FULL Conference Final Program

FULL COnFeREnCE FInaL PrOGRAm

Last Updated: 28 July 2009

TabLE oF CONTEnts (click to jump to section) Conference Sessions 3 Conference at a Glance n 25 Art Papers n 4 Keynote Speakers n 26 Courses n 4 ACM SIGGRAPH Awards n 40 Game Papers n 5 Conference Overview n 44 Panels n 8 Co-Located Workshops & Events n 48 Talks n 60 Technical Papers n

General Information 9 Conference Policies n Conference Galleries & Experiences 9 Age Requirement Policies n 75 BioLogic: A Natural History of Digital Life n 9 Airport Shuttle Discounts n 78 Generative Fabrication n 9 Bookstore n 80 Information Aesthetics Showcase n 9 Camera/Recording Policies n 85 Emerging Technologies n 9 Computer Animation Festival Passes n 96 Posters n 9 Conference Management Officen 103 The Studio n 9 Ernest N. Morial Convention Center n 9 Exhibition Management Officen Conference Contests & Competitions 9 Exhibitor Registration n 104 FJORG! 9 First Aid Officen n 104 GameJam! 9 Housing Desk n n 105 Research Challenge 9 Lost and Found n n 105 Speedlab 10 Luggage and Coat Check n n 10 Merchandise Pickup Center n 10 Parking n Computer Animation Festival 10 Reception n 106 Computer Animation Festival Overview n 10 Registration n 107 Juried Films n 10 Restaurant Reservations/City Information n 110 Screenings n 10 Shuttle Bus Service n 113 Real-Time Rendering n 10 SIGGRAPH Encore Conference Presentation DVD-ROM n 114 Stereoscopic 3D n 10 SIGGRAPH Store n 115 Visual Music n 10 Speaker Prep Room n 115 Urban Planning n 11 Technical Materials Sold After the Conference n 116 Production Sessions n 11 Telephone Numbers n 117 Panels and Talks n 11 Wireless Internet Access n

12 Registration & Media Information n Conference Communities 118 Birds of a Feather n SIGGRAPH By Focus 119 International Resources n 13 First-Time Attendees n 14 Art & Design n 121 ACM SIGGRAPH Executive Committee n 16 Education n 122 SIGGRAPH 2009 Conference Committee n 17 Games n 123 ACM SIGGRAPH Organization Overview n 19 Music & Audio n 125 ACM SIGGRAPH Cooperative Agreements n 20 Music Performances n 126 New Orleans Map & Hotel List n 22 Production/VFX n 127 Ernest N. Morial Convention Center Map n 24 Professional Development n 128 Special Thanks & Acknowledgements n

www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 2 GO TO TABLE OF CONTENTS n Conference at a Glance Conference schedule subject to change. SIGGRAPH2009 Full Conference Final Program

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n Full Conference Access l Basic Access s Computer Animation Festival

SUN 2 AUG MON 3 AUG TUE 4 AUG WED 5 AUG THU 6 AUG FRI 7 AUG Registration/ 2 - 6 pm 7:30 am - 6 pm 8 am - 6 pm 8 am - 6 pm 8 am - 6 pm 8 am - 3:30 pm Merchandise Pickup n l s Exhibition 9:30 am - 6 pm 9:30 am - 6 pm 9:30 am - 3:30 pm n l s Job Fair 10 am - 4 pm 10 am - 4 pm 10 am - 1 pm n l International Resources 2 - 6 pm 8 am - 6 pm 8 am - 6 pm 8 am - 6 pm 8 am - 6 pm 8 am - 2 pm n Reception 8 - 10 pm n l s Birds of a Feather 11 am - 11 pm 8:30 am - 11 pm 8 am - 9 pm 10:30 am - 6 pm Sessions n l ACM SIGGRAPH Award Talks 1:45 - 3:30 pm n Art Papers 3:45 - 5:30 pm 1:45 - 3:30 pm n Courses 8:30 am - 5:30 pm 8:30 am - 5:30 pm 8:30 am - 5:30 pm 8:30 am - 5:30 pm 8:30 am - 5:30 pm n l s Exhibitor Tech Talks 9:30 am - 6 pm 9:30 am - 6 pm 9:30 am - 3:30 pm n Game Papers 8:30 - 10:15 am and 8:30 - 10:15 am 1:45 - 5:30 pm 3:45 - 5:30 pm n l s Keynote Speakers Randy Thom Will Wright Steve Duenes (ACM SIGGRAPH Award Presentations) 10:30 am - 12:15 pm 10:30 am - 12:15 pm 10:30 am - 12:15 pm n Panels 1:45 - 5:30 pm 9:20 am - 3:30 pm 8:30 am - 3:30 pm 8:30 am - 5:30 pm n l Poster Sessions 12:15 - 1:15 pm 12:15 - 1:15 pm n Talks 8:30 - 10:15 am 8:30 am - 8 pm 8:30 am - 5:30 pm 10:30 am - 5:30 pm 8:30 am - 12:15 pm and 1:15 - 8 pm and 3:45 - 5:30 pm n Technical Papers 8:30 am - 5:30 pm 8:30 am - 5:30 pm 8:30 am - 5:30 pm 8:30 am - 5:30 pm Galleries & Experiences n l BioLogic Art 9 am - 6 pm 9 am - 6 pm 9 am - 6 pm 9 am - 6 pm 9 am - noon n l Emerging Technologies 9 am - 6 pm 9 am - 6 pm 9 am - 6 pm 9 am - 6 pm 9 am - noon n Geek Bar 9 am - 6 pm 9 am - 6 pm 9 am - 6 pm 9 am - 6 pm 9 am - noon n l Generative Fabrication 9 am - 6 pm 9 am - 6 pm 9 am - 6 pm 9 am - 6 pm 9 am - noon n l Information Aesthetics Showcase 9 am - 6 pm 9 am - 6 pm 9 am - 6 pm 9 am - 6 pm 9 am - noon n l Posters 9 am - 6 pm 9 am - 6 pm 9 am - 6 pm 9 am - 6 pm 9 am - noon n l The Sandbox 9 am - 6 pm 9 am - 6 pm 9 am - 6 pm 9 am - 6 pm 9 am - noon n l The Studio 9 am - 6 pm 9 am - 6 pm 9 am - 6 pm 9 am - 6 pm 9 am - noon Contests & Competitions n l s ACM Student Research Competition 10:30 am - 12:15 pm (Final Presentation) n l s FJORG! 9 am - Midnight Midnight - 5 pm 6 - 8 pm (Judging Ceremony) n l s GameJam! 6 pm - Midnight Midnight - 6 pm 6 - 8 pm (Judging Ceremony) n l Research Challenge 1:45 - 3:30 pm (Judging Ceremony) n l Speedlab 3:45 - 5:30 pm 1:45 - 5:30 pm (Judging Ceremony) n l s Collectible Business Card Game Throughout the week n l s Encounter SIGGRAPH Tuesday, 10:30 am to Wednesday, 6 pm Performances & Special Events n l s Music Performances 6 - 8 pm 6 - 8 pm 1:45 - 3:30 pm 1:45 - 3:30 pm and 6 - 8 pm and 6 - 8 pm n l s Technical Papers Fast Forward 6 - 8 pm Computer Animation Festival n s Evening Theater 6:30 - 9 pm 6:30 - 9 pm 6:30 - 9 pm 6:30 - 9 pm n s Festival Panels 1:45 - 5:30 pm 9:20 am - 3:30 pm 8:30 - 10:15 am 8:30 am - 5:30 pm n s Festival Talks 1:15 - 8 pm 8:30 am - 5:30 pm 10:30 am - 5:30 pm 10:30 am - 3:30 pm n s Production Sessions 8:30 - 10:15 am 1:45 - 5:30 pm 8:30 am - 3:30 pm 10:30 am - 5:30 pm n s Real Time 6:30 - 7 pm 6:30 - 7 pm 8:30 am - 5:30 pm 8:30 - 10:15 am n s Stereoscopic 3D: 8:30 - 10 am and 10 am - 12:15 pm 6:30 - 9 pm n s Urban Planning 8:30 am - 5:30 pm n s Visual Music 8:30 am - 8 pm www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 3 GO TO TABLE OF CONTENTS n SIGGRAPH2009 Full Conference Final Program

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n Full Conference Access l Basic Access sTImULATe. s Computer Animation Festival COlLABOrATE. CREatE. SIGGRAPH 2009 + New Orleans = the perfect combination for scientists, artists, animators, producers, educators, and executives in computer graphics and interactive techniques.

Five full days of learning all about the latest techniques and products, exploring the next frontiers of computer graphics, and connecting with colleagues and friends from the international SIGGRAPH community.

n l s LOCATION Keynote Speakers La Nouvelle Orleans Ballroom

Randy Thom Will Wright Steve Duenes Designing a Movie for Sound: Playing With Perception A Visual Response to the News How to Make Sound a Full Collaborator Tuesday, 4 August, 10:30 am - 12:15 pm Wednesday, 5 August, 10:30 am - 12:15 pm in the Storytelling Process Monday, 3 August, 10:30 am - 12:15 pm Video game designer, creator New York Times Graphics Director of Spore™ and The Sims series Steve Duenes is a leader in transforming Pioneer in sound and two-time Will Wright rose to prominence when he Academy Award® winner complex data into understandable graphic invented SimCity, the widely acclaimed, journalism. Duenes started at The New York Randy Thom has worked on more than 75 non-violent, open-ended simulation video Times in 1999 as the graphics editor for films including some of Hollywood’s biggest game. Since its release 20 years ago, he science, becoming the graphics director in blockbusters such as “Bolt”, “Forrest Gump”, has introduced The Sims series and several 2004. In his current role, he manages a staff “Harry Potter and the Chamber of Secrets”, other follow-ups. In 2008, Wright unveiled of 30 journalists who work as a team to shape “Harry Potter and the Goblet of Fire”, his latest achievement: Spore™, named and deliver visual information by researching, “Ratatouille”, “War of the Worlds”, and “Wild by Time Magazine as one of the “50 Best writing, designing, and programming the at Heart”. He received two Academy Awards® Inventions of 2008”. renowned information graphics for both the for Best Sound in “The Right Stuff” and printed newspaper and nytimes.com. Best Achievement in Sound Editing for “The Incredibles”.

n l s Award Presentations: Monday, 3 August, 10:30 am Award Winner Talks: Monday, 3 August, 1:45-3:30 pm ACM SIGGRAPH Awards La Nouvelle Orleans Ballroom Hall E 1-2

The Steven Anson Coons Award The Computer Graphics The Significant New The Distinguished Artist for Outstanding Creative Contri- Achievement Award Researcher Award Award for Lifetime butions to Computer Graphics Michael Kass Wojciech Matusik Achievement in Digital Art Robert L. Cook Pixar Animation Studios Adobe Systems, Inc. Lynn Hershman Leeson Pixar Animation Studios University of California, Davis Awarded annually to recognize a major Awarded annually to a researcher who Roman Verostko This award, presented during odd- accomplishment that provided a signifi- has made a recent significant contribution Minneapolis College of Art numbered years, recognizes long-term cant advance in the state of the art of to the field of computer graphics and is creative impact on the field of computer computer graphics and is still significant new to the field. The intent is to recognize Awarded annually to an artist who has graphics through a personal commitment and apparent. people who, though early in their careers, created a substantial and important body over an extended period of time. have already made a notable contribution. of work that significantly advances aesthetic content in the field of digital art.

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Conference Registration Categories One-Day registration includes access for one day to conference programs and events associated with that level of registration and all days of the Exhibition n Full Conference Access (Tuesday-Thursday). One-Day access does not include technical documentation l Basic Access or tickets for the Reception. s Computer Animation Festival

SeSsIONS GAlLERIES & n n n l eXPERIEnCEs Art Papers n Panels n Art & Design Tuesday - Wednesday, 4 - 5 August Monday - Thursday, 3 - 6 August BioLogic: A Natural History Rooms 265 - 266 Hall E 1 - 2, Auditorium B, Auditorium C, of Digital Life nn In collaboration with Leonardo/ISAST, Rooms 243 - 245, Rooms 260 - 262, Monday - Friday, 3 - 7 August SIGGRAPH 2009 presents peer-reviewed Rooms 265 - 266, Rooms 271 - 273 Rooms 352 - 355 papers that illuminate and explore the process Leading experts in computer graphics and An art exhibition of international juried installa- of making art and its place in society, helping interactive techniques share experiences, opin- tions and interactive art. Like a forward-looking the community understand the changing roles ions, insights, speculation, disagreement, and cabinet of curiosities, BioLogic combines bio- of artists and art-making in our increasingly controversy with the audience and each other. logical forms and systems with digital code and computerized, networked, multi-sensory, networks to explore expressions of life as we online world. The Art Papers are published n know it or imagine it to be. in a special issue of Leonardo. Talks n n l n Tuesday - Friday, 4 - 7 August Hall E 1 - 2, Hall E 3, Auditorium A, Audi- Art & Design Courses n torium B, Auditorium C, Rooms 243 - 245, Generative Fabrication nn Monday - Friday, 3 - 7 August Rooms 260 - 262, Rooms 265 - 266, Rooms Hall E 3, Auditorium A, Auditorium B, Monday - Friday, 3 - 7 August 271 - 273, La Nouvelle Orleans Ballroom Rooms 356-357 Auditorium C, Rooms 243-245, Rooms A broad spectrum of presentations on recent 260 - 262, Rooms 265-266, La Nouvelle The SIGGRAPH 2009 Design & Computation achievements in all areas of computer graphics Gallery explores non-linear and biological Orleans Ballroom and interactive techniques, including art, design, Learn from the experts and acquire inside knowl- processes through selected works of art, animation, visual effects, interactive music, architecture, and design. edge that expands skills and promotes profes- research, interactivity, and engineering. sional advancement. SIGGRAPH 2009 Courses n l range from an introduction to the foundations of n computer graphics and interactive techniques Emerging Technologies Technical Papers nn to advanced instruction on the most current n Monday - Friday, 3 - 7 August Tuesday - Friday, 4 - 7 August techniques and topics. Rooms 337 - 342 & 346 - 351 Hall E 1 - 2, Hall E 3 Hands-on interaction with innovative technolo- n l s The SIGGRAPH Technical papers program is gies and applications in many fields, including the premier international forum for disseminating Exhibitor Tech Talks displays, robotics, input devices, and haptics. nn new scholarly work in computer graphics. The Tuesday - Thursday, 4 - 6 August Technical Papers is published as a special issue n l s Back of Hall F of ACM Transactions on Graphics, the world’s Get the inside story direct from the commercial most respected research publication in com- Exhibition nn developers of tomorrow’s hot hardware, soft- puter graphics and interactive techniques. Tuesday - Thursday, 4 - 6 August ware, and systems. Join question-and-answer Hall F & G exchanges and one-on-one conversations Your best opportunity to explore this year’s after each presentation by SIGGRAPH 2009 new software, hardware, and services offered exhibitors. by vendors from throughout the world. Get up- close and hands-on with the newest hardware n systems, software tools, and creative services Game Papers n from hundreds of companies. Explore the prod- Tuesday - Thursday, 4 - 6 August ucts, systems, techniques, ideas, and inspiration Auditorium A, Auditorium B, Rooms 260 - 262 that are creating the next three generations of Peer-reviewed papers from the creative computer graphics and interactive techniques. and technical communities that develop videogames, and from academic researchers n who study videogames and related technolo- Geek Bar gies. The Game Papers are published in The Sponsored by Walt Disney Animation Studios Sandbox 2009: ACM SIGGRAPH Video Game Monday - Friday, 3 - 7 August Proceedings issue. Rooms 252-253 Real-time human networking. Streaming content from the SIGGRAPH 2009 session rooms. Wireless access. Comfy chairs.

www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 5 GO TO TABLE OF CONTENTS n Conference Overview SIGGRAPH2009 Full Conference Final Program

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n Full Conference Access l Basic Access s Computer Animation Festival

GAlLERIES & (CONT.) COnTEsTS & eXPERIEnCEs n l n l CoMPeTITIONs n l s Information Aesthetics The Studio n GameJam! n Showcase nn Monday - Friday, 3 - 7 August Tuesday - Wednesday, 4 - 5 August Monday - Friday, 3 - 7 August Rooms 343-345 Rooms 255 - 257 Rooms 274 - 277 From 2D and 3D graphics to audio and tactile For 24 action-packed, non-stop hours, teams In recognition of the increasingly prominent role interfaces, communal networks, and real-time collaborate to design, implement, and complete of information visualization and data graphics experiences, in The Studio attendees apply the best video game in human history. The in digitally mediated culture, the Information tomorrow’s hardware and software in hands-on results will be demonstrated at the SIGGRAPH Aesthetics Showcase presents projects from sessions. GameJam! Awards Ceremony on Thursday, visualization labs, medical-imaging groups, 6 August. social-research non-profit organizations, design n l s labs, museums, art programs, and new media ACM Student Research n l centers. Competition Final Presentation Research Challenge n Tuesday, 4 August | 1:45 - 3:30 pm n l nn Friday, 7 August | 10:30 am - 12:15 pm Rooms 265 - 266 Posters Individuals and teams develop innovative solu- n Rooms 265 - 266 tions to a challenge problem, demonstrating Monday - Friday, 3 - 7 August Before the conference, 25 posters are selected their creativity, design, and execution skills. Auditorium Lobby for judging at SIGGRAPH 2009. During the Selected finalists present their work to a panel Browse their breakthroughs then talk with the conference, a panel of distinguished judges of distinguished judges in a public session, researchers who are leading the evolution of selects five semi-finalists and presents awards where final awards are announced. computer graphics and interactive techniques. at the ACM SRC Final Presentation. Posters are displayed throughout the conference week, and presenters discuss their work n l s n l s in scheduled sessions: Tuesday, 4 August and Social Game Thursday, 6 August, 12:15 - 1:15 pm. Encounter SIGGRAPH 2009 nn nn Tuesday, 4 August, 10:30 am – Monday - Thursday, 3 - 6 August n l Wednesday, 5 August, 6 pm Hall G Lobby In this collectible business card game, partici- The Sandbox nn Hall G Lobby A new way to explore SIGGRAPH – A confer- pants gather business cards from SIGGRAPH Monday - Friday, 3 - 7 August ence-wide high-tech mobile phone scavenger 2009 attendees, then use the skills represented Outside Room 334 Lobby hunt that will guide you through the highlights by the cards to build a production team and Workshop areas for game design, in conjunction of the conference and even take you on a create a game with three “cool features”. with The Studio, featuring toolsets that attend- high-tech interactive tour of New Orleans! For more info see http://wiki.siggraph.org/cbcg ees can use to play games and learn how they Play individually or in teams. Prizes awarded are designed, Game-playing stations for games to top scorers. For more info see n l shown in the Real-Time Rendering section of http://www.encountersiggraph.org SpeedLab the Computer Animation Festival. IndieCade: nn An exhibit highlighting innovative, independent Opening Session n l s game design and development. Sunday, 2 August | 4 - 5 pm FJORG! n Rooms 265 - 266 Monday - Tuesday, 3 - 4 August Rooms 255 - 257 Judging Ceremony Teams of animators from around the world forgo Friday, 7 August | 1:45 - 3:30 pm sleep and resist several staged distractions for Auditorium B 32 non-stop hours to produce the best character-driven animation in the universe. Celebrity In this multi-disciplinary competition, teams judges from the animation industry present the are assigned a problem at the beginning of winner of the third annual SIGGRAPH “iron ani- SIGGRAPH 2009, and five days later they mator” competition on Thursday, 6 August. present their solutions to a panel of celebrity judges. Solutions are evaluated on their creativity, practicality, and “cool factor”. Sign up for a SpeedLab team at the opening session on Sunday, 2 August. Teams are formed based on participants’ skills and expertise.

www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 6 GO TO TABLE OF CONTENTS n Conference Overview SIGGRAPH2009 Full Conference Final Program

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n Full Conference Access l Basic Access s Computer Animation Festival

PErFORMaNCeS & sPECIAL eVENTS n l s n l s n l s Music Perfomances n Birds of a Feather n Job Fair nn Monday - Thursday, 3 - 6 August Monday - Friday, 3 - 7 August Tuesday - Thursday, 4 - 6 August Rooms 243 - 245 Informal presentations, discussions, and Hall G Performances that combine music with imagery demonstrations, organized by and for people Employers and creative professionals connect or demonstrate novel interactive techniques. who share interests, goals, technologies, before the conference via the CreativeHeads. environments, or backgrounds. See the net job board network and candidate profiling Conference Locator for a complete list of system. During SIGGRAPH 2009, they meet at n l s the Birds of a Feather sessions. the Job Fair. After the conference, they continue Technical Papers Fast Forward to explore opportunities via the CreativeHeads.net Monday, 3 August posting and profiling system. Hall E 1 - 2 n l The world’s leading experts in computer International Resources n graphics and interactive techniques preview the Monday - Friday, 3 - 7 August Technical Papers in provocative, sometimes hilari- Hall G (SIGGRAPH Village) ous summaries of the field’s evolution. Learn how the industry is evolving worldwide and collaborate with attendees from five continents. The International Center offers bilingual tours of SIGGRAPH 2009 programs, informal translation services, and space for meetings, talks, and demonstrations.

RECEPTION n Reception Co-sponsored by Side Effects Software Thursday, 6 August 8 - 10 pm Blaine Kern’s Mardi Gras World, 1380 Port of New Orleans Place

Join friends and colleagues from around the world to celebrate the spirit of New Orleans. Wander among towering figures of fantasy. Marvel at the skill and technology that animate the mega-floats of Mardi Gras. Enjoy delicious Crescent City cuisine and refreshing libations.

Mardi Gras World is located just south of the Ernest N. Morial Convention Center. The best way to get to the reception is on foot, as part of the traditional New Orleans “second-line” street parade that departs the convention center at approximately 7 pm in front of Halls A-C.

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Separate registration is required.

orkshops Co-Located W Presented in cooperation with ACM & SIGGRAPH, Events these small symposia focus on special areas of computer graphics and interactive techniques.

NPAR 2009 7th International Symposium on Non-Photorealistic Animation Symposium on High Performance Graphics 2009 & Rendering Computer Animation

Hotel Monteleone Room 287 Renaissance Arts Hotel 1 -3 August 1 - 2 August 1 - 2 August

The High-Performance Graphics 2009 conference NPAR 2009, the 7th international symposium The Symposium on Computer Animation (SCA) is synthesizes two important and cutting-edge dedicated to non-photorealistic animation and the premier forum for innovations in the soft- topics in computer graphics: rendering, sponsored by ACM SIGGRAPH and ware and technology of computer animation. in cooperation with Eurographics. Non-photore- The eighth annual event unites researchers and • Graphics Hardware, represented since 1986 alistic animation and rendering (NPAR) refers to practitioners working on all aspects of time-based by an annual conference of that name, techniques for visually communicating ideas and phenomena. Our focused, intimate gathering, focusing on graphics hardware, architecture, information. Such techniques usually generate with single track program and emphasis on com- and systems. imagery which is expressive, rather than “photore- munity interaction, makes SCA the best venue to • Interactive Ray Tracing, represented since alistic”. This research deals with both the mecha- exchange research results, get inspired, and set 2006 in an innovative symposium focusing nisms of non-photorealistic rendering techniques up collaborations. on the emerging field of interactive ray tracing as well as the principles of visual communication and global illumination techniques. via such artistic rendering. www.cs.ubc.ca/~van/sca/sca.html nn By combining these two communities, we aim to www.cs.rug.nl/svcg/npar2009/ nn bring to authors and attendees the best of both, while extending the scope of the new conference to cover the overarching field of performance- SBIM 2009: Sixth Eurographics oriented graphics systems, including innovative algorithms, efficient implementations, and novel Symposium on Sketch-Based hardware architectures. This broader focus offers Interfaces and Modeling a common forum for researchers, engineers, and architects to discuss the complex interactions of Sheraton New Orleans massively parallel hardware, novel programming 1 - 2 August models, efficient graphics algorithms, and innovative applications. The Sixth ACM/Eurographics Symposium on Sketch-Based Interfaces and Modeling provides www.highperformancegraphics.org nn a venue for exploring the models, algorithms and technologies needed to enable effective sketch- based interfaces. It focuses on novel methods for classification and recognition of hand-drawn shapes, and methods for using these techniques to create or edit digital models — everything from text and mathematics to 2D diagrams to building and animating models in 3D. In addition to systems that build models, the symposium also presents empirical user studies aimed at evaluating the effectiveness of these sketch-based interfaces.

sbim09.cse.wustl.edu/index.php nn

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Conference Policies Camera/Recording Policies Exhibition • Passes: To be admitted to the Reception, No cameras or recording deices are permitted at Management Office you must have a ticket. (Your registration badge SIGGRAPH 2009. Abuse of this policy will result in +1.504.670.4008 does not provide access.) Computer Animation revocation of the individual’s registration credentials. Hall F (Back of the Hall) Festival access is included with Full Conference Representatives are available during conference Access and the Festival pass. SIGGRAPH 2009 employs a professional pho- hours to meet with exhibitors and help with plans • SIGGRAH 2009 reserves the right to deny tographer and reserves the right to use all images for exhibiting at SIGGRAPH 2009 and 2010. registration or entrance to any attendee or that this photographer takes during the confer- prospective attendee, and to cancel an existing ence for publication and promotion of future ACM registration, if it determines that a registration SIGGRAPH events. Exhibitor Registration or an attendee is not in the best interest of Hall F SIGGRAPH 2009 or ACM SIGGRAPH. Computer Animation Open during registration hours. See • Lost badges cannot be replaced. If you lose Registration. your badge, you must register again at the Festival Passes published rates to obtain a new badge. Lost Computer Animation Festival access is included merchandise vouchers will not be replaced. with Full Conference Access and the Festival First Aid Office* • SIGGRAPH 2009 conference documentation pass. You can add the week-long Festival Pass Hall F Lobby and pre-purchased merchandise will not to your Basic Access registration at a discounted Sunday, 2 August be shipped, nor will refunds be given for price, or you can add the Festival to a Basic One- any material that is not picked up at the Day pass. 7:30 am - 6:30 pm Monday, 3 August Merchandise Pickup Center. 7 am - 9:30 pm Tuesday - Wednesday, 4-5 August Conference 7:30 am - 9:30 pm Age Requirement Policies Management Office Thursday, 6 August • Registered attendees under the age of +1.504.670.4002 9 am - 9 pm 16 must be accompanied by an adult at Rooms 267-268 Friday, 7 August 7:30 am - 6 pm all times. If you have questions regarding SIGGRAPH 2009, • Children under 16 are not permitted in call or stop by this office anytime during confer- * For emergencies, contact the Conference Management the Exhibition. Age verification is required. ence hours. Office at +1.504.670.4002 (do not call 911 directly, Con- ference Management will provide faster response within the convention center). Airport Shuttle Discounts Ernest N. Morial SIGGRAPH 2009 has partnered with Airport Convention Center Housing Desk Shuttle to offer transportation to and from Louis +1.504.670.4010 Armstrong International Airport (MSY). SIGGRAPH Accessibility Hall F 2009 attendees receive a $2 discount on a round- The convention center is handicap accessible. If Complete information about SIGGRAPH 2009 trip ticket when they book service online through you have special needs or requirements, please hotel accommodations. Open during registration Airport Shuttle Reservations at www.siggraph. call Conference Management at: hours. See Registration. org/s2009. These discounts are valid from 25 July +1.504.670.4002 until 13 August 2009. Business Center +1.504.670.8941 Lost and Found Bookstore Hall F Lobby Hall F (next to Registration) Room 270 The Ernest N. Morial Convention Center Busi- To inquire about lost items during the conference. ness Center offers copy and fax services, digital (Note: On Friday the Lost and Found desk will be Monday, 3 August printing, sign and banner making, mobility scooter located in the SIGGRAPH Store, Hall E Lobby.) 8 am - 7 pm rentals, instant business cards, office and exhibit After the conference, all lost-and-found items will Tuesday - Friday, 4 - 7 August supplies and small parcel shipping services. be turned over to the Ernest N. Morial Conven- 8 am - 6 pm tion Center Security Office, Room H116 located Food Services outside of Hall H. BreakPoint Books offers the latest and greatest Several restaurants, concessions, and food carts books, CDs, and DVDs on computer animation, are available throughout the convention center for graphic design, gaming, 3D graphics, modeling, the convenience of SIGGRAPH 2009 attendees. and digital artistry. The bookstore features recent books by SIGGRAPH 2009 speakers and award winners.

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Luggage and Coat Check Registration/Merchandise SIGGRAPH Encore Hall G Lobby Pickup Center Conference Presentations Monday, 3 August Hall F DVD-ROM 7:30 am - 9:30 pm Sunday, 2 August La Nouvelle Orleans Ballroom Lobby Tuesday - Thursday, 4 - 6 August 2 - 6 pm The SIGGRAPH Encore Conference Presenta- 8 am - 9:30 pm Monday, 3 August tions DVD-ROM set returns in 2009! Get the Friday, 7 August 7:30 am - 6 pm SIGGRAPH 2009 conference presentations on a 8 am - 6 pm Tuesday - Thursday, 4 - 6 August 2 disc DVD-ROM set. Visit the SIGGRAPH Encore 8 am - 6 pm booth in the La Nouvelle Orleans Ballroom Lobby Luggage and Coat Check service is available for Friday, 7 August for more information and to place your order. briefcases, backpacks, and other small items 8 am - 3:30 pm during the hours listed below. SIGGRAPH 2009 is not responsible for items left in the Luggage and Coat Check area. SIGGRAPH Store Restaurant Reservations/City Hall E Lobby Information Review and purchase additional technical materi- Merchandise Pickup Center +1.504.670.8905 als and gifts (t-shirts, polo shirts, coffee mugs, Hall F (near Registration) baseball cap) for friends, family, and colleagues. Your conference documentation (included with Sunday - Friday, 2 - 7 August registration) must be picked up at the Merchan- Sunday, 2 August 9 am - 5 pm dise Pickup Center. Conference documentation noon - 6 pm and pre-purchased merchandise will not be Monday - Thursday, 3 - 6 August General conference information, New Orleans shipped, nor will refunds be given for any material 8 am - 6 pm restaurant reservations and New Orleans city that is not picked up at the Merchandise Pickup Friday, 7 August information. Center. Open during registration hours. See 8 am - 3:30 pm Registration. Shuttle Bus Service +1.410.507.0971 Speaker Prep Parking Rooms 278-279 +1.504.566.1010 SIGGRAPH 2009 provides shuttle bus service Sunday, 2 August Parking is available at AMPCO/Fulton Street between many conference hotels and the Ernest N. Morial Convention Center. 9 am - 7 pm Garage located across the street from the Ernest Monday – Thursday, 3 - 6 August N. Morial Convention Center at 901 Convention 7 am - 7 pm Center Boulevard for $10 per day. There are no IMPORTANT NOTICE Friday, 7 August in/out privileges. Attendees who used the SIGGRAPH 2009 hotel reservation system to make reservations at 7 am - 2 pm hotels served by the SIGGRAPH shuttle buses will receive a complimentary shuttle wristband Pick up your registration credentials and Reception when they check in. Attendees who did not book conference information. Then go to the Speaker Co-sponsored by Side Effects Software through the SIGGRAPH 2009 reservation system Prep Room to collect your Speaker Ribbons and and wish to use the shuttle service can purchase badge holder. wristbands at the SIGGRAPH Store for $75. Attendees without wristbands will not be allowed If you are presenting at the conference, you to use the shuttle service. One exception: all should check in with Speaker Prep at least 24 Thursday, 6 August, 8 - 10 pm attendees with badges or reception tickets will hours before your session to review and upload Blaine Kern’s Mardi Gras World be able to ride the shuttle buses to and from the your materials, practice your presentations, and reception, without needing a wristband. test the playback of your media. Join friends and colleagues from around the world to celebrate the spirit of New Orleans. Wander Hotel Shuttle Service Hours among towering figures of fantasy. Marvel at the Sunday, 2 August skill and technology that animate the mega-floats 1:30 - 6 pm of Mardi Gras. Enjoy delicious Crescent City Monday - Thursday, 3 - 6 August cuisine and refreshing libations. 7 - 11:30 am and 5 - 9:30 pm Friday, 7 August Mardi Gras World is located just south of the 7 - 11:30 am and 1:30 - 6 pm Ernest N. Morial Convention Center. The best way to get to the reception is on foot, as part of Hotel shuttle service will pick-up and drop-off the traditional New Orleans “second-line” street attendees outside Hall D & E of the Ernest N. parade that departs the convention center at Morial Convention Center. approximately 7 pm in front of Halls A-C. The last shuttle from Blaine Kern’s Mardi Gras Reception tickets are available at the Registration World will depart at 10:30 pm. counter in Hall F. The cost is $55 per person. All sales are final.

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Technical Materials Sold SIGGRAPH Asia 2008 Video Review Wireless Internet Access Member: $30; Non-Member: $45 After the Conference Highlighted works from the SIGGRAPH Asia SIGGRAPH 2009 provides 802.11 a/b/g 2008 Computer Animation Festival in Singapore, wireless network access throughout the Ernest Full Conference DVD-ROM December 2008. N. Morial Convention Center. To use the wireless Member: $65; Non-Member: $100 network, attendees should have their own wire- This digital publication contains the electronic To order these materials after the conference, less (802.11a, b, or g compatible) cards. version of the Technical Papers, including images contact: and supplemental material; all of the Course Please refer to your laptop operating system Notes, including supplemental material (movies, ACM Member Services and client adapter documentation and follow source code, HTML presentations); and the per- this procedure: 800.342.6626 (Continental US and Canada) manent record of the Courses, Emerging Tech- +1.212.626.0500 (International and New York Metro area) nologies, Panels, Posters, Talks, the Art & Design 1. Document all existing TCP/IP and +1.212.944.1318 fax wireless configuration information Galleries, and the Computer Animation Festival. orders (at) acm.org (A complimentary copy of the Full Conference before you make any changes. DVD-ROM is included with Full Conference 2. Configure your laptop to use DHCP. Access registration.) 3. Configure your wireless adapter network Telephone Numbers Name (SSID) to be “s2009”. ACM Transactions on Graphics 4. Disable encryption on your wireless Business Center adapter. (Conference Proceedings Special +1.504.670.8941 Issue) - Printed The SIGGRAPH 2009 wireless network provides Member: $35; Non-Member: $52 Conference Management Office +1.504.670.4002 open, unencrypted communications for confer- Contains the SIGGRAPH 2009 Technical Papers ence attendees. The system is not secure and and the ACM SIGGRAPH awards. Exhibition Management Office can be monitored by others. +1.504.670.4008 Leonardo, the Journal of the Housing Desk International Society of the Arts, +1.504.670.4010 Sciences and Technology (ISAST) (Special Issue) Media Headquarters Member: $17; Non-Member: $25 +1.504.670.4011 This printed publication contains the permanent Parking record of the juried Art Gallery +1.504.566.1010 Restaurant Reservations/ Sandbox: ACM SIGGRAPH City Information on Video Games +1.504.670.8905 Member: $20; Non-Member: $30 Shuttle Bus Service This printed and CD-ROM proceedings contains +1.410.507.0971 the Game Papers. The CD-ROM also contains supplemental material in support of the Game Papers.

SIGGRAPH 2009 Video Review Member: $120; Non-Member: $180 This series of three DVDs documents the Com- puter Animation Festival programs. Individual DVD programs are available for purchase at SIGGRAPH 2009 registration, at the SIGGRAPH Store, and at the SIGGRAPH Video Review booth outside the Computer Animation Festival venues. Member: $40 each; non-member: $60 each.

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Conference Registration Categories InCLUDEd WITH n Full Conference Access YOuR ReGISTrAtION l Basic Access Sessions s Computer Animation Festival

n l s Awards Presentation Member Rate If you are currently an ACM or ACM SIGGRAPH member you are eligible for member discounts. You n Courses/Panels/Talks must provide your current ACM or ACM SIGGRAPH membership number to receive the discount, n l s Exhibitor Tech Talks otherwise, you will be charged the non-member rate. Local or regional ACM SIGGRAPH memberships are not eligible for registration discount. n l s Keynote Speakers

n Papers: Technical, Art, Games Student Rate You must be a full-time student to qualify. You must provide your 2009 ACM Student membership Galleries & Experiences number to qualify for student rate (this applies for those registering in advance as well as at the conference.) n l Art & Design BioLogic: A Natural History of Digital Life Failure to provide valid information will result in you being charged the non-member rate. Note: Your badge will include your name, organization, city, state, country, and membership status as Generative Fabrication indicated on your registration form. n l Emerging Technologies

n l s Exhibition Registration Location: Hall F n l Information Aesthetics Showcase Sunday, 2 August 2 - 6 pm n l Posters Monday, 3 August 7:30 am - 6 pm n l The Sandbox Tuesday, 4 August 8 am - 6 pm Wednesday, 5 August 8 am - 6 pm n l The Studio Thursday, 6 August 8 am - 6 pm Contests & Competitions Friday, 7 August 8 am - 3:30 pm

n l s FJORG! Media Headquarters Location: Room 284 n l s GameJam!

n l s Social Game Sunday, 2 August 4 - 6 pm Monday, 3 August 8 am - 6 pm Performances & Special Events Tuesday, 4 August 8 am - 6 pm n l s Music and Audio Wednesday, 5 August 8 am - 6 pm Thursday, 6 August 9 am - 5 pm n l s Technical Papers Fast Forward Friday, 7 August 9 am - 3 pm Community Media Registration n l s Birds of a Feather Media representatives must register in the Media Headquarters Office, Room 284. You must submit full and proper media credentials for a media pass. No exceptions will be made. n l International Resources

n l s Job Fair Media Briefing/Exhibition Floor Tour The official SIGGRAPH media briefing provides an update the media on what’s new and what’s hot Computer Animation Festival at SIGGRAPH 2009. Gain access to the exhibit floor before it opens to the attendees for a “sneak n s Evening Theaters preview” of the latest products and applications.

n s Festival Panels, Talks Media Briefing Location: Room 284 n s Production Sessions Tuesday, 4 August 8 - 8:45 am n s Real-Time Rendering Exhibitor Media Events n s Stereoscopic 3D A schedule of various exhibitor media events will be available in the Media Headquarters Office in n s Visual Music Room 284.

Documentation

n Full-Conference DVD-ROM

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: BY FOCUS SIGGRAPH FIRsT-tIME ATtENDeEs For first-time attendees, the annual SIGGRAPH conference can be an exciting but overwhelming experience. We recommend setting aside time to explore the various galleries and experiences, and make sure to see the Evening Theater. Plus, listed below are suggestions for sessions that are particularly accessible to first-timers, to help you plan a fun, stimulating, and professionally rewarding adventure.

Keynote Speakers n Silent Drum n Making Pixar’s “Partly Thursday, 6 August | 1:45 - 3:30 pm Cloudy”: A Director’s Vision n Randy Thom Rooms 243-245 Tuesday, 4 August | 3:45 - 5:30 pm Designing a Movie for Sound: Hall E 1-2 How to Make Sound a Full Collaborator And Then, Romina ... n in the Storytelling Process Thursday, 6 August | 6 – 8 pm See, Hear, Make, and Play n Monday, 3 August | 10:30 am - 12:15 pm Rooms 243-245 Wednesday, 5 August | 3:45 - 5:30 pm La Nouvelle Orleans Ballroom Rooms 243-245

Will Wright Panels Playing With Perception Production Sessions Tuesday, 4 August | 10:30 am - 12:15 pm Getting a Job in CG for La Nouvelle Orleans Ballroom Entertainment: Visual Effects, Building Benjamin Button: Animation, and Games n A Blending of “Technique-ologies” n Steve Duenes Monday, 3 August | 1:45 - 3:30 pm Monday, 3 August | 8:30 - 10:15 am A Visual Response to the News Rooms 260-262 La Nouvelle Orleans Ballroom Wednesday, 5 August | 10:30 am - 12:15 pm La Nouvelle Orleans Ballroom Keeping a Job in CG for Robots, Cyborgs, and the Final Entertainment: Visual Effects, Frontier: An Inside Look at Animation, and Games n “Transformers: Revenge of Courses Monday, 3 August | 3:45 - 5:30 pm the Fallen”, “Terminator Rooms 260-262 Salvation”, and “Star Trek” n Introduction to Computer Graphics n Tuesday, 4 August | 1:45 - 5:30 pm Monday, 3 August | 1:45 - 5:30 pm La Nouvelle Orleans Ballroom Auditorium A Special Events Big, Fast and Cool: Making Technical Papers Fast Forward n the Art for Fight Night 4 & Music Performances Monday, 3 August | 6 - 8 pm Gears of War 2 n Hall E1-2 Wednesday, 5 August | 8:30 - 10:15 am Pandeiro Funk: Experiments La Nouvelle Orleans Ballroom on Rhythm-Based Interaction n Tuesday, 4 August | 6 - 8 pm Talks “Cloudy With a Chance Rooms 243-245 of Meatballs”: Making Visual Music Talks n Mouthwatering 3D n envyCODE n Monday, 3 August | 1:15 - 5:45 pm Wednesday, 5 August | 1:45 - 3:30 pm Wednesday, 5 August | 1:45 - 3:30 pm Rooms 243-245 La Nouvelle Orleans Ballroom Rooms 243-245 See What You Feel: A Study G-Force 3D: Guinea Pigs, Improvisation With The TOOB n in the Visual Extension of Music Gadgets, and Post-Production Wednesday, 5 August | 1:45 - 3:30 pm (Matthew Bain Performance and Talk) n in Stereoscopic Filmmaking n Rooms 243-245 Monday, 3 August | 6 - 8 pm Thursday, 6 August | 1:45 - 3:30 pm Rooms 243-245 Rooms 260-262 Reactable n Wednesday, 5 August | 6 - 8 pm Urban Planning n “Coraline”: The Changing Rooms 243-245 Tuesday, 4 August | 8:30 am - 5:30 pm Face of Animation n Rooms 271-273 Thursday, 6 August | 3:45 - 5:30 pm Rooms 260-262

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: BY FOCUS SIGGRAPH ART & DESIGN

SIGGRAPH celebrates and fosters the fusion and mutual inspiration of science, art, and technology. Here is a snapshot of some of the SIGGRAPH 2009 offerings that emphasize the art and design aspects of computer graphics and interactive techniques. Listed on page 15 are suggestions for sessions that are particularly relevant to Art & Design.

Art & Design Experiences Reception Celebrating the Special Issue BioLogic: A Natural History of Digital Life nn of Leonardo and SIGGRAPH SIGGRAPH 2009’s juried art gallery explores the 2009 Art & Design Galleries flux of natural and technological forces. The gallery Tuesday, 4 August, 1:30 - 3:30 pm will be documented in a special issue of Leonardo, Lobby outside Rooms 353-355

The Journal of the International Society of the Arts, Drink a toast to the SIGGRAPH special issue Sciences and Technology. of Leonardo and the SIGGRAPH 2009 art and design galleries. Talk with the artists, designers, and Art Papers authors about their work. Meet Generative Fabrication the members of the SIGGRAPH 2009 committee nn who organized this year’s exhibits of digital art This year’s curated design & computation gallery and design. explores non-linear and biological processes in selected works of art and architecture.

The Studio n Where attendees get hands-on experience with the latest creative technologies.

Information Aesthetics Showcase nn Works that combine information and data visualization with graphic design and media arts.

Art & Design Sessions

Art Papers n New for SIGGRAPH 2009. Presentation of scholarly papers on digital art and its place in society, peer-reviewed by SIGGRAPH for a special issue of Leonardo, The Journal of the International Society of the Arts, Sciences and Technology.

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Keynote Speaker n Talks

Steve Duenes Information Aesthetics: A Visual Response to the News Designing Interactions n Wednesday, 5 August | 10:30 am - 12:15 pm Monday, 3 August | 8:30 - 10:15 am La Nouvelle Orleans Ballroom Auditorium B

Visual Music Talks n Courses Monday, 3 August | 1:15 - 5:45 pm Rooms 243-245 Shape Grammars n Friday, 7 August | 8:30 am - 12:15 pm 2009 Japan Media Arts Rooms 243-245 Festival Review n Monday, 3 August | 1:45 - 3:30 pm Computation & Cultural Heritage: Rooms 271-273 Fundamentals and Applications n Friday, 7 August | 1:45 - 5:30 pm Art and Interaction n Auditorium C Tuesday, 4 August | 8:30 - 10:15 am Rooms 265-266

Panels Urban Planning n Tuesday, 4 August | 8:30 am - 5:30 pm The State of Aesthetic Computing Rooms 271-273 or Info-Aesthetics n Monday, 3 August | 3:45 - 5:30 pm Explorations in Art and Design n Auditorium B Wednesday, 5 August | 3:45 - 5:30 pm Rooms 265-266 Building Digital Cities n Tuesday, 4 August | 9:30 - 10:15 am Immersive and Impressive: Rooms 271-273 The Impressionistic Look of Flower on the PS3 n The Art History of Games n Wednesday, 5 August | 1:45 - 3:30 pm Thursday, 6 August | 8:30 - 10:15 am Rooms 271-273 Auditorium C

BioLogic and Generative Fabrication n Thursday, 6 August | 10:30 am - 12:15 pm Rooms 265-266

Production Sessions

Big, Fast and Cool: Making the Art for Fight Night 4 & Gears of War 2 n Wednesday, 5 August | 8:30 - 10:15 am La Nouvelle Orleans Ballroom

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: BY FOCUS SIGGRAPH eDUCaTIOn Educating the next generation of practitioners in computer graphics and interactive techniques is a great responsibility. SIGGRAPH 2009 maintains the SIGGRAPH community’s traditional commitment to providing resources for teachers and learners. Listed below are suggestions for sessions of special interest to educators.

SpaceTime Student Exhibition Opening Birds of a Feather Sessions Educators Meet and Greet nn Talks

Monday, 3 August | 3:30 - 4:30 pm Sharing Ideas in Teaching 3D Animation Animation in Education n Hall G (SIGGRAPH Village) Teaching Computer Graphics in Context Monday, 3 August | 1:45 - 3:30 pm Rooms 265-266 Teaching Math Through Game Development Keynote Speakers n Education: Learning and the Studio n Interdisciplinary Computer Graphics Tuesday, 4 August | 8:30 - 10:15 am Randy Thom Education Auditorium B Designing a Movie for Sound: How to Make Sound a Full Collaborator in the Storytelling Process Courses Monday, 3 August | 10:30 am - 12:15 pm La Nouvelle Orleans Ballroom The Whys, How Tos, and Pitfalls of User Studies n Will Wright Monday, 3 August | 1:45 - 5:30 pm Playing With Perception Auditorium C Tuesday, 4 August | 10:30 am - 12:15 pm La Nouvelle Orleans Ballroom Panels Steve Duenes A Visual Response to the News The Future of Teaching Computer Wednesday, 5 August | 10:30 am - 12:15 pm Graphics for Students in Engineering, La Nouvelle Orleans Ballroom Science, and Mathematics n Wednesday, 5 August | 8:30 - 10:15 am Rooms 265-266

Instigating Change: Models for Positive Games n Wednesday, 5 August | 1:45 - 3:30 pm Auditorium B

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: BY FOCUS SIGGRAPH GAMes The buzz is building in the international games community. SIGGRAPH 2009, this year’s edition of the premier conference on computer graphics and interactive techniques, is the place to be. Don’t miss these sessions, shows, and opportunities:

Keynote Speaker n Real-Time Global Illumination Instigating Change: Models for Dynamic Scenes n for Positive Games n Will Wright Tuesday, 4 August | 8:30 - 10:15 am Wednesday, 5 August | 1:45 - 3:30 pm Playing With Perception Auditorium C Auditorium B Tuesday, 4 August | 10:30 am - 12:15 pm La Nouvelle Orleans Ballroom Efficient Substitutes The Art History of Games n Video game designer, creator of Spore for Subdivision Surfaces n Thursday, 6 August | 8:30 - 10:15 am and The Sims series Wednesday, 5 August | 1:45 - 5:30 pm Auditorium C Auditorium A The Masters Speak: Game Game Papers n Beyond Programmable Shading I n Developers Weigh in on True Thursday, 6 August | 8:30 am - 12:15 pm 3D Gaming n Auditorium A, Auditorium B, Rooms 260-262 Auditorium A Thursday, 6 August | 8:30 - 10:15 am The latest breakthroughs in game design, Rooms 271-273 development, and research. The Game Beyond Programmable Shading II n Papers are published in the Sandbox Thursday, 6 August | 1:45 - 5:30 pm Simulated Physics in Games n 2009: ACM SIGGRAPH Video Game Auditorium A Thursday, 6 August | 10:30 am - 12:15 pm Proceedings issue. Auditorium C Realistic Human Body Movement for Emotional Expressiveness n Social Game nn Friday, 7 August | 8:30 am - 12:15 pm Talks Auditorium B Hall G Lobby From Indie Jams to Professional In this collectible business card game, Pipelines n participants gather business cards from Panels Monday, 3 August | 8:30 - 10:15 am SIGGRAPH 2009 attendees, then use the Rooms 260-262 skills represented by the cards to build a Getting a Job in CG for production team and create a game with Entertainment: Visual Effects, Making It Move n three “cool features”. Animation, and Games n Monday, 3 August | 3:45 - 5:30 pm Monday, 3 August | 1:45 - 3:30 pm Hall E 1-2 Rooms 260-262 Courses Immersive and Impressive: Keeping a Job in CG for The Impressionistic Look Advances in Real-Time Rendering Entertainment: Visual Effects, of Flower on the PS3 n in 3D Graphics and Games I n Animation, and Games n Wednesday, 5 August | 1:45 - 3:30 pm Monday, 3 August | 8:30 am - 12:15 pm Monday, 3 August | 3:45 - 5:30 pm Rooms 271-273 Hall E 3 Rooms 260-262 Real Time Live n Advances in Real-Time Rendering Will GPUs Change the Face of Wednesday, 5 August | 3:45 - 5:30 pm in 3D Graphics and Games II n Rendering CGI for Motion Pictures? n La Nouvelle Orleans Ballroom Monday, 3 August | 1:45 - 5:30 pm Tuesday, 4 August | 1:45 - 3:30 pm Hall E 3 Rooms 260-262

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Talks (continued) Production Session

Building Story in Games: Big, Fast and Cool: Making No Cut Scenes Required n the Art for Fight Night 4 & Thursday, 6 August | 10:30 am - 12:15 pm Gears of War 2 n La Nouvelle Orleans Ballroom Wednesday, 5 August | 8:30 - 10:15 am La Nouvelle Orleans Ballroom Doing It With Game Engines n Friday, 7 August | 9:15 - 10:15 am Hall E 3 The Sandbox nn

Real Fast Rendering n Outside Room 334 Lobby Friday, 7 August | 10:30 am - 12:15 pm The best recent work in experimental, Auditorium C independent game development

Rendering and Visualization n Friday, 7 August | 3:45 - 5:30 pm GameJam! n Rooms 260-262 Rooms 255 - 257 Twenty-four-hour contest to produce the Technical Papers best game in human history

Imaging and Rendering Pipeline (TOG) n Wednesday, 5 August | 3:45 - 5:30 Ppm The Exhibition nn Hall E 3 Hall F & G All the products you need to create, produce, and excel

Job Fair nn

Hall G Worldwide career opportunities

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: BY FOCUS SIGGRAPH MUsIC AnD AuDIo

For over 35 years, SIGGRAPH has been the premier conference for showcasing computer graphics and work in interactive techniques. The primary focus is on the visual, but that’s just one sense among many. SIGGRAPH 2009 is highlighting the strongly related areas of music and audio, because:

Audiences absorb stories as unified audio-visual experiences. Multimodal communication and interaction can enhance or surpass visual-only experiences.

Creating and editing music and audio define an important area of study in interactive techniques.

Music has an extra special connection for SIGGRAPH 2009 as we return to New Orleans, the birthplace of jazz and a vital melting pot of American music. SIGGRAPH 2009 includes:

Keynote Speaker n Panels The Studio n

Randy Thom The Visual in New Interfaces Rooms 343-345 Designing a Movie for Sound: for Musical Expression n In cooperation with the New Interfaces for Musical Expression (NIME) symposium, The How to Make Sound a Full Collaborator Tuesday, 4 August | 10:30 am - 12:15 pm Studio includes technology, software, and expert in the Storytelling Process Rooms 243-245 help for creating new musical interfaces. Monday, 3 August | 10:30 am - 12:15 pm La Nouvelle Orleans Ballroom Sound and Story n Pioneer in sound and two-time Academy Award® Wednesday, 5 August | 10:30 am - 12:15 pm winner Rooms 243-245 Music Performances n

DIY Media & Distribution Rooms 243-245 n Performances that combine music with imagery Thursday, 6 August | 10:30 am - 12:15 pm Courses or demonstrate novel interactive techniques. Rooms 243-245 The Making of “Shade Recovered”: Networked Talks Senses at Play n Monday, 3 August | 8:30 - 10:15 am Visual Music Talks Rooms 243-245 n Monday, 3 August | 1:15 - 5:30 pm Rooms 243-245 Creating New Interfaces for Musical Expression n See What You Feel: A Study Tuesday, 4 August | 1:45 - 5:30 pm in the Visual Extension of Music n Rooms 243-245 Monday, 3 August | 6 - 8 pm

Rooms 243-245 Interactive Sound Rendering n Wednesday, 5 August | 8:30 am - 12:15 pm See, Hear, Make, and Play n Auditorium C Wednesday, 5 August | 3:45 - 5:30 pm Rooms 243-245

Music as Multi Sense n Thursday, 6 August | 3:45 - 5:30 pm Rooms 243-245 www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 19 n l s Open to All Registration Categories GO TO TABLE OF CONTENTS n Accessible With Computer SIGGRAPH2009 Full Conference Final Program Animation Festival Pass

LOCATION Rooms 243 - 245

MUSIC PERFORMANCES

Performances that combine music with imagery or demonstrate novel interactive techniques.

See What You Feel: A Study in the Visual Extension of Music envyCODE Improvisation With The TOOB Monday, 3 August | 6 - 8 pm Wednesday, 5 August | 1:45 - 3:30 pm Wednesday, 5 August | 1:45 - 3:30 pm

A live performance of abstract animations of envyCODE is Butch Rovan on custom instru- The TOOB is a unique wireless electronic music pre-rendered in Maya, 3D visualizations ments, extended alto clarinet (MiMICS System), instrument created to extend wind-instrument of music-theory structures, and real-time systems and interactive electronics; Kevin Patton on performance techniques into the electroacoustic that visually react to live music. The SIGGRAPH extended guitar (Taurex System), custom instru- realm. It has been tweaked for over two years to 2009 talk titled A Study in the Visual Extension ments, and interactive electronics; and Carmen give the performer a vast but intuitive range of of Music discusses the music system used in Montoya on custom instruments and interactive sonic choices, allowing creative freedom in solo this performance. electronics. or group improvisation. The instrument senses breath, finger pressure, tilt, and acceleration, Matthew Bain FrameGarden (2009) and has several other tactile controls. Sound is The Ohio State University FrameGarden is a structured improvisation loosely created and processed using Max/MSP/Jitter. inspired by the formal arrangement of a karesan- sui, or Japanese dry rock garden. The piece Arvid Tomayko-Peters features hybrid/extended alto clarinet and guitar, Squish the Squid Productions Pandeiro Funk: Experiments custom instruments, and interactive computer on Rhythm-Based Interaction music. The alto clarinet and guitar incorporate onboard sensor systems that allow each instru- Tuesday, 4 August | 6 - 8 pm mentalist to control real-time processing as part Reactable of their normal performance gestures. Custom This work addresses the problem of making Wednesday, 5 August | 6 - 8 pm instruments include The Globe and The Banshee, the machine listen and react to the musician to new instruments designed by Rovan, and The generate high-quality music in an improvisation The Reactable is based on a translucent and Digital Poplar Consort, a set of four new sensor situation. The method uses rhythmic phrases as luminous round table. By putting tangible pucks instruments designed by Patton and Montoya. commands to control the computer instead of on the Reactable surface, turning them, and using pedals or other interfaces, so the musician connecting them to each other, performers can All sources – extended alto clarinet, extended can enter or leave an interaction mode just by combine different elements such as synthesizers, guitar, and new instruments – control real-time playing a certain rhythmic phrase. effects, sample loops, or control elements to cre- processing in MaxMSP and STEIM’s LiSa. ate a unique and flexible composition. Reactable’s Includes a brief discussion of this performance. The advantages of this approach are many. It pucks represent the building blocks of electronic is based in real-life experience. The musician music. Each one has a different function in sound Joseph Rovan can concentrate only on the music and not on generation or effect processing, in a method Kevin Patton control interfaces. It lets the musician control deeply inspired by modular analog synthesizers Brown University the machine without stopping the music flow. such as those developed by Bob Moog in the It requires low computational cost and gives early 1960s. Includes a brief discussion of this Maria Del Carmen Montoya fast results. Because it is audio-based, it can performance. be applied to many sorts of instruments. And because a rhythmic phrase carries information Sergi Jordà that can be used as parameters during the inter- Universitat Pompeu Fabra action, the commands carry more information, Reactable Systems and the interaction becomes richer and more natural.

In this performance, the system is adapted to work with a Brazilian percussion instrument called Pandeiro. Includes a brief discussion of this performance.

Sergio Krakowski Luiz Velho Instituto Nacional de Matemática Pura e Aplicada

François Pachet Sony Computer Science Laboratory Paris www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 20 GO TO TABLE OF CONTENTS n Music Performances n l s Open to All Registration Categories SIGGRAPH2009 Full Conference Final Program

Silent Drum And Then, Romina ... Thursday, 6 August | 1:45 - 3:30 pm Thursday, 6 August | 6 - 8 pm

The Silent Drum is a transparent drum shell with And Then, Romina..., for prepared electric guitar an elastic head. When it is pressed, the mem- and electronics, is a dramatic work that explores brane adapts to the shape of the hand. The various relationships between live guitar and shapes are captured by a video camera and sent electronic sound. Among these relationships is a to a computer, which analyzes them and outputs concern for using electronics to extend both the the tracked parameters. By mapping these pa- timbral and performance possibilities of the live rameters, the physical movements of the perform- instrument. Much of the piece is abstractly based er are translated into sound. The controller itself is on the Italian song “O surdato nammurato” (Cali- completely silent when played. fano/Canino, 1915), which can be heard most distinctly at the end. The piece was composed The silent drum produces a large amount of at City University, London in the fall and winter of variables only if the input is complex. Its de- 2000. sign is based on a simple, effective hierarchical logic: there are no fingers without a hand, no Mike Frengel hand without an arm, no arm without a body. It Northeastern University reports continuous variables and extracts discrete variables. Sound events, bounded by discrete variables, are used for score control, triggers, mapping changes, etc. Continuous variables are used to shape sound morphologies.

Jaime Oliver University of California, San Diego

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: BY FOCUS SIGGRAPH PrODUCtIOn/vFx

The annual SIGGRAPH conference is the most important opportunity for the production and visual effects community to show their latest work to each other and to the research and art communities, and to learn the latest techniques from international experts. The Computer Animation Festival shows the latest and greatest work in production and visual effects.

The Computer Animation Festival’s special guest speakers are: • Chris Landreth, “The Spine” and Psychologically Driven Animation n • Peter Ludé, “3D to the Home: What Can Possibly Go Wrong?” n • Bob Whitehill, “Visual Storytelling in Three Dimensions” n

SIGGRAPH 2009 is also making a special effort to include game production in the conference and expanding to include music and audio. Two SIGGRAPH 2009 keynote speakers have achieved world renown in game and audio production:

• Will Wright, video game designer, creator of Spore™ and The Sims series. n • Randy Thom, pioneer in sound and two-time Academy Award® winner. n

Here is a list of sessions that are directly related to production and VFX.

Courses Panels

Build Your Own 3D Scanner: Getting a Job in CG for Beyond The Big Screen: The Evolution 3D Photography for Beginners n Entertainment: Visual Effects, of 3D Standards in Cinema, Broadcast Wednesday, 5 August | 8:30 am - 12:15 pm Animation, and Games n and the Home n Rooms 260-262 Monday, 3 August | 1:45 - 3:30 pm Thursday, 6 August | 10:30 am - 12:15 pm Room 260 - 262 Rooms 271-273 The Digital Emily Project: Photoreal Facial Modeling and Animation n Keeping a Job in CG for The Mass Animation Project and the Thursday, 6 August | 1:45 - 3:30 pm Entertainment: Visual Effects, Future of Crowd-Sourced Creativity n Auditorium C Animation, and Games n Thursday, 6 August | 1:45 - 3:30 pm Monday, 3 August | 3:45 - 5:30 pm La Nouvelle Orleans Ballroom Realistic Human Body Movement Room 260 - 262 for Emotional Expressiveness n Short-Cuts to Reality: The Art and Friday, 7 August | 8:30 am - 12:15 pm Will GPUs Change the Face of Compromise of Software Development Auditorium B Rendering CGI for Motion Pictures? n for Physics-Based VFX n Tuesday, 4 August | 1:45 - 3:30 pm Thursday, 6 August | 3:45 - 5:30 pm Visual Algorithms in Post-Production n Rooms 260-262 Hall E 1-2 Friday, 7 August | 1:45 - 5:30 pm Rooms 243-245 Deconstructing “Watchmen” n Thursday, 6 August | 8:30 - 10:15 am La Nouvelle Orleans Ballroom

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Production Sessions Talks Technical Papers

Building Benjamin Button: Splashing in Pipelines n Light and Materials n A Blending of “Technique-ologies” n Monday, 3 August | 1:45 - 3:30 pm Tuesday, 4 August | 1:45 - 3:30 pm Monday, 3 August | 8:30 - 10:15 am Auditorium B Hall E 1-2 La Nouvelle Orleans Ballroom Making It Move n Fluid Simulation n Robots, Cyborgs, and the Final Monday, 3 August | 3:45 - 5:30 pm Tuesday, 4 August | 3:45 - 6 pm Frontier: An Inside Look at Hall E 1-2 Hall E 3 “Transformers: Revenge of the Fallen”, “Terminator Making Pixar’s “Partly Reduced Physics for Animation n Salvation”, and “Star Trek” n Cloudy”: A Director’s Vision n Wednesday, 5 August | 1:45 - 3:30 pm Tuesday, 4 August | 1:45 - 5:30 pm Tuesday, 4 August | 3:45 - 5:30 pm Hall E 3 La Nouvelle Orleans Ballroom Hall E 1-2 Creating Natural Variations n Big, Fast and Cool: Making Taking Care of Your Pet Wednesday, 5 August | 3:45 - 6 pm n Hall E 1-2 the Art for Fight Night 4 & Tuesday, 4 August | 6:15 - 8 pm Gears of War 2 n Hall E 1-2 Wednesday, 5 August | 8:30 - 10:15 am Imaging and Rendering Pipeline (TOG) n Wednesday, 5 August | 3:45 - 5:30 pm La Nouvelle Orleans Ballroom Painterly Lighting n Hall E 3 Wednesday, 5 August | 8:30 - 10:15 am “Cloudy With a Chance Auditorium B of Meatballs”: Making Character Animation I n Mouthwatering 3D Thursday, 6 August | 8:30 - 10:15 am n From Pitchvis to Postvis: Hall E 1-2 Wednesday, 5 August | 1:45 - 3:30 pm Integrating Visualization La Nouvelle Orleans Ballroom Into the Production Pipeline n Rendering Methods and Wednesday, 5 August | 10:30 am - 12:15 pm Systems (TOG) n Monsters vs Stereo: How Rooms 271-273 Stereo Affected Production Thursday, 6 August | 8:30 - 10:15 am on “Monsters vs Aliens” Hall E 3 n Two Bolts and a Button n Thursday, 6 August | 10:30 am - 12:15 pm Wednesday, 5 August | 1:45 - 3:30 pm Meshing Rooms 260-262 n Hall E 1-2 Friday, 7 August | 8:30 - 10:15 am G-Force 3D: Guinea Pigs, Hall E 1-2 Animateering Gadgets, and Post-Production n Wednesday, 5 August | 3:45 - 5:30 Ppm Character Animation II in Stereoscopic Filmmaking n n Auditorium C Friday, 7 August | 10:30 am - 12:15 pm Thursday, 6 August | 1:45 - 3:30 pm Hall E 1-2 Rooms 260-262 Effects Omelette n Thursday, 6 August | 10:30 am - 12:15 pm Physically Based Modeling: “Coraline”: The Changing Hall E 1-2 From Contact to Capture Face of Animation n n Friday, 7 August | 1:45 - 3:30 pm Thursday, 6 August | 3:45 - 5:30 pm Real-Time Design Review Hall E 1-2 Rooms 260-262 and Collaboration for Global Infrastructure Projects n Thursday, 6 August | 1:45 - 3:30 pm Rooms 271-273

Capturing and Visualizing Animation n Thursday, 6 August | 3:45 - 5:30 pm Auditorium C

Rendering n Friday, 7 August | 8:30 - 10:15 am Auditorium C

Doing It With Game Engines n Friday, 7 August | 9:15 - 10:15 am Hall E 3

Character Animation and Rigging n Friday, 7 August | 3:45 - 5:30 pm Hall E 3

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: BY FOCUS SIGGRAPH PrOFESSIONAL DEVELOPMENT

SIGGRAPH 2009 is dedicated to helping attendees advance their professional careers. The annual Job Fair held in Hall G brings employers and employees together before and during the conference. Listed below are sessions dedicated to study and professional needs.

Keynote Speakers n Panels Talks

Randy Thom Getting a Job in CG for Education: Learning and the Studio n Designing a Movie for Sound: Entertainment: Visual Effects, Tuesday, 4 August | 8:30 - 10:15 am How to Make Sound a Full Collaborator Animation, and Games n Auditorium B in the Storytelling Process Monday, 3 August | 1:45 - 3:30 pm Monday, 3 August | 10:30 am - 12:15 pm Rooms 260-262 La Nouvelle Orleans Ballroom Keeping a Job in CG for Will Wright Entertainment: Visual Effects, Playing With Perception Animation, and Games n Tuesday, 4 August | 10:30 am - 12:15 pm Monday, 3 August | 3:45 - 5:30 pm La Nouvelle Orleans Ballroom Rooms 260-262

Steve Duenes Beyond The Big Screen: The A Visual Response to the News Evolution of 3D Standards in Wednesday, 5 August | 10:30 am - 12:15 pm Cinema, Broadcast and the Home n La Nouvelle Orleans Ballroom Thursday, 6 August | 10:30 am - 12:15 pm Rooms 271-273

The Mass Animation Project and the Future of Crowd-Sourced Creativity n Thursday, 6 August | 1:45 - 3:30 pm La Nouvelle Orleans Ballroom

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aRT PApERs Art Papers illuminate and explore the changing roles of artists and art making in our increasingly computerized, networked, multi-sensory, online world. Art Papers present excellent ideas in accessible ways. They inform artistic disciplines, set standards, and stimulate future trends.

The peer-reviewed Art Papers are published in a special issue of Leonardo, The Journal of the International Society of the Arts, Sciences and Technology. The issue also includes visual documentation of the works exhibited in BioLogic: A Natural History of Digital Life.

Strategies: Art Making and Stitching it Together: Technology Viewing in Today’s Technological and Aesthetics in the Wearable and Social Realm and Natural Tuesday, 4 August | 3:45 - 5:30 pm Wednesday, 5 August | 1:45 - 3:30 pm Room 265-266 A New System to Appreciate the Rooms 265-266 Visual Characteristics of a Painting Session Chair Session Chair Mine özkar Joanna Berzowska This paper explores development and evaluation Middle East Technical University Concordia University of a painting viewing system that enables users to perceive the visual links between multiple paintings as semantic elements. Experimental Interaction Unit: Wearable Forest Clothing System: Commodities of Mass Destruction Tsutomu Miyashita Beyond Human-Computer Interaction DNP Digitalcom Co., Ltd. This paper describes several projects by the Wearable Forest is a garment that bioacoustically collective Experimental Interaction Unit, that use interacts with distant wildlife in a remote forest product design, software engineering and digital Souvenirs du Monde des Montagnes through a remote-controlled speaker and micro- networking to uncover collective behaviors phone. This networked interactive sound system that contribute to systems of social control. can create a sense of unity between users and a Souvenirs du Monde des Montagnes offers Biology and human behavioral studies are remote soundscape. a new language to bring the real and virtual essential aspects of this critique. worlds closer together, to weave new meanings between the visible and the invisible, and Hiroki Kobayashi Anuradha Vikram to bridge the gap between tradition and Ryoko Ueoka Curative Projects contemporary performing art. Michitaka Hirose The University of Tokyo Camille Scherrer MobiSpray: Mobile Phone as Virtual EPFL+ECAL Lab Spray Can for Painting BIG Anytime Re-Visioning the Interface: Technological Anywhere on Anything Julien Pilet Fashion as Critical Media Keio University MobiSpray combines a mobile phone, a PC, and An examination of the trend toward miniaturiza- a video projector into a novel art tool that liberates Vincent Lepetit tion of wearable technologies and its context in and empowers artists to change the environment Pascal Fua discourses on art and the body. with large-scale artistic expressions. École Polytechnique Fédérale de Lausanne Susan Elizabeth Ryan Jürgen Scheible Louisiana State University University of Art and Design Helsinki

Timo Ojala The 200 Year Continuum University of Oulu The 200 Year Continuum is a collection of prophetic mythologies that discuss society’s relationship to advancing technologies and their effects on the natural world.

Christian Kerrigan AVATAR www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 25 n Full Conference Access GO TO TABLE OF CONTENTS n Accessible With Computer SIGGRAPH2009 Full Conference Final Program Animation Festival Pass

Seating in Courses is on a first-come, first-served basis. Please be sure to arrive early for the Courses you wish to attend. All the Course Notes are on the Full Conference DVD-ROM that Full Conference attendees receive with their registration. To purchase a copy of the Full Conference DVD-ROM visit the COURSES SIGGRAPH Store in Hall E Lobby.

Learn from the experts in the field and gain inside knowledge that is critical to career advancement. Courses deliver unique learning opportunities, available only at SIGGRAPH 2009, in three levels of difficulty (Introductory, intermediate, and advanced).

The Making of “Shade Recovered”: Advances in Real-Time Rendering in 3D Graphics Networked Senses at Play and Games I Monday, 3 August | 8:30 - 10:15 am Monday, 3 August | 8:30 am - 12:15 pm Room 243-245 Hall E 3 Level: Intermediate Level: Intermediate

Explores the underlying concepts Schedule Advances in real-time graphics re- Schedule and workflow of integrating sound search and the increasing power of and images in the authors composi- 8:30 am An Exploration of mainstream GPUs has generated an 8:30 am Introduction – Current “Sense-Giving and and Future Rendering Trends tion and design of “Shade Recov- Sense-Receiving” in explosion of innovative algorithms in Games ered”. the Visual Aspect of suitable for rendering complex virtual Tatarchuk Visual Music worlds at interactive rates. Every Instructor year, the latest video games display 8:45 am The Present and The Future – Jean Detheux 8:45 am A Look at How Music a vast variety of sophisticated algo- Graphics Secrets From the Independent Mixed-Media Artist Informs Images, and Bungie Farm Images Inform Music rithms that power ground-breaking Chen and Tatarchuk 3D rendering and push the visual 9 am Using Painter in Search boundaries and interactive 9:45 am The Light Pre-Pass Renderer – of Fortuitous Accidents experience of rich environments. Renderer Design for Efficient n s Support of Multiple Lights This course is open to attendees 9:05 am Using Studio Artist in (Part 1) in two registration categories: Search of Fortuitous This course covers a series of topics Engel Computer Animation Festival Accidents in Time on the best practices and tech- and Full Conference. All other niques prevalent in state-of-the-art 10:15 am Break courses require Full Conference 9:25 am Using Final Cut Pro to rendering in several award-winning registration. Edit by Way of Fortuitous games, and describes innovative 10:30 am The Light Pre-Pass Renderer – Accidents Renderer Design for Efficient and practical 3D rendering research Support of Multiple Lights 10 am Questions & Answers breakthroughs that will be used in (Part 2) the games of tomorrow. The course Engel is designed for technical practitioners and developers of graphics 11 am Light Propagation Volumes in CryEngine 3 engines for visualization, games, Kaplanyan or effects rendering. Presented techniques are applicable in real-time noon Question & Answer and off-line domains. Attendees All will acquire a number of highly opti- mized algorithms in various areas of real-time rendering.

Instructors Jeremy Moore Natalya Tatarchuk David Jeffries Hao Chen Black Rock Studio Bungie, LLC Jason Yang Alex Evans Advanced Micro Media Molecule Devices, Inc.

Anton Kaplanyan Wolfgang Engel Crytek GmbH Rockstar Games

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Advances in Real-Time Rendering in 3D Graphics Introduction to Computer Graphics and Games II Monday, 3 August | 1:45 - 5:30 pm Monday, 3 August | 1:45 - 5:30 pm Auditorium A Level: Intermediate Level: Introductory Hall E 3

Computer graphics is a broad Schedule This course is a continuation of Schedule and deep subject, and getting the Advances in Real-Time Rendering in most out of attending the annual 1:45 pm Introduction and Overview 3D Graphics and Games I. 1:45 pm Graphics Techniques From Disney’s Pure SIGGRAPH conference requires 1:50 pm 3D Overview Moore and Jeffries a good understanding of the core ideas that lie at the heart of our 2 pm 3D Modeling Demos 2:30 pm Making it Smooth: Advances existing techniques and future in- in Antialiasing and Depth of novations. This course presents live 2:45 pm 3D Rendering Demos Field Techniques Yang demos of popular 2D and 3D soft- 3:30 pm Break ware to demonstrate the key ideas 3:30 pm Break that enable creation of scientific 3:45 pm 3D Animation Demos imagery, feature movies, interactive 3:45 pm Graphics Engine Postmortem art, and more. 3:55 pm 2D Overview From LittleBigPlanet Evans 4:05 pm 2D Design Demos In the world of 3D, the course 4:45 pm Panel Question & Answer shows how to use basic shapes 4:40 pm 2D Programming Demos All to create complex objects and demonstrates how to move and 5:15 pm Questions & Answers manipulate those objects over time to create motion. It also shows how to generate images that communicate these models to the world and string the images together to create animation. In the world of 2D, the course follows roughly the same approach but looks more closely at how today’s rich 2D development environments allow us to manipulate photos and create interactive installations in which users can explore their data, control simulations, or create new artwork.

Instructor Andrew Glassner

n l s This course is open to attendees in three registration categories: Computer Anima- tion Festival, Basic Conference Access, and Full Conference. All other courses require Full Conference registration.

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The Whys, How Tos, and Pitfalls of User Studies Real-Time Global Illumination for Dynamic Scenes Monday, 3 August | 1:45 - 5:30 pm Tuesday, 4 August | 8:30 - 10:15 am Level: Introductory Level: Intermediate Auditorium C Auditorium C

Members of the SIGGRAPH com- Schedule Global illumination is an important Schedule munity are both consumers and factor in creating realistic scenes producers of algorithms that make 1:45 pm Introduction and provides visual cues for under- 8:30 am Introduction All Kautz images and techniques that let us standing scene geometry. However, interact with visual applications. This 2:30 pm User evaluation global illumination is very costly and 8:40 am Virtual Point Lights course explains the essential role of during development only recently has it become viable to Kautz user studies in insuring that algo- Whitton render scenes with global-illumina- rithms, products, and content are tion effects at interactive frame rates 9:05 am Screen-Space Techniques 3:15 pm Panel/Questions Dachsbacher effective for their intended purposes. by exploiting the parallelism and The course introduces user studies 3:30 pm Break programmability of modern GPUs. 9:35 am Hierarchical Finite Elements through real examples and case Dachsbacher studies that highlight good practices 3:45 pm User Studies for Graphics This course provides a concise and warn of mistakes that can com- Bloj overview of recent GPU-based 10:05 am Conclusions/Summary J. Kautz promise evaluation. The cases are 4:30 pm Eye tracking in user studies global-illumination techniques that chosen to demonstrate the range Sundstedt support fully dynamic scenes, of the application of user studies compares them, and discusses their in computer graphics (for example, 5:15 pm Panel/Questions various strengths and weaknesses. in developing better algorithms and After introducing the necessary in evaluating images and interaction foundation (rendering equation, techniques.) direct vs. indirect illumination, etc.), the course summarizes the three Instructors main streams of real-time global Veronica Sundstedt illumination techniques: virtual point Trinity College Dublin lights, screen-space techniques, and hierarchical finite elements. Mary Whitton University of North Carolina at Chapel Hill Instructors Carsten Dachsbacher Marina Bloj Universität Stuttgart University of Bradford Jan Kautz University College London

www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 28 n Full Conference Access GO TO TABLE OF CONTENTS n Accessible With Computer SIGGRAPH2009 Full Conference Final Program Courses | Tuesday, 4 August Animation Festival Pass

Acquisition of Optically Complex Objects An Introduction to Shader-Based OpenGL and Phenomena Programming Tuesday, 4 August | 8:30 - 10:15 am Tuesday, 4 August | 1:45 - 5:30 pm Level: Advanced Level: Introductory Auditorium A Auditorium B

Standard range-scanning tech- Schedule OpenGL is the most widely available Schedule niques work well for approximately application programming interface Lambertian reflectors, but large 8:30 am Introduction and Overview (API) for creating applications in al- 1:45 pm Welcome, Introduction, and Overview classes of objects can currently not Ihrke most every area of computer graph- Angel be scanned robustly. Specular and 8:57 am Refractive Object Acquisition ics including research, scientific refractive objects pose challenges • Single Refraction Events, visualization, entertainment and vi- 1:55 pm Getting Started With OpenGL to range scanning because the Surface Triangulation sual effects, computer-aided design, Angel surface cannot be observed directly. • Generalization to Multiple interactive gaming, and many more. Translucent objects exhibit signifi- Refraction/Reflection Events Over the past decade, OpenGL has 2:35 pm Working With Objects in cant effects of global light transport, Heidrich evolved to a large API with multiple, OpenGL Shreiner while volumetric phenomena like sometimes incompatible, versions. 9:37 am Acquisition of Volumetric fire, smoke, and plasma effects do Object Descriptions Recent versions of OpenGL have 3:20 pm The OpenGL Shading not have a proper surface. Recent • Fluorescent Immersion become shader-based, and the Language research has led to the development Range Scanning original fixed-function pipeline may Angel of feasible and surprisingly accurate • Smoke Acquisition - Direct not be available. scanning approaches for these Measurement 3:30 pm Break types of objects. This course intro- • Flame Acquisition - Sparse This course provides an accelerated View Tomography 3:45 pm The OpenGL Shading duces the major theoretical findings, introduction to creating applica- • Astronomical Objects - Language - continued practical setups, and experimental Single View Tomography tions using these recent versions results for digitization of optically Ihrke of OpenGL API. It introduces the 4:20 pm Lighting complex objects and phenomena. most recent version of OpenGL, in Shreiner 10:12 am Outlook, Future Research which an application must provide Instructors Challenges, Identification of vertex and fragment shaders and 4:40 pm Texture Mapping Ivo Ihrke Important Unsolved Problems cannot rely on a fixed-function Shreiner

Wolfgang Heidrich Heidrich pipeline. Consequently, this course University of British Columbia 5:20 pm Questions & Answers is a complete rewrite of the OpenGL Shreiner and Angel course that has been taught at the annual SIGGRAPH conference for over 10 years.

Instructors Edward Angel University of New Mexico

Dave Shreiner ARM Ltd.

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Color Imaging Creating New Interfaces for Musical Expression Tuesday, 4 August | 1:45 - 5:30 pm Tuesday, 4 August | 1:45 - 5:30 pm Level: Intermediate Level: Introductory Auditorium C Rooms 243-245

The study of color combines a Schedule Advances in digital audio technolo- Schedule unique mixture of physics and gies have led to computers playing human visual perception, which 1:45 pm Fundamentals a role in most music production and Introduction to NIME: • Introduction to Color Theory & Tools in practice makes this seemingly performance. Digital technologies Imaging straightforward topic challenging Reinhard offer unprecedented opportunities 1:45 pm Introduction and often misunderstood. This for creation and manipulation of Fels & Lyons course covers the basics of physical • Radiometry/Photometry/ sound, but the flexibility of these and perceptual processes, and Colorimetry new technologies imply an often- 1:55 pm HCI Theory demonstrates how color science Johnson confusing array of choices for instru- Lyons can be appropriately applied to ment designers, composers, and • Color Spaces 2:25 pm How to Get There: Tools various applications in rendering, performers. Reinhard of NIME high-dynamic-range imaging, and Fels image manipulation. It is specifically • Color Appearance This course covers the theory and designed for students and profes- Johnson practice of new musical-interface 3:05 pm Aesthetics of NIME sionals who need an understanding design and explores principles that Lyons of color science as a side-line to 3:30 pm Break are useful for designing good musi- their own work, especially those cal interfaces. Topics include: map- 3:15 pm Discussion 3:45 pm Applications who design algorithms in computer ping from human action to musical • Application: Rendering 3:30 pm Break graphics, computer vision, and Spectral Prefiltering and output, control intimacy, tools for image processing. It provides a Sharp Color Primaries creating musical interfaces (sensors Themes & Case Studies basic understanding of how color Ward and microcontrollers, audio synthe- science supports design of effective sis techniques, and communication 3:45 pm Augmented Instruments algorithms, and often leads to lower • Application: High Dynamic protocols such as Open Sound Lyons storage requirements, enhanced Range Imaging Control and MIDI). The course 4:05 pm Sensor Based Instruments computational complexity, and bet- Image Encoding complements the hands-on session Ward The Land of Plenty ter visual quality. on building a musical controller, Fels presented in The Studio. • Application: Image Instructors Processing 4:40 pm On the Web and Moving Erik Reinhard Instructors Around Color Transfer Between Univerisity of Bristol Images Sid Fels Education and NIME University of British Columbia Lyons A Simplified Color Appearance Greg Ward Model 5:05 pm The World is Not Flat Dolby Canada Reinhard Michael Lyons Ritsumeikan University Fels & Lyons Garrett Johnson • Discussion 5:15 pm Discussion Apple Computer, Rochester Institute All of Technology

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Point Based Graphics – State of the Art and Recent Build Your Own 3D Scanner: 3D Photography Advances for Beginners Tuesday, 4 August | 3:45 - 5:30 pm Wednesday, 5 August | 8:30 am - 12:15 pm Level: Introductory Level: Introductory Auditorium A Rooms 260-262

This course presents the latest Schedule Over the last decade, digital photog- Schedule research results in point-based raphy has entered the mainstream computer graphics. It begins with Representation with inexpensive, miniaturized 8:30 am Introduction • Moving Least Squares All a discussion of novel concepts for cameras for consumer use. Digital • Spherical MLS mathematical representation of • Robust Statistics projection is poised to make a 8:45 am The Mathematics of 3D point-sampled shapes, focusing similar breakthrough, with a variety Triangulation on moving least squares, spherical Processing and Modeling of vendors offering small, low-cost Taubin MLS, and robust statistics. Next, it • Resampling projectors. As a result, active imag- addresses efficient algorithms for • Spectral Processing ing is a topic of renewed interest in 9:05 am 3D Scanning with digital geometry processing and • Deformation the computer graphics community. Swept-Planes modeling of point models, includ- In particular, low-cost homemade Camera and Swept-Plane Rendering ing filtering, resampling, spectral 3D scanners are now within reach Light Source Calibration • Surfels Lanman processing, and deformation. This • EWA Splatting of students and hobbyists with a section covers high-quality rendering • Hardware Acceleration modest budget. 10 am Reconstruction and methods for point samples, such as Visualization Using Point EWA splatting and ray tracing, and Animation This course provides a beginner Clouds explains hardware architectures for • Meshless Physics with the necessary mathematics, Taubin • Surface Tracking efficient point processing and ren- software, and practical details to dering. The last part of the course leverage projector-camera systems 10:15 am Break summarizes how point representa- in their own 3D scanning projects. 10:30 am Structured Lighting tions can be utilized in the context of An example-driven approach is used physically based animation. throughout; each new concept is Projector Calibration and Reconstruction illustrated using a practical scanner Lanman Instructor implemented with off-the-shelf parts. Markus Gross The course concludes by detailing 11 am Combining Point Clouds ETH Zürich how these new approaches are From Multiple Views used in rapid prototyping, entertain- Surface Reconstruction From ment, cultural heritage, and web- Point Clouds based applications. Elementary Mesh Processing Taubin Instructors Douglas Lanman 12:05 pm Conclusion/Questions Gabriel Taubin & Answers Brown University

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Advanced Illumination Techniques Interactive Sound Rendering for GPU Volume Raycasting Wednesday, 5 August | 8:30 am - 12:15 pm Wednesday, 5 August | 1:45 - 5:30 pm Level: Introductory Level: Intermediate Auditorium C Rooms 260-262

An overview of algorithmic and Schedule Volume raycasting techniques are Schedule software technologies related to important for both visual arts and interactive sound rendering. The 8:30 am Introduction visualization. They allow efficient 1:45 pm Introduction and Basics Manocha Hadwiger course lectures cover three main generation of visual effects and visu- topics: physically based techniques 8:45 am Sound Rendering alization of scientific data obtained 2:30 pm Light Interaction to synthesize sounds generated Savioja by tomography or numerical simula- Ropinski from colliding objects or liquid tion. Volume-rendering techniques sounds, efficient computation of 9:20 am Interactive Sound Synthesis are also effective for direct rendering 3:15 pm Break sound propagation paths based on Lin of implicit surfaces used for soft- reflection or diffraction paths and body animation and constructive 3:30 pm Ambient Occlusion 9:50 am Perceptual Audio Rendering Ljung converting those paths into audible solid geometry. Tsingos sound, exploiting the computational 4:15 pm Scattering capabilities of current multi-core 10:15 am Break The focus of this course is on Rezk-Salama commodity processors for real-time volumetric illumination techniques sound propagation and sound 10:30 am Geometric Sound Propagation that approximate physically based 5:15 pm Questions and Answers rendering for gaming and interac- Manocha light transport in participating media. All tive applications. The presentations Such techniques include interac- 10:50 am Simulating Diffraction include audio demonstrations that tive implementation of soft and Calamia show the meaning of various pro- hard shadows, ambient occlusion, cessing components in practice. 11:20 am Numeric Sound Propagation and simple Monte Carlo-based Lin approaches to global illumination, in- Instructors cluding translucency and scattering. Dinesh Manocha 11:40 am Accelerations on Multi-Core Ming Lin CPUs and Many-Core GPUs Instructors University of North Carolina at Chapel Hill Manocha and Savioja Markus Hadwiger VRVIS Research Center Paul Calamia noon Integration Into Game Engines Princeton University Tsingos Patric Ljung Siemens Corporate Research Lauri Savioja Helsingin Yliopisto Timo Ropinski Universität Münster Nicolas Tsingos Dolby Laboratories, Inc. Christof Rezk-Salama Universität Siegen

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Efficient Substitutes for Subdivision Surfaces Next Billion Cameras Wednesday, 5 August | 1:45 - 5:30 pm Wednesday, 5 August | 3:45 - 5:30 pm Level: Intermediate Level: Introductory Auditorium A Auditorium B

The goal of this course is to familiar- Schedule What will a camera look like 10 Schedule ize attendees with the practical years from now? How should we aspects of subdivision surfaces 1:45 pm Introduction & Overview change the camera to improve mo- 3:45 pm Introduction Castaño for which we introduce substitutes bile photography? How will a billion 3:50 pm Cameras of the Future for increased efficiency in real-time 1:50 pm Fundamentals of Efficient networked and portable cameras • Form Factors, Modalities applications. The course starts Substitutes for Catmull-Clark change the social culture? How can and Interaction by highlighting the properties that Subdivision Surfaces we use bio-inspired processing to • Enabling Visual Social make SubD modeling attractive and Peters decompose sensed values into per- Computing introduces some recent techniques ceptually critical elements? How will Raskar to capture these properties by 2:30 pm Implementation online photo collections transform Ni 4:20 pm Reconstruction the World alternative surface representa- visual social computing? • Photo Tourism and Beyond tions with a smaller foot-print. We 3:30 pm Break • Image-Based Modeling list and compare the new surface Capture and analysis of visual in- and Rendering on a representations and focus on their 3:45 pm Approximate Subdivision formation plays an important role in Massive Scale implementation on current and Surfaces in Valve’s Source photography, art, medical imaging, • Scene Summarization next-generation GPUs. Among the Engine tele-presence, worker safety, scene Seitz advantages and disadvantages of Mitchell understanding, and robotics. But 4:50 pm Understanding a Billion Photos each approach, we address crucial current computational approaches 4:45 pm Approximating Subdivision • What Will the Photos practical issues, such as watertight Surfaces in ILM’s Toolchain analyze images from single cam- Depict? evaluation, creases and corners, Schneider and Verna eras that have only limited abilities. • Photos as Visual Content seamless displacement mapping, Cameras of the future will exploit for Computer Graphics cache optimization. Finally and unusual optics, novel illumination, • Solving Computer Vision most importantly, Valve and Indus- and emerging sensors. A significant Efros trial Light Magic will present a few enhancement in the next billion 5:20 pm Discussion breathtaking practical examples and cameras to support scene analysis demonstrate how these advanced and mechanisms for superior techniques have been adopted into metadata tagging for effective shar- their gaming and movie production ing will bring about a revolution in pipelines. visual communication. This course explores the trends and issues as- Instructors sociated with that revolution. Vivek Verma Philip Schneider Instructors Industrial Light & Magic Ramesh Raskar Media Lab, Massachusetts Institute Jason Mitchell of Technology Valve Corporation

Steve Seitz Ignacio Castaño NVIDIA Corporation University of Washington

Jörg Peters Alexei Efros University of Florida Carnegie Mellon University

Tianyun Ni NVIDIA Corporation

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Visual Perception of 3D Shape Beyond Programmable Shading I Thursday, 6 August | 8:30 - 10:15 am Thursday, 6 August | 8:30 am - 12:15 pm Level: Introductory Level: Intermediate Auditorium B Auditorium A

The human brain has the remarkable Schedule There are strong indications that Schedule ability to turn 2D retinal images of an the future of interactive graphics object into a vivid perception of the 8:30 am Shape Estimation programming is a more flexible 8:30 am Why and How is Interactive Graphics Programming object’s 3D shape. Mathematically, Fleming model than today’s OpenGL/Di- Changing? this should be impossible, and yet 9:15 am Questions rect3D pipelines. Graphics develop- Lefohn we do it effortlessly whenever we ers need a basic understanding of open our eyes. How does the brain 9:20 am Break how to combine emerging parallel 8:50 am Beyond Programmable achieve this? This course presents programming techniques and more Shading Retrospective a number of key findings from the 9:25 am Shape Representation flexible graphics processors with Houston study of human visual perception Singh the traditional interactive rendering 9:15 am Running Code at a Teraflop: of 3D shape. It shows how different pipeline. As the first in a series, this 10:10 am Questions Overview of GPU Architecture sources of image information such course introduces the trends and di- Fatahalian as contours, texture gradients, rections in this emerging field. Topics shading, and optic flow each con- include: parallel graphics architec- 10 am Open Question & Answers tribute to the reconstruction of 3D tures, parallel programming models All shape by the human visual system. for graphics, and game-developer The course also summarizes what investigations of the use of these 10:15 am Break happens when 3D shape perception new capabilities in future rendering 10:30 Parallel Programming for fails, leading to some cool illusions, engines. Interactive Graphics and describes current ideas about Foley how 3D shapes are parsed and Instructors represented, and relates these ideas Aaron Lefohn 11:10 am Parallel Graphics in Frostbite to theories of 2D shape encoding. Intel Corporation - Current & Future Throughout the course, connections Andersson will be made to common practices Michael Houston 11:45 am id tech 5 Challenges in the artistic depiction of 3D form. AMD Corporation van Waveren The course concludes with a discussion of how an understanding of Kayvon Fatahalian human shape perception might be Stanford University leveraged to enhance 3D shape visualization in photorealistic and non- Tim Foley photorealistic rendering. This course Stanford University, should be of interest to graphics Intel Corporation researchers and practitioners who want to understand the portrayal of Johan Andersson Electronic Arts, DICE shape and, more broadly, anyone who is curious about human vision. J.M.P. van Waveren Id Software Instructors Roland Fleming MPI for Biological Cybernetics

Manish Singh Rutgers - New Brunswick

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The Digital Emily Project: Photoreal Facial Modeling and Animation Beyond Programmable Shading II Thursday, 6 August | 1:45 - 3:30 pm Thursday, 6 August | 1:45 - 5:30 pm Level: Intermediate Level: Intermediate Auditorium C Auditorium A

This course describes how high- Schedule This second course in the series Be- Schedule resolution face scanning, advanced yond Programmable Shading pres- character rigging, and performance- 1:45 pm Introduction and Previous ents the state of the art in combining 1:45 pm Introduction/Recap Photoreal Actor Attempts of Morning Course driven facial animation were traditional rendering API usage with Debevec Houston combined to create Digital Emily, advanced task- and data-parallel a believably photorealistic digital 1:55 pm Facial Geometry and computation to increase the image 1:55 pm GPU Primitives – Case Study: actor. Actress Emily O’Brien was Reflectance Capture quality of interactive graphics. Hair Rendering scanned in the USC ICT light stage Debevec Assarsson in 35 different facial poses using a Leaders from graphics hardware new high-resolution face-scanning 2:15 pm Previous Work in Building vendors, game development, and 2:25 pm A Real-Time Micropolygon Animated Faces From 3-D Rendering Pipeline Is Not process capable of capturing academic research present case Scans Far Away geometry and textures down to the Debevec and Alexander studies that show how general par- Fatahalian level of skin pores and fine wrinkles. allel computation is being combined These scans were assembled into a 2:25 pm Blend Shape Construction with the traditional graphics pipeline 3 pm AMD Case Study rigged digital character, which could and Rigging to boost image quality and spur new Hensley then be driven by Image Metrics Alexander graphics algorithm innovation. Each video-based facial animation tech- case study discusses the mix of par- 3:30 pm Break 2:40 pm Performance-Driven Animation nology. The real Emily was captured allel programming constructs, details and Calibration 3:45 pm Intel Case Study speaking on a small set, and her Busch of the graphics algorithm, and how Lalonde movements were used to drive a the rendering pipeline and computa- complete digital face replacement of 3 pm Final Compositing tion interact to achieve the technical 4:15 pm NVIDIA Case Study her character, including its diffuse, Alexander goals. Presenters also discuss inte- Luebke specular, and animated displace- grating a combination of GPU and ment maps. HDRI lighting recon- 3:10 pm Ongoing Work: Real-Time CPU techniques for more efficient 4:45 pm Panel: “What Next for 3D Emily Graphics Programming struction techniques were used to and flexible algorithms. The focus is Chiang Models?” reproduce the lighting on her original on what currently can be done, how performance. The most recent 3:20 pm Questions it is done, and near-future trends. Moderator results show new real-time anima- All Topics include: interactive realistic Akeley tion and rendering research for the lighting, advanced geometry- Digital Emily character. processing pipelines, in-frame data Panelists structure construction, complex Andersson Instructors image processing, and rasterization Everitt Fatahalian Paul Debevec versus ray tracing. Institute for Creative Technologies and Ragan-Kelley Assarsson University of Southern California Instructors Aaron Lefohn Oleg Alexander Intel Corporation Peter Busch Image Metrics, Ltd. Michael Houston AMD Corporation Matt Chiang Institute for Creative Technologies and Ulf Assarsson University of Southern California Chalmers University

Justin Hensley AMD Corporation

Paul Lalonde Intel Corporation

David Luebke NVIDIA Research

Kurt Akeley Microsoft Research

Johan Andersson Electronic Arts, DICE

Cass Everitt Epic Games

Kayvon Fatahalian Stanford University

Jonathan Ragan-Kelley Massachusetts Institute of Technology www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 35 GO TO TABLE OF CONTENTS n Courses | Thursday, 6 August and Friday, 7 August SIGGRAPH2009 Full Conference Final Program

Realistic Human Body Movement Scattering for Emotional Expressiveness Thursday, 6 August | 1:45 - 5:30 pm Friday, 7 August | 8:30 am - 12:15 pm Level: Intermediate Level: Intermediate Rooms 265-266 Auditorium B

Most of current computer-generated Schedule Humans express their emotions in Schedule imagery represents scenes with many ways, in particular through clear atmospheres, neglecting 1:45 pm Welcome and Introduction face, eye, and body motion. So 8:30 am Introduction/Overview Gutierrez All light scattering effects, and most creators of virtual humans strive to computer-vision systems have not 2 pm Rendering Scattering Media convincingly depict emotional move- 8:45 am Hand-Crafted Procedural enjoyed success when deployed in Jarosz ments using a variety of methods. Animation uncontrolled outdoor environments. This course focuses on the use Perlin Nevertheless, scattering is a funda- 2:40 pm Real-Time Rendering of realistic human body motion to Narasimhan mental aspect of light transport in a generate emotional expressive- 9:45 am Biomechanical and Physical Principles of Human Animation wide range of applications, whether 3 pm Inelastic Scattering ness. Topics include: applications Hertzmann simulating it or interpreting it, from Gutierrez and research relating to procedural medical imaging to driving simula- animation of humans with emotion 10:15 am Break tors or underwater imagery. This 3:20 pm Break and personality, biomechanical and course addresses the challenges 3:35 pm Scattering Materials physical principles of animation, 10:30 am Biomechanical and Physical that arise with light scattering in Donner physics-based human motion simu- Principles - continued computer graphics and computer lation, and data-driven animation. Hertzmann vision. Topics include: appearance 4:10 pm Acquisition and Measurement The course also provides some 11 am Evaluating Expressive Human modeling, underwater imagery, Donner insights from the field of psychology Motion, and Perceptual Issues vision in bad weather, and measure- 4:45 pm Scattering and Vision and reviews issues relating to the ment techniques. Narasimhan perception and evaluation of realistic noon Conclusions/Discussion human body animation. All Instructors 5:15 pm Wrap up and Discussion Diego Gutierrez All Instructors Universidad de Zaragoza Carol O’Sullivan Trinity College Dublin Wojciech Jarosz Disney Research Zürich Ken Perlin New York University Craig Donner Columbia University Aaron Hertzmann University of Toronto Srinivasa Narasimhan Carnegie Mellon University

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Interaction: Interfaces, Algorithms, and Applications Shape Grammars Friday, 7 August | 8:30 am - 12:15 pm Friday, 7 August | 8:30 am - 12:15 pm Level: Intermediate Level: Intermediate Auditorium A Rooms 243-245

The virtual reality field has recently Schedule The theory of shape grammars, first Schedule seen the advent of novel commodity launched by Stiny and Gips in 1972, 3D user interfaces that have led to 8:30 am Introduction: 3D Interaction defines a formalism to support the Introduction and Its Applications not only a revolution in video game ambiguity in creative processes that Otaduy 8:30 am The Theory interaction, but also new possibilities is generally ruled out by quantitative for other virtual reality applications. 8:45 am User Interfaces and Video and symbolic computations. Since 9:30 am What to Do With It? This course provides background Games then, it has evolved into a ground- on the interfaces and algorithms LaViola breaking pragmatist philosophy of Advanced Issues involved in 3D interaction, and 9:45 am Tactile Interaction With shape and design. It is implemented 10:30 am Recursion, Identity, Embedding previews the future of research in Virtual Environments in fields rnaging from architecture the field. Otaduy to art, graphic design, industrial Break design, and computer visualization. 10:15 am Break Instructors This course offers basic knowledge 11:30 am Recursion, Identity, Embedding Miguel A. Otaduy of the theory of shape grammars continued Universidad Rey Juan Carlos 10:30 am Tactile Interaction With Virtual Environments - and some advanced issues useful continued for its implementation. noon Question & Answers Takeo Igarashi Otaduy The University of Tokyo The course is presented in two 11 am Interactive Sketching Joseph J. LaViola, Jr. and Modeling consecutive sessions. The introduc- University of Central Florida Igarashi tory session presents the fundamentals of the theory, focusing on the noon Questions & Answers basic knowledge of shapes, shape All algebras, and shape rules in order to explain how shape grammars translate visual and spatial thinking into design computation. It includes several examples of shape grammar applications in design analysis and synthesis. Attendees with further and more technical interests in the topic are encouraged to continue with the advanced session, which dwells on the computational devices of shape grammars and discusses a number of selected studies on computational implementation of the shape grammar idea.

Instructors Mine Özkar Middle East Technical University

George Stiny Massachusetts Institute of Technology

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Computation & Cultural Heritage: Fundamentals and Applications Visual Algorithms in Post-Production Friday, 7 August | 1:45 - 5:30 pm Friday, 7 August | 1:45 - 5:30 pm Level: Intermediate Level: Intermediate Auditorium C Rooms 243-245

This course surveys several practical Schedule The work of the visual algorithms Schedule techniques advanced by graphics community (for example the work and vision researchers for applica- 1:45 pm Introduction of SIGGRAPH Technical Papers 8:30 am Introduction Cain tions in cultural heritage, archeology, authors) frequently affects real-world Seymour and art history. Topics include: ef- 1:55 pm Efficient Traversal of Large film post production. But often 9:15 am Ingest ficient techniques for digital capture Sets of Images in Cultural academics in the relevant fields have Kokaram of heritage objects, appropriate uses Heritage little idea of the tools and algorithms in the heritage field, an end-to-end Downing actually involved in day-to-day post 9:30 am Break pipeline for processing archeological 2:15 pm Simple, Efficient Visualization production. This course surveys a 9:40 am Basic Compositing reconstructions (with special atten- of Heritage Objects range of typical tools and algorith- Robinson tion to incorporating archeological Ward mic techniques currently used in data and review throughout the post production and shows how 10:15 am Challenges in 2D process), how digital techniques 2:40 pm Applications of Image-Based some emerging technologies may Synthesis and HDR Imaging Compositing are actually used in cultural heritage for Heritage Sites and Objects change these techniques in the Kokaram projects, and an honest evaluation Debevec future. The course attempts to de- of progress and challenges in this mystify some of the processes and 10:50 am Break field. 3:15 pm Break jargon involved, both to enlighten an 11:00 am 3D Stereoscopic academic audience and inspire new 3:30 pm Low-Cost Resources for Image Post Production Instructors Synthesis and Image-Based contributions to the industry. Robinson Kevin Cain Modeling Todd Gill Cignoni and Debevec Instructors 11:25 am The Future Of Compositing INSIGHT Simon Robinson Robinson 4 pm A Pipeline for Efficiently The Foundry Greg Downing Reconstructing Heritage noon Summary and Wrap Up XRez Studio Objects From Range Data Anil Kokaram Brown and Cain Trinity College Dublin Philippe Martinez INSIGHT, MAFTO 4:30 pm Frequent pitfalls and Mike Seymour Deficiencies in the Use of fxguide, LLC Mark Eakle 3D Acquisition Techniques Xenexus for Cultural Heritage Cignoni Paul Debevec Institute for Creative Technologies, 4:50 pm Planning a Collaboration in the University of Southern California CH Field Brown Benedict J. Brown Katholieke Universiteit Leuven 5 pm An honest review and look to the future Cain and Cignoni Greg Ward Dolby Canada 5:15 pm Questions Paolo Cignoni ISTI - CNR

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Advanced Material Appearance Modeling Friday, 7 August | 1:45 - 5:30 pm Level: Advanced Auditorium A

For many years, appearance models Schedule in computer graphics focused on general models for reflectance func- 1:45 pm Introduction Dorsey tions coupled with texture maps. Recently, it has been recognized 2 pm Background that even very common materials Rushmeier such as hair, skin, fabric, and rusting metal require more sophisticated 2:50 pm Specialized Material Models: models to appear realistic. This Common Themes course begins with a brief review of Rushmeier basic reflectance models and the 3:15 pm Break use of texture maps. It describes common approaches in advanced 3:30 pm Natural Materials material models such as combining Dorsey the effects of layers, groups of particles, and/or fibers. It surveys the 4 pm Manufactured/Processed detailed models needed for a wide Materials Rushmeier range of materials such as plants, hair, skin, plants, inks, gems, and 4:25 pm Aging and Weathering automotive paints, and summarizes Processes modeling of complex appearance Dorsey due to aging and weathering processes. 5:10 pm Current Trends and Needs Rushmeier Instructors Holly Rushmeier Julie Dorsey Yale University

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GAME PApERs The latest breakthroughs in game design, development, and research. SIGGRAPH Game Papers are published in Sandbox 2009: ACM SIGGRAPH Video Game Proceedings.

Supporting Social Game Mechanics and and Persuasive Play Design Projects Tuesday, 4 August | 8:30 - 10:15 am Tuesday, 4 August | 3:45 - 5:30 pm Rooms 260-262 Rooms 260-262 Using Influence and Persuasion Session Chair to Shape Player Experiences Session Chair Karen Schrier Tracy Fullerton Columbia University The results of a pilot study indicating the effective- University of Southern California, ness of using social-psychological influences to School of Cinematic Arts guide players’ decisions in a choose-your-own- Designing History: The Path adventure-style online story. to Participation Nation Game Design Principles for Engaging David Roberts Cooperative Play: Core Mechanics and Merrick Furst A detailed project postmortem describing the Interfaces for Non-Mimetic Simulation Charles Isbell iterative design process of a cross-media learning of Fire Emergency Response environment for high school students, the heart of Brian Dorn Georgia Institute of Technology which is an online collectible card game centered Work practice serves as the basis for non-mimetic on US Constitutional issues. simulation of fire emergency response. Non-mi- Game Design Strategies for metic simulation focuses on information flows and Tracy Fullerton distributed cognition. This simulation, a game to University of Southern California, Collectivist Persuasion teach team coordination, takes form through core School of Cinematic Arts mechanics and interface components. A series This paper presents design considerations as- of experiments distills game design principles for Laird Malamed sociated with developing a serious game about engaging cooperative play. Activision Blizzard, Inc. smoking cessation targeted at collectivist players and based on collectivist persuasive game-design Zachary Toups strategies, and then summarizes a quantitative Nahil Sharkasi Andruid Kerne evaluation of effects on individualist and collectiv- Jesse Vigil William Hamilton ist players. University of Southern California, Texas A&M University School of Cinematic Arts Rilla Khaled Pippin Barr Experimental Evaluation of Teaching Robert Biddle Societal Impact of a Serious Game Recursion in a Video Game on Raising Public Awareness: The Carleton University Case of FloodSim James Noble This novel game, EleMental: The Recurrence, Ronald Fischer provides computer science students the op- FloodSim was developed with the aim of raising Victoria University of Wellington portunity to write code and perform interactive awareness of issues surrounding flooding policy visualization to effectively learn about recursion and citizen engagement in the UK. This paper through depth-first search of a binary tree. presents the results of analyzing the game’s impact and its efficacy in raising public awareness Amanda Chaffin among large numbers of players. Katelyn Doran Drew Hicks Genaro Rebolledo-Mendez Tiffany Barnes The Serious Games Institute University of North Carolina at Charlotte

Katerina Avremides University of Sussex

Sara de Freitas The Serious Games Institute

Kam Memarzia PlayGen Ltd. www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 40 GO TO TABLE OF CONTENTS n Game Papers | Tuesday, 4 August and Wednesday, 5 August SIGGRAPH2009 Full Conference Final Program

Game Mechanics and Kinesthetic Movement Design Projects continued in Games I Wednesday, 5 August | 8:30 - 10:15 am Cardboard Semiotics: Reconfigurable Auditorium A Symbols as a Means for Narrative Understanding Visual Interfaces for Prototyping in Game Design Session Chair the Next Generation of Dance-Based Tracy Fullerton Rhythm Video Games This paper adapts a participatory design method University of Southern California, known as cardboard computing to the domain of School of Cinematic Arts game design by suggesting a method for combin- A study comparing three different visual meth- ing semiotic analysis with cardboard prototyping ods for displaying dance-routine information in RealDance, a next-generation dancing videog- to improve both high-level and interactive story- A High-Performance Visual Profiler telling in video games. ame prototype. RealDance uses four Nintendo for Games Wiimotes, attached to the player’s arms and legs, Rudy McDaniel providing a 3D spatial interface for more natural A fast visual-performance profiler that enables gameplay. University of Central Florida game developers to efficiently and effectively find causes of frame drops and other bottlenecks in Emiko Charbonneau Erik Henry Vick video games. Stephen Jacobs Chadwick Wingrave Rochester Institute of Technology Andrew Miller Michiel Roza Joseph LaViola Jr. Mark Schroders Peter Telep University of Central Florida Eximion B.V. University of Central Florida Huub van de Wetering Rock Band: A Case Study in the Design Technische Universiteit Eindhoven Game Design for Social Networks of Embodied Interface Experience

With the recent surge of interest in novel game This talk explores design drivers for creating Presence-Enhancing Real Walking User games for social-networking platforms, such interface devices, there is a need for new theoreti- as Facebook and Twitter, and introduces a Interface for First-Person Video Games cal tools for critiquing and designing embod- number of both theoretical and practical ied game interactions. This paper presents a For first-person video games, players must have a principles to inspire game concept creation preliminary framework for the study of embodied high-level of feeling presence in the game environ- and design solutions. interface using a case study of Rock Band to ment. This paper describes user interfaces based illustrate its utility. on real walking and virtual portals for presence- Aki Järvinen enhancing gameplay, and introduces transitional T-Universitetet i København Joshua Tanenbaum environments as a starting point for the virtual Jim Bizzocchi reality gaming experience. Simon Fraser University

Frank Steinicke Gerd Bruder Klaus Hinrichs Universität Münster

Anthony Steed University College London

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Kinesthetic Movement in Games II 3D and the Cinematic in Games Thursday, 6 August | 1:45 - 3:30 pm Thursday, 6 August | 3:45 - 5:30 pm Auditorium B Auditorium B A Unified Approach for Physically Based Session Chair Simulations and Haptic Rendering Session Chair Karen Schrier Drew Davidson Columbia University A novel geometric data structure, inner sphere Carnegie Mellon University trees, that supports both approximate proximity queries and penetration volume with one unified Art of Defense: A Collaborative, algorithm. This enables computation of continu- Inferred Lighting: Fast Dynamic Handheld Augmented-Reality ous forces and torques between rigid objects Lighting and Shadows for Opaque consisting of hundreds of thousands of polygons Board Game for physically based simulations or force-feedback and Translucent Objects at haptic rates. This game uses camera phones as windows Inferred lighting is a three-stage rendering pipeline onto merged physical and digital spaces, leverag- that uses a special discontinuity-sensitive filter to Rene Weller ing physical game pieces to combine the social “infer” lighting values from a lower-resolution light- Gabriel Zachmann and physical aspects of board games with the ing buffer, enabling a very large number of lights, Technische Universität Clausthal continuous simulation of a computer game. a unified lighting and shadowing pipeline for alpha and opaque polygons, and hardware multisample Duy-Nguyen Ta Huynh antialiasing. Giving Yourself to the Game: Transferring Karthik Raveendran Yan Xu a Player’s Own Movements to Avatars Scott Kircher Kimberly Spreen Using Tangible Interfaces Alan Lawrance Blair MacIntyre Volition, Inc. Georgia Institute of Technology Projecting own-movement onto abstracted self- representations and visual avatars by combining common coding approaches with tangible Interactive Simulation of Flying A Framework for Exertion Interactions interfaces and virtual worlds. Japanese Kites Over a Distance Ali Mazalek A real-time kite-flying simulation system using This paper introduces a framework to analyze Georgia Institute of Technology experimental data for the flying kite, a lift and drag existing and design novel exertion games for force calculation method based on aerodynam- social play, demonstrated with Remote Impact, Sanjay Chandrasekharan ics, real-time fluid simulation, and tensile-force a full-body shadowboxing game for distributed University of Calgary calculation based on a mass-spring model. players that facilitates extreme physical exertion. Michael Nitsche Taichi Okamoto Georgia Institute of Technology Florian Mueller Shizuoka University Stefan Agamanolis Tim Welsh Frank Vetere Makoto Fujisawa University of Calgary Martin R. Gibbs Nara Institute of Science and Technology The University of Melbourne Geoff Thomas Kenjiro Miura Tandav Sanka Shizuoka University Paul Clifton Georgia Institute of Technology

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3D and the Cinematic in Games continued

The Bespoke 3DUI XNA Framework: A Low-Cost Platform for Prototyping 3D Spatial Interfaces in Video Games

An open-source software platform for research in 3D user interaction. The system leverages low-cost, widely available game technologies and provides 3D user-interface machinery in a game-development framework.

Paul Varcholik Joseph LaViola Charles Hughes University of Central Florida

Heuristics for Continuity Editing of Cinematic Computer-Graphics Scenes

Heuristics for editing footage of 3D computer- graphics cinematic sequences into a coherent movie clip that obeys the conventions of continuity editing, following specified stylistic rules.

Kaveh Kardan Henri Casanova University of Hawaii

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Full Conference Access registration allows attendees access to all SIGGRAPH 2009 Panels. Seating is on a first-come, first-served basis. Please be sure to arrive early for the Panel you wish to attend. PANELS Panels have long been an important part of the annual SIGGRAPH conference, providing a forum for the community to share experiences, opinions, insights, speculation, disagreement, controversy, and audience interaction with the leading experts in computer graphics and interactive techniques.

Getting a Job in CG for Entertainment: Visual The State of Aesthetic The Visual in New Interfaces Effects, Animation, and Games Computing or Info-Aesthetics for Musical Expression Monday, 3 August | 1:45 - 3:30 pm Monday, 3 August | 3:45 - 5:30 pm Tuesday, 4 August | 10:30 am - 12:15 pm Rooms 260-262 Auditorium B Rooms 243-245

Recruiters from Digital Domain, The Motion Aesthetic Computing is one of several related new We are constantly creating new ways to generate Picture Company, and Sony Pictures Imageworks fields: Info-Aesthetics, Database Aesthetics, Net- and organize sound. Sometimes the result is plain discuss what it takes to get a job in CG from work Aesthetics, and Software Aesthetics. What fun, and sometimes it’s just really nice to listen to. the ground up. are their similarities and differences? What are the This panel brings together experts who have tried aesthetic issues that drive them? How are they to create new interfaces for musical expression Moderator linked to technological developments? And what through very different technical means. Using Rob Pieke Karen Sickles exactly is the role of aesthetics is this context? tabletop interfaces, visual-sound installations, Moving Picture Company Digital Domain mobile music making, and circuit bending, the Michael Kelly panelists explore what the visual means in these Panelists Denise Novosel University of North Carolina at Charlotte different approaches to musical art. Ken Murayama Microsoft/Xbox and Sony Pictures Imageworks Microsoft Game Studios Victoria Vesna Moderator Hannah Acock Emma McGonigle University of California, Los Angeles Georg Essl Double Negative Moving Picture Company University of Michigan Paul Fishwick University of Florida Panelists Keeping a Job in CG Joseph Paradiso Andrew Vande Moere Massachusetts Institute of Technology for Entertainment: Visual University of Sydney Effects, Animation, and Games Sergi Jorda Kenneth Huff Pompeu Fabra University of Barcelona Monday, 3 August | 3:45 - 5:30 pm Savannah College of Art and Design Rooms 260-262

Supervisors from the industry’s big three CG Will GPUs Change the entertainment fields discuss what it takes to Building Digital Cities Face of Rendering CGI keep your skills up to date in the ever-changing Tuesday, 4 August, | 9:30 - 10:15 am CGI industry. for Motion Pictures? Rooms 271-273 Tuesday, 4 August | 1:45 - 3:30 pm Moderator Experts in the use of current 3D tools discuss Rooms 260-262 Robin Linn their use in current urban planning, sustainability, Reel FX/Radium and reconstruction. Current-generation GPUs raised the production values of games while radically changing the de- Jonathan Litt Moderator velopment and content pipelines, but they are still Digital Domain Doug Eberhard rarely used in film production. This session exam- Autodesk, Inc. ines the obstacles that prevent GPUs from being Rob Bredow integrated into film pipelines and looks at some Sony Pictures Animation Panelists strategies for implementing them in production. Kevin Gilson Ken McGaugh Parsons Brinckerhoff Moderator Kishore Mulchandani Double Negative Evan Hirsch Advanced Micro Devices, Donald Newlands Inc. Rick Stringfellow Newlands & Company, Inc. Panelists Electronic Arts Eric Enderton Arthur Shek NVIDIA Corporation Walt Disney Animation Studios www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 44 n Full Conference Access GO TO TABLE OF CONTENTS n Accessible With Computer SIGGRAPH2009 Full Conference Final Program Panels Animation Festival Pass

The Future of Teaching Sound and Story The Art History of Games Computer Graphics for Wednesday, 5 August | 10:30 am - 12:15 pm Thursday, 6 August | 8:30 - 10:15 am Students in Engineering, Rooms 243-245 Auditorium C Science, and Mathematics What we hear greatly influences what we see and This panel explores ideas surrounding games as Wednesday, 5 August | 8:30 - 10:15 am feel. This panel celebrates the role of sound and an art form, the role of technology in the develop- Rooms 265 - 266 music in the aesthetic experience of storytelling. ment of game and the relationship among games, Experts in film and videogame sound design and the established art world, “fine art” forms, and the In response to recent advances in graphics composition discuss the art of combining audio cultural traditions of art. hardware and ensuing changes in application with visual narrative, present highlights and favor- programming interfaces, this panel discusses ites, and debate emerging directions for sound John Sharp various approaches to teaching a first course and story. Savannah College of Art and Design in computer graphics to technically oriented students. Moderator Ian Bogost Paul Lipson Georgia Institute of Technology Edward Angel Game Audio Network Guild University of New Mexico Pyramind, Inc. Frank Lantz Area/Code Peter Shirley Panelists Evan Hart Lorne Lanning Michael Nitsche NVIDIA Corporation Oddworld Inhabitants Georgia Institute of Technology

Dave Shreiner Brian Schmidt Peter Weishar ARM Ltd. Brian Schmidt Studios, LLC Savannah College of Art and Design

Tommy Tallarico Tomorrow’s Yesterday: Tommy Tallarico Studios, Inc. Video Games Live Deconstructing Scientific and Biomedical Game Audio Network Guild “Watchmen” Visualization Thursday, 6 August | 8:30 - 10:15 am Wednesday, 5 August | 8:30 - 10:15 am Instigating Change: Models La Nouvelle Orleans Ballroom Rooms 271-273 for Positive Games Zack Snyder’s “Watchmen” is a far cry from Screenings of state-of-the art scientific and bio- Wednesday, 5 August | 1:45 - 3:30 pm “300”. It had to be in order to achieve such gritty medical visualizations followed by discussions of Auditorium B realism, with 200 sets built in Vancouver and as innovative solutions, behind-the-scenes software much in-camera work as possible before resort- developments, interdisciplinary collaboration, What kinds of games have positive social ing to CG. And yet the film is a diverse CG marvel methods, techniques, and production pipelines. impacts? Recent developments in independent to behold, building layer upon layer of riveting pop The goal of this panel is to present fresh work, game making show that positive changes in cultural information. capture interesting and under-represented visu- games do perhaps make changes in the real alization areas in the SIGGRAPH community, and world. Games that entertain and also have This panel explores Sony’s making of Dr. Manhat- contribute to definition of standards for technical unique, positive social aspects can empower tan, the all-powerful, all-CG blue man, which development and production methods. The panel forms of critical play and encourage people to presented new performance-capture challenges, provides a balanced platform for exploration of take positive action. What are these games, what along with his Glass Palace on Mars, which pre- the overlapping technical problems and complex are the motivations of the game makers, and sented some new procedural challenges: digital solutions in scientific and biomedical visualizations what’s happening? Our panel of national leaders cityscapes, 3D environments, and the CG Owl- knowledge. in the field will showcase examples such as ship by MPC Vancouver; the bravura opening-title Hurricane Katrina: Tempest in Crescent City, sequence, which intricately sets up the history Moderator LAYOFF, ORGY, Hush, and Akoha. of the masked superheroes with the help of CIS Donna Cox Vancouver; and the making of the inkblot-stained NCSA, University of Illinois Panelists mask of Rorschach by Intelligent Creatures. Mary Flanagan Panelists Moderator Dartmouth College Greg Shirah Bill Desowitz NASA/GSFC - Scientific Visualization Studio AWN & VFX World Alan Gershenfeld

E-Line Ventures Doug Roberts Panelists Adler Planetarium & Astronomy Museum Lon Molnar Jay Bachhuber Intelligent Creatures Global Kids, Inc. Seth W. Ruffins California Institute of Technology Bryan Hirota Alex Eberts CIS Hollywood Akoha Gaël McGill Harvard Medical School & Digizyme, Inc. Ben Cole Tracy Fullerton MPC Vancouver University of Southern California

Rob Bredow Drew Davidson Sony Pictures Imageworks Carnegie Mellon University

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The Masters Speak: BioLogic and Generative Do we live in a brief renaissance period where the Game Developers Weigh Fabrication gates are down and all bets are off, little realizing that the window will soon close and economic, in on True 3D Gaming Thursday, 6 August | 10:30 am - 12:15 pm corporate, or government forces will restrict the Thursday, 6 August | 8:30 - 10:15 am Rooms 265 - 266 world’s media again? Or do our times mark the beginning of a permanent openness, where you Rooms 271-273 Computer-based technologies initially performed don’t have to be established to have a voice, and where large-scale collaboration happens without According to a survey of over 300 gaming profes- an assistive role, as tools that enhanced existing financial incentives. sionals done by Gamesindustry.biz, stereoscopic practices in functionalist ways. However, accord- 3D (S-3D) gaming is the most anticipated tech- ing to Tanya Harrod (The Applied Arts and the Moderator nology of 2009. At-home solutions include new Politics and Poetics of Digital Technology, 2002, http://www.pixelraiders.org/), the claim that the Scott Draves glasses, 3D displays, head-mounted displays, Google Inc. projectors, a wide range of 3D HDTVs, and more. computer is only a tool is a cliché. She states that ElectricSheep.org Despite this industry’s long history, game develop- the computer is not just a tool and that use of ers have never truly embraced the technology. computer-based technologies affects the thought Panelists Times are clearly changing! processes of practitioners. Eddie Codel Geek Entertainment TV This panel, the first of its kind, features gam- This panel discussion is an opportunity to hear ing’s leading minds. Speakers discuss the link a selection of practitioners participating in the Aaron Koblin Google Creative Lab between S-3D film and cinema, share some excit- BioLogic and Generative Fabrication exhibitions ing technology demonstrations, and put forward talk about how they have employed computation beyond an assistive role in their work and discuss Tiffiniy Cheng ideas to move S-3D gaming to the next level and Participatory Culture Foundation into customers’ hands. how technology has influenced their approach to creative practice. Moderator Simulated Physics in Games Neil Schneider Moderator Meant to be Seen John Marshall Thursday, 6 August | 10:30 am - 12:15 pm rootoftwo, University of Michigan Auditorium C Panelists Habib Zargarpour Panelists This panel brings together academic and industry Electronic Arts Arthur Elsenaar experts to discuss current issues and future chal- Artifacial.org, Nottingham Trent University lenges related to using realistic physics simula- Nicolas Schultz tions in computer games and other interactive Crytek GmbH Chris Lasch applications. Aranda/Lasch Andrew Oliver Blitz Games Studios James O’Brien Jenny Sabin University of California, Berkeley CabinStudio+, Sabin+Jones LabStudio, University of Pennsylvania Beyond The Big Screen: Eric Parker Pixelux Entertainment S.A. The Evolution of 3D Standards Yoon Chung Han in Cinema, Broadcast and Mohoya.com, University of California, Los Angeles Jay Stelly the Home Valve Corporation Thursday, 6 August | 10:30 am - 12:15 pm DIY Media & Distribution Doug James Rooms 271-273 Cornell University Thursday, 6 August | 10:30 am - 12:15 pm With this year’s explosion in 3D stereoscopic Rooms 243 - 245 Zoran Popovic´ content in movies, games, television, and BluRay University of Washington DVD, manufacturers and content creators have A discussion of how low-cost or open-source more reason than ever to understand how their development and distribution tools are affecting David Wu materials play from screen to screen - and what creative production. It features creative pioneers Microsoft Corporation additions, adjustments and conversations might and programmers who have irretrievably altered still be necessary. Whether it’s 60 feet in 4K musical composition, computer graphics, the Dilip Sequeira or 3.5” on your phone, this panel explores the future of journalism, and the definition of art. Like NVDIA Corporation advances and challenges for standardizing 3D for every advancement since the stone age, their a rapidly changing array of delivery platforms. work enlists the help of machines to improve upon what humans once made by themselves - Moderator fundamentally modern but also timeless. Rob Engle Sony Pictures Imageworks The panelists explore people-oriented ideals, like creating design programs that are free for every- Neil Schneider one to use and build upon, television program- Meant to be Seen ming that allows amateurs to acquire air time, one-person symphonies, and artwork to which Josh Greer non-artists contribute small drawings. They also RealD discuss the users, who help the internet live up to its potential by taking part in the myriad oppor- Peter Ludé Sony Electronics; Executive Vice President, tunities to show off their creativity in ways never SMPTE; Board of Directors ITVS before possible. www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 46 n Full Conference Access GO TO TABLE OF CONTENTS n Accessible With Computer SIGGRAPH2009 Full Conference Final Program Panels Animation Festival Pass

The Mass Animation A Journey From Outer Short-Cuts to Reality: The Project and the Future to Inner Space: Scientific Art and Compromise of of Crowd-Sourced Creativity and Biomedical Stereoscopic Software Development for Thursday, 6 August | 1:45 - 3:30 pm Visualization Physics-Based VFX La Nouvelle Orleans Ballroom Thursday, 6 August | 3:45 - 5:30 pm Thursday, 6 August | 3:45 - 5:30 pm Rooms 271-273 Hall E 1 - 2 It started with creation of a virtual studio on a social-networking platform (Facebook) with sup- This panel begins with a special screening: earth An exploration of the art and compromise of port from Intel and Dell (our sponsors), Autodesk and lunar sciences, solar expeditions, galaxy software development for physics-based VFX with (10,000 free Maya software licenses), and Reel formations, climate studies, mummy returns, and special emphasis on issues related to technology FX (visual effects partner), and an open invitation a journey inside the human body – all screened transfer from academia. to artists around the world to collaborate on an using state-of-the-art stereoscopic Real-D The- animated short film (“Live Music”). Learn how ater projection! Ken Museth Yair Landau and the Mass Animation team and Digital Domain 58,000 + participants from 101 countries came Panelists discuss the challenges, techniques, together to create the largest global animation and software involved in producing stereoscopic Ron Henderson collaboration ever and what this means for the scientific and biomedical visualizations. DreamWorks Animation future of entertainment content creation. Moderator Nick Rasmussen Panelists Mark Bolas Industrial Light & Magic Yair Landau Institute for Creative Technologies & School Mass Animation Project of Cinematic Arts, University of Southern California Jerry Tessendorf Rhythm & Hues Studios Jacquie Barnbrook Panelists Live Nation Helen-Nicole Kostis University of Maryland Baltimore County & Scientific Michael Rivet Visualization Studio, NASA/GSFC Intel Corporation Arnaud Thernisien Robert Hoffman Universities Space Research Association Autodesk, Inc. Donna Cox Scott Peterson NCSA, University of Illinois Reel FX Robert Patterson Advanced Visualization Lab, NCSA

Benjamin Moreno SARL IMA Solutions

Richard Breiman University of California, San Francisco School of Medicine

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Full Conference Access registration allows attendees access to all SIGGRAPH 2009 Talks. Seating is on a first-come, first-served basis. Please be sure to arrive early for the Talk sessions you wish to attend. taL Ks

SIGGRAPH 2009 Talks provide a broad spectrum of presentations on recent achievements in all areas of computer graphics and interactive techniques, including art, design, animation, visual effects, interactive music, research, interactivity, and engineering.

From Indie Jams to Professional Cameras and Imaging Pipelines Monday, 3 August | 8:30-10:15 am Monday, 3 August | 8:30-10:15 am Hall E 1-2 PhotoSketch: A Sketch-Based Image Rooms 260-262 Query and Compositing System Session Chair Session Chair Takeo Igarashi Nafees Bin Zafar The University of Tokyo A system for progressively creating new images Digital Domain through a simple sketching and compositing interface backed by a large database of millions Non Linear Aperture for Stylized of images. Houdini in a Games Pipeline Depth of Field Mathias Eitz Using Side Effects Houdini as part of the art- Kristian Hildbrand production pipeline for Sony’s PlayStation 3 New non-linear apertures that replace the stan- Technische Universität Berlin dard linear aperture in light-field refocusing to game: Killzone 2. create stylized depth-of-field effects. Tamy Boubekeur Télécom ParisTech Paulus Bannink Guerilla Games Adrien Bousseau Marc Alexa ARTIS - INRIA L’Université à Grenoble Technische Universität Berlin Results From the Global Game Jam Shooting “UP”: A Trip Through the Camera Structure of “UP” Over 1,600 people. Over 360 games. Under 48 hours. This session showcases the most interest- For “UP”, Pixar used camera and staging as ing games from the first annual Global Game Jam story-telling devices to develop a camera plan and hosts a discussion of design innovation and that parallels the development of characters’ the importance of constraints. emotional and narrative arcs, providing depth and nuance to the film’s compositions. Ian Schreiber

Patrick Lin Pixar Animation Studios Spore API: Accessing a Unique Database of Player Creativity

Automatic Colorization of Grayscale Im- Applications built with the Spore API, which can ages Using Multiple Images on the Web access information about the millions of creations uploaded from Spore. A novel colorization method that is entirely automatic and produces multiple natural, colorized Shodhan Shalin images by using one million images collected Dan Moskowitz Michael Twardos from the web. Maxis, Electronic Arts Inc.

Yuji Morimoto Yuichi Taguchi Takeshi Naemura The University of Tokyo

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Information and Aesthetics: Designing Interactions Visual Music Monday, 3 August | 8:30 - 10:15 am Monday, 3 August | 1:15 - 5:45 pm Auditorium B Rooms 243-245 Exploring Shifting Ground: Creative Intersections Between Experimental Session Chair Session Chair Animation and Audio Nicole Coleman Dennis Miller Stanford University Northeastern University Approaches to creating productive relationships between audio and visuals by applying elements and principles across interdisciplinary lines. well-formed.eigenfactor: Considerations From Pythagoras to Pixels: The Ongoing in Design and Data Analysis Trajectory of Visual Music Bonnie Mitchel Elainie Lillios This talk discusses the rationale, process, and A historical overview of visual music from early Bowling Green State University mechanisms behind the interactive visualizations analog creations to current digital creations. for the well-formed.eigenfactor project. Pam Turner Moritz Stefaner Virginia Commonwealth University 2009 Japan Media Arts Fachhochschule Potsdam Festival Review

Martin Rosvall Designing Instruments for Abstract Monday, 3 August | 1:45 - 3:30 pm Carl Bergstrom Visual Improvisation Rooms 271-273 University of Washington, Seattle This talk explores objectives in the visual-music This talk is also open to attendees with Computer domain and how we can make color, form, and Animation Festival Access. Synchronous Objects for motion accessible to visual improvisers. One Flat Thing, Reproduced A brief overview of the Japan Media Arts Festival Fred Collopy is followed by a screening of the best of this Synchronous Objects is an interactive screen- Case Western Reserve University year’s contributors, including the Academy based work that illuminates, reinterprets, and Award-winning short animated film “La Maison transforms the choreographic structures in Wil- en Petites Cubes”. liam Forsythe’s dance One Flat Thing, reproduced Modulated Feedback: The Audio-Visual through a vivid collection of information objects Composition “Mercurius” Asami Hosokawa designed by a team of multidisciplinary research- Japan Media Arts Festival ers at The Ohio State University. Discussion of the nature and use of custom sonic and visual algorithms in the award-winning audio- Maria Palazzi visual composition “Mercurius”. Norah Zuniga Shaw Animation in Education The Ohio State University Bret Battey Monday, 3 August | 1:45-3:30 pm De Montfort University Rooms 265-266 GreenLite Dartmouth: Unplug Session Chair or the Polar Bear Gets It Visual Music and the True Collaboration Ann McNamara of Art Forms and Artists Texas A & M University GreenLite Dartmouth visualizes complex, real-time energy data using interactive animations to create Discussion of the structural design, textural pat- an emotional relationship between energy use Creativity in Videogame Design terns, and expressive gestures of the multimedia and its effects. When electricity use is low, for ex- genre commonly known as “collaborative image/ as Pedagogy ample, a polar bear is happy and playful. As more music composition”. energy is used, the bear becomes distressed, and A presentation of findings from recent studies of his well-being is endangered. the iterative design process and how certain cog- Stephanie Maxwell nitive skills relate to creativity. The talk examines Rochester Institute of Technology Evan Tice three after-school videogame design courses at Tim Tregubov elementary schools in New York City. Kate Schnippering Yoon-Ki Park What Sound Does Color Make? Ronah Harris Ray diCiaccio Teachers College, Columbia University Max Friedman Using mathematical models to create visual Jennifer Huang compositions and designs. Justin Slick Teaching Animation in Second Life Giulia Siccardo Brian Evans Jessica Glago University of Alabama Based on experiences of an online offering of the Stephanie Trudeau course Computer Animation: Algorithm and Tech- Daniel Gobaud niques, at Rochester Institute of Technology, this Daniel Garcia talk focuses on the unique opportunities and chal- Craig Slagel lenges of offering a course in computer animation Lorie Loeb completely in the virtual world of Second Life. Dartmouth College Joe Geigel Rochester Institute of Technology www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 49 n Full Conference Access GO TO TABLE OF CONTENTS n Accessible With Computer SIGGRAPH2009 Full Conference Final Program Talks | Monday, 3 August Animation Festival Pass

Animation in Education continued fast, robust, and well-behaved with respect to Fight Night 4: Physics-Driven Animation changes in grid resolution, allowing quick artistic and Visuals iterations and independent control over the look Collaborative Animation Productions of different scales of motion. Using Original Music in an Unique The game team CG supervisor and lead gameplay engineer explore the innovative physics- Teaching Environment Ron Henderson driven game play and visual style of the new Fight DreamWorks Animation Night 4 game from Electronic Arts. How the University of Central Florida’s Digital Media Department has integrated music into its Jason Waltman Frank Vitz digitally animated films utilizing various strate- PDI/DreamWorks Georges Taorres gies in a production-oriented digital-animation Electronic Arts Canada curriculum. Underground Cave Sequence Darlene Hadrika B.O.B.: Breaking Ordinary Boundaries for “Land of the Lost” Stella Sung of Animation in “Monsters vs. Aliens” University of Central Florida For “Land of the Lost”, Rhythm & Hues was tasked to create the underwater Mystery Cave The components and technical challenges of MyWorld4D: Introduction to Computer sequence, which involved creating a photorealistic B.O.B.’s character rig. underground river, a collapsing cave, a waterfall, Graphics with a Modeling and Simulation Terran Boylan Twist and a dimensional vortex. Darin Grant Dreamworks Animation The successful design, implementation, and re- Lucio Flores sults of an introductory computer graphics course David Horsley that blends modeling and simulation concepts Rhythm & Hues Studios into the classical rendering pipeline syllabus. Empowering Audiences Through User-Directed Entertainment Georgeta Marai Making It Move University of Pittsburgh Monday, 3 August | 3:45 - 5:30 pm Monday, 3 August | 3:45 - 5:30 pm Room 271-273 Hall E 1-2 Splashing in Pipelines Today’s world of user-generated content and Session Chair social-networking sites puts the audience at the Monday, 3 August | 1:45 - 3:30 pm Paul Kry heart of entertainment, allowing them to create Auditorium B McGill University their own personalized content. Hollywood has always pushed the boundaries of entertainment Session Chair by applying the latest technologies to tell stories Andy Nealen Geometric Fracture Modeling in “Bolt” in new and compelling ways. But despite all its Rutgers University advances, Hollywood has not caught up with the A system to facilitate modeling of elaborate crack- audience-centric world of personalized content. ing and shattering objects. The system supports Until now. Non-Reflective Boundary Condition automatic generation of a large number of frag- For Incompressible Free-Surface Fluids ments, artist control of the density and complexity The creative vision of the world’s leading direc- of cracks, and manual fine-tuning of the shape of tors and continually advancing technologies in A novel non-reflective boundary condition for free- the resulting pieces. the studio and at home are delivering increas- surface water simulation. ingly realistic environments and characters to the Jeffrey Hellrung screen, bringing the imagination of Hollywood’s best 21st-century storytellers to life. Now, through Andreas Söderström University of California, Los Angeles ground-breaking software that enables sophisticat- Linköpings universitet Andrew Selle ed real-time rendering techniques and new delivery models, and through forthcoming client and server Ken Museth Arthur Shek hardware that has the potential to put the equiva- Digital Domain Walt Disney Animation Studios lent of a supercomputer in a home set-top box, Eftychios Sifakis Hollywood is on the verge of bringing ultra-realistic user-directed entertainment to consumers. An Efficient Level Set Toolkit for Visual Joseph Teran Effects University of California, Los Angeles Walt Disney Animation Studios This panel of the industry’s leading experts shows how the era of user-directed content will become An efficient level set toolkit for VFX based on reality in the near future. a novel compact data structure, DB-Grid. Simulating the Balloon Canopy in “Up” Peter Berg Ken Museth Film 44 Digital Domain The sheer number of dynamic bodies in the balloon canopy in “Up” required a reimagining of Pixar’s rigid-body simulation environment Jules Urbach OTOY Water-Surface Animation for and development of concise rigs and exible artists’ tools. “Madagascar: Escape 2 Africa” Rick Bergman AMD Products Group Jon Reisch A system for animating water surfaces using the Eric Froemling shallow-water and linear-wave equations along Pixar Animation Studios with appropriate discretizations. The system is www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 50 n Full Conference Access GO TO TABLE OF CONTENTS n | Monday, 3 August and Tuesday, 4 August Accessible With Computer SIGGRAPH2009 Full Conference Final Program Talks Animation Festival Pass

See What You Feel: A Study in the Visual Extension of Music Art and Interaction continued Urban Planning continued Monday, 3 August | 6 - 8 pm Generalizing Multi-Touch 1:45 - 2:45 pm Rooms 243-245 Direct Manipulation Green From the Ground Up: Infrastructure A live performance of abstract animations of music Rehabilitation and Sustainable Design A screen-space-based approach for direct pre-rendered in Maya, 3D visualizations of music- manipulation on multi-touch surfaces, which both theory structures, and real-time systems that visually As communities and cities look to achieve better completely captures the behaviors of existing 2D react to live music. The SIGGRAPH 2009 talk titled sustainability through urban regeneration and infra- direct manipulators and naturally extends direct A Study in the Visual Extension of Music discusses structure rehabilitation, new mandates, metrics, and manipulation into three dimensions. the music system used in this performance. methods are being employed to provide improved predictability and decision making throughout Jason Reisman Matthew Bain the planning, design, construction, and operation Philip Davidson The Ohio State University lifecycle. See examples from Greensburg, Kansas Jefferson Han (as seen on PBS), a city that decided to “Go Green” Perceptive Pixel, Inc. and rebuild the city following a devastating tornado that wiped out 80 percent of the city and explore Art and Interaction other green projects that seek to achieve better BiDi Screen future results by addressing the triple bottom line of Tuesday, 4 August | 8:30 - 10:15 am economic, social, and environmental sustainability. Rooms 265-266 A BiDirectional (BiDi) screen capable of both imaging and display that uses an LCD as a Doug Eberhard Session Chair spatial-light modulator to support seamless tran- Autodesk, Inc. Joyce Rudinsky sition from on-screen, multi-touch interactions to University of North Carolina at Chapel Hill off-screen, hover-based gestures. 3 - 4:05 pm Matthew Hirsch Model Rebuilding for New Orleans Applying Color Theory to Creating Massachusetts Institute of Technology Transportation Scientific Visualizations Douglas Lanman Before Hurricane Katrina, the State of Louisiana The process of building effective color maps for Brown University was improving its transportation network, but the producing explanatory and aesthetically engaging storm’s devastating destruction required additional scientific visualizations. Ramesh Raskar efforts to rebuild and rehabilitate critical transporta- Henry Holtzman tion infrastructure. See examples of the advanced Theresa-Marie Rhyne Massachusetts Institute of Technology computer modeling, visualization, and communica- North Carolina State University tion tools that helped both internal and external efforts, and hear from the people who were involved Urban Planning in helping to put New Orleans and the surrounding GPSFilm: Location-Based Mobile Cinema region back in business again. Tuesday, 4 August | 8:30 am - 5:30 pm An open-source application that enables a new Rooms 271-273 Kevin Gilson way of watching a movie based on the viewer’s Parsons Brinckerhoff location and journey. Session Chair Doug Eberhard Gay Knipper Scott Hessels Autodesk, Inc. Louisiana Department of Transportation Nanyang Technological University and Development

8:30 - 9:20 am Karma Chameleon: Jacquard-Woven The Evolution of Revolution of Design: 4:15 - 5:30 pm Photonic Fiber Display From Paper Models and Beyond Model-Based Community Planning, Decision Support, and Collaboration Karma Chameleon is a photonic textile display A leading authority in the architecture, engineering, woven on a Jacquard loom, using photonic band- and construction industries presents a brief history New tools and methods to incorporate geo- gap fibers that can change color when illuminated of design and the new digital tools and processes graphic information systems, 3D modeling, with ambient or transmitted light. Using double- that that are changing the professional and aca- real-time visualization, and decision support weave structures allows further modulation of the demic landscape. Learn how innovations like BIM are helping cities and communities make more color and patterns in the textile. (Building Information Modeling) are replacing out- informed decisions about future planning and dated methods for collaborative design and decision development. These solutions are providing both Joanna Berzowska making across the $2.3 trillion global-infrastructure technical and non-technical stakeholders with Concordia University marketplace. See new applications and opportuni- better information and interaction as they work ties for model-based design, analysis, simulation, toward more sustainable land-use and design, Maksim Skorobogatiy and visualization, and gain expanded insights into and better understanding of how decisions affect École Polytechnique de Montréal the evolution and “revolution” that are taking place local and surrounding communities, businesses, within organizations and projects today. and residents. A leading expert shows examples of this work and explores the possibilities for more Susan Piedmont-Palladino collaborative decisionmaking using an interactive National Building Museum model-based approach.

Paul Patnode Environmental Simulation Center, Ltd. www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 51 n Full Conference Access GO TO TABLE OF CONTENTS n Accessible With Computer SIGGRAPH2009 Full Conference Final Program Talks | Tuesday, 4 August Animation Festival Pass

Education: Learning Education: Learning and the Studio and the Studio continued Sensing and Display continued Tuesday, 4 August | 8:30 - 10:15 am Auditorium B Adaptive Coded Aperture Projection Building Bridges, Not Falling Through Displaying dynamic aperture patterns on a Session Chair Cracks: What We Have Learned During liquid-crystal array at a projector’s aperture plane Dana Masson 10 Years of Australian Digital Visual together with inverse filtering supports projector Animation Mentor and Killerjellybean Animation Effects Traineeships defocus compensation, high quality projector de-pixelation, and increasing temporal contrast of The digital-visual-effects industry is one of the projected video sequences. Such adaptive coded most successful examples of industry building Innovation in Animation: apertures are a step toward next-generation auto- in an increasingly digital world. This case study Exiting the Comfort Zone iris projector lenses. looks at the interconnectedness of education, Motivating fine arts students to move beyond employment, infrastructure, and innovation, Max Grosse replication and explore the many possibilities and presents a framework of the qualities and Bauhaus-Universität Weimar available for making interesting animated images processes that have been key to the industry’s is achieved by engaging students in a careful success. Gordon Wetzstein examination of the defining elements of anima- The University of British Columbia tion, early innovations, and the ongoing spirit of Shilo McClean Anselm Grundhoefer NICTA discovery. Oliver Bimber Bauhaus-Universität Weimar Pamela Taylor Virginia Commonwealth University Sensing and Display Projected Light Microscopy

Educate the Educator: Lessons Learned Tuesday, 4 August | 1:45 – 3:30 pm A new illumination technique for microscopy that From the Faculty Education Programs at Auditorium A either improves visibility when observing speci- Rhythm & Hues Studios Worldwide mens through the oculars by enhancing perceived Session Chair contrast and by reducing highlights or advances Jeff Han image analysis by increasing signal-to-noise ratio. This talk provides pointers on how to benefit from Perceptive Pixel, Inc. faculty-outreach programs based on lessons Oliver Bimber learned from faculty education programs con- Bauhaus-Universität Weimar ducted by Rhythm & Hues Studios at locations in High-Tech Chocolate: Exploring Mobile the US and India. and 3D Applications for Factories Toshiyuki Amano Nara Institute of Science and Technology

Shish Aikat FX Palo Alto Laboratory, a Silicon Valley research Rhythm & Hues Studios Anselm Grundhöfer lab, and TCHO, a San Francisco chocolate manu- Daniel Kurz facturer, explore new technologies for industry: Bauhaus-Universität Weimar an iPhone app for remote control of machines in Bringing the Studio to Campus: A TCHO’s development lab and a multi-user 3D vir- Daniel Klöck Case Study in Successful Collaboration tual world mirroring the chocolate factory, where Brandenburgische Technische Universität Cottbus Between Academia and Industry sensor networks capture data on the chocolate Sebastian Thiele process. Häntsch, Ferry This talk describes the organization and results Bauhaus-Universität Weimar from an 11-week graduate-level course adminis- Maribeth Back tered by Texas A&M University and DreamWorks FX Palo Alto Laboratory, Inc. Animation in which 15 students and six industry Timothy Childs professionals took part in a client-service model TCHO Ventures, Inc project to produce three 30-second animated Making Pixar’s “Partly shorts. Anthony Dunnigan Cloudy”: A Director’s Vision Jonathan Foote Jill Mulholland Sagar Gattepally Tuesday, 4 August | 3:45 - 5:30 pm Texas A&M University Craig Latta Hall E 1-2 Bee Liew Jim Conrads Jim Vaughan Where do babies come from? Director Peter Sohn FX Palo Alto Laboratory, Inc. Marilyn Friedman answers all your questions about his directorial Dave Walvoord debut on Pixar’s new short in this behind-the- DreamWorks Animation scenes look at the creation of the film, followed by a screening. Jose Guinea Montalvo Texas A&M University Peter Sohn Pixar Animation Studios

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From Pitchvis to Postvis: Integrating Visualization Into Taking Care of Your Pet Painterly Lighting the Production Pipeline Tuesday, 4 August | 6:15 - 8 pm Wednesday, 5 August | 8:30 - 10:15 am Wednesday, 5 August | 10:30 am - 12:15 pm Hall E 1-2 Auditorium B Rooms 271-273

Session Chair Session Chair How the role of previs is evolving beyond the tra- David (grue) DeBry Diego Guttierez ditional animatic to an integral part of filmmaking’s Cloudpic Zaragoza University creative process. Moderated by award-winning writer Barbara Robertson, this session explores how leading studios are using visualization as a Hatching an Imaginary Bird Applying Painterly Concepts in a CG Film part of their visual-effects production pipeline. Discover the innovative techniques and cutting- Extensions to traditional modeling, articulation, For “Bolt”, a tool set was developed to achieve edge technologies that are pushing filmmaking grooming, and shading developed to fulfill the de- techniques used by painters, such as massing, edit- into a brave new world. sign requirements for Kevin, the giant, iridescent, ing, and edge-quality, which helped to achieve the flightless bird in Pixar’s film, “Up”. textural richness of the classic Disney animated films. Moderator Barbara Robertson Byron Bashforth Adolph Lusinsky Tom Sanocki Walt Disney Animation Panelists Junyi Ling Steve Sullivan Laura Hainke Michael Sanders Pixar Animation Studios Painting With Polygons Industrial Light & Magic

An exploration of a simple but effective non-photo- Rhino-Palooza: Procedural Animation realistic rendering solution that uses existing and Mesh Smoothing polygonal rendering tools including normal displace- Capture and Display ment, motion blur, and basic gradient shaders. Wednesday, 5 August | 1:45 - 3:30 pm The set of novel tools and techniques developed Auditorium C to solve the technical challenges of Rhino, the Isaac Botkin hamster from Disney’s “Bolt”. First Pacific Media Session Chair Ariel Shamir Dmitriy Pinskiy The Interdisciplinary Center Evan Goldberg Smoother Subsurface Scattering Walt Disney Animation Studios A technique for smoothing the sampling noise in the subsurface scattering model employed by Dense Stereo Event Capture for the It’s Good to be Alpha the proprietary production renderer at Rhythm & James Bond Film “Quantum of Solace” Hues, which saves substantial time and memory. The geometric, rigging, grooming, and shading A multi-view geometry-reconstruction system challenges of creating the highly stylized canine Ivan Neulander developed to capture the performance of Daniel character of Alpha for “Up”. Rhythm & Hues Studios Craig and Olga Kurylenko free falling in a vertical wind tunnel for the latest James Bond movie, Robert Moyer “Quantum of Solace”. Paul Aichele Radially Symmetric Reflection Maps Laura Hainke Oliver James Byron Bashforth A technique for rendering hand-painted, radially Ted Waine Pixar Animation Studios symmetric area lights at real-time rates, using a new Double Negative Visual Effects representation based on prefiltered reflection maps.

Venomous Cattle for “Australia” Jonathan Stone 2D and 3D Facial Correspondences Double Fine Productions via Photometric Alignment Summary of the crowd workflow based on Rising Sun Pictures’ Venom 3D infrastructure Computing optical flow on scans of facial ex- that was developed to arrange, simulate, reuse, pressions (albedo and photometric normals) to and render animated cattle for numerous shots establish correspondences that can be used to in Baz Luhrmann’s “Australia”. parameterize high-resolution 3D geometry in a common 2D UV domain, enabling blends of facial Carsten Kolve expression geometries in a temporally coherent Dan Bethell yet detail-preserving manner. Rising Sun Pictures Cyrus Wilson Abhijeet Ghosh Pieter Peers Jen-Yuan Chiang Jay Busch Paul Debevec University of Southern California, Institute for Creative Technologies www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 53 GO TO TABLE OF CONTENTS n Talks | Wednesday, 5 August SIGGRAPH2009 Full Conference Final Program

Capture and Display continued Two Bolts and a Button continued Animateering continued

ILM’s Multitrack: A New Visual Tracking Interactive Lighting of Effects Using The Hair-Motion Compositor: Framework for High-End VFX Production Point Clouds In “Bolt” Compositing Dynamic Hair Animations in a Production Environment An example-based visual tracking algorithm A technique for using point clouds to illuminate designed to handle a variety of challenging VFX effects and the environments they interact devel- A hair-motion compositing system that facilitates production scenarios. oped for Disney’s animated feature film “Bolt” editing and blending of existing hair animations to to enhance effects integration. obtain the desired motion. Much like a 2D image Christoph Bregler compositor, hair and fur animations are defined as Kiran Bhat Dale Mayeda a network of nodes, where each node represents Jeff Saltzman Walt Disney Animation Studios animations or operations applied to these anima- Brett Allen tions. Industrial Light & Magic Composite-Based Refraction for Fur Armin Bruderlin and Other Complex Objects on “Bolt” Francois Chardavoine Sony Pictures Imageworks Estimating Specular Roughness From Polarized Second-Order A compositing-based solution to the problem Spherical Gradient Illumination of rendering and artdirecting refracted hair and iBind: Smooth Indirect Binding Using fur, developed for Disney’s animated feature Segmented Thin-Layers This method estimates per-pixel specular rough- film “Bolt”. ness using polarized second-order spherical iBind is a novel indirect binding technique that Lewis Siegel gradient illumination and shows that, for isotropic improves on mean value coordinates. It smoothly Sean Jenkins BRDFs, only three second-order spherical gradi- deforms vertices by uniquely leveraging heat diffu- Walt Disney Animation Studios ent patterns are sufficient for a robust estimate of sion on closed, thin layers across a structured 4D per-pixel specular roughness. set of mean-value coordinates.

Abhijeet Ghosh Erick Miller Tongbo Chen Animateering Chung-An Lin Pieter Peers Gene Lee Wednesday, 5 August | 3:45 - 5:30 pm Cyrus Wilson Walt Disney Animation Studios Auditorium C Paul Debevec Institute for Creative Technologies, Session Chair University of Southern California Mark Elendt Explorations in Art and Design Side Effects Software, Inc. Wednesday, 5 August | 3:45 - 5:30 pm Rooms 265-266 Two Bolts and a Button Tablescape Animation: A Support System Session Chair for Making Animations Using Tabletop Wednesday, 5 August | 1:45 - 3:30 pm Daria Tsoupikova Hall E 1-2 Physical Objects University of Illinois at Chicago

Session Chair A novel support system for intuitively and extem- Carlye Archibeque poraneously making animations, in which users Computational Thinking Through LightStage, LLC can draw characters by hand and control them by Programming and Algorithmic Art moving and connecting tabletop physical objects The Light Kit: HDRI-Based Area and playing with puppets, and then create a 2D Using algorithmic art to develop computational animation based on the input data. Light System for “The Curious Case thinking skills through computer programming. Also an art-programming algorithm taxonomy that of Benjamin Button” Yasuaki Kakehi identifies a broad range of algorithms and their Junichi Yamaoka A photorealistic lighting system based on HDRI- Daisuke Akatsuka links to specific design elements and principles as mapped area lights developed at Digital Domain Keio University well as specific programming and mathematical for “The Curious Case of Benjamin Button”. concepts. Takeshi Naemura The University of Tokyo Genevieve Orr Tadao Mihashi Willamette University Dan Abrams Paul Lambert Clouds with Character: “Partly Cloudy” Marco Maldonado Jesse James Chisholm This method of directing volumetric clouds to Digital Domain create a main character was developed for the short Pixar film “Partly Cloudy”.

David Batte Michael Fu Pixar Animation Studios

www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 54 n Full Conference Access GO TO TABLE OF CONTENTS n | Wednesday, 5 August and Thursday, 6 August Accessible With Computer SIGGRAPH2009 Full Conference Final Program Talks Animation Festival Pass

Explorations in Art and Design continued Real Time Live Wednesday, 5 August | 3:45 - 5:30 pm Computer-Mediated Performance Universal Panoramas: Narrative, Interac- La Nouvelle Orleans Ballroom tive Panoramic Universes on the Internet and Extended Instrument Design

Universal Panoramas is an idea and an emerging Live demos of real-time rendering. These demos This talk explores some of the ways that technol- toolset for creating narrative interactive universes are the final selections for the Real-Time Render- ogy can be used to enable or redefine improvisa- on the internet by combining panoramic photog- ing section of the Computer Animation Festival. tional musical-performance practice. raphy and computer graphics, sound, live-action video, and animation into coherent, immersive Real-Time Rendering Thomas Ciufo wholes for use in interactive entertainment, archi- Smith College tecture visualization, and corporate presentations. and Animation of Trees Ralf Habel Kim Larsen Institut für Computergraphik und Algorithmen InTune: A Musician’s Intonation Placebo Effects AS Visualization System Real Time Hair Simulation and Rendering on the GPU Genetic Stair A computer system that allows a musician to Sarah Tariq visualize the intonation exhibited in a perfor- NVIDIA Corporation mance. The system presents three intuitive The Genetic Stair is an exploration of the expres- and linked views: an annotated music score, sive potential of biologically inspired generative Real-Time Car Turbulence a pitch trace, and a spectrogram. design techniques and contemporary fabrication Jonathan Cohen technologies. NVIDIA Corporation Kyung Ae Lim Christopher Raphael Nicholas Desbiens OLE Coordinate System Indiana University Caliper Studio Jun Fujiki Kyushu University Visual Zen Art: Visual Measurement NVIDIA’s Medusa Demo Building Story in Games: of Aesthetic Cognitive Dissonance in Mark Swain No Cut Scenes Required Japanese Dry-Stone Gardens NVIDIA Corporation Thursday, 6 August | 10:30 am - 12:15 pm Using eyetracker to measure visual PageRanks of Gears of War 2 La Nouvelle Orleans Ballroom landscape garden objects (mainly rocks_ in one of Wyeth Johnson the most famous Japanese dry-stone Zen gardens Epic Games Telling stories through objectives and rewards is and discover the surprising visual effect hidden in unique to our art form. How can we connect some this garden. The effect was totally unknown 560 Split Second of the tenets of traditional storytelling, including years ago. Today it is called “cognitive dissonance”. David Jefferies character arcs and three-act structures into a Disney Interactive medium that demands emergent storytelling? This DongSheng Cai session covers a variety of different fiction-delivery University of Tsukuba techniques for interactive entertainment. Shigenori Mochizuki Ritsumeikan University See, Hear, Make, and Play Danny Bilson THQ Inc. Yun Wang Wednesday, 5 August | 3:45 - 5:30 pm University of Tsukuba Rooms 243-245 Bob Nicoll Electronic Arts Nobuyoshi Asai Session Chair University of Aizu Wendy Ju Stanford University Fukumoto, Asako Keio University The Blues Machine Immersive and Impressive: A multitouch, tangible guitar-like interface for The Impressionistic Look 12-bar blues improvisation. of Flower on the PS3 Marcelo Cicconet Wednesday, 5 August | 1:45 - 3:30 pm Ilana Paterman Rooms 271-273 Paulo Cezar Carvalho Luiz Velho Flower is a PlayStation 3 downloadable game Instituto Nacional de Matemática Pura e Aplicada and winner of numerous industry best-graphics awards. Hear how the tiny team at thatgamecompany created immersive and realistic natural environments by focusing on impressionistic rendering rather than photorealism.

John Edwards thatgamecompany www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 55 n Full Conference Access GO TO TABLE OF CONTENTS n Accessible With Computer SIGGRAPH2009 Full Conference Final Program Talks | Thursday, 6 August Animation Festival Pass

Real-Time Design Review and Collaboration for Global Capturing and Visualizing Effects Omelette Infrastructure Projects Animation Thursday, 6 August | 10:30 am - 12:15 pm Thursday, 6 August | 1:45 - 3:30 pm Thursday, 6 August | 3:45-5:30 pm Hall E 1-2 Rooms 271-273 Auditorium C

Session Chair Chair Jim Hillin Real-time, model-based design, visualization, Bill Polson Pixar Animation Studios Digital Domain simulation, and analysis tools are driving better ways for teams to create, experience, and collaborate on infrastructure projects of all types and Concurrent Monoscopic and Stereo- sizes. Integrated analysis and simulation capabili- Medial Axis Techniques for Stereoscopic scopic Animated Film Production ties are allowing experts to find and fix risky or Extraction expensive problems in a virtual environment first, An examination of the creative choices, tech- before construction and operation begins. This Stereoscopic conversion of Disney’s “Beauty niques, and production pipeline for Disney’s is generating better, faster, and less expensive and the Beast” required development of novel “Bolt”, which generate an approach to concurrent projects, and changing the way agencies, profes- extensions to standard medial axis techniques production of both monoscopic and stereoscopic sionals, and the public inform and interact to build to automatically generate depth maps from the versions of a CG-animated feature film. a better world. hand-drawn images.

Evan Goldberg Robert Neuman This session re-enacts live design review and Walt Disney Animation Studios Walt Disney Animation Studios collaboration sessions for key building and infrastructure projects around the world. it demonstrates real-time, model-based collabora- Realistic Eye Motion Using Procedural Pushing Tailoring Techniques To tion tools, including automated clash detection, project schedule integration (4D modeling), model Geometric Methods Reinforce “Up” Character Design markup, and virtual navigation. See how technical and non-technical stakeholders are making more Using an anatomically motivated approach, this This talk outlines the tailoring team’s use of informed decisions about the world’s infrastruc- talk demonstrates a procedural method to create traditional pattern-making techniques to create ture and experience live interactive collaboration convincing realistic deformations of the skin and garments that reinforced the character design (in stereo) on real-world projects being designed flesh surrounding the eye that can be easily ap- of the extremely caricatured characters in Pixar and built today. plied onto any digital creature’s face. Animation Studio’s “Up”. Kevin Gilson Erick Miller Fran Kalal Parsons Brinckerhoff Dmitriy Pinskiy Carmen Ngai Walt Disney Animation Studios Claudia Chung Doug Eberhard Pixar Animation Studios Autodesk, Inc. Connecting the Dots: Discovering What’s Important for Creature Motion The Net Effect: Simulated Bird-Catching in “Up” An experiment designed to reveal some of the key features necessary for conveying creature motion. An explanation of techniques and technology The ultimate goal is to find the minimal represen- used to create a highly interactive weighted net tation necessary to communicate recognizable ensnaring a character in “Up”. locomotion or traits that may be communicated to the viewer through motion, such as size and Eric Froemling attitude. Pixar Animation Studios Ann McNamara Meredith McLendon Tim McLaughlin Destroying the Eiffel Tower: Ravindra Dwivedi A Modular FX Pipeline Texas A&M University

The destruction of this complex model, involv- ing terabytes of data per shot, was only possible Motion Capture for Natural Tree through the use of a Python-based modular pipe- Animation line that was almost completely procedural. Reconstruction of tree structure and motion from Daniel P. Ferreira passive optical-motion-capture data to animate a Daniel Maskit small tree swaying in the wind. Atsushi Ikarashi Ryo Sakaguchi Michael Jones Karl Kohlman Jie Long Andrew Paules Cory Rheimschussel Digital Domain Ontario Britton Brigham Young University

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Music as Multi Sense Rendering Doing It With Game Engines Thursday, 6 August | 3:45 - 5:30 pm Friday, 7 August | 8:30 - 10:15 am Friday, 7 August | 9:15 - 10:15 am Rooms 243-245 Auditorium C Hall E 3

Session Chair Session Chair Session Chair Wendy Ju Bob Crocco Naty Hoffman Stanford University Microsoft Live Labs Activision

The Immersive Computer-Controlled Practical Uses of a Ray Tracer for How to Get From 30 to 60 Frames Per Audio Sound Theater: History and “Cloudy With a Chance of Meatballs” Second in Video Games for “Free” Current Trends in Multi-Modal Sound Diffusion How the physically based nature of raytracing A novel technique for video games that combines was combined with an artistically flexible toolset the best of high-quality rendering at 30 frames per The Immersive Computer-Controlled Audio Sound to achieve the complex, but stylized look of second with the natural motion of objects refresh- Theater is a large-scale loudspeaker array for “Cloudy With a Chance of Meatballs” while ing at 60 frames per second with very minimal concert presentation of electro-acoustic music. providing the artist an interactive lighting memory and performance overhead. It uses a client-server architecture, with traditional environment. and novel control interfaces, to provide real-time Dmitry Andreev control of audio diffusion over an array of up to 44 Karl Herbst LucasArts loudspeakers. Danny Dimian Sony Pictures Imageworks Stephen Beck Making a Feature-Length Animated Louisiana State University Movie With a Game Engine Multi-Layer, Dual-Resolution Screen-Space Ambient Occlusion Delacave has recently completed “The True Multi-Touch Everywhere! Story of Puss’n Boots” using real-time hardware This talk describes a general method for render- technologies. This talk illustrates the challenges, A portable device that enables users to turn any ing higher-quality screen space ambient occlusion difficulties, and new possibilities that real-time flat surface into a multi-touch controller for music (SSAO) by using depth-peeled layers and an gaming technologies can offer to production of a and other media applications. enlarged frustum, as well as a dual-resolution computer-animated movie. method for improving the performance of any Alain Crevoisier SSAO algorithm. Alexis Casas Greg Kellum Pierre Augeard University of Applied Sciences Western Switzerland Louis Bavoil Ali Hamdan Miguel Sainz Delacave NVIDIA Corporation Sound Scope Headphones Wildfire Forecasting Using an Sound Scope Headphones are designed to let RACBVHs: Random-Accessible, Open-Source 3D Multilayer users control an audio mixer through natural Compressed Bounding-Volume Geographical Framework movements and enable a musical novice to Hierarchies separately listen to each player’s performance. A wildfire forecasting system with realistic 3D A novel approach to compressed bounding- visualization for coordination and management Sound Scope Headphones demo in volume hierarhcies that supports random access of emergency situations. The system allows Emerging Technologies n and achieves 12:1 compression ratio and 4:1 visualization of the wildfire in a realistic land- run-time performance for ray tracing and collision scape and estimation of its evolution in various Masatoshi Hamanaka detection. vegetation and weather conditions. It also allows SeungHee Lee visualization of and interaction with different types University of Tsukuba Tae-Joon Kim of emergency units. Sung-eui Yoon Korea Advanced Institute of Science and Technology Modesto Castrillón Pedro A. Jorge Universidad de Las Palmas de Gran Canaria Rendering Volumes With Microvoxels Ignacio J. López This robust volumetric rendering extension Instituto Tecnológico de Canarias to the REYES rendering architecture includes support for decoupled shading, fast motion David Martín blur, and accurate compositing. Universidad de Las Palmas de Gran Canaria

Andrew Clinton Rafael J. Nebot Mark Elendt Izzat Sabbagh Side Effects Software Instituto Tecnológico de Canarias

Javier Sánchez Antonio J. Sánchez José P. Suárez Agustín Trujillo Universidad de Las Palmas de Gran Canaria www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 57 GO TO TABLE OF CONTENTS n Talks | Friday, 7 August SIGGRAPH2009 Full Conference Final Program

Character Animation Real Fast Rendering and Rigging Friday, 7 August | 10:30 am - 12:15 pm Friday, 7 August | 3:45 - 5:30 pm Auditorium C Hall E 3 Normal Mapping With Low-Frequency Session Chair Precomputed Visibility Session Chair Dan Wexler Bobby Boddenheimer NVIDIA Corporation Encoding visibility using low-order spherical har- Vanderbilt University monics and evaluating the triple product integral of lighting, visibility, and the cosine term on the Volumetric Shadow Mapping GPU decouples normal variation from visibility. Animation and Simulation of Octopus Combined with PCA compression and efficient Arms in “Night at the Museum 2” A new, adaptive method for fast rendering of volu- factorization of the triple product, soft shadows metric shadows in dusty, foggy, or underwater can be computed more efficiently. A set of techniques used to animate flexible arms environments. Rendering quality can be adjusted for the monstrous octopus character in “Night at for applications ranging from real-time application Michal Iwanicki the Museum 2”. to production rendering. CD Projekt RED Tae-Yong Kim Peter-Pike Sloan Pascal Gautron Matt Derksen Disney Interactive Studios Jean-Eudes Marvie Rhythm & Hues Studios Thomson Corporate Research

Guillaume Francois Methods for Fast Skeleton Sketching The Moving Picture Company Introducing different methods and concepts for defining a fast and effective sketching interface Bucket Depth Peeling for skeleton creation, including stroke embedding methods and a full-featured templating system. An efficient algorithm for multi-layer depth peeling, which captures and sorts multiple fragments in a Martin Poirier single geometry pass via a bucket sort on GPU. Eric Paquette The algorithm outperforms previous methods in École de technologie supérieure both quality and speed, especially for large-scale scenes with high depth complexity. Practical Character Physics Fang Liu For Animators Meng-Cheng Huang Xue-Hui Liu A graphics system that significantly improves Chinese Academy of Sciences the visual quality of certain types of 3D character motion animated with traditional means by infer- En-Hua Wu ring physical properties and correcting the results Chinese Academy of Sciences, Universidade de Macau through the use of dynamics.

Ari Shapiro BVH for Efficient Raytracing Rhythm & Hues Studios of Dynamic Metaballs on GPU Sung-Hee Lee A new method for efficiently raytracing a large University of California, Los Angeles number of metaballs using dynamic BVH and current graphics hardware capacities. This technique allows interactive real-time rendering of complex Surface Motion Graphs for Character and deformable geometries of arbitrary topology Animation From 3D Video including effects such as shadows and mirror reflections. A framework for character animation production that reuses captured 3D video sequences Olivier Gourmel of people according to user constraints on Anthony Pajot movement, position, and timing The system Université Toulouse has the potential to create realistic, synthetic, animated content by reproducing the dynamics Pierre Poulin of shape and appearance currently missing from Université de Montréal marker-based motion capture.

Mathias Paulin Peng Huang Loïc Barthe Adrian Hilton Université Toulouse University of Surrey

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Rendering and Visualization Friday, 7 August | 3:45 – 5:30 pm Rooms 260-262 Design and Self-Assembly of DNA Into Session Chair Nanoscale Three-Dimensional Shapes Wilmot Li Adobe Systems Incorporated Experimental methods and open-source computer-aided design tools for construction of nanoscale three-dimensional shapes from DNA. Beyond Triangles : GigaVoxels Effects In Video Games Shawn Douglas Harvard University The latest results of research on using voxel rep- Hendrik Dietz resentations in the context of video games and Technische Universität München demonstration of how the GigaVoxels approach can be used to render complex visual effects in a Tim Liedl very efficient way thanks to intrinsic properties of Bjorn Hogberg a multi-resolution scheme. Franziska Graf Adam Marblestone Cyril Crassin Harvard University INRIA Rhône-Alpes Surat Teerapittayanon Fabrice Neyret Massachusetts Institute of Technology LJK/INRIA L’Université à Grenoble CNRS Alejandro Vazquez Sylvain Lefebvre The Johns Hopkins University INRIA Sophia-Antipolis George Church Miguel Sainz William Shih NVIDIA Corporation Harvard University

Elmar Eisemann MPI Informatik, Universität des Saarlandes

Single-Pass Depth Peeling Via CUDA Rasterizer

A highly efficient algorithm for multi-layer depth peeling via CUDA rasterizer with a single pass. The graphics pipeline is simulated by CUDA, and fragments per pixel are stored and sorted by atomic operations of CUDA without RMW hazards. Results show significant speed improve- ment compared to classical depth peeling.

Fang Liu Meng-Cheng Huang Xue-Hui Liu Chinese Academy of Sciences

En-Hua Wu Chinese Academy of Sciences, Universidade de Macau

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Full Conference Access registration allows attendees access to all SIGGRAPH 2009 Technical Papers. Seating is on a first-come, first-served basis. Please be n l s sure to arrive early for the Technical Papers sessions you wish to attend. SPECIAL EVENT Technical Papers Fast-Forward Monday, 3 August | 6 - 8 pm ers Hall E 1-2 pap The world’s leading experts in computer graphics echnical and interactive techniques preview their latest t work in provocative, sometimes hilarious The SIGGRAPH Technical Papers program is the premier summaries of the field’s evolution. international forum for disseminating new scholarly work in computer graphics. These papers span the areas of modeling, animation, rendering, and imaging, but they also touch on related areas such as visualization, computer vision, human-computer interaction, and applications of computer graphics. SIGGRAPH Technical Papers are published as a special issue of the journal ACM Transactions on Graphics.

Fast Image Processing Curve and Surface and Retargeting Modeling (TOG) Tuesday, 4 August | 8:30 - 10:15 am Tuesday, 4 August | 8:30 - 10:15 am Hall E 1-2 Multi-Operator Media Retargeting Hall E 3

Session Chair A method to combine different operators to re- Session Chair Aaron Hertzmann target media in an optimal manner. A new image Cindy Grimm University of Toronto similarity measure, called Bi-Directional Warping Washington University in St. Louis Submit a Question nn (BDW), is used with dynamic programming to find Submit a Question nn an optimal path in a multi-dimensional resizing space. Results are shown on images as well as Gaussian KD-Trees for Fast video. 2D Piecewise Algebraic Splines High-Dimensional Filtering for Implicit Modeling Michael Rubinstein This paper introduces a technique to construct This paper proposes the Gaussian KD-Tree: A Ariel Shamir bivariate spline-basis functions from any given set high-dimensional data structure to accelerate a The Interdisciplinary Center of 2D polygons. In addition to their obvious use in broad class of non-linear filters, including bilateral, designing free-form parametric geometric shapes, non-local means, and a novel non-local means for Shai Avidan the proposed 2D splines have been shown to be geometry. Adobe Systems Incorporated a powerful tool for implicit shape modeling. Andrew Adams Qingde Li Stanford University PatchMatch: A Randomized Correspondence Algorithm University of Hull Natasha Gelfand for Structural Image Editing Jie Tan Nokia Research A fast randomized algorithm for computing ap- The Chinese Academy of Sciences Jennifer Dolson proximate nearest-neighbor fields in images. The Marc Levoy algorithm supports a variety of tools appropriate Stanford University for interactive image editing, including image A BSP-Based Algorithm for Dimension- completion, retargeting, and reshuffling. The pa- ally Nonhomogeneous Planar Implicit per provides theoretical analysis of the algorithm Curves With Topological Guarantees Edge-Avoiding Wavelets and demonstrates its use in a working interactive and Their Applications image editor. This algorithm renders 2D implicit curves with self-intersections and isolated points. Its core is a This paper proposes a new family of second- Connelly Barnes modified two-point numerical method capable of generation wavelets, constructed using a robust Princeton University sampling not only sign-variant curve components data-prediction lifting scheme. The support of that satisfy the Bolzano corollary, but also sign- these new wavelets avoids having pixels from Eli Shechtman invariant and mixed components that are usually both sides of an edge, thus lowering the inter- Adobe Systems Incorporated missed by other algorithms. scale correlation. This new framework allows performing edge-preserving processing in linear Adam Finkelstein Abel Gomes time. Princeton University Jose F. Morgado Edgar S. Pereira Raanan Fattal Dan Goldman Universidade da Beira Interior Hebrew University Adobe Systems Incorporated www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 60 GO TO TABLE OF CONTENTS n Technical Papers | Tuesday, 4 August SIGGRAPH2009 Full Conference Final Program

Curve and Surface Modeling (TOG) continued Perception and Depiction Tuesday, 4 August | 8:30 - 10:15 am Tuesday, 4 August | 10:30 am - 12:15 pm Hall E 3 Hall E 1-2 Modeling Human Color Perception Under Extended Luminance Levels Interpolatory Point Set Surfaces: Session Chair Convexity and Hermite Data Kavita Bala Human color perception has not yet been studied Cornell University for very high luminances. The authors have gath- Point set surfaces are extended to interpolate Submit a Question nn ered unique psychophysical data for luminance given points and normals with good shape quality levels covering most of the dynamic range of the and additional parameters for shape control. human visual system and derived a generalized Light Warping for Enhanced color appearance model that quantifies human Marc Alexa Surface Depiction color perception for this extended range. Technische Universität Berlin Starting from a 3D object with an arbitrary mate- Min H. Kim Anders Adamson rial and environment illumination, this approach Tim Weyrich Sinora enhances surface depiction by locally compress- Jan Kautz ing or stretching reflected light patterns. Such a University College London process allows users to re-introduce or attenuate A Variational Approach for Automatic features such as convexities and concavities, or Generation of Panoramic Maps foreshortened regions, in arbitrary lighting and How Well Do Line Drawings viewing directions. Depict Shape? Panoramic maps are commonplace navigation aids in tourist places like ski resorts or national Romain Vergne The ability of line drawings to depict 3D shape parks. Traditionally, an artist skillfully designs such Romain Pacanowski was studied by asking participants to estimate maps by combining several views into a single im- Pascal Barla surface normals at many points. The results show age. This paper presents an automatic approach Xavier Granier that line drawings can depict certain shapes as that rearranges landscape features to avoid their Christophe Schlick well as shaded renderings, and that errors in occlusion and ensure good visibility with minimal INRIA Bordeaux University depiction are localized and can often be traced deformations. to particular lines.

Patrick Degener Toward Evaluating Lighting Design Forrester Cole Reinhard Klein Interface Paradigms for Novice Users Princeton University Universität Bonn A user study focusing on novices to evaluate Kevin Sanik the benefits of three lighting-design interface Doug DeCarlo paradigms: direct manipulation, indirect feature Rutgers University dragging, and optimization through painting. This study will affect design of future lighting interfaces Adam Finkelstein and additional experiments toward a comprehen- Thomas Funkhouser sive evaluation of lighting interfaces. Princeton University

William Kerr Szymon Rusinkiewicz Fabio Pellacini Princeton University and Adobe Systems, Incorporated Dartmouth College Manish Singh Rutgers University

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Light and Materials Shape Editing and Deformation Tuesday, 4 August | 1:45 - 3:30 pm Tuesday, 4 August | 1:45 - 3:30 pm Hall E 1-2 SubEdit: A Representation for Hall E 3 Editing Measured Heterogeneous Session Chair Session Chair Subsurface Scattering Pedro Sander Mario Botsch The Hong Kong University of Science and Technology Universität Bielefeld A novel representation for editing measured Submit a Question Submit a Question nn heterogeneous subsurface scattering. It makes nn artistic modifications efficient and at the same time ensures good visual quality. Kernel Nystrom Method iWires: An Analyze-and-Edit Approach for Light Transport Ying Song to Shape Manipulation ZheJiang University The Kernel Nystrom method for reconstructing The essence of man-made objects can often be the light transport matrix from a relatively small Xin Tong captured in a small set of 1D curves or wires. This number of acquired images is highly effective Microsoft Research Asia paper demonstrates that extracting such wires, for scenes with complex lighting effects such as learning their individual properties and mutual re- caustic, shadowing, inter-reflection, and subsur- Fabio Pellacini lations, and subsequently preserving them during face scattering. Dartmouth College editing, leads to a simple, efficient, and powerful shape editing framework. Jiaping Wang Pieter Peers Microsoft Research Asia University of Southern California, Ran Gal Institute for Creative Technologies Tel-Aviv University Yue Dong Tsinghua University and Microsoft Research Asia Olga Sorkine Fabricating Microgeometry New York University Xin Tong for Custom Surface Reflectance Zhouchen Lin Niloy Mitra Microsoft Research Asia Indian Institute of Technology Manufacturing physical surfaces that, in ag- gregate, exhibit a desired surface appearance. Baining Guo Daniel Cohen-Or From a user specification of a BRDF, or simply a Microsoft Research Asia and Tsinghua University Tel-Aviv University highlight shape, this method infers the required distribution of surface slopes. It optimizes for An Empirical BSSRDF Model a manufacturable height field with this slope distribution and fabricates it using a computer- Variational Harmonic Maps for Space Deformation A new explicit representation of the homoge- controlled mill. neous BSSRDF based on large-scale simulations. The paper presents a space deformation method This model captures the appearance of materials Tim Weyrich that combines the advantages of cage-based that are not accurately represented using existing University College London methods (smoothness, efficiency, robustness, single-scattering models or multiple isotropic- and ease of implementation) with the ease of use scattering models (for example, the diffusion Pieter Peers of constraint-based methods. The deformation approximation). University of Southern California, Institute for Creative Technologies is based on generating an As-Rigid-As-Possible harmonic map of the source domain, which best Craig Donner fits the user’s constraints. Columbia University Wojciech Matusik Adobe Systems, Incorporated Mirela Ben-Chen Jason Lawrence Ofir Weber University of Virginia Szymon Rusinkiewicz Princeton University and Adobe Systems, Incorporated Craig Gotsman Technion - Israel Institute of Technology Ravi Ramamoorthi University of California, Berkeley

Toshiya Hachisuka Henrik Wann Jensen University of California, San Diego

Shree Nayar Columbia University

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Shape Editing and Deformation continued Fluid Simulation Tuesday, 4 August | 3:45 - 6 pm Joint-Aware Manipulation Hall E 3 Predictive-Corrective of Deformable Models Incompressible SPH Session Chair Complex mesh models of man-made objects Robert Bridson This paper presents a novel SPH solver that often consist of multiple components connected The University of British Columbia enforces incompressibility by using a prediction- by various types of joints. This paper proposes a Submit a Question nn correction scheme to determine the particle joint-aware deformation framework that supports pressures. Results show that the method clearly direct manipulation of an arbitrary mix of rigid and outperforms the commonly used weakly com- deformable components, and respects various pressible SPH model by more than an order of joint constraints connecting them. Harmonic Fluids magnitude.

