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ANIMATION & VFX FIRST-TIMER PRODUCTION INVITED CONTENT PRODUCTION SESSIONS 24 FP F S #SIGGRAPH2016 SIGGRAPH 2016 hosts Production Sessions, where the world's most elite and talented computer graphic experts and creative geniuses explain their processes and techniques for creating compelling content. Following each presentation, attendees ask questions about the challenges and issues associated with complex productions. SUNDAY, 24 JULY THE MAKING OF “PEARL”, A GOOGLE SPOTLIGHT STORY Sunday, 24 July, 10:45 am-12:15 pm “Pearl” is a Spotlight Story directed by Oscar-winning animator Patrick Osborne. Conceived from the beginning as a 360º experience, “Pearl” takes place entirely in a car and explores the gifts we inherit from our parents, both tangible and intangible. The challenge: create a 360º interactive animated film with a strongly art-directed, highly stylized non-photorealistic look, with naturalistic character animation tightly synchronized with an original song, and a story that collapses decades into minutes through montage, and make it run on a wide range of devices, from mobile phones to VR headgear, in real time. Panelists Patrick Osborne, Director Rachid El Guerrab, Spotlight Stories Project Lead David Eisenmann, Producer Cassidy Curtis, Tech Art Lead Google MONDAY, 25 JULY “KUBO AND THE TWO STRINGS”: ONE GIANT SKELETON, ONE COLOSSAL UNDERTAKING Monday, 25 July, 2-3:30 pm For “Kubo and the Two Strings”, (in theaters 19 August), LAIKA launched an immensely powerful puppet – to scale. The result: a giant (18-foot) skeleton with a 24-foot wingspan from finger to finger. With realworld materials including dense CNC foam, paper, paint, and a steel armature, the Giant Skeleton was a massive undertaking, involving LAIKA's notoriously interdependent and collaborative crew. And when the puppet was finished, the challenges began. Panelists Steve Emerson, VFX Supervisor Steve Switaj, Engineer, Camera and Motion Control LAIKA TUESDAY, 26 JULY THE MAKING OF MARVEL’S “CAPTAIN AMERICA: CIVIL WAR” Tuesday, 26 July, 10:45 am-12:15 pm In “Captain America: Civil War”, Steve Rogers leads the newly formed team of Avengers in their continued efforts to safeguard humanity. But after another incident involving the Avengers results in collateral damage, political pressure mounts to install a system of accountability, headed by a governing body to oversee and direct the team. The new status quo fractures the Avengers, resulting in two camps, one led by Steve Rogers and his desire for the Avengers to remain free to defend humanity without government interference, and the other following Tony Stark’s surprising decision to support government oversight and accountability. Marvel Studios, ILM, Rise FX, and Method Studios show attendees how they created some of the movie’s most heart-stopping moments. Panelists Victoria Alonso, Executive Vice President, Physical Production Dan Deleeuw, VFX Supervisor Jen Underdahl, VFX Producer Marvel Studios Russell Earl, VFX Supervisor Industrial Light & Magic Greg Steele, VFX Supervisor Method Studios Table of Contents S2016.SIGGRAPH.ORG
PRODUCTION SESSIONS (continued) 25 THE VFX OF DISNEY’S “THE JUNGLE BOOK” Tuesday, 26 July, 3:45-5:15 pm The visual effects team behind Jon Favreau’s live-action adaptation of “The Jungle Book” discusses the creative and technical challenges behind bringing the story's characters and stunning full CG environments to life. A team of over 800 CG artists led by Production VFX Supervisor Rob Legato, MPC VFX Supervisor Adam Valdez, Animation Supervisor Andy Jones, and Weta Digital VFX Supervisor Keith Miller, worked for two years to animate over 60 species of animal; craft the mountain temple, trees, rocks, and vines; and simulate earth, fire, and water. Panelists Rob Legato, Production VFX Supervisor Andy Jones, Animation Supervisor Walt Disney Animation Adam Valdez, VFX Supervisor Moving Picture Company Keith Miller, Digital VFX Supervisor Weta Digital WEDNESDAY, 27 JULY UNDER THE SEA – THE MAKING OF “FINDING DORY” Wednesday, 27 July, 10:45 am-12:15 pm How Pixar artists created the studio’s latest feature film, “Finding Dory”. Top animators and technical artists deliver a deep dive into the process of creating the summer hit, which required adoption of an entirely new back-end pipeline and cutting-edge technology. From character design and animation to lighting, CG water like you’ve never seen before and, perhaps most crucially, RenderMan REYES, and RIS, come find out how “Finding