|
|
| [VIDEO] SIGGRAPH Finale |
|
Friday 10 August 2007 - 09:44AM
Barbara Robertson
On the last day, it becomes painfully clear how much goes on at SIGGRAPH. That’s the day when I wish I had done this, moan about why I didn’t remember to go to that sketch, and walk quickly from one end of the exhibition hall to the other scanning for technology I might have missed. This year, I started with an annual breakfast with a friend who is now at Microsoft. Had an appointment at Organic Motion, which, as Renee says, is definitely worth following. Lunch with Leonard Teo (!) and Kevin Clark of Softimage. Zipped back to the show floor to look at Houdini 9’s lovely new interface, which is getting much buzz. And then, the best end of SIGGRAPH moment ever.
NVIDIA had smartly installed several cubicles inside their booth for meetings – a quiet place where you can shut out all the show floor noise. Gary Yost and Rolf Berteig ushered me into one of these cubicles to demonstrate “mental mill Artist Edition.” Gary and Rolf are two of the brains behind the original 3ds max, so it’s always great to spend time with them. For a while now, they’ve been working with mental images and what they showed me is very cool: a shader creation tool for artists (not just geeks, but they’ll like it, too) that supports MetaSL, the universal meta shader language developed by Mental Images. You create a shader in mental mill using its graphical user interface. MetaSL compiles it and the shader renders using your favorite rendering software, whatever that is, on whatever CPU or GPU or custom processor you have. NVIDIA is bundling mental mill Artist Edition as part of its FX Composer 2; a standalone version is targeted for fourth quarter 2007.
We were deep in a discussion about what all this might mean for artists when we heard the distant sound of a bagpipe playing “Amazing Grace,” SIGGRAPH’s traditional sign off for the exhibition. But, we kept talking inside this quiet little room with a laptop on the table and this genius software running on it. And talking, and talking. When we opened the door, we all stepped out onto a bare concrete floor. The carpets had been rolled up and the booths were mostly gone and we roared with laughter. It was perfect.
Organic Motion
SideFX's Houdini 9
NVIDIA
Mental Images
Softimage SIGGRAPH 2007 Video
SIGGRAPH 2008
 |
Share This |
|
|
 |
| SIGGRAPH tradeshow attractions. |
|
Thursday 09 August 2007 - 23:47PM
Renee Dunlop
My batteries are charged again and that is a very good thing, because today is turning out to be jam packed with great stuff. I started with Tippett Studios and an inside scoop at their upcoming movie, ‘Enchanted.’ Seeing this film is on my definite to-do list. From what I noted it’s going to be a joy to watch technically, artistically, and creatively, and just the clips made me laugh. Though I can’t reveal too much yet, I can tell you that it involves some of the founding Disney storylines with a twist, created by the best of the Tippett artists in top quality 3D.
A quick hop by Mersive Technologies gave me a chance to see my future living room entertainment center. Mersive had a 9000-pixels wide screen set up on the second floor and are capable of building one almost any size. Yum.
Organic Motion is a company I think may really go places. MoCap without any body gear or prep time, all a person needs to do is step into the stage area and move. Movement is captured in real time with an innovative approach that measures bone length. Not only is it a terrific system for animators that want to record their own motions, but it is perfect for other venues such as medical applications where movement needs to be studied when the prep process is too grueling for the patient.
Next I visited Motion Theory, a small company in Venice, CA, near me. What struck me first was how relaxed they were- mighty surprising considering the field and the surrounding chaos- and how well they cooperated with each other. It’s a small production company that works mostly on music videos and commercials, and expands to handle the flow of projects, (they are hiring!) You remember my comment yesterday about the stellar artists that produced the Electronic Theater commercials? Well, this group produced several of those.
An announcement let the media know that the future of Siggraph will be changing. The floor layout will condense subjects of interest. The convention itself will run from Monday to Friday, but the exhibition will remain from Tuesday to Thursday. Call for Entry dates are earlier, but the completion dates are extended. And there is now an annual event called Siggraph Asia too.
