{"title":"How VR changes the sense of ourselves & reality","authors":"Kent Bye","doi":"10.1145/3084363.3107959","DOIUrl":"https://doi.org/10.1145/3084363.3107959","url":null,"abstract":"","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"190 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123387556","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}
We present a technique to importance sample large collections of lights. A bounding volume hierarchy over all lights is traversed at each shading point using a single random number in a way that importance samples their predicted contribution. We further improve the performance of the algorithm by forcing splitting until the importance of a cluster is sufficiently representative of its contents.
{"title":"Importance sampling of many lights with adaptive tree splitting","authors":"Alejandro Conty Estevez, Christopher D. Kulla","doi":"10.1145/3084363.3085028","DOIUrl":"https://doi.org/10.1145/3084363.3085028","url":null,"abstract":"We present a technique to importance sample large collections of lights. A bounding volume hierarchy over all lights is traversed at each shading point using a single random number in a way that importance samples their predicted contribution. We further improve the performance of the algorithm by forcing splitting until the importance of a cluster is sufficiently representative of its contents.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"57 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124880054","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}
D. Bergel, C. Dibble, Pauline Koh, James Pearson, Hannes Ricklefs
Disney's The Jungle Book required MPC to deliver work of an unprecedented visual complexity and quality. To enable Disney to fully realise their creative vision, MPC wanted to ensure it had burst compute capacity available through flexible and scalable cloud based resources. The major technical challenge was to provide this burst capacity whilst meeting the strict security requirements of our client, something which had not previously been achieved for a production of this scale or sensitivity. The project needed dedicated resources across Technology, Operations and Production to holistically capture and address everyone's requirements and process constraints. Across all these domains the project was considered a huge success. This talk presents the key challenges faced including a technical overview of the architecture, the essential management tools, and the interaction with production from identifying appropriate job types to effective utilisation of these virtual resources.
{"title":"Cloudy with a chance of rendering","authors":"D. Bergel, C. Dibble, Pauline Koh, James Pearson, Hannes Ricklefs","doi":"10.1145/3084363.3085041","DOIUrl":"https://doi.org/10.1145/3084363.3085041","url":null,"abstract":"Disney's The Jungle Book required MPC to deliver work of an unprecedented visual complexity and quality. To enable Disney to fully realise their creative vision, MPC wanted to ensure it had burst compute capacity available through flexible and scalable cloud based resources. The major technical challenge was to provide this burst capacity whilst meeting the strict security requirements of our client, something which had not previously been achieved for a production of this scale or sensitivity. The project needed dedicated resources across Technology, Operations and Production to holistically capture and address everyone's requirements and process constraints. Across all these domains the project was considered a huge success. This talk presents the key challenges faced including a technical overview of the architecture, the essential management tools, and the interaction with production from identifying appropriate job types to effective utilisation of these virtual resources.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129257894","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}
Modern RGB-D sensors are widely used for indoor 3D capture, with applications ranging from modeling to robotics, through gaming. Nevertheless, their use is limited by their low resolution, with frames often corrupted with noise, missing data and temporal inconsistencies. In order to cope with all these issues, we present Proxy Clouds, a multiplanar superstructure for unified real-time processing of RGB-D data. By generating and updating through time a single set of rich statistics parameterized over planar proxies from raw RGB-D data, several processing primitives can be applied to improve the quality of the RGB-D stream on-the-fly or lighten further operations. We illustrate the use of Proxy Clouds on several applications, including noise and temporal flickering removal, hole filling, resampling, color processing and compression. We present experiments performed with our framework in indoor scenes of different natures captured with a consumer depth sensor.
{"title":"Proxy clouds for RGB-D stream processing: an insight","authors":"Adrien Kaiser, J. A. Zepeda, T. Boubekeur","doi":"10.1145/3084363.3085031","DOIUrl":"https://doi.org/10.1145/3084363.3085031","url":null,"abstract":"Modern RGB-D sensors are widely used for indoor 3D capture, with applications ranging from modeling to robotics, through gaming. Nevertheless, their use is limited by their low resolution, with frames often corrupted with noise, missing data and temporal inconsistencies. In order to cope with all these issues, we present Proxy Clouds, a multiplanar superstructure for unified real-time processing of RGB-D data. By generating and updating through time a single set of rich statistics parameterized over planar proxies from raw RGB-D data, several processing primitives can be applied to improve the quality of the RGB-D stream on-the-fly or lighten further operations. We illustrate the use of Proxy Clouds on several applications, including noise and temporal flickering removal, hole filling, resampling, color processing and compression. We present experiments performed with our framework in indoor scenes of different natures captured with a consumer depth sensor.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129314743","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}
For "Cosmos Laundromat" - CAF 2016 Jury Award winner - the Blender team, headed by CG pioneer and producer Ton Roosendaal, developed and used a complete open source creation pipeline. The team released several other shorts since then, including a 360-degrees VR experience and a pitch for the feature animation film "Agent 327". Developing and sharing open source technologies is a great challenge, and leads to great benefits for the small and medium animation studios.
