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Benedikt Bitterli's Portfolio. Benedikt Bitterli Wojciech Jarosz ACM Transactions on Graphics (Proceedings of SIGGRAPH), 36(4), July 2017 Abstract We develop a theory of volumetric density estimation which generalizes prior photon point (0D) and beam (1D) approaches to a broader class of estimators using “nD” samples along photon and/or camera subpaths.

Benedikt Bitterli's Portfolio

Volumetric photon mapping performs density estimation by point sampling propagation distances within the medium and performing density estimation over the generated points (0D). Beam-based (1D) approaches consider the expected value of this distance sampling process along the last camera and/or light subpath segments. Release Alembic 1.7.1 · alembic/alembic. VFX Reference Platform. SIGGRAPH Saturday: DigiPro 2016. Before SIGGRAPH 2016 began, there was Saturday's DigiPro conference at Disney's Grand Californian Hotel in Anaheim. fxguide will have coverage all week from the SIGGRAPH conference.

SIGGRAPH Saturday: DigiPro 2016

DigiPro, now in its fourth year, always sells out and as the capacity is normally around 250-300 people, the whole event has become the place for pipeline TDs, researchers and supervisors to get together to discuss production issues. The conference aims to present production proven, peer reviewed work to "the right people - together in a focused group" and once again the organizers are to be praised for making the day such a strong event in just a few years. Keynote: ILM's Jason Smith Keynote speaker was Jason Smith, Visual Effects Supervisor, Industrial Light & Magic who spoke about Performance Capture on Warcraft and the Role of Optimism in Production.

Smith gave a compelling talk about reaching for the new while judging the risk of failing. With "Warcraft we decided to level up. Revolutionizing Animation Production — Efficiency Sparks Creativity. 創造の熱量は仕組みから生まれるか アニメーション業界の常識に挑む. 日本のアニメーション業界は優れた作品を生み続けているが、その裏には、制作スタッフの長時間・低賃金労働が常態化している現状があることも見逃せない。

創造の熱量は仕組みから生まれるか アニメーション業界の常識に挑む

その中でポリゴン・ピクチュアズは、クリエイティブな世界に製造業のような分業制を取り入れることで効率的生産体制を確立し、従業員に「普通」の労働環境を提供するなど注目を浴びている。 ただ、テレビ業界のアカデミー賞として知られる「デイタイム・エミー賞」を受賞したりと国内外で高い評価を得る一方では、従業員数300人の大組織へと急成長するに伴い、分業制の徹底によるさまざまな歪みが生じ始めている。 クリエイターがモノづくりに傾ける情熱を保ちながら、いかに効率化を進めればよいのか。 同社代表取締役社長の塩田周三氏が、創造性と効率性を両立するために試行錯誤する現状を赤裸々に語ってくれた。 (構成/新田匡央 写真/鈴木愛子)『DIAMOND ハーバード・ビジネス・レビュー』2016年7月号より、抜粋してお届けする。 Universal Scene Description. Why CG Sucks (Except It Doesn't) CG自習部屋 Mayaの時間. ANITOON!: ディズニーのような見やすい3Dアニメーションを作る秘訣、アークとシルエット. About — Originally from Portugal, with a Graphic Design background from Hyper Island School in Sweden.

About —

I am a Designer/Director that uses 3D as the main tool for communicating and bringing ideas to life whilst attempting to strike a balance between being technical and artistic at the same time. Working in teams or by myself I have drive and love pushing the envelope as far as I can with sometimes complex ideas. I have had the pleasure to work with several major studios in NY for the last 6 years on a multitude of projects on different roles such as Art director, Technical director, designer, animator, 3D generalist and Lighter. I enjoy dividing my time between commercial projects and personal art projects that keep the flame burning. I am a creative thinker inspired by all things visual. Artistically if you notice on my body of work, I can create Photo-real and Stylized imagery. I am currently Freelance and always looking for opportunities to join forces.

