Comments Search Site Map Main
 Email News Release Service SIGGRAPH 2000
Animation Theaters Programs
 
Program 1: Story #1
 
Big Hairy Spider
Bradley Bowling
bbowling@ringling.edu
"Big Hairy Spider" deals with a fat man's narcissism and eventual realization that life's challenges can be perceived as benefits.
 
Dongri
Sho Hasegawa
inakage@sfc.keio.ac.jp
One summer day, a beetle encounters a strange acorn, the Dongri, in the woods.
 
evil I
Jason Donati
jdonati@animationtech.com
"evil I" is a commentary on the role of surveillance in today's workplace. The film centers around Burton Price, an average cubicle-confined employee. The plot thickens when Burton attempts to break outside of his assigned space. The animation was done with Maya 2.5 and Alias Studio 9.
 
Fixture Fixation
Marc Stanyk
mstanyk@Ringling.edu
Old objects, especially antiques from the late Victorian era, are very intriguing. The look of objects from that time, their romantic mood and ornate style, make one wonder what type of personality they might possess.
 
Geckos
Isabelle Marazzani
isabella@nad.qc.ca
It is mating season, and this young male has a lot to show for, especially his clumsiness! Software: Softimage 3D 3.8, Softimage Eddie 3.4, and Photoshop 3.0.
 
Imagination Sight
Minoru Sasaki
sasaki-m@technonet.co.jp
 
La Divine Inspiration
Bruno Follet
exquise@nordnet.fr
This is the Hae Jun Jhee version of the original screenplay and movie by Claus Drexel.
 
Lucie
Bruno Follet
exquise@nordnet.fr
The story of a sad clown.
 
Matador
Akemi Tanuma
ake.84@a7.mnx.ne.jp
This story is about a young matador bulldog. He believes that fighting bulls is his duty. Now, it's show time!
 
The Nightshift
David Kury
dkury@yahoo.com
A short story about a dispute between the monster in the closet and the monster under the bed over who gets to scare the kid that evening. The film combines live-action background plates with two computer-generated characters. The live action was shot with a digital camera, and the two monsters were created and animated with PowerAnimator and Maya and composited with the live action in Adobe After Effects.
 
PiNMeN
Masaaki Taira
taira@trilogy.co.jp
Aliens are amazed that people on Earth can be easily deceived. This short animation tries to express character emotions by simple shading and lines. Software: Softimage ToonShader. Hardware: SGI O2.
 
The Scarecrow
Cheryl Meier
cmeier@ringling.edu
Sometimes you have to use your limitations in life to your advantage. When life presents you with problems, it is amazing how far a little creativity can go. A little scarecrow comes to life in a midwestern corn field. He is presented with a problem, and he uses his own limitations to overcome it. Software: Maya 2.0. Hardware: SGI O2.
 
Starsheeps
Bruno Follet
exquise@nordnet.fr
Good soldiers are dreaming.
 
Swingy And The Magic Hat
Franck Laurin
din@cnbdi.fr
Swingy demonstrates his skills as a magician, but he has to deal with a cheeky rabbit, who may prove to be cleverer than he looks. Hardware: 3D computer.
 
Tekkon Kinkreet
Koji Morimoto
kuni@think.ne.jp
In Treasure Town, where the moon smiles down and young boys can fly, life can be both brutal and gentle. This is never more true than for the heroes of this saga: Black and White, two orphans who watch over a decaying metropolis. Combining the imaginative fantasy of the best Japanimation with a dark and modern children's story, "Tekkon Kinkreet" (in development for 2002 release) uses cutting-edge CGI, dynamic action, and the visual styling of a cel-animation master, Koji Morimoto, to create a unique animated feature.
 
Program 2: Big Screen Little Screen
 
Alternative Way of Life
Yann Bassani
y_bassani@yahoo.fr
"Alternative Way of Life" is a medicine lab that sells drugs in a futurist society. This movie is the new commercial campaign for the products.
 
BAA 2000
Robin Shaw
robin-s@moving-picture.co.uk
Ident sequence for The British Animation Awards, depicting the deification of a scarecrow in the 2.5D world of curious sheep. Software: Maya, RenderMan, Photoshop. Hardware: SGI Octane.
 