{"title":"Beyond \"cosmos laundromat\": blender's open source studio pipeline","authors":"Ton Roosendaal, Francesco Siddi","doi":"10.1145/3084363.3085159","DOIUrl":"https://doi.org/10.1145/3084363.3085159","url":null,"abstract":"For \"Cosmos Laundromat\" - CAF 2016 Jury Award winner - the Blender team, headed by CG pioneer and producer Ton Roosendaal, developed and used a complete open source creation pipeline. The team released several other shorts since then, including a 360-degrees VR experience and a pitch for the feature animation film \"Agent 327\". Developing and sharing open source technologies is a great challenge, and leads to great benefits for the small and medium animation studios.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132012064","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}
For Pirates of the Caribbean: Dead Men Tell no Tales MPC faced the creative challenge to produce highly believable ocean and water effects interacting with full-CG ships and characters. This included pirate ships emerging from the bottom of the sea, a parting ocean giving space to an enormous three dimensional set, and a model ship in a bottle containing a full-sized ocean. The varied scale and nature of these effects required us to rethink our simulation techniques and toolset. In this talk we present our approaches to animate, simulate and render these using our newly developed ocean toolkit and tighter integration of Autodesk Bifrost and SideFX Houdini into our FX and rendering pipeline.
{"title":"The water effects of Pirates of the Caribbean: Dead Men Tell no Tales","authors":"R. Hopper, Kai Wolter","doi":"10.1145/3084363.3085044","DOIUrl":"https://doi.org/10.1145/3084363.3085044","url":null,"abstract":"For Pirates of the Caribbean: Dead Men Tell no Tales MPC faced the creative challenge to produce highly believable ocean and water effects interacting with full-CG ships and characters. This included pirate ships emerging from the bottom of the sea, a parting ocean giving space to an enormous three dimensional set, and a model ship in a bottle containing a full-sized ocean. The varied scale and nature of these effects required us to rethink our simulation techniques and toolset. In this talk we present our approaches to animate, simulate and render these using our newly developed ocean toolkit and tighter integration of Autodesk Bifrost and SideFX Houdini into our FX and rendering pipeline.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127074061","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}
We used two different solutions for generating crashing waves for more than 40 shots in Moana. Our profile curve based wave deformer was developed and used for art-directed design of shapes, motion, and composition of running and crashing waves. In contrast to previously developed wave deformers, we designed a cross section shape animation by providing a series of profile curves which represented the animation keys. These profile curves could be hand plotted curves or mathematically calculated changing profiles, which means any kind of choreographic touch could be applied for designing the wave shapes. We could design multiple crashing waves for huge scale tsunami scenes and we could art direct the timing and composition of the waves which would fit well with the character animation and camera works. For scenarios demanding more realism, motion complexity and physical accuracy, we adopted a fully simulated approach. Our APIC-based fluid solver [Jiang et al. 2015] was equipped with control mechanisms allowing us to precisely choreograph the motion of breaking waves to the needs of a specific shot. Though more expensive than procedural approaches, this solution was much more preferable for "hero" shots with close up interaction with boats and characters.
在《莫阿纳》中，我们使用了两种不同的解决方案来产生40多个镜头的撞击波。我们的基于轮廓曲线的波浪变形器被开发并用于以艺术为导向的形状设计，运动，以及运行和碰撞波的组成。与之前开发的波浪变形器不同，我们通过提供一系列代表动画键的轮廓曲线来设计横截面形状动画。这些轮廓曲线可以是手工绘制的曲线，也可以是数学计算的变化轮廓，这意味着任何一种编排的触摸都可以用于设计波浪的形状。我们可以为大规模的海啸场景设计多个海浪，我们可以艺术指导海浪的时间和构图，这将非常适合角色动画和镜头作品。对于需要更多真实感、运动复杂性和物理准确性的场景，我们采用了完全模拟的方法。我们基于apic的流体求解器[Jiang et al. 2015]配备了控制机制，使我们能够精确地编排破碎波的运动，以满足特定镜头的需要。尽管比程序方法更昂贵，但这种解决方案更适合与船只和角色进行近距离互动的“英雄”镜头。
{"title":"Moana: crashing waves","authors":"D. Byun, A. Stomakhin","doi":"10.1145/3084363.3085056","DOIUrl":"https://doi.org/10.1145/3084363.3085056","url":null,"abstract":"We used two different solutions for generating crashing waves for more than 40 shots in Moana. Our profile curve based wave deformer was developed and used for art-directed design of shapes, motion, and composition of running and crashing waves. In contrast to previously developed wave deformers, we designed a cross section shape animation by providing a series of profile curves which represented the animation keys. These profile curves could be hand plotted curves or mathematically calculated changing profiles, which means any kind of choreographic touch could be applied for designing the wave shapes. We could design multiple crashing waves for huge scale tsunami scenes and we could art direct the timing and composition of the waves which would fit well with the character animation and camera works. For scenarios demanding more realism, motion complexity and physical accuracy, we adopted a fully simulated approach. Our APIC-based fluid solver [Jiang et al. 2015] was equipped with control mechanisms allowing us to precisely choreograph the motion of breaking waves to the needs of a specific shot. Though more expensive than procedural approaches, this solution was much more preferable for \"hero\" shots with close up interaction with boats and characters.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"74 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127174688","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}
Adaptive designs and intelligent spaces are in the forefront of the current architectural and product design discourse. They engage users in interactive dialogue, allow for public domain authoring, and are critical factors in sustainable designs where buildings monitor their own performance and respond to environmental factors or user needs (figure 1).
{"title":"Programmable buildings: architecture as an interaction interface powered with programmable matter","authors":"A. Zarzycki, Martina Decker","doi":"10.1145/3084363.3085164","DOIUrl":"https://doi.org/10.1145/3084363.3085164","url":null,"abstract":"Adaptive designs and intelligent spaces are in the forefront of the current architectural and product design discourse. They engage users in interactive dialogue, allow for public domain authoring, and are critical factors in sustainable designs where buildings monitor their own performance and respond to environmental factors or user needs (figure 1).","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"162 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121299693","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}
Presented are two novel approaches to visualizing both internal and external anatomy of the heart through the cardiac cycle. The first uses "windows" manually cut through each chamber of a virtual heart model. The use of windows allows for internal and external views simultaneously while showing the varying thickness of the ventricular walls through the cardiac cycle. Internal structures such as both semilunar valves, both AV valves, chordae tendineae, and papillary muscles are kept intact and can be visualized in motion. The second approach is a rigging and control system that allows for independent rotation directions for the base, midpoint and apex of each ventricle both internally and externally, allowing for a more accurate wringing motion.
{"title":"Two novel approaches to visualizing internal and external anatomy of the cardiac cycle with a windowed virtual heart model","authors":"D. Mauriello, Jason Kirk, Jeremy Fernsler","doi":"10.1145/3084363.3085084","DOIUrl":"https://doi.org/10.1145/3084363.3085084","url":null,"abstract":"Presented are two novel approaches to visualizing both internal and external anatomy of the heart through the cardiac cycle. The first uses \"windows\" manually cut through each chamber of a virtual heart model. The use of windows allows for internal and external views simultaneously while showing the varying thickness of the ventricular walls through the cardiac cycle. Internal structures such as both semilunar valves, both AV valves, chordae tendineae, and papillary muscles are kept intact and can be visualized in motion. The second approach is a rigging and control system that allows for independent rotation directions for the base, midpoint and apex of each ventricle both internally and externally, allowing for a more accurate wringing motion.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124094609","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}
Sprout is our proprietary Maya-based tool for hand-dressing digital environments with large quantities of high-resolution assets like trees, plants and rocks. It was developed at Sony Picture Imageworks (SPI) to address the need for an interactive artist-friendly tool that was fully integrated into SPIfis existing pipeline. Prior to the development of Sprout, environment dressing at SPI was done primarily in Houdini or procedurally at render-time and was thus the province of FX TDs. In Sprout, artists can load any asset and quickly fipaintfi instances onto any other geometry using a brush paradigm familiar to anyone who has used Photoshop. Sophisticated lightweight OpenGL representations keep performance nimble, and all instances remain fully editable by the artist to allow for highly art-directed environment dressing. Sprout has made environment dressing at SPI available to a larger variety of artists, being leveraged most recently for photoreal jungle environments for an upcoming VFX motion picture as shown in Figure 1.
{"title":"Interactive environment creation with sprout","authors":"Daniela Hasenbring, Jeremy Hoey","doi":"10.1145/3084363.3085046","DOIUrl":"https://doi.org/10.1145/3084363.3085046","url":null,"abstract":"Sprout is our proprietary Maya-based tool for hand-dressing digital environments with large quantities of high-resolution assets like trees, plants and rocks. It was developed at Sony Picture Imageworks (SPI) to address the need for an interactive artist-friendly tool that was fully integrated into SPIfis existing pipeline. Prior to the development of Sprout, environment dressing at SPI was done primarily in Houdini or procedurally at render-time and was thus the province of FX TDs. In Sprout, artists can load any asset and quickly fipaintfi instances onto any other geometry using a brush paradigm familiar to anyone who has used Photoshop. Sophisticated lightweight OpenGL representations keep performance nimble, and all instances remain fully editable by the artist to allow for highly art-directed environment dressing. Sprout has made environment dressing at SPI available to a larger variety of artists, being leveraged most recently for photoreal jungle environments for an upcoming VFX motion picture as shown in Figure 1.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"92 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117294750","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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