images/siggraph10.png http://www.siggraph.org/s2010/ Siggraph 2010 Paper images/rapzHairShading.png This paper introduces a novel approach for creating an art-directable hair shading model from existing physically based models. Through an informal user study we show that this system is easier to use compared to existing systems. In practice, the new approach has been integrated into our production pipeline and is being used in the production of the upcoming feature film Tangled. Iman Sadeghi Heather Pritchett Henrik Wann Jensen Rasmus Tamstorf 07/2010 PDF PDF a56-sadeghi.pdf Supplemental Material ZIP a56-sadeghi_supplemental.zip images/siggraph10.png http://www.siggraph.org/s2010/ Siggraph 2010 Talk images/rapzHairSim.png We present several key techniques used for simulating Rapunzel's 70 feet of hair for the animated feature “Tangled”; these techniques range from methods to improve the run-time efficiency of the simulations to achieving the desired art direction of the hair. Kelly Ward Maryann Simmons Andy Milne Hidetaka Yosumi Xinmin Zhao 07/2010 PDF PDF rapzHairSim.pdf images/siggraph10.png http://www.siggraph.org/s2010/ Siggraph 2010 Talk images/setmForgetm.png For the creation of brilliant light displays, flickering control tower buttons and vibrant computer monitors, the Effects Department goal was to build a motion graphics pipeline capable of running nearly unattended - all while maintaining the flexibility of downstream artist input, should problems arise. Ian J. Coony Brian Silva Bruce Wright Andrew Kinney 07/2010 PDF PDF prepEFX_setmAndForgetm_sig2010.pdf images/siggraph10.png http://www.siggraph.org/s2010/ Siggraph 2010 Talk images/chrimasJuly.png Prep and Landing had multiple snow variants in a large number of shots - ranging from gentle falling snow outside windows, to near blizzard-like conditions. Snowfall was necessary to help the world the characters inhabited feel believable. Managing the workflow and complexity involved in creating snow variety was the challenge. Ian J. Coony David Hutchins Kevin Lee Mike Harris Tim Molinder Kee Suong 07/2010 PDF PDF prepEFX_xmasInJuly_sig2010.pdf images/siggraph09.png http://spie.org/x2584.xml SPIE Electronic Imaging 2010/Stereoscopic Displays and Applications XXI Paper images/2D3DConversion.png While designing the stereoscopic conversion process for Beauty and the Beast 3D, the engineering team at Walt Disney Animation Studios quickly recognized the benefit of desk-side 3D viewing for 2D to 3D conversion artists. This paper outlines the technical and creative requirements of the project that supported that opinion along with the criteria established to analyze available solutions. The evolution of internal prototypes as well as 3rd party devices are then explored along with a description of the final choices made and wish-lists for future development. Tara Handy Turner 01/2010 PDF PDF 2D3DConversion.pdf images/siggraph09.png http://www.siggraph.org/s2009/ Siggraph 2009 Paper images/asynchContact.png We develop a method for reliable simulation of elastica in complex contact scenarios. Our focus is on firmly establishing three parameter-independent guarantees: that simulations of well-posed problems (a) have no interpenetrations, (b) obey causality, momentum and energy conservation laws, and (c) complete in finite time. David Harmon Etienne Vouga Brennan Smith Rasmus Tamstorf Eitan Grinspun 08/2009 PDF PDF asynchContactMechanics.pdf images/siggraph09.png http://www.sci.utah.edu/rt08/ IEEE Symposium on Interactive Raytracing 2008 Paper images/preFilteredOcclusion.png We prefilter occlusion of aggregate geometry, e.g., foliage or hair, storing local occlusion as a directional opacity in each node of a bounding volume hierarchy (BVH). During intersection, we terminate rays early at BVH nodes based on ray differential, and composite the stored opacities. Dylan Lacewell Brent Burley Solomon Boulos Peter Shirley 08/2008 PDF PDF prefilter_2008.pdf http://www2.imm.dtu.dk/SGP08/ Symposium on Geometry Processing 2008 Paper images/motorcycleGraphs.png We describe algorithms for canonically partitioning semi-regular quadrilateral meshes into structured submeshes, using an adaptation of the geometric motorcycle graph of Eppstein and Erickson to