Citibank "Bunnies"
LuAnn Graver
luann@vinton.com
A commercial featuring origami dollar bill bunnies. This spot was created with Maya on SGIs.
 
CNP "L'arbre"
Annie Dautane
bergeret@medialab.fr
This commercial is a one shot. It gives a feeling of continuity but in reality hides a very complicated shooting, a lot of vfx and major post-production work. Software: Inferno/Softimage. Hardware: SGI. Techniques: CG/digital matte painting/compositing.
 
Dodge "Molecule"
Yves Metraux
yves@ilm.com
Dodge elevates its "Different" campaign to a new level of excellence with the dynamic "Molecule" spot, in which transitions constitute the main attraction, after the vehicles, of course. This 60-second spot features the entire Dodge lineup in brilliant Dodge Red. We travel into a molecular world composed of Intrepids, Durangos, Neons, and more, where metal is liquid and the only constant form is evolution.
 
EYEball
Lars Magnus Holmgren (a.ka. Dr. Frankenskippy)
frankenskippy@moving-picture.co.uk
This on-screen ident for cinema aims to hit the eight ball right between the eye. Storyline: Always keep thy eye on the ball ... in thy eye. Software: Maya, Matador. Hardware: SGI Octane. Live action shot with Digicam.
 
FIGHT CLUB - Brain Fly-Through
Bob Hoffman
bhoffman@d2.com
Hailed as one of the great visual effects sequences of the year, Digital Domain's "Brain Fly-Through" sequence takes the audience, in one single 95-second shot of 2,256 frames, through a human brain from the inception of a spark-like synapse in a dendrite forest, into the convolutions of grey matter, through the cranial bone, up a hair follicle, and down a computer-generated face of actor Edward Norton. Created entirely in CG, the shot combines Digital Domain's procedural approach in Houdini with its L Systems approach featured in "What Dreams May Come."
 
Galaxy Quest
Yves Metraux
yves@ilm.com
ILM's computer graphics provided the only viable approach to bringing the rock monster to life. Formed from boulders scattered around the crystal planet and loosely held together by mysterious forces, the creature required a new approach to animation using a proprietary rigid-body solver. Animated rock geometries were selectively freed into a dynamic simulation so they couldn't interpenetrate but rather could form together from unconnected objects. Collisions between rocks drove emissions of CG dust and rock chips while automatic ground interactions tied the creature into the scenes. Textures, lighting, and careful compositing to match the location completed the effect.
 
Gatorade "Raptor"
Yves Metraux
yves@ilm.com
Raptor vs. Raptor. Vince Carter, Toronto Raptor, vs. Velociraptor. Live-action human vs. computer-generated raptor. The challenge was to shoot the basketball player interacting with the creature. Carter was shot playing against a raptor stunt double, who was then digitally removed and replaced with the completely CG raptor. Other challenges included water splashes and Gatorade flowing from the raptor's mouth.
 
Hollow Man: Digital Human Project
Don Levy
don_levy@spe.sony.com
Research and development for the Paul Verhoeven film "Hollow Man" required a thorough understanding of the human body. The result is a full-motion, stunningly realistic human model. This piece shows the build up of the various model layers, followed by tests of how the physiquing was applied to the models, the animation, and the look tests.
 
Hollywood
Pierre Buffin
contact@buf.fr
The Statue of Liberty is back to life after tasting Hollywood chewing gum. She is walking down Manhattan streets, undressing little by little, until she skinny dips under the Brooklyn Bridge. Modeling and animation of the Statue of Liberty in 3D. Compositing and integration in nine shots, including two aquatic shots. Underwear in 3D in two shots.
 
The Hunley
Grant Viklund
viklund@stationxstudios.com
The images in this sequence are 100 percent CGI. The CG models of the Hunley submarine and the Housatonic sailing ship were built, textured, and lit in Lightwave. Volumetric lights, particles, and Z-depth renders were used to create a definitive look for the underwater. The final sequence involves the Hunley ramming the Housatonic with an explosive charge, which generates a 100-percent digital explosion. Lightwave's Hypervoxels software was used to generate the explosion cloud, and a combination of particle systems and good old-fashioned keyframing was used to effect the destruction of the Housatonic.
 
