It was an exciting day when I found out that my short film “Distraxion” was going to be featured in the 2008 SIGGRAPH Computer Animation Festival. I had spent the last two years bringing it to completion and I was constantly motivated by the goal of a screening at the CAF. The first year, I was a student in the short film curriculum at AnimationMentor. The next year, I had landed my position as staff animator at DreamWorks Animation and had dedicated my nights and weekends to completing the remaining work on the project. As exciting as it was to learn about my acceptance to the festival, it was even more exciting to learn that in 2008 a new format was being introduced. This new format combined the festival with what was in previous years known as the Electronic Theater. The two showcases would be shown intertwined in high definition digital projection at Los Angeles’ Nokia Theater. more

As Siggraph 2008 winds down, it’s time for me to take one last, brief mention of some of the more interesting technology and developments at the show. Be sure to read upcoming issues of millimeter and Digital Content Producer magazines for more in-depth information.

While some may claim that there is nothing new at the show, if you walk the aisles with an open mind you’re sure to find trends and new gear that fits the bill. more

Unlike the slowly changing, monolithic market for CPUs, the development of graphics chips and cards looks chaotic, with chip designs, products, and companies coming in and out of the market at a near furious pace over the decades since the first graphics technology delivered in 1960.

Over the past eight years or so, however, two companies have come to dominate the market for discrete chips and cards: ATI (since 2006 a division of AMD) and NVIDIA. While the companies continue to slug it out, most everyone else had fallen to the wayside. Now, the two companies own 98 percent of the discrete GPU business, according to on Peddie Research. more

The guys at Reallusion gave me a look at iClone3 a little while ago, as well as their philosophy that there is a market for “simple 3D” work and a merging of the ergonomics that video gamers are used to with the requirements and mindset that animators have. They call iClone3 an affordable and “complete 3D movie machine with real-time animation and actor creation tools for rendering movies with ultimate detail.” The software has a library of characters, bodies, limbs, faces, expressions, sets, and so forth, and is designed for ease of import of elements from places like the Google’s 3D Warehouse, as well as other software packages. Users can animate out of a library of movements, or do basic keyframe work, as well. more

On the convergence trail once again this afternoon, I learned a bit of the Bunkspeed story (booth #311). What intrigues me most about the company’s 3D rendering engine, created specifically for product designers and engineers (starting with the auto industry folks in 2002), is that it has potential to be a pre-viz tool for Hollywood–another example of technology crossing over from one application to the next.

Bunkspeed marketing chief Thomas Teger told me the company’s HyperShot technology, introduced last year as a simplified and way to render and move photographic images in real-time was used a while back for pre-viz and storyboarding work by a freelance artist who worked on Transformers, for example. He adds that the focus of the company remains on design applications, but increasingly, that world requires movement, and so, this year, Bunkspeed announced the addition of enhanced animation capabilities with its new HyperMove tool (slated for an October debut). HyperMove is basically a tool for moving photo-real imagery rendered in the Bunkspeed world for display purposes (driving a car, posing a cell phone on a turntable, etc), without requiring the artist to have any significant computer animation skills particularly. more

Until recently, most laser scanning systems—whether for use in films, games, or other applications–were pretty big pieces of gear, designed for capturing a car, or on a slightly smaller scale, a full body. While some companies did make small desktop rigs, these mainly captured small objects—say the size of a soda can—that had to be placed on a revolving stage attached to a workstation. Pretty complicated for the most part.

At the show, Quebec-base Creaform, which develops and makes the Handyscan 3D line-up of handheld and self-positioning laser scanners, debuted an innovative, lightweight handheld 3D color scanner that only needs to be attached to laptop to deliver near real-time scans. more

mental images, a global leader in rendering software and visualization tools, unveiled RealityServer 2.2, the server-based, highly-scalable 3D web application and services platform available to developers and system integrators. The new version is particularly geared towards providers of 3D web application services, including Software-as-a-Service solutions.

RealityServer software platform was designed from the ground up to be the web application services platform for achieving the highest-quality renderings for large large-model visualization in 3D. It allows users to create and deploy 3D interactive web services and applications across numerous disciplines including aerospace, automotive, architecture, product design, product showcasing and product configuration. Ideal for geographically dispersed collaboration, RealityServer enables real-time viewing and interaction with high image quality across the web without the need for downloads or client side viewer applications. Read on at The Briefing Room

More Siggraph 2008 Show news from The Briefing Room

An interesting early-morning panel today at Siggraph was the videogame panel Games: Evolving on an Order of Magnitude, which featured apropos comments about where the industry is going technically and from a business point of view from some heavy hitters in the game world. The panel, moderated by Michel Kripalani of Autodesk, included Lyle Hall of THQ Inc., Martin Walker of Artificial Mind & Movement, Steve Theodore of Bungie, Steve Sullivan from Lucas Arts, and Jeff Lander of Electronic Arts. more

The animation artist who led ILM’s Yoda into the digital age has left the ‘Star Wars’ galaxy after 15 years, and at Siggraph ‘08 he provided a glimpse of where he’s landed. Rob Coleman was the longtime animation supervisor behind some of ILM’s best character character animation (along with Yoda and the Star Wars prequel menageries, he left his marks on Men In Black and the title character from ‘Dragonheart.)

It’s been a dozen years since the talking dragon of that latter film delivered his lines, but Coleman and the ex-ILMers who’ve founded the new studio Lightstream Animation showed that digital character performances are still a high bar that they’re trying to cross. The character they previewed at SIGGRAPH was a talking camel from an animated feature called The Fourth Magi, which Coleman hopes to co-direct with Aussie entrepreneur Paul Curry. more

Autodesk announced Autodesk Toxik 2009 procedural compositing software. Toxik 2009 offers high-performance compositing and visual effects capabilities, particularly for large-format digital film and television projects. When combined with the new Autodesk Maya 2009 modeling software, the two products provide an accelerated and iterative 3D-to-2D workflow. Both products are being showcased at Siggraph 2008 in Los Angeles, California, August 12-14 at Autodesk booth #501. Read on at The Briefing Room

More Siggraph 2008 news from The Briefing Room