BEGIN:VCALENDAR
PRODID:-//Google Inc//Google Calendar 70.9054//EN
VERSION:2.0
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-WR-CALNAME:TestSA09
X-WR-TIMEZONE:Asia/Tokyo
X-WR-CALDESC:SIGGRAPH Asia 2009 Courses Program

BEGIN:VEVENT
DTSTART:20091219T161500
DTEND:20091219T180000
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 511/512
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Biophysically-Based Appearance Models: The Bumpy Road Toward Predictability
DESCRIPTION:This course addresses practical issues involved in the development of biophysically based appearance models. Because these models are used not only in computer graphics, but also in other scientific applications (for example, noninvasive diagnosis of medical conditions and remote sensing of natural resources), the course also aims to foster cross-fertilization with these fields. The course begins by providing a concise biophysical background and discussing the key concept of predictability. It continues by examining the specific constraints and pitfalls found in each of the key stages of the simulation framework (data collection, modeling, and evaluation) and discussing alternatives that could improve the fidelity of the entire process. Once a model is designed, implemented, and evaluated through a sound methodology, its scope of applications can be expanded to address a wide range of scientific questions. For example, computer simulations are regularly being used by life science researchers to understand and predict material-appearance changes prompted by mechanisms that cannot be fully studied using traditional experimental procedures. The course closes with an examination of recent examples of computer graphics appearance models that can also be employed in such interdisciplinary research efforts.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091216T141500
DTEND:20091216T180000
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 501
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Build Your Own 3D Scanner: 3D Photography for Beginners
DESCRIPTION:Over the last decade, digital photography has entered the mainstream. Inexpensive, miniaturized cameras are now routinely included in consumer electronics. Digital projection is poised to make a similar breakthrough, with a variety of vendors offering small, low-cost projectors. As a result, active imaging is a topic of renewed interest in the computer graphics community. In particular, low-cost homemade 3D scanners are now within reach of students and hobbyists with modest budgets. This course provides beginners with the mathematics, software, and practical details they need to leverage projector-camera systems in their own 3D scanning projects. An example-driven approach is used throughout; each new concept is illustrated using a practical scanner implemented with off-the-shelf parts. The course concludes by detailing how these new approaches are used in rapid prototyping, entertainment, cultural heritage, and web-based applications.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091218T090000
DTEND:20091218T124500
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 511/512
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Camera Control in Computer Graphics   Models, Techniques and Applications
DESCRIPTION:This course summarizes the motivations and requirements for camera control, presents an overview of the state of the art, and examines promising avenues and hot topics for future research. It classifies the various techniques and identifies the representational limits and commitments of each. Approaches range from completely interactive techniques based on the possible mappings between a user's input and the camera parameters to completely automated paradigms in which the camera moves and jumps according to high-level, scenario-oriented goals. Between these extremes lie approaches with more limited expressiveness that use a range of algebraic and constraint-based optimization techniques. The course includes a number of live examples from both commercial systems and research prototypes, and it emphasizes the tough issues facing application developers, such as real-time handling of visibility for complex multiple targets in dynamic environments (multi-object tracking).
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091217T141500
DTEND:20091217T180000
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 511/512
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Casting Shadows in Real Time
DESCRIPTION:Shadows are crucial for enhancing realism, and they provide important visual cues. In recent years, many important contributions have been made in representation of both hard shadows and soft shadows. With the tremendous increase of computational power and capabilities of graphics hardware, high-quality real-time shadows are now a reachable goal. But with the growing volume of available choices, it is particularly difficult to pick the right solution and assess product shortcomings. Because currently there is no ideal approach available, algorithms should be selected in accordance with the context in which shadows are produced. The possibilities range across a wide spectrum, from very approximate but really efficient to slower but accurate, adapted only to smaller or only to larger sources, addressing directional lights or positional lights, or involving GPU or CPU-heavy computations. This course is a guide to better understanding of the limitations and failure cases, advantages and disadvantages, and suitability of the algorithms for different application scenarios. It focuses on real-time, interactive solutions but also discusses offline approaches.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091219T090000
DTEND:20091219T124500
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 513
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:CGAL   The Computational Geometry Algorithms Library
DESCRIPTION:The CGAL C++ library offers geometric data structures and algorithms that are reliable, efficient, easy to use, and easy to integrate in existing software. Use of de facto standard libraries like CGAL increases productivity, because they allow software developers to focus on the application layer. This course is an overview of CGAL geometric algorithms and data structures. The lectures cover: ? CGAL for 2D vector graphics, including Boolean operations on B?zier curves, offsets, simplification, and geometry on the sphere. ? CGAL for 3D point sets, including principal component analysis, bounding volumes, simplification, outlier removal, normal estimation, normal orientation, denoising, triangulation, and surface reconstruction. ? CGAL for mesh-based modeling and processing, including Boolean operations, convex decomposition, simplification, and parameterization. ? CGAL for mesh generation, including surface and volume mesh generation, from 3D images, implicit functions, or polyhedral surfaces. The introductory lecture covers non-geometric topics: the exact geometric computing paradigm that makes CGAL reliable without sacrificing efficiency and the generic programming paradigm that facilitates integration into existing software.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091217T141500
DTEND:20091217T180000
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 513
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Chiputne Marching Band
DESCRIPTION:Note: This course is limited up to 20 people on a first-come-first-served basis. You'll present your instrument as a part of DIY Hardware at The Emerging Technologies exhibition before you bring it to your home. If you would like to be in the band, please sign up on site. Chiptune Marching Band is an exploration of themes in resource use, creative culture, and ad-hoc community formation. It is a public workshop and performance for researchers, students, and the general public that has taken place in diverse international venues and events. In the workshop, participants are led through a presentation on concepts and basic knowledge of localized power resources and energy micro-generation approaches, technical knowledge of audio circuits, and participatory performance practice through performative "happening". Then they receive a kit of parts and some assistance with circuit building and instrument fabrication. With step-by-step instructions, they build a sensor-driven sound-making circuit powered by human and environmentally friendly resources. For instrument fabrication, they personalize their instruments in whatever way they choose with provided materials. Participants who finish the workshop discuss how to organize a public performance. Following the discussion, participants are organized into a "marching band" that parades through the streets as a public performance and spectacle. At the end of the march, participants take their instruments home.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091219T090000
DTEND:20091219T124500
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 502
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Creative Collaboration:? Effective CG Pipelines   Any size, Any place
DESCRIPTION:With the explosive growth in the number of digital artists, there is an increasing opportunity to capture the creative potential that is currently devoted to creating user-generated content. This course provides a foundation for planning CG projects that typically start as small collaborations and later become to large productions. It examines the criteria for constructing and quickly deploying a simple pipeline for the initial collaboration and then proceeds step by step to scale up the pipeline to support hundreds of people. At each step, the course examines the issues that limit efficiency and productivity. it addresses the decision points and potential problems in structure, organization, and pipeline as a production grows. It also explores the constituency of a distributed team and how it can be better organized and managed. This course takes a systems approach to deconstructing projects at different scales and understanding the infrastructure requirements. The goal is to give course attendees the ability to create effective, self-organized projects that will easily scale with minimal cost and maximum efficiency.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091218T090000
DTEND:20091218T180000
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 502
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Crowd Animation: Tools, Techniques and Production Examples
