Showing posts with label Real-Time. Show all posts
Showing posts with label Real-Time. Show all posts

12 July 2013

SIGGRAPH 2013 Announces Evening Experiences

A typical SIGGRAPH conference day never ends at 5pm. Anaheim at dusk pictured above.
So..... planning to rest in the evening after a mad day of SIGGRAPH-awesomeness?  Not bloody likely!  SIGGRAPH has expanded its evening offerings to keep your conference value growing and pack even more into an already incredible experience.

Announcing the SIGGRAPH Evening Experiences for 2013:

Technical Papers Fast Forward
Sunday, 21 July, 6-8 pm, Hall A
 #siggraph #techpapers
Entertaining 30-second summaries of the world’s most advanced research in computer graphics and interactive techniques, including super-realistic depictions of complex phenomena, futuristic 3D printing technologies, and real-time navigation of medical and scientific data. Authors entice attendees to hear their complete paper presentations later in the week.

Registration Level:
F Full Conference
S Select Conference

Computer Animation Festival
Monday, 22 July-Wednesday, 24 July, 6-8 pm, Arena
Thursday, 25 July, 10:45 pm-12:30 am, Arena
#siggraph #caf
An eclectic mix of this year’s finest achievements in animation, visual effects, and visualization. The Computer Animation Festival 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.

Registration Level:
F Full Conference
S Select Conference

Real-Time Live!
Tuesday, 23 July, 5:30-7 pm, Hall A
#siggraph #realtime
Powerful demos of extremely complex, interactive, real-time sequences from games and scientific visualizations, created by Beautypi; Epic Games, Inc.; NVIDIA Corporation; Square Enix Co., Ltd; Unity Technologies, and others. Each demo is presented live on a computer or game console by the artists, engineers, designers, and technical directors who developed the project.

Registration Level:
F Full Conference
S Select Conference

Dailies
Wednesday, 24 July, 6-8 pm, Room 304 A-D
#siggraph #dailies
Animators share their recent achievements, frustrations, creative breakthroughs, and technical solutions in an evening of 45 fascinating, 90-second, behind-the-scene stories about the production process at major studios (including Blizzard Entertainment, DreamWorks Animation, Naughty Dog Inc., Pixar Animation Studios, Tippett Studio) and academic labs.

Registration Level:
F Full Conference
S Select Conference

SPECIAL EVENTS:


Characterized@SIGGRAPH
Tuesday, 23 July, 8-10 pm, Hall A
Cut&Paste brings the CHARACTERIZED Tour to SIGGRAPH 2013. Presented by HP, CHARACTERIZED @ SIGGRAPH is a design competition focused on character creation, technique, and intent. Three teams throw down in rapid, live onstage rounds, revealing their digital design process and original character artistry. It's a dynamic mashup of character designers in Cut&Paste's experimental team format.

Registration Level:
F Full Conference
S Select Conference
E+ Exhibits Plus

SIGGRAPH After Dark
Wednesday, 24 July, 8-12:30 am, Grand Plaza
Famous movies in the Grand Plaza at SIGGRAPH? Fabulous idea!
Two blockbuster films, "Toy Story" and "Jurassic Park", in an after-dark film show on a giant outdoor screen is a great way to end your day at SIGGRAPH 2013. Visual treats, audience participation, and good conversation with friends old and new.

Open to All

27 June 2013

Updated Real-Time Live! Preview Video Released


The preview video for the SIGGRAPH Real-Time Live! content was just released and is available above.  The program is the premier 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.

"Celebrating its 5th Anniversary, Real-Time Live! 2013 is a can't miss, one night only event at SIGGRAPH," said Abe Wiley, Real-Time Live! Chair from AMD. "This year's show is as diverse as ever and attendees will have their minds blown by live, interactive demonstrations of  the latest advancements in photorealistic facial animation, medical visualization, crowd simulation, hair rendering, massive destruction, real-time cinematics, and more!"

Each live presentation lasts less than 10 minutes, and is presented by the artists and engineers who produced the work.

For even more details, click here.

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.


18 July 2012

SIGGRAPH 2012 Game Industry Content Summary Guide

The following is a roundup of all content at SIGGRAPH 2012 originating from the game industry as compiled by Naty Hoffman, SIGGRAPH 2012 Games Chair and Technical Director for Activision.