Dory” revolutionized Pixar Animation Studios from sea-level up. Panelists Steve Pilcher Jeremie Talbot Jim Brown Masha Ellsworth Chris Burrows Chris Chapman Ian Megibben John Halstead Pixar Animation Studios “STAR WARS: BATTLEFRONT” – GAME DEVELOPMENT IN THE STAR WARS UNIVERSE! Wednesday, 27 July, 2-3:30 pm The DICE team reveals some of the work that went into “Star Wars: Battlefront,” their award-winning, visually stunning game. They share challenges they faced, discuss their approach to overcoming those challenges, and offer a candid, open conversation about their process. Specific topics include PBR, photogrammetry, vertex shading, fragment shading, Enlighten, tessellation, and optimizations. Attendees learn how DICE works; explore the challenges developers face when dealing with high-profile assets such as iconic characters, planets and weapons; understand the solutions to those challenges, and engage the creators in a panel discussion. Panelists Kenneth Brown, Technical Art Director Jonas Andersson, Visual Effects Artist Pontus Ryman, Senior Environment Artist Anders Egleus, Senior Visual Effects Artist Oscar Carlén, Senior Lighting Artist Electronic Arts Digital Illusions Creative Entertainment AB “DEADPOOL” + COLOSSUS OUR FAVORITE (ANTI) SUPERHEROES Wednesday, 27 July, 3:45-5:15 pm Digital Domain worked on the three main aspects of “Deadpool”: Colossus, Deadpool interacting with Colossus, and the Helicarrier. Creation of Colossus required five different actors: a motion-capture actor, a taller actor on the principle shoot, a voice-over actor, fa ace model, and a Mova/facial-capture actor. The team used a proprietary real-time system to capture the facial movement of one actor and redirect to the Colossus character with perfect 1:1 geometry of usable data. They created the digi-double of Deadpool that was usable by all vendors on the project. And they created the Helicarrier; which is similar to Marvel’s X-Men carrier, but a bit more rustic looking in this anti-hero film. Blur Studio created the film’s opening title sequence, provided previsualization for several action sequences, delivered an additional 37 VFX shots for two key scenes, and made the low-fi animated end titles. Blur also provided previsualization for the main car chase, the subsequent bullet-counting sequence, and the final fight scene. Previsualization was critical for staging the flow of each scene and determining which shots would work best in advance. One of the main tasks in Blur’s 37 VFX shots was integrating a fully CG version of a damaged Colossus, building on Digital Domain’s “clean” Colossus model. Blur developed an identical clean Colossus, which required extensive full-body and facial motion capture, and incorporated heat damage, scrapes, and other flaws. Panelists Jan Philip Cramer, Animation Director Scott Edelstein, CG Supervisor Digital Domain, Inc. Franck Balson, Previsualization Supervisor Sebastien “Zeb” Chort, CG Supervisor Blur Studio Table of Contents S2016.SIGGRAPH.ORG
Page 2 and 3: TABLE OF CONTENTS 2 3 CONFERENCE A
Page 4 and 5: REASONS TO ATTEND 4 Why SIGGRAPH? W
Page 6 and 7: CONFERENCE OVERVIEW (continued) 6 F
Page 8 and 9: CONFERENCE SCHEDULE (continued) 8 M
Page 10 and 11: CONFERENCE SCHEDULE (continued) 10
Page 12 and 13: ART FIRST-TIMER INVITED CONTENT AR
Page 14 and 15: ART RESEARCH ART PAPERS 14 FP F S
Page 16 and 17: COURSES 16 FP F #SIGGRAPH2016 Inst
Page 18 and 19: COURSES (continued) 18 RESEARCH VEC
Page 20 and 21: AR/VR FIRST-TIMER RESEARCH EMERGING
Page 22 and 23: EMERGING TECHNOLOGIES (continued) 2
Page 26 and 27: PRODUCTION SESSIONS (continued) 26
Page 28 and 29: REAL-TIME LIVE! 28 Immersive Augmen
Page 30 and 31: STUDIO (continued) 30 STUDIO PROJEC
Page 32 and 33: TALKS (continued) 32 PRODUCTION LIF
Page 34 and 35: TALKS (continued) 34 ANIMATION & VF
Page 36 and 37: TALKS (continued) 36 PRODUCTION THE
Page 38 and 39: TECHNICAL PAPERS (continued) 38 Pos
Page 40 and 41: TECHNICAL PAPERS (continued) 40 REN
Page 42 and 43: TECHNICAL PAPERS (continued) 42 Mul
Page 44 and 45: TECHNICAL PAPERS (continued) 44 IMA
Page 46 and 47: TECHNICAL PAPERS (continued) 46 An
Page 48 and 49: TECHNICAL PAPERS (continued) 48 PLA
Page 50 and 51: AR/VR FIRST-TIMER VR VILLAGE 50 FP
Page 52 and 53: VR VILLAGE (continued) 52 “Synest
Page 54 and 55: AR/VR FOR EDUCATORS FIRST-TIMER ACM
Page 56 and 57: EXHIBITOR SESSIONS (as of 5 May) 56
Page 58 and 59: GENERAL INFORMATION 58 Airport Shut
Page 60 and 61: CONFERENCE COMMITTEE 60 SIGGRAPH 20

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