SIGGRAPH 2011

Program	Date & Time	Focus
Computer Animation Festival Computer Animation Festival - Screenings Commercials, Games, and Music West Building, Exhibit Hall A Details	Wednesday, 10 August 4-5:00 pm	Education
Computer Animation Festival Computer Animation Festival - Screenings Commercials, Games, and Music West Building, Exhibit Hall A Details	Monday, 8 August 9-10:15 am	Education
Computer Animation Festival Computer Animation Festival - Screenings Animated Shorts West Building, Exhibit Hall A Details	Monday, 8 August 3:30-5:00 pm	Education
Full Conference Courses Storytelling With Color West Building, Rooms 109/110 Details 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. COURSE SCHEDULE 2 pm Introduction and Overview: The Hidden Influence of Color Altieri & Walvoord 2:10 pm Creating a Design Universe in Film; Story, Emotions, and Art Altieri 2:30 pm "Kung Fu Panda 2" Color Overview Walvoord 2:45 pm Analysis of Color in Animated Films Altieri 3 pm KFP2 Techniques: Color Supporting the Story Walvoord 3:15 pm Questions and Answers Kathy Altieri DreamWorks Animation Dave Walvoord DreamWorks Animation	Monday, 8 August 2-3:30 pm	Education
Full Conference Courses Stereoscopy From XY to Z West Building, Rooms 109/110 Details Stereoscopy has been very well known since the 19th century. The theory is very simple: just present a left view of a scene to the left eye, and a right view to the right eye, and the viewer's brain perceives the depth of the scene. In 2011, stereoscopy is everywhere: in the latest blockbuster movies, in theaters, at home on 3D displays, in games on all platforms, and even on the go with the new wave of capable portable devices. Though the concept is simple, realizing a comfortable and convincing stereoscopic experience for the user implies many aesthetic and technical considerations that revolutionize our way of creating graphics content. This comprehensive course summarizes standard stereo-projection techniques, audience depth perception and comfort factors, recommended uses of depth as a storytelling tool, how stereo is used in gaming and real-time applications, details on conversion of 2D content to 3D, guidance on new creative choices, and using depth in an aesthetic way. COURSE SCHEDULE 9 am Introduction and Welcome Gateau 9:05 am Stereoscopy Fundamentals and Depth Perception Gateau 9:40 am Stereopsis and 3D Hints Salvati 10:10 am Depth as a Storytelling Tool Neuman 10:30 am Real-Time and Gaming Techniques Gateau 11 am Cartoon Authoring for 3D Salvati 11:30 am Creative Choices for 3D Neuman 11:50 am Managing a Depth Budget Neuman 12:10 pm Conclusion: Questions Samuel Gateau NVIDIA Corporation Robert Neuman Walt Disney Animation Studios Marc Salvati OLM Digital, Inc.	Wednesday, 10 August 9am-12:15 pm	Production Communities
Full Conference Courses Production Volume Rendering 2 West Building, Rooms 211-214 Details Computer-generated volumetric elements such as clouds, fire, and whitewater are becoming commonplace visual effects. This course provides a behind-the-scenes look at the techniques used and how they are implemented. It demonstrates tools and workflows that are not typically covered in production talks but are integral to successful completion of many effects. The presenters, who have innovated the use of volumetric methods in industry and created some of the most impressive on-screen effects, summarize how specific artistic needs lead to innovations and review the success and evolution of their methods. They also discuss the software-engineering issues they have encountered and their solutions. COURSE SCHEDULE 2 pm Introduction Bin Zafar 2:05 pm Rhythm & Hues Tessendorf & Grant 2:35 pm Clinton 3:05 pm Weta Digital Bouthors 3:35 pm Break 3:55 pm Double Negative Harding & Graham 4:25 pm Sony Pictures Imageworks Wrenninge Magnus Wrenninge Sony Pictures Imageworks Nafees Bin Zafar DreamWorks Animation Andrew Clinton Side Effects Software Inc. Ollie Harding Double Negative Visual Effects Gavin Graham Double Negative Visual Effects Jerry Tessendorf Clemson University Victor Grant Rhythm & Hues Studios Antoine Bouthors Weta Digital Ltd	Wednesday, 10 August 2-5:15 pm	Production Communities
