Sean Palmer, Jonathan Garcia, Sara Drakeley, Patrick Kelly, R. Habel
{"title":"The ocean and water pipeline of Disney's Moana","authors":"Sean Palmer, Jonathan Garcia, Sara Drakeley, Patrick Kelly, R. Habel","doi":"10.1145/3084363.3085067","DOIUrl":"https://doi.org/10.1145/3084363.3085067","url":null,"abstract":"Disney's Moana was the largest and most complex water project the studio had ever undertaken. Over 900 shots required ocean interaction, which included boat wakes, splashes, shorelines, walls of water, and highly art-directed sentient water. Our previous films' water techniques would not scale to address the complexity and volume of work required by Moana and staffing and time constraints necessitated automating large parts of the process. We redesigned our pipeline to provide a flexible authoring process for a lightweight implicit ocean representation. This new workflow allowed artists to visualize and edit specific parts of the water setup and easily share their updates with other departments.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130042921","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}
{"title":"Building moana's kakamora barge","authors":"Brett Achorn, Sean Palmer, L. Wu","doi":"10.1145/3084363.3085064","DOIUrl":"https://doi.org/10.1145/3084363.3085064","url":null,"abstract":"In Walt Disney Animation Studio's Moana, a key moment in the story calls for the protagonists to confront a floating island barge crewed by coconut-clad pirates: the Kakamora. Combining a large moving set on an animated ocean with active crowds, sails, ropes and effects simulations required coordination across multiple departments and some on-the-fly innovations. To handle the challenges the sequence presented, we made extensive use of automation and procedural tools along with some creative design decisions to save artist time and allow for greater reuse.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130861544","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}
D. D. Haddad, G. Dublon, Brian D. Mayton, S. Russell, Xiao Xiao, K. Perlin, J. Paradiso
{"title":"Resynthesizing reality: driving vivid virtual environments from sensor networks","authors":"D. D. Haddad, G. Dublon, Brian D. Mayton, S. Russell, Xiao Xiao, K. Perlin, J. Paradiso","doi":"10.1145/3084363.3085027","DOIUrl":"https://doi.org/10.1145/3084363.3085027","url":null,"abstract":"The rise of ubiquitous sensing enables the harvesting of massive amounts of data from the physical world. This data is often used to drive the behavior of devices, and when presented to users, it is most commonly visualized quantitatively, as graphs and charts. Another approach for the representation of sensor network data presents the data within a rich, virtual environment. These scenes can be generated based on the physical environment, and their appearance can change based on the state of sensor nodes. By freely exploring these environments, users gain a vivid, multi-modal, and experiential perspective into large, multi-dimensional datasets. This paper presents the concept of \"Resynthesizing Reality\" through a case study we have created based on a network of environmental sensors deployed at a large-scale wetland restoration site. We describe the technical implementation of our system, present techniques to visualize sensor data within the virtual environment, and discuss potential applications for such Resynthesized Realities.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"155 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127348021","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}
{"title":"Animation collaboration with depth compositing","authors":"Dhruv Govil","doi":"10.1145/3084363.3085039","DOIUrl":"https://doi.org/10.1145/3084363.3085039","url":null,"abstract":"In this talk, we describe the use of depth based compositing to accelerate collaboration between multiple artists on single shots. This workflow allows for increasingly complex shots to be finished in shorter timelines, even when dealing with large numbers of hero characters. SplitComp is a workflow for artists using depth compositing. It was originally developed for Cloudy With a Chance of Meatballs 2, but has since been used on every Sony Pictures Imageworks animated feature by animators and the cloth simulation team. It saves several hours of production time per artist every day of production. Over the course of a single feature film, it saves teams entire weeks worth of time. Older collaboration systems required artists to export their geometry so that it may be imported into other scene files, which is both time consuming and required artists to make a conscious effort. SplitComp, however, only requires playblasts which are a natural product of the artists workflow. This allows for significantly less effort from the artists and more frequent updates.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127009275","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}
{"title":"Dear angelica: breathing life into VR illustrations","authors":"Oculus","doi":"10.1145/3084363.3085073","DOIUrl":"https://doi.org/10.1145/3084363.3085073","url":null,"abstract":"In many ways, Oculus Story Studio's VR experience, \"Dear Angelica\" as shown in Figure 1, is a unique project. We wanted to immerse the viewers inside a series of hand-drawn illustrations and tell a story by artfully transitioning between the drawings, and breathe life into these drawings by adding various animations and visual effects. In trying to create this ground-breaking experience, we had to create a brand-new pipeline: from inventing the tools to create these 3D illustrations, to processing and animating the drawings, to rendering them in virtual reality.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115893554","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}
Gene S. Lee, Christian Eisenacher, Andy Lin, Noel Villegas
{"title":"Handling scene constraints for pose-based caching","authors":"Gene S. Lee, Christian Eisenacher, Andy Lin, Noel Villegas","doi":"10.1145/3084363.3085047","DOIUrl":"https://doi.org/10.1145/3084363.3085047","url":null,"abstract":"This paper presents a conservative, uniform method for handling scene constraints, such as look at and parent, in a pose-based caching system. The constraints are organized into a dependency graph where nodes represent the control caches of a rig, and directed arcs link the rigs to specific control caches. For any animation update, the dependency graph indicates which cache to clear and which other rigs to subsequently update. This method supports pre-evaluation, avoids expensive state tracking, and is easy to implement. The result is a seamless experience that works with all types of constraints while preserving real-time performance.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124834863","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}
{"title":"Visual effects for VR","authors":"Chris Healer","doi":"10.1145/3084363.3085033","DOIUrl":"https://doi.org/10.1145/3084363.3085033","url":null,"abstract":"Chris discusses the VR creation process using examples ranging from Hollywood VR projects to those from The New York Times. He'll dive into live-action VR photography and photogrammetric reality capture techniques, and will explore the linkage between tried and true VFX trickery and the illusion of a Virtual Reality. From this presentation audience members will take away a greater understanding of the VR Post Production process, especially in relation to VFX workflows. He'll use recent recognizable VR projects as examples, including \"Lincoln in the Bardo\" from The New York Times, Doug Liman's \"Invisible,\" and others.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125066710","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}
Matt Ebb, Richard Sutherland, D. Heckenberg, Miles Green
{"title":"Building detailed fractal sets for \"Guardians of the Galaxy Vol. 2\"","authors":"Matt Ebb, Richard Sutherland, D. Heckenberg, Miles Green","doi":"10.1145/3084363.3085060","DOIUrl":"https://doi.org/10.1145/3084363.3085060","url":null,"abstract":"Building the digital sets for Guardians of the Galaxy Vol. 2 presented a unique challenge for Animal Logic's asset and FX teams. The creative brief involved two separate alien environments made from complex mathematical shapes, with an unprecedented amount of detail. As an additional challenge the environments had to match the look and feel of specifically styled concept art with a grand, monumental design. To meet the artistic requirements required a high level of creative control and manipulation of set elements that were to be rendered alongside many other highly detailed objects, and propagated quickly through the pipeline for fast feedback iterations. The team used a novel approach to modelling fractal objects using point clouds, taking advantage of pipeline capabilities to integrate FX objects with environment set-pieces. Additionally the team, leveraged instancing and high levels of geometric complexity using the in-house renderer Glimpse.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123441910","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}
S. Marshall, Tim Speltz, G. Gladstone, Krzysztof Rost, Jon Reisch
{"title":"Racing to the finish line: effects challenges on Cars 3","authors":"S. Marshall, Tim Speltz, G. Gladstone, Krzysztof Rost, Jon Reisch","doi":"10.1145/3084363.3085160","DOIUrl":"https://doi.org/10.1145/3084363.3085160","url":null,"abstract":"The world of Disney Pixar's Cars 3 finds our hero Lightning McQueen on a journey to reconnect to the roots of \"real\" racing as he struggles to stage a comeback in a sport which is quickly evolving past him. Over the course of the film, our characters race on beaches alongside lapping waves, in abandoned ghost tracks, through winding mountain forests, and even in a raucus, muddy demolition derby. Providing a sense of believable interaction between our characters and these varied environments in over 600 shots was one of the key responsibilities of our FX team on Cars 3. In order to achieve the scope and scale of this work efficiently, we built on sequence-wide workflows and independent \"clustered\" simulations presented last year in (Reisch et al. 2016), extending these strategies to effects unique to the show. Creating a common shared core to our simulation and effects-asset rigs provided artists with a familiar starting point regardless of whether they were working on volumetric dust, rigid-body debris, point-based dynamics sand, or even viscous mud simulations. A focus on stability, artist experience, and optimized workflows which scaled to take advantage of our render farm, allowed our team to achieve visually consistent, high quality results on an accelerated schedule.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129177685","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}
{"title":"Double hierarchies for efficient sampling in Monte Carlo rendering","authors":"N. Bus, T. Boubekeur","doi":"10.1145/3084363.3085063","DOIUrl":"https://doi.org/10.1145/3084363.3085063","url":null,"abstract":"We propose a novel representation of the light field tailored to improve importance sampling for Monte Carlo rendering. The domain of the light field i.e., the product space of spatial positions and directions is hierarchically subdivided into subsets on which local models characterize the light transport.The data structure is based on double trees, and only approximates the exact light field, but enables efficient queries for importance sampling and easy setup by tracing photons in the scene. The framework is simple yet flexible, supports any type of local model for representing the light field, provided it can be efficiently importance sampled, and progressive refinement with an arbitrary number of photons. Last, we provide a reference open source implementation of our method.","PeriodicalId":163368,"journal":{"name":"ACM SIGGRAPH 2017 Talks","volume":"15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-07-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130165750","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}
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