I next pillaged the FJORG Viking Animation Event. The three winning teams won a lunch with Sony executives, then DreamWorks will take the first and second place teams, via stretch limo, to the DreamWorks Animation Headquarters in LA for a catered dinner with their top executives, an early screening of Bee Movie, and a tour of their beautiful facility. I’ve been there. Those winners are in for a treat.
The final research for the evening was the Studio Pendulum party at the House of Blues. Unfortunately, somehow half our group had received VIP tickets while the other half received General Admission. The line for the latter wrapped around the block. Rather than split up, we opted to head out for a quiet drink instead, and I got to meet some more of the great team at CGSociety. Those guys rock! (But I bet I can still out drink them. ;-)
Related links:
Tippett Studios
Mersive Technologies
Organic Motion
Motion Theory
SIGGRAPH 2008
Studio Pendulum
Photo slide show.
|
Share This |
|
|
|
| Saunter through SIGGRAPH |
|
Thursday 09 August 2007 - 17:52PM
Barbara Robertson
I think that for every other vendor at the show there must be a motion capture vendor. Amazing range of mocap solutions – markerless, camera-less, wireless, optical, mechanical, pick your favorite. Other than the big news from Autodesk – buying Skymatter – mostly what I’m seeing is incremental improvements in products. Massive for Windows and with hair and fur, for example.
During the Massive press conference, Stephen Regelous demonstrated new features in Massive – blending between keyframe animation and rigid body dynamics, traffic lanes, level of detail for subdivision surfaces, dynamic hair and fur and faster cloth sims, FBX support, and a Windows version. I sat at a table with some press people who knew nothing about Massive because they usually concentrate on other areas of graphics, and it was fun to watch their jaws drop.
But the geekiest cool technology at the show could be from Aguru Images in Alexandria, Virginia. They have three products, three different ways to capture shapes and reflectance. The “AguruDome,” a giant lighted sphere, which people who follow Paul Debevec’s work will recognize. Sit someone inside and capture the reflectance data on their face. The “Aguru Scope,” a compact device based on papers by Ken Perlin and licensed from NYU’s Media Research Lab, captures reflectance data for materials. A single capture can provide hundreds of angles of incidence. “The Aguru Scanner” captures shape, translucence and shading of flat objects. Booth #1142 if you get the chance.
Saw the sketch given by the Electronic Theater winners and now I understand why the winning film, “Dreammaker,” won. I still haven’t seen the entire 14 minute film, though. Can’t wait.
Gelato and Plush Life. NVIDIA’s digital film group introduced Gelato 2.2, which includes new shaders for velvet and for Joe Alter’s “Shave and a Haircut.” To provide the Gelato developers with a production environment for testing new features, the division has hired Tim Heath as resident artist. Heath, who came to NVIDIA via Square, Electronic Arts and ILM, created a short film, “Plush Life,” that debuted at SIGGRAPH.
What else? I missed the Softimage Vicon party at the House of Blues because I went to the Robert Abel, Digital Production, Omnibus party, aka the DOA party. It was a great collection of luminaries, most of whom worked at one or the other facility. It was a warm night, a rooftop filled with brilliant people who had helped spark the visual effects industry – and many are continuing to do so. I saw footage from “Looker,” which I had heard about, but never seen. We had good food and drinks thanks to Autodesk. When the bar closed near midnight, everyone moved to the penthouse in a nearby hotel and partied on.
Related links:
SIGGRAPH 2007
Agura Images
Plush Life and galleries
Photo slide show.
|
Share This |
|
|
|
| SIGGRAPH Wednesday |
|
Thursday 09 August 2007 - 01:03AM
Renee Dunlop
The day started with a Panel on The Uncanny Valley of Eeriness, with a group who shed more brain cells than I’ll ever have, especially after being up till 4:00am. Theirry Chaminade, Karl F. MacDorman, and Joe Letteri were the guest speakers. Chaminade and MacDorman mathematically explored their findings based on studies they had performed. Letteri used Gollum as his example, talking about how and why Weta tweaked Andy Serkis’s MoCap performance. Ironically, though Serkis made it his goal to steal every scene, Gollum’s performance had to be bigger than life to be believable.
