Showing posts with label Disney. Show all posts
Showing posts with label Disney. Show all posts

10 April 2013

SIGGRAPH 2013 Conference Chair Mk Haley Previews the 40th SIGGRAPH Conference

Following is a brief conversation with Mk Haley (pictured below), SIGGRAPH 2013 Conference Chair from Disney Research Labs, who discusses the vision, goals, and team behind SIGGRAPH 2013.

Background on Mk:

Mk Haley, SIGGRAPH 2013 Chair
Photo credit: Jess Allen

Mk Haley is a Research Producer with the Disney Research Labs, having worked with Disney for 19 years across Imagineering, R&D, Television and other groups in a variety of creative, technical, and operations roles. SIGGRAPH 2013 is her 25th Conference as an attendee and volunteer, primarily contributing to student and educational based initiatives and Emerging Technologies.   Mk has also served as Communications Director on the ACM SIGGRAPH Executive Committee and as part of the Education Committee.
 
Having taught part-time at Cal State LA in the Design Dept, UCLA in the School of Theater Film and Television, and Carnegie Mellon University in their Master's of Entertainment Industry Management Program, Mk recently completed a three-year term as Full-time Faculty and The Associate Executive Producer of the Entertainment Technology Center at Carnegie Mellon University, and still serves as adjunct faculty to the program.  She has contributed to books on the creative process with Walt Disney Imagineering, and patented work in the area of user interface.

What is your vision for SIGGRAPH 2013?
For SIGGRAPH 2013 we’re focused on a high-quality experience across the board. Not only the content we present, but also the entire experience involving the conference:  from the submission and review process to the attendee experience.  

The key areas of focus we defined are Community, Service and Delight!  I have worked with the 2013 team of volunteers from the very beginning to consider how to best serve all of our communities. This includes our conference attendees as well as our submitters, jurors, operations teams, and volunteers.  Each of these communities has unique needs and priorities that contribute to SIGGRAPH’s success. Thus, we really focused on tending to as many as we could across the board during the entire process to allow each the best potential to thrive.

This easily leads into the "service' idea.  In what ways can we provide an experience with service as a focus?  If there were ever a question about a venue or creative idea, we could go back to "What best serves the community?" and it’s pretty easy to pick. 

The focus for "Delight" is somewhat difficult to define in words, but you sure know it when you see it.  How is our conference a must-see experience? What experiences or opportunities will you see on-site that just delight and amaze you?  What experiences will make you thrilled you are here?  From training our Student Volunteers with an experienced organizational development and leadership expert to providing the highest level of service to our attendees, and updating our servers to best handle our submission loads, the community will be provided the highest level of delightful service.

Over the past 25 years, you have held various volunteer positions as a SIGGRAPH volunteer, how does this experience as Conference Chair compare?
The Conference Chair experience has an interesting point of view into every single program. You are able to see so many working parts all chugging away at once. It is inspiring to say the least!  I was able to define and select my entire team, which was fun, but  there were so many great people interested in supporting the conference with such a nice range of good ideas that is was a tough choice.  We all bought into the vision right off the bat, so it’s great to see this giant machine headed in the same direction.  It’s also staggering to realize how much work each venue chair and their team has put into each program, and then multiply that by our entire scope.  Amazing!

I don't know if the general public realizes the scale of this entire venture.  That surely was a surprise.  The total number of talented people interested in supporting the conference, anyway they could, with thought provoking and new ideas was a delight!

Editorial note: For a full list of the committee, click here.

What can attendees expect this year?
Attendees can expect a real sense of focus for our venues this year.  Many had specific calls that encouraged a point of view to be expressed in the submission which will result in excellent bodies of work for the attendees to enjoy and get inspired by.  For example, the Emerging Technologies venue has always celebrated and explored a wide range of interactive technologies, from robotics and displays, to sensors and input devices.  This year Dylan Moore, our chair, has encouraged submissions with a focus on "Assistive Technologies". This has encouraged a lot of outreach and consideration to medical devices, educational tools, and other non-traditional communities of research for us.  I am excited to see the results.

Our Art Gallery chair, Victoria Szabo from Duke University, has challenged the submitters to consider scale in her call for the venue titled, XYZN:Scale.  Digital work has the unique opportunity to explore scale, perhaps more readily, and submitters are encouraged to develop and submit work that celebrates, questions, and explores these challenges and opportunities.


What is important to know about Anaheim, California as a host city?


Anaheim is only 30 miles south of downtown Los Angeles, so it is convenient for many of our attendees already located in Southern CA.  SIGGRAPH has not been to Anaheim since 1993, and wow has it changed! 

The convention center had a massive re-design and expansion, with both technology upgrades and thoughtful space design considerations that will really support our goals at the conference. They now have the largest exhibition show floor on the West Coast, and have a focus on easy access to meeting rooms.

There are fantastic meeting spaces, for formal and informal interaction, and gorgeous exterior spaces as well. The local area has also gone through some major expansion, with a second park, Disney's California Adventure, added to the Disneyland Resort, and an upscale dining and retail district developed as well.

All of our conference hotel selections are within walking distance to the convention center, and public ways are all lush and landscaped areas that you will enjoy strolling through.  The city has really collaborated between local services and attractions with their convention and meetings teams to support easy connections across work and play.

How is the SIGGRAPH conference trying to remain relevant?
With the addition and growth of our Mobile and Gaming focus areas, we are really connecting with all of the research, educational, and production areas that our industry is exploding in.  We will also welcome back the recently formed Business Symposium, a forum for the business leaders in our industry to connect and develop a community that supports not only their strategy directly, but also encourages the support of their team members participation in the conference.  With our demographic changing to include both senior leaders in the industry and more attendees who are just beginning their careers, we are actively engaging in social media and other formats that best speak to all of our attendees.


What are some of the things that will be happening at SIGGRAPH 2013 that you are personally most excited about?
 I am very excited about the SIGGRAPH University proposal that our Courses Chair Paul Strauss from Google, Inc., initiated. It has greatly taken off beyond this conference and into other organizational-related concepts.  Paul is working with contributors who are not only subject matter experts, but also have experience in online education. The goal is to present and share a few of our foundation level offerings this year, for free, online, to anyone after the fact. This will start a cycle of our conference extending far beyond the one week, in one particular place.  For example, next year's attendees can prepare themselves with introductory content, and then arrive onsite ready to hit the more advanced topics.

By sharing content our attendees have always shown a high interest in, especially in the forums they are familiar with (in this case our ACM SIGGRAPH YouTube Channel), we can extend our impact and develop relationships with the community that reflect the evolution of technology and educational models.

I am also very excited about the great juries our teams have pulled together, in particular the Computer Animation Festival, chaired by Jason R.M. Smith.  His world class collection of animation masters from around the globe (and each viewing the work from their own lens, simulation, anime, independent, large studios, etc.) will provide our attendees with the best of the best across the board, because there is such diversity in the process.

What changes (if any) should attendees expect this year?


I am thrilled to extend the interaction opportunities for our Exhibitors from the show floor and tech talks to the beloved SIGGRAPH Fast Forward model.  A staple of the technical papers community and a highlight of the conference every year, this fast and fun forum provides a high level sampling of each paper being presented that week.

By inviting our Exhibitors to feature their highlights in a similar forum, a few seconds per presenter, we are connecting our attendees very quickly with information that will help them direct their focus on the show floor and, we are allowing our Exhibitors the opportunity to have the  undivided attention of the attendees. We are also excited to integrate the feedback we received directly from our attendees last year into programs this year.

Our teams turned around the survey data quickly and we are focusing on what our attendees told us was of the highest priority to them, as well as of most interest.  In particular, our attendees will enjoy more hands-on training. Our Studio Chair, Patricia Clark from Arizona State University, is partnering with industry and her subcommittee to offer full slates of workshops that allow us to serve a larger percentage of our audience than we have in the past with directly transferable skill sets.

How do you define SIGGRAPH’s target audience?