Levi's "Socks"
Bob Hoffman
bhoffman@d2.com
For director Michael Bay, Propaganda Films, and agency client TBWA Chiat Day, Digital Domain was asked to create a provocative and photo-real couple in various stages of undress for Levi's latest advertising campaign. Digital Domain is known for its "invisible" effects work. "Socks" effects not only required rendering the couple invisible but, more importantly, required creating photo-real 3D clothing to be tracked over the existing plate photography in such a way as to make the invisible gag seamless.
 
Magnolia
Yves Metraux
yves@ilm.com
Frogs rain down on Los Angeles in the final episode of this multi-storied tale. Soft-body collisions, dynamic simulation, and character animation were blended with live-action cinematography to create this amphibian apocalypse.
 
Mazda "Cool World"
Scot Byrd
scotb@rhythm.com
Live action car and people using 1/12-scale model morphing into a "block world" city composited in 2D Flame.
 
Nike
Pierre Buffin
contact@buf.fr
The point of this work was to create a universe for a video game in which Leo, the hero, accomplishes various athletic exploits. This commercial was made entirely in 3D and did not require live-action shooting. The work was organized in five months with design of 11 sets and interactive graphics, creation and modeling of the characters, animation of the whole work, and rendering. The main challenge was to create a multitude of sets and atmospheres.
 
Rhythms "Data Dancers"
Yves Metraux
yves@ilm.com
A trio of computer-animated "data dancers" personify the voice, data, and full-motion video that can be delivered in concert over Rhythms' high speed DSL lines. Choreographed to George Gershwin's "I Got Rhythm," the dancers were motion captured and brought to life in the CG world by ILMıs Commercials Production Division.
 
Skiddles
Brett Baker
vfxwiz@hotmail.com
What started out as an exercise in motion tracking and compositing turned into an amusing parody of the M&Ms animated commercials. The two main characters have more of an urban flavor, to bring out the contrast with the M&Ms' generic anglo characters. The animation was created entirely with 3D Studio Max 3.1.
 
Smart
Pierre Buffin
contact@buf.fr
A dinosaur is wandering through town, crushing everything on its way except Smart, a car. Realistic integration of a 3D dinosaur. Modeling, animation, and integration of a dinosaur with various elements (crushed cars, people on blue background).
 
Stuart Little: The Boat Race
Don Levy
don_levy@spe.sony.com
In the Academy Award-nominated film "Stuart Little," the boat race sequence formed a critical, action-packed turning point for the story of family and friendship. The sequence features state-of-the-art digital character animation and the latest developments in digital fur and cloth.
 
Subconscious Commercial Insertion
Jeffry Gugick
jeffrysg@hotmail.com
Submitted in response to the Computer Animation Festival's request for Messages from the Future. In the future, companies will be purchasing air time not to try to sell products, but rather to "insert" subconscious suggestions that will virtually guarantee future purchase of their products. Scary? This 30-second spot was created on a Macintosh, using After Effects, Photoshop, Freehand, and Premiere. Video footage was recorded on DV with a Cannon XL-1.
 
Switch
LuAnn Graver
luann@vinton.com
This is a commercial featuring the M&Ms characters eating M&Ms candies. It was created with Lightwave on Dec Alphas.
 
Program 3: Dreamscapes and Mousebrushes
 
Autumn Bamboo
Ching Clara Chan
clara@viz.tamu.edu
An animated Chinese ink-brush painting. The style was achieved by applying procedural shaders on 3D models.
 
Believer
James Ellis
jim@emsh.calarts.edu
Mimi Goese's record was completed, and a music video for her song, "Believer," was needed. To achieve this quickly for promotional purposes, a minimal piece was devised, based on animation sketches created in real time using the mouse as a semi-dance partner while the song played. These sketches contained the song-sync, lighting, movement, scaling, and dynamic information. The spontaneous dance sketches were meticulously tweaked into something more precise. Information was copied, referenced, and re-worked to create lip-sync and complexity, while retaining the dance spontaneity from the channel information.
 
