Photochromic sculpture, which consists of a presentation part composed of laminated transparent plates coated with photochromic material granules and a control part for projecting UV light patterns that color volumetric pixels, can generate a dynamically changeable three-dimensional sculpture.

A novel interactive tool for garment design that enables interactive bidirectional editing between 2D patterns and 3D high-fidelity simulated draped forms. Artists can now interactively edit 2D pattern designs and immediately obtain stable, accurate online feedback.

A technique for making model reduction of FEM deformable objects undergoing large deformations adaptable in space. The object is decomposed into several domains, which are reduced independently, and combined with elastic and inertial coupling. The method can simulate rich, detailed deformations of complex structures at hard real-time rates.

Using particles with orientation enables simulation of rigid, plastic, and soft bodies as well as one-, two-, and three-dimensional structures with only a few simulation nodes. In addition, the system uses orientation information to robustly skin visual meshes and increase the accuracy of the particle-based collision volume.

With this method for learning linear upsampling operators in physically based cloth simulation, coarse meshes are enriched with mid-scale details in minimal time and memory budgets, as required in computer games.

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

Get the inside track on OpenGL ES, OpenVG, OpenMAX, and all the new-media APIs being used to develop the billion-dollar, billion-user gaming and mobile multimedia markets!

Using 3D graphics for LEGO, Zoob, an Erector set, etc. in a touch-based environment. What would apps do to enable virtual play? What kinds of interaction make sense?

KeyShot breaks down the complexity of creating photographic images from 3D models, so anybody involved with 3D data can create photographic images in a matter of seconds, independent of the size of the digital model. This exclusive, in-depth preview of the next version of KeyShot demonstrates how it can be applied to animation. With KeyShot 3, users can animate designs with a simple, interactive setup and easy manipulaion of components in a 3D, interactive, ray-traced environment. No complex key framing required. The finished 3D product can be played back in real time with ray-traced quality.

This computational stereo camera system closes the control loop to handle traditionally difficult shots. It is completely programmable, so complex shots can easily be scripted and adjusted depending on the scene and artistic preferences.

A camera-projector system casts distinct grid patterns onto a scene to generate a spatial distribution of point reflections. These point reflections relay a relative measure of defocus that is utilized in post-processing to generate a highlighted depth-of-field photograph.

This method optimizes auto-multiscopic displays composed of compact volumes of light-attenuating material. Inexpensively fabricated by stacking transparencies, the attenuators recreate a light field when illuminated by a backlight. Tomographic optimization resolves inconsistencies between views, leading to brighter, higher-resolution 3D displays with extended depth of field and improved dynamic range.

This paper summarizes a psychophysical experiment to determine human sensitivity to binocular disparity on modern 3D stereo equipment. The obtained data were used to formulate a model of perceived disparity that lays the foundations for effective disparity compression, retargeting, personalized stereo, hybrid stereo images, and a perceived disparity-difference metric.

The Industrial Light & Magic team delves into the effects created for three of 2011’s largest summer films, dissecting the challenges and revealing their solutions. The panel breaks down the visual effects challenges presented on this year’s slate of films including: “Cowboys & Aliens”, “Pirates of the Caribbean: On Stranger Tides”, and “Transformers: Dark of the Moon”.

Visual effects and 3D animation are ever-evolving disciplines, and the fluidity and constant innovation that are at the core of these fields present very specific challenges to educators. In the past 20 years, the volume of computer-animation programs offered by educational institutions has expanded dramatically. Schools around the world are constantly experimenting with new curriculum ideas and educational strategies, trying to provide students with the best opportunities to develop their potential as computer artists and as future players in the computer animation industry.

What makes an undergraduate or graduate program in 3D computer animation successful? Why do some schools seem to be so much better than others? How are they different, in philosophy, educational strategies, proposed projects, curriculum grid, industry relationships, and resources?

This panel brings together leaders and thinkers from some of the top animation schools in the world to present, discuss, and share their specific approaches and educational philosophies. An outreach expert from DreamWorks Animation, and a talent-development director from Walt Disney Animation Studios present the industry point of view.