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Electronic Theater Program
 
1
Sadamune Takenaka
takenaka@omni.co.jp
With the motif of "multiplication," "self-fertilization," and "birth," this piece of artwork is the expression of Sadamune Takenaka's world of art. Although these three words have a rather grotesque nature when expressed in images, this project holds its originality in trying to create a clean and clear impression. The tools used in creating this artwork were SGI O2; Alias|Wavefront PowerAnimator, Maya, and Composer; Infinity by Quantel; and Inferno by Discreet.
 
Alaris
Juan Tomicic
spainbox@retemail.es
As they collect samples of life on Earth, two aliens get confused by the new train between Madrid and Valencia and mistake the train for their own spacecraft. The work was produced using Softimage, Maya, and Alias software plus a proprietary software that enhances lighting.
 
AMFM: First MTV
Victor Wong
menfond@hk.super.net
AMFM's record was released in May 2000 in Hong Kong and throughout China. These twins are not just virtual idols. They will also make their own movies. Software: Maya and proprietary facial expression and lips-sync system. Hardware: Pentium III customized computer.
 
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.
 
Block Wars
Robert Rioux
riouxr@pacbell.net
"Block Wars" is a response to SIGGRAPH 2000 asking the computer graphics community for more independent Computer Animation Festival submissions. Created for SIGGRAPH 2000 only, this is intended as a humorous spoof of a classic scene from Star Wars. The director did everything himself, independent of Rhythm & Hues. Final: 35mm. Modeling in PowerAnimator. Animation and rendering in Maya.
 
Cosmic Clock
Andrew Hanson
hansona@indiana.edu
On Earth, we see the night sky as a single image filled with points of light. Yet each beam of light that reaches our eyes has a different history. This animation depicts the fantastic story of these traveling light rays as they reveal snapshots of the cosmos reaching back toward the beginning of time itself.
 
CROCOTIRES: traction AAA
Toshifumi Kawahara
Contact@ppi.co.jp
When night falls in a vast garbage dump full of discarded tires, a different world emerges. The tires take shape, come alive, and spar with one another.
 
Dimension
George Schermer
gscherme@Ringling.EDU
Life presents a puzzle for us everyday. As soon as one obstacle is overcome, another takes its place. It is what one makes out of these confinements that makes a person feel free.
 
DUKE2000.com
Brad deGraf
brad@protozoa.com
Doonesbury's legendary Duke is on the run for President of the United States. The only real cartoon character to throw his hat into the presidential ring this year, Duke will make history with his bid for the Reform Party nomination, assuming he doesn't change his mind. This campaign for president by Duke is the first transmedia production of its kind: A Web-centric media event that thrives through an orchestration of Web, print, radio, and television guerrilla attacks (live and otherwise). DUKE 2000.com is constantly adapting to and influencing events surrounding the impending presidential election.
 
Faux Plafond Cosmic Promenade
Maryle Capmas
maryle.capmas@mikrosimage.fr
A full moon night. A couple who can not fall asleep seeks domestic distraction and discovers a fantastic journey under the vault of stars. Workstation: Macintosh.
 
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."
 
Firelight: Graphics and Archaeology
Alan Chalmers
alan@cs.bris.ac.uk
The parietal art at the Cap Blanc cave site in Bordeaux is a remarkable record of the earliest representational artistic expression. However, it is often the case that these carvings and paintings are studied by archaeologists using modern light sources, such as floodlights, rather than firelight. The aim of this research is to examine the art accurately under illumination provided by reconstructions of ancient firelight, without the need to take burning torches into these fragile sites. Laser-scanned data rendered with the Radiance lighting visualisation system was used to create this animation.
 
For the Birds
Karen Dufilho
karend@pixar.com
A flock of small birds resting on a telephone wire is interrupted when a larger bird tries to join them. His high-wire balancing act disturbs the flock until they decide to remove him. Using Pixar's proprietary animation software, RenderMan, and Subdivision Surfaces modeling, "For the Birds" continues in the Pixar tradition of creating short films that explore the creative and technical possibilities of computer animation
 
Geijutsuden
Yukiko Kanatsuka
yukoki@tyo.co.jp
In this animation of the decoration game that arranged Japanese traditional art in the modern style, the producers used special techniques such as showing three dimensions as two dimensions and composing in traditional Japanese pictures.
 
Headless
Sven Pannicke
sven.pannicke@filmakademie.de
A man loses his head and buys a red balloon. Then he meets a sad little girl who wants the balloon, too. Rough pencil drawings, in combination with 3D animation created with Softimage, give this short its special look.
 