Calling
Tomoya Naruse
na8749@bd.mbn.or.jp
This work was composed with 3D CG and a scanned photograph. A Photoshop filter was applied frame by frame. Then the filtering process was repeated to express not only texture changing, but also subtle particle blurring in the sequence. A scanned photograph was taken with an original pinhole camera. This technique enables a soft glow that attentuates from the center to the edge of the picture. The image and the soundscape were linked together to create a fantastic poetic taste of Japanese beauty.
 
coinlaundry XYZ
Satoshi Tomioka
dsgarage21@tv-asahi-music.co.jp
After midnight, a group of three queer-looking people (characterized as X, Y, and Z axes) are swimming across a launderette. They love the place so much and play around just as they please. Hardware: IBM Intellistation, SGI 320. Software: Lightwave3D Ver.5.6, Adobe Photoshop 5.5, Adobe After Effects 4.0, Logic Audio 3.0, Acid.
 
Cycle
Nobuo Takahaski
nobuo@vs.namco.co.jp
The objects in this film are a metaphor for people who live and work in the Tokyo area. These people are extremely busy, due to daily tedious, exhausting tasks. A sudden explosion sets them free for a while, but succeeding days are as oppressive as ever.
 
Dedale Ascetique Aux Frasques Louanges
Nicolas Billiotel
din@cnbdi.fr
The object has something to say to us. It takes us back in time. A rift opens up, enabling us to enter a dream.
 
#4 - The Driven Key
Dan Bailey
bailey@umbc.edu
Animation to music. A study in mirrored symmetry.
 
Faux Plafond ­ Cosmic Promenade
Maryle Capmas
maryle.capmas@mikrosimage.fr
A full moon night. A couple who can not fall asleep seek domestic distraction and discover a fantastic journey under the vault of stars. Workstation: Macintosh.
 
Luminaries: The Sunset
David Haxton
haxtond@aol.com
Light-emitting kinetic sculptures are seen in a museum setting. Other sculptural objects interact with the space in real and impossible situations. The function of the non-light-emitting objects is to define the space as a solid form. At the same time, these objects reveal (through use of intersecting surfaces) that the space is merely an illusion created in virtual space. All of these events occur during a sunset. Both the sun and the light-emitting objects define the space through light. Both key frame and dynamics were used in the animation process. Software: Maya 2.5 and Maya Composer 5.0
 
Nebular
Yoichiro Kawaguchi
yoichiro@race.u-tokyo.ac.jp
This piece is a result of artistic impression and scientific reasoning. It explores topological geography in a virtual universe using the producer's self-organizing processes. Images from the Hubble Space Telescope look like amoeba and other microscopic creatures, which inspired this new vision, including a new texture and developing process for the surface, with viscosity and gravity.
 
Synchronicity
Hans Uhlig
hansu@ilm.com
"Synchronicity" is an entirely computer-generated dance allegory. The passage of time, and the evolution of the characters, is augmented by a progression of stylistic looks. The complex choreography was captured using the Vicon 370 optical motion-capture system. Nearly 100 markers were used to capture all of the subtleties of the performance. Vicon, Filmbox, Softimage, and ILM proprietary software were used to reconstruct and apply the motion-capture data to the CG dancers. The CG environment was constructed in Softimage, surfaced with RenderMan, lit with ILM proprietary software, and ultimately demolished using a Maya rigid-body simulation.
 
Ursonates
Bruno Follet
exquise@nordnet.fr
A chained animation based on the Kurt Schwitters work.
 
Program 4: Nuts & Bolts
 
Digital Galaxy Project
Dennis Davidson
dennis@amnh.org
This video is an excerpt from the inaugural show at the new Hayden Planetarium in New York City. It depicts only a portion of the full 21-meter digital-dome projection. It begins with the real-time-rendered Milky Way, then pulls out to reveal its neighboring pre-rendered galaxies as outlying members of the Virgo Supercluster, the densest group in the filament that dominates this view drawn from Brent Tully's 3D catalog of 30,000 nearby galaxies. For still larger scales, views based on Ostriker and Bode's gigaparsec dark-matter simulation, show the universe as a form of condensed filaments and knots surrounded by vast voids.
 