Full Conference Courses Production Volume Rendering 1 West Building, Rooms 211-214 Details Computer-generated volumetric elements such as clouds, fire, and whitewater are becoming commonplace in movie production. The goal of this course is to familiarize attendees with the technology behind these effects. The presenters have experience with and have authored proprietary volumetrics tools. The course begins with an introduction to generating and rendering volumes, then presents a production-usable volumetrics toolkit, focusing on the feature set and why those features are desirable. Special emphasis is focused on the approaches taken in tackling efficient data structures, shading approaches, multi-threading/parallelization, holdouts, and motion blurring. COURSE SCHEDULE 10:45 am Introduction to Production Volume Rendering Bin Zafar 11 am Volume Modeling Fundamentals Wrenninge 11:40 am Volume Rendering Fundamentals Bin Zafar 12:10 pm Questions and Answers Magnus Wrenninge Sony Pictures Imageworks Nafees Bin Zafar DreamWorks Animation	Wednesday, 10 August 10:45am-12:15 pm	Production Communities Research
Full Conference Courses PhysBAM: Physically Based Simulation West Building, Rooms 211-214 Details This course is as an introduction to the PhysBAM simulation library developed at Stanford University and used in both academic and industrial settings, including Intel Corporation, Industrial Light & Magic, Walt Disney Animation Studios, and Pixar Animation Studios. The course contains information on the release of PhysBAM as well as information on how to obtain the source code, set up the library, and use it to run example smoke and water simulations. It also summarizes a visualization tool and a rendering tool included in the release of the library. Physically based simulation is a vital part of the special-effects toolkit. Traditionally, special effects are obtained by constructing scale or full-size models, whether the scene calls for a sinking ship or a burning building. Unfortunately, this is very expensive and at times not feasible. Physical simulation is also used for special effects in animated films, where traditional special effects methods cannot easily be applied. And it is increasingly used in the gaming community as enhanced processing power enables simulations to occur at real-time rates. In addition to the PhysBAM library, the course explains the underlying techniques that make these simulations possible, in particular level set methods such as fast marching, fast sweeping, and the particle level set method. It also addresses the important aspects of a fluid simulation, including advection, viscosity, and projection. COURSE SCHEDULE 9 am The New Intel Center I Dubey 9:10 am The New Intel Center II Hanrahan 9:20 am The New Intel Center III. Fedkiw 9:35 am PhysBAM Tools Library Lentine 10:15 am PhysBAM Geometry Library Schroeder 10:55 am Level Set Algorithms Schroeder 11:40 am Water Simulation Schroeder Craig Schroeder Stanford University	Monday, 8 August 9am-12:15 pm	Education Production Communities
Full Conference Courses Modeling 3D Urban Spaces using Procedural and Simulation-based Techniques West Building, Rooms 109/110 Details Traditionally, modeling urban spaces has been a mostly manual task that consumes significant amounts of resources. With the growing requirements of quantity and quality in urban content, there is an imperative need for alternative solutions that allow for fast, semiautomatic urban modeling. This course explains new modeling techniques for urban environments as an important complement to traditional modeling software. It explains how to use procedural, image-based, and simulation-based techniques to efficiently create highly detailed three-dimensional urban models for computer games, movies, architecture, and urban planning. The course surveys five major topics: • Urban layouts and road modeling • Computational building design • Image-based modeling of facades and buildings • Urban simulation and visualization work • Procedural urban modeling in industry COURSE SCHEDULE 2 pm Introduction 2:10 pm Urban Layouts and Road Networks Aliaga 2:40 pm Computational Building Design Wonka 3:05 pm Image-based Buildings and Façades Aliaga & Wonka 3:30 pm Break 3:45 pm Bridging the gap between Urban Simulation and Urban Modeling Vanegas 4:20 pm Procedural Urban Modeling in the Industry Müller 4:50 pm Modeling the City of London in Cars 2 Frederickson 5:05 pm Final Remarks Peter Wonka Arizona State University Daniel Aliaga Purdue University Carlos Vanegas Purdue University Pascal Müller Procedural Inc. Michael Frederickson Pixar Animation Studios	Tuesday, 9 August 2-5:15 pm	Education Research
