The 1st ACM SIGGRAPH Conference and Exhibition on Computer Graphics and Interactive Techniques in Asia

Conference 10–13 december 2008 exhibition 11–13 december 2008 Suntec Singapore International Convention & Exhibition Centre

a d v a n c e p r o g r a m m e www.siggraph.org/asia2008

Contents

2 Conference at a Glance 3 The Value of Attending SIGGRAPH Asia 4 Included with Your Registration 6 Conference Overview 10 Conference Schedule 17 Courses 26 Technical Papers 33 Educators Programme 39 Sketches & Posters 44 Exhibitor List 45 Co-located Workshops & Events 46 General Information 48 Committees

Sponsored by ACMSIGGRAPH Conference at a Glance

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c o n f e r e n c e registration c a t e g o r i e s

★ Full Conference Access ● One-Day Full Conference ❍ Basic Conference/Exhibits Plus E Exhibits Only

9 December 10 December 11 December 12 December 13 December

Registration 15:00–19:00 07:30–18:00 08:00–18:00 08:00–18:00 08:00–18:00

Merchandise Pickup & 07:30–18:00 08:00–18:00 08:00–18:00 08:00–18:00 SIGGRAPH Asia Store

Reception Time and date to be confirmed. Updated information will be available on the web site.

★ ● ❍ Art Gallery 08:30–17:30 08:30–17:30 08:30–17:30 Emerging Technologies

Computer Animation Festival ★ ● ❍ Animation Theatre 08:30–17:30 08:30–17:30 08:30–17:30 Special Programme ★ ● Electronic Theatre 19:00–21:00 19:00–21:00 16:00–18:00 19:00–21:00

★ ● Courses 08:30–17:30 08:30–17:30 08:30–17:30 08:30–17:30

★ ● Educators Programme 08:30–17:30 08:30–17:30 08:30–17:30

★ ● ❍ Posters 08:30–17:30 08:30–17:30 08:30–17:30

★ ● Sketches 08:30–17:15 08:30–17:15 08:30–17:15

★ ● Technical Papers 08:00–18:00 08:00–18:00 08:00–18:00

★ ● Featured Speakers 10:30 13:30

★ ● ❍ Fast Forward Session 18:00–20:00 (Technical Papers and Sketches)

★ ● ❍ E Exhibition 09:30–18:30 09:30–18:30 09:30–18:30

★ ● ❍ E Exhibitor Tech Talks 10:00–18:00 10:00–18:00 10:00–18:00

★ ● ❍ Job Fair 09:30–18:30 09:30–18:30 09:30–18:30

Conference schedule subject to change.

http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Conference at a Glance 2 ConferenceThe Value of at Attending a Glance SIGGRAPH Asia

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We understand the importance of convincing your employers to fund your attendance at SIGGRAPH Asia 2008. So we have developed the following value-based talking points for you to share with your boss.

Value SIGGRAPH Asia 2008 is the place to be if you want to find the widest range of best-practice-based education in the region at one stop. This conference will significantly leverage your organisation’s training dollars.

Industry Visionaries SIGGRAPH Asia 2008 gives you access to first-hand accounts from industry icons who were once in your shoes, about their achievements and where their visions and inspirations have taken them.

Hands-On Knowledge Acquiring the most current information in an interactive environment is the only way to protect and leverage the significant investment your organisation has made in computer graphics and interactive techniques.

One-Stop Shopping SIGGRAPH Asia 2008 is your number-one opportunity to assess your options and opportunities in the world’s most dynamic digital media region. Singapore’s strategic location, its excellent facilities, and its fascinating diversity make it one of the world’s leading destinations for business.

Personally Relevant Education In four information-packed days, SIGGRAPH Asia 2008 offers a very diverse range of educational sessions, so you can tailor a valuable personal education programme that is relevant to your organisation’s needs.

Saves Time While four days out of the office might seem difficult, having to spend up to a year to amass the relevant information and education you could gain in four days would be downright daunting.

Register Early and Afford More! If you register early for SIGGRAPH Asia 2008, you can reduce your organisation’s out-of-pocket costs and gain a more attractive return on investment.

Inspiration After your SIGGRAPH Asia 2008 experience, you’ll return to work rejuvenated, with new knowledge and newly inspired creativity.

Exchange SIGGRAPH Asia 2008 offers a powerful exchange of high-quality technical and creative information between Asia and the long-running SIGGRAPH conference in North America. This is your opportunity to participate in that exchange in real time.

Community At SIGGRAPH Asia 2008, you will become an essential part of the SIGGRAPH community. Widen your network and bring your new connections back to your organisation.

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t a b l e o f c o n t e n t s Conference Registration Categories

★ Full Conference Access Includes admission to all programmes and events of SIGGRAPH Asia 2008. The Full Con- Pass ference DVD-ROM and ticket for the SIGGRAPH Asia 2008 Reception are also included.

● Full Conference One-Day Includes admission to all programmes and events for one day of SIGGRAPH Asia 2008. Access Pass Access to the Exhibition and Exhibitor Tech talks is included for three days, 11-13 December.

❍ Basic Conference Includes admission to the Art Gallery and Emerging Technologies, the Animation Theatre, Access Pass/Exhibits Posters, Technical Papers Fast Forward, the Exhibition, Exhibitor Tech Talks, and the Job Plus Pass Fair for all conference days. An Electronic Theatre ticket and the Full Conference DVD-ROM can be purchased separately.

E Exhibits Only Ticket Exhibits Only admission is available only upon invitation from a SIGGRAPH Asia 2008 exhibitor. You must have received an invitation code in order to be eligible. Exhibits Only ticket includes admission to the Exhibition and Exhibitor Tech Talks only.

SIGGRAPH Asia 2008 Registration Fees (in Singapore dollars)

★ Full Conference Access On or before 31 Oct After 31 Oct ACM/ACM SIGGRAPH/ ★ ● ❍ Art Gallery S$ 750 S$ 850 SIGCHI Member Computer Animation Festival Student Member S$ 350 S$ 450 ★ ● Electronic Theatre ★ ● ❍ Animation Theatre Non-Member S$ 800 S$ 900 ★ ● Courses

● Full Conference One-Day On or before 31 Oct After 31 Oct ★ ● Educators Programme ACM/ACM SIGGRAPH/ ★ ● ❍ Emerging Technologies S$ 300 S$ 350 SIGCHI Member ★ ● ❍ E Exhibition Student Member S$ 300 S$ 350 ★ ● ❍ E Exhibitor Tech Talks Non-Member S$ 300 S$ 350 Fast Forward Session ★ ● ❍ Technical Papers ❍ Basic Conference On or before 31 Oct After 31 Oct Fast Forward Session ★ ● ❍ ACM/ACM SIGGRAPH/ S$ 50 S$ 75 Sketches SIGCHI Member ★ ● Featured Speakers Student Member S$ 50 S$ 75 ★ ● ❍ Job Fair Non-Member S$ 50 S$ 75 ★ ● ❍ Posters ★ Reception ★ ● ❍ Special Sessions ★ ● Sketches ★ ● Technical Papers ★ Full Conference DVD-ROM

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Printed Materials

NOT included with any registration category. Printed materials are available for purchase at SIGGRAPH Asia 2008.

ACM Transactions on Graphics (Conference Proceedings Special Issue) ACM Transaction on Graphics (TOG) is the foremost peer-reviewed journal in the graphics field. All papers presented at SIGGRAPH Asia 2008 will be published in this special issue of TOG.

Digital Experiences The permanent record of images from the Art Gallery, the Computer Animation Festival, and Emerging Technologies.

Full Conference DVD-ROM

Included with Full Conference Access registration, and available for purchase at SIGGRAPH Asia 2008. This digital publication contains the electronic version of the Technical Papers, including images and supplemental material; the Course notes, including supplemental materials (movies, source code, HTML presentations); and abstracts and supplemental materials from the Educators Programme, Sketches, and Posters. The content of the printed version of the ACM Transactions on Graphics (Conference Proceedings Special Issue) and the Digital Experiences: the SIGGRAPH ASIA 2008 Art Gallery, Emerging Technologies, and Computer Animation Festival Catalogue are also included on the Full Conference DVD-ROM.

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t a b l e o f c o n t e n t s See, Hear, and Interact

The first SIGGRAPH Asia convenes in Singapore, 10-13 December 2008, for four full days of world-class technical presentations, creative exploration, and the industry’s largest Asian marketplace of products and services: the SIGGRAPH Asia 2008 Exhibition.

★ ● 11 December 10:30 Featured The Expanding Boundaries of Computer Graphics Don Greenberg challenges the new generation of computer Speaker: graphicists (those who will take great professional risks to solve big problems) to dream impossible dreams and extend the influence of computer graphics to many other disciplines.

Don Greenberg has been researching and teaching in the field of computer graphics for more than 40 years. His primary focus has been on advancing the state of the art in computer graphics.

His current computer science research projects involve realistic image generation, parallelprocessing algorithms for rendering, new graphical user interfaces, and computer animation. His current application projects include ornithology and the search for the ivory-billed woodpecker, medical imaging and virtual surgery, architectural design for a Don Greenberg green environment, and new types of computer displays, from electronic paper to Director touch-sensitive table displays. Cornell University Program of Computer Graphics He has taught courses in computer graphics in computer science, computer-aided design Computer Graphics Pioneer in architecture, computer animation in art, and technology strategy for business. Many of his graduate students have gone on to become leaders in the fields of computer graphics, computer animation, and computer-aided design for architecture. Six former students have won Hollywood’s Technical Oscars, and five have won the prestigious SIGGRAPH Achieve- ment Award.

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★ ● 12 December 13:30

Featured Behind the Scenes at Pixar Speaker: This talk takes you behind the scenes at Pixar Animation Studios for a look at how its 3D computer graphics films are made. The process starts with development of the story and continues with modelling the geometry, animating the charac- ters, simulating things like water and cloth and hair, defining the look of the surfaces, putting lights in the scene, and rendering the images. Making a computer animated film requires close collaboration between artists and technical experts in many areas of expertise and is a great example of the value of bringing different disciplines together. Rob Cook Vice President Advanced Technology Rob Cook was the co-architect and primary author of Pixar’s RenderMan software, which Pixar Animation Studios creates photo-realistic computer images. In 2001, he received an Oscar for his contribu- tions, the first Academy Award ever given for software. In the last 10 years, every film nominated for a Visual Effects Academy Award has used RenderMan.

He has a Bachelor of Science degree in physics from Duke University and a Master of Science degree in Computer Graphics from Cornell University. At Cornell, he worked on simulating realistic surfaces, taking computer-generated images beyond the distinctive plastic look they had at the time. In 1981, he joined Lucasfilm/Pixar, where he developed the first programmable shader, which is now an essential part of GPUs and game engines.

He was the first to use Monte Carlo techniques in computer graphics, which was essential for simulation of complex, realistic lights and camera effects. His camera techniques were especially important in the visual effects industry, because they allowed computer-generat- ed imagery to match the motion blur and depth of field of live-action footage when the two were combined.

In 1987, he received the ACM SIGGRAPH Achievement Award in recognition of these contributions.

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★ Full Conference Access ● One-Day Full Conference ❍ Basic Conference/Exhibits Plus E Exhibits Only

The SIGGRAPH Asia 2008 Art Gallery presents art that transforms, melds, and transcends Art Gallery/ current Asian paradigms. This international, multicultural festival of creativity showcases Synthesis work in all media – including “hybrid” formats such as text-literature collaborations, ubiqui- tous sounds, and zero-gravity space art – that provokes contemplation, explores surpris- ★ ● ❍ ing ideas, addresses contemporary issues, interactively engages viewers in discovery, and stimulates their intellect and creativity.

The first edition of the SIGGRAPH Asia Computer Animation Festival illuminates a new Computer horizon of animation and visual effects from around the world:

Animation Festival Juried Programmes Electronic Theatre ★ ● e l e c t r o n i c t h e a t r e Animation Theatre ★ ● ❍ A very popular feature of the SIGGRAPH conference for many years, the Electronic Theatre offers some of the world’s most remarkable work selected by a distinguished international jury. In addition, works presented in the Electronic Theatre are eligible for festival prizes. The Best of Show and Jury Awards will be announced during SIGGRAPH Asia 2008.

a n i m a t i o n t h e a t r e An intriguing collection of innovative achievements in all genres of animation and visual effects.

Invited Screenings School Showcase of promising student work, Studio Specials from the world’s leading ani- mation and visual effects experts, and the Best of SIGGRAPH Award Winners from previous Computer Animation Festivals. Plus a Special Programme of the latest and greatest anima- tion technqiues and visual effects. The festival also features Festival Talks and other events.

International experts present instructional sessions on every aspect of computer graphics Courses and interactive techniques: animation, computer-human interaction, entertainment, gaming, ★ ● scientific visualisation, recent breakthroughs, cool programming adventures, and more.

Envisioned as an international gathering of industry professionals and academics, the Educators Educators Programme presents perspectives that appeal to a wide spectrum of interests. The goal is to share educational strategies adopted in both industry and academia to make Programme the learning process more satisfying, productive, and meaningful. ★ ●

SIGGRAPH Asia 2008 Emerging Technologies presents an Asian paradigm shift, a rich Emerging resource of delicate, aesthetic technologies and vivid, innovative ideas. Interactive, mind- expanding explorations in virtual and mixed reality, haptic interfaces, ubiquitous systems, Technologies digital tools, HD displays, robotics, and more. Emerging Technologies presents demos ★ ● ❍ and installations of technologies that define the future of computer graphics and interactive techniques.

All the products and services you need for another year of creative achievement. Try the Exhibition latest systems, talk with the people who developed them, and get all the information you ★ ● ❍ E need to make budget and purchase decisions. Thursday, 11 December 09:30–18:30 Friday, 12 December 09:30–18:30 Saturday, 13 December 09:30–18:30 http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Conference Overview 8 Conference Overview

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Product updates and detailed, hands-on presentations that introduce attendees to the Exhibitor Tech Talks latest developments in product innovation. In these sessions, SIGGRAPH Asia 2008 ★ ● ❍ E exhibitors give product updates; introduce their latest developments; demonstrate software, hardware, and systems; answer questions; and talk about how their applications improve professional and technical performance.

SIGGRAPH Asia 2008 has partnered with CreativeHeads.net to produce a best-in-class job Job Fair fair! Employers and creative professionals will be able to connect months before and after ★ ● ❍ the conference via the CreativeHeads.net web site, and during the conference via the actual job fair. Thursday, 11 December 09:30–18:30 Friday, 12 December 09:30–18:30 Saturday, 13 December 09:30–18:30

Learn how the industry is evolving worldwide and collaborate with attendees from five International continents. Resources The International Centre offers informal translation services and space for meetings, talks, and demonstrations. Throughout the year, the International Resources programme facili- ★ ● ❍ E tates worldwide collaboration in the SIGGRAPH community, provides an English Review Service for SIGGRAPH and SIGGRAPH Asia to help submitters whose first language is not English, and encourages participation in all conference venues, activities, and events.

Thursday–Saturday, 11–13 December

Social and intellectual interaction with the movers and shakers of the international Reception SIGGRAPH community. ★ Touch base with the people you need to know for another year of business, professional success, and adventure.

Sketches Sketches & Posters A dynamic forum for thought-provoking, speculative ideas, novel applications, what-if Sketches: ★ ● concepts, and behind-the-scenes production details. Following each sketch presentation, Posters: ★ ● ❍ authors discuss future implications of their work and answer audience questions.

Posters Graphic depictions of incremental or half-baked but innovative ideas displayed throughout the week with scheduled sessions for informal discussions.

The SIGGRAPH Asia 2008 Technical Papers programme is a premier international forum Technical Papers for disseminating provocative and important new work in computer graphics and interac- ★ ● tive techniques. Leading international experts from Asia and beyond present peer-reviewed research in rendering, modelling, animation, human-computer interaction, computer-aided design, virtual reality, and visualisation.

ACM SIGGRAPH’s first back-to-back Technical Papers and Sketches Fast Forward Technical Papers & Session. Get a preview of the latest research in computer graphics and interactive techniques and select the Technical Papers and Sketches that you need to attend later Sketches Fast in the week. Forward Sessions ★ ● ❍

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Wednesday, 10 December

Session 1 08:30–10:15 Session 2 10:30–12:15 * This course is strictly limited to Courses Courses 25 attendees. Please refer to the registration instruction details on page 17. • Introduction to • Introduction to Computer Graphics (Part I) Computer Graphics (Part II)

• An Introduction to Programming with • An Introduction to Programming with OpenGL and OpenGL ES (Part I) OpenGL and OpenGL ES (Part II)

• Scattering (Part I) • Scattering (Part II)

• Interactive Massive • Interactive Massive Model Rendering (Part I) Model Rendering (Part II)

• Pixar’s RenderMan (Part I)* • Pixar’s RenderMan (Part II)

Session 3 13:45–15:30 Session 4 15:45–17:30

Courses Courses

• An Introduction to Programming with • An Introduction to Programming with OpenGL and OpenGL ES (Part III) OpenGL and OpenGL ES (Part IV)

• Light Interaction with Human Skin: • Light Interaction with Human Skin: From Believable Images to From Believable Images to Predictable Models (Part I) Predictable Models (Part II)

• Interactive Massive • Interactive Massive Model Rendering (Part III) Model Rendering (Part IV)

• Pixar’s RenderMan (Part III) • Pixar’s RenderMan (Part IV) • There Can Be Only One: Independent Animation for the Lonely

Session 5 18:00–20:00 fast foRWARD SESSION

ACM SIGGRAPH’s first back-to-back Technical Papers and Sketches Fast Forward Session. Get a preview of the latest research in computer graphics and interactive techniques and select the Technical Papers and Sketches that you need to attend later in the week.

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Thursday, 11 December

Session 1 08:30–10:15 08:30–10:15 08:30–10:00 08:00–10:15

courses educators Sketches TECHNICAL progRamME Papers None Methodologies GPU-Based Shape Modelling in Learning Methods Session Chair: Session Chair: Session Chair: Tao Ju Mark Chavez Edward Angel • Single Image • Computer • GPU Crowd Tree Modelling Graphics in Context: Simulation An Approach to • Sketch-based Tree a First Course in • GPU-Based Scene Modelling Using Computer Graphics Management for Markov Random Rendering Large Field • Using Augmented Crowds Reality to Promote • Space-Time Surface The Understanding • GPU Tessellation for Reconstruction of Materials Science Detailed, Animated Using Incompress- to School Children Crowds ible Flow

• Simulating • A GPU-Based • Non-Homogeneous Educational Physi- Approach for Resizing of Complex cal Experiments in Real-Time Haptic Models Augmented Reality Rendering of 3D Fluids • (TOG) Mesh Ensemble Motion Graphs: Data-Driven Mesh Animation with Constraint

Featured Speaker Session 10:30–12:00 featured SPEAKER: DON GREENBERG

Session 3 13:45–15:30 13:45–15:30 13:45–15:15 13:45–15:30

Courses educators Sketches TECHNICAL progRamME Papers • Real-Time Professional/ Lucasfilm Character Individualized Academic Animation I Virtual Humans Session Chair: Session Chair: (Part I) Session Chair: Ken Anjyo Se-hyung Park Subodh Kumar • CG Production • Clone Wars • Animating Respon- Principles: Keeping Animation in sive Characters Your Money On The Welcome and Lucasfilm Animation with Dynamic Screen & Off The Overview of Singapore Constraints in Floor Programme • Lighting Clone Near-Unactuated • Mesh Parameteri- PROGRAMME Wars: A New Planet Coordinates sation: Theory and KEYNOTE: Every Week • Synthesis of Practice (Part I) The New Perspective of • Keeping It Real: Constrained • Introduction to Consilience of Arts Classical Art Walking Skills Computer Graphics and Technology Principles in Today’s • Interaction Patches Shaders with glman in the Era of Ubiqui- VFX Features for Multi-Character (Part I) tous Computing • The Invisible Art Animation Behind Ironman • Motion Overview • Star Wars: of Human Actions The Clone Wars TV Series: Making the Impossible Happen

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Thursday, 11 December

Session 4 15:45–17:30 15:45–17:30 15:45–17:15 15:45–18:00

Courses educators Sketches TECHNICAL progRamME Papers • Real-Time Methodologies In Interactive Fun With Single Individualized Learning Techniques Images Virtual Humans (Part II) Session Chair: Session Chair: Session Chair: Martin Constable Matt Adcock Sing Bing Kang • Multiperspective Modelling, Render- • Making Intelligent • Balance Ball • Deep Photo: ing, and Imaging Sounds Interface Model-based Photograph • Shift to The Third • Fu-Fuu: Enhancement • Mesh Parameteri- Space - isAT 2008 An Interactive Game and Viewing sation: Theory and using Breath Control • The Solution of Practice • Animating Animal Indie-Creation on • Tracking the (Part II) Motion from Still Network Position of a Mobile • Introduction to Device on Interac- • Optimised Scale- Computer Graphics tive Screens with and-Stretch for Shaders with glman RFID Image Resizing (Part II) • Bear’s Beer and • Interactive Normal Smart Platter– Reconstruction from Handheld Interactive a Single Image Haptic Display • Depicting Procedural Caustics in Single Images

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Friday, 12 December

Session 1 08:30–10:15 08:30–10:15 08:30–10:00 08:00–10:15 08:00–10:15

courses educators Sketches TECHNICAL TECHNICAL progRamME Papers Papers • Discrete Differential Game Education Arts And Robots Character Lighting, Shading Geometry: Animation II & GPUs An Applied Session Chair: Session Chair: Introduction (Part I) Gao Wei Hua Daniel Maskit Session Chair: Session Chair: Doug James Nelson Max • Beyond • Creating a Multi- • Shadow Play Programmable Discipline Gaming • Facial Performance • Real-time KD-Tree • Automatic Shading (Part I) Curriculum: Synthesis Using Construction on Avoiding Mistakes, Composition for Deformation-Driven Graphics Hardware • Seeing in 3D Missteps, and Contemporary Polynomial (Part I) Growing Pains Dance Sequences • Automated • Reusable Skinning Reprojection-based • Sharing the Magic • Nervixxx: Templates Using Pixel Shader Circle with Spatially An Introduction Cage-Based Optimisation Inclusive Games of Biosignal to Live Deformations Video Performance • Fast, Realistic • Gaming: Back to • Accelerometer- Lighting and the Basics • Rendering Lots based User Inter- Material Design of Robots faces for the Control Using Nonlinear Cut of a Physically Approximation Simulated Character • Imperfect Shadow • Video Puppetry: Maps for Efficient A Performative Computation of Interface for Cutout Indirect Illumination Animation • Progressive Photon • Laughing Out Loud: Mapping Control for Model- ling Anatomically Inspired Laughter Using Audio

Session 2 10:30–12:15 10:30–12:15 10:30–12:00 10:30–12:15

courses educators Sketches TECHNICAL progRamME Papers • Discrete Differential The Mindspace Photographs Image-Based Geometry: of Learning and Drawings Capture An Applied Introduction (Part II) Session Chair: Session Chair: Session Chair: Ayumi Miyai Diego Gutierrez Chi-Keung Tang • Beyond Program- mable Shading • Practice Project • Forward Lean – • Shield Fields: (Part II) Management in Deriving Motion Modelling and Website Design: Illustrations from Capturing 3D • Seeing in 3D An Experiential Video Occluders (Part II) Learning Simulation •Automatic 3D • Time-Resolved • Guitar Man Caricature Genera- 3D Capture of tion By Learning in Non-Stationary enlarged Manifold Gas Flows Space • A Photometric • Visualizing Adaptive Approach for Clusters of Digital Estimating Normals Photographs and Tangents

• Clean up Your • Extracting Depth Image Using and Matte Using Internet Photo a Colour-Filtered Collections Aperture

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Friday, 12 December

Featured Speaker Session 13:30–15:00 featured SPEAKER: Rob Cook

Session 3 13:45–15:30 13:45–15:30 13:45–15:15 13:45–15:30

courses educators Sketches TECHNICAL progRamME Papers • Discrete Differential None Curves, Planes, Texture Geometry: and Terrains An Applied Session Chair: Introduction (Part III) Session Chair: Johannes Kopf Olga Sorkine • Beyond Program- • Random-Access mable Shading • Single View Sketch- Rendering of (Part III) Based Modelling General Vector from Construction Graphics • Seeing in 3D Lines (Part III) • Texture Amendment: • Interactive Control Reducing Texture of 3D class A Bézier Distortion Curves in Constrained Parameterisation • Hexagonal Geom- etry Clipmaps for • IGT: Inverse Spherical Terrain Geometric Textures Rendering • A Psychophysically • Relief Clipping Validated Metric for Planes for Real- Bidirectional Texture Time Rendering Data Reduction

Session 4 15:45–17:30 15:45–17:30 15:45–17:15 15:45–18:00

courses educators Sketches TECHNICAL progRamME Papers • Discrete Differential Methodologies Volumes Reflectance Geometry: in Learning & Subdivision An Applied Session Chair: Introduction (Part IV) Session Chair: Baoquan Chen Session Chair: Russell Pensyl Kun Zhou • Beyond Program- • Optimized Volume mable Shading • Comparison of Sampling based • Practical Modelling (Part IV) Animation Story- on Manipulation and Acquisition of board Education Points for Volume Layered Facial • Seeing in 3D in China and the Deformation Reflectance (Part IV) United States • Curvature-based • A Layered Heteroge- • Bridging the Gap Volume Visualization neous Reflectance Between Education of Local Structures Model for Acquiring and Professional and Rendering Production • Rigid-Body Human Skin Interaction in SPH • Phong Tessellation

• Subdivision Shading

• Real-Time Reyes-Style Adaptive Surface Subdivision

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Saturday, 13 December

Session 1 08:30–10:15 08:30–10:15 08:30–10:00 08:00–10:15 08:00–10:15

COURSES educators Sketches TECHNICAL TECHNICAL progRamME Papers Papers • Advanced Illumina- Methodologies Visual Simulation Mesh Processing Colourisation tion Techniques for in Teaching & Upsampling GPU-Based Volume Session Chair: Session Chair: Ray Casting (Part I) Session Chair: Geoff Wyvill Olga Sorkine Session Chair: Chen Meifen Marc Pollefeys • Developing • Visual Simulation • Efficient Traversal Augmented Reality • Deconstructing an of Scattering and of Mesh Edges • A Virtual Applications (Part I) Old Master Painting Settling of Fine Using Adjacency Restoration Using Photoshop’s Particles Primitives Stage for Advanced Toolset Real-World Objects • A Visual Simulation • Randomised • Using Animation for Gold Leaf Cuts for 3D Mesh • Superimposing and Interactive and Japanese Analysis Dynamic Range Virtual Technology Lacquerware to Create Interpre- • Deduce Interpolat- • VirtualStudio2Go: tive Materials for • Fire Simulation and ing Subdivision Digital Video Museum Learning Rendering for Schemes From Composition for and Promotion “Hellboy 2: The Approximating Real Environments Golden Army” Subdivision • Chinese Whispers Schemes • Intrinsic • Interactive Simula- Colourisation tion of the Process • Spectral Quadran- of Glottal Wave gulation With • Fast Image/Video Generation Using Orientation and Upsampling a GPU Alignment Control

• Quadrilateral Mesh Simplification

Session 2 10:30–12:15 10:30–12:15 10:30–12:00 10:30–12:15

courses educators Sketches TECHNICAL progRamME Papers • Advanced Illumina- Pedagogy in Action Lighting and Non-Photorealistic tion Techniques for Reflectance Rendering GPU-Based Volume Session Chair: Ray Casting (Part II) Lucy Petrovic Session Chair: Session Chair: Wojciech Jarosz Ken Anjyo • Developing • Incorporating Augmented Reality Animation Technolo- • B-Spline Volume vs. • Adaptive Cutaways Applications (Part II) gies into Tools for Other BRDF Models for Comprehensible Colonial American Rendering of Education • SPARTA: A Scalable Polygonal Scenes Architecture for • Wireless Sensor Ray-Tracing • Richness- Network to Support Applications Preserving Multiple-Student Manga Screening Group Learning • Spatial-Directional Game with One PC Radiance Caching • Line-Art Illustration in Classroom of Dynamic and • Fast, Approximate Specular Surfaces HDR Image-Based Lighting Using • Demarcating Summed-Area Curves for Shape Tables Illustration

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Saturday, 13 December

Session 3 13:45–15:30 13:45–15:30 13:45–15:15 13:45–15:30

courses educators Sketches TECHNICAL progRamME Papers • Modern OpenGL: None Calibration Urban Modelling Its Design and and Acquisition Evolution (Part I) Session Chair: Session Chair: Xin Tong • Interactive Craig Donner Introduction • Continuous Model to X3D Graphics • Image-Correction Synthesis (Part I) Method for Multi- Projector Display • Interactive 3D Using SIFT Features Architectural Modelling From • Gloss and Normal Unordered Photo Map Acquisition Collections Using Gray Codes • Interactive • Considering Shape Example-Based Reconstruction Urban Layout From Specular Synthesis Reflection • Image-based • Image-Based Façade Modelling Roughness Modelling Using Perlin Noise

Session 4 15:45–17:30 15:45–17:30 15:45–17:15 15:45–18:00

courses educators sketches TECHNICAL progRamME Papers • Modern OpenGL: Professional/ none Physically Based Its Design and Academic Animation Evolution (Part II) Session Chair: Session Chair: • Interactive Pan Zhigeng Hyeong-Seok Ko Introduction to X3D Graphics • Teaching 3D • Magnets in Motion (Part II) animation: the Balance • Real-Time Control between Creative of Physically Based versus Technical Simulations Using Skills Gentle Forces

• Computer Games • Staggered Projec- Degrees in the UK: tions for Accurate A Review of Current Frictional Contact in Practice Multibody Systems

• From Motion • Optimising Capture to Cubature for Interactive Efficient Integration Animation of Subspace Deformations

• Fast Animation of Turbulance Using Energy Transport and Procedural Synthesis

http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Conference Schedule 16 Courses

t a b l e o f c o n t e n t s

International experts present instructional sessions on every c o n f e r e n c e registration c a t e g o r i e s aspect of computer graphics and interactive techniques: ★ Full Conference Access animation, computer-human interaction, entertainment, gaming, ● One-Day Full Conference scientific visualization, recent breakthroughs, cool programming

adventures, and more. Seating in Courses is on a first-come, first-served basis. Please be sure to arrive early for the Courses These unique educational opportunities are only available you wish to attend. All the Class Notes are on the Full Conference DVD-ROM that Full Conference at SIGGRAPH Asia 2008. attendees receive with their registration.

Wednesday, 10 December

In the first part of the course, attendees Pixar’s RenderMan gain sufficient familiarity with RenderMan’s Introduction to ★ ● scene description protocol to enable Computer Graphics Wednesday, 10 December them to edit and manipulate RIB files. ★ ● ❍ 09:00–17:00 RIB files enable modelling and animation Wednesday, 10 December Level: Beginner applications to communicate with Pixar’s 08:30–12:15 Attendance for this course is limited to RenderMan. Level: Beginner 25 persons. This course is open to attendees in three registration categories: Full Conference Attendance is on a first-come, first-served The second part of the course introduces Access, One-Day Full Conference, and basis. Attendees who are interested in this the use of the RenderMan Shading Lan- Basic Conference/Exhibits Plus. All other session are required to join a dedicated queue guage (RSL). Attendees are not expected courses require Full Conference registration. labelled Pixar’s RenderMan Course at Level to have prior programming experience. 1, Registration Counter, Suntec Singapore International Convention and Exhibition Centre. The intention is to provide an overview A SIGGRAPH conference is an exciting The first 25 persons in this queue with their of the creative potential of the shading event, but it is often an intimidating experi- registration badges already collected will be language to the point where attendees will ence for first-time attendees. There are so allowed to attend the course. If you are hoping to attend this course, you are strongly advised be confident to continue creating their own many new terms, new concepts, and new to collect your registration badge the day custom shaders with RSL. During the final products to understand. And all the simul- before. part of the course, attendees use Pixar’s taneous programs leave new attendees Transportation will be provided to the offsite high-end product, RenderMan Studio, in baffled and frustrated about how to spend computer laboratory where this course is conjunction with AutoDesk’s Maya. Prior their time. presented, and at the end of the course, a return trip back to the convention centre. experience with Maya will be advanta- geous, but it is not required. This course is designed to ease new- Departure time is 08:15, Wednesday, comers into the SIGGRAPH Asia 2008 10 December. prerequisites experience by presenting the fundamental If you are hoping to attend this course, you None concepts and vocabulary at a level that are strongly advised to collect your registration badges the day before. can be readily understood. Far from being i n t e n d e d a u d i e n c e made up of dry facts, this course also por- An overview of: This course is ideal for artists and design- trays the fun and excitement that led most ers who have prior experience using a 3D of us to the SIGGRAPH conference in the • The structure of RenderMan scene modelling and animation application but first place. After the course, attendees will descriptions who wish to investigate the features of a be well-prepared to understand, appreci- graphics system that has become the ate, enjoy, network in, and learn from the • The implementation and application of de-facto standard for the feature film rest of the SIGGRAPH Asia experience. custom shaders industry. prerequisites • The use of RenderMan for Maya Pro i n s t r u c t o r A basic understanding of computers Malcolm A. Kesson and algebra. This full-day course is an intensive, hands- Savannah College of Art and Design on practical introduction to the RenderMan system and Pixar’s RenderMan, a high- quality renderer that is widely used in the animation and digital effects industry.