Digital Muybridge: The Human Figures of Japan
Etsuo Genda
genda@kyushu-id.ac.jp
Muybridge recorded motion of human and animals in multiple photographs. These chrono-photographs are valuable works not only as a photo album but also as a human database. ''The Human Figures of Japan'' is based on ergonomical somatometry data of 25 Japanese men and women. These virtual human figures are synthesized by 3D digitizing data, motion-capture data, and multiple angle photograph and video data. This human nude figure database will be adapted to many fields of design works.
 
EPS Process and Applications Video
Maria Spinella
maria@io-media.com
Three years ago, IOMEDIA created a simple animation for EPS to demonstrate their proprietary rubber recycling process to potential investors, who might contribute funds to construct their first facility. The original video was so successful that EPS came back to IOMEDIA this year to request a new, updated video. Based on photographs, video, and a trip to the original facility, IOMEDIA recreated the entire process using Softimage 3D. X-ray passes were used to show the functionality of the machines. Depth of field was added using After Effects. In all, eight separate animation passes were composited together using Softimage DS.
 
Little Fluffy Clouds
Henrik Jensen
henrik@graphics.stanford.edu
A simulation of light scattering in the atmosphere as a layer of clouds develops. The simulation includes a physically based sunlight mode, and it takes into account multiple scattering, global illumination, and spectral sampling.
 
Shapes of the Invisible: Butterfly
Gabriel Turkieh
altomail@worldnet.fr
For the very first time, we discover, through a continuous forward zoom, the microscopic structure of everyday things and explore astonishing and unexpected landscapes that lead us to the atomic texture.
 
Space Station Fly-Through
Mark Bamforth
Mark.Bamforth@US.PwCGlobal.com
3D fly-through of a space station done as part of a series of animations for the Advanced Software Engineering Center of Pricewaterhouse Coopers in Philadelphia. Three different 3D programs and custom lighting-setup software were used to genrate this piece. Platform: IBM PC. Software: LightWave 3D 5.6, LightScape 3.1, 3D Studio Max 2.0, Darktree textures 1.0, Adobe Photoshop 5.0, various LightWave Plugins, and 3D Studio Max programs.
 
UFO - Boeing JSF
Grant Viklund
viklund@stationxstudios.com
The images in this sequence are 100 percent CGI. No plate photography was used or required for these shots. Terrain and sky backgrounds are either matte paintings or retouched satellite imagery used as texture maps. The Joint Strike Fighter and additional vehicles such as the KC-10 tanker and the USS Stennis aircraft carrier were modeled to exacting detail from blueprints and reference photos. Lighting of the Joint Strike Fighter was achieved with a combination of off-the-shelf tools and in-house shaders. Digital humans were modeled and textured in Lightwave and animated with a proprietary animation software program.
 
Young at Heart
Mark Sagar
msagar@lifefx.com
An old actress (who has never existed) reminisces in her dressing room as she prepares to go on stage. For the first time, a convincingly realistic computer-generated human face (in extreme closeup) is brought to life, set in standard dramatic context. The face was created using the finite-element-based LifeF/X facial modeling, animation, and performance-capture system that dynamically simulates complex skin deformation, including wrinkles.
 
Program 5: Distractions
 
Chemical Brothers - Let Forever Be
Pierre Buffin
contact@buf.fr
This music video was created in honor of the 1970s (kaleidoscope and mosaic effects) using camera effects rather than post effects. It was shot in two media, video for the real world and 35mmm for the effects that were created in post production. The challenge was in matching film and video and creating in-between frames on images that were completely different. Software: In-house software, Elastic Reality, T-morph, Softimage, Mental Ray.
 
The Game Room
Monty Clark
exodus@the-beach.net
"The Game Room" is a 3D computer-animated demo for the first interactive syndicated Web broadcast show. The 3D animated characters review video games by interacting with them, and the host of the show interviews game characters in a talk show format.
 
ISS Pro Evolution
Aki Saito
asaito@konami.co.jp
In this PlayStation game intro, the focus is on one player instead of many, and the close-up views of four limbs instead of the entire player. Tight muscles and muddy shoes in backlight are portrayed in detail. Vivid background colors are used because soccer is a bright and powerful existence. Members of the production team worked separately on the modeling, painting, and animation. To maintain consistency, one person was in charge of the storyboard, layout, lighting, rendering, and editing.
 
The Longest Journey
Amanda Ronai
amandar@funcom.com
"The Longest Journey," a computer game adventure set in parallel worlds of magic and science, features over 30 minutes of rendered video which is used to tell the story of April Ryan, a young woman with the ability to "shift" between twin realities. Software used in the production included 3D Studio Max 2 for modelling and rendering, and Adobe Premiere 5.1 and After Effects 4 for post-processing, as well as a motion-capture system for the character animations.
 
Morgan: Miss Parker
Pierre Buffin
contact@buf.fr
Creation of a city in 3D. Modeling of cars and a crane in 3D with a 2D-look rendering.
 
Stick Figures: A Virtual Concert
Wayne Lytle
wayne@animusic.com
Self-playing instruments perform a virtual concert. Procedural animation techniques are applied to automatically generate all instrument motion directly from the MIDI score with note/frame accuracy. These procedural animation algorithms are third-generation extensions of those used in a SIGGRAPH 90 piece by the same director: "More Bells and Whistles."
 
Toyota Future World Experience
Sophie Bordone
sbordone@exmachina.fr
"Future World Experience" is both a real roller coaster and a virtual journey in future towns. It includes the fastest indoor roller coaster (maximum speed 60km/h), an astonishing 3D computer graphics production, and a very innovative interactive system.
 
Program 6: Digital Dimentia
 
Cat Ciao
Sam Chen
sambochen@yahoo.com
What happens when your eyes are bigger than your mouth or, more importantly, your brain? This profound question is what "Cat Ciao" attempts to explore and resolve. Unbeknownst to most of us, this gastronomical human flaw uncannily exists in the animal kingdom as well. In a Darwinian tale of the survival of the fittest, "Cat Ciao" demonstrates that the aggressor doesn't necessarily always win, especially when feline curiosity and insatiability are involved. "Cat Ciao" was produced over a period of about six months by a relatively small team. The eventual goal was to create a fun and entertaining story with memorable characters full of personality. "Cat Ciao" was produced entirely with Alias|Wavefront Maya software running on SGI and NT systems. Editing and assembly were performed in Adobe Premiere.
 
CG-Eye
Matt Rhodes
matt@motivatedpixels.com
This mocudramedy is an interview with Matt, the first recipient of digital eye replacement surgery. We learn how Matt lost his eye, where he found the digital surgeon, and what his eye can now do.
 
Hypokeimenon
Hiroyasu Shimo
shimo@dep.sme.co.jp
"Dual Heads," a weird creature with two faces, one beautiful and the other ugly, live beneath the subway platform. Tonight, as usual, the creature appears at an underground shopping mall looking for fresh blood from homeless people sleeping in cardboard beds. Alerted by the alarm, "Video Army Android" thrusts a video camera and monitor in front of the creature. Astonished and shocked by what it sees, the "face of beauty" dies. She wasn't aware of her ugly opposite face. Because it is unable to move, the ugly face also dies.
 
Inlex
Jeff Boddy
jboddy@ringling.edu
Male love for the female initially stems from a love for our own mothers. She's the creator, the sea, the security of enclosure, depth, the color blue. And so there is a decision to be made by all who are tempted away from the security of the maternal sea and toward the lure of lust. It's been said that you can't have your cake and eat it, too. What are the consequences if you try?
 
La Hen
Bruno Follet
exquise@nordnet.fr
A hen can have everything she wants with a credit card.
 
Melvin: The Red-Headed Stepchild
Kathleen Fitch
kathleen@giantstudios.com
"Melvin" was created and designed to demonstrate the unique capabilities presented by the successful blend of Giant Studios' CG production and motion-capture teams. Using a life-sized stuffed teddy bear and a performer for the role of Melvin, both characters were captured simultaneously using our proprietary Motion Reality system. The basic concept is a rude child who takes out his frustration at going to bed on his favorite teddy bear until his teddy bear retaliates. Software: Alias|Wavefront's Maya 2.0 Unlimited. Hardware: Integraph Wildcat GL2 systems. Final composite was done in Adobe After Effects 3.1.
 
