:05 pm
Improving Shader Quality Without Sacrificing Detail
Hill and Baker
4 pm
Dynamic Sand Simulation and Rendering in Journey
Edwards
4:20 pm
Graphics Gems for Games: Findings From Avalanche Studios
Persson
4:50 pm
Game Industry Panel: Advances in Real-Time Graphics and Practical Challenges of Game Develpment
Shader programming has become an indispensable part of graphics application development, but learning to program shaders is difficult, and understanding the effect of shader parameters is even more challenging. This course presents shader development from an interactive standpoint.
Topics include vertex, fragment, geometry, and tessellation shaders; shader-specific theory; the GLSL 4.x shader language; the graphics pipeline; which features are exposed in shaders; and how shaders fit into pipeline operations. Examples of each class of shaders are introduced and used to discuss details of shader concepts. Though many attendees will not yet have compatible hardware for the recently released OpenGL 4.x and GLSL 4.x specifications, the course explains their new features and functions. Attendees receive free copies of glman, which makes learning shaders easier by speeding the experimental cycle.
COURSE SCHEDULE
2 pm
Welcome and Overview
2:05 pm
Review of the Graphics Pipeline
2:15 pm
Basic Shader Concepts
2:30 pm
Transformations
2:45 pm
Introduction to GLSL
3 pm
GLSL Variables
3:30 pm
Vertex Shaders
3:45 pm
Break
4 pm
Fragment Shaders
4:15 pm
Image Manipulation
4:30 pm
Textures
4:45 pm
Noise
5 pm
Geometry and Tessellation Shaders
A new positioning system for digital fabrication that reduces costs and removes limitations on range.
In this panel, the Visual Effects Supervisors for the last two and next two DreamWorks Animation films discuss how they approached each production. In the studio environment, there are opportunities to share development with other shows, but differing visual requirements also mean each show has unique needs. How do the visual-effects teams balance the safety of using tried-and true-techniques with the requirements to create ever more visually sophisticated and complex work? How do they manage the benefits of sharing across shows with the specific needs of their show? Each panelist shares some successes (and failures!) from their most recent projects.
Animating Diversity aims to educate and promote diversity within the arts and technology community. We want to change the landscape of the creative industry through cultural narrative and character development.
See cutting-edge DCC tools and applications for gaming, 3D web, and visualization, and artworks generated from COLLADA content-creation-supporting media.
Interactive ray tracing plugins for popular 3D packages (including Autodesk 3ds Max, Autodesk Maya, and McNeel & Associates Rhinoceros) are now bringing final-frame photorealism to even the earliest stages of modeling and lighting, and in doing so creating exciting new creative opportunities for artists and designers. In this session, users of Rhinoceros learn how real-time ray-traced viewports help designers make better-informed creative choices, shorten review cycles, and save time by reducing unnecessary and time-consuming preview renders compared to working with traditional OpenGL or Direct3D viewports.
Meet The Web3D Korea Chapter members and discuss their current initiatives on the X3D specification: augmented reality, E-Learning, mobile function, and X3D implementations.
This session is for attendees interested in discussing creative projects and how to manage them, with a particular emphasis on Agile methodologies.
Meet designers and implementers of this significant new standard for heterogeneous parallel programming on GPUs and CPUs. Learn how OpenCL interoperates with OpenGL, enabling advanced, cross-platform, visual-computing applications.
Discussion of Mari techniques and how TDs and artists are implementing the texture-painting tool in production for games and film. Meet some of the engineers who are working on this tool.
This paper demonstrates the effectiveness of geometrically exact collision detection with a novel adaptive cloth simulation, the first method that guarantees intersection-free results despite frequent curvature-driven remeshing.
This session presents the state of the art in mobile automobile research, particularly navigation systems that help the user on-the-go. The talk includes code samples and a demo of a prototype called DriveSense that combines the mobile and automobile contexts, affecting how maps are rendered.
Clarisse is a new breed of high-end 2D/3D animation software derived from years of teamwork between Isotropix R&D engineers and high-end CG artists. Designed as the fusion of a compositing software, a 3D rendering engine, and animation software, Clarisse delivers a fully revised workflow powered by a unified 2D/3D graphics rendering pipeline. It is the world’s first animation software that lets artists work interactively on their final images, with full effects on. This session demonstrates creating and working on feature-film-like visual effects, interactively.
Four-time Oscar-winning Senior Visual Effects Supervisor, Joe Letteri, presents Weta Digital’s pioneering virtual-production work on “The Adventures of Tintin” and “Avatar”. His talk also addresses workflow development at Weta going all the way back to “The Lord of the Rings” and suggests some areas of future development. Weta sees virtual production as a connected, holistic approach to filmmaking that melds the best of animation and live-action techniques in pre-production, onset, and post. This presentation demonstrates how virtual production brings all of the components of filmmaking together to provide a way of working that has attracted directors like Peter Jackson, James Cameron, and Steven Spielberg.
This paper studies factors that affect perception of causality in virtual human interactions (for example, the impression that the action of one individual causes an appropriate reaction in another) and investigates force perception and the perceptual impact of temporal, physical, and angular distortions during interactions.
A novel method for simulating wave effects using a new wave BSDF without any change to ray-based renderers. The method allows neighboring patches to interfere, and it supports near-field effects.
This hands-on session walks attendees through the process of creating next-generation game particle effects from beginning to end. The basic principles taught in this workshop apply to most state-of-the-art 3D game engines.
Prerequisite: Advanced knowledge of 3ds Max and Photoshop.
This talk presents Meshmixer, a novel surface-modeling tool based on unstructured high-resolution triangle meshes. It combines 3D sculpting, novel mesh composition or "mash-up" tools, and traditional surface-design techniques in a single interface.
WebGL is a cross-platform, royalty-free web standard based on OpenGL ES 2.0. WebGL is shader-based using GLSL, bringing plugin-free 3D to web, directly into browser.
Discussion of large-scale rendering: renderfarm infrastructure, software, queue management, reliability, and performance.
OpenGL ES is royalty-free, cross-platform API for full-function 2D and 3D graphics on embedded systems - including consoles, phones, appliances and vehicles. Attend for latest news and updates!
Interactive ray tracing plugins for popular 3D packages (including Autodesk 3ds Max, Autodesk Maya, and McNeel & Associates Rhinoceros) are now bringing final-frame photorealism to even the earliest stages of modeling and lighting, and in doing so creating exciting new creative opportunities for artists and designers. In this session, users of 3ds Max and Maya learn how real-time ray-traced viewports help designers make better-informed creative choices, shorten review cycles, and save time by reducing unnecessary and time-consuming preview renders compared to working with traditional OpenGL or Direct3D viewports.
Real-Time Live! is the premiere showcase for the latest trends and techniques for pushing the boundaries of interactive visuals. As part of the Computer Animation Festival, an international jury selects submissions from a diverse array of industries to create a fast-paced, 90-minute show of cutting-edge, aesthetically stimulating real-time work.
The leading annual festival for the world's most innovative, accomplished, and amazing digital film and video creators. An internationally recognized jury receives hundreds of submissions and presents the best work of the year in Daytime Selects and the Electronic Theater. Selections include outstanding achievements in time-based art, scientific visualization, visual effects, real-time graphics, and narrative shorts.
This session is for Purdue University alumni, current students, present and past professors, Purdue fans, and the Purdue-curious.
Learn more about OpenGL, the most widely adopted 2D/3D graphics API, from the ARB and leading OpenGL companies. Join us for our 20th Anniversary celebration!
Anyone interested in 2D or 3D content creation tools, including modo or other off-the-shelf software is invited to participate in this informal gathering of artists, developers and designers.
A dessert reception jointly sponsored by the University of Pennsylvania and ETH Zürich research groups.