DESCRIPTION:The tools and techniques for producing synthetic crowds for film, television, and video games continue to evolve as content creators realize the vast production value provided by crowd animation. By examining the use of crowd animation across several production pipelines at different studios, this course reveals various methods and solutions for animating, simulating, and rendering crowd animation. It presents an overview of the history and concepts of crowd animation, a review of the current state of the art in crowd animation, and some thoughts on the future of this growing field of computer graphics.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091217T090000
DTEND:20091217T104500
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 513
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Exploring the Potential of Layered BRDF Models
DESCRIPTION:The key advantage of using layered BRDFs over traditional, more general shading-language constructs is that the automatic result is highly plausible. This course is a survey of the considerable potential of layered surface models. On a simple layered surface model that combines several traditional BRDF components, it demonstrates how a surprisingly large number of interesting and important surface types can be efficiently represented by using the same, not particularly complex, BRDF code. It also shows how handy such an approach is for the eventual end user, whose main concern is the ease of describing object appearance based only on a few intuitive parameters. The course begins with a discussion of layered surface models in computer graphics and the constraints of modelling object appearance in a physically plausible fashion, then demonstrates the techniques that can be used to efficiently evaluate layered BRDF models and presents examples of the surface types that can be described in this way. The course goes beyond plain-surface models to showcase how a texture-based combination of layered surface components can be used to describe highly complex object-appearance attributes, while implicitly remaining physically plausible.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091218T090000
DTEND:20091218T124500
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Level 5   Auditorium
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:High Dynamic Range Imaging for Artists
DESCRIPTION:An introduction and overview of the practical applications and uses of high-dynamic-range imaging (HDRI) from a production point of view. The course begins with a brief overview of HDRI and pre-production, production, and post-production techniques. Topics include: RAW converters, bit depths, RAW vs JPEG, the pros and cons of various panoramic HDR stitching applications, panoramic heads, shooting and working with chrome balls, creating Radiance files, and tips on shooting, tonemapping, cgi-HDR creation, semi-automating shooting, and post-postproduction techniques. The final section of the course presents practical examples of how HDRI is used in the motion picture and broadcast industries.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091217T141500
DTEND:20091217T180000
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Level 5   Auditorium
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:How to Plan a Short Film
DESCRIPTION:This course shows how to identify the artistic requirements for a film production, how they drive the technical plan, how that drives the schedule and logistics, and finally how all of that drives the casting and deployment of resources. Each stage is illustrated with specific examples from three recent Pixar short films (all are Oscar nominees): "Boundin", "One Man Band", and "Lifted".
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091217T161500
DTEND:20091217T180000
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 502
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Introduction to iPhone Application Development
DESCRIPTION:This overview of iPhone application development concentrates on interactive graphics technologies, such as Core Animation and OpenGL ES, for the worlds's most advanced mobile operating system.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091217T090000
DTEND:20091217T180000
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Vantan Design Institute Yokohama Campus
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Introduction to Using RenderMan
DESCRIPTION:This full-day course is an intensive, hands-on practical introduction to Pixar's RenderMan and its use with Maya. In the first part of the course, attendees gain sufficient familiarity with RenderMan's scene-description protocol to edit and manipulate RIB files. RIB files enable modeling and animation applications to communicate with a RenderMan-compliant renderer. The second part of the course introduces the use of the RenderMan Shading Language (RSL). The goal of this section is to provide an overview of the creative potential of the shading language so attendees can continue their own independent exploration of the shading language. During the final part of the course, attendees are introduced to alternate ways of using RenderMan with Maya. Attendance for this course is limited to 32 attendees. Attendance is on a first-come, first-served basis. Attendees who are interested in this session are required to join a dedicated queue labeled Introduction to Using RenderMan at Level 1, Registration Counter, Pacifico Yokohama Convention Center. Special tickets will be issued beginning at 08:00, Thursday, 17 December. The first 32 attendees with registration badges in this queue will will receive tickets to attend the course. If you are hoping to attend this course, you are strongly advised to collect your registration badge the day before. Student interns will provide directions to the Vantan Design Institute Yokohama Campus (a 10-minute walk from the Convention Center), where this course will be presented. Departure time is 08:30, Thursday, 17 December. Interested attendees must register at Level 1, Registration Counter, Pacifico Yokohama Convention Center to attend the course.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091219T141500
DTEND:20091219T180000
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 502
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Keeping Your Money On The Screen & Off The Floor
DESCRIPTION:The global animation industry is as competitive as ever, with merciless markets, unforgiving audiences and miniscule profit margins. Yet independent and major productions alike seem content to burn through money (and people) as though they have resources to spare. Amazingly, this waste is not only pervasive, it is accepted. Not only is this irresponsible, it is unsustainable. It is also easily addressed through clear-minded assessment and informed action. This course squarely addresses common production motivations and pitfalls. It examines the human factors and organizational considerations that are the foundation of all production (dys)function. It proceeds to cover workflow considerations and strategies, the establishment (and erosion) of balance, common heuristic assumptions and errors, and the importance of clarity and adaptation within the studio environment. A series of ?Golden Rules? for production segues into the characteristics of a balanced pipeline and an overview of a flexible and robust nonlinear production pipeline. Finally, asset management is reviewed with an eye towards organization, flexibility, and transparency. The presentation concludes with a micro/macro view on the production paradigm and synergistic orchestration of these parts into a practical yet transcendent whole.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091216T090000
DTEND:20091216T124500
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 501
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Let's Make a Tennis Game!   Introduction To Game Programming
DESCRIPTION:In recent years, games have become more sophisticated and demanding, with high-level technologies such as AI, physics, and graphics. At the same time, the knowledge required to be a game programmer is becoming increasingly unclear. This course attempts to clarify this situation by guiding non-game programmers through the development process for a simple tennis game and providing an overview of game-programming concepts. The course begins with a 2D game requiring minimal preliminary knowledge and then adds more advanced elements such as 3D CG, audio, effects, interface, cameras, and shaders. The shader section of the course covers the graphics-engine architecture required to speed up the rendering without sacrificing the look by taking advantage of the game design. The same idea was used in Virtua Tennis 3. This course is unique in that it focuses on the process of development by adding elements one by one, rather than explaining elements of a finished game separately. Attendees learn how a game gets closer to its complete form step by step, assuring that a game can be developed by one person, provided its scale is small enough.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091217T141500
DTEND:20091217T160000
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 502
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Let?s Write an Android Game!
DESCRIPTION:Using the freely available SDK and tools, this course explains how graphics-oriented applications on Android are structured, how OpenGL ES can be leveraged for rendering, and how other Android features, such as the touch screen and orientation sensors, can be used to make great games. Topics include: the basics of Android development (tools, API, and core classes), application life cycle, events management, threading, and rendering of 2D and 3D scenes.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091219T141500
DTEND:20091219T180000
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 513
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Media Retargeting Methods: Discrete and Continuous Approaches
DESCRIPTION:The increasing variety of commonly used display devices, especially mobile devices, requires adapting visual media to different resolutions and aspect ratios   a process called "retargeting". The media retargeting problem is further accentuated by the explosion of image and video content on the web. This course presents a comparative overview of the latest research in visual-media retargeting. It focuses on content-aware approaches, which, contrary to traditional scaling and cropping, adapt to the salient information within the image or video and rescale the content while preserving visually important information. Topics include: ? Algorithmic details and practical considerations of the retargeting pipeline, including its two main parts (saliency estimation and resizing operators). ? Recent trends in retargeting operators, namely discrete graph-based approaches, also known as seam carving. ? Continuous methods that operate by image and video warping. ? Temporally coherent video retargeting and multi-operator frameworks. The course illuminates the theoretical foundations and practical issues involved in media retargeting, and provides attendees a comprehensive understanding of the state of the art. It includes many live demos of the various resizing techniques.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091216T090000
DTEND:20091216T180000
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 502
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:OpenCL: Parallel Programming for Computer and Graphics
DESCRIPTION:The rapidly changing capabilities of modern graphics processing units (GPUs) mean that developers need to understand how to combine parallel-programming techniques with the traditional interactive rendering pipeline exposed by OpenGL and Direct3D. This course demonstrates how to combine traditional rendering APIs with advanced parallel computation using OpenCL (Open Computing Language), a cross-platform API for programming parallel systems such as GPUs. The course is presented by industry experts in general-purpose programming using GPUs. The first section reviews the basics of the OpenCL API including a "Hello World" application written in OpenCL Attendees with laptops will be able to try the examples on their own during the course. The second section covers more advanced cases, including how to write applications that interact with standard graphics APIs. The final section includes performance-optimization "tips and tricks" for writing OpenCL applications.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091218T090000
