Each of these three animals has its own unique vision system: compound eyes, motion capture, and fish eye. For living animals, the moment of being eaten may be the most magnificent image, seen only once in an entire life.
{"title":"J'ai vu, une fois, une magnifique image","authors":"Hsiao Sheng Wen","doi":"10.1145/2745234.2746906","DOIUrl":"https://doi.org/10.1145/2745234.2746906","url":null,"abstract":"Each of these three animals has its own unique vision system: compound eyes, motion capture, and fish eye. For living animals, the moment of being eaten may be the most magnificent image, seen only once in an entire life.","PeriodicalId":121109,"journal":{"name":"ACM SIGGRAPH 2015 Computer Animation Festival","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121109085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Industrial Light & Magic presents the visual effects of "Avengers: Age of Ultron".
工业光魔展示了“复仇者联盟:奥创纪元”的视觉效果。
{"title":"Avengers: age of ultron","authors":"Greg Grusby","doi":"10.1145/2745234.2775124","DOIUrl":"https://doi.org/10.1145/2745234.2775124","url":null,"abstract":"Industrial Light & Magic presents the visual effects of \"Avengers: Age of Ultron\".","PeriodicalId":121109,"journal":{"name":"ACM SIGGRAPH 2015 Computer Animation Festival","volume":"09 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127199828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
"Alosis" explores the relationship between man and his natural environment. We observe him living everyday mundane moments, ignoring the consequences his daily routine has on his self-defined world. Isolated from nature and confined in a digitized world, he celebrates his dominance and transcends into a hyperreality, challenging his own existence.
{"title":"Alosis","authors":"G. Cherouvim","doi":"10.1145/2745234.2746775","DOIUrl":"https://doi.org/10.1145/2745234.2746775","url":null,"abstract":"\"Alosis\" explores the relationship between man and his natural environment. We observe him living everyday mundane moments, ignoring the consequences his daily routine has on his self-defined world. Isolated from nature and confined in a digitized world, he celebrates his dominance and transcends into a hyperreality, challenging his own existence.","PeriodicalId":121109,"journal":{"name":"ACM SIGGRAPH 2015 Computer Animation Festival","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122397046","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A visual journey through "Interstellar" includes the film's wormhole, supermassive black hole (Gargantua), Tesseract (four-dimensional space allowing time to be seen as a physical dimension), space vistas (created through onset projection), robots (TARS and CASE), alien worlds populated with giant waves, and landscapes of frozen cloud and ice.
{"title":"Interstellar","authors":"Sarah Harries","doi":"10.1145/2745234.2775116","DOIUrl":"https://doi.org/10.1145/2745234.2775116","url":null,"abstract":"A visual journey through \"Interstellar\" includes the film's wormhole, supermassive black hole (Gargantua), Tesseract (four-dimensional space allowing time to be seen as a physical dimension), space vistas (created through onset projection), robots (TARS and CASE), alien worlds populated with giant waves, and landscapes of frozen cloud and ice.","PeriodicalId":121109,"journal":{"name":"ACM SIGGRAPH 2015 Computer Animation Festival","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122525727","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The rendering and content-creation pipelines from The Order: 1886 were built from the ground up to deliver a seamless, real time experience across both gameplay and cinematics, and achieve a visual fidelity in real-time that is generally more associated with traditionally pre-rendered CG. A key ingredient in delivering on these ambitions was a system of camera-based shot lighting developed for use in shot-locked cinematic sequences, which all used a much more highly directed and polished dynamic lighting setup, tailored precisely to each camera cut. This demonstration shows a cinematic sequence running live on a PlayStation 4 and then unlocks the camera on the debug build to show the same sequence again from the perspective of what is happening behind the scenes, as the engine is rapidly sequencing composed groups of lights from a collection of hundreds and even thousands of dynamic lights in the scene, each tailored exactly to the actor's performance and camera framing in each shot. The end result in the game sequence is a highly polished and cohesive cinematic that seamlessly blends into gameplay and, from the perspective of the debug camera, looks quite ridiculous.
{"title":"Real-time cinematic shot lighting in the order: 1886","authors":"Nathan Phail-Liff","doi":"10.1145/2745234.2790335","DOIUrl":"https://doi.org/10.1145/2745234.2790335","url":null,"abstract":"The rendering and content-creation pipelines from The Order: 1886 were built from the ground up to deliver a seamless, real time experience across both gameplay and cinematics, and achieve a visual fidelity in real-time that is generally more associated with traditionally pre-rendered CG. A key ingredient in delivering on these ambitions was a system of camera-based shot lighting developed for use in shot-locked cinematic sequences, which all used a much more highly directed and polished dynamic lighting setup, tailored precisely to each camera cut. This demonstration shows a cinematic sequence running live on a PlayStation 4 and then unlocks the camera on the debug build to show the same sequence again from the perspective of what is happening behind the scenes, as the engine is rapidly sequencing composed groups of lights from a collection of hundreds and even thousands of dynamic lights in the scene, each tailored exactly to the actor's performance and camera framing in each shot. The end result in the game sequence is a highly polished and cohesive cinematic that seamlessly blends into gameplay and, from the perspective of the debug camera, looks quite ridiculous.","PeriodicalId":121109,"journal":{"name":"ACM SIGGRAPH 2015 Computer Animation Festival","volume":"199 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114431667","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
A cinematic journey featuring the world's greatest cars and trucks. A seamless blend of live action and extensive VFX that embodies the free-driving spirit and exuberant aesthetics of the game. Every car, racetrack, explosion, weather element, complex maneuver, and beautiful environment was recreated in CG without stunt drivers.