Hello, Dolly!
Mariko Hoshi
marikoholics@yahoo.com
"Hello, Dolly!" is a satirical story about cloning. It begins one night as an insomniac tries to fall asleep by counting sheep. But he can't. No matter how hard he tries, the number of sheep doesn't increase. Is this just a nightmare... or not?! This work was created entirely on SGI machines with Softimage as the main software for animation and modeling. Composer and Pandemonium were used for editing, compositing, and some visual effect. Sound was put together in ProTool on Mac.
 
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.
 
Hot Spot
Joanna Stevens
joanna@passion-pictures.com
In a club with a pounding 1980s disco beat, Ray and his friend Dave attempt to out-do each other on the dance floor as they compete for the attention of the elegant Imogen. "Hot Spot" was produced using Softimage software on a dual Pentium III 600 MHZ computer.
 
Image-Based Lighting
Paul Debevec
debevec@cs.berkeley.edu
Image-based lighting allows us to illuminate computer-rendered objects with light captured in the real world. Originally applied to synthetic objects, it has been extended to real objects as part of the SIGGRAPH 2000 paper: Acquiring the Reflectance Field of a Human Face. In this technique, a device called a light stage photographs the subject under illumination from all possible directions, and these images are efficiently recombined to accurately render the subject's appearance in any form of natural or synthetic illumination. These techniques can greatly facilitate the realistic integration of live-action and computer-generated imagery. See www.debevec.org for more information.
 
Jersey
Joe Alter
hipjoey@hotmail.com
A tender slice of the lives of two garbage men from New Jersey talking trash.
 
The Last Drawing of Canaletto
Cameron McNall
cmcnall@ucla.edu
This film is a 3D computer re-creation of an 18th century drawing by the Venetian artist Canaletto. The viewer is able to enter the space of the two-dimensional drawing and look around, while the moving light of the sun animates the otherwise motionless setting. An effort was made to combine the visual qualities of claymation, model photography, and time-lapse photography with the unique possibilities offered by computer animation.
 
The Light of Mies van der Rohe
Henrik Jensen
henrik@graphics.stanford.edu
This animation demonstrates how global illumination using photon mapping can be used to explore light flow in a complex architectural model: the unbuilt Courtyard House with Curved Elements by Mies van der Rohe. The animation was rendered on a Linux-based render farm using global-illumination software. The technique is described in detail in SIGGRAPH 2000 Courses 8 and 30.
 
The Matrix
Dyann Espinosa
dyann@mvfx.com
A computer hacker learns from mysterious rebels about the true nature of his reality and his role in the war against the controllers of the matrix.
 
Mission to Mars
Mary Reardon
mary.reardon@disney.com
An expedition to Mars is destroyed by a monstrous vortex of dust and wind, a natural phenomenon with supernatural qualities. For "Mission to Mars," The Secret Lab, formerly Dream Quest Images, was charged with creation and animation of this character, investing it with a menacing and predatory nature. The process began with conceptual art and animatics depicting vortex movements that suggested a purposeful choreography while also indicating flow, intensity, visibility, motion blur, and wind direction. The computationally intensive final shots were executed with Hookah, the company's proprietary fluid dynamics simulator and volumetric renderer, which was also used on "Armageddon."
 
Onimusha: Opening Movie of PS2
Taku Kimura
taku@links.imagica.co.jp
This animation was produced for CAPCOM's PlayStation 2 game, "Onimusha." In the production, six battling samurais were captured using an optical motion-capture system.
 
Pensive
Tim Best
tbest1@irc.umbc.edu
In Maya, complex shading networks rendered the layered cross-hatching effects in a single pass. Shots feature variations of a "toon" shader that combines hand-drawn textures and watercolor paintings with ray-traced reflections and lighting effects for an unconventional look. The fire animation uses a single hatch-mark as a sprite in a particle system and was compositied in Composer. This animation was produced after-hours at the Imaging Research Center, University of Maryland Baltimore County.
 
The Perfect Storm
Yves Metraux
yves@ilm.com
Calm seas had already been done in computer graphics. The ultimate challenge was 50- to 100-foot waves with 80-knot winds! In order to make the ocean and the boats battling through it look absolutely real, and to push the audience into the violence and fury experienced by the boats' crews, several fluid and boat dynamics were used with complex shaders, large-scale particle/blobby systems, and other techniques to create a range of storm visuals.
 