http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Courses 17 Courses Wednesday, 10 December

t a b l e o f c o n t e n t s i n t e n d e d a u d i e n c e thinking about their next move. This tutorial (preprocessing, large user communities, The complete newcomer who wants is also useful for educators, parents, and model-configuration management, network to learn some of the basic terms and recruiting professionals. transfer of basic geometry, variable form- concepts in computer graphics, and factor display devices). receive some guidance on how to get instructors the most out of attending SIGGRAPH Tad Leckman • Practical implementation issues. Asia 2008. Lucasfilm Animation Singapore The course summarizes overall perfor- instructors Patricia Kung mance-improvement strategies, gives Mike Bailey Animal Logic examples of industrial and academic Oregon State University approaches using both rasterization and ray tracing, and concludes with real-world Steve Cunningham experience in a commercial environment. Brown Cunningham Associates Interactive Massive Model Rendering prerequisites ★ ● General knowledge of the difference Wednesday, 10 December between ray tracing and rasterization. Finding Your Place in 08:30–17:30 Familiarity with computing-system archi- Digital Production Level: Intermediate tecture, graphics hardware, and parallel ★ ● processing. Wednesday, 10 December Users consistently try to manage and dis- 13:45–15:30 play more data than any computing system i n t e n d e d a u d i e n c e Level: Beginner allows, especially when they work with 3D This course is intended for users of com- models for films, games, CAD systems, plex models and practitioners who build Deciding to pursue a job in digital produc- medical imaging, seismic exploration, infor- real-time 3D applications. The techniques tion is easy for many people, but once mation spaces, etc. In this course, seven are applicable to any community that you’ve decided that you want to help international researchers and practitioners commonly reduces model detail (games, produce animation, visual effects, and present software and hardware strategies for example) or works only with model video games, and you’ve completed the for real-time visualization of and interaction chunks (CAD, for example). relevant training, then what? The pro- with massive models. cess of preparing material to present to a instructors potential employer can be nerve wracking Even when they work with higher-perfor- Enrico Gobbetti and confusing. Many aspiring artists put mance computing systems, game and Center for Advanced Studies, together a demo reel before even consider- entertainment producers use a set of Research and Development in Sardinia ing what jobs they might apply for. techniques to limit model size during real- time visualization and interaction sessions. Philipp Slusallek This tutorial presents an inside view of However, polygon decimation, texture Universität des Saarlandes what the industry expects from a candi- maps, and related techniques do not date’s show reel, portfolio, and résumé, readily apply to domains where high levels Andreas Dietrich and the simple steps artists can take to of visual accuracy are essential. Such NVIDIA Research live up to those expectations. While there models can contain a billion polygons or is quite a bit of information available about voxels and millions of individually selectable Marco Agus the mechanics of putting together a demo objects. Center for Advanced Studies, reel and résumé, those details are not very Research and Development in Sardinia useful if you don’t know what purpose your Although the course addresses ray tracing reel will be serving. and rasterization, its objective is to explore Renato Pajarola a systems approach. It focuses on system Universität Zürich There is intense competition for digital integration and optimization techniques production jobs, and just having a reel with that let extract higher performance, such Sung-eui Yoon some animation or modelling on it is no as: Korea Advanced Institute of Science longer all it takes to land an interview. and Technology Industry veterans Tad Leckman and • Software techniques to overcome Patricia Kung share their experiences performance and memory size limitations reviewing reels and résumés, and preparing (kd-trees, occlusion culling, LODs, multi- young artists for careers in digital media. threaded programming, memory-mapped An Introduction to They also show and analyse examples of files, display lists, cache coherence). Programming with OpenGL effective demo reel. and OpenGL ES • Computing system architecture ★ ● prerequisites (parallel-processor architectures, single Wednesday, 10 December Basic understanding of CG terminology. and multi-GPU hardware, thin client, 08:30–17:30 hardware occlusion culling, cell computers, Level: Beginner i n t e n d e d a u d i e n c e multi-core CPUs). Students, new graduates, and individu- OpenGL, and its derivative API OpenGL als with production experience who are • Scalable system architecture ES, are among the most widely available http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Courses 18 Courses Wednesday, 10 December

t a b l e o f c o n t e n t s programming libraries for computer graph- or related fields such as computational ics applications, and are used for almost Scattering photography. It is particularly relevant to every discipline of computer graphics: ★ ● SIGGRAPH Asia attendees, as it provides research, scientific visualisation, entertain- Wednesday, 10 December a good understating of scattering phenom- ment and visual effects, computer-aided 08:30–12:15 ena, state-of-the-art techniques to simulate design, interactive gaming, and many Level: Intermediate it and treat it, and a wide range of applica- more. This course provides an accelerated tions. It is especially useful for attendees introduction to creating applications using A taxonomy of scattering phenomena and who are interested in particular applications the OpenGL application-programming how to treat them efficiently, by leveraging such as medical imaging, oceanography, interfaces (API). It covers fundamental the wealth of knowledge from computer driving simulators, and game production. topics such as modelling, lighting, depth graphics and computer vision. This course buffering, and texture mapping, and shows a wide range of multidisciplinary instructors introduces advanced topics such as using applications in both overlapping fields, Diego Gutierrez vertex and fragment shaders. from appearance modelling to vision in Universidad de Zaragoza bad weather, and reviews measurement The course introduces OpenGL’s operation techniques. Henrik Wann Jensen through more than just code snippets and University of California, San Diego static images. It utilizes several applica- Computer graphics and computer vision tions that introduce various subsets of deal with acquiring, interpreting, and Srinivasa Narasimham the OpenGL API (for example, lighting or presenting the rich visual world around us. Carnegie Mellon University texture mapping). And it includes tutorials These are exciting multidisciplinary fields of that allow attendees to interactively modify research with a wide spectrum of applica- Wojciech Jarosz the values passed into OpenGL and im- tions that affect our daily lives. However, University of California, San Diego mediately see the resulting images. most current computer-generated imagery represents scenes with clear atmospheres, Topics include how OpenGL represents neglecting light scattering effects. Analo- geometric objects; how lighting, texture gously, most computer-vision systems are Light Interaction With mapping, anti-aliasing, and other sup- not successful when deployed in uncon- Human Skin: ported features are applied; and how to trolled outdoor environments. From Believable Images use pixel images, both in elementary image to Predictable Models processing and imagery for texture maps. This course addresses the challenges ★ ● The OpenGL Shading Language (GLSL) is presented by light scattering in computer Wednesday, 10 December introduced using both vertex and frag- graphics and computer vision. Both fields 13:45–17:30 Level: Intermediate ment programs. Advanced topics, whose have seen great advances over the past scope precludes a detailed discussion in few years, but most of the existing algo- an introductory class, are introduced with rithms still assume that light emitted by a This course on biophysically based models references for further study. source or reflected off a surface reaches of light interaction with skin tissues pro- the sensor unaltered. From a computer vides details and interdisciplinary concepts prerequisites graphics perspective, this is due mainly to often omitted from publications. The em- Ability to read simple programs written in the complex interactions that occur and phasis of the course is on scientific issues the C language. No previous experience the high computational costs of simulating that need to be addressed in rendering of writing graphics programs is required. them. In computer vision, scattering has realistic and predictable images of human Knowledge of basic concepts from linear traditionally been considered as noise that skin. algebra (vector notation and matrix multipli- one should ideally get rid of. cation) is useful but not required. Recent research in image synthesis has Scattering effects are one fundamental hur- focused on rendering of believable and i n t e n d e d a u d i e n c e dle that must be overcome to significantly predictable images of biological materials. Novice graphics programmers who want extend and enhance current state-of-the- This course addresses an important topic to learn how to author interactive, 3D, art graphics and vision techniques and in this area: predictive simulation of skin graphics applications using OpenGL and achieve successful impact in a wide range appearance. The modelling approaches, OpenGL ES. of domains. Given the increasing overlap algorithms, and data examined during this between computer graphics and computer course can be also applied to rendering instructors vision, including hot research fields such as other organic materials such as hair and Dave Shreiner computational photography, this course is ocular tissues. ARM, Inc. useful for practitioners in both communities and everybody who studies the intersec- The first module of the course provides Ed Angel tion of the two. the biophysical background required not University of New Mexico only for development of models of light prerequisites interaction with organic materials, but None also for their evaluation. It begins with a review of optics and “measurement-of- i n t e n d e d a u d i e n c e appearance” concepts, followed by a This course is intended for people involved presentation of biological factors involved in computer graphics, computer vision, in the processes of light propagation and http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Courses 19 Courses Wednesday, 10 December – Thursday, 11 December

t a b l e o f c o n t e n t s absorption in skin tissue. A concise review will allow them to focus on creative aspects The course covers basic shader con- of modelling approaches used in biomedi- of their projects and avoid time-consuming cepts, showing how shaders fit into the cal and related fields, and often cited by scheduling mistakes that can cripple traditional graphics pipeline and how they computer graphics researchers, completes production. From concept to design, communicate with each other and with an this module. The second module provides storyboard to animatic, attendees learn the application. The GLSL language is intro- detailed descriptions of computer graphics smartest ways to work and how to save duced, along with the special types and models of light interaction with human skin, time, money, and heartache as they seek built-in variable names it uses, and how the including approaches to practical issues to realize their unique visions. Schedul- GLSL API is used to add shaders to involving their implementation and analysis ing, resource management, and copyright an OpenGL application. Examples illustrate of their strengths and limitations. Recent issues are explored and discussed in the how shaders can be used to implement developments involving these models, production segment of the course, to keep advanced modelling and shading features, such as extensions, applications, and more the artist on track for project completion and the use of noise, image manipulation accurate or efficient versions, are also while taking care of minute details that techniques, and LOD operations. Spe- examined. The course concludes with a could lead to major legal and logistical cific applications of shaders in scientific discussion of current and future challenges roadblocks. In the post-production seg- visualisation are also presented. A CD related to rendering human tissues. ment, the final edit, output issues, credits, containing the glman tool and code for all DVD authoring, making press kits, and the examples used in the course will be prerequisites final submission to animation festivals distributed, and attendees will be able to Familiarity with basic optics concepts and are addressed, giving attendees a clear, install glman on their laptops and work with radiometric terms. Attendees should have organized plan of creation and production. the examples as the course progresses. a working knowledge of standard graphics With more careful organisation, animators techniques and terminology. Experience can concentrate on the creative aspects After this course, an experienced OpenGL with numerical methods is helpful, but not of their work and not get bogged down in programmer will be able to write shader required. unforeseen details. programmes and integrate them into graphics applications. i n t e n d e d a u d i e n c e prerequisites Students, practitioners, and researchers General knowledge of computer graphics prerequisites interested in rendering, biomedical imag- and at least beginning-level experience in A solid knowledge of fixed-function ing, and natural phenomena. digital animation and design, either 3D or OpenGL programming and a basic under- 2D. standing of higher-level computer graphics instructors concepts. Gladimir Baranoski i n t e n d e d a u d i e n c e University of Waterloo This course is ideally suited for beginning i n t e n d e d a u d i e n c e and intermediate student animators, and Anyone who wants to understand and Aravind Krishnaswamy interested professionals and (especially) use the vertex, fragment, and geometry Adobe Systems Incorporated independent animators. shaders that are available with the GLSL shading language in the latest versions of instructors OpenGL. Kristen Palana There Can Be Only One: The American University of Rome instructors Independent Animation Steve Cunningham for the Lonely Steve Rittler Brown Cunningham Associates ★ ● William Paterson University Wednesday, 10 December, Tutorial Mike Bailey 15:45–17:30 Oregon State University Level: Beginner Introduction to Computer Many logistical challenges confront Graphics Shaders with the independent animator. The task of glman Mesh Parameterisation: single-handedly producing an animated ★ ● Theory and Practice piece (budget, schedule, creative blocks, Thursday, 11 December ★ ● copyright issues, sound quality, publicity, 13:45–17:30 Thursday, 11 December distribution, being a jack of all trades, etc.) Level: Intermediate 13:45–17:30 at first may seem overwhelming and insur- Level: Intermediate mountable, yet this is not the case. With An introduction to the programmable proper planning and adoption of profes- shader capabilities of the latest genera- Mesh parameterisation is a powerful sional strategies for success, animations tion of graphics cards. Attendees learn to geometry-processing tool with numer- produced by independent creators can be write graphics programmes using vertex, ous computer graphics applications, from more creative and higher quality, and their fragment, and geometry shaders, and use texture mapping to animation transfer. personal experiences can be more reward- the glman tool to develop the shaders This course outlines its mathematical ing and enjoyable. independently from the applications that foundations, describes recent methods will use them. for parameterizing meshes over various In this course, attendees learn pre- domains, discusses emerging tools like production concepts and techniques that global parameterisation and inter-surface http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Courses 20 Courses Thursday, 11 December

t a b l e o f c o n t e n t s mapping, and demonstrates a variety of i n t e n d e d a u d i e n c e and response, and real-time techniques is parameterisation applications. Graduate students, researchers, and appli- highly recommended but not mandatory. cation developers who want to understand For any two surfaces with similar topology, and use the concepts and technologies i n t e n d e d a u d i e n c e there exists a bijective mapping between used in mesh parameterisation. Developers of real-time virtual worlds, them. If one of these surfaces is a triangu- technical directors, researchers, and game lar mesh, the problem of computing such instructors developers who are looking for innovation a mapping is referred to as mesh param- Kai Hormann as well as proven methodologies in simu- eterisation. The surface that the mesh is Technische Universität Clausthal lating real-time virtual humans. mapped to is typically called the parameter domain. Konrad Polthier instructors Freie Universität Berlin Nadia Magnenat-Thalmann Parameterisation was introduced to MIRALab, Université de Genève computer graphics for mapping textures Alla Sheffer onto surfaces. Over the last decade, it The University of British Columbia Daniel Thalmann has gradually become a ubiquitous tool VRlab, EPFL for many mesh-processing applications, including detail-mapping, detail-transfer, morphing, mesh-editing, mesh-completion, Real-Time Individualized remeshing, compression, surface-fitting, Virtual Humans Multiperspective Model- and shape-analysis. In parallel to the ★ ● ling, Rendering, and Imag- increased interest in applying parameteri- Thursday, 11 December ing sation, various methods were developed 13:45–17:30 ★ ● for different kinds of parameter domains Level: Intermediate Thursday, 11 December, Tutorial and parameterisation properties. 15:45–17:30 The latest techniques for modelling fast, Level: Intermediate The goal of this course is to familiarize individualized, animatable virtual humans attendees with the theoretical and practi- for real-time applications. Because a hu- A perspective image represents the spatial cal aspects of mesh parameterisation. It man is composed of a head and a body, relationships of objects in a scene as they provides the skills needed to implement this course analyses how these two parts would appear from a single viewpoint. In or improve existing methods, investigate can be modeled and globally animated. contrast, a multiperspective image com- new approaches, and critically evaluate the More precisely, it shows how individual- bines what is seen from several viewpoints suitability of the techniques for a particular ized real-time bodies can be automatically into a single image. Despite their incon- application. generated from scanned data or from gruity of view, effective multiperspective interactive measurements and how an images can preserve spatial coherence The course begins with an introduction to automatic skeleton can be created for and can depict, within a single context, the general concept of parameterisation any body size, animated automatically, details of a scene that are simultaneously and an overview of its applications. The controlled in real time, and retargeted ac- inaccessible from a single view, yet easily first half of the course then focuses on cording to a motion-sequences database. interpretable by a viewer. In computer planar parameterisations, while the second Other topics include: facial animation from vision, multiperspective images have been addresses more recent approaches for facial motion capture and simulation of used to analyse structure revealed via mo- alternative domains. The course covers interactive, realistic talking virtual humans, tion and generate panoramic images with a the mathematical background, including including personality models and complete wide field of view using mirrors. intuitive explanations of parameterisa- body gestures. tion properties like bijectivity, conformality, This tutorial provides a practical guide on stretch, and area-preservation. The state of The course also shows how crowds topics in multiperspective modelling and the art is reviewed by explaining the main are modeled in real time using dynamic rendering methods, and multiperspective ideas of several approaches, summariz- meshes, static meshes, and impostors, imaging systems. It begins with a brief re- ing their properties, and illustrating them and explains techniques for adding variety view of multiperspective image techniques using live demos. The course concludes to crowds, including individual anima- frequently employed by artists. Illustrations with a list of open research problems and tion, individualized path-planning, and include the visual paradoxes of Escher, the potential applications that can benefit from accessories. Cubism of Picasso and Braque, and multi- parameterisation. perspective panoramas in cel-animations. Several case studies in cultural heritage, The course characterises existing multiper- prerequisites emergency situations, and fasion modelling spective camera models, with an emphasis Some prior exposure to mesh representa- are presented to illustrate interaction with on their underlying geometry and image tion of geometric models and a working virtual humans. And the course concludes properties, then demonstrates how to use knowledge of vector calculus, elementary with a summary of open research topics in these camera models for creating specific linear algebra, and the fundamentals of the virtual-human field. multiperspective rendering effects. The computer graphics. Some familiarity with course includes demonstrations of several differential geometry and graph theory is prerequisites multiperspective imaging systems for useful, but not required. Familiarity with the fundamentals of com- extracting 3D geometry for computer puter graphics and computer animation, vision. geometrical methods, collision detection http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Courses 21 Courses Thursday, 11 December – Friday, 12 December

t a b l e o f c o n t e n t s prerequisites and the importance of clarity and adapta- fundamental concepts and surveying the Basic understanding of camera operation, tion within the studio environment. A series exciting array of applications. It begins with image processing, and machine vision. of “Golden Rules” for production leads into a simple-to-follow presentation of discrete the characteristics of a balanced pipeline, curves and discrete curvature. This back- i n t e n d e d a u d i e n c e an overview of a robust non-linear produc- drop introduces the overarching theme Digital artists, photographers, and tion pipeline, and specific departmental structure of preservation, which makes computer graphics and computer vision examples. Finally, the course reviews asset repeated appearances throughout the researchers who use or build multiperspec- management with an eye toward organi- entire course. As the day proceeds, tive cameras. sation, flexibility, and transparency. The the course explores the question of presentation concludes with a micro/macro which quantities one should measure i n s t r u c t o r view of the production paradigm, and the on a discrete object such as a triangle Jingyi Yu synergistic orchestration of these parts into mesh, and how one should define such University of Delaware a transcendent whole. measurements.