Full Conference Courses Liquid Simulation with Mesh-based Surface Tracking East Building, Ballroom C Details Animating detailed liquid surfaces has always been a challenge for computer graphics researchers and visual effects artists. Over the past few years, researchers in this field have focused on mesh-based surface tracking to synthesize extremely detailed liquid surfaces as efficiently as possible. This course provides a solid understanding of the steps required to create a fluid simulator with a mesh-based liquid surface. The course begins with an overview of several existing liquid-surface-tracking techniques and the pros and cons of each method. Then it explains how to embed a triangle mesh into a finite-difference-based fluid simulator and describes several methods for allowing the liquid surface to merge together or break apart. The final section showcases the benefits and further applications of a mesh-based liquid surface, highlighting state-of-the-art methods for tracking colors and textures, maintaining liquid volume, preserving small surface features, and simulating realistic surface-tension waves. COURSE SCHEDULE 2 pm Introduction and Welcome Wojtan 2:05 pm Liquid Surface Tracking Review Müller-Fischer 2:35 pm Embedding a Surface Mesh Into an Eulerian Fluid Simulation Müller-Fischer 3:05 pm Break 3:20 pm Maintaining Surface Mesh Quality Wojtan 3:35 pm Topology Changes Wojtan 4:25 pm Advantages of a Mesh Surface Brochu 5:10 pm Conclusion Wojtan Chris Wojtan Institute of Science and Technology Austria Matthias Müller-Fischer NVIDIA Corporation Tyson Brochu The University of British Columbia	Sunday, 7 August 2-5:15 pm	Research
Full Conference Courses Introduction to Modern OpenGL Programming West Building, Rooms 109/110 Details OpenGL is the most widely available library for creating interactive computer graphics applications across all of the major computer operating systems. Its uses range from creating applications for scientific visualizations to computer-aided design, interactive gaming, and entertainment, and with each new version, its capabilities reveal the most up-to-date features of modern graphics hardware. This course is an accelerated introduction to programming OpenGL, emphasizing the most modern methods for using the library. In recent years, OpenGL has evolved and fundamentally changed how programmers interact with the application programming interface (API). The most notable change was the introduction of shader-based rendering, which has expanded to subsume almost all functionality in OpenGL. The course reviews each of the shader stages in OpenGL and how to specify data for rendering with OpenGL. And it summarizes how OpenGL's wealth of new functionality and features enables creation of ever-richer content. COURSE SCHEDULE 2 pm Greeting and Course Overview Shreiner 2:10 pm OpenGL Pipeline Introduction Shreiner 2:35 pm A Prototype Application Angel 3:15 pm The Fundamental Pipeline, Part 1: Vertex Shading Angel 3:55 pm The Fundamental Pipeline, Part 2: Fragment Shading Angel 4:30 pm The Advanced Pipeline, Part 1: Tessellation Shading Shreiner 4:50 pm The Advanced Pipeline, Part 2: Geometry shading Shreiner 5:05 pm Wrap-Up: Questions and Answers Angel & Shreiner Edward Angel University of New Mexico Dave Shreiner ARM, Inc.	Sunday, 7 August 2-5:15 pm	Education Production Communities