Mime In A Box
Eric Kunzendorf
kunzendorf@mindspring.com
This is a presentation of the classic ''Mime in a Box'' routine with a macabre twist.
 
PAF le moustique
Pascal Ebony
delamare@trimaran.fr
One night in Paris, a guy absorbed in listening to music and blowing gum bubbles attracts a music-loving mosquito. This is a full 3D, hand-animated, home-cooked short film. Software: Alias|Wavefront Maya 2.0. Hardware: PC-compatible workstations.
 
Porkchops: Episode #1
Louis Zwiebel
louis@bullseyeart.com
One of Bullseye Art's most well-loved cartoons, "Porkchops" is where the Donkey goes to mingle. Co-starring Monkey meat, Vikings, little Chinese girls, and the Wagina pony. A song with every episode blurs the lines of this cartoon into a true culmination of the last 20 years of pop culture.
 
Shine
Tiann Arnault
arnault@vfs.com
Ever wonder what those "moonshiners" do in the daytime? This is a sing-a-long glimpse into their backwoods lifestyle.
 
sssplootsshhh
Olivier Junquet
olivier_junquet@yahoo.fr
An explanation for the existence of flattened hedgehogs on the road.
 
Sumo Air
Ryan Powell
rpowell@rsad.edu
A sumo wrestler, who wants to experience life to its fullest, goes skydiving. Despite the fact that he weighs more than a Buick. Ignoring his obvious limitations, he uses ingenuity to overcome adversity and experience his dreams.
 
When Animals Go Berserk
George Maestri
maestri@ix.netcom.com
Karen introduces Kirby to Fluffy Muffins, her schizophrenic kitty cat. Originally aired during "The Big Cartoonie Show" on Kid's WB.
 
Wyatt Earp
Sandra Walters
producer@kapowpictures.com.au
"Wyatt Earp" is a fast-paced, shoot-'em-up animated western, set to the tune of "Wyatt Earp Makes Me Burp," a song by 1950s radio legend Spike Jones. It tells the tale of how Wyatt Earp, rescues the dusty town of Tombstone (population 130 and falling) from the notorious outlaw, Big Red, in a climactic gunfight at The Silver Dollar. Hardware: Intergraph and SGI. Software: Toonz, Photoshop, 3D Studio MAX.
 
Program 7: Story #2
 
Accords Perdus
Bruno Follet
exquise@nordnet.fr
A town, the night, a man is dying.
 
Akira Kurosawa's Flying
Kyoko Denda
lempicka@cf6.so-net.ne.jp
This story comes from a series of stories by Akira Kurosawa, ''Dreams I have Had," which was published about 10 years ago. This is a digitally visualized version. Akihabara-originated Windows NT machines and 3D Studio MAax enabled the producers to express their continuous respect to Kurosawa.
 
Creatures
Tomoyuki Yonishi
madhouse@os.usen.ne.jp
In a mass-consumption society, various things are easily consumed and dumped. Furthermore, through cloning, the existential value of life seems to be lost. The purpose of this story is to urge people to reexamine and recover the value of life, which should be a top priority. To make this theme easy to understand, the characters are designed as simply as possible.
 
Elevator World
Mitchell Rose
entheos@flash.net
"Elevator World" is an essay on the spatial politics of elevator riding, proffering a world in which aesthetics serve as sanctuary to both the down-trodden and the upwardly mobile. Conceptually rich and visually whimsical, it is a wry observation on postmodern life. Created on a Mac using After Effects and Poser for virtually no budget, "Elevator World" recently won the Grand Prize for Best Short at Slamdance.
 
Film VR
James Campbell
jaimz7@hotmail.com
Film VR follows a day in the life of a secret agent. It was created using Softimage 3D 3.5 on SGI O2s at the School of the Art Institute of Chicago.
 
Heavy Rotation
Masaaki Taira
taira@trilogy.co.jp
Warning! The bear man does the brainwashing, since small children are converted to the bear man, and the bear man is successively numbered wheat gluten cake. Apparently, the bear man is normal. Software: Softimage. Hardware: SGI O2.
 
