Startup MacCube Arcade Games, Volume 1
Unicating a story via camera and lighting choices. As a game developer, I find it fascinating for several reasons. One is that it is such a well-established art; over a century old, and based upon many of the principles of still older arts such as photography and painting.
The maturity of the field can be seen in the way that the practice is codified – there are clear roles in film production, everyone knows what a director of photography, first camera assistant, etc. do from film to film. The field’s most prominent professional organization, the American Society of Cinematographers, was created in 1919 and its magazine American Cinematographer has been discussing tips and tricks of the trade since 1920. It’s an interesting contrast to game development – an extremely young discipline where most of the fundamentals are still being figured out. Another reason I’m interested in cinematography is its relevance to game visuals; the primary problem (turning three-dimensional scenes into compelling screen images that carry a narrative) is the same. While issues of camera placement may be less relevant for some game genres (e. g. first person shooters), lighting, color, and scene composition considerations are relevant for almost any game. The third reason is that most game developers (including myself until fairly recently) are either unaware of this vast wealth of relevant knowledge, or are indifferent to it. CG animated features have made great strides by incorporating principles of live-action cinematography; not many videogames are doing the same. For these reasons, I’m glad to see a SIGGRAPH course covering cinematographic fundamentals. The speaker, Bruce Block, has had a lot of experience working in film (albeit not in the camera department) and has written a well-regarded and influential book (The Visual Story) about how visual structure is used to present story in film. The way in which color choices are applied throughout production is another area where I think games have a lot to learn from film. In film, the colors of almost every costume and piece of set decoration are part of a conscious choice to drive the narrative, establish a mood, or support character development.
Portable rus MacCube Arcade Games, Volume 1
This was brought home to me last year when I visited Pixar and saw the “color script” for Toy Story 3 – a wall covered by postcard sized sketches, one for each shot in the film. Each rough sketch blocked out the shapes and colors in the shot, and when they were put together, you could clearly see how the carefully chosen color palette helped drive the story and emotional tone of the movie. Two of the Toy Story 3 color script images can be seen here, and the entire color script for a different Pixar film (Up) can be seen here. This course will cover exactly these kinds of color choices, and will be presented by Kathy Altieri (Production Designer, Dreamworks Animation) and Dave Walvoord (Digital FX Supervisor, Dreamworks Animation). Kathy’s career in TV and film spans three decades; after working on backgrounds for multiple animated TV shows as well as classic animated feature films such as The Little Mermaid, Aladdin and The Lion King, she moved to Dreamworks, where she was Art Director on The Prince of Egypt and Production Designer on Spirit: Stallion of the Cimarron, Over the Hedge, and How to Train Your Dragon.
Dave has 15 years of experience in VFX and CG feature animation, working at Blue Sky on films such as Fight Club and Ice Age before joining Dreamworks, where he was CG Supervisor on Shark Tale, Over the Hedge and Kung Fu Panda and Digital FX Supervisor on Kung Fu Panda 2.This is another course on color, but focused more on theory and on non-entertainment applications, such as scientific visualization. The course is presented by Theresa-Marie Rhyne, a prominent visualization expert with three decades of experience as a researcher, educator, designer and artist.
Operations manager MacCube Arcade Games, Volume 1
She has taught several courses on this topic, most recently at IEEE Visualization 2010 (a video of her slides from that talk is available online), and has a blog on the topic as well. Interestingly, she has already put up a video of the slides from the upcoming SIGGRAPH 2011 course. While most fluid rendering and simulation work over the years has focused on level-set approaches, an important recent trend in this area consists of tracking a mesh over the surface of the fluid, thus enabling more detailed surfaces.
This advanced course (prior knowledge of fluid simulation techniques is assumed) covers the current state of the art in this important area, and is presented by Chris Wojtan (Assistant Professor, Institute of Science and Technology Austria), Matthias Müller-Fischer (Research Lead, NVIDIA), and Tyson Brochu (PhD Candidate, University of British Columbia). Having performed much of the leading research in this area, the speakers are uniquely qualified to speak about the topic. Dave Shreiner (co-author of the famous OpenGL Red Book, which has a new edition coming out this November) has taught an introductory course on OpenGL (almost) every year at SIGGRAPH since 1998. He was accompanied by various co-lecturers – most often Edward Angel – and evolved the course content to keep up with changes in the OpenGL API. The only two years Dave didn’t do this course were 2003 (when he did a “performance OpenGL” course instead of an introductory course – in some other years he did both), and 2010 (when there was no OpenGL course for the first time since 1992). Dave and Edward are back this year with an updated course, which should be of great interest to beginning graphics programmers, OpenGL programmers who have been using older versions of the API, or experienced graphics programmers with plans to start working with OpenGL.