Full Conference Courses Filtering Approaches for Real-Time Anti-Aliasing West Building, Rooms 109/110 Details For more than a decade, supersample anti-aliasing (SSAA) and multisample anti-aliasing (MSAA) have been the gold-standard anti-aliasing solutions in games. However, these techniques are not well suited for deferred shading or fixed environments like the current generation of consoles. In recent years, industry and academia have been exploring alternative approaches, where anti-aliasing is performed as a post-processing step. The original, CPU-based morphological anti-aliasing (MLAA) method gave birth to an explosion of real-time anti-aliasing techniques that rival MSAA. Most of these techniques share concepts and ideas, so the main goal of this course is to establish a conceptual link between them, identifying novelties and differences. The presenters explain how sub-pixel data can be used to improve quality and performance tradeoffs at post-processing steps, which is a cutting-edge research area today. The course includes an overview of both research and industry filter-based anti-aliasing techniques in games for all modern platforms (AMD and NVIDIA GPUs, PlayStation 3, and Xbox 360), low-level insight to ease adoption of these techniques and give attendees a complete concept-to-implementation roadmap, and deep quality, performance, and ease-of-integration comparisons of each technique. COURSE SCHEDULE 2 pm Introduction Gutierrez & Jimenez 2:05 pm A Directionally Adaptive Edge Anti-Aliasing Filter Yang 2:20 pm Morphological Anti-Aliasing (MLAA) Reshetov 2:35 pm Jimenez's MLAA Jimenez 2:50 pm Hybrid CPU/GPU MLAA on the Xbox-360 Demoreuille 3:05 pm Low-Latency MLAA in God of War III Perthuis 3:20 pm PlayStation Edge MLAA Berghoff 3:35 pm The Saboteur Anti-Aliasing (SPUAA) Yu 3:50 pm Break 4 pm Subpixel Reconstruction Antialiasing (SRAA) McGuire 4:15 pm Fast approXimate Anti-Aliasing (FXAA) Lottes 4:30 pm Distance-to-Edge Anti-Aliasing (DEAA) Malan 4:45 pm Geometry Buffer Antialiasing (GBAA) Persson 4:55 pm Directionally Localized Anti-Aliasing (DLAA) Andreev 5:10 pm Crysis 2 Anti-Aliasing Sousa 5:25 pm Wrap-up and Discussion: Questions and Answers Jorge Jimenez Universidad de Zaragoza Diego Gutierrez Universidad de Zaragoza Jason Yang Advanced Micro Devices, Inc. Alexander Reshetov Intel Labs Pete Demoreuille Double Fine Productions, Inc. Tobias Berghoff Sony Computer Entertainment Cedric Perthuis Sony Computer Entertainment Henry Yu Kalloc Studios Morgan McGuire NVIDIA Corporation and Williams College Timothy Lottes NVIDIA Corporation Hugh Malan CCP hf. Emil Persson Avalanche Studios Dmitry Andreev Lucas Arts Tiago Sousa Crytek	Thursday, 11 August 2-5:15 pm	Production Communities
Full Conference Courses Destruction and Dynamics for Film and Game Production East Building, Ballroom A/B Details This course focuses on rigid-body and particle simulation and collision techniques used in breaking objects and large-scale destruction. Following a brief introduction to the basic theory, the course continues with examples from specific films and games. Topics include production aspects such as authoring tools (including the open-source Bullet physics library used in both game and film production) and computational and algorithmic issues. COURSE SCHEDULE 2 pm Introduction and Overview of Destruction and Dynamics Techniques Coumans 2:30 pm Authoring Destruction With the Dynamica Bullet Maya Plugin Baker 2:45 pm Destruction and Dynamics Artist Tools at DreamWorks Animation Zafar & Carlson 3:30 pm Break 3:45 pm Deformable Rigid Bodies and Fragment Clustering at Industrial Light & Magic Criswell 4:30 pm Procedurally Generating Fragmented Meshes at Disney Interactive Studios Knight 4:45 pm Accelerating Rigid-Body Simulation and Fracture Using GPU Harada Organizer Erwin Coumans Advanced Micro Devices, Inc. Lecturers Erwin Coumans Advanced Micro Devices, Inc. Takahiro Harada Advanced Micro Devices, Inc. Nafees Bin Zafar DreamWorks Animation Mark Carlson DreamWorks Animation Brice Criswell Industrial Light & Magic Michael Baker Art Instiute of Las Vegas Phil Knight Disney Interactive Studios	Sunday, 7 August 2-5:15 pm	Production Communities
Full Conference Courses Compiler Techniques for Rendering East Building, Ballroom C Details This course summarizes five cutting-edge projects that apply compiler technology to improve the performance and functionality of renderers and shading systems. Several of the projects use LLVM, so the course begins with a gentle introduction to LLVM architecture and concepts. Topics include: customizing shading languages for global illumination and other advanced rendering, analysis of shaders so that renderers may perform physically based light transport in correct units, automatic differentiation, and use of LLVM and dynamic code generation for improved shader performance. COURSE SCHEDULE 9 am Introduction to LLVM, and Native RSL Shader Compilation Leone 9:45 am Open Shading Language Gritz 10:15 am Break 10:30 am AnySL: Efficient and Portable Multi-Language Shading Slusallek 11 am Automatic Bounding of Shaders for Efficient Global Illumination Walter 11:30 am Compilation for GPU Accelerated Ray Tracing in OptiX 12:05 pm Questions and Answers Larry Gritz Sony Pictures Imageworks Mark Leone Weta Digital Ltd Steven Parker NVIDIA Corporation Philipp Slusallek German Research Center for Artificial Intelligence (DFKI) Bruce Walter Cornell University	Thursday, 11 August 9am-12:15 pm	Production Communities Research
Full Conference Courses Cinematography - The Visuals & the Story West Building, Rooms 211-214 Details 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. COURSE SCHEDULE 9:05 am Visual Space 9:20 am Story Structure and Visual Structure 9:50 am Line and Shape 10 am Color and Tone 10:15 am Movement and Rhythm 10:25 am Summary and Review Bruce Block University of Southern California	Wednesday, 10 August 9-10:30 am	Education
Full Conference Courses Character Rigging, Deformations, and Simulations in Film and Game Production West Building, Rooms 109/110 Details 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. COURSE SCHEDULE 2 pm Welcome and Introductions of Speakers McLaughlin 2:05 pm Structure of the Course and Overview of Our Approach to Rigging [What the Course is and What it is Not] McLaughlin 2:15 pm Rigging for Visual Effects McLaughlin 3:05 pm Immediate Questions McLaughlin 3:10 pm Rigging for Games Coleman 4 pm Immediate Questions Coleman 4:05 pm Rigging for Feature Animation Cutler 4:55 pm Immediate Questions Cutler 5 pm General Questions and Answers McLaughlin, Coleman, and Cutler Tim McLaughlin Texas A&M University Larry Cutler DreamWorks Animation David Coleman Electronic Arts Inc.	Wednesday, 10 August 2-5:15 pm	Production Communities
Full Conference Courses Build Your Own Glasses-Free 3D Display West Building, Rooms 109/110 Details Driven by the recent resurgence of 3D cinema, depth cameras and stereoscopic displays are becoming commonplace in the consumer market. Introduced last October, Microsoft Kinect has already fostered gesture-based interaction for applications well beyond the intended Xbox 360 platform. Similarly, consumer electronics manufacturers have begun selling stereoscopic displays and inexpensive stereoscopic cameras. Most commercial 3D displays continue to require cumbersome eyewear, but inexpensive, glasses-free 3D displays are imminent with the release of the Nintendo 3DS. At SIGGRAPH 2010, the Build Your Own 3D Display course demonstrated how to construct both LCD shutter glasses and glasses-free lenticular screens, providing Matlab-based code for batch encoding of 3D imagery. This follow-up course focuses more narrowly on glasses-free displays, describing in greater detail the practical aspects of real-time, OpenGL-based encoding for such multi-view, spatially multiplexed displays. The course reviews historical and perceptual aspects, emphasizing the goal of achieving disparity, motion parallax, accommodation, and convergence cues without glasses. It summarizes state-of-the-art methods and areas of active research. And it provides a step-by-step tutorial on how to construct a lenticular display. The course concludes with an extended question-and-answer session, during which prototype hardware is available for inspection. COURSE SCHEDULE 9 am Introduction: History and Physiology Hirsch 9:15 am Constructing Glasses-Free 3D Displays Lanman 9:30 am Multi-View Rendering Using OpenGL Hirsch 9:45 am Multi-View Interlacing Using GLSL Lanman 10 am Designing Content for Glasses-Free 3D Displays Hirsch 10:10 am Emerging Technology Lanman Douglas Lanman MIT Media Lab Matthew Hirsch MIT Media Lab	Monday, 8 August 9-10:30 am	Research
