SIGGRAPH 2004 - The 31st international conference on computer graphics and interactive techniques
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Effects Omelette
Wednesday, 11 August
3:45 - 5:30 pm
Petree Hall C
Session Chair: Leo Hourvitz, Maxis/EA

From the Ground Up: Building a Machine City for "Matrix: Revolutions"
Development and production of a massive city built by and for machines in "The Matrix: Revolutions" relied upon procedurally and hand-dressed architecture, built from carefully orchestrated model component libraries.

Charles Rose
Tippett Studio
rose (at) tippett.com
Procedural Petticoats in "Shrek 2"
In "Shrek 2," the Fairy Godmother's ruffled petticoats were produced by creating the geometry procedurally as a post process to give the garment the illusion of ruffles underneath.

Matt Baer
PDI/DreamWorks
mattb (at) pdi.com
Fireballs in "Shrek 2"
For "Shrek 2," PDI/DreamWorks added the ability to art-direct animated fireballs, which allowed realistic fireball launching without being bound by the laws of physics.

Arnauld Lamorlette
PDI/DreamWorks
arnauld (at) pdi.com

Matt Baer
Harry Max
PDI/DreamWorks
Making of the Superpunch
The Superpunch was considered the most difficult shot in The Matrix sequels, most notably due to the challenge of showing a full-frame, computer-generated face of a known human actor.

George Borshukov
ESC Entertainment
gdb (at) escfx.com

Ken Faiman
John Jack
Oystein Larsen
Tadao Mihashi
Kody Sabourin
Masuo Suzuki
ESC Entertainment

Oliver James
Scot Schinderman
formerly ESC Entertainment

 
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Conference 8-12 August, Exhibition 10-12 August.  In Los Angeles, CA