30年のノウハウが詰まったツール。海外CGプロダクションBUFが社内CGソフトを公開予定。1つ目は無料ダウンロード予定っぽい. 2015年3月10日、本日3度目の更新です。


海外CGプロダクションBUFが30年のノウハウが詰まった社内ソフトを公開予定。 BUF Software Project. 2014 Top 100 Most Influential Animation Studios. Did you know...

2014 Top 100 Most Influential Animation Studios

Each year more than 25% of the student population of The Digital Animation & Visual Effects School (DAVE School) comes from outside the US to attend the school at Universal Studios in Orlando, Florida. There are currently students attending from Saudi Arabia, England, South Korea, Russia, Venezuela, and Dubai. DAVE School can provide assistance in securing student visas and student housing. Learn more at Disney’s new Production Renderer ‘Hyperion’ – Yes, Disney! At the Eurographics Symposium on Rendering last year, Brent Burley and a team from Walt Disney Animation Studios presented a paper called, ‘Sorted Deferred Shading for Production Path Tracing’.

Disney’s new Production Renderer ‘Hyperion’ – Yes, Disney!

This was the first major signal that Disney Animation was developing their own new production renderer from scratch, based around a new idea Burley had come up with. Burley had pitched the idea in 2011, ultimately to Disney Animation President Ed Catmull, who gave the team his encouragement to explore and build the new style of path tracer.

The reception at ESR2013 was not so universally glowing. Disney rendered its new animated film on a 55,000-core supercomputer. Disney's upcoming animated film Big Hero 6, about a boy and his soft robot (and a gang of super-powered friends), is perhaps the largest big-budget mash-up you'll ever see.

Disney rendered its new animated film on a 55,000-core supercomputer

Every aspect of the film's production represents a virtual collision of worlds. The story, something co-director Don Hall calls "one of the more obscure titles in the Marvel universe," has been completely re-imagined for parent company Disney. Then, there's the city of San Fransokyo it's set in -- an obvious marriage of two of the most tech-centric cities in the world. And, of course, there's the real-world technology that not only takes center stage as the basis for characters in the film, but also powered the onscreen visuals.

The Monster Supercomputing Achievement That Lights Up Disney’s "Big Hero 6" The November 7 arrival of Disney’s Big Hero 6 is as much a supercomputing triumph as it is an animated feast.

The Monster Supercomputing Achievement That Lights Up Disney’s "Big Hero 6"

It’s the coming out party for Hyperion—a cutting-edge light rendering software shaped by both Disney artists and engineers working in concert for two years. The system hauled 200 million computing hours, spawned a number of companion programs, and enabled animators to imbue the film's fantastical settings, elements, and characters with a realism and dimension that would have otherwise been impossible. "It allows us to put more on the screen with the same number of artists, creating a richer world that better supports the story," says Disney Animation chief technology officer Andy Hendrikson. ディズニー新作「ベイマックス」制作の舞台裏. 映画「ベイマックス」では、抱きしめたくなるようなロボットがスクリーン上で世界中の観客を魅了しているが、真の主人公はベイマックスではない。


このDisney Animationの大ヒット作の制作に活用された最先端テクノロジを開発したアーティストとエンジニアのチームだ。 「ベイマックス」の制作には、そのDisneyチームが開発した光レンダリングソフトウェア「Hyperion」が初めて使用された。 Walt Disney Animation Studiosの最高技術責任者(CTO)であるAndy Hendrickson氏は、Hyperionの開発には2年と2億コンピューティング時間を要し、「ベイマックス」の制作が始まったときはHyperionがうまく機能するかどうか誰にも分からなかったと語る。 「こうした映画の制作には4年ほどかかる。 われわれはHyperionを約2年で開発し、丸1年使用した。 Hyperionこそが、「ベイマックス」に実写のような美しいイメージと深みを与えているものだ。