Kigai
Amy Moran
amoran@viz.tamu.edu
A woman has fallen asleep to a haunting dream. This piece recreates the appearance of a Japanese woodblock print.
 
Les Despossedes
Bruno Follet
exquise@nordnet.fr
A man and a woman... in Paris.
 
Lily
Takashi Sakai
haori@mail.awave.or.jp
"Grandma, my lilies are blooming today." "Oh,is that so?'" "Why are lilies so white?" "Well, it's an old story of a time ..." Software: Softimage 3D, After Effects, Photoshop.
 
The Metamorphosis
Charlie Ramos
cramos@lucasarts.com
In this animation based on Franz Kafka's novel, Gregor wakes up to find himself turned into a giant bug. His family, concerned about his unusual behavior, surrounds his room and tries to get him to come out. The film ends when his family discovers Gregor's metamorphosis.
 
NIUMB
Raphaél Lacoste
din@cnbdi.fr
The story of the "bird fishers." Hardware: 3D computer.
 
Samurice
James Bennett
james_bennett2@yahoo.com
At the beginning of the 17th century, feudal Japan was about to enter into the modern era. In a small rice paddy, a clan of Samurai Rice have had their most prized possession stolen: the Soya Scroll. This ancient parchment contains the ingredients of a magical Soya Sauce that gives the Samurice special martial and spiritual powers that make them the strongest of the Rice clans. It is believed a rival bushel of Ninja Rice is responsible for the theft. A young, hot-headed Samurice named Ricesashi has been sent to locate their secret hideaway and verify them as the thieves.
 
Satisfaction
Jack Stenner
stenner@pursebuilding.com
"Satisfaction" is a 3D animation that attempts to communicate the fleeting satisfaction of our desires in a humorous way. Created in Maya animation software, a surrealist scene dominated by a solitary mouth signals a balloon to "partake" of its services. The balloon is satiated, but only temporarily. As the mouth releases its grip, the balloon shoots off into the distance, leaving a trail of digital debris.
 
Yamawarasi
Tomoyo Nakanishi
mikan@xb3.so-net.ne.jp
This is a midnight fable of three Yamawarasis, who boast and compete with each other. Yamawarasi is our name for a small, innocent monster that lives in old wonder forests surrounded by mountains. Software: Maya2.0, Photoshop, Illustrator, Premiere, SoundEdit, Debabelizer.
 
Program 8: Long Shorts
 
Avenue Amy
Boo Wong
boo@curiouspictures.com
"Avenue Amy" follows the life of its star as she searches for love in New York's East Village. The actors were shot against green screens to achieve a stylized look and assure that their gestures and facial expressions would remain evident in the final animation. 3D environments were created from still photographs of New York locations, and the footage was treated in After Effects. The actors' skin tones and clothing shapes were pulled; a traditional cel animator then painted the characters. Finally, using 3D Studio Max, lighting was added to give scenes depth and reality.
 
This Guy is Falling
Gareth Smith
gareth@skippingstone.net
Warren is a dreamer, a nice guy, not the brightest guy you've ever laid eyes on. He believes in daytime baseball, nights under the stars, and good old-fashioned love. So when the world's gravity turns off accidentally, Warren doesn't sit and ponder the existential ramifications of it all. He's off in a flash to save his girlfriend. "This Guy is Falling" combines live-action film with matte paintings and computer animation. The result is a colorful world that exists between reality and fantasy.
 
Wu Tang: Shaolin Style
Daniel Prousline
danielp@creatstudio.com
Famous Wu-Tang Clan members try to rescue Master Xin and save the world from the evil Mong Zhu emperor while practicing their Wu Tang skills in America and China. The movies were created for the PlayStation game Wu-Tang Shaolin Style, based on the rap group Wu-Tang Clan.
 
All characters were created, animated, and rendered in Softimage 3D. A propietary Mental Ray plug-in was used to create photo-realistic hair, and a proprietary lipsynch tool was used for speech animation and facial expressions.

 
SIGGRAPH 2000 Comments Search Main