Introduction:

This post lists all the content at SIGGRAPH 2012 originating from the game industry; note that in addition to the sessions on this list, SIGGRAPH 2012 also includes many relevant presentations from other industries (animation, VFX people, research, software and hardware vendors, etc.).

 

Summaries:

SIGGRAPH 2012 will feature content from 33 game development studios and industry R&D groups:
  • Activision Studio Central
  • Avalanche Studios
  • Bioware Austin
  • Bungie
  • CCP
  • Crytek
  • DICE
  • DONTNOD Entertainment
  • Double Fine Productions
  • EA Canada
  • Epic Games
  • Firaxis
  • Gobo Games
  • Guerrilla Games
  • High Moon Studios
  • Id Software
  • Limbic Software
  • LucasArts
  • Maxis
  • Microsoft Studios User Research Lab
  • Naughty Dog
  • NetherRealm Studios
  • Ninja Theory
  • Petroglyph Games
  • Project Soul/Namco Bandai Games
  • Q-Games
  • Relic Entertainment
  • SCEA R&D
  • Square Enix Research
  • tri-Ace
  • Ubisoft Montreal
  • Valve
  • Vicarious Visions

This content will cover 20 game titles:
  • ADRIFT
  • Civilization V
  • DmC Devil May Cry
  • DOTA 2
  • Dust 514
  • End of Nations
  • Far Cry 3
  • Just Cause 2
  • Killzone 3
  • Mortal Kombat
  • Once Upon A Monster
  • Pixeljunk 4AM
  • Rage
  • SimCity
  • Soulcalibur 5
  • SSX
  • Star Wars 1313
  • Star Wars: The OId Republic
  • Uncharted 3
  • Warhammer 40,000: Space Marine
  • Plus content will cover game engines and various industry R&D projects

The lists below break out the game industry presentations by conference program.  Each session lists the participating game development studios and any specific games covered.

Courses

  • Advances in Real-Time Rendering in Games Part I and Part II: Bungie, CCP (Dust 514), Epic Games, Ubisoft Montreal, Firaxis (Civilization V), Vicarious Visions, Gobo Games
  • Beyond Programmable Shading: DICE
  • Character Rigging, Deformations, and Simulations in Film and Game Production: Bioware Austin (Star Wars: The Old Republic)
  • Efficient Real-Time Shadows: Guerrilla Games (Killzone 3)
  • Virtual Texturing in Software and Hardware: Id Software (Rage)
  • Practical Physically-Based Shading in Film and Game Production: Ubisoft Montreal (Far Cry 3), Activision Studio Central, tri-Ace

 

Talks

  • Furry, Floppy, Fuzzy: Once Upon a Monster's Fur Pipeline: Double Fine Productions (Once Upon a Monster)
  • What If Earth was Flat - Building Globe UI of SSX: EA Canada (SSX)
  • From a Calm Puddle to a Stormy Ocean - Rendering Water in Uncharted: Naughty Dog (Uncharted 3)
  • Adaptive Level-of-Detail System for "End of Nations": Petroglyph Games (End of Nations)
  • Screen Space Decals in Warhammer 40,000: Space Marine: Relic Entertainment (Warhammer 40,000: Space Marine)
  • Asking the Impossible on SSX: Creating 300 tracks on a ten-track budget: EA Canada (SSX)
  • Fast Generation of Directional Occlusion Volumes: Maxis (SimCity)
  • Local Image-based Lighting with Parallax-corrected Cubemaps: DONTNOD Entertainment (ADRIFT)
  • Creating Vast Game Worlds - Experiences from Avalanche Studios: Avalanche Studios (Just Cause 2)
  • Character Customization of Soulcalibur 5 In-Depth: Project Soul/Namco Bandai Games (Soulcalibur 5)

 

Technical Papers

  • Theory, Analysis, and Applications of 2D Global Illumination: Limbic Software

 

Panels

  • The Battle for Motion-Controlled Gaming and Beyond: Microsoft Studios User Research Lab, SCEA R&D
  • Virtual Production Branches Out: High Moon Studios

 

SIGGRAPH Dailies!