This course is a resource for applying efficient, real-time shadow algorithms. It builds on a solid foundation (previous courses at SIGGRAPH Asia 2009 and Eurographics 2010, including comprehensive course notes) and the 2011 book Real-Time Shadows (AK Peters) written by four of the presenters. The book is a compendium of many topics in the realm of shadow computation.
The course provides an overview of various techniques but moves beyond the basics to practical solutions and game-relevant techniques summarized by a presenter from the production industry. Topics include: the theory behind shadow computation, when physical accuracy can be replaced with plausible shadows, implementation details, and practical issues such as budget considerations and performance trade-offs. Case studies illustrate the techniques behind major game titles and upcoming engines.
Learn how the industry is evolving worldwide and collaborate with attendees from five continents. The International Center offers informal translation services, and space for meetings, talks and demonstrations.
Student, in-progress, and late-breaking work on novel interactive techniques and in-depth research in specific areas.
This workshop presents the affordances of the Arduino Microcontroller to sense and interact with the environment. It includes a series of short exercises that illustrate how to use Arduino to read data from simple sensors and transform them into different outputs.
Interact with the latest systems before they become hot topics in mainstream media and blogs. Emerging Technologies presents innovative technologies and applications in several fields, from displays and input devices to collaborative environments and robotics, and technologies that apply to film and game production.
Unique perspectives reveal moments of wonder in a technologically mediated world.
Monte Carlo ray tracing has become ubiquitous in most commercial renderers and in custom shaders used for visual effects and feature animation. But many advanced Monte Carlo algorithms are not widely used and are often misunderstood. In this course, attendees learn about the practical aspects of variance-reduction methods with a focus on all variants of importance sampling. The course also covers quasi-Monte Carlo methods at the industry level, as well as the practical aspects of bidirectional path tracing combined with multiple importance sampling and Metropolis Light Transport. Practical advice is provided throughout the course.
COURSE SCHEDULE
1.Introduction
Premože and Keller
a. Monte Carlo and Quasi-Monte Carlo methods
Keller
b. Applications to Light Transport
Premože
2. Variance reduction methods
Premože
3. QMC Methods in Photorealistic Image Synthesis
Keller and Grünschloß
4. Bidirectional Path Tracing (BDPT)
Premože
5. Metropolis Light Transport (MLT)
Raab
6. Conclusion and Questions
All
What is the Studio?
It's a hands-on creative space for art and design of all kinds. A collaborative working environment where the latest technologies and brightest minds come together to learn, experiment, and create. The Studio spans the gamut of digitally enabled and traditional creative practice. It also crosses many disciplines: film, architecture, art, fashion, jewelry, music, photography, printmaking, and sculpture.
Explore the Studio and try out a wide range of new techniques and media with help from experienced hands. Play with the latest in 3D printing, modeling, and animation software. Bring your ideas to life with tomorrow's technologies in gigapixel imaging, motion capture, and more.
Real-time human networking. Streaming content from the SIGGRAPH 2012 session rooms. Wireless access. Comfy chairs.
An importance sampling method for the bidirectional scattering distribution function (bsdf) of hair. The main contribution of this work is to provide a sampling algorithm for hair scattering that is effective (at reducing noise), robust, simple to implement, and efficient to evaluate.
Interactive images create a partial scene reconstruction of a single image based on cuboid-proxies with minimal user interaction and subsequently allow believable scene-level edits while conforming to extracted non-local relations.
With HTML5 and ever-improving browser performance, the web has emerged as an ideal platform for showcasing graphics applications. Several graphics applications that were once too slow to be written in anything but native code may now be fast enough to run as web apps.
This course for developers who want to develop graphics applications for the web introduces the concepts of core web programming and the dominant graphics technologies that are supported by most modern browsers. It begins with a brief primer on general-purpose web programming (HTML parsing, CSS, and DOM- and render-tree construction), how Javascript can be used to generate dynamic web content, and how to improve performance and accelerate development time.