The Art Gallery had some compelling surprises. One was a supposed to be an electric chair. The participant signed a release form before continuing to the next room. There they were strapped into the chair. The “generator” next to them filled with flames, then hit them with simulated voltage created by a series of simple gadgets made from massage units, but the anticipation made the effect feel real. Afterwards the smoking carcass was served with some fava beans and a nice Chianti. OK, I made that part up. Another cool display that is traveling the world takes the image of the viewer and stores it. When the next viewer looks into the glass, the former visage is incorporated while the new one is also stored. As this travels the world, it will store and incorporate thousands of faces.
SIGGRAPH Featured Speaker Scott McCloud was an absolute blast. There is no way I could do his humor justice in a brief few lines. With a brilliant, blind father who graduated from Harvard, became a scientist, engineer and inventor, McCloud chided how he had fallen far from the tree. Even his young daughter piped up from the audience to agree with him. Fascinated with the format of comics and the space between the panels that represents time, he considers comics unique with time as the art form, and now obsessively explores the endless format possibilities with the internets XYZ format.
Emerging Technologies, my next stop, now not only includes juried content from submissions, but curated technologies as well. Every year this area makes science fiction look tame. Spinning-Disk 3D Television uses a rapidly spinning slanted mirror to create a model that can be viewed in full 3D by walking around the box. The Transparent Cockpit, ala Contact travel pod, allows you to seemingly see through the walls of your vehicle via cameras mounted on the outside. Think helicopters with what appears to be transparent walls, improving safety (and terrifying passengers like me).
I ended the night with the Electronic Theater. Though most of the work was top notch, I have to admit I was a little disappointed with the lack of completely new content. There were several commercials and demo reels from studios, all outstanding work but still hinting at advertising, though I can’t deny the artists behind them deserve every bit of recognition. Blue Sky finally gave Scrat his 15 minutes of fame in a great series of catastrophes. And The Ark, this year's winner, was a moving and disturbing piece with an unexpected ending.
There were parties, events and presentations going on into the evening all over San Diego, all with that irreverent SIGGRAPH flavor, and there was no way to be at all of them. Syd Mead was the feature speaker at the Softimage event at Spreckels on Broadway. Giving his view of the industry back in the ‘Blade Runner’ times, gives off plenty of inventive energy into the growing industry today.
Related links:
SIGGRAPH 2007
Softimage
Softimage Event on YouTube
Photo slide show
|
Share This |
|
|
|
| SIGGRAPH growth |
|
Wednesday 08 August 2007 - 19:40PM
Barbara Robertson
Recruiting, recruiting, recruiting! Seems like everyone wants to hire 100 people. Well, maybe not everyone, but many studios.
Digital Domain needs around, yes, 100 people – digital matte painters, tracking artists, compositors, flame compositors, roto artists, previz artists, TDs, software and pipeline engineers. They have three big films coming up: Speed Racer, Mummy 3, and Benjamin Button.
Laika, the former Vinton Studios, now owned and funded by Nike co-founder Phil Knight, has grown from 108 to 420 people in the past year and expects to double again by 2009. The studio is working on stop motion and CG features.
BZ Petroff, the director of talent acquisition at LucasFilm said they have between 150 and 250 openings in their various divisions. Right now, the focus stateside is on engineering -- R&D at ILM, game engineers and programmers at LucasArts, and animation toolmakers and pipeline engineers at LucasFilm Animation. In the Singapore division, they’re looking for entry level to senior level people to staff their three units: TV animation, handheld gaming, and the digital artists group, which works on films and creates assets for all the divisions. In fact, I learned during the Transformers session this morning that the digital artists group worked on some shots in Transformers. “We’ll do the digital feature out of Singapore,” BZ said.