  • Mortal Kombat Morphing: NetherRealm Studios (Mortal Kombat)
  • Pixeljunk Space Odyssey: Q-Games (Pixeljunk 4AM)

 

Computer Animation Festival

Screenings (Daytime Selects)
  • DOTA 2 Teaser: Valve (DOTA 2)
  • Ninja Theory presents DmC Devil May Cry: Breathing Life into Video Games: Ninja Theory (DmC Devil May Cry)
  • Luminous Studio Tech Demo: Square Enix Research
  • Uncharted 3 Visual Effects: Naughty Dog (Uncharted 3)
  • Star Wars 1313: LucasArts (Star Wars 1313)
  • Unreal Engine 4 Elemental: Epic Games

 

The Studio

  • Film/Game Convergence: What's Taking So Long?: Crytek
  • Creating Vast Game Worlds - Experiences from Avalanche Studios: Avalanche Studios (Just Cause 2)
  • Python Scripting in Maya: Crytek
  • MaxScript for Artists: Crytek
  • VFX for Games: Pre-Baked Destruction: Crytek
  • Building a Game Level: Crytek
  • VFX for Games: Particle Effects: Crytek

19 July 2011

SIGGRAPH 2011 Game Industry Content Summary

The following is a roundup of all content at SIGGRAPH 2011 originating from the game industry as compiled by Naty Hoffman, SIGGRAPH 2011 Game Development Community Director from Activision Studio Central.

From Naty, "Please note that this content originating from the game industry is not the same as 'content of interest to game developers', which is a much larger set. Also note that I have taken a fairly strict definition of “game industry” - basically a studio that develops games, or a research group belonging to a game publisher."

SIGGRAPH 2011 has content from 30 game development studios:
  • Advanced Technology Group (Sony Computer Entertainment Europe)
  • Avalanche Software (Disney Interactive Studios)
  • Avalanche Studios
  • Black Rock Studio (Disney Interactive Studios)
  • Blizzard
  • Bungie
  • CCP Games Iceland
  • CCP Games Newcastle
  • Criterion Games (Electronic Arts)
  • Crytek
  • Disney Interactive Research
  • Double Fine
  • Electronic Arts Black Box
  • Electronic Arts Canada
  • Electronic Arts Montréal
  • Electronic Arts Tiburon
  • Epic Games
  • Evolution Studios (Sony Computer Entertainment)
  • Frontier Developments
  • Guerrilla Games (Sony Computer Entertainment)
  • Kalloc Studios
  • LucasArts
  • Media Molecule (Sony Computer Entertainment)
  • NetherRealm Studios (Warner Bros. Interactive Entertainment)
  • Q-Games
  • Remedy Entertainment
  • SCE Santa Monica Studio
  • Treyarch (Activision Blizzard)
  • Ubisoft Montpellier
  • Valve
Please note: If the studio is owned by a publisher and it’s not clear from the studio name which (for example, “SCE” = “Sony Computer Entertainment”), then the publisher’s name is listed in parenthesis. Publisher-owned central R&D groups are listed as studios. When the work described was done at a previous place of employment of the author or presenter, that place of employment is listed instead of their current affiliation.

SIGGRAPH 2011 game industry content covers 25 games titles:
  • Alan Wake
  • Battlefield 3
  • Call of Duty: Black Ops
  • Costume Quest
  • Cars 2: The Video Game
  • Crysis 2
  • EA Sports MMA
  • EVE Online
  • From Dust
  • God of War III
  • Halo: Reach
  • Killzone 3
  • Kinectimals
  • LittleBigPlanet 2
  • Left 4 Dead 2
  • Mortal Kombat
  • Motorstorm Apocalypse
  • Need for Speed: Hot Pursuit
  • Need for Speed the Run
  • PixelJunk Shooter 2
  • Portal 2
  • Split/Second
  • Star Wars: The Force Unleashed 2
  • The Saboteur
  • World of Warcraft
The lists below break out all the game industry content by program. First the title of the content (course/talk/paper etc.) is listed, then the studio name (as in the studio list above), and finally (in parenthesis) the game title which the content is focused on. If the content is not focused on any specific game title, (#) is used.