DTEND:20091218T180000
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 513
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Predictive Rendering
DESCRIPTION:This course intends to serve two closely related purposes: to provide an accurate definition of the term "predictive rendering" and to present the technological foundations for research in this area. The first goal of the course (a clear definition of the term) seems to be necessary due to the extreme prevalence of its antonym: believable rendering. Practically all contemporary production graphics, as well as most current graphics research efforts, fall into the latter category. The second (much larger and technical) part of the course presents the foundations of current predictive rendering. Unlike believable rendering, where any technology that delivers visually convincing results is acceptable for a given task, a predictive pipeline has the fundamental problem that all components have to be of a uniformly high quality to ensure a reliable result. The course describes an entire predictive pipeline, and for each stage it presents the graphics technologies (in some cases surprisingly few) that can be used in such a context. This course should enable anyone with a background in graphics to bootstrap a basic predictive rendering environment that can support further research.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091217T090000
DTEND:20091217T104500
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 502
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Producing Pre-render/In-game Shared Character Assets
DESCRIPTION:Sharing an asset between pre-render and in-game characters is a challenge. This course demonstrates the process of building a high-resolution pre-render character and converting it to a game-resolution asset. The focus is on generating a stylized realistic human character for games, and the course covers designing the character concept, modeling the character, unwrapping UVs, brief texture painting, smoothing the mesh and creating cosmetic details, projection painting, reducing geometry to fit the game constraints, transferring UVs and textures from high resolution to game resolution, and integrating the content in the game engine.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091219T141500
DTEND:20091219T160000
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 511/512
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Real-Time Rigid Body Physics for Games
DESCRIPTION:In the latest game platforms, simulation parallelization has become essential technology. This tutorial on real-time rigid-body simulation and its application in video games examines how to achieve high-speed, stable simulations under the limits imposed by a high frame rate of 60 FPS. Methods examined include the Constraint-Based Method (LCP) and the Impulse-Based Method, commonly used in both commercial and open-source engines. Because iterative solvers are used as the basic technology for modern physics engines, stability and speed are essentially two sides of the same coin. So the course focuses on achieving stability in the simulation, using as few iterations as possible. After introducing the latest knowledge presented at SIGGRAPH and GDC, the course explains some effective reform measures. Application of parallelization technology developed in the field of high-performance computing to game-engine development is explored through practical examples and real-time demonstrations of Korei's physics simulator and comparisons with the effectiveness of existing methods.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091219T090000
DTEND:20091219T124500
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 511/512
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Scattering
DESCRIPTION:Most computer-generated imagery represents scenes with clear atmospheres, neglecting light scattering effects. But scattering is a fundamental aspect of light transport in a wide range of applications, whether one is simulating it or interpreting it, from medical imaging to driving simulators or underwater imagery. This course addresses the challenges associated with light scattering in a computer-graphics context. The field has seen great advances over the past few years, but most of the existing algorithms still assume that light emitted by a source or reflected off a surface reaches the sensor unaltered. This is due mainly to the complex interactions that occur and the high computational costs of simulating them. Scattering effects are one fundamental hurdle that must be overcome to significantly extend and enhance current state-of-the-art graphics techniques and achieve successful effects in a wide range of domains. This course is designed to increase awareness about this area and reveal new research directions.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091218T161500
DTEND:20091218T180000
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Level 5   Auditorium
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Sketching Interfaces for Computer Graphics
DESCRIPTION:Sketching interfaces are emerging as an alternative authoring method for computer graphics. They allow casual users to create meaningful 3D models and animations quickly without intensive training. This course introduces several sketching systems for computer graphics authoring developed by the presenter as well as some notable systems developed by others. Using live demonstration and videos, the course presents various sketch-based techniques such as geometric modeling, deformation, and animation authoring, and summarizes important issues that should be considered in design of successful sketching interfaces.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091217T090000
DTEND:20091217T104500
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Level 5   Auditorium
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Sketching Interfaces for Computer Graphics
DESCRIPTION:Sketching interfaces are emerging as an alternative authoring method for computer graphics. They allow casual users to create meaningful 3D models and animations quickly without intensive training. This course introduces several sketching systems for computer graphics authoring developed by the presenter as well as some notable systems developed by others. Using live demonstration and videos, the course presents various sketch-based techniques such as geometric modeling, deformation, and animation authoring, and summarizes important issues that should be considered in design of successful sketching interfaces.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091216T141500
DTEND:20091216T180000
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 511/512
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Spectral Mesh Processing
DESCRIPTION:Spectral mesh processing is an idea that was proposed at the beginning of the 1990s to port the "signal processing toolbox" to the setting of 3D mesh models. Recent advances in both computing power and numerical software make it possible to fully implement this vision. In the classical context of sound and image processing, Fourier analysis was a cornerstone in development of a wide spectrum of techniques, such as filtering and recognition, to name but a few. In this course, attendees learn how to transfer the underlying concepts to setting a mesh model, how to implement the "spectral mesh processing" toolbox, and how to use it for real applications, including filtering, shape matching, remeshing, segmentation, and parameterization, among others.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091216T141500
DTEND:20091216T180000
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Level 5   Auditorium
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:The Look of Up: An In-Depth View of the Pixar Process
DESCRIPTION:An insider's look at the Pixar filmmaking process. If you enjoy Pixar films and have ever wondered how they are made, now is your chance. Presenters provide a behind the scenes look at the challenges, successes, and difficulties of creating the stylized world of Pixar's latest film, "Up". One of the key challenges for this film was to balance the complexity of an imaginary world with the simplicity of stylized design. The hard part was to do it in a way that was both believable and in service to the story. This course provides a window into that process. It presents examples and experiences from several different areas of the production process, including characters, environments, lighting, and cinematography so attendees can learn how these teams operated and interacted with each other, and with the film's designers and directors, to create the look and feel of the film.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091216T090000
DTEND:20091216T124500
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 511/512
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Theory and Methods of Lightfield Photography
DESCRIPTION:Lightfield photography is based on capturing discrete representations of all light rays in a volume of 3D space. Compared to conventional photography, which captures 2D images, lightfield photography captures 4D data. To multiplex this 4D radiance onto conventional 2D sensors, lightfield photography demands sophisticated optics and imaging technology. The final image rendering is based on creating 2D projections of the 4D radiance. This course presents lightfield analysis in a rigorous mathematical way, which often leads to surprisingly direct solutions. The goal is simplicity. The course emphasizes underlying fundamental ideas. The mathematical foundations are used to develop computational methods for lightfield processing and image rendering, including refocusing and perspective viewing. While emphasizing theoretical understanding, the course also demonstrates practical approaches and engineering solutions for the discussed problems. The course includes a hands-on demonstration of several working lightfield cameras that implement different methods for radiance capture, including the micro-lens approach of Lippmann and the plenoptic camera, the mask  enhanced "heterodyning" camera, the lens-prism camera, multispectral and polarization capture, and the plenoptic 2.0 camera. Various computational techniques for processing captured data are demonstrated, including Ng's Fourier slice algorithm, the heterodyned light-field approach for computational refocusing, rendering, glare reduction, and others.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091217T090000
DTEND:20091217T104500
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Room 511/512
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:Tips for Successful Voice Recordings for Anime and CG
DESCRIPTION:How can you make your next narration recording as successful as possible? This course provides the tips and information you need for successful narration. Topics include: casting concerns, key director and actor frustrations, and how to communicate effectively in the director's chair.
TRANSP:OPAQUE
END:VEVENT

BEGIN:VEVENT
DTSTART:20091216T090000
DTEND:20091216T124500
DTSTAMP:20091127T210555Z
CREATED:20091127T210418Z
LAST-MODIFIED:20091127T210418Z
LOCATION:Level 5   Auditorium
SEQUENCE:0
STATUS:CONFIRMED
SUMMARY:What's Your Story?
DESCRIPTION:What's your story? Can you explain it in a sentence? If the central idea of your film is not clear to you, how can it be to your audience? Does your story pass the "who cares" test? And do you know that story is NOT king, but character IS? This course examines the nuts and bolts of feature film storytelling in a straightforward, accessible manner for everyone seeking to improve the resonance of their movies on the international animation market. The way to the audience's wallet is through the heart. Is your story stuck in the head? The course explores story loglines, genres, hooks, and twists with an eye towards a compelling stage for an appealing hero. The story-outline section addresses the foundation of a strong and flexible story "spine" and then assembles the full skeleton. In the story-boarding section, the course reviews the process for laying out an entire feature film from beginning to end by applying tried-and-true structural beats. The course concludes with an interactive audience brainstorming session and a pitch of the resulting story by presenter Kevin Geiger.
TRANSP:OPAQUE
END:VEVENT

END:VCALENDAR