Features MacCube Arcade Games, Volume 1
This course will be taught by Joseph LaViola (Assistant Professor, University of Central Florida) and Daniel Keefe (Assistant Professor, University of Minnesota). Last year at SIGGRAPH 2010, Prof. LaViola taught (with Richard Marks, the primary researcher behind Sony’s EyeToy and Move peripherals), a course about spatial interaction with videogame motion controllers.
This year’s course, judging by its abstract, appears to be focused on applications other than videogames. These novel interfaces surely have interesting applications in many fields, and this course will be of interest to many. Both Prof. LaViola and Prof. Keefe have done important research in this field, and Prof. LaViola has authored a book on the subject.
Last update MacCube Arcade Games, Volume 1
This course is presented by Michael Lyons (Professor, Ritsumeikan University) and Sidney Fels (Professor, University of British Columbia) who in 2001 organized the first workshop on New Interfaces for Musical Expression (NIME). This workshop, dedicated to scientific research on the development of new technologies for musical expression and artistic performance, has since blossomed into a full-fledged international conference. This course will summarize the content of the last several years of NIME, including both theory and practice, and presenting several case studies.
Although there had been fits and starts since the mid-1950’s, stereoscopic (“3D”) feature films really kicked off in 2009. This was primarily due to the convergence of two factors: CG animation and Avatar. CG animated features are easier for stereoscopy since they don’t require bulky and expensive stereoscopic cameras; Disney Animation had been doing all their CG animated films in 3D since Chicken Little (2005), joined in 2009 by Pixar and Dreamworks with Up and Monsters vs. Aliens respectively.
How to install MacCube Arcade Games, Volume 1
Features MacCube Arcade Games, Volume 1
Avatar‘s huge box-office success in the same year goosed studio executives into mandating stereoscopic releases of VFX-heavy live-action films as well. Although somewhat controversial among experts (mostly due to brightness issues), the increase in stereoscopic theatrical content resulted in a push for compatible televisions, Blu-ray players and game consoles at home. Around the same time, the PC side of the game market also saw an increase in stereoscopic support (mostly led by NVIDIA). By 2011, stereoscopy had become a dominant trend in computer graphics, with implications in areas ranging from videogame user interfaces to feature shot editing.
Many of these implications are as yet not commonly understood, which increases the need for courses like this one. Over three hours long, Part II (“Systems”) is a greatly expanded version of the second half of last year’s course. It will focus on specific VFX volumetric technologies, tools, workflows and case studies.
Public release MacCube Arcade Games, Volume 1
Nafees and Magnus will each give a presentation on the systems used at their respective studios. In addition, there will be presentations by speakers from the following companies:Double Negative: presented by Ollie Harding (R D Programmer) and Gavin Graham (CG Supervisor).
I wasn’t able to find out much about Ollie; Gavin has worked at Double Negative for over ten years, during which he did various shot based effects work, assisted R D in battle testing in-house volumetric rendering and fluid simulation tools, and CG-supervised several effects heavy feature films. Volumetric effects are one of the areas where the gap between game and film visuals is biggest; as game platforms become more powerful, game developers will start focusing R D efforts on this topic. In parallel, VFX houses will develop ways to rapidly previsualize feature film volumetric effects, to allow for better artist control and directability. I predict that in the next few
Installed Programs MacCube Arcade Games, Volume 1
- The Last Remnant (Platinum Collection) [Japan Import]
- Surfs Up
- X-Men Origins: Wolverine – Nintendo Wii
- Cities in Motion
- So Blonde
- Crusaders Kings Complete
- Trinity: Zill’Oll Zero [Premium Box] [Japan Import]
- Sonic Generations – Xbox 360
- Call Of Juarez: The Cartel – Xbox 360
- Around the World,the Final Voyage of Amelia Earhart,for Fs95/98
- Ultimate Marvel vs. Capcom 3 [Japan Import]
- Nyanko to Mahou no Boushi / Catz 2 [Japan Import]
- Soldier Of Fortune: Payback
- Doom 3 BFG Edition – Xbox 360
- Sierra’s Quest Series Volume One
- Seduce Me
- Marie Antoinette and the Disciples of Loki
- DHC-6 Twin Otter for Microsoft Flight Simulator 98/2000
- Mercenaries 2: World In Flames
- Superstart – Trivia Hunter
- New Konami Saw Ii Flesh And Blood Action/Adventure Game Playstation 3 Excellent Performance
- Rudolph the Red-Nosed Reindeer Plush Bundle – Nintendo Wii
- SpongeBob SquarePants: Plankton’s Robotic Revenge – Nintendo Wii U
- The Sims 3 Starter Pack
- Are You Smarter Than a 5th Grader – PC
- Eurorace 4X4 SKU-PAS1066265
- Hokuto Musou [Japan Import]