Courses:
  • Advances in Real-Time Rendering in Games Part I: Bungie (Halo: Reach), Avalanche Software/Disney Interactive Studios (Cars 2: The Video Game), Crytek (Crysis 2), Media Molecule/Sony Computer Entertainment (LittleBigPlanet 2)
  • Advances in Real-Time Rendering in Games Part II: Electronic Arts Montréal* (Battlefield 3), Electronic Arts Black Box (Need for Speed the Run), Treyarch/Activision (Call of Duty: Black Ops), CCP Games Newcastle (#), SCE Santa Monica Studio (God of War III), Electronic Arts Canada (#)
  • Filtering Approaches for Real-Time Anti-Aliasing: Double Fine (Costume Quest), SCE Santa Monica Studio (God of War III), Advanced Technology Group/Sony Computer Entertainment Europe (#), Kalloc Studios (The Saboteur), CCP Games Newcastle (#), Avalanche Studios (#), LucasArts (Star Wars: The Force Unleashed 2), Crytek (Crysis 2)
  • Beyond Programmable Shading Part I: Disney Interactive Research (#)
  • Character Rigging, Deformations, and Simulations in Film and Game Production: Electronic Arts Canada (#)
  • Destruction and Dynamics for Film and Game Production: Avalanche Software/Disney Interactive (#)
* - Presenter is from Electronic Arts Montréal, but Battlefield 3 was developed by DICE.


Talks:
  • Making Faces: Eve Online’s New Portrait Rendering: CCP Games Iceland (EVE Online)
  • MotorStorm Apocalypse: Creating Urban Off-Road Racing: Evolution Studios/Sony Computer Entertainment (Motorstorm Apocalypse)
  • Spherical Skinning With Dual Quaternions and QTangents: Crytek (Crysis 2)
  • Rendering the Interactive Dynamic Natural World of the Game: From Dust: Ubisoft Montpellier (From Dust)
  • Deferred Shading Techniques Using Frostbite in Need for Speed The Run: Electronic Arts Black Box (Need for Speed: The Run)
  • Animation Workflow in Killzone 3: A Fast Facial Retargeting System for Game Characters: Guerrilla Games/Sony Computer Entertainment (Killzone 3)
  • Occlusion Culling in Alan Wake: Remedy Entertainment (Alan Wake)
  • Increasing Scene Complexity: Distributed Vectorized View Culling: Electronic Arts Black Box (Need for Speed: The Run)
  • Practical Occlusion Culling in Killzone 3: Guerrilla Games/Sony Computer Entertainment (Killzone 3)
  • High-Quality Previewing of Shading and Lighting for Killzone 3: Guerrilla Games/Sony Computer Entertainment (Killzone 3)
  • Run-Time Implementation of Modular Radiance Transfer: Disney Interactive Research (Split/Second)
  • Fluid Dynamics and Lighting Implementation in PixelJunk Shooter 2: Q-Games (PixelJunk Shooter 2)
Technical Papers:
  • Physics-Inspired Upsampling for Cloth Simulation in Games: Disney Interactive Research (#)
Posters:
  • Character Shading in EA Sports MMA Using Projected Poisson-Disk-Based Ambient Occlusion: Electronic Arts Tiburon (EA Sports MMA)
SIGGRAPH Dailies!:
  • Mortal Kombat X-Ray Attacks: NetherRealm Studios/Warner Bros. Interactive Entertainment (Mortal Kombat)
  • God of War 3: Chimaera Tail Swipe Attack: SCE Santa Monica Studio (God of War III)
  • God of War 3 Poseidon Creature Boss Fight: SCE Santa Monica Studio (God of War III)
Computer Animation Festival:
Electronic Theater
  • Halo Reach: Bungie (Halo: Reach)
  • Portal 2: Turrets: Valve (Portal 2)
Screening - Commercials, Games, and Music
  • Left 4 Dead: The Sacrifice: Valve (Left 4 Dead 2)
  • Portal 2: Bot Trust: Valve (Portal 2)
  • Portal 2: Turrets: Valve (Portal 2)
  • World of Warcraft: Catacysm Intro: Blizzard (World of Warcraft)
* Please note that game cinematics not made by the game’s developer aren’t counted.

Production Sessions:
  • Guerrilla: The Creation of Killzone 3: Guerrilla Games/Sony Computer Entertainment (Killzone 3)
Real-Time Live!:
  • Kinectimals: Frontier Developments (Kinectimals)
  • A Look Under the Hood of Need for Speed: Hot Pursuit: Criterion Games/Electronic Arts (Need for Speed: Hot Pursuit)
  • Samaritan Real-Time Demo: Epic Games (#)
The Sandbox:
  • A Look Under the Hood of Need for Speed: Hot Pursuit: Criterion Games/Electronic Arts (Need for Speed: Hot Pursuit)
  • Alan Wake: Remedy Entertainment (Alan Wake)
  • Bring the Storm to the Apocalypse: Evolution Studios/Sony Computer Entertainment (Motorstorm Apocalypse)
  • Killzone 3: Guerrilla Games/Sony Computer Entertainment (Killzone 3)
  • Kinectimals: Frontier Developments (Kinectimals)
The Studio:
Studio Workshops
  • Introduction to Python Scripting: Crytek (Crysis 2)
  • Rigging Characters for CryEngine: Crytek (Crysis 2)
  • World Creation in CryEngine: Crytek (Crysis 2)
Emerging Technologies:
  • Surround Haptics: Sending Shivers Down Your Spine: Black Rock Studio/Disney Interactive Studios (Split/Second)
International Resources Events:
The IGDA Presents Game Jam!: IGDA (#)