quad meshes. David Eppstein Michael T. Goodrich Ethan Kim Rasmus Tamstorf 08/2008 PDF PDF motorcycle_sgp_2008.pdf http://www.cs.sunysb.edu/~smi08/ Shape Modelling International 2008 Paper images/approxMatch.png We study approximate topological matching of quadrilateral meshes; that is, the problem of finding as large a set as possible of matching portions of two quadrilateral meshes. David Eppstein Michael T. Goodrich Ethan Kim Rasmus Tamstorf 08/2008 PDF PDF approxmatch_smi_2008.pdf images/siggraph09.png http://www.stereoscopic.org/2008/index.html Stereoscopic Displays and Applications Paper images/nextGenTheatre.png Old cinema dead, Digital cinema now, hybrid theatre future. Ron Gillen 08/2008 PDF PDF NextGenTheatre.pdf images/siggraph09.png http://www.siggraph.org/conferences/siggraph96/core/index.html Siggraph 1996 Paper images/painterlyRendering.png We present a technique for rendering animations in a painterly style. The difficulty in using existing still frame methods for animation is getting the paint to “stick” to surfaces rather than randomly change with each frame, while still retaining a hand-crafted look. Barbara J. Meier 08/1996 PDF PDF p477-meier_1996.pdf images/siggraph09.png http://jgt.akpeters.com/ Journal of Graphics Tools 2007 Paper images/stamBoundary.png We extend the eigenbasis method of Jos Stam to evaluate Catmull-Clark subdivision surfaces near extraordinary vertices on B-spline boundaries. Dylan Lacewell Brent Burley 08/2007 PDF PDF stamboundary_2007.pdf images/siggraph09.png http://www.siggraph.org/s97/ Siggraph 1997 Paper images/multirama.png The approach is motivated by a traditional technique used in 2D cel animation, in which a single background image, which we call a multiperspective panorama, is used to incorporate multiple views of a 3D environment as seen from along a given camera path. In this paper, we explore how such backdrops can be created from 3D models and camera paths. Daniel N. Wood Adam Finkelstein John F. Hughes Craig E. Thayer David H. Salesin 08/1997 PDF PDF multirama_1997.pdf images/siggraph09.png http://www.siggraph.org/s98/ Siggraph 1998 Paper images/2DTextureMapping.png We present a method for applying complex textures to hand-drawn characters in cel animation. The method correlates features in a simple, textured, 3-D model with features on a hand-drawn figure, and then distorts the model to conform to the hand-drawn artwork. Wagner Toledo Correa Robert J. Jensen Craig E. Thayer Adam Finkelstein 08/1998 PDF PDF 2DTextureMapping_1998.pdf images/siggraph09.png http://www.siggraph.org/s2009/ Siggraph 2009 Paper images/continuumHair.png This paper presents a hybrid Eulerian/Lagrangian approach to handling both self and body collisions with hair efficiently while still maintaining detail. Aleka McAdams Andrew Selle Kelly Ward Eftychios Sifakis Joseph Teran 08/2009 PDF PDF detailPreservingContiniumHair.pdf images/siggraph09.png http://www.siggraph.org/s2009/ Siggraph Asia 2009 Talk images/evalRBF.png We suggest a method for artists to better understand RBF behavior through visualization and to evaluate RBF functions according to the requirements of a production environment. Gene S. Lee 12/2009 PDF PDF evalRBF.pdf images/siggraph09.png http://www.siggraph.org/s2009/ Siggraph Asia 2009 Talk images/practicalPSD.png Pose Space Deformation (PSD) [Lewis2000] is a shape interpolation technique for animation.  This paper presents some practical experience with PSD acquired while creating the film "BOLT." Gene S. Lee Frank Hanner 12/2009 PDF PDF poseSpaceDef.pdf images/siggraph09.png http://www.siggraph.org/s2009/ Siggraph 2009 Talk images/compRefract.png Rendering hair and simulating refraction, when performed separately, are both time and memory intensive. To overcome these problems, a process was developed for "Bolt" which involved exporting 3D data from the render stage so that the calculation of the refraction could be delayed until the composite stage. Lewis Siegel Sean Jenkins 08/2009 PDF PDF compositeBasedRefraction.pdf images/siggraph09.png http://www.siggraph.org/s2009/ Siggraph 2009 Talk images/geomFracture.png We designed a system to facilitate the modeling of cracked and shattered objects, enabling the automatic generation of a large number of fragments while retaining the flexibility to artistically control the density and complexity of the crack formation... Jeffrey Hellrung Andrew Selle Arthur Shek Eftychios Sifakis Joseph Teran 08/2009 PDF PDF geomFractureModeling.pdf images/siggraph09.png http://www.siggraph.org/s2009/ Siggraph 2009 Talk images/medialAxis.png To perform the stereoscopic conversion of Disney’s Beauty and the Beast, we developed novel extensions to standard medial axis techniques. Evan Goldberg 08/2009 PDF PDF medialAxisStereo.pdf images/siggraph09.png http://www.siggraph.org/s2009/ Siggraph 2009 Talk images/monoStereo.png ...the production pipeline for Bolt was designed with the goal of delivering the full artistic vision of the directors for the 2D film that the majority of filmgoers would see, yet deliver an uncompromising immersive experience to 3D audiences. Robert Neuman 08/2009 PDF PDF monoStereoFilmProd.pdf images/siggraph09.png http://www.siggraph.org/s2009/ Siggraph 2009 Talk images/painterlyCG.png We focused on fundamental ideas such as massing, a term in painting which refers to the process of editing detail into bigger shapes, and also edge quality, the use of the painter's brush to vary edges of shapes which can bring emphasis to the image and/or direct the eye. This led to the development of new algorithms and tools for the film "Bolt". Adolph Lusinsky Paul Felix Ernie Petti Sean Jenkins Adrienne Othon Patrick Dalton Hank Driskill John Murrah 08/2009 PDF PDF painterlyCgConcepts.pdf images/siggraph09.png http://www.siggraph.org/s2009/ Siggraph 2009 Talk images/procAnimMeshSmooth.png In Disney’s Bolt, the character of Rhino poses many technical challenges. He spends a majority of the movie inside a plastic ball, frequently contacts the ground surface, and presents a complicated skinning problem. Innovative tools and technology were developed to solve these issues for the production. Evan Goldberg Dmitriy Pinskiy 08/2009 PDF PDF procAnimationMeshSmoothing.pdf images/siggraph09.png http://www.siggraph.org/s2009/ Siggraph 2009 Talk images/realisticEye.png Using an anatomically motivated approach, our method to produce realistic convincing deformations of the skin and flesh surrounding the eye is unique, not only due to the novel approaches employed, but also because our method is entirely procedural... Dmitriy Pinskiy Erick Miller 08/2009 PDF PDF realisticEyeMotion.pdf images/siggraph09.png http://www.siggraph.org/s2009/ Siggraph 2009 Talk images/interactiveLighting.png We explore the use of point cloud data to provide interactive lighting effects for an environment. Dale Mayeda 08/2009 images/presentation.png PDF Slides InteractiveLightingEffects_S2009.pdf Movie Movie InteractiveLightingEffects_S2009.mov images/siggraph09.png http://www.siggraph.org/s2009/ Siggraph 2009 Talk images/smoothIndirectBinding.png iBind smoothly deforms vertices using a control cage by uniquely leveraging heat diffusion on closed, thin layers across a structured set of mean value coordinates. Dynamic rebinding is still useful, so iBind implements it, but for most cases of character articulation, a static binding option is used. Chung-An Lin Erick Miller Gene S. Lee 08/2009 PDF PDF smoothIndirectBinding.pdf images/eurographics.png http://www.eurographics2009.de/ Eurographics 2009 Paper images/dentPuller.png This paper presents a novel mesh fairing method to remove unwanted geometric artifacts such as dents. The key element of the proposed method is our unique algorithm for the assignment of weights in the discrete Laplacian. Dmitriy Pinskiy 04/2009 PDF PDF dentPuller.pdf images/renderEurographics09.png http://egsr2008.ssst.edu.ba/default.htm Eurographics Symposium on Rendering 2008 Paper images/thumbPtex.png We propose a new texture mapping method for Catmull-Clark subdivision surfaces that requires no explicit parameterization. Our method, Ptex, stores a separate texture per quad face of the subdivision control mesh, along with a novel per-face adjacency map, in a single texture file per surface. Brent Burley Dylan Lacewell 04/2008 PDF PDF http://www.disneyanimation.com/library/ptex/ptex.pdf Movie YouTube http://www.youtube.com/watch?v=GxNlAlOuQQQ PPT Powerpoint http://www.disneyanimation.com/library/ptex/ptex.ppt