Siggraph

What makes a VP of Production happy? This morning, for Brian Rausch of Vicon/House of Moves it was onboard trajectory building. Vicon is here with the new MX T-Series 160 camera system based on their proprietary 16 megapixel 10-bit Avalon sensor (it runs full res at 120fps; it can do 240fps at half res). Quick math says this is a big jump in performance from the 4 megapixel sensors that established Vicon’s business and reputation.

But back to trajectories. In the not-too-distant past, Rausch explains, each frame was an island; trajectory really meant snapshot (which is hardly the true spirit of trajectory). Now onboard trajectory building is additive, and a successful trajectory can be built from a single camera when other cameras lose sight of markers. “We’ll get fewer labeling issues, markers aren’t going to swap as much, the trajectories will persist and markers will remember where they were, not just where they are.” For how long? Ah, who knows? Depends on movement, occlusion, how many actors. “How long will the trajectory will allow us to be part of its life? We don’t know,” Rausch says fondly, even wistfully. However brief or persistant it’s all an improvement on precision and clarity. more…

If the clips from Laika Studios‘ upcoming Coraline are any indication, the incomparable animation artist Henry Selick (Nightmare Before Christmas, James And The Giant Peach) is directing a new spin on the idea of ‘3D.’ Despite the fact that this advance look at Coraline is happening at SIGGRAPH, Selick’s amazing animation isn’t in 3D-CGI — it’s in stereoscopic stop motion. (Think of ‘3D’ in its last-century meaning, before the term was transformed by computer animation.) more…

It’s the same general approach, only with very different visual presentations.

Robert Neuman, stereoscopic supervisor at Walt Disney Animation, showed a trailer for the upcoming computer-animated feature Bolt, which is from the talking-animal variety of kids-oriented films. In this movie, John Travolta voices a dog who thinks the popular TV show he stars in is real life. Neuman stressed the importance of using 3D as an aid to storytelling and not as purely a gimmick, something echoed by all the presenters so far today. Having objects flying nonstop at the screen seems to be a William Castle-like relic from the past. more…

The NewTek folks were excited to show off version, believe it or not, 9.5 of LightWave 3D for Windows, and feel it continues the company’s longtime mission to offer animation artists affordable tools. The new version, which includes a new lighting system, a new hair and fur solution, and radiosity caching, among other things, is free to registered users of earlier versions, and runs under $1,000 even if you are brand new to it. more…

MAXON Computer, a leading developer of professional 3D modeling, painting, animation and rendering solutions, today unveiled CINEMA 4D Release 11 (R11), the next generation of its highly acclaimed 3D animation software suite. The super-charged release is packed with advanced capabilities that deliver dramatically improved ease of use and workflow, image quality and integration into any production pipeline. CINEMA 4D R11 highlights include a non-linear animation system, new global illumination render engine and dramatically improved render speed. Customers also benefit from the powerful Projection Man matte painting system, developed by MAXON for Sony Pictures Imageworks, support for the COLLADA file format and CineMan — a RenderMan-compliant tool that connects to Pixar’s industry-leading rendering solution. Additionally, multiple improvements were made to MAXON’s popular texture painting toolset BodyPaint 3D Release 4. All of these capabilities and more serve to underscore MAXON’s ongoing and deep commitment to helping 3D digital artists further advance creativity and control. Read on at The Briefing Room

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Tim Sarnoff, president of Sony Pictures Imageworks, was his usual enthusiastic self when he and other company executives sat down for a chat with industry press today. Tim said he wanted to get us together in one place to discuss the company’s current direction this year, rather than “the usual trying to find each other on the show floor at the last minute” thing that usually happens at these kinds of conclaves. (And he was right–that is how it usually goes down.)

Much of the discussion centered around the company’s global production strategy as it continues building a new facility in New Mexico to go along with a Northern California unit and a facility in India–all designed to compliment the growing Culver City campus for the company. more…

At SIGGRAPH 2008, Autodesk, announced Autodesk MotionBuilder 2009 software, the latest version of its real-time 3D character animation solution for games, film, and television projects. The 2009 version offers high-quality visualizations within the 3D viewport, an intuitive toolset for real-time simulation, and expanded scripting capabilities for tighter pipeline integration. MotionBuilder 2009 will be showcased at the Autodesk booth (#501) during SIGGRAPH 2008, at the Los Angeles Convention Center Aug. 12-14. Read on at The Briefing Room

More 2008 NAB Show news from The Briefing Room

Talking mid-century modern with Chris Bond at the Frantic booth. He wants “big foam couches that look like a giant puzzle” for his period house in Palm Springs. Who wouldn’t?

Back on the work track, Frantic Visual Effects (now part of the Prime Focus conglomerate) was this week awarded the effects on Oliver Stone’s upcoming take on W. The mind reels.

In other news Golden Compass/Tropic Thunder supe Mike Fink is here on day #12 of his employment as Frantic’s senior visual effects supervisor and president of visual effects worldwide. more…

I never thought about it like this before, but what we know as a close-up shot isn’t really a close-up at all. Phil “Captain 3D” McNally from DreamWorks Animation likes to instead refer to this staple of 2D cinematography as a “big-up.” The object isn’t any closer to the the audience, it’s just bigger.

That’s just one example of the redefining of traditional movie terminology that McNally peppered throughout his talk about discovering the difference between 2D and 3D moviemaking this morning during the Animated 3D Cinema: Imaginary Worlds Brought to Life panel. Because 2D techniques are so ingrained in filmmakers and audiences as the only way to make films, it is ironically seen as real life. In reality, 2D moviemaking is the art of converting a spatial world into a flat one. McNally showed a clip from the studio’s Kung Fu Panda that was quite impressive in 3D, but then revealed the process behind converting a 3D production through the 2D filter- about 1/3 of the clip was the same, 1/3 was slightly adjusted 2D footage, and 1/3 of it was new or extended edits. more…

Today at SIGGRAPH 2008, Autodesk announced Autodesk Stitcher Unlimited 2009 and Autodesk ImageModeler 2009 software products. These are the first versions of the former REALVIZ products to be released as part of the Autodesk product portfolio. 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