11 July 2011

SIGGRAPH Game Content Revealed: Part III

Following is the final entry of a three-part series focusing on game content that will be featured at SIGGRAPH 2011. This is a conversation between Naty Hoffman (pictured at the right) and ACM SIGGRAPH Chapter Reporter Mariebeth Aquino.

Naty Hoffman is a Technical Director at Activision Studio Central, where he assists Activision's worldwide studios with graphics research and development. He is a co-author of the book Real-Time Rendering, 3rd Edition.

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 Naty Hoffman, SIGGRAPH 2011 Game Development Community Director
What are your responsibilities as Game Development Community Director?

My responsibility is to engage with the professional game development community, both to encourage them to submit more content for presentation and to facilitate higher industry attendance at the conference.

It must be hard motivating a game development community which has its own big conferences like the GDC, how do you engage them?

It can be challenging, but SIGGRAPH has some unique things to offer compared to industry-specific conferences like GDC, such as the opportunity to interact with top graphics minds not only within the game industry, but outside it as well. SIGGRAPH attendees can see content presented by people from companies like Pixar, ILM, Disney, Digital Domain, Dreamworks, etc., as well as researchers from top academic institutions around the world. In addition, the graphics focus and extremely high quality bar means that for anyone involved with the visual side of game development (such as artists and graphics programmers), the breadth and depth of relevant content at SIGGRAPH is simply unmatched.

This year, I have enjoyed the able assistance of the game development subcommittee; a group of prominent developers who have been advising me and helping me reach out to studios across the world. Other members of the conference committee with game industry ties such as Drew Davidson, Jason Smith, and Chris Williams have also provided invaluable help.
It is important to note that we did not start from scratch; we benefit from the momentum slowly built up over previous years. Each year SIGGRAPH has more content submissions from game developers, more presentations of interest to them, and more awareness in the game development community in general. I hope that within a few years, we will be close to parity with the film production community in terms of content and attendees.
How important are emerging technologies in game development, or rather, are upcoming technologies supported by game studios?

The game industry is highly technology-driven; new technology is constantly being evaluated, and if it fits the needs and constraints of production it is integrated into the engine and/or tools pipeline. A few examples of note include screen-space ambient occlusion, filter-based anti-aliasing, deferred shading, and high-dynamic range image-based (HDRI) lighting. All of these have been covered at SIGGRAPH - one of them (filter-based anti-aliasing) is the topic of a half-day course this year.

Industry and research can often tell different stories (i.e in goals and communication) - is one more important to game development, and one to SIGGRAPH? Or if not, where and how do these two areas intersect?

Game development tends to be focused more on short-term development, but we do keep an eye on longer-term research as well. SIGGRAPH covers both - some programs (such as the Technical Papers) are targeted more at research and some (such as Courses, Talks and The Studio) at current industry practices.

Which upcoming trends in game development do you see having the greatest impact on game production? And are these featured in this year's SIGGRAPH games coverage?

Rendering techniques are always evolving in our industry, both on the PC side (where constantly increasing hardware power enables new techniques) and on the console side (where much ingenuity is needed to squeeze out better visuals ever year from the same hardware). The courses "Advances in Real-Time Rendering in Games" and "Beyond Programmable Shading" cover both sides of this divide; many of the techniques presented are also relevant for emerging platforms such as tablets and mobile phones.

A specific example of technology used to increase visual quality on consoles is the recent rise of new techniques for filter-based anti-aliasing, which (as I previously mentioned) has an entire course devoted to it this year: "Filtering Approaches for Real-Time Anti-Aliasing".
Another important trend is the convergence of techniques between film and games - we have a lot to learn from the film industry and I believe they are interested in learning from us as well. SIGGRAPH has a variety of content addressing this. Some are explicitly targeted at both industries (for example, the courses "Destruction and Dynamics for Film and Game Production" and "Character Rigging, Deformations, and Simulations in Film and Game Production"). Also, content presented by people from one industry is often of interest to the other - I often find interesting content in the film production Talks and Courses, and I hear from my film industry counterparts that they find useful information in the game development content at SIGGRAPH.