The Transformers session. I arrived at 7:45 am to be sure everything was all set for the Industrial Light & Magic panelists and discovered, much to my surprise, that people were already sitting in the audience. The SIGGRAPH crew said that some people had arrived at 7:00. Boggles the mind. The SIGGRAPH crew was outstanding, by the way – couldn’t have been more efficient and helpful. The session was outstanding, too, which I can say, because all I did, really, was introduce the visual effects highlights reel and the people from ILM, and field questions at the end. By 8:30 when the session started, every seat was filled and I heard that people were also in overflow rooms. Scott Farrar, visual effects supervisor, led off with comments about why he thinks the work raised the bar in terms of creating photo-realism, especially for hard surface models. Then Jeff White, digital production supervisor, masterminded the slides and video clips that showed how the crew created the effects, and everyone on the panel jumped in as appropriate. On the panel in addition to Scott Farrar and Jeff White were Scott Benza, animation supervisor, Patrick Tubach, compositing supervisor, Richard Bluff, matte department supervisor and digital matte supervisor for the film, and Hilmar Koch, TD department supervisor and CG supervisor for the film. They gave the audience an hour and 40 minutes of amazing making of’s. You shoulda been there…or, maybe you were.
Afterwards, I had breakfast with Haarm-Pieter Duiker who is launching his new software company, Duiker Research Corporation and its first product: Color Symmetry. Haarm-Pieter was a technical developer for The Matrix films, and you can find many of the technical papers and sketches resulting from his work at ESC in the SIGGRAPH archives. Think Burly Brawl! Color Symmetry is a suite of plug-ins for about every 3D and compositing software package on about every platform and operating system that lets visual effects artists view their work as it would look on film stock. It thus eliminates (or reduces) the need for constant printing to film to check results. Check out the rest of the program features on the website, below.
I finally got to the show floor about 11 and started with some of the smaller booths on the edges. I tried on a twelve thousand dollar wireless glove, which didn’t seem all that intuitive, actually. After a watching me twisting my arm to attach the virtual hand to a gear on the screen for a while, the demo guy said that maybe they needed to recalibrate the glove. I didn’t try on the high-end wearable display device because it looked way too weird – like a wearable suitcase thanks to its two airbags, which, the company claims, makes it comfortably adjustable.
I ran into Seth Rosenthal and Jim Hourihan from Tweak Films and learned that they’re now concentrating on creating and selling software rather than producing visual effects. The first product out of Tweak Software is “RV,” an image and sequence viewer and pipeline tool, which Weta Digital has been using for about a year now. This is not just any viewer. It handles HDRI and floating point images. “You can load an EXR sequence, adjust exposures, crank the gamma, and much more,” says Rosenthal. “Jim designed it using a procedural system. The top part is scripted; it’s customizable so users can modify it easily to fit into their pipelines.” (If you don’t recognize Jim Hourihan’s name, you should spend a little time googling.) The US$299 product runs on Macs and Linux; a Windows version is in the works. They offer discounts for site licenses, and everyone gets free updates for a year.
Stopped in at FJORG! at the perfect moment: the Deadline. The 16 teams of animators finished their 32-hour iron-animator marathon at 5:00, so because I was there with someone from DreamWorks, one of the sponsors, I saw all 16 films. Amazing. I’ve seen entries in film festival contests that didn’t have stories as good as the stories in some of these short films. We’ll find out who won tomorrow. Quick YouTube link below.
The Luxology dinner, the classiest press event at the show, as always, hosted by Brad Peebler and Bob Bennett, was on Monday night. Near the entrance to the area reserved for us in the snazzy restaurant, a couple dozen digital picture frames on a small round tabletop displayed slide shows of models created by Modo users. On the wall were large clay maquettes of animal heads, that, of course, prompted everyone to note how easily Modo users could reproduce them. It was interesting to learn from Brad that many product designers and architects/interior designers are adopting Modo these days, and the picture frames on the tabletop blinked in agreement.