The bulk of this course describes the web technologies specific to graphics:
• CSS3: transitions, animations, 3D transforms and the new CSS-shaders
• HTML5 Canvas 2D: path API, compositing, image editing, and animation
• SVG: overview of API, how it's different from HTML5 Canvas 2D
• WebGL: the key necessary steps, relation to OpenGL, performance hints
• WebCL: the formal specifications, what’s implemented and what’s to come
For each topic, the course provides a significant number of code examples that illustrate the relevant graphics capabilities. Attendees are welcome to copy and paste our code snippets and execute them inside any modern web browser.
Signal Strength is a project to advance mobile democracy. It consists of modules for ad-hoc social networking that let people in an urban area interact offline, leveraging their mobile phones for untraceable communications.
A practical data-driven method for automatically synthesizing plausible soundtracks for physics-based cloth animations. The method's effictiveness is demonstrated on a variety of cloth animations involving various materials (corduroy pants, windbreakers, cotton, and polyester) and character motions, including first-person virtual clothing with binaural sound.
Looking for opportunity? Interested in meeting with some inspiring companies? Discover your future at SIGGRAPH 2012. In the Job Fair, attendees connect with employers before, during, and after the conference via the CreativeHeads.net job board and candidate profiling system.
Discover all the resources you need to support your creativity, improve your efficiency, and grow your business. The SIGGRAPH 2012 Exhibition features hardware, software, and services from the leading companies in the industry.
This paper introduces generic convex spaces of bounded-distortion, piecewise, linear mappings of triangular meshes. It shows how common geometric-processing objective functionals can be restricted to these new spaces, rather than to the entire space of piecewise linear mappings, to provide a bounded-distortion version of popular algorithms.
The leading annual festival for the world's most innovative, accomplished, and amazing digital film and video creators. An internationally recognized jury receives hundreds of submissions and presents the best work of the year in Daytime Selects and the Electronic Theater. Selections include outstanding achievements in time-based art, scientific visualization, visual effects, real-time graphics, and narrative shorts.
Applying a technique that seamlessly merges computer-generated and hand-drawn animation techniques, first-time director, John Kahrs, takes the art of animation in a bold new direction with “Paperman”. Using a minimalist black-and-white style, the short film follows the story of a lonely young man in mid-century New York City, whose destiny takes an unexpected turn after a chance meeting with a beautiful woman on his morning commute. In this panel, members of the small, innovative group at Walt Disney Animation Studios that created “Paperman” share their insights about the art, design, and technology of this innovative project.
This workshop presents the affordances of Arduino and high-power LEDs for design and development of light-based projects/installations.
This summary of the pipeline used by Cinesite for "John Carter" demonstrates the technology and tools created for a new, scalable, highly optimized, hybrid approach to stereoscopic conversion blending, depth grading, and 3D geometry techniques in a unified image-processing framework.
Without simulating the surrounding fluid at all, this approach simulates underwater bodies by replacing the usual inertia tensor and scalar mass with the so-called Kirchhoff tensor that models fluid-body interaction. The method can be integrated into existing physics engines for real-time simulations.
This session is for motion capture discussions about current and future events in the industry, and general discussions about the technology used.
Photon-density estimation techniques are a popular choice for simulating light transport in scenes with complicated geometry and materials. This class of algorithms can be used to accurately simulate inter-reflections, caustics, color bleeding, scattering in participating media, and subsurface scattering. Since its introduction, photon-density estimation has been significantly extended in computer graphics with the introduction of: specialized techniques that intelligently modify the positions or bandwidths to reduce visual error using a small number of photons, approaches that eliminate error completely in the limit, and methods that use higher-order samples and queries to reduce error in participating media.
This two-part course explains how to implement all these latest advances in photon-density estimation. It begins with a short introduction using classical photon mapping, but the remainder of the course provides new, hands-on explanations of the latest developments in this area by experts in each technique. Attendees gain concrete and practical understanding of the latest developments in photon-density-estimation techniques that have not been presented before in SIGGRAPH courses.