As free-to-play, mobile and independent games become more popular (for gamers and developers, alike) is there potential to optimize top notch technology for such games?

Definitely. Mobile platforms in particular are rapidly increasing in power, and as they continue to do so in the future, they will enable unprecedented visual quality on the go. Since the types of games, input devices, and visual styles often differ from games on more traditional platforms, there is also a need for new technology as well as adapting existing methods.


The game development community is expanding. Great ideas and concepts are now emerging from the independent community - without the use of high performance technology. Will SIGGRAPH cover these noteworthy areas as well?

SIGGRAPH welcomes ideas from all areas of game development, not just "blockbuster" console titles. One of the talks this year (in the "Light My Fire" session) is by an independent developer, Q-Games; Frontier Developments - another independent studio - is presenting their game "Kinectimals" in the Real-Time Live! program. I would like to see more submissions from indie developers in future years, especially from some of the smaller teams.

What are some of the highlights of the game development content?
There is so much good game development content this year, it's hard to
pick just a few highlights. Many of the courses have great game content, two in particular are "Advances in Real-Time Rendering in Games" (both parts) and "Filtering Approaches for Real-Time Anti-Aliasing". There are also many game development Talks - for example, the entire "Hiding Complexity" Talk session. A few highlights from other Talk sessions: "Rendering the Interactive Dynamic Natural World of the Game: From Dust", "Deferred Shading Technique Using Frostbite in Battlefield 3 and Need for Speed The Run", and "Fluid Dynamics and Lighting Implementation in PixelJunk Shooter 2". The Computer Animation Festival is showcasing a lot of game content as well, most notably "Halo: Reach" and "Portal 2" in the Electronic Theater and "Killzone 3" in the Production Sessions; several other games are featured in the "Commercials, Games, and Music" screening.

Unusually, one of the Technical Papers ("Physics-Inspired Upsampling
for Cloth Simulation in Games") was written by game developers; I hope for more such at future SIGGRAPH conferences. This year, there are many game presentations at The Studio which are also well worth attending. Finally, the Real-Time Live!, Sandbox, and SIGGRAPH Dailies! programs are showing several notable game pieces.

Is there content that applies to people both new to the game industry and veterans?

Most of the content is targeted at relatively experienced developers,
though beginners who listen carefully should find it interesting as well, and perhaps get some good ideas for areas to study up in! Some of the content should be more approachable for beginners; SIGGRAPH Dailies!, Sandbox, and Real-Time Live! come to mind, as well as the game content at the Computer Animation Festival and The Studio.

What are your “must attend” sessions this year?


I haven't had a chance to work out my schedule yet, but I very much
hope to see the Technical Papers Fast Forward, Cory Doctorow's keynote, SIGGRAPH Dailies!, the Electronic Theater, and the "Advances in Real-Time Rendering in Games" course.

05 July 2011

SIGGRAPH 2011 Gaming Content Revealed

Following is the first entry of a three-part series focusing on gaming content that will be featured at SIGGRAPH 2011. This first entry is a conversation between Drew Davidson (pictured at the right) and ACM SIGGRAPH Chapter Reporter Mariebeth Aquino. Drew Davidson is a professor, producer and player of interactive media. His background spans academic, industry, and professional worlds: he is the Director of the Entertainment Technology Center – Pittsburgh at Carnegie Mellon University and the Editor of ETC Press.

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 Drew Davidson, SIGGRAPH 2011 Games Chair

What are your responsibilities as Games Chair?
To oversee and coordinate game-related content at SIGGRAPH, working with Naty Hoffman (Game Development Community Director), Jason RM Smith (Real Time Live! chair), and T.L. Taylor (Games Papers chair).

In terms of Games Papers, how many submissions were received? Was there an increase in the number of submissions? Did you notice any trends in the content received?
We had around 100 submissions this year, which is right around what we were expecting. Since we've had Game Papers for several years now, we have had between 80-100 submissions each year. As for trends, there seems to be more attention being paid to indie games and user-generated content.