Weiwei Xu An algorithm for synthesizing familiar bubble- Barbara Solenthaler Microsoft Research Asia based fluid sounds such as splashing, pouring, Renato Pajarola and babbling. The algorithm acoustically aug- University of Zurich Jun Wang ments existing incompressible fluid solvers with University of Science and Technology of China particle-based models for acoustic bubble creation, vibration, advection, and radiation. Acoustic Directable, High-Resolution transfer functions are estimated using our fast KangKang Yin Simulation of FIre on the GPU Microsoft Research Asia dual-domain boundary integral Helmholtz solver. A hybrid particle and grid simulation system Changxi Zheng Kun Zhou that utilizes graphics hardware (GPU) to quickly Doug James Zheijang University simulate artist-directable, high-resolution fire. Cornell University Simulation resolutions as high as 2048 can be Michiel van de Panne computed in a few hours by parallelizing work The University of Biritish Columbia among multiple GPUs. Energy-Preserving Integrators Falai Chen for Fluid Animation Christopher Horvath University of Science and Technology of China Willi Geiger This paper proposes simple, unconditionally Industrial Light & Magic Baining Guo stable, fully Eulerian integration schemes that Microsoft Research Asia accurately capture the monotonic energy decay induced by viscosity, hence maintaining liveliness of low-viscosity fluids without recourse to correc- Semantic Deformation Transfer tive devices.

Given a few example pose pairs, semantic Patrick Mullen deformation transfer infers a meaningful corre- Keenan Crane spondence between two meshes and synthesizes Dmitry Pavlov novel poses of one mesh from the input poses of California Institute of Technology the other. For example, it can transfer the poses of a person walking normally to poses of walking Yiying Tong on two hands. Michigan State University

Ilya Baran Mathieu Desbrun Daniel Vlasic California Institute of Technology Massachusetts Institute of Technology

Eitan Grinspun Modular Bases for Fluid Dynamics Columbia University This paper presents fluid tiles, modular reduced Jovan Popovic´ models that can be assembled into huge simula- Adobe Systems, Incorporated, University of Washington, tions. Consistency between tiles is enforced using and Massachusetts Institute of Technology constraint reduction, which modifies reduced models to ensure compatibility between tiles. The coupling terms can be precomputed, allowing for interactive rearrangement of the tiles while the simulation is running.

Martin Wicke Stanford University

Matt Stanton Adrien Treuille Carnegie Mellon University

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Motion Synthesis Image Warping and Interpolation and Editing (TOG) Wednesday, 5 August | 8:30 - 10:15 am Wednesday, 5 August | 8:30 - 10:15 am Hall E 1-2 Content-Preserving Warps Hall E 3 for 3D Video Stabilization Session Chair Session Chair Victor Ostromoukhov Carol O’Sullivan A technique that transforms a video from a Université de Montréal Trinity College Dublin hand-held video camera so that it appears as if it Submit a Question Submit a Question nn were taken with a directed camera motion. This nn method adjusts the video to appear as if it were taken from nearby viewpoints, enabling simulation Moving Gradients: A Path-Based Method of 3D camera movements. Generalizing Motion Edits for Plausible Image Interpolation With Gaussian Processes Feng Liu A method for plausible interpolation of images Michael Gleicher One way that artists create compelling char- based on the intuitive idea that a given pixel in the University of Wisconsin-Madison acter animations is by manipulating details of a interpolated frames traces out a path in source character’s motion. This process is expensive and images. It has several key aspects, such as Hailin Jin repetitive. This paper shows that we can make arbitrary transition points between images, simple Aseem Agarwala such motion editing more efficient by generalizing and efficient occlusion handling, and working in Adobe Systems, Incorporated the edits an animator makes on short sequences the gradient domain. of motion to other sequences.

Dhruv Mahajan FlexiStickers - Photogrammetric Texture Leslie Ikemoto Columbia University Mapping Using Casual Images Animate Me

Fu-Chung Huang A novel approach for texturing 3D models using Okan Arikan University of California, Berkeley casual images, which manages to account for the University of Texas, Austin 3D geometry of the photographed object. The Wojciech Matusik algorithm is realized in a FlexiStickers application, David Forsyth Adobe Systems, Incorporated which enables fast interactive texture mapping University of Illinois at Urbana-Champaign using a small number of constraints. Ravi Ramamoorthi Peter Belhumeur Yochay Tzur Optimization-Based Interactive Columbia University Ayellet Tal Motion Synthesis Technion - Israel Institute of Technology A physics-based approach to synthesizing motion Optimizing Content-Preserving of a responsive virtual character in a dynamically Projections for Wide-Angle Images varying environment. This framework allows the programmer to specify active control strategies Any projection of a three-dimensional scene into a using intuitive kinematic goals that are encoded two-dimensional image inherently produces some as objectives and constraints in the optimization type of distortion. This paper presents a method problem formulated at each time step. for creating a projection adapted to the contents of a particular scene, minimizing the perceived Sumit Jain distortion of the image. Yuting Ye C. Karen Liu Robert Carroll Georgia Institute of Technology Maneesh Agrawala University of California, Berkeley Lie Group Integrators for Animation Aseem Agarwala and Control of Vehicles Adobe Systems, Incorporated A general framework for integrating the dynamics of holonomic and nonholonomic vehicles (heli- copters, boats, and cars), resulting in integration schemes that are superior to standard methods in numerical robustness and efficiency.

Marin Kobilarov Keenan Crane Mathieu Desbrun California Institute of Technology

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Surfaces Wednesday, 5 August | 10:30 am - 12:15 pm Hall E 1-2 Symmetric Tiling of Closed Surfaces: Preserving Topology and Elasticity Session Chair Visualization of Regular Maps for Embedded Deformable Models Misha Kazhdan The John Hopkins University Cut out F polygons with p sides from an elastic This paper introduces a new approach for em- Submit a Question nn fabric, sew them together such that at each bedding linear elastic deformable models. The corner q polygons meet, stuff tightly. What shape technique results in significant improvements in could you get? This puzzle has a scope that the efficient, physically based simulation of highly NURBS With Extraordinary Points: ranges from mathematical physics via art to baby detailed objects. toys, and we provide visual answers. High-Degree, Non-Uniform, Rational Matthieu Nesme Subdivision Schemes Jarke J. van Wijk McGill University, Grenoble Universités, Technische Universiteit Eindhoven INRIA, LJK-CNRS This paper introduces arbitrary topology surfaces with all the capabilities of NURBS. Previous sub- Paul Kry division surfaces have always been either uniform, McGill University low degree, or both. In contrast, this scheme can Reduced Physics for Animation represent any odd-degree NURBS patch. The Lenka Jerábková Wednesday, 5 August | 1:45 - 3:30 pm surfaces can also include extraordinary points, INRIA, LJK-CNRS which extends NURBS to arbitrary topologies. Hall E 3 François Faure Session Chair Thomas J. Cashman Grenoble Universités, INRIA, LJK-CNRS Ursula H. Augsdörfer Adrien Treuille Neil A. Dodgson Carnegie Mellon University Submit a Question University of Cambridge nn Deformable Object Animation Using Reduced Optimal Control Malcolm A. Sabin Numerical Geometry Ltd Enrichment Textures for Detailed Our method can generate a physically plausible Cutting of Shells motion of a large deformable model that matches a given set of keyframes. It does so by properly Direct Trimming of NURBS Surfaces A method for simulating highly detailed cutting applying model reduction to the control problem, on the GPU and fracturing of thin shells at a resolution much decreasing space-time optimization times from finer than the underlying simulation mesh. The many hours to just a few minutes. A highly efficient direct-trimming technique for harmonic-enrichment textures handle multiple, intersecting, arbitrarily shaped, and progressive NURBS surfaces, based on a novel point-classifi- Jernej Barbic cuts in a simple and unified framework. cation scheme for curved regions including holes. Marco da Silva This approach is applicable to tessellation-based Massachusetts Institute of Technology rendering as well as to ray tracing systems. Peter Kaufmann Sebastian Martin Jovan Popovic´ ETH Zürich Andre Schollmeyer Adobe Systems, Incorporated, University of Washington, Bernd Fröhlich and Massachusetts Institute of Technology Bauhaus-Universität Weimar Mario Botsch Universität Bielefeld

Bi-3 C2 Polar Subdivision Eitan Grinspun Columbia University C2 polar subdivision uses small, simple, local rules to refine a polar control net compatibly with Markus Gross Catmull-Clark subdivision. The resulting surfaces ETH Zürich are C2, piecewise of degree bi-3, allow for high valences, and can model the full complement of quadratic shapes. Numerical Coarsening of Inhomogeneous Elastic Materials Ashish Myles Jörg Peters A methodology to approximate a deformable University of Florida object made of arbitrary fine structures of various linear elastic materials with a dynamically similar coarse model.

Lily Kharevych Patrick Mullen Houman Owhadi Mathieu Desbrun California Institute of Technology

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Imaging and Rendering Creating Natural Variations Pipeline (TOG) Wednesday, 5 August | 3:45 - 6 pm Wednesday, 5 August | 3:45 - 5:30 pm Hall E 1-2 Example-Based Hair Geometry Synthesis Hall E 3

Session Chair This paper presents an example-based approach Session Chair Sylvain Paris to hair geometry modeling. Hanspeter Pfister Adobe Systems, Incorporated Harvard University Submit a Question Submit a Question nn Lvdi Wang nn Tsinghua University

Procedural Noise Using Sparse Yizhou Yu Fourier Depth-of-Field Gabor Convolution University of Illinois at Urbana-Champaign This paper introduces an analysis of focusing and A procedural noise function that offers accurate Kun Zhou depth of field in the frequency domain, allowing spectral control and setup-free surface noise with Zhejiang University a practical characterization of a light field’s fre- high-quality anisotropic filtering. quency content. Based on this analysis, the paper Baining Guo proposes an adaptive depth-of-field rendering Ares Lagae Microsoft Research Asia algorithm that optimizes both image and aperture Katholieke Universiteit Leuven sampling.

Sylvain Lefebvre Visio-lization: Generating Cyril Soler George Drettakis Novel Facial Images Kartic Subr REVES/INRIA Sophia-Antipolis INRIA Rhône-Alpes This paper aims to learn a model of facial images Philip Dutré and use this to generate new examples. The Frédo Durand Katholieke Universiteit Leuven results do not resemble the training faces, but CSAIL, Massachusetts Institute of Technology are realistic and incorporate variation in sex, age, pose, illumination, hairstyle and other factors. We Nicolas Holzschuch Eye-Catching Crowds: Saliency-Based also adapt this method to edit real facial images. François Sillion Selective Variation INRIA, Université Joseph Fourier-Grenoble, CNRS Umar Mohammed This paper shows that crowd variety can be ef- Simon Prince ficiently achieved by varying only the heads and Jan Kautz Compressive Light Transport Sensing upper bodies of characters, as these were found University College London to be most salient. The authors evaluated the Reflectance fields for image-based relighting effectiveness and performance implications of using compressive sensing, several innovations varying these parts using different accessories, Self-Organizing Tree Models that address problem-specific challenges (for textures, and geometry alterations. example, a novel hierarchical decoding algorithm for Image Synthesis that exploits inter-pixel coherency relations), and a new set of illumination patterns that improves Rachel McDonnell This paper presents a method for generating signal-to-noise in the measurements. Micheal Larkin realistic models of temperate-climate trees based Trinity College Dublin on the competition of buds and branches for light Pieter Peers or space, regulated by internal signaling mecha- University of Southern California, Benjamín Hernández Arreguín nisms. The method is illustrated with tree models, Institute for Creative Technologies Isaac Rudomín forest scenes, animations of tree development, Instituto Tecnológico y de and examples of combined interactive-procedural Dhruv K. Mahajan Estudios Superiores de Monterrey tree modeling. Columbia University Carol O’Sullivan Wojciech Pa|ubicki Trinity College Dublin Bruce Lamond Kipp Horel Abhjeet Ghosh Steven Longay University of Southern California, Adam Runions Institute for Creative Technologies Brendan Lane University of Calgary Wojciech Matusik Adobe Systems, Incorporated Radomír Mech Adobe Systems, Incorporated Ravi Ramamoorthi University of California, Berkeley Przemyslaw Prusinkiewicz University of Calgary Paul Debevec University of Southern California, Institute for Creative Technologies

www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 66 GO TO TABLE OF CONTENTS n Technical Papers | Wednesday, 5 August and Thursday, 6 August SIGGRAPH2009 Full Conference Final Program

Imaging and Rendering Pipeline (TOG) continued Character Animation I Thursday, 6 August | 8:30 - 10:15 am Hall E 1-2 Display Supersampling Performance-Based Control Interface Session Chair for Character Animation In conventional supersampling, multiple scene Jehee Lee samples are computationally combined to Seoul National University A system that directly uses human motion perfor- produce a single screen pixel. In display super- Submit a Question nn mance to provide a radically different, and much sampling, multiple display samples are physi- more expressive interface for controlling virtual cally combined via superimposition of display characters. pixels. This paper analyzes the requirements for producing high-quality alias-free textures on such Dextrous Manipulation From a Grasping Pose Satoru Ishigaki displays. Timothy White Georgia Institute of Technology Niranjan Damera-Venkata This paper describes an automatic algorithm that takes as input an initial grasping pose and partial Nelson L. Chang Victor Zordan object trajectory, and produces as output a physi- HP Labs University of California, Riverside cally plausible hand animation that effects the desired manipulation. C. Karen Liu GRAMPS: A Programming Model Georgia Institute of Technology C. Karen Liu for Graphics Pipelines Georgia Institute of Technology A programming model that generalizes modern Detail-Preserving Continuum graphics pipelines. Applications are structured as Simulation of Straight Hair graphs of stages that exchange data via queues. Optimal Gait and Form for Animal Locomotion GRAMPS is demonstrated with three applications This paper presents a hybrid Eulerian/Lagrangian (Direct3D, a ray tracer, and a combination) on two approach to efficiently handling both self and A fully automatic method for generating gaits simulated platforms: GPU-like and CPU-like multi- body collisions with hair while still maintaining and morphologies for legged-animal locomotion. core machines. detail. Bulk interactions and hair-volume preserva- This approach requires only a description of an tion are handled efficiently and effectively with a animal’s basic shape as input and can determine Jeremy Sugerman FLIP-based fluid solver, while intricate hair-hair a plausible motion and gait type as well as refine Stanford University interaction is handled with Lagrangian self- the animal’s shape. collisions. Kayvon Fatahalian Kevin Wampler Solomon Boulos Aleka McAdams Zoran Popovic´ Stanford University University of California, Los Angeles University ot Washington

Kurt Akeley Andrew Selle Microsoft Research Kelly Ward Walt Disney Animation Studios Pat Hanrahan Stanford University Eftychios Sifakis Joseph Teran University of California, Los Angeles

www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 67 GO TO TABLE OF CONTENTS n Technical Papers | Thursday, 6 August SIGGRAPH2009 Full Conference Final Program

Rendering Methods Interacting With Hands, and Systems (TOG) Eyes, and Images Thursday, 6 August | 8:30 - 10:15 am Thursday, 6 August | 10:30 am - 12:15 pm Hall E 3 Hall E 3 The UnMousePad - An Interpolating Multi-Touch Force-Sensing Input Pad Session Chair Session Chair Julie Dorsey Steve Feiner The UnMousePad is a flexible and inexpen- Yale University Columbia University sive multitouch input sensor based on a novel Submit a Question Submit a Question nn nn principle: interpolating force-senstive resistance. IFSR devices can acquire high-quality anti-aliased Affine Double and Triple Product images of pressure over a surface at high frame Wavelet Integrals for Rendering Real-Time Hand-Tracking rates. This paper describes operating principles, With a Color Glove implementation details, device characteristics, This paper introduces a new theory of affine and potential applications. wavelet integrals that enables relighting with This paper describes a tracking system that near-field planar area lights at real-time rates. reconstructs the position, orientation, and pose Ilya Rosenberg The theory also has applications in importance of the hand from a single camera. The tracking Ken Perlin sampling and image processing. is fast enough to allow interactive user input and New York University Media Research Lab to experiment with design of new interfaces for Bo Sun interaction and animation. Columbia University Generating Photo Manipulation Robert Y. Wang Tutorials by Demonstration Ravi Ramamoorthi Massachusetts Institute of Technology University of California, Berkeley A demonstration-based system for automatically Jovan Popovic´ generating visual step-by-step tutorials of photo Participating-Media Illumination Adobe Systems, Incorporated, University of Washington, manipulations. The tutorials illustrate the manipu- and Massachusetts Institute of Technology Using Light-Propagation Maps lation using images, text, and annotations. They leverage image recognition to add semantically A new method for propagating light through meaningful information. The authors demonstrate Achieving Eye Contact in a One-to-Many participating media that inherits the generality and the approach on portrait retouching and editing computational lightness of the Discrete Ordinates 3D Video Teleconferencing System outdoor scenes. Method while avoiding its two main shortcomings: false scattering and ray effects. A 3D teleconferencing system that achieves ac- Floraine Grabler curate gaze and eye contact between an autos- Maneesh Agrawala Raanan Fattal tereoscopically displayed remote participant and University of California, Berkeley Hebrew University an audience of multiple observers. The system leverages live 3D face scanning, high-speed video Wilmot Li projection, custom vertex shaders, and interac- Mira Dontcheva A Tool to Create Illuminant and tive face tracking to simulate both horizontal and Adobe Systems, Incorporated Reflectance Spectra for Light-Driven vertical parallax. Graphics and Visualization Takeo Igarashi Andrew Jones The University of Tokyo, JST ERATO There is more to a picture than you can see. To Magnus Lang enable designers to make effective use of spectral Graham Fyffe lighting to steer overall tone of a scene or to make Xeuming Yu metameric detail visible, this method creates a Jay Busch palette of spectral lights and materials for graph- University of Southern California, ics and visualization. Institute for Creative Technologies

Steven Bergner Ian McDowall Mark S. Drew Fakespace Labs Torsten Möller Simon Fraser University Mark Bolas University of Southern California, Institute for Creative Automatic Pre-Tessellation Culling Technologies & School of Cinematic Arts

This paper introduces an algorithm for automati- Paul Debevec cally computing tight bounds on the fly for a base University of Southern California, primitive before tessellation. These bounds are Institute for Creative Technologies derived from an arbitrary vertex-shader program, which may include curved-surface evaluations and displacements. The obtained bounds are used for backface, view frustum, and occlusion culling before tessellation.

Jon Hasselgren Jacob Munkberg Tomas Akenine-Möller Lunds universitet, Intel Corporation www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 68 GO TO TABLE OF CONTENTS n Technical Papers | Thursday, 6 August SIGGRAPH2009 Full Conference Final Program

Modeling and Rendering Visual, Cut, Paste, and Search of Dynamic Shapes (TOG) Thursday, 6 August | 1:45 - 3:30 pm Thursday, 6 August | 1:45 - 3:30 pm Hall E 1-2 Paint Selection Hall E 3

Session Chair Paint Selection is a progressive painting-based Session Chair Raanan Fattal tool for local selection in images. It helps users Doug James The Hebrew University of Jerusalem quickly make a selection by roughly painting the Cornell University Submit a Question Submit a Question nn object of interest and provides high-quality instant nn feedback, even on multi-megapixel images.

Coordinates for Instant Image Cloning Jiangyu Liu Efficient Reconstruction of Nonrigid University of Science and Technology of China Shape and Motion From Real-Time Poisson cloning made interactive: a new ap- 3D Scanner Data proach to seamless image cloning. Instead of Jian Sun solving a large linear system to compute an Microsoft Research Asia This technique takes time sequences of point interpolating membrane, the method uses mean- clouds from real-time 3D scanners as input, pos- value coordinates. The advantages are speed, Heung-Yeung Shum sibly showing only partial scans of a deforming ease of implementation, small memory footprint, Microsoft Corporation object in each frame. The algorithm computes a and parallelizability, enabling real-time image and factorization into a single shape and its deforma- video cloning. tion over time, thus establishing dense correspon- Video SnapCut: Robust Video Object dences, removing noise, and filling holes. Zeev Farbman Cutout Using Localized Classifiers The Hebrew University of Jersualem Michael Wand This paper introduces a robust video object cut- Max-Planck-Institut Informatik Gil Hoffer out and matting system based on collaboration of Tel-Aviv University local classifiers that adaptively and automatically Bart Adams integrate local features such as color and online Stanford University, Katholieke Universiteit Leuven Yaron Lipman learned shape priors. The system achieves state- Princeton University of-the-art results for complicated videos, including Maksim Ovsjanikov dynamic background and non-rigid foreground Stanford University Daniel Cohen-Or deformations. Tel-Aviv University Alexander Berner Xue Bai Martin Bokeloh Dani Lischinski University of Minnesota Philipp Jenke The Hebrew University of Jersualem Universität Tübingen, WSI/GRIS Jue Wang David Simons Leonidas Guibas SkyFinder: Attribute-Based Adobe Systems, Incorporated Stanford University Sky Image Search Guillermo Sapiro Hans-Peter Seidel SkyFinder is an interactive sky-search system University of Minnesota Max-Planck-Institut Informatik with over a half million sky images. A set of sky attributes is automaticaly extracted so that the Andreas Schilling user can easily find a desired sky image using a Universität Tübingen, WSI/GRIS query like “landscape at sunset with sun on the left”, or “blue sky white cloud”. An Edge-Based, Computationally Litian Tao Efficient Formulation of Saint Venant- Lu Yuan Kirchhoff Tetrahedral Finite Elements Jian Sun Microsoft Research Asia This paper describes a fast algorithm for tetrahedral FE simulation of Saint Venant-Kirchhoff elastic objects. The number of FLOPs required for computing the vertex forces and tangent stiffness matrices from given vertex positions is 62% to 73% smaller than a conventional method.

Ryo Kikuuwe Hiroaki Tabuchi Motoji Yamamoto Kyushu University

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Modeling and Rendering of Dynamic Shapes (TOG) continued Shape Analysis Thursday, 6 August | 3:45 - 5:30 pm Hall E 3 Fitting Solid Meshes to Animated A Benchmark for 3D Mesh Segmentation Surfaces Using Linear Elasticity Session Chair Olga Sorkine This paper describes a benchmark for evaluation of Computing correspondence between time New York University 3D mesh-segmentation algorithms. It investigates frames of an animated 3D surface is essential for Submit a Question nn the design decisions made in building the bench- understanding its motion. This paper presents mark, analyzes properties of human-generated and a method that can produce correspondence computer-generated segmentations, and provides information for objects that do not undergo large Curve Skeleton Extraction quantitative comparisons of seven recently pub- volume or topological changes, such as living lished mesh-segmentation algorithms. creatures, based on linear elasticity with rotation From Incomplete Point-Cloud Data compensation. Xiaobai Chen Based on a novel notion of generalized ROtational Aleksey Golovinskiy Symmetry Axis (ROSA), this paper shows how to Jaeil Choi Thomas Funkhouser extract curve skeletons from incomplete point- Georgia Institute of Technology Princeton University cloud data and how these skeletons can also Andrzej Szymczak be used to enhance performances achieved by popular surface-reconstruction algorithms. Colorado School of Mines Interactive Hausdorff Distance Andrea Tagliasacchi Computation for General Polygonal Models Data-Driven Curvature for Real-Time Richard (Hao) Zhang Simon Fraser University Line Drawing of Dynamic Scenes The first real-time algorithm to compute the Daniel Cohen-Or two-sided Hausdorff distance between arbitrary This paper presents a method for real-time line Tel Aviv University polygonal models for measurement of shape drawing of deforming objects. The method learns similarity and penetration-depth computation. the mapping from a low-dimensional set of animation parameters to surface curvatures for a Mobius Voting for Surface Correspondence Min Tang deforming mesh. The learned model can then ac- Minkyoung Lee curately and efficiently predict curvatures and their This work makes use of Mobius transformations Young J. Kim derivatives, enabling real-time line drawing. to develop an efficient, automatic algorithm for Ewha Womans University discovering point correspondences between Evangelos Kalogerakis surfaces that are approximately and/or partially Derek Nowrouzezahrai isometric. Patricio Simari James McCrae Yaron Lipman Aaron Hertzmann Thomas Funkhouser Karan Singh Princeton University University of Toronto

www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 70 GO TO TABLE OF CONTENTS n Technical Papers | Friday, 7 August SIGGRAPH2009 Full Conference Final Program

Meshing Character Animation II Friday, 7 August | 8:30 - 10:15 am Friday, 7 August | 10:30 am - 12:15 pm Hall E 1-2 Hall E 1-2 Mixed-Integer Quadrangulation Session Chair Session Chair Nina Amenta An approach for fully automatic computation of C. Karen Liu University of California, Davis coarse, structure-aligned quadmeshes. Singulari- Georgia Institute of Technology Submit a Question nn ties (vertices that have a non-regular connectivity) Submit a Question nn are placed with reference to the global structure, enabling high-quality quadrangulations in the Interleaving Delaunay Refinement sense of CAD models. Synchronized Multi-Character and Optimization for Practical Isotropic Motion Editing David Bommes Tetrahedron Mesh Generation Henrik Zimmer A novel motion-editing technique that allows the Leif Kobbelt user to manipulate synchronized multi-character This paper presents an algorithm for isotropic tet- RWTH Aachen University rahedral mesh generation. The method interleaves motions interactively. The paper demonstrates Delaunay refinement and mesh optimization to how multiple character motions are synthesized, generate quality meshes that satisfy user-defined manipulated, spatially aligned, and temporally criteria. This interleaving is shown to be more Cyclic Plain-Weaving on Polygonal Mesh synchronized in an interactive system. conservative in Steiner point insertions than Surfaces With Graph Rotation System refinement alone and to produce higher-quality Manmyung Kim meshes than optimization alone. This paper shows that it is possible to create Kyunglyul Hyun cycles with an even number of crossings by Jongmin Kim Jane Tournois simply twisting every edge of the manifold mesh. Jehee Lee INRIA Sophia Antipolis Based on their proof, the authors developed a Seoul National University method to convert any manifold mesh to a plain- Camille Wormser weaved basket. ETH Zürich Momentum Control for Balance Ergun Akleman Pierre Alliez Jianer Chen Momentum control for balance is a novel tech- INRIA Sophia Antipolis Qing Xing nique for controlling physically based characters Texas A&M University to maintain balance in extreme conditions, for Mathieu Desbrun example in the presence of disturbances, low California Institute of Technology Jonathan Gross friction, and moving ground. The system guides Columbia University linear and angular momentum to control the entire body for balancing, resulting in recognizable Deforming Meshes That Split and Merge recovery strategies.

A method for accurately tracking the moving Adriano Macchietto surface of deformable materials, represented by a Victor Zordan triangle mesh, in a manner that gracefully handles Christian Shelton topological changes. In regions where topological University of California, Riverside events are detected, the method inserts a simplified surface created with a standard isosurface- creation method.