Related links:
Digital Domain
Laika
Color Symmetry
Tweak Films
Virtual Eye
ILM
Luxology
YouTube FJORG! link
|
Share This |
|
|
|
| SIGGRAPH Tuesday |
|
Wednesday 08 August 2007 - 02:36AM
Paul Hellard
This year, the Electronic Theater begins with audience participation at each setting. Games of Asteroids, Tempest and Star Wars, all green-line classics, are shown full screen to rapturous applause. The ET show is well worth the walk or free bus ride from the Convention Center.
The program is a great range of technical, experimental, character short and movie blockbuster work, a white diamond spark from the millions of person hours spent producing this great entertainment. Looking at the range of disciplines shown, we have to acknowledge that this was a grand year for animation and CG for the studios, and so it is important to remember those students coming up through the ranks.
Today, I had a chance to catch up with Carlos Baena and Shawn Kelly. Their history reaches back to having fun together in art class, and now they run the very popular online animation school, Animation Mentor. Yesterday at SIGGRAPH, the second ever class graduation came through their ceremony. Two thirds of the graduating class travelled from as far away as India and Norway to collect their certificates, celebrate and, most importantly, meet many of their classmates and mentor in the flesh for the first time. Animation Mentor ended this graduation ceremony with a wild beach ball toss. The ceremony's theme was Hawaii, and included an appearance by Co-Founder Carlos Baena in a grass skirt.
With the opening of SIGGRAPH’s trade show floor this morning, we were able to see and experience a slice of the information from sessions, out on the studio’s stands. The software and hardware vendors weren’t missing out either. Several stands have special guest speakers discussing their work.
Over at Ballistic Publishing, it is no different, and we made welcome EXPOSÉ 5 Excellence Award winners Anders Lejczak from Sweden and Jessy Villieaux from Canada for the morning and Character Modeling 2 author and artist, Taron appeared in the afternoon. Tomorrow, we have Holli Alvarado, Stone Perales and Raphael Lacoste coming to visit. If you would like to purchase a Ballistic book and have a favorite featured artist sign it, please come over to #313.
Related links:
Photo slide show
SIGGRAPH 2007
Animation Mentor
|
Share This |
|
|
|
| Siggraph diary, star date 8/6/2007 |
|
Tuesday 07 August 2007 - 14:24PM
Renee Dunlop
Siggraph diary, star date 8/6/2007: The geeks have descended on San Diego and have taken over the town. I encountered many of the species in my travels today, and though all seem unaccustomed to light and frivolities, they have adapted well to the new environment.
My day started with a jaunt to a Birds of a Feature meeting on Virtual Reality. One of the most interesting speakers was on a display in Emerging Technologies called BYU-BYU-View, a wind communication device that with video chat capabilities that includes wind. Long distance lovers can blow kisses, or share a birthday cake and blow out the candles. The drawback? Only one can eat the cake! From there I hightailed it to SoftImage. They gave an overview of their latest software and deals, prices, and capabilities. I would suggest you check it out, the sale only lasts until September 6th.
Next I hustled to the Exhibition floor to catch a demo of Toon Boom, the software used to create the Simpson’s Movie. The software makes more than donuts! I was really impressed. The software rocks, it’s easy to use, intuitive and practical and even the node based composting isn’t terrifying to a traditional animator. Then on to a meeting with a startup called Emdigo who creates 3D content for mobile phones. They are new on the marketplace but getting quite a bit of attention. So far they are creating wallpaper and animations using characters such as Hello Kitty, Spider Man, Lego, and various sports figures in Open GL ES.
We also ran into Michael Allen, the sole Australian Student Volunteer. Coming from so far away to experience the conference as a volunteer was pretty fun for him. "Being my first time in the USA and my first time attending SIGGRAPH, it was an inspiration," he said. "The most rewarding for me was meeting people from around the world whose interests lay within the same field."
On to a Special Session for Happy Feet by Animal Logic, where the team took turns presenting what they termed the “Bermuda Triangle”. Rather than pushing things linearly through the pipeline, they freed up the ability to pass work around and back and forth until they accomplished what they were looking for. By using a method called “Lensing”, described as Previs on steroids, they were able to fully visualize what they wanted scenes and characters to do before too much was invested to make improvements. By sending incompleted work to the Lighting department, they were able to do “throw away lighting” and see how shadows were affecting the composition, or how surfaces interacted with the scene. Brilliant!
One face that is hard to forget belongs to Kat Elliott. Freshly graduated from her Animation and Modeling degree at home in Alabama, GA, Kat is the first bright face seen in the CGSociety SIGGRAPH 2006 videos. Her year has been a fun one, completed final year film projects, the task of landing prospective jobs, and some unexpected fame among her fellow students and the SIGGRAPH crowd.
A quick stop by the first International FJORG competition was a great battery charger. 15 teams of three each are competing on a marathon to create the best animation in 32 hours- with distractions. The distraction when I was there? A 10 year old gymnast that could bend herself in ways that made me wince, followed by a marshal arts group who demonstrated such talents as breaking a stick over a man doing an inverted split. Yes, that’s what I said. And still, the animators worked on, even through the shrieks and groans of the visitors.
On to the Autodesk party, the party of all parties, held on an aircraft carrier turned museum. Covered in vintage planes, attendees streamed onto the boat to watch fireworks by Pyro Spectaculars, dance, eat, indulge in the open bar, and ride virtual fighters that spun 360 degrees (many in that order, yikes). I arrived at about 9:30, and left at about 12:30- and there was still a line to get in!
Related links:
Slide show
Toon Boom
|
Share This |
|
|
|
| Autodesk User Group |
|
Tuesday 07 August 2007 - 04:24AM
Paul Hellard
At the Autodesk User Group Meeting on Monday night at the Marriott Hotel, Marc Petit announced the move to acquire Skymatter and the application of Mudbox. The three creators of Mudbox came up onstage to describe how they came to accept the move. I had a quick chat with co-Founder Andrew Camenisch who also told me this was his first time at a SIGGRAPH as a professional. The last time he was a student along time ago. Such a step up. Autodesk launched 3ds Max 2008, Maya 2008 and MotionBuilder 2.5 (Extension 2) in this deep filled auditorium, with demonstrations of the many new features in spectacular Autodesk style.
Vince Brisebois took the huge audience through some of the new features of the lighting engine within 3ds Max and Autodesk luminary David Brinsmead took some time showing some very humorous nCloth demonstrations in Maya 2008.
In the annual Autodesk Masters Award line up, there were five Autodesk 3ds Max Masters recipients:
Allan McKay, VFX animator and director at Catastrophic FX;
Donald Chen, chief modeller artist at Beijing Sheung Tak Jiabao Digital Technology Co.;
Gary M. Davis, owner of visualZ, LLC.;
Jeff Hanna, senior Technical artist at Volition;
Marek Denko, senior digital artist at ImageFX.
Autodesk Maya Masters awards were won by the following artists:
Colin Plenty, senior technical artist at Electronic Arts;
Greg Brentin, supervising technical director at Dreamworks Animation SKG;
Lee Danskin, deputy head of 3D at Moving Picture Company;
Marc-Andre Guindon, founder of NeoReel;
Rudy Grossman, freelance Maya artist.
Onto the Steel Beach Bash.
Related links:
Autodesk
Photo slide show
|
Share This |
|
|
|
| SIGGRAPH Sunday |
|
Monday 06 August 2007 - 08:08AM
Paul Hellard
It is Sunday in San Diego. I must say I admire the choice of locations for SIGGRAPH. This one is a keeper. Truly beautiful city and at the moment, there’s a wonderful cool breeze coming off the bay/ocean so it is never too hot.