COURSE SCHEDULE
2 pm
Introduction
Jarosz
2:05 pm
Photon Mapping Basics
Jensen
2:20 pm
Photon Relaxation
Spencer
2:35 pm
Photon Differentials
Frisvad
2:50 pm
Break
2:55 pm
Progressive Photon Mapping: Basics
Hachisuka
3:05 pm
Progressive Photon Mapping: Extensions
Hachisuka
3:20 pm
Probabilistic PPM
3:35 pm
Break
3:40 pm
Participating Media Basics
Jarosz
3:50 pm
Progressive EM
Jakob
4:05 pm
From Photons to Beams
Jarosz
4:20 pm
Break
4:25 pm
Photon Beams in Tangled
Tangled Team
4:40 pm
Photon Mapping in PRMan
Christensen
4:55 pm
Progressive Photon Mapping in LuxRender
Bouchard
5:10 pm
Summary
Hachisuka
The complex, varied hairstyles in Pixar Animation Studios' "Brave" proved to be a unique technical challenge. This talk discusses the tools and techniques developed in production to create realistic and aesthetically pleasing simulations.
The much-anticipated new entry in the iconic Devil May Cry series of videogames, DmC Devil May Cry details Dante’s early years, retaining the stylish action, fluid combat, and self-assured protagonist that have defined the iconic series but injecting a more brutal and visceral edge. In this behind-the-scenes session, the key creatives behind the project discuss the challenges and successes behind the game’s development.
Fifteen student posters are selected for judging at SIGGRAPH 2012. The panel of distinguished judges selects five semi-finalists. The semi-final poster authors present their work to the judges.
A hardware tessellation-based algorithm for rendering Catmull-Clark subdivision surfaces that fully complies with the RenderMan specification. Though considerably more general, the performance of the algorithm is comparable to the best approximating method and considerably faster than Stam's exact method.
A method for efficient simulation od highly detailed dense smoke plumes. By solving vortex-sheet dynamics and coupling them to a coarse simulation, the method directly evaluatesturbulent detail on the visible interface surface.
This talks shows how to generate a volume containing directional ambient-occlusion information from a source mesh in a manner fast enough for run-time use and shows how to apply the results to real-time rendering.
Color transfer was introduced about 10 years ago as a technique to make rendered images look more natural by adjusting their color content on the basis of an example image. Now, color transfer is not a single algorithm but a range of methods and techniques that aim to make one image look more like another, and the technique now has applications far beyond its humble beginnings.
This course helps color-transfer researchers understand where there may be further opportunities for algorithmic improvements, and it helps practitioners in creative industries such as photography, movies, and games understand how to make the most of these algorithms. The course begins with an overview of current techniques, and then presents many examples and comparisons that show when these algorithms are expected to produce their best results in still images and videos. It also shows how to choose appropriate examples to steer the results and reviews applications of color transfer that include making night-time images from day-time images, color correcting stereo pairs, and color matching photographs to stitch pre-processing to panoramas.
COURSE SCHEDULE
3:45 pm
Introduction
Pouli
3:55 pm
Example Methods
Pouli
4:20 pm
User Control
Pouli
4:30 pm
Color Space Statistics
Reinhard
4:45 pm
Applications
Reinhard
5:05 pm
Discussion
All
This talk explores the use of memory colors for image enhancements. The proposed method begins with a context-free perceptual experiment to establish the overall distributions of screen memory colors for three pervasive objects. Then it uses a context-based experiment to locate the most representative memory colors and investigate interactions.
A method to generate a strand-based 3D hair model from a single image. This model enables several interesting applications that were previously challenging, including transferring hairstyles, rendering the original portrait in a novel view, and image-space hair editing.
A system that enables photographers to build thousands of Google Street View experiences for small and medium-sized businesses and other locations using a novel combination of computer-vision algorithms and user-guided optimization.