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2012 Proceeding- Conference Chairs:
- Armin Bruderlin,
- Ken Anjyo,
- Program Chairs:
- Eric Enderton,
- Larry Cutler
Computer graphics research and technology have made immense progress in the last few decades. At the same time, industries have developed to incorporate these results into the production of breathtaking digital imagery. The quality of today's digital effects in live action movies, computer animated movies and video games has reached a new level of realism and expressiveness. This is the result not only of more powerful algorithms and computers, but of other crucial ingredients such as specialized pipelines, production workflows, interdisciplinary collaborations, and skilled artists working long hours.
The Digital Production Symposium 2012 (DigiPro 2012) encourages the sharing of algorithms, procedures and insights for the production of top quality visual effects and computer animation. The goals are to bring together scientists, engineers, artists and producers, and to close the gap between research results and industry needs. Any novel idea with impact on digital film production is invited.
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Camera space volumetric shadows
We transform irregularly sampled shadow map data to deep image buffers in camera space, which are then used to create volumetric shadows in a deep compositing workflow. Our technique poses no restrictions on the sample locations of the shadow map and ...
Improving crowd quality through interdepartmental collaboration on Madagascar 3: Europe's Most Wanted
For Madagascar 3: Europe's Most Wanted, DreamWorks Animation set itself the goal of creating crowds which rivaled our main characters in terms of quality of appearance and performance. A key component to our success was the tight collaboration between ...
A facial composite editor for blendshape characters
In this paper we present an interactive editing system that allows digital modelers to rapidly create new blendshape face models for incidental or background characters, starting from a small number of given face models. The obvious approach of ...
M.A.C.: an automatic stereoscopic calculator for animation pipelines
Current tools and techniques for setting stereo in animated feature films lack intuitive ways to art direct the stereo, and are not capable of ensuring quality and consistency of stereo across shots or artists. In this paper, we present a new set of ...
A data-driven approach for synthesizing high-resolution animation of fire
We propose a simple and efficient data-driven method for synthesizing high-resolution 3D animations of fire from low-resolution fluid simulations. Our method is based on grid-based fluid simulation. The key concept behind our method is to use a ...
Scalable fluid simulation in linear time on shared memory multiprocessors
We describe a framework for creating animated special effects such as dust, smoke and fire using a generalized transport system coupled with a fluid dynamics engine. The framework presents artists with an open system for animating volumes with generic ...
Extracting fluid from a video for efficient post-production
We propose a method to extract fluids from a video that is captured outside a special studio. Since such a video usually has a complex background and the fluids overlap with much transparency, it is a difficult, time-consuming task for a designer to ...
LibEE: a multithreaded dependency graph for character animation
Computer-generated characters are central to an animated feature film and need to deliver appealing, believable on-screen performances. As such, character rigs continue to expand in complexity (for example higher fidelity skin, clothing and hair). This ...
Ray casting sparse level sets
This paper presents an interactive rendering method for sparse level sets. A GPU-CPU hybrid ray casting approach is developed to perform a surface extraction of a level set embedded in a signed distance field. The sparseness of the data structure is ...
Bringing transmittance function maps to the screen: Wrath of the Titans and Prometheus
Participating media are an unavoidable part of todays visual effects. The computation of compelling lighting effects within clouds or smoke remains challenging, both in terms of memory occupancy and computational power. Also, the fine tuning and layout ...
- Proceedings of the Digital Production Symposium