Full Conference Courses Beyond Programmable Shading II West Building, Rooms 211-214 Details There are strong indications that the future of interactive graphics programming is a more flexible model than today’s OpenGL/Direct3D pipelines. Graphics developers need to have a basic understanding of how to combine emerging parallel programming techniques and more flexible graphics processors with the traditional interactive-rendering pipeline. As the second in a series, this course introduces trends and directions in this emerging field: parallel graphics architectures, parallel programming models for graphics, and how game developers are investigating the use of these new capabilities in future rendering engines. COURSE SCHEDULE 2 pm Welcome and Re-Introduction Houston 2:05 pm Toward a Blurry Rasterizer (State of the Art) Munkberg 2:45 pm Order-independent transparency (state of the Art) Salvi 3:15 pm Interactive Global Illumination (State of the Art) Wyman 3:45 pm User-Defined Pipelines for Ray Tracing Parker 4:15 pm Panel: "What Is the Right Cross-Platform Abstraction Level for Real-Time 3D Rendering?" Moderator: Peter-Pike Sloan, Disney Interactive Panelists: David Blythe, Intel Corporation Raja Koduri, Apple, Inc. Henry Moreton, NVIDIA Corporation Mike Houston, AMD Chas Boyd, Microsoft Michael Houston Advanced Micro Devices, Inc. Aaron Lefohn Intel Corporation Marco Salvi Intel Corporation Steven G. Parker NVIDIA Corporation Chris Wyman University of Iowa Chas Boyd Microsoft Corporation Henry Moreton NVIDIA Corporation Raja Koduri Apple, Inc. Jacob Munkberg Intel Corporation Peter-Pike Sloan Disney Interactive David Blythe Intel Corporation	Tuesday, 9 August 2-5:15 pm	Production Communities Research
Full Conference Courses Beyond Programmable Shading I West Building, Rooms 211-214 Details There are strong indications that the future of interactive graphics programming is a more flexible model than today’s OpenGL/Direct3D pipelines. Graphics developers need to have a basic understanding of how to combine emerging parallel programming techniques and more flexible graphics processors with the traditional interactive-rendering pipeline. As the first in a series, this course introduces trends and directions in this emerging field: parallel graphics architectures, parallel programming models for graphics, and how game developers are investigating the use of these new capabilities in future rendering engines. COURSE SCHEDULE 9 am Introduction Lefohn 9:20 am Research in Games Sloan 9:45 am The "Power" of 3D Rendering Koduri 10:15 am Real-Time Rendering Architectures Houston 10:45 am Scheduling the Graphics Pipeline Ragan-Kelley 11:15 am Parallel Programming for Real-Time Graphics Lefohn 11:35 am High Performance Graphics on the CPU With ISPC Pharr 11:45 am Software Rasterization on GPUs Laine & Pantaleoni Michael Houston Advanced Micro Devices, Inc. Aaron Lefohn Intel Corporation Raja Koduri Apple, Inc. Jonathan Ragan-Kelley Massachusetts Institute of Technology Samuli Laine NVIDIA Corporation Jacopo Pantaleoni NVIDIA Corporation Peter-Pike Sloan Disney Interactive Matt Pharr Intel Corporation	Tuesday, 9 August 9am-12:15 pm	Production Communities
Full Conference Courses Applying Color Theory to Digital Media and Visualization West Building, Rooms 118-120 Details This course highlights the visual impact of specific color combinations, provides practical suggestions on color mixing, and includes a hands-on session that teaches how to build and evaluate color schemes for digital media visualization. COURSE SCHEDULE 2 pm Introduction 2:05 pm Review of Additive and Subtractive Color Models 2:10 pm Defining Color Gamut, Colors Spaces, and Color Systems 2:25 pm Overview of Selected Artistic Movements Pertaining to Color Theory 2:35 pm Visualization Case Studies 2:50 pm Hands on Workshop Using Online Color Tools 3:20 pm Wrap-Up, Other Resources, and Concluding Remarks Theresa-Marie Rhyne Consultant	Wednesday, 10 August 2-3:30 pm	Research
Full Conference Courses Advances in Real-Time Rendering in Games: Part I East Building, Ballroom A/B Details Advances in real-time graphics research and the ever-increasing power of mainstream GPUs and consoles continue to generate an explosion of innovative algorithms suitable for fast, interactive rendering of complex and engaging virtual worlds. Every year, the latest video games employ a vast variety of sophisticated algorithms to produce ground-breaking 3D rendering that pushs the visual boundaries and interactive experience of rich environments. This course is the next installment in the established series of SIGGRAPH courses on real-time rendering. It summarizes the best graphics practices and research from the game-development community and provides practical and production-proven algorithms. The first part of the course includes speakers from the makers of several award-winning games, such as Bungie, Media Molecule, Crytek, and Avalanche. Topics include practical methods of real game-rendering pipelines, deferred rendering improvements, complex lighting techniques, scene voxelization and participating media, and other exciting production secrets. The focus is on the intersection between the game-development community and state-of-the-art 3D graphics research, and the potential for cross-pollination of knowledge in future games and other interactive applications. COURSE SCHEDULE 9 am Introduction Tatarchuk 9:05 am Making Game Worlds From Polygon Soup: Visibility, Spatial Hierarchy and Rendering Challenges Chen, Silvennoinen, and Tatarchuk 9:45 am Rendering in Cars 2 C. Hall, R. Hall, D. Edwards 10:30 am Two Uses of Voxels in LittleBigPlanet2’s Graphics Engine Evans & Kirczenow 11:15 am Secrets of CryENGINE 3 Graphics Technology Sousa, Kasyan, and Schulz Natalya Tatarchuk Bungie, Inc. Hao Chen Bungie, Inc. Ari Silvennoinen Umbra Software Ltd Christopher Hall Avalanche Software, Disney Games Robert Hall Avalanche Software, Disney Games David Edwards Avalanche Software, Disney Games Alex Evans Media Molecule Tiago Sousa Crytek Nickolay Kasyan Crytek Nicolas Schulz Crytek	Monday, 8 August 9am-12:15 pm	Production Communities
Full Conference Courses Advances in Real-Time Rendering in Games: Part 2 East Building, Ballroom A/B Details Advances in real-time graphics research and the ever-increasing power of mainstream GPUs and consoles continue to generate an explosion of innovative algorithms suitable for fast, interactive rendering of complex and engaging virtual worlds. Every year, the latest video games employ a vast variety of sophisticated algorithms to produce ground-breaking 3D rendering that pushs the visual boundaries and interactive experience of rich environments. This course is the next installment in the established series of SIGGRAPH courses on real-time rendering. It summarizes the best graphics practices and research from the game-development community and provides practical and production-proven algorithms. The first part of the course includes speakers from the makers of several award-winning games, such as Electronic Arts (Vancouver, Montréal, and Black Box), Treyarch, Sony Online, and CCP Games. The focus is on the intersection between the game-development community and state-of-the-art 3D graphics research, and the potential for cross-pollination of knowledge in future games and other interactive applications. COURSE SCHEDULE 2 pm Welcome Tatarchuk 2 pm More Performance Without Quality Compromise: Five Rendering Ideas From Battlefield 3 White & Barre-Brisebois 2:50 pm Physically Based Lighting in Call of Duty: Black Ops Lazarov 3:30 pm Real-Time Image Quilting: Arbitrary Material Blends, Invisible Seams, and No Repeats Malan 4:15 pm Dynamic Lighting in God of War 3 Filippov 4:45 pm Pre-Integrated Skin Shading Penner Natalya Tatarchuk Bungie, Inc. John White Electronic Arts Black Box Colin Barré-Brisebois Electronic Arts Montréal Dimitar Lazarov Treyarch Vassily Fillipov Sony Santa Monica Hugh Malan CCP Games Christopher Hall Avalanche Software Robert Hall Avalanche Software David Edwards Avalanche Software Eric Penner Electronic Arts Vancouver	Monday, 8 August 2-5:15 pm	Production Communities
Full Conference Courses Advances in New Interfaces for Musical Expression West Building, Rooms 118-120 Details Advances in digital audio technologies have led to computers playing a role in most music production and performance. Digital technologies offer unprecedented opportunities for creation and manipulation of sound, but the flexibilty of these new technologies provides an often confusing array of choices for composers and performers. A decade ago, the presenters of this course organized the first workshop on New Interfaces for Musical Expression (NIME), to clarify this situation by exploring connections with the better-established field of human-computer interaction. The course summarizes what has been learned at NIME. Topics include the theory and practice of new musical-interface design, mapping from human action to musical output, control intimacy, tools for creating musical interfaces, sensors and microcontrollers, audio synthesis techniques, and communication protocols such as Open Sound Control (and MIDI). The course presents several case studies focused on the major broad themes of the NIME conference, including augmented and sensor-based instruments, mobile and networked music, and NIME pedagogy. COURSE SCHEDULE 2 pm Introduction to NIME Tools, Design, and Aesthetics Fels & Lyons 2:10 pm Module 1: Building a NIME Fels 2:40 pm Module 2: Camera-Based Interfaces Lyons 3 pm Module 3: Design & Aesthetics of NIME Lyons 3:20 pm Break 3:50 pm Module 4: NIME After NIME: Case Studies Fels 4:20 pm Module 5: NIME Theory Lyons 4:40 pm Module 6: NIME Education Lyons 4:50 pm Concluding Remarks Fels & Lyons 5 pm Discussion Michael Lyons Ritsumeikan University Sidney Fels The University of British Columbia	Tuesday, 9 August 2-5:15 pm	Art Research
Full Conference Courses 3D Spatial Interaction: Applications for Art, Design, and Science West Building, Rooms 118-120 Details 3D interfaces use motion sensing, physical input, and spatial interaction techniques to effectively control highly dynamic virtual content. Now, with the advent of the Nintendo Wii, Sony Move, and Microsoft Kinect, game developers and researchers must create compelling interface techniques and game-play mechanics that make use of these technologies. At the same time, it is becoming increasingly clear that emerging game technologies are not just going to change the way we play games, they are also going to change the way we make and view art, design new products, analyze scientific datasets, and more. This introduction to 3D spatial interfaces demystifies the workings of modern videogame motion controllers and provides an overview of how it is used to create 3D interfaces for tasks such as 2D and 3D navigation, object selection and manipulation, and gesture-based application control. Topics include the strengths and limitations of various motion-controller sensing technologies in today’s peripherals, useful techniques for working with these devices, and current and future applications of these technologies to areas beyond games. The course presents valuable information on how to utilize existing 3D user-interface techniques with emerging technologies, how to develop interface techniques, and how to learn from the successes and failures of spatial interfaces created for a variety of application domains. COURSE SCHEDULE 2 pm Welcome, Introduction, and Roadmap LaViola 2:15 pm Common Tasks in 3D User Interfaces LaViola 2:45 pm Applications 1: Spatial Interfaces in Art and Design Keefe 3:15 pm Working With Video Game Motion Controllers LaViola 3:45 pm Applications 2: Spatial Interfaces in Scientific Visualization Keefe 4:15 pm Future 1: 3D Gesture Recognition Techniques LaViola 4:45 pm Future 2: Mix and Match Spatial Input Keefe 5:15 pm Questions and Answers LaViola & Keefe Joseph LaViola University of Central Florida Daniel Keefe University of Minnesota	Sunday, 7 August 2-5:15 pm	Education Production Communities
Full Conference Basic Conference Emerging Technologies Emerging Technologies West Building, Ballroom B Details Emerging Technologies presents innovative technologies and applications in several fields, from displays and input devices to collaborative environments and robotics, and technologies that apply to film and game production.	Thursday, 11 August 9am-1:00 pm	Art Education