How has the growth of the video games industry affected the amount of game content at SIGGRAPH? Has it affected this year's game content lineup? And do you foresee this trend expanding game content inclusion in future SIGGRAPHs?
That it's there at all attests to the growth of the industry, and Naty Hoffman has done some great work this year getting involvement and participation from the industry in this year's SIGGRAPH. As for expansion, that's tough to tell, it's been successful and it's going to be more of a PR issue as SIGGRAPH works to get the word out to attendees about the amount of good content related to games.

Since games have a little bit of everything, where does game development fit in SIGGRAPH?
Games fit into SIGGRAPH both in terms of graphics (with real-time rendering and such) and also in terms of interactive techniques (issues around design and player engagement) so there's some good fit with SIGGRAPH.

SIGGRAPH 2011 is in Vancouver, a location that has long been associated with game development. Any thoughts on what has made this location a hub for gaming?
Well, it's a great city all around, so it's an appealing place to work, and there has been a lot of local support to do business here. And with the local universities, there is a lot of potential talent. All of this has helped make it a great hub for game development.

Has the conference's location this year impacted the gaming content being included, interest level in content, or amount of submissions/participation by the local community?

It definitely has. Sylvain Provencher and Glenn Entis have been great in helping with some outreach, and again, Naty has done a great job coordinating with industry as well.

What advice do you have for someone interested in submitting content?

It is such a large event, it is really important to go over all the information on the website - it's all there, it just may not be apparent on first pass. And don't be shy about asking questions - you'll get an answer quickly which can help you submit in the right area and complete your submission successfully.

SIGGRAPH is known for debuting the types of technologies that allow for more intricate gaming experiences, such as the advanced motion capture technology in games like L.A. Noire. What do you think is the next big technology that will be featured in mainstream games?
Mobile gaming is really hitting it's stride. We're going to start seeing more integrated experiences that let you take your gameplay with you across platforms. Plus with services like Gaikai, we're going to see games start streaming (like movies and shows through Netflix and Hulu).


On a personal level, what was the last great video game you played and what did you appreciate most about it? What is your favorite video game of all time and why?
Recently, I've been playing a lot of Minecraft. It really is an amazing experience. It's the epitome of a "Sandbox" game, where you can pretty much do whatever you want...but then's there's the night time, for which you better be prepared.

As for all time, that's a complex question, because I enjoy different games at different times and for different reasons. With that caveat in mind, I'm going to mention two of my tops. "ICO" (on the PS2), is a wonderful adventure game that has an enchanting atmosphere and elliptical experience that I enjoy while I play it and that sticks with me afterwards. Second, would be "Words with Friends" (on the iPhone). I regularly play it with my wife as we both enjoy word games. It does such a nice job of taking advantage of the platform to make it easy to continuously play asynchronous games and keep in touch throughout the day.

01 April 2010

Interview with SIGGRAPH 2010 Computer Animation Festival Director Isaac Kerlow


Following below is a brief conversation with Isaac Kerlow, SIGGRAPH 2010 Computer Animation Festival Director from The Earth Observatory of Singapore/NTU ADM, who shares his vision, inspiration, and expected highlights for this year’s Computer Animation Festival.

What is your vision for the 2010 Computer Animation Festival? How will it be the same/different than previous years such as the introduction of the Animation Clinics this year?

The 2010 Computer Animation Festival continues the tradition of showcasing the best in computer animation and visual effects. This year we have formalized the submission categories to bring the Computer Animation Festival more in line with other top international film festivals and to make the jury process a bit easier. We have a Student Projects category, for example, among the new submission categories, so that computer-animated works produced to satisfy a school, coursework, and/or graduation requirement are to be submitted under this category.

The Animation Clinic is a new event where industry leaders and masters review students’ final projects and offer creative, production, technical, and career advice. Between six and nine projects will be selected, and each chosen work will receive 40 minutes of review during three public sessions that are open to conference attendees. Entrants are required to submit a synopsis, a storyline, storyboards, animation tests, examples of visual development, and character design. We expect a lot of cool stuff to be showcased here.

Also, for the first time in SIGGRAPH’s history we are implementing a direct online upload of finished high-resolution projects. We have partnered with SohoNet, who is taking care of the implementation of this cutting-edge and convenient submission system. Pushing the submission deadline as late as possible was also a top priority for me, especially to give submitters additional time to complete their projects. We managed to move the submission deadline from 4 March to 19 April. Shaving five weeks off the submission deadline, of course, compresses our festival pre-production schedule and puts greater pressure on the team. But we decided that it was worth the effort if we can continue to raise the bar in terms of numbers and quality of total submissions to the Computer Animation Festival.

