This session is for attendees interested in computer graphics in Brazil who want to exchange experiences and meet some friends!

This session may be interesting to those who are building grapics pipelines on Linux and encountering difficulties associated with products, QT versions, python versions, gcc, etc.

Industry professionals from various computer animation and visual effects facilities explain what they (and their studios) look for when reviewing demo reels and portfolios of students and recent graduates.

How to rig, skin, and export a character for CryENGINE 3. Topics include physics setup, building characters from many skinned meshes, and creating Character Definitions and Character Parameter files. These rigging basics are applicable to most run-time game engines.

Learn how custom effects and props are built, how they can assist VFX, the processes that go into modern prop building (from laser cutting to CNC and 3D printing), how to use props to provide supplemental lighting and reference, and how to combine these disciplines to create new effects.

Google Body provides an intuitive 3D context for learning and discussing human anatomy on a browser, smart phone or tablet. It allows the user to peel away layers of anatomy, rotate and zoom, navigate, and search, all without a plug-in because of the WebGL standard and efficient data transmission.

This novel algorithm to interactively compute indirect illumination is based on a filtered voxel octree representation of the scene used as a proxy for lighting information and coupled with an approximate voxel cone tracing that allows a fast estimation of the visibility and incoming energy.

CANCELLED

From Dust is a new game for PlayStation 3, Xbox 360, and PC developed at Ubisoft Montpellier. It features a fully dynamic world where sand, water, lava, and vegetation are constantly evolving and ruled by a realistic simulation.

An interactive desktop GPU ray tracer for large models composed of several hundred million polygons.

Displaying digital art in the late 20th and early 21st centuries can be challenging. Exhibiting this same art in the distant future may be impossible, unless today's artists, conservators, and curators adopt new thinking and practices. Established software engineering methods for dealing with aging systems can provide a new model for conservation of digital art and a foundation for enhancement of art history scholarship.

This study presents media technology that enables improvisational and continuous creation of performers' physical expression as they are inspired by the imagery evoked from the audience. To realize this, the authors focus on "shadow media", a system that promotes continuous creation of imagery through "bodily awareness". The system projects shadows of the performers, which are then transformed into various shapes and colors. The shadows are connected to the performers' feet and projected on a "passable" slit screen set up between the stage and the audience. The result demonstrates that interactive and mutual creation of imagery from performers and audience can form an "empathetic" stage. To demonstrate its validity, the system was applied to a dance performance at Festival della Scienza in Genoa, Italy.

This paper summarizes development and implementation of a three-part infrastructure for the ongoing program of technology-based public artwork at Silicon Valley’s newly expanded airport. The physical, technological, and human infrastructure provides flexibility and opportunities for future artists and future technologies while providing a robust framework for ongoing maintenance and evolution of the program, and mediating between the needs of artists and the constraints of an airport.

Working extensively as both artist and scientist, Aldo Giorgini was one of the first computer artists to combine software writing with early printing technologies. His innovative process consisted of producing pen-plotted drawings embellished by painting, drawing and screen-printing. In 1975, he developed a FORTRAN program called FIELDS, a numerical visual laboratory devoted entirely to art production.

This paper, the product of a multi-year study of Giorgini’s primary source materials provided by his estate, examines the methods he used during the 1970s to create computer-aided art. It is an attempt to ensure that future generations of digital artists, technologists, and scientists can learn about Giorgini’s aesthetic legacy and its contribution to the history of digital art.

The Readers Project is an aesthetically oriented system of software entities designed to explore the culture of human reading. These entities, or "readers", navigate texts according to specific reading strategies based on linguistic feature analysis and real-time probability models harvested from search engines. They function as autonomous text generators, writing machines that become visible within and beyond the typographic dimension of the texts on which they operate. The system has been deployed in a number of interactive art installations where the aggregate behavior of the readers can be viewed on a large screen, and viewers can subscribe, via mobile devices, to individual reader outputs. As the structures on which these readers operate are culturally and aesthetically implicated, they shed critical light on a range of institutional practices, particularly those of reading and writing, and explore what it means to engage with literary components in digital media.