ACM SIGGRAPH 2014 Talks最新文献_第7页

Sending 300 monsters to college 送300个怪物去上大学

ACM SIGGRAPH 2014 Talks Pub Date : 2014-07-27 DOI: 10.1145/2614106.2614175

Jonas Jarvers, S. Shodhan, Byron Bashforth

{"title":"Sending 300 monsters to college","authors":"Jonas Jarvers, S. Shodhan, Byron Bashforth","doi":"10.1145/2614106.2614175","DOIUrl":"https://doi.org/10.1145/2614106.2614175","url":null,"abstract":"classroom use is granted without fee provided that copies are not made or distributed for commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for third-party components of this work must be honored. For all other uses, contact the Owner/Author. Monsters University started its background characters project early with the knowledge that the production would require a wide range of monsters to fill a vibrant University campus. A high amount of variation in shape, texture, shading and groom was necessary to create believable crowds. Additionally, a number of these monsters were selected and upgraded for featured roles next to main characters. In this talk we provide a production oriented account of our experience in creating 300 monsters. Figure 1: Various monster families based on different master body types c Disney / Pixar. All rights reserved. The background monsters were based on original characters from Monsters Inc. as well as new designs. A neutralized geometry was specified for each different body type while considering all shape variations. The shared topology had to be simple and cleanly aligned to guarantee extreme deformations. Through the use of a layered and reference-based rig structure, the variants were able to inherit the rigging information from their master model. This required all variants to have the same topology. To enable the variation of the different shapes, additional deformers on top of our base rigs were required. In some cases we also extended our master rig to be topology-independent to handle certain groups of characters that had extreme shape differences. Additional pipeline tools were implemented to export the shaped geometry back into the shading environment to enable shading on the actual shape of the character. This process was required during the production to update shapes without loosing existing shading work. The Art department fully specified the look for each character. The designers chose between 4 surface styles: dry, wet, soft-toy, and hairy. Only two colors were used per monster and the pattern vocabulary was large stripes and spots. To add variation, the monsters had parts like horns and spikes, and accessories like glasses, hats and backpacks. Our approach was to hit 80% of the look quickly and then iterate on the final 20% in the context of the character's importance. To that end we built a pipeline based around re-use and variation. Setting up a new monster, updating shading …","PeriodicalId":118349,"journal":{"name":"ACM SIGGRAPH 2014 Talks","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129482563","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Robust large-scale rendering: the FQ renderfarm engine 稳健的大规模渲染:FQ renderfarm引擎

ACM SIGGRAPH 2014 Talks Pub Date : 2014-07-27 DOI: 10.1145/2614106.2614172

M. Hills, Jim Vanns, R. Dooley

引用次数: 0

Gravity: motion control and face integration 重力:运动控制与面部融合

ACM SIGGRAPH 2014 Talks Pub Date : 2014-07-27 DOI: 10.1145/2614106.2614193

Pierre-Loïc Hamon, J. Harmer, S. Penn, N. Scapel

引用次数: 8

'Stina & the Wolf' the movie: feature film production in education 电影《斯蒂娜与狼》:教育中的故事片制作

ACM SIGGRAPH 2014 Talks Pub Date : 2014-07-27 DOI: 10.1145/2614106.2614150

Alex Counsell, Paul Charisse

{"title":"'Stina & the Wolf' the movie: feature film production in education","authors":"Alex Counsell, Paul Charisse","doi":"10.1145/2614106.2614150","DOIUrl":"https://doi.org/10.1145/2614106.2614150","url":null,"abstract":"1. Introduction A novel experiment in education is currently underway at the University of Portsmouth in the UK. ‘Stina and the Wolf’ is a feature length CGI film created in collaboration with staff, students and alumni. The project utilizes modern production techniques to emulate the current industry workflows and pipelines. These range from established filmmaking techniques, such as extensive production design and storyboarding, through to the latest techniques in pre-viz, performance capture and animation. In combination with this, we are using state of the art VFX, rendering and compositing techniques to ensure that the quality is kept at a level that gives the students a realistic experience of industry. 2. Exposition The standard university curriculum, by its nature, cannot be as reactive as modern production pipelines. By running the project alongside, and in addition to, this curriculum, it allows the students to unify their studies into one continuous project that lasts for the duration of their degree. The students can join the various departments as juniors in their first year of study, working their way up to department leads in their final year. With this constant development of skills it also allows them to mentor the more inexperienced students through their study. 2.1 Elaboration The project is unique in that it is an original full length screen play that has been developed into storyboards and production art, including a research trip to the Carpathian Mountains to collect texture and environment reference, all by staff and students. We then set about recording the characters’ performances on a custom built stage and, over the course of 5 weeks, shot the entirety of the screenplay using Performance Capture and on set audio. This data then entered the pipeline and has allowed us to develop it into our story world using all the assorted departments of a traditional VFX and film production facility, each of which is run by a student lead and ‘staffed’ by students, under the aegis of our in-house studio, FOAM Digital. The wide range of disciplines required to make a film has allowed us to utilise the skills and enthusiasm across a number of our degree courses; from architecture, sound technology and fashion design through to film, illustration, animation and visual effects; involving up to 120 students from over 9 degree courses at any one time. Developing this project in an educational environment provided the creative freedom to explore artistic and narrative ideas to the full. This allows the students to see a project evolve, that is as rich in content and ideas, as it is in visual fidelity. 3. Results Students have learnt new ways of working, relevant to their intended careers. However, staff, have also faced challenging production problems that support them to continually update their skills. This has been underpinned with an open dialogue with industry practitioners, including alumni and sponsors. This has suggested enhancement","PeriodicalId":118349,"journal":{"name":"ACM SIGGRAPH 2014 Talks","volume":"499 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133400537","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Integrating FEA physics in a non-linear workflow for "Edge of Tomorrow" 在“明日边缘”的非线性工作流程中集成FEA物理

ACM SIGGRAPH 2014 Talks Pub Date : 2014-07-27 DOI: 10.1145/2614106.2614205

Steve Avoujageli, Atsushi Ikarashi

引用次数: 0

Real-time motion capture of the human tongue 人类舌头的实时动作捕捉

ACM SIGGRAPH 2014 Talks Pub Date : 2014-07-27 DOI: 10.1145/2614106.2614176

Eric Farrar, A. Balasubramanian, J. C. Eubanks

引用次数: 1

Realtime geometry caches 实时几何缓存

ACM SIGGRAPH 2014 Talks Pub Date : 2014-07-27 DOI: 10.1145/2614106.2614174

Axel Gneiting