Unity - Real-time Cinematics & Storytelling (Siggraph 2017)

Industrial Light & Magic: Realtime Facial Animation (TALK SLIDES from SIGGRAPH 2013)

Faculty Interview: Geometric Capture of Human Performances - Hao Li
(Department of Computer Science, Columbia University, New York)

SIGGRAPH 2013 - Keynote Presentation : Marc Davis Lecture Series, "Giants' First Steps"

This year’s directors include Pete Docter (Toy Story, Monsters, Inc.), Eric Goldberg (Raggedy Ann & Andy, Fantasia/2000), Kevin Lima (The Little Mermaid, Beauty and the Beast), Mike Mitchell (Antz, Shrek 2), Chris Sanders (Aladdin, The Lion King), Henry Selick (The Nightmare Before Christmas, Coraline), David Silverman (Monsters, Inc., Ice Age) and Kirk Wise (The Brave Little Toaster, Cloudy With a Chance of Meatballs).

Free SIGGRAPH 2013 Guest Pass From Pixologic

 
If you're planning on going to SIGGRAPH this year be sure to register for your FREE guest pass to the exhibit hall thanks to Pixologic!

ILM - Realtime Facial Animation With On-the-fly Correctives (SIGGRAPH 2013)

More info here: Hao Li -  Realtime Facial Animation With On-the-fly Correctives

 Published on Apr 19, 2013

SIGGRAPH 2013 Paper Video: We introduce a real-time and calibration-free facial performance capture framework based on a sensor with video and depth input. In this framework, we develop an adaptive PCA model using shape correctives that adjust on-the-fly to the actor's expressions through incremental PCA-based learning. Since the fitting of the adaptive model progressively improves during the performance, we do not require an extra capture or training session to build this model. As a result, the system is highly deployable and easy to use: it can faithfully track any individual, starting from just a single face scan of the subject in a neutral pose. Like many real-time methods, we use a linear subspace to cope with incomplete input data and fast motion. To boost the training of our tracking model with reliable samples, we use a well-trained 2D facial feature tracker on the input video and an efficient mesh deformation algorithm to snap the result of the previous step to high frequency details in visible depth map regions. We show that the combination of dense depth maps and texture features around eyes and lips is essential in capturing natural dialogues and nuanced actor-specific emotions. We demonstrate that using an adaptive PCA model not only improves the fitting accuracy for tracking but also increases the expressiveness of the retargeted character.:

SIGGRAPH 2011 Heads Up

Wish I could make it to a few of these this year but I'm still working on the other side of the planet.



////Animation Lectures

Animation Production Lecture List

Marvel: The Visual Effects of "Thor" and "Captain America"

*Pixar: "La Luna"

*DreamWorks Animation: Creating the Final Battle in “Kung Fu Panda 2”

*Industrial Light & Magic: Bringing “Rango” to Life

Imageworks: The Smurf-alution: A Half-Century of Character Development

Industrial Light & Magic: New Solutions for New Challenges

Guerrilla: The Creation of Killzone 3 - Game Production Session

 

 

////Courses

 

Storytelling With Color

Color is mysterious, emotional, enigmatic. Opinions are strong about what they mean, or do not mean. Theses have been written about the emotional significance of color in film, psychology, and clothing. This course discusses storytelling choices in fine art, illustration, and films (animated and live action), and how color selection supports the story. Topics include color rules, when and how to break them, and the differences between the analog and digital palettes. The course includes plenty of visuals and is appropriate for everyone interested in color.

Instructor(s) Kathy Altieri/DreamWorks, Dave Walvoord/DreamWorks


Cinematography: The Visuals & the Story

The virtual or actual camera, its placement in a scene, the choice of lens, the camera's movement, the lighting, color, and exposure all contribute to visual communication between the storytelling cinematographer and the audience. How each of these visual variables is controlled and used to help tell a story gives dramatic structure to a sequence and ultimately communicates moods and emotions to the viewer is critical to making any story come alive. A story has structure. The visuals must have structure, too.

Instructor(s) Bruce Block/University of Southern California



Character Rigging, Deformations, and Simulations in Film and Game Production


This course focuses on rigging, deformations, dynamics, and production practices in animation, visual effects and game development. Topics include analysis of performance requirements, motion system set-up, procedural rigging for secondary animation, and efficient extension of techniques over a wide range of primary and secondary characters.

Instructor(s)  Tim McLaughlin/Texas A&M Univ, Larry Cutler/DreamWorks,
David Coleman/Electronic Arts Inc.