Production & Animation – Page 12 – ACM SIGGRAPH HISTORY ARCHIVES

Sponsored by:

All artwork and text on this site are the exclusive copyrighted works of the artist or author. ALL RIGHTS RESERVED. Any unlawful redistribution or reproduction of images featured on this site without prior express written authorization of the copyright owner is strictly prohibited.

“Swoop: Animating Characters Along a Path” by Lin, Swan, Walker, Lam and Arietta

“Fitting variable rate animation into a modern feature film pipeline” by Oskarsson and Chazot

“The Time Filter System: Advanced Time Manipulation for Animators and Effects Artists” by Forrest

“Denoising Production Volumetric Rendering” by Zhu, Zhang, Röthlin, Papas and Meyer

“Dynamic Mesh Sharpening” by Somasundaram, Biasco and Riesberg

“Singed Silhouettes and Feed Forward Flames: Volumetric Neural Style Transfer for Expressive Fire Simulation” by Kanyuk, Azevedo, Ortiz and Tang

“Diving Deeper into Volume Style Transfer” by Navarro

“Non-photorealistic compositing of the Spider-Verse” by Davignon and St. Clair

“Stay Alive, My Son – Metahuman Pipeline and Production” by Bousis

“Nimona: Creating a Large Scale Monster With Style” by Bamboo Wang and Ty

“Creating Creature Chaos: The Methods that Brought Crowds to the Forefront on Disney’s “Strange World”” by Devlin, Hamed, Ros, Sullivan and Wong

“Everybody’s an Effect: Scalable Volumetric Crowds on Pixar’s Elemental” by Kanyuk, Ouellet, Taylan, Moon and Reeves

“I Wanna Dance With Somebody: Generating Authentic Crowds With Volumetric Video” by Macmillan, Drewes, Libby and Robertson

“Eyes Without a Face” by Lykkegaard, Lacaze and Page

“Shaping the Elements: Curvenet Animation Controls in Pixar’s Elemental” by Quang Nguyen, Talbot, Sheffler, Hessler, Fleischer, et al. …

“The Versatile Rigging of Splat in “Strange World”” by Black

“Splat: Developing a “Strange” Shader” by Litaker, Burley, Lipson and Khoo

“An Animator-Friendly Chain Simulator for In-Game Animations at Blizzard Entertainment” by Sin, Melapudi and Havaldar

“Facial Animation at Scale: Producing facial animation for 24 hours of narrative content in “Horizon: Forbidden West”” by Bannink

“Using Pre-visualization to bring HBO’s “The Last Of Us” To Life” by Wickert, Malinics and Forde

Sponsored by: