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

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

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

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

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

"La Luna" is the timeless fable of a young boy who is coming of age in the most peculiar of circumstances. Tonight is the very first time his Papa and Grandpa are taking him to work. In an old wooden boat, they row far out to sea, and with no land in sight, they stop and wait. A big surprise awaits the little boy as he discovers his family's most unusual line of work. Should he follow the example of his Papa, or his Grandpa? Will he be able to find his own way in the midst of their conflicting opinions and timeworn traditions?

Following the Canadian premiere screening of "La Luna", its director, Enrico Casarosa discusses the journey that led him to create this very personal short and demonstrates the singularly artistic style by which the film was crafted.