SIGGRAPH 2013 Calls for Real-Time Live! Content

SIGGRAPH 2013 seeks cutting-edge Real-Time Live! content to be presented as part of this year’s prestigious Computer Animation Festival. Examples of accepted real-time simulations and graphics submissions include:

• Military or industrial simulations
• Interactive animation and graphics
• Research projects
• Computer games
• Real-time art explorations
• Scientific visualizations: medical, astrophysics, astronomy
• Interactive data visualization and information graphics

As long as the submission is interactively controlled, rendered in real time, and repeatable for a live audience, it will be considered. Accepted work is demonstrated live on a PC or game console in front of an audience. The result is an entertaining, informative, and engaging experience.

Check out examples from a previous year in the following video:





“Celebrating its 5th anniversary, Real-Time Live! has grown into a can't miss event at SIGGRAPH and has established itself as the premier annual showcase for the best of the best in interactive real-time graphics,” said Abe Wiley, Real Time Live! Chair from Advanced Micro Devices, Inc. “We hope that this year's content will be more diverse than ever and highly encourage submission from all industries and fields of research."

The Real-Time Live! submission deadline is 5 March 2013. All real-time work will be reviewed by a professional jury of industry experts from traditional computer graphics, video games, and research organizations.

Entries will be judged on creativity, innovation, performance, and most importantly, the ability to render in real time in front of a live audience as part of the Computer Animation Festival. The top selections will be played and demonstrated live on a PC or game console.

View detailed information on how to submit Real-Time Live! content.

SIGGRAPH 2011 Computer Animation Festival: From Game Content to Major Hollywood Films

The SIGGRAPH Computer Animation Festival has a long history of presenting a variety of the world's most innovative, accomplished, and amazing creators of digital gaming, film, and video. The Computer Animation Festival at SIGGRAPH 2011 in Vancouver, 7-11 August 2011, provides a personal viewing experience unlike any other. In addition to film screenings, the Festival includes interactive sessions and exclusive learning opportunities to gain industry secrets and advice from some of the most successful professionals in the field.

“Once again, the content in the Computer Animation Festival offers something of interest to just about everyone – from industry newbies to veterans,” said Joshua Grow, Computer Animation Festival Director from The Creative-Cartel. "The content ranges from commercials to gaming. It is truly the year’s unique opportunity to hear directly from the best in the business. It should prove to be educational and inspirational.”

Listed below are just a few of the learning opportunities during the Computer Animation Festival:

Production Sessions
Production Sessions are high-level discussions that showcase the computer animation and visual effects in some of the Computer Animation Festival's most provocative works. SIGGRAPH 2011 featured Production Sessions include:

The Visual Effects of "Thor" and "Captain America": So Different Yet So Marvel
Marvel Studios devotes great time and effort to deliver great great storytelling, strong visuals, and compelling characters to movie audiences. This session compares the films "Thor" and "Captain America" and shows how visual effects are a critical aesthetic ingredient in their success. Visual effects supervisors Wesley Sewell and Christopher Townsend and their teams from Digital Domain, Double Negative, Whiskytree, Luma Pictures, and Lola VFX review how the films combine beauty and authenticity.

Pixar: "La Luna"
Enrico Casarosa, Pixar Animation Studios
"La Luna" is the timeless fable of a young boy who is coming of age in the most peculiar of circumstances. Tonight is the very first time his Papa and Grandpa are taking him to work. In an old wooden boat, they row far out to sea, and with no land in sight, they stop and wait. A big surprise awaits the little boy as he discovers his family's most unusual line of work. Should he follow the example of his Papa, or his Grandpa? Will he be able to find his own way in the midst of their conflicting opinions and timeworn traditions? Following the Canadian premiere screening of "La Luna", its director, Enrico Casarosa, discusses the journey that led him to create this very personal short and demonstrates the singularly artistic style by which the film was crafted.

DreamWorks Animation: The Yin and Yang of Creating the Final Battle in “Kung Fu Panda 2”
The climax of the CG-animated movie “Kung Fu Panda 2” is an epic battle featuring a flotilla of boats, an ancient Chinese-styled city, thousands of wolves armed for battle, action featuring hundreds of characters in a single shot, stylized graphic lighting, fantastical cannon fire and explosions, and a set of effects-supported Kung Fu moves. This talk provides a unique insight into the making of a CG-animated movie that goes beyond the traditional idealized concept of the pipeline.

Industrial Light & Magic Presents: Getting Dirty: Bringing the Digital Feature “Rango” to Life
This in-depth discussion focuses on the production of Industrial Light & Magic’s first animated feature “Rango”. ILM’s unique approach to the genre brings a new dimension to the animated feature, giving “Rango” the visceral quality that the company is best known for in its visual effects work. The presenters review all aspects of the work from initial asset development through animation, simulation, lighting, and compositing.

Imageworks: The Smurf-alution: A Half-Century of Character Development
Sony Pictures Imageworks animation supervisor Troy Saliba and leading members of their Vancouver animation team take the Smurfs from the most primitive pencil sketch to a contemporary 3D stereo rendering.

Industrial Light & Magic: New Solutions for New Challenges
The Industrial Light & Magic team delves into the effects created for three of 2011’s largest summer films, dissecting the challenges and revealing their solutions. The panel breaks down the visual effects challenges presented on this year’s slate of films including: “Cowboys & Aliens”, “Pirates of the Caribbean: On Stranger Tides”, and “Transformers: Dark of the Moon”.

Guerrilla: The Creation of Killzone 3 - Game Production Session
This talk details various aspects of designing and developing videogames at Guerrilla. It highlights methods that are very similar to methods used in the CGI industry, and it illuminates some of the most important differences. And it covers the complete breadth of videogame development from artistic design to production pipelines and tool and engine development.

Real-Time Live!
This program showcases the latest trends and best techniques for pushing the boundaries of interactive visuals in video games and real-time simulations. To help emphasize the difference between these works and pre-rendered works, real-time pieces are demonstrated live on their actual platforms without any post-production. Each live presentation lasts less than five minutes in a fast-paced, 45-minute show of diverse and aesthetically stimulating work. SIGGRAPH 2011 Real-Time Live! highlights include:

Chrysaora: WebGL Jellyfish Simulation
Savannah College of Art and Design
Chrysaora is a real-time jellyfish simulation created entirely with web technologies such as JavaScript, WebGL, WebSockets, and CSS. It uses realistic rendering and simulation techniques similar to those used in modern 3D video games, but it can run in an internet browser on any operating system.

Enlighten Real-Time Radiosity
Geomerics Ltd.
Using Geomerics Enlighten technology, this demo shows how dynamic real-time lighting enhances game play and visual quality in computer games. Enlighten is a cross-platform, real-time radiosity solution that can generate bounce lighting for a game level in a fraction of a frame.

Samaritan Real-Time Demo
Epic Games Inc.
Samaritan is a real-time demonstration of the latest Unreal Engine 3 technology that shows off DirectX 11 support and DirectX features such as tessellation and displacement mapping, geometry shaders, multi-sampled textures, and Shader Model 5. High-end rendering enhancements include image-based reflections, Bokeh depth of field, subsurface scattering, anti-aliased masked materials, deferred rendering with MSAA support, and high-quality dynamic shadows.

iMedic: Immersive Medical Environment for Distributed Interactive Consultation
Digital Artforms, Inc.
This interactive medical visualization system is based on two hand-held tracked controllers that directly control the position and orientation of two 3D cursors. Button presses enable direct manipulation of space with either or both hands, resulting in intuitive manipulation of the viewpoint. You can place yourself anywhere at any orientation and at any scale with just a few simple gestures.

RealD Presents 3D Day
The Computer Animation Festival also features an entire day highlighting the enormously popular growth of 3D in movies, including an introduction to 3D by 3ality and an excerpt from Disney’s “Lion King” in 3D. SIGGRAPH 2011 3D highlights include:

JURY AWARD
Paths of Hate
Platige Image
Two pilots, driven by blind hate, chase each other in their airplanes and thereby write cryptic messages of madness into the firmament. On their way into the abyss they transform into inhuman and distorted creatures that finally become part of the history of hate.

BEST STUDENT PROJECT PRIZE
Flamingo Pride
The Konrad Wolf Potsdam-Babelsberg Film and Television University
Frustrated being the only straight flamingo in a gay flock, our hero falls in love with a lady stork that flies by. Unable to convince her of his serious intentions he isolates himself and goes through an identity crisis. An intensive encounter inspires him to make a bold move.

IMAX Hubble 3D Visualization Excerpt: Journey Into the Orion Nebula
Space Telescope Science Institute
An excerpt from IMAX “Hubble 3D” takes viewers inside the Orion Nebula to witness the birth of stars and planets. This cinematic scientific visualization, based on data from the Hubble Space Telescope and other observatories, is the result of close collaboration between research astronomers, computer programmers, and visualization artists.

"Green Lantern"
Sony Pictures Imageworks
In a vast universe a small powerful force has existed for centuries. Protectors of peace and justice: the Green Lantern Corps. A new enemy, Parallax, threatens to destroy the balance of power. Their fate and that of Earth lie in the hands of the first human ever selected: Hal Jordan.

SIGGRAPH Gaming Content Revealed: Part Two

Following is the second entry of a three-part series focusing on gaming content that will be featured at SIGGRAPH 2011. This is a conversation between Jason RM Smith (pictured at the right) and ACM SIGGRAPH Chapter Reporter Mariebeth Aquino.

After successfully leading the SIGGRAPH 2010 Real-Time Live! program, Jason RM Smith continues his legacy as Chair and Director for 2011 and 2012. In his life outside SIGGRAPH, he is Digital Production Supervisor at LucasArts San Francisco.

Background details: This year's content features a substantial amount of game development content: game papers, courses, talks (technical, studio, and exhibitor talks), workshops on game development, and technical papers. In addition, game content can be found in the Computer Animation Festival where Real-Time Live! showcases the latest trends and techniques in games. And for those wanting a hands-on experience, the Sandbox provides the ideal environment to test drive the latest in interactive entertainment.
A Conversation with Jason RM Smith, SIGGRAPH 2011 & 2012 Real-Time Live! Director and Chair

What are your responsibilities as Director and Chair of Real-Time Live!?
It’s actually a combination of things which makes the role so interesting.

Firstly, I’m accountable for ensuring Real-Time Live! and the Sandbox are each a success in their own right at SIGGRAPH 2011. Fortunately I get to work alongside a bunch of super smart people who know how to organize an amazing conference, which makes my job much easier.

Secondly, I get to move the two events further forward in terms of placement and understanding as part of SIGGRAPH; they are still both relatively new compared to many other areas of the show so a goal for 2011 was to ground them in their own right, building on the great work established by Evan Hirsch in previous years.

The last major goal was to look to broaden the content (and hopefully the interest) in RTL! Computer Graphics has such a great community it was relatively easy to establish a subcommittee who provided outreach across a wide range of industries and groups that are pushing the boundaries of real-time graphics.

The sub-committee was almost too successful – we ended up with so many strong submissions that deserve to be on stage it was a real challenge to keep the show within its allocated time-slot.

What is the Sandbox? What was the vision behind it and what role does it play at SIGGRAPH?

The vision behind the Sandbox is very straightforward. Real-Time Live! is all about the live presentations from the artists and engineers responsible for the work, and the Sandbox was setup to allow SIGGRAPH attendees to try these projects hands-on, for themselves. (I’m also using it to squeeze in additional content just because there were so many great submissions; be sure to check out the handful of projects in the Sandbox you won’t find anywhere else at the show).
It’s also a really nice change of pace; after a few hours of lectures it’s fun to exercise the physical reflexes a little. Whether you want to race cars or interact with virtual Jellyfish, the Sandbox has something for everyone.
With the rapid evolution and advancements in technologies such as real time rendering, are games using top-notch technologies as impressive to gamers as they are to game developers? Are users more aware or appreciative of what goes on behind the scenes to create their games of choice?
You know, I’m constantly amazed by the number of gamers and communities who are extremely real-time tech savvy just through their interest in the medium. They represent a minority group of players but their depth of knowledge is just incredible.
Looking at the gaming audience in general, I think it’s much more a question of how the technology contributes. If developers’ use breakthroughs to drive a more holistic, compelling experience overall, there is no doubt the work involved is appreciated, even where the exact areas of improvement aren’t obvious to most people playing the game. Ideally, we want to focus 100 percent of the player’s attention to the situation we’re presenting on screen. In many ways, if the technology behind the scenes is obvious or demands attention as an element, then we have failed at delivering the most immersive experience possible.

In-game cinematics temporarily take gamers out of the active play role and place them in a more passive role. With large game development studios placing high importance on the quality of these cinematics, do you foresee a shift towards maintaining player involvement by making these segments more seemingly active?
Yes; there’s no doubt that developers are becoming more comfortable delivering meaningful action and narrative to garner an emotional response from the player using real-time sequences. As this becomes standard, our understanding of cinematics will be challenged as the boundaries between interactive and non-interactive disappear.

As an industry, we’re just beginning to understand how to balance multiple levels of interactivity to deliver a rewarding experience that sits comfortably between storytelling and retaining an immersive experience. The trend has started; it’s interesting to see where it will lead over the next couple of years.
Which is the stronger driving force:
- Video game hardware technology or video game software technology?
- The artist's craft to create video game content or the programmer's knowledge of the latest render technology?
None of them; or all of them. It’s a trap!

What makes a creative industry successful can be broken down or split up into many component pieces, but ultimately the one thing that drives all of those areas is innovation. It’s not always about doing something new, using the same pieces in a new way can be just as progressive, but it’s the underlying creativity that makes the difference, whether affecting one or all of the areas above.