ACM SIGGRAPH News
Today, the Visual Effects Society announced director Alfonso Cuarón as the recipient of its prestigious Visionary Award. Cuarón was selected for his remarkable achievements in the field of cinematic arts, not the least of which being his pivotal role in the creation of the year's most celebrated film, Gravity.
Until February 9, 2014 at 22:00 GMT, applications for student volunteer positions at SIGGRAPH 2014 are open. Volunteering at SIGGRAPH is an excellent way for students to get involved with the conference and network with leaders in their chosen field. When not working, SIGGRAPH 2014 student volunteers have full access to the conference programs and the exhibit hall.
Nominations for the 2014 ACM SIGGRAPH Distinguished Artist Award for Lifetime Achievement in Digital Arts are due by December 23, 2013. Since the award's creation in 2009, it has been presented annually to an artist whose substantial body of work has significantly advanced aesthetic content the field of digital art.
Canadian animator Richard Williams worked on his film "The Thief and the Cobbler" for nearly three decades, its completion and screening delayed time and time again by production woes and lack of funding. Though some portions of the film were combined with work from other animators and released as “The Princess and the Cobbler” and “Arabian Knight,” to this day, the original version has never been publicly screened.
Today, the Academy of Motion Picture Arts and Sciences announced the titles of the 10 films that remain in the running for the 86th Academy Award for Best Visual Effects.
ACM TOG (Transactions on Graphics) is the foremost peer-reviewed journal in the area of computer graphics. The TOG journal has a strong synergy with ACM SIGGRAPH; of the six issues published by TOG each year, two are special issues containing the papers presented at the annual SIGGRAPH and SIGGRAPH Asia conferences.
Somewhere between "Final Fantasy: The Spirits Within" (2001) and "The Curious Case of Benjamin Button" (2008), digital actors evolved from talking dolls to lifelike human beings. Today, computer-generated actors are often so realistic that audiences have trouble distinguishing live performers from digital fabrications. How did such a monumental improvement in the realism of CG humans happen over such a short period of time?
The deadline for submissions to the prestigious Visual Effects Society's 12th Annual VES Awards is rapidly approaching. November 22 is the cutoff to upload work for award consideration.
There are 24 categories under which work may be submitted: