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publications

  • Kami Geometry Instancer: Putting the "Smurfy" in Smurf Village
    SIGGRAPH TALK, François Chardavoine, Armin Bruderlin, 2011
    The ability to populate an environment with natural-looking visual "clutter" such as…
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     Kami Geometry Instancer: putting the "smurfy" in Smurf Village
  • Importance Sampling of Area Lights in Participating Media
    SIGGRAPH TALK, Christopher Kulla, Marcos Fajardo, 2011
    We focus on the problem of single scattering in homogeneous volumes and develop a new importance…
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     Importance Sampling of Area Lights in Participating Media
  • Decoupled Ray-marching of Heterogeneous Participating Media
    SIGGRAPH TALK, Christopher Kulla, 2011
    We describe the integration of heterogeneous participating media into our production ray tracer. We…
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     Decoupled Ray-marching of Heterogeneous Participating Media
  • BSSRDF Importance Sampling
    SIGGRAPH TALK, Chris Kulla, Alejandro Conty, 2013
    Light propagation within translucent materials can be described by a BSSRDF [Jensen et al. 2001].…
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     BSSRDF Importance Sampling
  • Physically Based Shading in Film
    SIGGRAPH COURSE NOTES, Adam Martinez, 2013
    Physically based shading is transforming the way we approach production rendering, and simplifying…
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     Physically Based Shading in Film
  • Zookeeper
    SIGGRAPH COMPUTER ANIMATION FESTIVAL, Don Levy, 2011
    For "Zookeeper", a Sony Pictures Imageworks team applied creative visual effects and…
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     Zookeeper
  • Compiler Techniques for Rendering
    SIGGRAPH TALK, Larry Gritz, 2011
    Open Shading Language (OSL) is designed for physically-based GI and scales to production use.
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     Compiler Techniques for Rendering
  • Production Volume Rendering 1
    SIGGRAPH TALK, Magnus Wrenninge, Nafees Bin Zafar, 2011
    Computer generated volumetric elements such as clouds, fire, and whitewater, are becoming…
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     Production Volume Rendering, Part 1
  • Capturing Thin Features in Smoke Simulations
    SIGGRAPH TALK, Magnus Wrenninge, Henrik F�lt, Chris Allen, Stephen Marshall, 2011
    The perceived quality and realism of a fluid simulation is directly related to a few technical and…
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     Capturing Thin Features in Smoke Simulations
  • Volumetric Methods in Visual Effects
    SIGGRAPH TALK, Magnus Wrenninge, Nafees Bin Zafar, Jeff Clifford, Gavin Graham, Devon Penney, Janne Kontkanen, Jerry Tessendorf, Andrew Clinton, 2010
    Computer generated volumetric elements such as clouds, fire, and whitewater, are becoming…
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     Volumetric Methods in VFX
  • Faster Photo-Realism
    SIGGRAPH COURSE NOTES, Adam Martinez, 2010
    Films such as CLOUDY WITH A CHANCE OF MEATBALLS, 2012 and ALICE IN WONDERLAND (ALICE) have…
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     Faster Photo-Realism
  • Perceptual Space for Gloss
    TRANSACTIONS ON GRAPHICS (TOG) - Volume 28 Issue 4, Josh Wills, Sameer Agarwal, David Kriegman, Serge Belongie, 2009
    We design and implement a comprehensive study of the perception of gloss. This is the largest study…
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     Perceptual Space for Gloss
  • Preventing Tangled Cloth
    SIGGRAPH ASIA, David Tonnesen, 2009
    Geometric pinching can result in cloth simulation output that is a tangle of cloth. We present a…
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     Preventing Tangled Cloth
  • Hair Effects Factory Within a Digital Hair Production Pipeline
    SIGGRAPH ASIA, Armin Bruderlin, François Chardavoine, 2009
    Digital humans, animals, and imaginary creatures are increasingly being incorporated into movies,…
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     Hair Effects Factory Within a Digital Hair Production Pipeline
  • Hair Motion Compositor: Compositing Dynamic Hair Animations
    SIGGRAPH TALKS, Armin Bruderlin, François Chardavoine, 2009
    Digital characters can appear in both live action and computer animated movies.
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     Hair Motion Compositor: Compositing Dynamic Hair Animations
  • I Am Legend: Making An Alternate Ending
    SIGGRAPH ASIA COMPUTER ANIMATION FESTIVAL, Carlye Archibeque, 2008
    In this alternate ending of the motion picture "I Am Legend," the full CG-infected…
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     I Am Legend: Making An Alternate Ending
  • Get the Job You Want in Computer Graphics
    SIGGRAPH CLASSES, Pamela Kleibrink Thompson, Fran R. Zandonella, Stan Szymanski, 2008
    What does it take to get a job at a visual effects, computer animation or interactive company? This…
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     Get the Job You Want in Computer Graphics
  • Offset Curve Formation from Skeletal Animation
    SIGGRAPH TALKS, Arthur Gregory, Dan Weston, 2008
    PDF Skin deformation based on an underlying skeleton is a critical part of the modern…
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     Offset Curve Formation from Skeletal Animation
  • Surf's Up: Beach Break
    SIGGRAPH SKETCHES, Tom Kluyskens, 2007
    When joining the SURF'S UP team, we were asked to develop a solution for shore break - or…
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     Surf's Up: Beach Break
  • Making Waves for Surf's Up
    SIGGRAPH SKETCHES, Erick Miller, Rob Bredow, Daniel Kramer, Matt Hausman, Peter Shinners, Deborah Carlson, John Clark, 2007
    For the Sony Pictures Animation feature film, Surf's Up, Imageworks needed to create a…
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     Making Waves for Surf's Up
  • Rendering Tons of Sand
    SIGGRAPH SKETCHES, Chris Allen, Doug Bloom, Jonathan M. Cohen, Laurence Treweek, 2007
    On Spider-Man 3, one of the villains is the Sandman, a character composed of sand.
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     Rendering Tons of Sand
  • Surf's Up: Making an Animated Documentary
    ACM SIGGRAPH COURSES, Rob Bredow, David Schaub, Daniel Kramer, Matthew Hausman, Danny Dimian, R. Stirling Duguid, 2007
    These course notes cover new tools, processes and pipelines that were developed to make SURF'S…
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     Surf's Up: Making an Animated Documentary
  • The Birth of the Sandman
    SIGGRAPH SKETCHES, Christoph Ammann, Doug Bloom, Jonathan M. Cohen, John Courte, Lucio Flores, Sho Hasegawa, Nikos Kalaitzidis, Terrance Tornberg, Laurence Treweek, Bob Winter, Chris Yang, 2007
    The BIRTH OF SANDMAN sequence in SPIDER-MAN 3 involved creating a human-sized character who emerges…
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     The Birth of the Sandman
  • Spider-Man 3: Birth of Sandman
    SIGGRAPH COMPUTER ANIMATION FESTIVAL, Rebecca Aghakhan-Mooshiabad, 2007
    Columbia Pictures' "Spider-Man 3" reunites the cast and filmmakers from the first…
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     Spider-Man 3: Birth of Sandman
  • Wave Displacement
    SIGGRAPH SKETCHES, Deborah Carlson, 2007
    For SURF'S UP, our challenge was to create realistic waves for an all-CG surfing mockumentary.
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     Wave Displacement
  • Levelsets in Production: Spider-Man 3
    SIGGRAPH SKETCHES, Chris Allen, Jonathan M. Cohen, Doug Bloom, Daniel P. Ferreira, Sho Hasegawa, Cory McMahon, 2007
    Levelsets are a flexible implicit surface representation that have many applications in production…
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     Levelsets in Production: Spider-Man 3
  • Building a 60Ft Man of Sand
    SIGGRAPH SKETCHES, Jamie Pilgrim, Terrance Tornberg, 2007
    In the final battle sequence of SPIDER-MAN 3, the Sandman character forms himself at a construction…
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     Building a 60Ft Man of Sand
  • From Mocap to Movie: The Polar Express
    SIGGRAPH COURSES, Rob Bredow, David Schaub, Rob Engle, Daniel Kramer, Albert Hastings, 2006
    These course notes cover new tools, processes and pipelines that were developed to make THE POLAR…
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     From Mocap to Movie: The Polar Express
  • Performance Driven Facial Recognition
    SIGGRAPH COURSE, Parag Havaldar, 2006
    A performance, in most cases, is understood to be a visual capture of an actor face talking and…
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     Performance Driven Facial Recognition
  • Developing Efficient Pipeline Tools for Animation Production
    ACM-SE 44: Proceedings of the 44th Annual Southeast Regional Conference, Edward Siomacco, John L. Kundert-Gibbs, Timothy A. Davis, 2006
    Building and animating virtual humans and creatures has become an important part of a production…
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     Developing Efficient Pipeline Tools for Animation Production
  • Reflectance Field Rendering
    SIGGRAPH SKETCHES, Mark Sagar, 2005
    The creation of convincing computer generated human faces which can withstand close-up scrutiny…
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     Reflectance Field Rendering
  • Visualizing the XYZ Color Space
    SIGGRAPH ELECTRONIC ART AND ANIMATION CATALOG, Jeremy Selan, George Joblove, 2005
    Development of the standard for digital-cinema colorimetry presents the problem of how to represent…
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     Visualizing the XYZ Color Space
  • Spider-Man: Behind the Mask
    SIGGRAPH CONFERENCE ABSTRACTS AND APPLICATIONS, Mary Reardon, 2002
    Sony Pictures Imageworks takes you for a spin through the virtual world of Spider-Man. Scott…
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     Spider-Man: Behind the Mask
  • Stuart Little 2: Let the Little Feathers Fly
    SIGGRAPH TALK, Rob Engle, Eric Armstrong, Rob Bredow, Jerome Chen, Bob Peitzman, Jay K. Redd, Debra Kaufman, 2002
    "Stuart Little 2" not only dispels that criticism but blazes a path in the new genre of…
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     Stuart Little 2: Let the Little Feathers Fly
  • Starship Troopers
    SIGGRAPH CONFERANCE ABSTRACTS AND APPLICATIONS, Mark Sagar, 1998
    Director Paul Verhoeven presented a formidable task when he described the fleet battles and space…
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     Starship Troopers
  • Anaconda
    SIGGRAPH VISUAL PROCEEDINGS: THE ART AND DISCIPLINE PROGRAMS OF SIGGRAPH '97, Don Levy, 1997
    Sony Pictures Imageworks digitally created two photo-realistic giant Anacondas which would…
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     Anaconda
  • Contact
    SIGGRAPH VISUAL PROCEEDINGS: THE ART AND DISCIPLINE PROGRAMS OF SIGGRAPH '97, Ken Ralston, Steve Rosenbaum, 1997
    This sequence begins with a NASA-like view of the Earth. The camera then pulls back through our…
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     Contact
  • Cinematic Color: From Your Monitor to the Big Screen
    SIGGRAPH TALK, Jeremy Selen, 2012
    Color affects many areas of the computer-graphics pipeline. From texture painting to lighting,…
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     Cinematic Color: From Your Monitor to the Big Screen