Protest
Josselin Mahot
josselin@pitchinc.com
A dream-like meditation on the plight of the elephant, whose natural habitat shrinks each year. Software: 3D Max, Photoshop, After Effects. Hardware: PC.
 
Pump-Action
Phil Captain 3D McNally
captain3d@pump-action.co.uk
"Pump-Action" is an independent four-minute computer graphics animation that follows a conflict between inflatable characters of differing materials in a workshop setting. This project is a solo effort by Phil Captain 3D McNally and his first short film. It took 14 months to complete using Macintosh G3 computers and Cinema 4D XL.
 
The Road to El Dorado
Jennifer Cohen
jcohen@dreamworks.com
Doug Ikeler created a tool-set called Spryticle to do complex and rapid water effects using flat digital cards that carry triggered playback of scanned traditional 2D animation. The cards in Spryticle can be bent, curved, stretched, and positioned to allow display of the 2D hand-drawn splashes without a visual or mechanical repetition of shape and element. A 3D light can be used to add a greater sense of apparent volume to what is actually a virtual distorted flat surface.
 
SIGGRAPH 2000 Prelude
Joe Takai
joe_takai@siggraph.org
This is the opening segment for the Electronic Theater.
 
Stationen
Christian Sawade-Meyer
contact@wired-illusions.de
The Odyssey of life. The long way through a monotonous, hardly fertile world with its misleading influences. Losing yourself.
 
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.
 
Syokyoan
Koji Yamamoto
kj@ma3.justnet.ne.jp
The last legend of two rough fellows who lived through a violent age.
 
Tekken Tag Tournament
Satoru Yamada
satoru@vs.namco.co.jp
"Tekken Tag Tournament" is a fighting game for PlayStation 2 that employs high-quality, real-time 3D graphics. Each playable game character has been constructed using complicated skeletal structures with at least 100 bones, to fully express their realism. The game plays at a constant rate of 60 frames per second, using real-time animation throughout.
 
Tekken Tag Tournament - Opening Movie
Satoru Yamada
satoru@vs.namco.co.jp
This is the opening movie for the PlayStation 2 game "Tekken Tag Tournament." It leads players into to the world of Tekken through realistic computer graphics.
 
Tekken Tag Tournament - Ending Movie
Satoru Yamada
satoru@mat.namco.co.jp
This movie is the ending sequence for "Tekken Tag Tournament" on the PlayStation 2. It dipicts the plight of a girl who is struggling against the evil spirit that possesses her. After defeating all opponents in the tournament, the girl gains enough strength to overcome the wolf's spirit.
 
Today's Science Tomorrow's Art
Aaron Otstott
aarono@viz.tamu.edu
Two programs were created in OpenGL/C++ to generate the images, along with a custom animatable font. The first handled the streaming text background. It increases the rate at which letters are typed, motion-bluring fast images. The second program generates the running man. Random letters are drawn (according to animation parameters specified), and their color intensity is determined by the pixels covered in the Muybridge images. A sequence of images is read in, and animation parameters are applied to the animatable font. Software: Adobe Photoshop 3.0 and Alias Composer. Hardware: SGI O2s.
 
Volume Visualization of the Orion Nebula
Jon Genetti
genetti@sdsc.edu
In this visualization, viewers are transported 1,500 light years to the heart of the Orion Nebula. The nebula is derived from a 3D polygonal model based on radio and visible light observations from the Hubble Space Telescope and ground-based observations. A custom toolkit converts this polygonal model to 3D volume data with accurate and controllable nebulosity rendition of the various depicted forms. Eighty-four additional volumes were modeled and placed into the scene with 883 stars, using Gaussian footprints for star brightness. The animation was created using custom volume-rendering software that renders multiple, multi-resolution volumes using perspective viewing transformations.
 
Walking with Dinosaurs
Mike Milne
mike.milne@framestore.co.uk
"Walking with Dinosaurs" is a major computer animation co-production for BBC Science and the Discovery Channel. It features CG dinosaurs set into live-action backgrounds filmed in locations that closely resemble the environments of the appropriate era. The documentary series covers the natural history of the Triassic, Jurassic, and Cretaceous eras, and the design and movement of the CG dinosaurs was guided by an expert team of paleontologists working closely with a small team of animators. The project took nearly three years to complete. Software: Softimage, Mental Ray, Photoshop, 3DEqualizer, and proprietary tools. Hardware: SGI, PC (NT), Quantel Henry, Inferno.
 
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, which dynamically simulates complex skin deformation, including wrinkles.

 
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