{"title":"Xbox, Forza: leave your limits","authors":"E. Ilsley","doi":"10.1145/2745234.2747004","DOIUrl":"https://doi.org/10.1145/2745234.2747004","url":null,"abstract":"A cinematic journey featuring the world's greatest cars and trucks. A seamless blend of live action and extensive VFX that embodies the free-driving spirit and exuberant aesthetics of the game. Every car, racetrack, explosion, weather element, complex maneuver, and beautiful environment was recreated in CG without stunt drivers.","PeriodicalId":121109,"journal":{"name":"ACM SIGGRAPH 2015 Computer Animation Festival","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114507145","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Combining breathtaking landscapes and vivid realism, the VFX team created detailed matte paintings, adding CG beds and embellishments while utilizing innovative filming techniques to capture a lot of the action in-camera, which was then intricately enhanced with VFX.
{"title":"Ikea, \"beds\"","authors":"Alice Arbuthnot","doi":"10.1145/2745234.2746855","DOIUrl":"https://doi.org/10.1145/2745234.2746855","url":null,"abstract":"Combining breathtaking landscapes and vivid realism, the VFX team created detailed matte paintings, adding CG beds and embellishments while utilizing innovative filming techniques to capture a lot of the action in-camera, which was then intricately enhanced with VFX.","PeriodicalId":121109,"journal":{"name":"ACM SIGGRAPH 2015 Computer Animation Festival","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116834623","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Tim Johnson, Vfx Supervisor, M. Ramasubramanian, Jason Reisig, Art Director, Emil Mitev
If you've seen one post-apocalyptic-alien-invasion-buddy-road-movie, you've seen them all, right? Well, forget everything you know about those movie archetypes. In this session, the creative leadership of "HOME" presents how they researched all those genres and then chose a different path by asking: How do you make alien invaders cute and likeable? How can a post-apocalyptic world be fun and friendly? What would make advanced alien technology devastating yet silly? The creative team also explains the complexity behind "simple" alien characters who have six legs and whose look and color were controlled by animation, and challenges with a young girl who uses her constantly changing hairstyles to express her character arc. (Normally, we'd say NO to this, but thanks to new technology ... well, OK.)
{"title":"DreamWorks animation presents \"HOME\": just another post-apocalyptic-alien-invasion-buddy-road movie?","authors":"Tim Johnson, Vfx Supervisor, M. Ramasubramanian, Jason Reisig, Art Director, Emil Mitev","doi":"10.1145/2745234.2773229","DOIUrl":"https://doi.org/10.1145/2745234.2773229","url":null,"abstract":"If you've seen one post-apocalyptic-alien-invasion-buddy-road-movie, you've seen them all, right? Well, forget everything you know about those movie archetypes. In this session, the creative leadership of \"HOME\" presents how they researched all those genres and then chose a different path by asking: How do you make alien invaders cute and likeable? How can a post-apocalyptic world be fun and friendly? What would make advanced alien technology devastating yet silly? The creative team also explains the complexity behind \"simple\" alien characters who have six legs and whose look and color were controlled by animation, and challenges with a young girl who uses her constantly changing hairstyles to express her character arc. (Normally, we'd say NO to this, but thanks to new technology ... well, OK.)","PeriodicalId":121109,"journal":{"name":"ACM SIGGRAPH 2015 Computer Animation Festival","volume":"83 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128643425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Little Scissors is a young girl always dreaming of becoming a space hero. Today is her first day of preschool. Surprisingly, she confronts an alien attack. Will she fight the aliens bravely?
{"title":"First launch","authors":"Wang WeiXiu","doi":"10.1145/2745234.2746867","DOIUrl":"https://doi.org/10.1145/2745234.2746867","url":null,"abstract":"Little Scissors is a young girl always dreaming of becoming a space hero. Today is her first day of preschool. Surprisingly, she confronts an alien attack. Will she fight the aliens bravely?","PeriodicalId":121109,"journal":{"name":"ACM SIGGRAPH 2015 Computer Animation Festival","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129645719","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Teaming up with Greenpeace to help raise awareness of the growing disappearance of honey bees, WOODBLOCK produced and animated this short film with support by Soilfilms.
{"title":"Greenpeace NewBees","authors":"Ilija Brunck","doi":"10.1145/2745234.2746764","DOIUrl":"https://doi.org/10.1145/2745234.2746764","url":null,"abstract":"Teaming up with Greenpeace to help raise awareness of the growing disappearance of honey bees, WOODBLOCK produced and animated this short film with support by Soilfilms.","PeriodicalId":121109,"journal":{"name":"ACM SIGGRAPH 2015 Computer Animation Festival","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-07-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123627517","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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