I set off to walk through the Electronic Theater this morning, full of terrific innovations and tentative advances in all areas of interactive technologies. E-Ink had some prototype tablets where they were showing high-resolution examples of their Electronic paper. Seen over the years in it’s development, the too-market products from Sony look tremendous. The promise of this technology leading to billboard marketing, and other low energy displays, is a interesting thought. We’ll see. They were some awesome ebook prototypes being shown by the team from Cambridge, MA. I already want one.
I also saw the saccade-based display, which shows a full scale visual image, in full color, but from a single vertical strip. The image is only received by the viewer, as they flit their eyes from left to right. They call it the ‘public/private image presentation based on gaze-contingent visual illusion.’ Truly something out of left field from Japan’s NTT CS Lab and the Human and Information Science Laboratory. I guess what Emerging Technologies is all about.
I ventured out to the Hyatt, up past the Marriot Convention Center where the very friendly Softimage were starting up their Softimage Production Challenge. For a Sunday, the room was pretty chockers. This means full. The team of Todd Akita from PSYOP, David Andrews from The Orphanage, Stan Winston Studio’s Bradley Gabe and Greg Punchatz out of Janimation will modeled, rigged, animated, lit, and rendered a character. The work being discussed through the XSI eyes was one generating the fictional ‘Ticktockman’, a character from a short story by speculative fiction writer Harlan Ellison.
There was the announcement also that Softimage’s CAT 3 is now available, with a whole heap of new character rig presets for use in 3ds Max, as well as other announcements you’ll see closer into the week. As is the schedule, I had to move on before the rigging even got started.
There was a half-day talk by Dreamworks, on “The Evolution of Shrek.” The guys discussed the changes in the technology of the tools used to generate the characters in the three ‘Shrek’ movies. I caught a fair bit of this but hope to catch up with the team later during the conference.
Later in the day, I knocked on out to the Air and Space Museum. I tip my hat to the Luxology team. Nice locale. This here is a grand collection of aircraft, space vehicles, cars, motors, jet, choppers and all good things. Good enough to make the Challenge of modeling every last piece of hardware in the place one too good to pass up for the online community of modo users to pass up. Jeff Rutan showed the slideshow of the work done by 70-odd artists from all over the planet, who modelled every last piece of the museum, even the lights and the dustbins. Gary Fitzgerald, from BMW Designworks showed a great presentation about the use of modo in modelling industrial designs for these desirable machines of the road.
Off out to the CGTalk Meetup at the DW Irish Pub. A great opportunity to meet many artists in the community, face to face. Both from the CGTalk community and also some from that same number who have made it into our books.
Thanks all of you for coming along, and I hope to see more of you at the conference and at the Ballistic stand at #313.
Related links:
Photo slide show [click play, low right]
SIGGRAPH
Softimage
Luxology
E Ink
Human and Information Science Laboratory
|
Share This |
|
|
|
| Ballistic @ SIGGRAPH |
|
Friday 03 August 2007 - 02:16AM
Paul Hellard
While I’m talking about the SIGGRAPH show, I thought I might do a little promotion of our own. When you are down on the show floor from next Tuesday through to Thursday, make your way over to the Ballistic Media stand at #313.
Ballistic produces the great range of ‘EXPOSÉ’ Digital Art Annuals, the EXOTIQUE collection as well as the special Master Class ‘d’artiste’ and the new ‘Creative Essence’ ranges. In fact, while still here in Melbourne, Daniel, Lauren and I are putting together the next books, EXOTIQUE 3 and d’artiste: Matte Painting 2.
The photograph above shows the stand as it was in 2006 at the Boston SIGGRAPH. This year is sure to be even bigger, busier and we have great stock of books for everyone to gaze over and purchase.
A number of Ballistic staff will be there as well as a number of artists who have agreed to come over to do some book signing. Do approach, say hi and have a look at the collections we have. Stay tuned for more details.
Now, I’m disappearing to go pack and get on a plane.
Related links:
Ballistic Publishing
CGSociety
|
Share This |
| | | | | |