[Editor Note: Submission deadline for Student Projects category is 19 April 2010 and the deadline for Animation Clinic is 10 May 2010. For submission details, click here.]

Every year the Computer Animation Festival Jury plays a big role in the process. Who are the members of your jury and how did you go about selecting them?

I assembled a very exciting group of professionals that represents the different sectors of the SIGGRAPH community: animators, effects supervisors, technical director, producers and directors. I tried to have a mix of seasoned professionals with younger practitioners, most of whom have not participated before in a SIGGRAPH Jury. The confirmed members of the jury at this point include Andy Boyd, Head of 3D, Method Studios; Karen Dufilho-Rosen, Producer, house of K; Andrew Daffy, Director, The House of Curves; Jinko Gotoh, Animation Producer; Chris Landreth, Director; Hans Ripjkema, Production Technology Lead, Rhythm and Hues Studios; and Saschka Unseld, Camera and Layout Artist, Pixar Animation Studios.

What motivated you to get involved as a SIGGRAPH volunteer/director?

I was very active as a SIGGRAPH volunteer during the 1990s, having chaired the Art Show in 1991 and the Interactive Entertainment in 1995 among other events. I always wanted to be involved in the Computer Animation Festival because of its popularity and importance, and since my college graduation attending the Computer Animation Festival (or Electronic Theater as it was called back then) each year is always a professional highlight. My friends tell me that I like a good challenge, so I was fortunate that Terrence [SIGGRAPH 2010 Conference Chair] invited me to be a part of the 2010 team. I put together a great core team that includes Laura Henneman, Festival Manager; Josh Grow, Technical Director; and Katie Fellion, Stereo 3D Producer. The four of us are focused on putting together a great event for the SIGGRAPH 2010 attendees.

As the author of “The Art of 3D Computer Animation” did you ever envision 3D films like "Avatar" having such box office success?

Whether you are into science fiction or not, "Avatar" exemplifies what happens when you combine superb storytelling with exceptional filmmaking and animation craft. In the mid-1990s it became pretty obvious that it was only a matter of time before filmmaking and animation would converge, but some the tools at the time still required refinements. Motion capture today, for example, is more precise and less cumbersome than it was five years ago, and the tools to blend mocap with keyframe animation are quite developed and practical. But "Avatar" is not only about the technology, it also takes a filmmaker as visionary and bold as Cameron to put together and pull it off a project of this stature and ambition. Assembling and directing the required creative and production teams is a feat in itself, not to mention securing the financing and massive distribution for such a costly and risky show. But our industry is still about innovating and taking risks. And in the case of "Avatar" the risks taken definitely paid off.

How would you describe your recent experience as Artist-in-Residence at Microsoft Research Asia in Beijing?

Beijing is a very dynamic city and it showcases the remarkable transformation that is currently taking place in China. Some aspects of it are reminiscent of the transformation that took place in the USA during the 1950s. I found it fascinating and enjoyed interacting with new people, and trying the huge variety of food that is available there, from cheap and tasty street food to more elaborate dishes from the different regions of the country. Spending time at Microsoft Asia as Artist-in-Residence was very rewarding as it allowed me the opportunity to explore new topics in my work, and to interact with some of the interesting research projects going on there. Collaborating with scientists and engineers is always a fun challenge for a creative type like myself. I had a great time in Beijing.

How do you want attendees to remember their SIGGRAPH 2010 Computer Animation Festival experience?

I want attendees to enjoy and learn from the Computer Animation Festival. I hope that attendees will have an endorphin rush as they watch the screenings, and that they learn from the interesting and timely talks and panels that we are in the process of organizing. The Stereo 3D screenings will attract major interest, and I also hope that the panels and talks are informative and useful as artistic and technical references.

What guidance can you provide to someone considering submitting content to future Computer Animation Festivals?

I would recommend that people submit their very best work. I would also recommend setting a personal submission deadline of one week before the official submission deadline. This way people will have extra time to fix small details and to deal with the unexpected and ever-present last-minute complications.

Where do you look for inspiration?

I look for inspiration in the people around me, and their lives; in my travels, in reading the newspaper, in nature, and in the artworks produced by others in my culture and in other cultures.