Our audience are key stakeholders in the community, those driving research and business forward for the past 40 years.  The respect between our contributors and attendees is mutual, and a fluid relationship that has the target audience moving between attendee and content creator from year to year, or even minute to minute. For the 2013 conference, I am defining our target audience as one that is purposely engaged with each other. From our Educators and Artists, to Researchers, Students, Production Professionals and Business teams, our audiences do not live in silos, they actively engage across disciplines and the end result has been our staple for success from year to year.

What characteristics/backgrounds were you looking for when selecting your 2013 conference committee?
I was looking for a team that had very specific ideas about how they wanted their individual venues to develop  as well as a passion for the conference and organization as  whole. And then I stood back and let them do it!  The team is highly interested in not just their venue or year, but in laying the foundation for ideas that will take a while to fully develop.  They partnered really well with the years on either side of them, for a future bigger than just any one team could pull off.  I was also looking for a diverse set of volunteers who could all contribute from not just their area of subject matter expertise, but also from different communities, life experiences, and history with the conference itself.

Editorial note: to view the committee, click here.

What advice would you give someone who has never been to SIGGRAPH before? 


SIGGRAPH is a glorious amalgamation of high quality content across several slices of the computer graphics and interactive communities. It can be intimidating to try and sort through all the offerings we have.  A plan of action is always your friend.

We will continue to provide suggestions based upon a particular focus area, with our teams poring through all of the accepted content and preparing suggested sessions and content for gaming, animation, research, education, etc.   Often, the most rewarding experiences for our attendees are when they venture off their presumed path.

I highly encourage participation in offerings that may not directly align your areas of interest, these intersections are where our unique magic most often lives.  Also, plan a lot longer for walking from point A to point B than you presume you need, and be prepared to say "Hi!" to strangers.  The intersection of people is one of our highest values, and you want to be sure to allow these intersections and opportunities to thrive. You will be delighted at how easy barriers to conversation and ideation fall away during SIGGRAPH, especially if you go after it.

As an industry expert and long-time SIGGRAPH volunteer, what keeps you professionally motivated? 
I get to work with some really amazing people; smart, fun, inspiring, accomplished, mentors, mentees, from all over the world. It’s a uniquely collaborative culture that allows not just technologies to be shared, but also allows people to easily share their expertise and time with each other.  The thrill of these intersections makes every day motivating, different, and challenges me to give back as much as I have been given.


25 June 2012

SIGGRAPH 2012 Releases Packed Schedule of Production Sessions

SIGGRAPH 2012, 5-9 August at the Los Angeles Convention Center, just released an all-star line-up of production sessions that will be featured as part of its annual Computer Animation Festival, which is open to the public.


“Nowhere else in the world can you get this level of access to elite and talented Hollywood computer graphic experts and creative talent,” said Jerome Solomon, SIGGRAPH 2012 Production Sessions Chair from The Art Institute of California - Sunnyvale. “Having such cooperation from so many major studios could only happen at SIGGRAPH and we are ecstatic to be able to bring our community such incredible content.”


The Computer Animation Festival, chaired this year by Joshua Grow from the Creative-Cartel, is recognized by the Academy of Motion Picture Arts and Sciences as a qualifying festival. Since 1999, several works originally presented in the Computer Animation Festival have been nominated for or have received a "Best Animated Short" Academy Award. This year’s selections will be featured during the Computer Animation Festival through a series of daily Festival Screenings and the iconic Electronic Theater, allowing attendees to get a glimpse behind the making of computer generated effects, visualizations, and animations

Following are the details of the 2012 Production Sessions:

Pixomondo Presents “Hugo”: A Cinematic Convergence of 3D and Visual Effects
Panelists: Ben Grossman, Visual Effects Supervisor, Alex Henning, Digital Effects Supervisor, Adam Watkins, CG Supervisor from Pixomondo, and Matthew Gratzner, Visual Effects Supervisor from New Deal Studios
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 will be New Deal Studios visual effects supervisor, Matthew Gratzner, who was responsible for creating the train crash sequence in the film.

Building Disney•Pixar’s “Brave”: Pencils to Pixels
Panelists: Colin Thompson, Character Shading Supervisor, Tia Kratter, Shading Art Director, Claudia Chung, Simulation Supervisor, and Danielle Feinberg, Director of Photography, Lighting
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.

Sony Pictures Animation: Checking in at “Hotel Transylvania”
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.

Digital Domain Presents “Making the Steel Real: Moving VFX Into Production”
Moderator: Michael Fink, Academy-Award-Winning Visual Effects Supervisor
Panelists: Ron Ames, Associate Producer, Erik Nash, Digital Domain, John Rosengrant, Legacy Effects, Swen Gillberg, Digital Domain and Dan Taylor, Animation Supervisors
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.

Sony Pictures Imageworks: Travel Behind the Scenes of “Men in Black 3”
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”.

Sony Pictures Imageworks: The Untold Story of “The Amazing Spider-Man”
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.

Rhythm & Hues Studios: 25 Years of Art, Technology and People
"Snow White and the Huntsman" ©/ TM Universal Pictures.  Image:  Rhythm & Hues
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.

Industrial Light & Magic Presents: The Visual Effects of “Battleship”
Panelists: Grady Cofer, Visual Effects Supervisor, Glen McIntosh, Animation Supervisor, Willi Geiger, CG Supervisor, Doug Smythe, Digital Production Supervisor from Industrial Light & Magic
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.

Balancing Act: Life as a Visual Effects Supervisor at DreamWorks Animation
Panelists: Ken Bielenberg, “Puss in Boots”, Mahesh Ramasubramanian, “Madagascar 3: Europe’s Most Wanted”, David Prescott, “Rise of the Guardians” (November 2012) and Markus Manninen “The Croods” (March 2013) from DreamWorks Animation

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.

Weta Digital Presents Virtual Production: Combining Animation, Visual Effects, and Live-Action Filmmaking
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.

The Art and Science Behind Walt Disney Animation Studios’ “Paperman”
Moderator: Darrin Butters, Animator
Panelists: John Kahrs, Director, Patrick Osborne, Animation Supervisor, Amol Sathe, Lighting and Compositing Supervisor, Jeff Turley, Art Director, and Brian Whited, Final Line Software
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.

High Frame Rate Cinema, Impacts on Art and Technology With Douglas Trumbull and Dennis Muren
Panelists: Paul Salvini, Christie Digital Systems USA, Inc.; Douglas Trumbull, Filmmaker; Dennis Muren, Industrial Light & Magic; Phil Oatley, Park Road Post Production; Lincoln Wallen, DreamWorks Animation; Jim Beshears, DreamWorks Animation SKG; Darin Grant, Digital Domain; Matthew Cowan, RealD Inc.; Luke Moore, Side Effects Software Inc.; John Helliker, Screen Industries Research and Training Centre
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.

LAIKA's "ParaNorman": The Fusion of Stop Motion and CG  in a Zombie-Ridden World
Panelists: Brian Van't Hul, VFX Supervisor, Steve Emerson, Compositing Supervisor, and Andrew Nawrot, CG and Look Development Supervisor
Get a first-hand, 3D look at LAIKA'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. Academy Award-winner Brian Van't Hul is joined by Steve Emerson and Andrew Nawrot to discuss the collaborative relationship of the technologies in the upcoming feature "ParaNorman" (in theaters August 17).

Assembling the VFX for Marvel’s “The Avengers”
Panelists: Victoria Alonso, Executive Producer and Executive Vice President of Visual Effects & Post Production, Marvel; Jeff White, Visual Effects Supervisor, ILM, Guy Williams, Visual Effects Supervisor, Weta Digital; Marc Chu, Animation Supervisor , ILM; Aaron Gilman Animation Supervisor, Weta Digital

Marvel's “The Avengers” still photo courtesy of Marvel Studios. TM & © 2012 Marvel & Subs. www.marvel.com
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.

24 May 2010

Disney•Pixar Executive Jim Morris Chosen as a SIGGRAPH 2010 Keynote Speaker


(Chicago, IL) – ACM SIGGRAPH announces the selection of Jim Morris, General Manager and Executive Vice President of Production at Pixar Animation Studios, to give one of the keynote presentations at SIGGRAPH 2010, the 37th International Conference and Exhibition on Computer Graphics and Interactive Techniques.

At Pixar since 2005, Morris has worked as a producer and production executive in the motion picture industry for more than 23 years. As part of Pixar’s executive team, he has served as production executive on many of Pixar’s most successful films including “Ratatouiile,” “Up,” and the upcoming “Toy Story 3.” In 2009, he produced Disney•Pixar’s highly acclaimed, “WALL•E,” which won the Oscar for Best Animated Feature and garnered him the Producer of the Year Award in Animated Theatrical Motion Pictures from the Producer’s Guild of America. He is currently producing Disney’s much anticipated “John Carter of Mars,” which is scheduled for release in 2012.

“As an industry leader and visionary, Jim’s keynote will be one of many ‘can’t miss’ moments of SIGGRAPH 2010,” said Terrence Masson, SIGGRAPH 2010 Conference Chair from Northeastern University. “His contributions over the years have moved the industry forward in ways we never imagined. His impact will be felt for decades to come. With his breadth and depth of experiences, he truly is the epitome of this year’s underlying focus of the ‘People Behind the Pixels.’”

Prior to Pixar, Morris worked for Lucasfilm and its divisions for 17 years. He served as president of Lucas Digital Ltd. for 11 years, where he was responsible for Industrial Light & Magic (ILM), Lucasfilm Animation, and Skywalker Sound. At that time, Morris served as ILM's general manager, where he supervised a staff of more than 1,400 artists and technicians, and guided the largest visual effects facility in the entertainment industry. Under Morris’ leadership, ILM created the groundbreaking and Academy Award®-winning visual effects seen in “Jurassic Park,” “Death Becomes Her,” “Forrest Gump,” and more than 150 other films.

Morris had previously supervised all of ILM’s production, including “Terminator 2: Judgment Day,” which won an Oscar for Best Achievement in Visual Effects, “Hook,” “Star Trek VI,” “The Rocketeer,” “Backdraft,” “Die Hard 2,” and dozens of other successful film projects.

Morris first joined ILM in 1987 as a producer of visual effects for films and commercials. Among other films, Morris produced effects for James Cameron’s “The Abyss,” which also earned an Academy Award® for Best Achievement in Visual Effects, and Steven Spielberg’s “Always.”

Morris earned a B.S. degree in film from the Newhouse School, Syracuse University, and holds a M.S. in television and radio from the same institution. He has served as president of the San Francisco Film Commission and was the founding chair of the Visual Effects Society (VES). Morris is a member of the Academy of Motion Picture Arts and Sciences and the Producers Guild.

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About SIGGRAPH 2010
SIGGRAPH 2010 will bring approximately 25,000 computer graphics and interactive technology professionals from six continents to Los Angeles, California, USA for the industry's most respected technical and creative programs focusing on research, science, art, animation, music, gaming, interactivity, education, and the web from Sunday, 25 July through Thursday, 29 July 2010 at the Los Angeles Convention Center. SIGGRAPH 2010 includes a three-day exhibition of products and services from the computer graphics and interactive marketplace from 27-29 July 2010. More than 200 international exhibiting companies are expected. More details are available at www.siggraph.org/s2010

About ACM SIGGRAPH
The ACM Special Interest Group on Computer Graphics and Interactive Techniques www.siggraph.org is an interdisciplinary community interested in research, technology, and applications in computer graphics and interactive techniques. Members include researchers, developers and users from the technical, academic, business, and art communities. ACM SIGGRAPH enriches the computer graphics and interactive techniques community year-round through its conferences, global network of professional and student chapters, publications, and educational activities.

About ACM
ACM, the Association for Computing Machinery www.acm.org is the world's largest educational and scientific computing society, uniting educators, researchers and professionals to inspire dialogue, share resources and address the field's challenges. ACM strengthens the computing profession's collective voice through strong leadership, promotion of the highest standards, and recognition of technical excellence. ACM supports the professional growth of its members by providing opportunities for life-long learning, career development, and professional networking.