prerequisites Following the introduction of the basic A working understanding of CG production technical concepts, the course proceeds to CG Production Principles: processes and terminology. investigate numerous exciting application Keeping Your Money On The areas. The lectures introduce and delve Screen & Off The Floor i n t e n d e d a u d i e n c e deeply into geometric modelling problems ★ ● Artists, supervisors, managers, producers, (including variational remeshing and param- Thursday, 11 December, Tutorial and executives. eterisation using discrete exterior calculus) 13:45–15:30 and physical simulation of curves (such as Level: Intermediate i n s t r u c t o r elastic rods and hair), surfaces (such as Kevin Geiger cloth and thin-shells), and volumes (such Are you satisfied with your production rela- Animation Options LLC as fluids). The emphasis is on understand- tionships, communication, adaptation, and ing how structure preservation leads to high-quality delivery? Animation-industry simple and highly efficient implementations veteran Kevin Geiger helps you analyse of important physical simulations. these questions with his unique organiza- Discrete Differential tional insight and signature presentation Geometry: An Applied prerequisites style. You will never look at your pipeline or Introduction A working knowledge of vector calculus your studio the same way again. ★ ● and elementary linear algebra. Optional Friday, 12 December prerequisites: some lectures may also How much of your money makes it onto 08:30–17:30 assume some familiarity with physical sim- the screen? Got a leaky pipeline? Is your Level: Advanced ulation, geometry processing, and triangle workflow trickling? Does your team and tetrahedral meshes. Recommended approach work like a film, or like a science This new and elegant area of mathematics but not required: a basic understanding of project? Can you roll with last-minute story has exciting applications, as this course continuous local differential geometry and changes? What economies of scale do you demonstrates by presenting practical classical mechanics. employ? examples in geometry processing (surface fairing, parameterisation, and remeshing) i n t e n d e d a u d i e n c e The global animation industry is as and simulation (of cloth, shells, rods, and Graduate students, researchers, and competitive as ever, with merciless mar- fluids). application developers who seek a uni- kets, unforgiving audiences, and leaner fied understanding of the mathematics profit margins. Yet independent and major The behavior of physical systems is underlying common geometry-processing productions alike seem content to burn typically described by a set of continuous operations and how these fundamentals through money (and people) as though equations using tools such as geometric apply to problems such as Laplacian they have resources to spare. This sort of mechanics and differential geometry to smoothing, surface fairing using prescribed waste is so pervasive in our industry that analyze and capture their properties. For curvature flow, remeshing, conformal it is routinely acknowledged with a purposes of computation, one must derive parameterisation, and cloth/shell/rod/fluid winking “you-know-how-production-is” discrete (in space and time) representations simulation. acceptance. This attitude is not only of the underlying equations. Research- irresponsible, it is also unsustainable. ers in a variety of areas have discovered instructors And it is easily addressed through insight- that theories, which are discrete from the Mathieu Desbrun ful, considerate, and fearless assessment start and have key geometric properties California Institute of Technology and action. built into their discrete description, can often more readily yield robust numerical Peter Schröder This course begins with an examination simulations that are true to the underlying California Institute of Technology of the human factors and organizational continuous systems: they exactly preserve considerations that are the foundation of invariants of the continuous systems in the Max Wardetzky all production (dys)function. Next, it covers discrete computational realm. Georg-August-Universität Göttingen workflow considerations and strategies, establishment (and erosion) of balance, This course introduces the nascent field common heuristic assumptions and errors, of discrete differential geometry, laying out http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Courses 22 Courses Friday, December 12 – Saturday, December 13

t a b l e o f c o n t e n t s

Anjul Patney Parallel Computing University of California, Davis Advanced Illumination for Graphics: Beyond Techniques for GPU-Based Programmable Shading Pedro V. Sander Volume Ray Casting ★ ● Hong Kong University ★ ● Friday, 12 December of Science and Technology Saturday, 13 December 08:30–17:30 08:30–12:15 Level: Beginner Jeremy Shopf Level: Intermediate Advanced Micro Devices, Inc. This course provides an introduction to In-depth instruction on advanced illumina- parallel-programming architectures and Kun Zhou tion techniques for volume ray casting environments for interactive graphics and Zhejiang University implemented on the graphics processing demonstrates how to combine tradi- unit (GPU). This course covers fast imple- tional rendering API with advanced parallel mentations of local and global illumination computation. techniques for volume data and implicit Seeing in 3D surfaces, including ambient occlusion, There are strong indications that the future ★ ● deep shadow maps, and scattering effects. of interactive graphics involves a more Friday, 12 December flexible programming model than today’s 08:30–17:30 Volume ray-casting techniques are impor- OpenGL/Direct3D pipelines. That means Level: Beginner tant for both visual arts and visualisation. that graphics developers will need a basic They support efficient generation of visual understanding of how to combine emerg- Most people, even technical draftsmen, effects and visualisation of scientific data ing parallel-programming techniques with designers and computer graphics pro- obtained by tomography or numerical the traditional interactive rendering pipeline. grammers, find it very difficult to visualise simulation. Due to their flexibility, experts The first half of the course introduces 3D shapes well enough to reason about agree that GPU-based ray casting is the several parallel graphics architectures, them. This course demonstrates the prob- state-of-the art technique for interactive programming environments, and the new lem and takes attendees through a series volume rendering. It will most likely replace types of graphics algorithms that will be of exercises that help them acquire this existing slice-based techniques in the near possible. The second half presents case important practical skill. future. Volume rendering techniques are studies of how game developers, research- also effective for direct rendering of implicit ers, and graphics hardware vendors “Stand a cube on its corner. What is the surfaces used for soft-body animation and combine traditional rendering API tech- shape of a horizontal cross-section taken constructive solid geometry. niques with advanced parallel computation. at half the height of this object?” About four Each case study includes a live demo and percent of human beings can reason about The course, which begins with a detailed discusses the mix of parallel-programming 3D space well enough to answer this ques- introduction to the concepts behind GPU- constructs used, details of the graphics tion easily and with confidence. Most of based ray casting, focuses on advanced algorithm, and how the rendering pipeline us enter a state of panic when confronted illumination techniques that approximate and computation interact to achieve the by 3D problems. Yet it is possible to train physically based light transport more technical goals. yourself to think and visualize in 3D. This convincingly. Such techniques include course helps attendees start thinking in 3D. interactive implementation of soft and hard prerequisites Once they have the basic principles, they shadows, ambient occlusion, and simple Knowledge of general purpose can develop the skill independently. Monte-Carlo based approaches to global programming languages. illumination, including translucency and prerequisites scattering. i n t e n d e d a u d i e n c e Familiarity with some basic geometric ideas Developers interested in general purpose (for example, two planes meet in a straight With these techniques, users can inter- computing on the GPU. line). Also helpful: awareness of how to actively create convincing images from find distances with Pythagoras’ theorem, volumetric data whose visual quality goes instructors but this is used for only a few exercises, far beyond traditional approaches. Using Jason Yang and the course can be understood without volume rendering techniques, artists who Advanced Micro Devices, Inc. mathematics. create medical visualisation for science magazines may now work on tomographic Justin Hensley i n t e n d e d a u d i e n c e scans directly, without creating polygonal Advanced Micro Devices, Inc. Graphic artists, engineers, designers, models of anatomical structures. computer graphics programmers, and Tim Foley students interested in graphics, drawing, prerequisites Intel Corporation or sculpture. A working knowledge of computer graph- ics and basic programming skills, familiarity Mark Harris instructors with graphics hardware and shading NVIDIA Corporation Geoff Wyvill languages, and basic knowledge of volume University of Otago data and interactive volume-rendering Anselmo Lastra techniques. University of North Carolina at Chapel Hill Bob Parslow Independent Consultant http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Courses 23 Courses Saturday, December 13

t a b l e o f c o n t e n t s i n t e n d e d a u d i e n c e programs and how modern OpenGL hands-on how to build an X3D world, and The steadily growing number of developers implementations operate. In conclusion, they have access to the latest X3D Show- who create specialized implementations of the course assesses OpenGL’s future case DVD, which contains a wide variety volume-rendering techniques on state-of- evolution. of free and commercial viewers, authoring the-art graphics hardware. tools, and example content. Whether you program with OpenGL or pro- instructors gram with another API such as Direct3D, prerequisites Christof Rezk-Salama this course gives you new insights into Understanding 3D scene graphs and 3D Universität Siegen graphics hardware architecture, program- modelling is helpful but not required. X3D mable shading, and how to take maximum can be learned without prior programming Markus Hadwiger advantage of modern GPUs. experience. VRVis Research Center for Virtual Reality and Visualization prerequisites i n t e n d e d a u d i e n c e Familiarity with the OpenGL graphics Beginning modellers, who will learn how Timo Ropinski system. Familiarity with other graphics APIs to create simple 3D scene graphs with Westfälische Wilhelms-Universität Münster such as Direct3D is helpful. The course animation and user interactivity; eperienced assumes that attendees are familiar with programmers, who will learn how their Patric Ljung concepts such as rasterization, shading, current knowledge can be expressed using Siemens Corporate Research texturing, and vertex transformation. a web standard for broader interoperability, and educators, who will learn how X3D can i n t e n d e d a u d i e n c e be used for introductory graphics courses. Graphics practitioners who want to bet- Modern OpenGL: Its Design ter understand the modern 3D graphics i n s t r u c t o r and Evolution hardware pipeline and its evolution as Don Brutzman ★ ● expressed through OpenGL. OpenGL pro- Naval Postgraduate School Saturday, 13 December grammers who wan to learn how to update 13:45–17:30 their programming practices to improve the Level: Intermediate performance and cross-platform portability of their OpenGL applications. Developing Augmented A long-time implementer of OpenGL and Reality Applications the system’s original architect explain instructors ★ ● OpenGL’s design and evolution. OpenGL’s Mark Kilgard Saturday, 13 December state machine is now a complex data flow NVIDIA Corporation 08:30–12:15 with multiple programmable stages. In this Level: Beginner course, OpenGL practitioners can expect Kurt Akeley candid design explanations, advice for Microsoft Research Silicon Valley In this course, attendees learn how to use programming modern GPUs, and insight open source software to build their own into OpenGL’s future. augmented reality (AR) applications.

OpenGL was conceived in 1991 to provide Interactive Introduction As computers become more and more an industry standard for programming the to X3D Graphics invisible, AR (overlaying virtual images on hardware graphics pipeline. The original ★ ● the real world) is becoming an increasingly design has evolved considerably over Saturday, 13 December important application area for computer the last 17 years. Whereas capabilities 13:15–17:30 graphics and user-interface design. This mandated by OpenGL such as texture Level: Beginner detailed introduction to AR interface design mapping and a stencil buffer were pres- and research includes reviews of important ent only on the world’s most expensive Extensible 3D (X3D) graphics is the open topics such as tracking and registration, in- graphics hardware in 1991, now these standard for 3D real-time communication teraction techniques, design principles, and features are completely pervasive in PCs on the web. X3D defines scene files that usability evaluation, as well as key areas and are even available in several hand-held integrate network-enabled 3D graphics for current and future AR research. Case devices. Over that time, OpenGL’s original and multimedia. X3D applications are real- studies are presented in the application fixed-function state machine has evolved time, interactive, animated systems that areas of gaming, entertainment, medicine, into a complex data flow including several can run stand-alone or in networked virtual and engineering. Part of the course also application-programmable stages. And the environments. This tutorial focuses on involves hands-on demonstrations where performance of OpenGL has increased the primary functionality of X3D including attendees will be able to experience the from 100x to over 1,000x in many impor- scene authoring, creation of geometry, web technology for themselves. tant raw graphics operations. capabilities, designing animation chains, and user interaction. Significant portions of the course are This course explains how the modern devoted to reviewing the ARToolKit and os- (post-2006) graphics hardware pipeline is Specific topics include animation design gART open-source software tools that can exposed through OpenGL. Kurt Ake- using interpolators and sequencers. The be used to start building AR applications, ley presents his personal retrospective tutorial briefly examines embedded script- as well as other supporting software tools. on OpenGL’s development. Attendees ing, prototypes for extensibility, and various After this course, attendees will understand learn nine ways to write better OpenGL visualisation examples. Attendees learn the fundamentals of AR interface design, http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Courses 24 Courses Saturday, December 13

t a b l e o f c o n t e n t s the tools they can use to build AR applica- tions, and how to evaluate them once they are built. prerequisites Some programming experience is useful but not necessary. Also useful but not required: some experience with C/C++ programming and the OpenGL API. i n t e n d e d a u d i e n c e Academic and industrial researchers, and anyone interested in developing AR applications. instructors Mark Billinghurst Human Interface Technology Laboratory New Zealand

Raphaël Grasset Human Interface Technology Laboratory New Zealand

http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Courses 25 Technical Papers

t a b l e o f c o n t e n t s

The SIGGRAPH Asia 2008 Technical Papers programme c o n f e r e n c e registration c a t e g o r i e s

is a premier international forum for disseminating provocative Technical Papers: and important new work in computer graphics and interactive ★ Full Conference Access techniques. Leading international experts from Asia and beyond ● One-Day Full Conference present peer-reviewed research in rendering, modelling, Technical Papers Fast Forward Session: animation, human-computer interaction, computer-aided ★ Full Conference Access design, virtual reality, and visualization. ● One-Day Full Conference ❍ Basic Conference/Exhibits Plus This year also features SIGGRAPH Asia’s first back-to-back Full Conference Access registration allows attendees Technical Papers Fast Forward Session. Get a preview of the access to all SIGGRAPH Asia 2008 Technical Papers. Seating is on a first-come, first-serve basis. latest research in computer graphics and interactive techniques Please be sure to arrive early for the Technical and select the Technical Papers that you need to attend later in Papers sessions you wish to attend. the week. Thursday, 11 December

Xuejin Chen Daniel Cohen-Or Technical Papers University of Science and Technology Tel-Aviv University Fast Forward session of China ★ ● ❍ Non-Homogeneous Resizing Wednesday, 10 December Boris Neubert of Complex Models 18:00–20:00 Universität Konstanz Resizing of 3D models can be very useful when creating new models or placing Ying-Qing Xu models inside different scenes. However, Microsoft Research Asia straightforward nonuniform scaling can Shape Modelling destroy features and lead to serious visual ★ ● Oliver Deussen artifacts. This paper introduces a method Thursday, 11 December Universität Konstanz that resizes 3D models in an intuitive way, 08:00–10:15 protecting model features and structure. Sing Bing Kang s e s s i o n c h a i r Microsoft Research Redmond Vladislav Kraevoy Tao Ju Alla Sheffer Space-Time Surface Reconstruction The University of British Columbia Single Image Tree Modelling Using Incompressible Flow A simple and rapid method to generate a This work deals with the problem of re- Ariel Shamir realistic 3D tree model from a single image. constructing watertight objects deforming Interdisciplinary Center Herzliya across time. The process takes advantage Ping Tan of space-time coherence and adopts a Daniel Cohen-Or National University of Singapore global approach considering all frames Tel-Aviv University simultaneously. Tian Fang Mesh Ensemble Motion Graphs: Peng Zhao Andrei Sharf Data-Driven Mesh Animation Jianxiong Xiao Dan Anthony Alcantara With Constraints Long Quan University of California, Davis This approach to data-driven animation Hong Kong University of Science of high-dimensional mesh ensembles, and Technology Thomas Lewiner such as tree-structured botanical models, Pontifícia Universidade Católica proposes a randomized space-time optimi- Sketch-Based Tree Modelling Using do Rio de Janeiro zation algorithm for precomputing smooth Markov Random Field asynchronous transitions that also avoid A new system for converting a free-hand Chen Greif introducing non-physical self-collisions. tree sketch into a full 3D model that is Alla Sheffer Doug L. James complex and realistic-looking. The problem The University of British Columbia Christopher D. Twigg is formulated as Markov random field. Andrew Cove Nina Amenta Robert Y. Wang University of California, Davis Cornell University http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Technical Papers 26 Technical Papers Thursday, 11 December

t a b l e o f c o n t e n t s Optimised Scale-and-Stretch Character Animation I Fun With Single Images for Image Resizing ★ ● ★ ● An image-resizing method that computes Thursday, 11 December Thursday, 11 December an optimal scaling transformation for each 13:45–15:30 15:45–18:00 local region, such that the aspect ratios of the automatically detected prominent s e s s i o n c h a i r s e s s i o n c h a i r features are preserved. Subodh Kumar Kang Sing Bing Yu-Shuen Wang Animating Responsive Characters With Deep Photo: Model-Based Photograph National Cheng Kung University Dynamic Constraints in Near-Unactuated Enhancement and Viewing Coordinates A novel method for browsing, enhancing, Chiew-Lan Tai An approach to animating physically and manipulating outdoor photographs by The Hong Kong University of Science responsive virtual characters by combining combining them with existing geo-refer- and Technology kinematic pose control with dynamic con- enced digital terrain and urban models. straints in the muscle-actuation space. Olga Sorkine Johannes Kopf New York University Yuting Ye Universität Konstanz C. Karen Liu Tong-Yee Lee Georgia Institute of Technology Dani Lischinski National Cheng Kung University The Hebrew University Synthesis of Constrained Walking Skills Interactive Normal Reconstruction From A flexible framework for locomotion that Daniel Cohen-Or a Single Image enables physically simulated characters Tel Aviv University An interactive approach for reconstructing to navigate across terrains with gaps and surface normals of an object in a single other stepping constraints. Boris Neubert image: interactive shape-from-shading and Oliver Deussen rotation palettes, which allow easy and in- Stelian Coros Universität Konstanz tuitive manipulation using relative normals. KangKang Yin Philippe Beaudoin Michael Cohen Tai-Pang Wu Michiel van de Panne Matt Uyttendaele Jian Sun The University of British Columbia Microsoft Research Microsoft Research Asia

Interaction Patches for Billy Chen Chi-Keung Tang Multi-Character Animation Microsoft Research Hong Kong University of Science A method to generate large-scale charac- & Technology ter animation, such as a character fighting Animating Animal Motion with many enemies, and a crowd passing From Still Images Heung-Yeung Shum luggage one after another in a warehouse. A novel technique to infer and animate Microsoft Research Asia animal motions from a still image. Hubert P.H. Shum Depicting Procedural Caustics Taku Komura Xuemiao Xu in Single Images University of Edinburgh Liang Wan A powerful technique to simulate and Xiaopei Liu approximate caustics in images. The Masashi Shiraishi Tien-Tsin Wong algorithm is designed to produce excellent Waseda University Liansheng Wang results without the need to painstakingly The Chinese University of Hong Kong paint over pixels. Shuntaro Yamazaki National Institute of Advanced Industrial Chi-Sing Leung Diego Gutierrez Science and Technology City University of Hong Kong Jorge Lopez-Moreno Jorge Fandos Motion Overview of Human Actions Francisco J. Seron A method for generating overview videos Maria P. Sanchez based on the analysis of motion capture Universidad de Zaragoza data. Erik Reinhard Jackie Assa University of Bristol Daniel Cohen-Or Tel Aviv University

I-Cheng Yeh Tong-Yee Lee National Cheng Kung University

http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Technical Papers 27 Technical Papers Friday, 12 December

t a b l e o f c o n t e n t s Takaaki Shiratori Rui Wang Character Animation II Jessica Hodgins Zhejiang University ★ ● Carnegie Mellon University Friday, 12 December Baining Guo 08:00–10:15 Video Puppetry: A Performative Interface Microsoft Research Asia for Cutout Animation s e s s i o n c h a i r A video-based interface for creating Automated Reprojection-Based Doug James animations by puppeteering. Pixel Shader Optimisation This paper presents a set of techniques for Facial Performance Synthesis Using Connelly Barnes automating the use of data reprojection as Deformation-Driven Polynomial Displace- Princeton University a general strategy for optimising procedural ment Maps shaders. A method for acquiring, modelling, com- David Jacobs pressing, and synthesizing realistic detailed University of California, Berkeley Pitchaya Sitthi-amorn facial deformations using polynomial dis- Jason Lawrence placement maps driven by coarse motion Jason Sanders University of Virginia capture markers. NVIDIA Corporation Lei Yang Wan-Chun Ma Dan Goldman Pedro Sander University of Southern California, Adobe Systems Incorporated Hong Kong University of Science National Taiwan University and Technology Szymon Rusinkiewicz Andrew Jones Adam Finkelstein Diego Nehab Jen-Yuan Chiang Princeton University Microsoft Research Tim Hawkins Sune Frederiksen Maneesh Agrawala Jiahe Xi Pieter Peers University of California, Berkeley Hong Kong University of Science University of Southern California and Technology Laughing Out Loud: Control for Modelling Marko Vukovic Anatomically Inspired Laughter Using Audio Fast, Realistic Lighting and Material Design Sony Pictures Imageworks A novel technique for generating animation Using Nonlinear Cut Approximation of laughter, including an audio-controlled An algorithm for efficient computation with Ming Ouhyoung method that automatically creates an ani- cut approximations and an application National Taiwan University mation from a soundtrack of an individual for interactive lighting and material design laughing. under complex illumination with arbitrary Paul Debevec BRDFs and per-pixel shading. USC Institute for Creative Technologies Paul DiLorenzo Victor Zordan Ewen Cheslack-Postava Reusable Skinning Templates Using Benjamin Sanders Stanford University Cage-Based Deformations University of California, Riverside A skinning template abstraction that makes Rui Wang it easy to design and transfer skin deforma- Oskar Akerlund tion styles. University of Massachusetts Amherst Lighting, Shading, and GPUs Tao Ju ★ ● Fabio Pellacini Washington University in St. Louis Friday, 12 December Dartmouth College 08:00–10:15 Qian-Yi Zhou Imperfect Shadow Maps for Efficient University of Southern California s e s s i o n c h a i r Computation of Indirect Illumination Nelson Max A method for interactive computation of in- Michiel van de Panne direct illumination in large and fully dynamic The University of British Columbia Real-Time KD-Tree Construction on scenes. It is based on approximate visibility Graphics Hardware encoded in imperfect shadow maps. Daniel Cohen-Or The first real-time algorithm for construct- Tel Aviv University ing kd-trees on GPUs and its potential in Tobias Ritschel GPU ray tracing, photon mapping, and Thorsten Grosch Ulrich Neumann point-cloud modelling. Max Planck Institut für Informatik University of Southern California Kun Zhou Min H. Kim Accelerometer-Based User Interfaces Zhejiang University University College London for the Control of a Physically Simulated Character Qiming Hou Hans-Peter Seidel User study of three Wiimote interfaces for Tsinghua University Max Planck Institut für Informatik controlling a physically simulated character. http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Technical Papers 28 Technical Papers Friday, 12 December

t a b l e o f c o n t e n t s Carsten Dachsbacher Art Tevs Texture Amendment: Reducing Texture Universität Stuttgart Max Planck Institut für Informatik Distortion in Constrained Parameterisation This paper describes an approach that Jan Kautz Derek Bradley combines the benefits of constrained University College London The University of British Columbia parameterisation and low-distortion param- eterisation to reduce texture distortion. Progressive Photon Mapping Marcus Magnor A new formulation of photon mapping for Braunschweig Technical University Yu-Wing Tai computing global illumination with progres- Michael Brown sive refinement. Hans-Peter Seidel National University of Singapore Max Planck Institut für Informatik Toshiya Hachisuka Chi-Keung Tang University of California, San Diego A Photometric Approach for Estimating Hong Kong University of Science Normals and Tangents & Technology Shinji Ogaki A photometric approach that estimates The University of Nottingham surface orientation and the directions of Heung-Yeung Shum principle light scattering based on sym- Microsoft Research Asia Henrik Wann Jensen metries in the BRDF. University of California, San Diego IGT: Inverse Geometric Textures Michael Holroyd A parameterisation-independent texturing Jason Lawrence technique that allows preservation of tex- Greg Humphreys ture details from a high resolution reference Image-Based Capture University of Virginia model onto lower resolutions, generated ★ ● with any given simplification method. Friday, 12 December Todd Zickler 10:30–12:15 Harvard University Gustavo Patow Ismael García s e s s i o n c h a i r Extracting Depth and Matte Using Universitat de Girona Chi-Keung Tang a Color-Filtered Aperture This method automatically extracts a A Psychophysically Validated Metric for Shield Fields: Modelling and Capturing scene-depth map and the alpha matte of Bidirectional Texture Data Reduction 3D Occluders a foreground object by capturing a scene Psychophysical experiments show that Decoupling 3D occluders from 4D illumina- through RGB color filters placed in the optimal bidirectional texture function tion using shield fields, then analysing camera lens aperture. compression parameters are mate- occluder reconstruction from cast shad- rial dependent. This paper proposes a ows, leading to a single-shot light-field Yosuke Bando psychophysically validated metric that camera for visual hull reconstruction. Toshiba Corporation, estimates these parameters and provides The University of Tokyo a predefined perceptual quality. Douglas Lanman Mitsubishi Electric Research Laboratory, Bing-Yu Chen Jiri Filip Brown University National Taiwan University Michael Chantler Patrick Green Ramesh Raskar Tomoyuki Nishita Heriot-Watt University MIT Media Lab, Mitsubishi Electric The University of Tokyo Research Laboratory Michal Haindl Institute of Information Theory Amit Agrawal Texture and Automation of the ASCR Mitsubishi Electric Research Laboratory ★ ● Friday, 12 December Gabriel Taubin 13:45–15:30 pm Brown University Reflectance & Subdivision s e s s i o n c h a i r ★ ● Time-Resolved 3D Capture of Johannes Kopf Friday, 12 December Non-Stationary Gas Flows 15:45–18:00 A new method for capturing dynamic gas Random-Access Rendering of flows in 3D. General Vector Graphics s e s s i o n c h a i r An efficient representation for random- Kun Zhou Bradley Atcheson access anti-aliased vector graphics on the Ivo Ihrke GPU, consisting of a lattice of cell-special- Practical Modelling and Acquisition Wolfgang Heidrich ised variable-length descriptions. of Layered Facial Reflectance The University of British Columbia A practical method for modelling layered Diego Nehab facial reflectance from a modest number Hugues Hoppe of photographs recorded from a single Microsoft Research viewpoint. http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Technical Papers 29 Technical Papers Friday, 12 December – Saturday, 13 December

t a b l e o f c o n t e n t s Abhijeet Ghosh Jin Ma Paul Debevec Mesh Processing Xinguo Liu Tim Hawkins ★ ● Zhejiang University Pieter Peers Saturday, 13 December Sune Frederiksen 08:00–10:15 Leif Kobbelt USC Institute for Creative Technologies RWTH Aachen s e s s i o n c h a i r A Layered, Heterogeneous Reflectance Olga Sorkine Hujun Bao Model for Acquiring and Rendering Zhejiang University Human Skin Efficient Traversal of Mesh Edges A layered, heterogeneous, spectral reflec- Using Adjacency Primitives Quadrilateral Mesh Simplification tance model for acquiring and rendering Efficient edge traversal allows fast shadow Mesh simplification is an important geo- the appearance of human skin. The model volumes and silhouette computations metric-processing algorithm, serving as a measures appearance via a novel acqui- on the GPU. Minimising the number of building block for many higher-level meth- sition method that uses multi-spectral adjacency primitives leads to discrete opti- ods. This paper introduces a quadrilateral photographs. mizations on the mesh dual graph. mesh-simplification technique, constructing quality LOD mesh hierarchies. Craig Donner Pedro Sander Columbia University Hong Kong University of Science Joel Daniels & Technology Claudio Silva Tim Weyrich University of Utah University College London Diego Nehab Microsoft Research Jason Shepherd Eugene d’Eon Sandia National Laboratories NVIDIA Corporation Eden Chlamtac Princeton University Elaine Cohen Ravi Ramamoorthi University of Utah Columbia University Hugues Hoppe Microsoft Research Szymon Rusinkiewicz Princeton University Randomised Cuts for 3D Mesh Analysis Colourisation & Upsampling This paper investigates a new shape analy- ★ ● Phong Tessellation sis method based on randomised cuts of Saturday, 13 December The Phong Tessellation is a geometric 3D surface meshes. 08:00–10:15 version of the Phong normal interpolation to improve the visual continuity of meshes Aleksey Golovinskiy s e s s i o n c h a i r with a local curved displacement, adapted Thomas Funkhouser Marc Pollefeys to current and next-generation GPUs. Princeton University A Virtual Restoration Stage for Real-World Tamy Boubekeur Deduction of Interpolating Subdivision Objects Marc Alexa Schemes From Approximating Subdivision A system to virtually restore damaged Technische Universität Berlin Schemes or historically significant objects without A method for directly deducing new needing to physically change the object in Subdivision Shading interpolating subdivision schemes from any way. Rendering subdivision surfaces using the corresponding approximations. The normals generated by subdivision. purpose is to solve some limitations in the Daniel Aliaga exiting interpolating subdivision. Alvin Law Marc Alexa Yu-Hong Yeung Tamy Boubekeur Shujin Lin Purdue University Technische Universität Berlin Xiaonan Luo Fang You Superimposing Dynamic Range Real-Time Reyes-Style Adaptive Zheng Li A cost-efficient way of extending contrast, Surface Subdivision Sun Yat-sen University perceived tonal resolution, and color space An efficient and real-time Reyes-like of static hardcopy images, beyond the surface subdivision (split/dice) using Spectral Quadrangulation With Orientation capabilities of hardcopies or low-dynamic- modern GPGPU techniques that sub- and Alignment Control range displays alone. divides complex models to subpixel A new algorithm for quad mesh generation accuracy in a few milliseconds. based on a spectral surface quadrangula- Oliver Bimber tion approach that provides flexible explicit Bauhaus Universität Weimar Anjul Patney, John Owens control of the shape, size, orientation, and University of California, Davis feature alignment of the quad faces. Daisuke Iwai Osaka University Jin Huang Muyang Zhang http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Technical Papers 30 Technical Papers Saturday, 13 December

t a b l e o f c o n t e n t s VirtualStudio2Go: Digital Video polygonal models at interactive frame Composition for Real Environments rates, using illustrative and non-photore- Urban Modelling Synchronised film cameras, video projec- alistic rendering cues to expose objects ★ ● tors, and high-speed LED lighting, together of interest in the context of nearby and Saturday, 13 December with radiometric image correction, enable enclosing objects 13:45–15:30 professional digital video composition effects in real environments without the Michael Burns s e s s i o n c h a i r constraints of virtual studios. Adam Finkelstein Tong Xin Princeton University Anselm Grundhoefer Continuous Model Synthesis Oliver Bimber Richness-Preserving Manga Screening A novel method for procedurally modelling Bauhaus Universität Weimar A novel method for screening manga-style large complex shapes. The approach is drawings from photographs, by preserving general-purpose and accepts as input any Intrinsic Colorisation the tone similarity, texture similarity, and 3D polyhedral model provided by a user. An example-based colorisation technique chromaticity distinguishability. robust to illumination differences between Paul Merrell grayscale target and color-reference Yingge Qu Dinesh Manocha images. Wai-Man Pang University of North Carolina at Chapel Hill Tien-Tsin Wong Xiaopei Liu Pheng-Ann Heng Interactive 3D Architectural Modelling Liang Wan The Chinese University of Hong Kong From Unordered Photo Collections Yingge Qu An interactive image-based modelling sys- Tien-Tsin Wong Line-Art Illustration of Dynamic and tem for architectural scenes that leverages The Chinese University of Hong Kong Specular Surfaces recent advances in automatic computer A real-time rendering system that can illus- vision techniques and sketch-based Stephen Lin trate dynamic 3D models in line-art styles. 3D modelling and handles large photo Microsoft Research Asia The system can also illustrate reflections collections. and refractions on specular surfaces. Chi-Sing Leung Sudipta Sinha City University of Hong Kong Yongjin Kim University of North Carolina at Chapel Hill Pohang University of Science & Technology Pheng-Ann Heng Drew Steedly The Chinese University of Hong Kong Jingyi Yu Microsoft Live Labs Xuan Yu Fast Image/Video Upsampling University of Delaware Richard Szeliski A simple yet effective upsampling method Microsoft Research for automatically enhancing image/video Seungyong Lee resolution, while naturally preserving Pohang University of Science & Technology Maneesh Agrawala the structural information and temporal University of California, Berkeley coherence. Demarcating Curves for Shape Illustration This paper defines a new class of view- Marc Pollefeys Qi Shan independent curves (demarcating curves) ETH Zürich, University of North Carolina Zhaorong Li and proves relations between them and at Chapel Hill Jiaya Jia other well-known curves. Their applica- The Chinese University of Hong Kong tion to archaeological artifact illustration is Interactive Example-Based demonstrated. Urban Layout Synthesis Chi-Keung Tang An interactive system for synthesising Hong Kong University of Science Michael Kolomenkin urban layouts by example. New urban & Technology Technion–Israel Institute of Technology layouts are inferred from the road network, parcel data, and aerial images of given Ilan Shimshoni cities. University of Haifa Non-Photorealistic Daniel Aliaga Rendering Ayellet Tal Carlos Vanegas ★ ● Technion–Israel Institute of Technology Bedrich Benes Saturday, 13 December Purdue University 10:30–12:15 s e s s i o n c h a i r Ken Anjyo

Adaptive Cutaways for Comprehensible Rendering of Polygonal Scenes Generating cutaway renderings of http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Technical Papers 31 Technical Papers Saturday, 13 December

t a b l e o f c o n t e n t s Image-Based Façade Modelling novel and accurate algorithm for frictional- A semi-automatic image-based approach contact resolution based on a simple to building façade modelling from auto- staggered sequence of projections. matically recovered cameras and 3D points of a sequence of images. Danny Kaufman Shinjiro Sueda Jianxiong Xiao The University of British Columbia Tian Fang Hong Kong University of Science Doug James & Technology Cornell University

Ping Tan Dinesh Pai National University of Singapore The University of British Columbia

Peng Zhao Optimising Cubature for Efficient Integra- Hong Kong University of Science tion of Subspace Deformations & Technology Cubature optimisation enables fast evalua- tion of subspace internal forces associated Eyal Ofek with subspace deformations of models Microsoft Corporation with complex geometry, nonlinear deforma- tions, and nonlinear hyperelastic materials. Long Quan Hong Kong University of Science Steven An & Technology Theodore Kim Doug James Cornell University

Physically Based Animation Fast Animation of Turbulence Using Energy ★ ● Transport and Procedural Synthesis Saturday, 13 December A novel technique for animation of turbulent 15:45–18:00 fluids by coupling a procedural turbulence model with a numerical fluid solver to intro- s e s s i o n c h a i r duce subgrid-scale flow detail. Hyeong-Seok Ko Rahul Narain Magnets in Motion Jason Sewall A method for magnetic interaction in University of North Carolina at Chapel Hill rigid-body simulation, allowing interac- tive simulation of dozens of magnets. Mark Carlson The approach is physically sound and DreamWorks Animation has excellent accuracy and preservation properties. Ming Lin University of North Carolina at Chapel Hill Bernhard Thomaszewski Andreas Gumann Simon Pabst Wolfgang Strasser Universität Tübingen

Real-Time Control of Physically Based Simulations Using Gentle Forces Real-time control with gentle forces coop- erates with natural dynamics to generate simulations that are fast, compliant, and directable.

Jernej Barbic Jovan Popovi´c Massachusetts Institute of Technology

Staggered Projections for Frictional Contact in Multibody Systems A discrete, velocity-level formulation of frictional-contact dynamics that enables a http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Technical Papers 32 Educators Programme

t a b l e o f c o n t e n t s

Envisioned as an international gathering of industry c o n f e r e n c e registration c a t e g o r i e s professionals and academics, the Educators Programme ★ Full Conference Access presents perspectives that appeal to a wide spectrum ● One-Day Full Conference of interests. The goal is to share educational strategies adopted in both industry and academia to make the learning process more satisfying, productive, and meaningful.

Thursday, 11 December

exploiting information and communication material as it is placed under the web- Methodologies in Learning technology to aid the learning process. If cam. For younger pupils, the school can ★ ● this approach can build on their interest in use a simpler AR tool to learn about the Thursday, 11 December animations and exciting graphics, devel- categorisation of materials (metal, ceramic, 08:30–10:15 oped through their exposure to television polymer, and natural). The AR recognition Educators Papers and computer games, then so much the software rewards correct allocations and better. Kids rarely read the instructions helps pupils to identify mistakes. s e s s i o n c h a i r : when playing computer games, since they Mark Chavez adopt intuitive protocols. This paper outlines development and de- ployment of AR and discusses evaluations Computer Graphics in Context: Augmented reality (AR) is a relatively ma- that will be carried out with teachers and An Approach to a First Course in ture technology, but so far it remains largely pupils during exhibitions at the Farnbor- Computer Graphics undiscovered by schools as a means of ough Air Show, the Manchester Science This paper discusses the concept of teach- enhancing traditional lesson delivery. The Festival, and schools visits. The goal is to ing a first course in computer graphics advantage of AR is its ability to overlay provide a valuable starting point for other that includes a context - a field outside information on real physical objects as AR developments in educational settings. computer graphics in which graphics viewed on a LCD projector or interactive is used - in order to engage students white board. This paper describes a set Kevin Tan and broaden their understanding of the of educational AR software for helping Emma Lewis graphics principles. The paper presents children to familiarise themselves with University of Manchester a specific example, a course in computer simple physics, chemistry, and materials science, where creating an engagement principles. Nick Avis with a wider topic is known to improve Cardiff University student learning. AR technology brings photographic and computer-generated images into real Philip Withers Steve Cunningham environments, facilitating real-time 3D in- University of Manchester Brown Cunningham Associates teractions connected to physically available objects. The tools developed in this project Simulating Educational Physical Using Augmented Reality to Promote comprise four major kinds of applica- Experiments in Augmented Reality Understanding of Materials Science to tions, each designed to help pupils learn This paper presents PhysicsPlayground, School Children about materials and their applications. The an augmented reality application that Using tables of data to understand and linkages between the hands-on materi- utilizes a recent physics engine developed compare their properties is a rather boring als and their properties and applications for the PC gaming market to simulate and unintuitive way to learn about materi- are explored through a series of puzzles, physical experiments in mechanics in real als. Children learn much more quickly and games, and tasks, with the AR providing time. Students are able to actively build intuitively if they can touch the materials intuitive guidance. For example, pupils can their own experiments and study them in they are learning about and link them try to identify the materials required to build a three-dimensional virtual world. Several directly to their properties and applica- a jet engine or play a “top trumps” game tools are provided to analyze forces, mass, tions. But such an approach can be very with the computer to choose attributes for paths, and other properties of objects demanding on teachers’ knowledge and their materials that could outperform the before, during, and after experiments. attention, especially in large classes. materials chosen by the computer. The AR Innovative teaching content exploits the system also acts as a virtual microscope strengths of this immersive virtual environ- The challenge is to engage pupils by to reveal the microstructure of a given ment. PhysicsPlayground is as an example

http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Educators Programme 33 Educators Programme Thursday, 11 December– Friday, 12 December

t a b l e o f c o n t e n t s of how current technologies can be com- The Intelligent Sound Lab develops basic bined to deliver new experiences in physics Methodologies in Learning technologies and solutions for synthe- education. ★ ● sis of realistic sound effects that can be Thursday, 11 December automatically synthesized according to the Hannes Kaufmann 15:45–17:30 recorded or analyzed meta-data of various Bernd Meyer Educators Papers media content. The main objective of this Technische Universität Wien lab is to develop and build an “intelligent s e s s i o n c h a i r : sound library” of sound-effect algorithms Martin Constable that can create and vary themselves ac- cording to their content. Educators Programme Shift to The Third Space - isAT 2008 Ramp-In and Keynote The arts and technology are no longer Chang, Jaeho Address strangers. They are forging a closer Korea National University of Arts ★ ● partnership, as the arts reveal what could Thursday, 11 December previously exist only in our imaginations 13:45–15:30 by utilizing ubiquitous technology, and Educators Paper technology, in turn, leaps over the modern Game Education era by adding a wing of artistic sensibility ★ ● Ramp-In: Welcome and Overview to science. Friday, 12 December of Programme by Programme Chair 08:30–10:15 Mark Chavez In light of this shift, isAT 2007 (International Educators Papers Symposium for Arts and Technology 2007) The New Perspective of Consilience was held last year to explore the “Lightning s e s s i o n c h a i r : of the Arts and Technology in the Effects” from the encounter between the Gao Wei Hua Era of Ubiquitous Computing arts and technology. Under the theme of e d u c a t o r s k e y n o t e a d d r e s s Shift to the Third Space, the upcoming Creating a Multi-Disciplinary Gaming Ubiquitous Arts & Technology (U-AT) event, isAT 2008, will seek the meaning of Curriculum: Avoiding Mistakes, Missteps, Consilience Education is a new term the union of the arts and technology and and Growing Pains coined by the Korea National University of explore how ubiquitous computing technol- While the volume of game-development Arts to refer to consilience of ubiquitous ogy shifts our lives into other dimensions. curricula has grown dramatically over computer technology and diverse arts the past five years, there is still relatively genres in a narrow sense, and consilience Shim Kwang-Hyun little information on the proliferation of of the arts, humanities, and technology in Korea National University of Arts these programmes. At Drexel University, a broader sense. In this sense, consilience game development has grown from a few refers to a non-reductionist unity of knowl- The Animation Solution Kit unrelated, area-specific courses to become edge, unlike the reductionist consilience in The main benefit of independent creation a truly multi-disciplinary, multi-course the humanist biology of Edmund Wilson. is not cost reduction but quality. In the sequence that unifies the foundation process of indie-creation, concept art can skills of several departments and colleges The term, coined by William Whewell in be retained until final step because it’s across the university. Yet there have been the early 19th century, is a revival of the mainly created by a small, efficient team. numerous challenges and changes during Latin word consalier, which means “varied By expanding the traditional concept of the four-year evolution of this sequence. branches uniting and jumping together to “animation,” DMMG Lab makes a “proto- This paper documents the growth of the form a unified trunk.” According to the sci- type model” for animation based on NPR programme, the problems it encountered, ence of complex systems, the process of and, by building a library of models, materi- and the solutions developed, in the hope mixing different elements, and their interac- als, motion, and effect sources, facilitates that it can serve as a road map for other tions, are critical requirements for creative a “stand-alone on network,” which enables institutions. experience and knowledge creation. one person to manage the entire animation process. At Drexel, game development does not The key objective of U-AT Consilience Edu- “live” in one department, so it mirrors the cation is to establish a creative education Lee Jungmin true nature of game development in com- system to produce quality content in multi- Korea National University of Arts mercial settings. Game development is source-multi-use mode by institutionalizing offered in a coordinated, cross-listed series the cooperative ties between industry and Making Intelligent Sounds of courses in both the computer science the university for joint research projects, An intelligent sound is a sound that can (CS) and digital media (DIGM) majors, creative endeavors, and education. The think. It can create, modify, evolve, and and production courses are open to other overall purpose is to promote continuous even kill itself according to its environment. majors as well. Computer science courses and systematic communications and con- This paper shows two approaches to this teach foundation software-development silience of six artistic genres: music, drama, concept. One is creative and experimental skills and offer software design courses for film-TV-multimedia, visual arts, dance, and (the author’s compositions), and the other prototyping game concepts. Drexel’s digital Korean traditional arts. is practical and educational (the Intelligent media major is one of the oldest such pro- Sound Lab at The Korean National Univer- grammes in the United States. It instructs Park Se-Hyung sity of Arts). students on the foundation skills of design, Korea National University of Arts art, programming, modelling, animation, audio and video production, and the use of http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Educators Programme 34 Educators Programme Friday, 12 December

t a b l e o f c o n t e n t s industry tools such as Maya and 3ds Max. and peripherals were also used as initial behavioural engines available for education The gaming courses and projects bring prompters to encourage students to go (Torque, Virtools, XNA). these two majors together, with the ad- beyond current game-theory definitions, ditional participation of students and faculty explore how to increase the player’s sense Jean-Marc Gauthier from other majors including music, music of embodiment, and transmit the player’s Tisch School of the Arts Asia, industry, screenwriting and playwriting, gameplay experience to a wider audience. New York University engineering, and business. The resulting prototypes are being incor- porated into future versions of CAVE UT Many problems were encountered during to help educators develop more engaging the programme’s growth from an origi- and immersive interactive environments. The Mindspace of Learning nal two-course sequence to the current Hopefully, the next version of CAVE UT will ★ ● nine-course offering including: cultural and also allow players and audiences to share Friday, 12 December communication differences between the the so-called “magic circle.” 10:30–12:15 different majors; scheduling differences Educators Papers across programmes, departments, and Erik Champion colleges; teaching and staffing issues; The University of New South Wales s e s s i o n c h a i r : course sequencing issues; introduction of Ayumi Miyai soft-skill techniques; project management Jeffrey Jacobson issues; student and staff turnover; rapidly PublicVR Practice Project Management in Web Site changing technology platforms; lack of Design: An Experiential Learning Simulation adequate texts; software and hardware Gaming: Back to the Basics The current literature suggests that experi- access issues; and even educating ad- By recreating basic games, this presenta- ential learning is a necessary component of ministrators and parents as to what game tion returns to the basics of computer formal instruction in higher education. But development entails. games and experiments with game play, research on experiential learning in web game rules, and players’ psychology. It site design development and management The gaming sequence is designed to surveys 2D and 3D games designed as ex- is minimal. The purpose of this project is to reflect the nature of the industry and perimental prototypes of “treasure hunting,” detail research on how to blend experiential industry demands and practices. For “plateau,” and generic “Space Invaders” learning principles with project manage- example, the programme makes heavy and “Pac Man” games, and it shows how ment into an actual case of web site design use of the iterative development cycle and player experience can be affected by slight practice for the new age of electronic SCRUM methodology. However, introduc- changes in game mechanics. learning. tion of these techniques provides unique challenges in classroom settings, where The exploration of game play takes place Art and design faculties are no strangers students have always been able to “get inside 2D and 3D versions of basic games to experiential learning. One cannot learn by” with less-formal structures, or where created by students and professionals the complexities of the design discipline grades are based on a final submission. during workshops with limited-time assign- without extensive design studio projects. ments. Creators of these games reshape Where experiential learning is well inte- The cross-discipline nature of the course behaviours and relationships governing grated, students demonstrate a greater offerings presents logistical challenges for levels, modes, rules, choices, classes of understanding of the complexity of real- reaching and informing interested students objects, characters, and interactive ele- world problems. By combining theory with and researchers, and has led to formation ments. They experiment with game play practice, this project helps the academic of the Drexel RePlay Lab web site. and rules, following the psychology of the community understand the relationships players and demonstrating the need to be among education, work, and technol- The 2007-2008 academic year was the not too simple and not too complex. ogy. It also provides rich dialogues about first in which the complete complement students’ experiential learning, which helps of courses was fully offered. Despite this, Topics covered in this presentation include them build a foundation for professional the student work produced from even an how small variations of the elements of life in the real world. In this approach, the abridged offering has been very impressive. game design can affect the game-playing “process” is as important as the “product.” experience, how the architecture of a game This study hopes to stimulate further work Paul Diefenbach can repeat from one game to the other in this area. Drexel University and in different times and contexts, how the player is placed in the center of the Mei-Fen Chen Sharing the Magic Circle With gaming experience, and how choices are Robert Morris College Spatially Inclusive Games presented to the player. A discussion of innovative (capstone) Guitar Man projection environments at an IT and elec- The presentation also shows how to create This paper proposes a game system that trical engineering school. The overarching an interactive interface that allows real-time presents a cooperative musical perfor- brief was to develop both more expan- testing of dynamic transformations of game mance system using guitar and bass sive and immersive viewing and playing mechanics and rules of play. The audience guitar. Because the bass guitar does not environments. Game courses were used uses Wiimotes to participate in demos necessarily support fast playing, it is suited as a springboard to extend the students’ that focus on side-by-side evaluation of to the subject of this study. However, it is creative and critical design thinking in basic 2D games and their recreation as necessary to accelerate the speed of a relation to wider interaction-design issues. 3D games. It also surveys examples of pitch-detection algorithm in order to extend Imaginative combinations of game engines authoring tools, interactive animations, and it to a cooperative musical performance http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Educators Programme 35 Educators Programme Friday, 12 December – Saturday, 13 December

t a b l e o f c o n t e n t s system that includes other non-string in- the career paths they want to follow. Hui Zhu struments. A constant time interval should Xiaobo Lu be maintained due to the fact that it is dif- As there is no professional certification Tsinghua University ficult to apply a pitch-detection process for for animators or visual effects profession- specific tones when the recognition time is als, it’s time to move toward a universally Frank Suarez reduced. acceptable framework for specifying and Bunko Studios, Inc. evaluating the skills, portfolios, and show This study considers how new musical reels that are the fundamental entry point possibilities can be achieved through online to prospective employment. Also, it’s es- networks by overcoming the stereotypes sential to blend this framework into every Methodologies in Teaching in off-line musical activities, such as employee’s upgrade path and lifelong ★ ● music-instrument lessons or traditional co- learning plans in this rapidly evoloving field. Saturday, 13 December operative performances. It is based on the 08:30–10:15 assumption that the future computer game The panelists have been dealing with these Educators Papers industry will not be developed as a simple problems for many years, as educators, virtual reality but an actual systems like the trainers, and recruiters. Their desire is see s e s s i o n c h a i r : cooperative musical performance system dramatic improvement in education and Chen Meifen proposed in this paper. training through development of clearly defined professional requirements. Such a Deconstructing an Old Master Painting Aram So framework will make it easier for institutions Using Photoshop’s Advanced Toolset Sogang University to design relevant and high-quality educa- An old master painting is a highly “made” tion that meets the needs of today’s and thing, and every aspect of its appearance tomorrow’s globally distributed production was subject to careful consideration and companies. evaluation before its manufacture. These Methodologies in Learning aspects can be very hard to grasp, but ★ ● Robin King with Photoshop’s advanced toolset, they Friday, 12 December Imagina Corporation can be visualised and made more acces- 15:45–17:30 sible for the student of art history. This Educators Panels Prashant Buyyala paper details interesting applications of the Rhythm & Hues Studios Adjustments menu, the Blend modes, and s e s s i o n c h a i r : the Blend If values. Russell Pensyl Shelley Page DreamWorks Animation Martin Constable Bridging the Gap Between Education Nanyang Technological University and Professional Production Michael Sehgal While there is a global interest in learning Autodesk, Inc Using Animation and Interactive Virtual animation and special effects, the quality of Technology to Create Interpretive Materials academic programmes and training ranges Comparison of Animation Storyboard for Museum Learning and Promotion from excellent to mediocre. It takes time Education in China and the United States Museums around the world have incorpo- and a great deal of skill, knowledge, and More and more Chinese universities and rated computer graphics, virtual reality, 2D talent to develop global-quality education schools have started teaching animation and 3D animation, and interactive technol- that meets the needs of today’s production storyboard courses, but there is still a ogy in gallery exhibits, educational games, companies, and the bar is raised higher shortage of original work produced by the films, and online presentations for many every year. Chinese animation industry. This paper years. To move beyond the traditional ways discusses the development of Chinese of using technology to create interpretive In too many countries, get-rich-quick insti- animation storyboard education and com- materials for teaching and learning, and tutions advertise software training that at pares it to similar programmes in the US. to communicate with its audiences, The best provides comprehensive coverage of The result is new insight into how to most National Palace Museum (NPM) in Taiwan tool sets and techniques, and at the worst, effectively teach animation storyboarding. embarked on two major digital projects: a certifies students who are completely 3D Virtual Exhibition System: Experience unprepared for the careers they seek and The inquiry focuses, in part, on develop- the Imperial Artifacts and “Adventures with little or no knowledge of anything but ment of story and visual content, and in the NPM,” a 13-minute 3D animation. the basic operation of a popular software how storyboard artists develop concepts. This paper provides an overview of these programme. Animation storyboard programmes are projects. compared through an examination of their Some countries have 500 or even 1,000 curricula, faculty, 2D and 3D computer In early 2003, NPM began to develop animation programmes (China for example) animation works, lab facilities, environmen- Experience the Imperial Artifacts. Through yet few have instructors who have worked tal and aesthetic aspects, and contrasts this system, users can virtually touch and and excelled in the industry. In addition, between the two cultures. Practical ap- interact with the famous Jadeite Cab- many instructors have received little or no proaches to teaching are also discussed. bage, Ivory Ball, Carved Olive-Stone Boat, training in effective and meaningful instruc- The goal of this presentation is to provide and Mao-Kung Ting from the museum tional techniques. The inevitable result: the an international perspective on animation collection. For the first time, users could quality of education is often very low, and storyboard education and a summary of experience the highest privileges of the graduates are completely unprepared for the current state of Chinese animation. emperor. The paper provides detailed http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Educators Programme 36 Educators Programme Saturday, 13 December

t a b l e o f c o n t e n t s information on development, selection, engaged in 3D scanning, downloading, learning activities. It is adult-oriented, not creation, and implementation of various 3D visualising, analysing, remote simultaneous kid-oriented. technologies: the stereoscopic construc- modelling in stereo, and deciding when to tion approach to visualising details, 2D hit “3D print” at any given stage to invent a This alternative approach, based on a photo stitching techniques for reconstruct- new design methodology. wireless sensor network, allows students ing a jadeite surface, a 3D laser-scanning to interact with a computer via body mo- method for geometric modelling, etc. It Simon Fraser tions, such as gestures, which is a much also reviews the tasks and challenges of Tim Miller more natural way to use technology in the the project and presents a documentary Morgan Barnard classroom. A set of ribbons with wireless film about the development process of Kris Henning gesture-detection sensors connects to a these high-tech systems. Victoria University of Wellington server. The ribbons are worn by the stu- School of Design dents, and the entire classroom’s gestures In 2005, to bridge the gap between today’s are captured and sent to the server. audiences and “ancient” artifacts, NPM Mark Billinghurst collaborated with Digimax Corporation to HIT Lab NZ With this technology, the classroom can be produce a 3D animated film entitled “Ad- reconfigured from one kid one desktop to ventures in the NPM.” This film personifies many kids one desktop. In one application, some of the NPM’s key collection objects students are asked to create, share, and and their adventures in the museum at Pedagogy in Action review stories using the gesture-detection night. Its lovely characters and captivating ★ ● ribbons in the classroom. story are designed to bring viewers to a Saturday, 13 December new level of appreciation for those ancient 10:30–12:15 Yi-Shiang Lin artifacts. The production team invited Educators Papers Ben Chang Gérard Pirès (“Knights in the Sky”), Tom National Central University Sito (“Osmosis Jones”), and Teddy Yang s e s s i o n c h a i r : (“Shark Tale”) to contribute their expertise Lucy Petrovic to the production. The film premiered on 13 April 2007 to many positive reviews. Incorporating Animation Technologies Into Professional/Academic Most recently, it was honored at the Tokyo Tools for Colonial American Education ★ ● International Animation Fair 2008 as the This paper describes integration of anima- Saturday, 13 December Animation of the Year. This paper shares tion and visual effects technologies into 15:45–17:30 some of the behind-the-scene stories of development of tools geared for colonial Educators Papers the production and its creative marketing American education. Projects discussed and promotion. include incorporation of crowd simulation s e s s i o n c h a i r : software and full-body motion capture Pan Zhigeng James Quo-Ping Lin to recreate Revolutionary War battles, National Palace Museum laser-scan acquisition of excavated archae- Teaching 3D Animation: The Balance ological artifacts, and recreation of historic Between Creative and Technical Skills Herminia Din structures with modelling and animation We are getting much better at teaching the University of Alaska Anchorage software. These technologies reduce the technical skills that our students need to margin of error in representation, accentu- enter the visual-effects and 3D-animation Chinese Whispers ate the level of realism for the end user, industries. But somtimes these skills take Chinese Whispers refers to the concept and create a more engaging educational precedence in our teaching, and we inad- of mediating between remote studios presentation for schoolchildren. vertently give less emphasis to the more with new forms of hybrid designing and elusive creative skills that affect promotion real-time online collaboration. A sequence Christopher Redmann into positions such as producers, visual of experiments explored the concepts Drexel University effects supervisors, art directors, etc. of linkage and slippage that occur at the boundaries of converging technologies Wireless Sensor Network to Support a Superior quality and and excellent story as a means of generating innovative and Multiple-Student Group Learning Game can make a big difference in the critical unexpected design outcomes (real and With One PC in the Classroom first eight seconds of a demo reel, when virtual, tangible and intangible). The project Unlike the One Laptop Per Child concept professionals decide whether to keep is framed in a contemporary context with promoted by the MIT Media Laboratory, watching or hit the eject button. This paper background research into current concepts this study utilizes a wireless sensor network covers not only the creative fundamentals, and theories centered on learning ecol- to support a multiple-student group- but also how to apply them consistently in ogy and user-generated design into future learning game with one PC in classroom. our teaching, which in turn contributes to trends and state-of-the-art technologies. In the traditional computerised classroom, our students’ success after they graduate. each student is equipped with one desktop Chinese Whispers involved linking hard- (or laptop) computer for learning. This Craig Caldwell ware and software that are not immediately approach (one kid one desktop) has some Griffith University compatible in a remote networked environ- disadvantages. For example, the cost of ment to facilitate an educational design establishing the classroom is high, and process in both remote and real environ- students are confined to their seats during ments. Through this process, students http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Educators Programme 37 Educators Programme Saturday, 13 December

t a b l e o f c o n t e n t s Computer Games Degrees in the UK: A Review of Current Practice This paper examines the development, content, and outputs of computer games development (CGD) courses in the United Kingdom. It provides a background of CGD courses, followed by a case study of how a Bachelors of Arts course was developed and implemented at Swansea Metropolitan University. And it analyses and discusses the characteristics of student applications (such as background qualifications, achievement levels, and skill-sets), the nature of student projects (including their themes, creativity, and quality), course structure and composition, and staff profiles. The results offer a unique and valuable insight into development of CGD courses, especially in view of their increasing importance in fostering new cre- ative talent for games and games-related industries.

Barry Ip Martin Capey Swansea Metropolitan University

From Motion Capture to Interactive Animation Jean-Marc Gauthier, director of the new animation and digital arts MFA program at Tisch School of the Arts Asia in Singapore, summarises the program’s curriculum: traditional animation, interactive animation, gaming, and motion studies applied to design.

His talk includes an overview of Life Motion Analysis: Ways to Visualise Motion From Real Life, a motion capture class designed for collaborative work among actors, danc- ers, storytellers, filmmakers, animators, and others.

Jean-Marc Gauthier Tisch School of the Arts Asia, New York University

http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Educators Programme 38 Sketches & Posters

t a b l e o f c o n t e n t s

Sketches c o n f e r e n c e registration c a t e g o r i e s

A dynamic forum for thought-provoking, speculative ideas, novel Sketches: applications, what-if concepts, and behind-the-scenes produc- ★ Full Conference Access tion details. Following each sketch presentation, authors discuss ● One-Day Full Conference future implications of their work and answer audience questions. Posters/ Sketches Fast Forward:

Posters ★ Full Conference Access Graphic depictions of incremental or half-baked but innovative ● One-Day Full Conference ideas displayed throughout the week with scheduled sessions ❍ Basic Conference/Exhibits Plus for informal discussions. Thursday, 11 December

SKETCHES GPU Tessellation for Detailed, “Star Wars: The Clone Wars” TV Series: Animated Crowds Making the Impossible Happen A method for rendering detailed crowds of In creating episodes of “Star Wars: characters using tessellation, instancing, The Clone Wars,”s flexibility is the key. Sketches Fast Forward and LOD management, along with a tech- It requires an adaptable pipeline and light- session nique to reduce artifacts along uv seams ing tools that enable completion of several ★ ● ❍ when using displacement mapping. tasks in one render calculation. Wednesday, 10 December 18:00–20:00 Natalya Tatarchuk Ryan T. Smith Joshua Barczak Lucasfilm Animation Singapore Budirijanto Purnomo GPU-Based Methods Advanced Micro Devices, Inc. The Invisible Art Behind “Ironman” ★ ● What is real and what is not? In “Ironman,” Thursday, 11 December A GPU-Based Approach for Real-Time suspension of disbelief due to the larger- 08:30–10:00 Haptic Rendering of 3D Fluids than-life action and realistic backgrounds An innovative GPU-based approach that was the ultimate goal for matte painters. s e s s i o n c h a i r : enables real-time haptic rendering of high- Edward Angel resolution 3D Navier-Stokes fluids. Danny Janevski Lucasfilm Animation Singapore GPU Crowd Simulation Meng Yang This first interactive, GPU-accelerated University of Pennsylvania Keeping It Real: Classical Art Principles massive crowd simulation (>65,000 agents) in Today’s VFX Features combines parallel implementations of a Jingwan Lu The tools have changed, but it is still the course global-path planning technique with Hong Kong University of Science artist’s process, rooted in the knowledge a fine-grained local avoidance model. and Technology of basic artistic principles, that make visual effects convincing and realistic. Jeremy Shopf Zehua Zhou Christopher Oat Alla Safonova Kalene Dunsmoor Joshua Barczak Katherine Kuchenbecker Lucasfilm Animation Singapore Advanced Micro Devices, Inc. University of Pennsylvania Lighting Clone Wars: GPU-Based Scene Management A New Planet Every Week for Rendering Large Crowds How to bring the vast Star Wars universe A system for rendering crowds of Recent Production to TV without making it look small? The characters with full shadows, in arbitrary Techniques at Lucasfilm challenge of introducing new characters environments, with stable performance Animation Singapore and locations in every episode, on a TV and excellent visual quality, managing ★ ● production schedule. all aspects directly on the GPU. Thursday, 11 December 13:45–15:15 Ben Huber Joshua Barczak Lucasfilm Animation Singapore Natalya Tatarchuk s e s s i o n c h a i r : Christopher Oat Ken Anjyo Advanced Micro Devices, Inc.

http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Sketches & Posters 39 Sketches & Posters Thursday, 11 December – Friday, 12 December

t a b l e o f c o n t e n t s Clone Wars Animation in Lucasfilm Tomohiro Amemiya Animation Singapore NTT Communication Science Laboratories Photographs & Drawings What does it take to animate “Star Wars: ★ ● The Clone Wars?” From stills and shots, Hideyuki Ando Friday, 12 December learn how animators bring the Star Wars Taro Maeda 10:30–12:00 universe and its colorful characters to life. Osaka University s e s s i o n c h a i r : Ullas Narayana Diego Gutierrez Lucasfilm Animation Singapore Arts & Robots Forward Lean–Deriving Motion ★ ● Illustrations From Video Interactive Techniques Friday, 12 December Forward Lean extracts moving objects ★ ● 08:30–10:00 from a video sequence and then illustrates Thursday, 11 December the objects’ motions in a single static 15:45–17:15 s e s s i o n c h a i r : image by shearing the image into the direc- Daniel Maskit tion of its motion. s e s s i o n c h a i r : Matt Adcock Shadow Play Marc Nienhaus A method for computer-aided shadow play, mental images GmbH Balance Ball Interface where shadows cast on a screen are saved Only the user sits on the balance ball, and projected back onto the screen. Users Holger Winnemöller and this system captures the user’s rough can create an environment with butterflies Adobe Research Inc. motion and behaviour. that are controlled by user shadows. Bruce Gooch Masasuke Yasumoto Cem Sina Cetin University of Victoria Tokyo University of the Arts Sabanci Üniversitesi Automatic 3D Caricature Generation By Fu-Fuu: An Interactive Game Automatic Composition for Learning in Enlarged Manifold Space Using Breath Control Contemporary Dance Sequences Lack of samples makes it challenging A novel game interface that uses a player’s An automatic composing system for to generate 3D caricatures by machine position and breath captured via a camera contemporary dance using 3D motion learning. In this method, a training set is and a microphone to manipulate a virtual data. Instead of creating completed enlarged by reconstructing 3D caricatures, paper airplane. connections, this method creates and then a regressive model is learnt by conceptual sequences for dance lessons. manifold regularization. Taichi Nishiyori Soei Sato Asako Soga Junfa Liu Toki Takeda Ryukoku University Chinese Academy of Sciences Narumi Tashiro Ryoichi Ando Bin Umino Visualising Adaptive Clusters Maki Terai Toyo University of Digital Photographs Taketoshi Ushiama With this visualisation method, which Reiji Tsuruno Motoko Hirayama considers semantic flow in each cluster, Kyushu University University of Tsukuba users can select references from a specific camera for smart visualisation if concurrent Tracking the Position of a Mobile Device Nervixxx: Introducing Biosignals photos are used as input data. on Interactive Screens With RFID to Live Video Performance A novel method for identifying and tracking A video performance system based on Chuljin Jang the position of mobile devices on interac- EEG (the most informative of the biosig- Hwan-Gue Cho tive screens and a prototype system of the nals) and EMG (highly controllable) data. Pusan National University proposed method. Satoru Tokuhisa Sang-Jun Han Keio Research Institute at SFC Kuk-Hyun Han Pil Seung Yang Rendering Lots of Robots Bo Hyun Kyung An outline of the lighting pipeline tools Samsung Electronics and tricks used at Double Negative to render the Golden Army for “Hellboy 2: Bear’s Beer and Smart Platter - The Golden Army”. Handheld Interactive Haptic Display A new tray-shaped force-feedback display Katherine Roberts with an interactive robot and a vision- Graham Jack based positioning system. This method Double Negative enables haptic interaction in handheld devices. http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Sketches & Posters 40 Sketches & Posters Friday, 12 December–Saturday, 13 December

t a b l e o f c o n t e n t s Clean up Your Image Using Shiben Bhattacharjee Byung-Seok Roh Internet Photo Collections P. J. Narayanan Electronics and Telecommunications An algorithm that uses images from International Institute of Information Research Institute internet photo collections to remove Technology, Hyderabad user-identified occlusions in an image and Visual Simulation faithfully reconstruct the image data that Relief Clipping Planes for ★ ● should have been displayed. Real-Time Rendering Saturday, 13 December A technique for performing clipping and 08:30–10:00 Hanieh Taipalus capping of arbitrarily shaped solids against Helsinki University of Technology clip planes with an additional height or s e s s i o n c h a i r offset map. Geoff Wyvil Satoshi Kondo Matsushita Electric Industrial Co., Ltd. Matthias Trapp Visual Simulation of Scattering Universität Potsdam and Settling of Fine Particles Takafumi Aoki This approach to simulating scattered fine Tohoku University Jürgen Döllner particles can simulate the phenomenon in Universität Potsdam which particles are scattered by the wind and subsequently settle.

Curves, Planes, Tetsuyuki Minamihara and Terrains Volumes Maki Terai ★ ● ★ ● Reiji Tsuruno Friday, 12 December Friday, 12 December Kyushu University 13:45–15:15 15:45–17:15 A Visual Simulation for Gold Leaf and s e s s i o n c h a i r : s e s s i o n c h a i r : Japanese Lacquerware Olga Sorkine Baoquan Chen A method for faithfully representing gold leaf and Japanese lacquer using spectral Single-View Sketch-Based Modelling Optimised Volume Sampling Based BRDF and a method for laying out craft From Construction Lines on Manipulation Points for Volume materials. A new modelling-from-sketches system Deformation in which models are made of simple parts A volume-sampling mesh that is optimised Kazunori Miyata drawn with only two strokes, and all the to users’ dynamic manipulation and the Kaisei Sakurai strokes are drawn from a single viewpoint. volume data used for interactive volume Japan Advanced Institute of Science deformation. and Technology Alexis Andre Suguru Saito Kei Wai Cecilia Hung Toshihiro Tomoi Masayuki Nakajima Megumi Nakao Hiroshi Tashimo Tokyo Institute of Technology Kotaro Minato Koji Imao Nara Institute of Science and Technology Yoshiyuki Sakaguchi Interactive Control of 3D Class-A Digital Fashion Limited Bézier Curves Curvature-Based Volume Visualisation For design of highly aesthetic curves, this of Local Structures Fire Simulation and Rendering for interactive techinque controls 3D, class-A A new curvature-based transfer function “Hellboy 2: The Golden Army” Bézier curves by specifying the two end- for interactive volume visualisation and How Double Negative developed a new points and their tangents. mining of local structures. The visualisation fluid simulation system for the pyrokinetic results are obtained in real time by GPU character Liz, resulting in fast, highly Ryo Fukuda computing. detailed fire simulations and renders. Norimasa Yoshida Nihon University Yu Hirata Eugenie von Tunzelmann Megumi Nakao May Leung Takafumi Saito Tadao Sugiura Double Negative Visual Effects Tokyo University of Agriculture Kotaro Minato and Technology Nara Institute of Science and Technology Interactive Simulation of the Process of Glottal-Wave Generation Using a GPU Hexagonal Geometry Clipmaps for Rigid-Body Interaction in SPH A FDLB (compressible and thermal fluid)- Spherical Terrain Rendering A new boundary force based on collision to MPS(new anisotropic elastics model) A unified representation of hierarchical solve rigid-body interactions in SPH. This coupling method using GPU to directly triangular mesh and geometry clipmaps method produces more physically feasible simulate the process of of glottal-wave using hexagonal geometry clipmaps to ren- results in rigid-rigid interaction than the generation during human phonation. der spherical terrain with uniform sampling existing method. on the sphere and fast rendering. Kazuhiko Yamamoto Seungtaik Oh Kyushu University Younghee Kim http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Sketches & Posters 41 Sketches & Posters Saturday, 13 December

t a b l e o f c o n t e n t s Image-Based Roughness Modelling Lighting & Reflectance Calibration & Acquisition Using Perlin Noise ★ ● ★ ● A method for modelling the roughness Saturday, 13 December Saturday, 13 December of real objects from captured images 10:30–12:00 13:45–15:15 using Perlin noise. Model parameters were acquired from a real object. s e s s i o n c h a i r : s e s s i o n c h a i r : Wojciech Jarosz Craig Donner Masashi Baba Masayuki Mukunokiy B-Spline Volume vs. Other BRDF Models Image-Correction Method for Naoki Asada This sketch shows that the B-spline Multi-Projector Display Using SIFT Features Hiroshima City University volume representation is more suitable for An image-correction method for multi- fitting to measured BRDF data than two projector display that corrects geometric popular analytical models such as Cook- transformation of projected images using POSTERS Torrance and Lafortune. feature points in images instead of the ★ ● ❍ special patterns. Thursday, 11 December– Joo-Haeng Lee Saturday, 13 December Electronics and Telecommunications Toru Takahashi 09:30–18:30 Research Institute Norihito Numa Tatsuya Kawano Automatic Data-Extracting Software for SPARTA: A Scalable Architecture for Takafumi Aoki Retrieval of Lifetime Photos Using Scent Ray-Tracing Applications Tohoku University Information A low-cost, scalable hardware and soft- ware infrastructure for high-performance, Satoshi Kondo Young ah Seong interactive ray tracing of very large models Matsushita Electric Industrial Co., Ltd. The University of Tokyo that will target large-scale visualisation applications. Gloss and Normal Map Acquisition Yasuaki Kakehi Using Gray Codes Keio University Ross Brennan This technique for gloss and normal map Michael Manzke acquisition of fine-scale specular surface Jean-Jacques Delaunay Trinity College Dublin details provides an efficient and easy Takeshi Naemura method employing only ubiquitous hard- The University of Tokyo Spatial-Directional Radiance Caching ware components. Spatial-directional radiance caching Enhancing Procedural Animations accelerates indirect illumination computa- Yannick Francken With Motion Capture Data tion on arbitrary glossy surfaces. The main Tom Cuypers idea is to perform lazy indirect illumination Tom Mertens Chang-Hung Liang evaluation in both the spatial and direc- Philippe Bekaert Tsai-Yen Li tional domains. Universiteit Hasselt National Chengchi University

Václav Gassenbauer Considering Shape Reconstruction Fast Plausible 3D Face Generation Czech Technical University in Prague from Specular Reflection From a Single Photograph This method considers the availability of Jaroslav Křivánek 3D measurement of specular objects when Akinobu Maejima Cornell University simulating with CAD rendering software. Shigeo Morishima Waseda University Fast, Approximate HDR Image-Based Tomohito Masuda Lighting Using Summed-Area Tables Toppan Printing Co., Ltd. Flaneur: Digital See-Through Telescope A method to rapidly generate higher-order summed-area tables that allows multiple Abhijeet Ghosh Hiroshi Sakasai tables to be generated dynamically while Wan-Chun Ma Hiroshi Kato maintaining interactive frame rates. University of Southern California Takako Igarashi Miho Ishii Justin Hensley Hiroki Unten Masahiko Inami Advanced Micro Devices, Inc. Toppan Printing Co., Ltd. Naohito Okude Masa Inakage Thorsten Scheuermann Paul Debevec Keio University Valve Software University of Southern California

http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Sketches & Posters 42 Sketches & Posters Thursday, 11 December – Saturday, 13 December

t a b l e o f c o n t e n t s Green Graphics: Feedback Control Twist-and-Stretch: A Shape Dissimilarity for Energy-Efficient Rendering Measure Based on 3D Chain Codes

Gabriyel Wong Victor Lopez Jianliang Wang Universidad Nacional Autónoma de México Nanyang Technological University Irene Cheng High-Speed Hand Tracking for University of Alberta Gesture Recognition Ernesto Bribiesca Takafumi Aoki Universidad Nacional Autónoma de México Tokyo Institute of Technology Tao Wang Interactive Animation of Waterdrops With Anup Basu Particle-Based Fluid Simulation University of Alberta

Takuya Abe Masataka Imura Sei Ikeda Yoshitsugu Manabe Kunihiro Chihara Nara Institute of Science and Technology

Kime Pose Anime in Japanese Style Using Action-Line Control

Satoshi Cho Kanagawa Institute of Technology

Toshihiro Komma Shobi University

Hisashi Sato Kanagawa Institute of Technology

Kunio Kondo Tokyo University of Technology

Real-Time Composition Pre-Visualisation System

Hye-mi Kim Jungjae Yu Jae-Hean Kim Electronics and Telecommunications Research Institute

Shade Pixel: Interactive Skin for Ambient Information Displays

Hyunjung Kim Boram Lee JinHa Seong Woohun Lee Korea Advanced Institute of Science and Technology

Toward Multi-View Photometric Stereo for Body-Shape Measurement

Yusuke Yoshiyasu Keio University

http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Sketches & Posters 43 ConferenceExhibitor List Overview

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3D Consortium IdN The Monk Studio Co., Ltd.

3DSense Media School Imagi Studios Tobii Technology

A*Star c/o Institute for Infocomm Imagimax Studio Co., Ltd. United BMEC Pte Ltd Research Institute of Digital Design (IDD) University of Newcastle Academy of Art University Kaleida Advanced Micro Devices, Inc. AMD Korea National University of Arts Animation Magazine Leadtek Research Inc. Animation Reporter Lightwork Design Limited Anya Animation Company Lucasfilm Animation Company Singa- Association of Machinima Arts & pore B. V Sciences Lumiscaphe Autodesk Asia Pte Ltd MotionElements Pte Ltd. B-Digital (Thailand) Co.,Ltd New York University Tisch School of CGTantra the Arts Asia

Chaos Software Paragon Studio Co., Ltd

Christie Digital Systems, USA Inc. Pearson Education Asia Ltd

Creative Education Group Pixar Animation Studios

Crystal Computer Graphics Pte Ltd SAE Institute

Digidream Co.,Ltd. Santoku Corporation

E-Media Co., Ltd Seoul Business Agency

ETRI (Electronic and Telecommunica- Shenyang Seven colour DreamLand tions Research Institute) Animation company

Forum 8 Co., Ltd Sheridan Global

Frameboxx Animation & Visual Effects Siam University

Freeform Solution Pte Ltd Side Effects Software Inc.

G Element Pte Ltd Smart Eyes

Homerun Entertainment Co., Ltd. Stack! Studios

IBM Singapore Pte Ltd Teapot Studio Co., Ltd.

http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Exhibitor List 44 Co-located Workshops & Events

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Presented in cooperation with SIGGRAPH Asia, these small symposia are related to important aspects of computer graphics and interactive techniques.

www.machinima.com.sg www.vrcai2008.org Machinima Symposium 7th ACM SIGGRAPH 2008 International Conference Friday, 12 December 2008 on Virtual-Reality Saturday, 13 December 2008 Continuum and its Suntec Singapore International Convention Applications in Industry and Exhibition Centre (VRCAI 2008) Ascertain the future visage of Machinima, Monday, 8 December 2008 its making, distribution and consumption. Tuesday, 9 December 2008 Acquire knowledge from industry players expounding on the new trade. Gather tips Biopolis and techniques from international experts An exciting VRCAI 2008 awaits parti- on the scene, explore new terrains and cipants from both academia and industry delve deep into the arts and sciences of in Singapore, a hotbed of innovation Machinima making and expression. where state-of-the-art technologies www.machinima.com.sg and applications in the virtual reality continuum (VRC) will be explored and presented. Spanning next-generation info-communication environments such as virtual reality, augmented virtuality, augmented reality, and mixed reality. VRC is key to defining and interacting, with and within, our virtual worlds. Advances in research and novel applications in this field have revolutionised much of our leisure activities, making them more appealing and fun. Just as significantly, these advances provide the foundation for more effective interactivity in work- and learning-related activities. www.vrcai2008.org

http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Co-Located Workshops & Events 45 General Information

t a b l e o f c o n t e n t s

Resources & Policies c h i l d c a r e Child care is not provided at SIGGRAPH Asia 2008. Suntec Singapore International Convention Contact your hotel concierge for suggestions. & Exhibition Centre

s p e c i a l policies a g e requirement policies • Lost badges will not be replaced. If you lose your badge, you • Registered attendees under the age of 16 must be must register again at the published rates to obtain a new badge. accompanied by an adult at all times • Technical materials included with your registration must be picked • Children under 16 are not permitted in the Exhibition. up at the SIGGRAPH Asia 2008 Merchandise Pickup Centre. Age verification is required Lost merchandise vouchers will not be replaced.

accessibility • To be admitted to the Reception, you must have a ticket. (Your badge does not provide access) The Suntec Singapore International Convention & Exhibition Centre is handicap-accessible. If you have special needs or requirements, • Attendees under the age of 16 must be accompanied by please contact Conference Management. an adult at all times. Age verification is required. • No cameras or recording devices are permitted at SIGGRAPH a u t o m a t e d t e l l e r m a c h i n e s (a t m s ) Asia 2008. Abuse of this policy will result in the loss of the indi- There are several ATMs located throughout the lobbies of the vidual’s registration credentials. Suntec Singapore International Convention & Exhibition Centre. • SIGGRAPH Asia 2008 reserves the right to deny registration or entrance to any attendee or prospective attendee, and to cancel c a f e t e r i a /restaurants /s t a n d c a t e r i n g an existing registration, if it determines that a registration or an A variety of coffee shops, snack bars, and restaurants are available attendee is not in the best interest of SIGGRAPH Asia 2008 or in the convention centre and the adjacent Suntec City Mall. ACM SIGGRAPH. For Stand Catering Services, exhibitors are required to contact Suntec Singapore at +65.6825.2077 (Danielle Lim). Outside food exhibition h o u r s and drinks are strictly not allowed within the convention centre. Level 4, Halls 401 & 402 Thursday, 11 December 09:30–18:30 p a r k i n g Friday, 12 December 09:30–18:30 SIGGRAPH Asia 2008 attendees can park at Basement 1 (B1) of the Suntec Singapore International Convention & Exhibition Centre. Saturday, 13 December 09:30–18:30 The rates are as follows: c o n f e r e n c e h o u r s Mondays to Fridays (except Public Holidays) 10 December to 13 December: 08:00–18:00 07:00–17:00 $1.07 per half hour or part thereof Registration is open from 08:00 to 18:00 daily. 17:00–midnight $2.14 flat per entry t r a v e l & h o u s i n g Midnight–07:00 the next day Travel $1.07 per hour or part thereof If you are traveling from the US to SIGGRAPH Asia 2008, please Saturdays, Sundays, and Public Holidays contact Pleasant Holidays at 800.877.8111 or [email protected] 07:00–midnight to obtain special travel rates. Please inform Pleasant Holidays that $1.07 per hour or part thereof you are attending the SIGGRAPH Asia 2008 conference to enjoy these rates. Midnight–07:00 the next day $1.07 per hour or part thereof Housing (All charges are inclusive of GST) Please make your hotel reservations by 7 November 2008. Reservations made after 7 November 2008 will be based on avail- ability and SIGGRAPH Asia 2008’s discounted rates may not apply. b o o k s t o r e BreakPoint Books offers the latest and greatest books, CDs, and Visit SIGGRAPH Asia 2008’s Official Travel Agent to access the DVDs on computer animation, graphic design, gaming, 3D graph- easy-to-use online hotel reservation system, which includes ics, modelling, and digital artistry. The bookstore features recent complete information on housing policies, procedures, and rates: books by SIGGRAPH speakers and award winners. To suggest Or contact: books, CDs, or DVDs that should be available in the bookstore, contact: Orient Explorer (S) Pte Ltd 17 Jalan Mesin #04-00 Breakpoint Books Lee Hua Industrial Building Singapore 368816 800.986.9622 Tel: +65.6339.8687 +1.353.383.4656 Fax: +65.6339.9536 +1.352.383.4403 fax [email protected] [email protected] http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme General Information 46 General Information

t a b l e o f c o n t e n t s s h u t t l e s e r v i c e SIGGRAPH Asia 2008 provides a one-way complimentary shuttle service between conference hotels (not within walking distance) and the Suntec Singapore International Convention & Exhibition Centre every morning. Please check the departure times with the hotels.

Important notice: The SIGGRAPH Asia 2008 Shuttle Service is available only to attendees who register at official conference hotels through the SIGGRAPH Asia 2008 hotel reservation system. All attendees must have a SIGGRAPH Asia 2008 badge to board the Shuttle Service. a i r p o r t t r a n s f e r Airport transfers can be arranged through SIGGRAPH Asia 2008’s Official Travel Agent. The airport transfer is S$ 70.00 nett per way per car (Mercedes). If passenger pick up is between 23:00 and 07:00 hours, an additional fee of S$ 15.00 nett will be applicable.

http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme General Information 47 Committee

t a b l e o f c o n t e n t s

SIGGRAPH Asia 2008 Committee Exhibits Vice-Chair International Resources Mak Kum Shi Co-Chairs SIGGRAPH Asia 2008 Kirsten Cater Conference Chair GraphicsNet Chair University of Bristol Lee Yong Tsui David Spoelstra Scott Lang Nanyang Technological University MediaMachine LLC Bergen County Academies

SIGGRAPH Asia Conference Sketches and Poster Chair Conference Administration Advisory Group Chair Diego Gutierrez Koelnmesse Pte Ltd Alyn Rockwood Universidad de Zaragoza LiteViz Corp. Conference Management/Copy Co- Social Events Chair ordination/Marketing and Media ACM SIGGRAPH Chief Staff Shawna Olwen Koelnmesse Pte Ltd Executive Hubnutz, Reflection Fabrix Inc. Adrian Sng Exhibition Management Koelnmesse Pte Ltd Student Volunteers Chair Koelnmesse Pte Ltd Ahmad Al-Mahir SIGGRAPH Asia 2008 Singapore Polytechnic Conference Manager Graphic Design/Editing/Web Site Q LTD Daniel Schmidt Technical Papers Chair Koelnmesse Pte Ltd Kurt Akeley Registration Microsoft Research Silicon Valley Art Gallery Chair Globewerks International Pte Ltd Tomoe Moriyama Design Museum of Contemporary Art, Tokyo/ SIGGRAPH Information System (SIS) Leong Wey Hsien The University of Tokyo VisualMediaWorks The OPAL Group

Art Gallery Co-Chair Industry & Government Advisor Stand Contractor Stephanie Choo Susanto Rahardja Pico Art International Pte Ltd Orita•Sinclair - School of Art & New Media Agency for Science, Technology Orita•Sinclair - FrontRoom Gallery and Research Audio Visual ETG Pte Ltd Computer Animation Festival Chair Treasurer Jinny H.J. Choo Lin Feng SIGGRAPH Asia Conference ONCOMM, K’ARTS Digital Media Motion Nanyang Technological University Graphics Lab Advisory Group SIGGRAPH Asia 2009 Courses Chair Conference Chair SIGGRAPH Asia Conference Advisory Group Chair Matt Adcock Masa Inakage CSIRO Keio University Alyn Rockwood LiteViz Corp. Educators Programme Chair SIGGRAPH Asia 2010 Mark Chavez Conference Chair SIGGRAPH Asia 2008 Conference Chair Nanyang Technological University Hyeong-Seok Ko Seoul National University Lee Yong Tsui Emerging Technologies Chair Nanyang Technological University Tomoe Moriyama Publications SIGGRAPH Asia 2009 Museum of Contemporary Art, Tokyo/ Stephen N. Spencer Conference Chair The University of Tokyo ACM SIGGRAPH Director for Publications University of Washington Masa Inakage Emerging Technologies Co-Chair Keio University Adrian David Cheok National University of Singapore/ SIGGRAPH Asia 2010 Keio University Conference Chair Hyeong-Seok Ko Exhibits Chair Seoul National University Caleb Cheong Cavad Asia

http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Committee 48 Committee

t a b l e o f c o n t e n t s

Leo Hourvitz SIGGRAPH Conference ACM SIGGRAPH Polygon Pictures Inc. Chief Staff Executive Committee Chairs Bob Niehaus Kathryn Saunders Talley Management Group, Inc. Kathryn Saunders Design Inc. Chapters Committee Scott Lang SIGGRAPH Asia Chief Staff Bergen County Academies ACM SIGGRAPH Executive Chief Staff Executive Adrian Sng Communications Committee Adrian Sng Koelnmesse Pte Ltd Koelnmesse Pte Ltd Kathryn Saunders Kathryn Saunders Design Inc. SIGGRAPH Conference Strategic Advisor ACM SIGGRAPH Digital Arts Committee Executive Committee Greg Talley Jacquelyn Ford Morie Talley Management Group, Inc. Institute for Creative Technologies President G. Scott Owen ACM Program Director Education Committee Georgia State University Jessica Fried Rick Barry ACM Pratt Institute Vice President James Foley ACM SIGGRAPH Project Manager External Relations Committee Georgia Institute of Technology Erin Butler Alain Chesnais SmithBucklin Corporation Tucows Inc. Treasurer Jeff Jortner Information Services Committee Sandia National Laboratories Thierry Frey Allegorithmic Directors-at-Large Anthony Baylis Nominations Committee Lawrence Livermore National Laboratory Alain Chesnais Tucows Inc. Marie-Paule Cani Grenoble Universities & INRIA Publications Committee Jim Kilmer Stephen N. Spencer The OPAL Group University of Washington

Scott Lang Small Conferences Committee Bergen County Academies Brian Wyvill Kathryn Saunders University of Victoria Kathryn Saunders Design Inc. Student Services Committee Peter Schröder Lou Harrison California Institute of Technology North Carolina State University

Ex-Officio EC Members

SIGGRAPH Conference Advisory Group Chair Jackie White California State University, Los Angeles (retired)

SIGGRAPH Asia Conference Advisory Group Chair Alyn Rockwood LiteViz Corp.

http://www.siggraph.org/asia2008 SIGGRAPHAsia2008 Advance Programme Committee 49