Chris Wojtan Georgia Institute of Technology

Nils Thuerey Markus Gross ETH Zürich

Greg Turk Georgia Institute of Technology

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Vector Graphics and Character Animation II continued Point Distributions Friday, 7 August | 10:30 am - 12:15 pm Contact-Aware Nonlinear Control Hall E 3 Automatic and Topology-Preserving of Dynamic Characters Gradient Mesh Generation for Image Session Chair Eitan Grinspun Vectorization A contact-aware physically based locomotion Columbia University system can generate high-quality animation of Submit a Question nn A topology-preserving gradient mesh representa- agile movements by using a nonlinear controller tion for image regions with arbitrary holes and a that plans through frequent contact changes. The novel, fully-automatic algorithm that can efficiently control system can yield walking with sudden A Visibility Algorithm for Converting 3D compute such a representation. Used with a agile turns, and it is fast enough to compute even segmentation algorithm, it is now possible to for full three-dimensional characters. Meshes Into Editable 2D Vector Graphics automatically convert a whole image into gradient mesh representation. Uldarico Muico Artists often need to embellish and import 3D CAD-CAM models into 2D vector-graphics Yongjoon Lee Yu-Kun Lai software to produce (for example) brochures or University of Washington Tsinghua University manuals. This algorithm performs that tedious task automatically. The derived layered repre- Jovan Popovic´ Shi-Min Hu sentation facilitates further editing. High-quality Adobe Systems, Incorporated Tsinghua University and University of Washington illustrations can thus be prepared efficiently. Ralph R. Martin Elmar Eisemann Zoran Popovic´ Cardiff University University of Washington Universität des Saarlandes, Max Planck Institut Informatik

Sylvain Paris Capacity-Constrained Point Distribu- Adobe Systems, Incorporated Linear Bellman Combination tions: A Variant of Lloyd’s Method for Control of Character Animation Frédo Durand CSAIL, Massachusetts Institute of Technology This paper presents a new general-purpose Linear Bellman Combination modifies and method for optimizing existing point sets. The improves control policies designed for animation resulting distributions possess high-quality blue of dynamic characters. For example, a walking Local Layering noise characteristics and adapt precisely to given controller can either be modified to change the density functions. The method is similar to the step length or improved to be more resilient to commonly used Lloyd’s method but avoids its In a conventional 2D painting or compositing external disturbances. drawbacks. program, graphical objects are stacked in a user- specified global order. This paper shows how Marco da Silva to relax this restriction so that users can make Michael Balzer Frédo Durand stacking decisions on a per-overlap basis. Thomas Schlömer CSAIL, Massachusetts Institute of Technology Oliver Deussen Universität Konstanz James McCann Jovan Popovic´ Nancy Pollard Adobe Systems, Incorporated, University of Washington, Carnegie Mellon University and Massachusetts Institute of Technology

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Physically Based Modeling: From Contact to Capture Rendering and Visibility Friday, 7 August | 1:45 - 3:30 pm Friday, 7 August | 1:45 - 3:30 pm Hall E 1-2 Capture and Modeling of Non-Linear Hall E 3 Session Chair Heterogeneous Soft Tissue Session Chair Adam Bargteil Jason Lawrence University of Utah The major practical contribution of this work is University of Virginia the ability to model rich non-linear deformations Submit a Question nn Submit a Question nn without complex decisions about material models and parameters. The method relies on a simple acquisition system, a novel material representa- Asynchronous Contact Mechanics tion through spatially varying interpolation of An Efficient GPU-Based Approach fitted linear models, and an efficient deformation- for Interactive Global Illumination This paper presents a method for reliable simula- synthesis method. tion of elastica in complex contact scenarios. The A GPU-based method for interactive global il- focus is on firmly establishing three parameter-in- Bernd Bickel lumination that integrates complex effects such as dependent guarantees: simulations of well-posed ETH Zürich multi-bounce indirect lighting, glossy reflections, problems (a) have no interpenetrations, (b) obey caustics, and arbitrary specular paths. causality, momentum- and energy-conservation Moritz Baecher laws, and (c) complete in finite time. Harvard University Rui Wang Zhejiang University David Harmon Miguel A. Otaduy Etienne Vouga URJC Madrid Rui Wang Breannan Smith University of Massachusetts Columbia University Wojciech Matusik Adobe Systems, Incorporated Kun Zhou Rasmus Tamstorf Minghao Pan Walt Disney Animation Studios Hanspeter Pfister Hujun Bao Harvard University Zhejiang University Eitan Grinspun Columbia University Markus Gross ETH Zürich Single Scattering in Refractive Media Interactive Simulation of Surgical With Triangle Mesh Boundaries Needle Insertion and Steering Physically Guided Liquid Surface Refractive media such as glass and amber can Modeling From Videos create surprisingly rich internal caustics even from This paper presents algorithms for simulating simple shapes. This paper presents new tech- and visualizing insertion and steering of needles This paper presents an image-based recon- niques to explicitly find refracted illumination paths through deformable tissues for surgical train- struction framework to model real liquid scenes and their energy contributions for the most com- ing and planning. Novel features include a fast captured by stereoscopic video. The algorithm mon geometric representation (triangle meshes mesh-maintenance algorithm and physics-based combines stereo reconstruction with automatically with interpolated normals) and demonstrates both methods for needle-tissue coupling. calculated, physically based constraints, which al- CPU and GPU results. lows effective modeling of complex and dynamic Nuttapong Chentanez objects such as fluids. Bruce Walter University of California, Berkeley Shuang Zhao Huamin Wang Cornell University Ron Alterovitz Georgia Institute of Technology University of North Carolina at Chapel Hill Nicolas Holzschuch Miao Liao INRIA, Universités de Grenoble Daniel Ritchie University of Kentucky Lita Cho Kavita Bala Kris K. Hauser Qing Zhang Cornell University Ken Goldberg University of Kentucky Jonathan R. Shewchuk James F. O’Brien Ruigang Yang University of California, Berkeley University of Kentucky

Greg Turk Georgia Institute of Technology

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Rendering and Visibility continued Computational Cameras Friday, 7 August | 3:45 - 5:30 pm Frequency Analysis and Sheared Hall E 1-2 4D Frequency Analysis of Computational Reconstruction for Rendering Session Chair Cameras for Depth-of-Field Extension Motion Blur Tim Weyrich University College London This paper examines the design of extended depth-of-field systems in the 4D light-field space Based on a frequency analysis for motion-blurred Submit a Question nn images, this technique shears the reconstruc- and derives a bound on the maximal frequency tion filter and adapts the sampling at each pixel content they can hope to preserve. It also analyzes existing computational-imaging designs and to match the underlying motion of the signal. Invertible Motion Blur in Video Motion-blurred images can be rendered with proposes a new lens that extends the depth of field of all known designs. many fewer samples. Linear motion smear in a photo is non-invertible, but this method makes the blur in a video invert- Anat Levin Kevin Egan ible by changing exposure time of successive The Weizmann Institute of Science Columbia University frames. The paper demonstrates an automatic deblurring approach by creating jointly invertible Samuel W. Hasinoff Yu-Ting Tseng PSF, estimating PSF, and segmenting moving Paul Green Columbia University parts on a non-uniform background without spe- Frédo Durand cial camera hardware. Nicolas Holzschuch William T. Freeman CSAIL, Massachusetts Institute of Technology INRIA, Universités de Grenoble Amit Agrawal Yi Xu Frédo Durand Mitsubishi Electric Research Laboratories CSAIL, Massachusetts Institute of Technology Bokode: Imperceptible Visual Tags Ramesh Raskar for Camera-Based Interaction From Ravi Ramamoorthi Media Lab, Massachusetts Institute of Technology a Distance University of California, Berkeley Bokodes are tiny barcodes (3 x 3 mm) that en- Dark Flash Photography code binary information in angle. The defocus blur Adaptive Global Visibility Sampling of a camera positioned up to four meters away This camera-and-flash system offers dazzle-free captures this pattern to decode identity, and six- This paper introduces a global visibility algorithm photography by hiding the flash in the non-visible degree-of-freedom pose (angle and distance). which computes visibility for the whole space of spectrum. A pair of images is captured, one using possible viewing positions simultaneously and in a multi-spectral flash, the other using the dim am- Ankit Mohan a progressive manner by using efficient visibility bient illumination. Then the photos are combined Grace Woo sampling strategies. The method provides a to generate a high-quality output image. Shinsaku Hiura practical solution to visibility preprocessing and Quinn Smithwick enables new applications in interactive visibility Dilip Krishnan Ramesh Raskar analysis. Rob Fergus Media Lab, Massachusetts Institute of Technology New York University Jirí Bittner Czech Technical University in Prague

Oliver Mattausch Vienna University of Technology

Peter Wonka Arizona State University

Vlastimil Havran Czech Technical University in Prague

Michael Wimmer Vienna University of Technology

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DAYS & HOURS LOCATION Monday, 3 August 9 am - 6 pm Rooms 352-355 Tuesday, 4 August 9 am - 6 pm Logic: Wednesday, 5 August 9 am - 6 pm Bio History Thursday, 6 August 9 am - 6 pm atural Friday, 7 August 9 am – noon A N L ife of D igital

The artworks chosen for the SIGGRAPH 2009 juried art exhibition explore what can happen when nature and technology combine. Recent projects by 11 artists representing 10 countries offer both serious and playful scenarios in which biological forms and life processes are grafted together with digital code and devices. All of the projects are kinetic, most are interactive, and many are large installations that immerse the viewer in fantastic environments of shivering tendrils, singing strands of hair, and fuzzy, cloud-like surfaces that respond when stroked. The complex technologies and intriguing topics encountered in the exhibition offer viewers a compelling survey of ideas and issues that characterize contemporary life - a tangle of digital devices, natural processes, and us.

A Special Issue of Leonardo, The Journal of the International Society of the Arts, Sciences and Technology will feature the artists and projects included in BioLogic along with SIGGRAPH 2009 Art Papers nn. The exhibition is also closely related to Generative Fabrication nn, the Design & Com- putation exhibition. Together, the two exhibitions present an enthralling range of art and design projects that incorporate biological information and processes.

Reception Celebrating the Special Issue of Leonardo and SIGGRAPH 2009 Art & Design Galleries Related session: Tuesday, 4 August, 1:30 - 3:30 pm Lobby outside Rooms 353-355 Panel: BioLogic and Generative Fabrication n Thursday, 6 August | 10:30 am - 12:15 pm Drink a toast to the SIGGRAPH special issue Room 265-266 of Leonardo and the SIGGRAPH 2009 art and design galleries. Talk with the artists, designers, and Art Papers authors about their work. Meet the members of the SIGGRAPH 2009 committee who organized this year’s exhibits of digital art and design.

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Artifacts from a Parallel Universe: Tentative Architecture of Other Earth_Coastline Inhabitants Fur-Fly

Artifacts from a Parallel Universe is a garment that emulates the breathing of Fur-Fly is a tactile display composed of individual pieces of faux fur that uses its wearer, and its form is inspired by marine coral. Using sensors and shape- sensor-driven computer technology to control the movement of the compo- memory alloys embedded in hand-knitted and felted wool, this garment blurs nents in response to the user and to transform the visual effects projected the boundaries between garment, technology, environment, and wearer. Es- onto the surface. The texture of the display surface encourages interaction. kandar is an artist and architect. This piece was produced by Grant Davis in Kumiko Kushiyama is an artist, interaction designer, and professor at Tokyo collaboration with Joshua Hernandez (electronics) and Christopher O’Leary Metropolitan University. Shinji Sasada is an artist and advanced computer (photography). graphics designer. Soichiro Takeyama is studying advanced technology and computer graphics at Japan Electronics College. Xárene Eskandar UCLA Design | Media Arts, Architecture Kumiko Kushiyama Tokyo Metropolitan University

Shinji Sasada Biological Instrumentation Soichiro Takeyama Japan Electronics College Biological Instrumentation is a time-based spatial installation of mimosa plants, each connected by a series of tubes to an air compressor and wired with audio speakers and other electronic equipment. Algorithmically triggered compressed air forces the plants to contract. As the plants begin to Growth Rendering Device open their leaves again, sound signals play from the audio speakers. This work explores the poetics involved in creating new relationships between Growth Rendering Device is a kinetic installation that records the growth of a machines and plant life. Nina Tommasi is an Austrian-born media artist and pea plant over a 24-hour period. It displays a dialog among plant, environ- architect. ment, machine, and maker all working to thrive, to grow. David Bowen is an artist and assistant professor of sculpture and physical computing at the Nina Tommasi University of Minnesota Duluth. His work has been featured in exhibitions nationally and internationally.

David Bowen Electric Eigen-Portraits University of Minnesota Duluth Face Shift

Electric Eigen-Portraits and Face Shift are original performances of algorithmic facial choreography exhibited as two video works. These works turn a Hylozoic Soil computer-controlled human face into a medium for kinetic art. Arthur Else- naar is an artist and an electrical engineer, finishing his PhD work investigat- Hylozoic Soil is a visually striking and multifaceted installation. Made up of ing the choreographic capabilities of the computer-controlled human face. a network of micro-controllers, proximity sensors, and shape-memory alloy He collaborated with Remko Scha, artist, programmer, and professor of actuators, this interactive environment draws the viewer into its shimmering computational linguistics at the University of Amsterdam. depths. Philip Beesley is an artist, architect, and professor of architecture at the University of Waterloo. Hylozoic Soil was recently awarded first-prize Arthur Elsenaar honors at VIDA 11.0. Nottingham Trent University Philip Beesley University of Waterloo

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Mr. Lee Experiment Post Global Warming Survival Kit

Mr. Lee Experiment is an interactive installation that allows the viewer to Post Global Warming Survival Kit is an installation that can only be experi- move human experimental subjects between different environments that enced in infrared. In this post-apocalyptic world, viewers are invited to ex- can then be observed. In this work, humans have been reduced to the perience something that is at once bleak and beautiful, at a coastal outpost same status as other species, that of experimental subjects. Sanghun Lee, at land’s end. Petko Dourmana is a media artist based in Sofia, Bulgaria. Jayoung Kim, Hyomi Mun, Jungmi Kim, and Junghwan Sung, all from the Post Global Warming Survival Kit was one of eight works nominated for a Media Department at SoongSil University, have created this work drawing on Transmediale 2009 Award. expertise across interactive media art, sound art, filmmaking, hardware and software design, and electronics. Petko Dourmana

Sanghun Lee Jayoung Kim Hyomi Mun TRANSDUCERS Jungmi Kim Junghwan Sung TRANSDUCERS is an installation composed of several glass tubes, each Soongsil University encasing a single human hair collected from different individuals. Triggered by the machinery, the human hair is stimulated to react, and the reaction is transduced into an audible output. Every audible result provides a technological interpretation of identity. Verena Friedrich is a German artist with a MSOrgm (Motivational Sensitive Organism) deep interest in science and technology. Shown internationally, her work has also been granted the \\international\media\award\2005 for science and art MSOrgm (Motivational Sensitive Organism) is a robot designed to interact from ZKM Karlsruhe. with the viewer in a more personal and subtle way. This robot plant presents the viewer with restrained and graceful gestures, and collaborates with Verena Friedrich viewers’ movements using cameras and facial recognition software. Scot- University of Art and Design Offenbach tie Huang is an artist and architect interested in tangible human-computer interfaces. Shen-Guan Shih is an associate professor in the Department of Architecture at National Taiwan University of Science and Technology.

Scottie Chih-Chieh Huang Shen-Guan Shih National Taiwan University of Science and Technology

One

One is an interactive piece consisting of a single drop of ink in a suspended Petri dish and a large projection of the same drop. Viewer interaction with the suspended dish is the means of evolution for the animated ink blot. Yoon Chung Han is an artist and designer specializing in interactive media design. Gautam Rangan is an artist and designer creating animations for the Discov- ery Science channel. Erick Oh is an award-winning animation artist based in Los Angeles.

Yoon Chung Han Gautam Rangan UCLA Design | Media Arts

Erick Oh UCLA Department of Film, Television, and Digital Media

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DAYS & HOURS LOCATION Monday, 3 August 9 am - 6 pm Rooms 356 Tuesday, 4 August 9 am - 6 pm Wednesday, 5 August 9 am - 6 pm TIVE Thursday, 6 August 9 am - 6 pm GeNERa N Friday, 7 August 9 am – noon FaBRICATIo

The SIGGRAPH 2009 Design & Computation Gallery explores non-linear and biological processes in design and digital fabrication through selected works of art, architecture, and design. The work’s inherently generative nature encourages many lines of investigation along two main paths:

Generative design - algorithm and process, explorations of phase space and path-dependent emergent phenomena, form-making versus form-finding, and iterative design such as simulation, analysis, and optimization.

Digital fabrication - the interplay between digital representation and the crafting of physical objects; formation of structures by aggregation, weaving, and layered manufacturing; and exploitation of organic and composite material properties.

Reception Celebrating the Special Issue of Leonardo and SIGGRAPH 2009 Art & Design Galleries Related session: Tuesday, 4 August, 1:30-3:30 Lobby outside Rooms 353-355 Panel: BioLogic and Generative Fabrication n Thursday, 6 August | 10:30 AM - 12:15 PM Drink a toast to the SIGGRAPH special issue Room 265-266 of Leonardo and the SIGGRAPH 2009 art and design galleries. Talk with the artists, designers, and Art Papers authors about their work. Meet the members of the SIGGRAPH 2009 committee who organized this year’s exhibits of digital art and design.

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Monumental Nets nn MyLight.MGX nn

Sculpture that synthesizes traditional fabrication methods with A family of lamp designs that are unique for each customer, digital form-finding to create monumental public sculptures. made with rapid manufacturing techniques.

Janet Echelman Materialise.MGX Buro Happold Consulting Engineers

Holy Ghost nn

Schiara Lantern nn A chair designed using genetic algorithms to determine modifications to the iconic Louis Ghost chair by Philippe Starck. A large, volumetric lantern made of translucent fiberglass composite panels formed on CNC-milled molds. Lionel Theodore Dean

Greg Lynn Greg Lynn/FORM Ground Substance nn Bill Kreysler Kreysler & Associates A hybrid architectural design and biological research unit that demonstrates new modes of thinking in design and material construction.

Complex Form in Timber nn Sabin+Jones LabStudio

Constructing free-form architecture in timber using parametric design and computer-controlled fabrication tools. Pluripotent Structures nn Fabian Scheurer designtoproduction An investigation into adaptive and variable formal and structural organizations that have more than one possible outcome yet maintain coherence.

Assemblages nn Ferda Kolatan+Erich Schoenenberger su11 architecture+design Architects pursuing design ideas based on Quasicrystals, forms that are rigorously modular yet grow wild.

Chris Lasch Benjamin Aranda

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DAYS & HOURS LOCATION Monday, 3 August 9 am - 6 pm Rooms 274-277 Tuesday, 4 August 9 am - 6 pm ation Wednesday, 5 August 9 am - 6 pm Inform Thursday, 6 August 9 am - 6 pm s Friday, 7 August 9 am – noon aesthetic showcase The emergent field of information aesthetics combines a rich variety of technical and artistic disciplines. Designers and new media artists are joining scientific visualization, informatics, and medical imaging specialists to create purposive, predictive, and creative representations of information. SIGGRAPH 2009 is highlighting this field in recognition of the increasingly prominent role that information visualization and data graphics are assuming in our digitally mediated culture.

The Information Aesthetics Showcase includes 2D and 3D prints, interactive and presentational screen-based works, multimodal installation environments, and physical objects that reveal information. In keeping with this year’s theme, Networking the Senses, the works shown here engage not only the visual, but also auditory, kinesthetic, and tactile modalities. The relationship to information expressed in these exemplary pieces ranges from straightforward visualization of data to fanciful re-invention and transformation of it. Presenters include computational journalists, visual and material artists, biological researchers and neuro-scientists, graphic designers, scientific visualization developers, historians, cultural theorists, and digital media center collaborators.

Related sessions:

Keynote Speaker Steve Duenes n Graphics Director, New York Times Wednesday, 5 August | 10:30 am - 12:15 pm La Nouvelle Orleans Ballroom

Panel The State of Aesthetic Computing or Info-Aesthetics n Monday, 3 August | 3:45 - 5:30 pm Auditorium B

Talks Information Aesthetics: Designing Interactions n Monday, 3 August | 8:30 - 10:15 am Auditorium B

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24X7@PHL:Vectoring decibel 151

24X7ATPHL:Vectoring is an investigation into a novel use of time-based decibel 151 is an art installation and a music interface that uses spatial audio animation software and procedural modeling as a method technology and ideas of social networking to turn individuals into “walking for visualizing time-based quantitative data via construction of a qualitative, soundtracks” as they move around each other in a shared real space and two-dimensional rendering. listen to each other in a shared virtual space.

Robert Trempe Michela Magas Temple University Goldsmiths, University of London

Rebecca Stewart Queen Mary University of London A_B_ peace & terror etc. The computational aesthetics of love & hate Benjamin Fields Goldsmiths, University of London A geopolitical survey of the 192 member states of the United Nations that reveals the quantitative degree to which each contributes to peace and terror in the world. Height Restrictions Peter Crnokrak The Luxury of Protest Height Restrictions uses procedural modeling as a tool for visualizing information about building size and density in Center City Philadelphia. c-loc Software Robert Trempe Temple University Time-and-space-mapping software with which anyone can simultaneously visualize chronological and geographical data as three-dimensional graphics. It is suitable for people who want to investigate the relationship between time-and-space information in fields such as archeology, ethnology, and I’m Not There: Extending the Range of history. Human Senses to Benefit Wildlife Corridors

Yasushi Noguchi In an immersive environment, users experience extended senses of sight Tokyo Polytechnic University and sound in ways normally perceived only by other animals. This is a prototype for a real-time project intended to provide freedom to roam remote c-loc Software Project Team places with enhanced senses and, as a result, benefit wildlife corridors around the world.

Carol LaFayette Cultural Analytics Research Environment Fred Parke Philip Galanter Cultural Analytics is a new emerging field that uses data mining and interac- Ann McNamara tive visualizations of large sets of cultural data in the humanities context. Texas A&M University The presented projects demonstrate ideas behind the Cultural Analytics Research Environment, an open platform for cultural analytics research currently being constructed at the California Institute for Telecommunication and Information (Calit2) and the University of California, San Diego.

Lev Manovich Jeremy Douglass Sergie Magdalin Falko Kuester So Yamaoko University of California, San Diego

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Katrina Project: NO-LA MSNBC Hurricane Tracker

The Katrina Project: NO-LA involves collaborators from art, design, behav- Stamen worked with MSNBC to bring hurricane tracking data from the ioral science, journalism, and community outreach. A database-driven, activ- National Hurricane Center online in an interactive, visual form. The data ist website explores the psychological and social effects of the storm and its include the past, present, and forecast location of storms, contours for aftermath through interviews with and works by filmmakers, artists, dancers, areas affected by high wind speeds, and the probability of hurricane winds musicians, architects, and cooks in New Orleans and Los Angeles. throughout the United States.

Victoria Vesna Michal Migurski W.H. Lucas Stamen Design University of California, Los Angeles

Claes Andersson Sveriges Radio Multiscale Meta-Shape Grammar Objects for: ...a grain of sand turns the balance and ATLAS Jay Yan in silico University of California, Los Angeles This aesthetically impelled work explores the use of n-dimensional glyphs Graduate Students generated by a custom meta-shape grammar algorithm to visually personify Kimberly Townes individual records from a massive metagenomics dataset comprised of 17.4 Andreas Colubri million sequences and places biological data in a human context to reflect Estevan Carlos Benson upon the digitization of nature and culture. Undergraduate Students Spring 2006 Print Class of W.H. Lucas Ruth West University of California, Los Angeles UCLA Center for Community Partnerships JP Lewis Weta Digital

Landmark Status Todd Margolis Joachim Gossmann This study exposes the virtual connections of landmark buildings Jurgen Schulze in Center City Philadelphia through a process of NURBS surface “pulling” Daniel Tenedorio and “contouring”,ù then extracting the information to Rajvikram Singh display emergent patterns of tall building development. University of California, San Diego

Robert Trempe Temple University News Knitter

News Knitter focuses on knitted garments as an alternative medium to visu- MBTI Map (The) alize large scale data. Live news feed from the Internet that is broadcasted within 24 hours or a particular period is analyzed, filtered and converted into The MBTI map represents relationships among the words that describe a unique visual pattern for a knitted sweater. people’s personalities using the methodology of knowledge visualization and subway lines as a metaphor. Ebru Kurbak Mahir M. Yavuz Seokhyun Jang Universität für künstlerische und industrielle Gestaltung Linz Daum Communications

Seonhee Kang Joohee Bae Suejean Ko Jisu Lee Kyungwon Lee Ajou University

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Rhythm Analysis; A Temporal Stereopsis of Urban Oakland Crimespotting Telecommunication Data Topography

This tool for understanding crime in cities can inspire local This inspirational installation reveals a stereoscopic representation of tem- governments to use data visualization for public release of poral and spatial telecommunication data. It is an urban-communication many different kinds of data. indicator of 24 hours of everyday life in a central area of Seoul, created by transparent LED display sheetsù of conductive carbon nanotube. Michal Migurski Tom Carden Eunju Han Stamen Design Royal College of Art

OpenStreetMap 2008: A Year Of Edits Sky Oracle: Immersive Flowchart Representation for the Annexation of Tibet (The) An animation that clearly shows, at planetary scale, the intensity and patterns of work by contributors to the wiki-style mapping project, The Sky Oracle on the University of Florida’s Second China Island in Second OpenStreetMap. Life applies an interactive, immersive aesthetic to representation of structured information in the form of a control-flow diagram (a representation of Hal Bertram both information and software). ITO World Ltd. Paul Fishwick Julie Henderson Elinore Fresh Out of Statistics: Beyond Legal Rasha Kamhawi Amy Jo Coffey With an aesthetic approach, this project produces a series of University of Florida abstract drawings as archival-ink digital prints on rice paper. The embedded images in this series are generated from US crime statistics Benjamin Hamilton using an algorithm developed from the artists’ study SAIC Corporation of experimental hand drawings.

Rebecca Ruige Xu Missouri State University STOC: Stock Ticker Orbital Comparison

Sean Hongsheng Zhai An interactive data visualization that uses the metaphor of a floatingcube.org planetary system to map parameters of stocks in the S&P 500 to animated visual outputs.

James Grant Passing “Place for Games” Todd Spencer Richard Armijo A high-resolution 3D art visualization that presents a detailed reconstruction University of Advancing Technology of Kizhi, a world-famous Russian heritage site, developed using the latest concepts in real-time graphics, including complex illumination with dynamic- irradiance environment mapping, shadow mapping, and complex materials with normal and gloss mapping.

Daria Tsoupikova University of Illinois at Chicago

Robert Kooima Louisiana State University

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Synchronous Objects for One Flat Thing, Reproduced Towards the Memory Tower

Synchronous Objects is an interactive screen-based work that This digital installation explores the role of oscillatory brain network states illuminates, reinterprets, and transforms the choreographic in memory consolidation. The goal is to reconnect the science of the brain structures in William Forsythe’s dance One Flat Thing, reproduced through a with the experiences that the brain engenders and to communicate complex vivid collection of information objects designed by a neuroscientific understanding in a meaningful and stimulating way to a wider team of multidisciplinary researchers at The Ohio State University. audience.

Maria Palazzi Timothy Senior Norah Zuniga Shaw Duke University The Ohio State University

William Forsythe The Forsythe Company Visual Genealogy: Mr. Park, Myrang-Hwarok Clan

Matthew Lewis, Beth Albright, Michael Andereck, Sucheta Visual genealogy reveals the cognitive meanings of a complex dataset. In Bhatawadekar, Hyowon Ban, Andrew Calhoun, Jane Drozd, this case, the data are life and death. The artwork shows a family tree of Mr. Joshua Fry, Melissa Quintanilha, Anna Reed, Benjamin Schroeder, Park (Myrang clan, Hwarok party). Lily Skove, Ashley Thorndike, Mary Twohig, Ola Ahlqvist, Peter Chan, Noel Cressie, Stephen Turk Jin Wan Park The Ohio State University Gyuwan Choe Chung-Ang University Jill Johnson, Christopher Roman, Elizabeth Waterhouse The Forsythe Company

Scott deLahunta VisualPoetry - Generative Graphic Design Amsterdam School of the Arts for Poetry on the Road

Patrick Haggard VisualPoetry is a set of computer programs that generate the visuals for the University College London literature festival Poetry on the Road. While the visual output is completely different every year, all visuals are based on the same concept: the programs Alva Noe turn poems into images. University of California, Berkeley Boris Müller Fachhochschule Potsdam

Touch the Invisibles Florian Pfeffer one/one communication A novel interface that can superimpose tactile information onto images displayed on a computer monitor was used to produce an artwork on the subject of how humans perceive the real and digital world through the sense of touch. well-formed.eigenfactor: Visualizing Information Flow in Science Junji Watanabe PRESTO Japan Science & Technology Agency Interactive visualizations based on Eigenfactor Metrics and hierarchical clustering to explore emerging patterns in citation networks. A cooperation Eisuke Kusachi between the Eigenfactor Project (data analysis) and Moritz Stefaner (visual- Creator ization).

NOSIGNER (Eisuke Tachikawa) Moritz Stefaner Designer Fachhochschule Potsdam

Hideyuki Ando Martin Rosvall Osaka University Carl Bergstrom University of Washington, Seattle

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DAYS & HOURS LOCATION Monday, 3 August 9 am - 6 pm Rooms 337 - 342 & 346 - 351 Tuesday, 4 August 9 am - 6 pm Wednesday, 5 August 9 am - 6 pm Thursday, 6 August 9 am - 6 pm Friday, 7 August 9 am - noon eMERgING TEcHNOLOGIEs

SIGGRAPH 2009’s Emerging Technologies presents innovative technologies and applications in many fields, including displays, robotics, input devices, and interaction techniques. The demos are available for attendees to try out and discuss with the creators.

Emerging Technologies includes a mix of works invited by the organizers and works selected from juried submissions to the SIGGRAPH 2009 online submission system.

Emerging Technologies abstracts are presented in the Full Conference DVD-ROM that Full Conference attendees receive with their registration.

CATEGOrIEs Rooms 337-339 Input Interfaces Room 348 Robotics Room 340 Visualization Room 349 Audio Experiences Rooms 341-342 Alternative Displays Rooms 350-351 Haptics and Virtual Reality Rooms 346-347 Experimental Sensory Experiences

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A New Dual-Clickpad Remote AmbiKraf: An Embedded A Multimodal Floor for Virtual Controller for Consumer Non-Emissive and Fast-Chang- Environments Electronics ing Wearable Display

Rooms 350-351 Room 340 Room 341 Categories: Haptics and Virtual Reality Category: Visualization Category: Alternative Displays

This interface is intended for immersive virtual- Panasonic new Easy Touch Remote Controller AmbiKraf is a novel non-emissive fabric display reality and augmented-reality environments in provides tangible and intuitive interactions by that combines the technologies of thermochromic which users walk over “natural” ground surfaces means of sensor interpretation providing context ink with semiconductor heating and cooling to such as snow and ice. To date, human-scale im- recognition for out of the box experiences. These facilitate multicolor, fast-changing fabric displays. mersive environments that incorporate interactive interaction experiences benefit from new Univer- Merging of these two technologies creates revo- floor surfaces have been predominantly focused sal Design (UD) interaction concepts based on lutionary animated and interactive fabric displays. on interactive presentation of visual and auditory hand gestures and visual feedback. Key contributions are the robustness of the display linked to a virtual-environment simulation. fabric display and a rapidly changing, multi-color However, as we walk in natural environments, The intelligent interpretation of multiple sensory capability. we receive continuous, multisensory information information combined with powerful graphic ca- about the nature and composition of the ground pabilities of today consumer electronics allows the Previous wearable displays are limited in practical surface – the crush of dry leaves under our feet, development of completely new user experiences. usage due to their lack of robustness, high emis- the soft compression of grass. The static nature The Easy Touch Remote Controller features point- sivity, one-way control, and slow color change. of floor surfaces in existing virtual-environment ing capability and natural keyboard entry which Emissive displays draw too much attention, and simulations typically bears little resemblance to relies on the dual touch-pad and holding style de- are obtrusive and distractive. Thermochromic natural ground materials, and this creates a per- tection. In addition, indirect pointing, hand/hold/ inks, which are robust and practically usable over ceptual conflict with the dynamic visual and (when gesture recognition, orientation recognition and current non-emissive technologies, are used here present) auditory feedback that users are typically control with no-line of site using wireless technol- with customized color-actuation temperatures op- provided in such an environment. ogy allows the realization of natural and flexible timized to suit the wearer’s comfort and the speed interfaces for a wide variety of applications. of color change. Thermochromic inks are mixed This project illustrates a novel approach to rec- and screen printed onto the fabric, enabling easy onciling perceptual conflict, based on synchro- Jean-Claude Junqua implementation and a robust display. Light-weight nous auditory, vibrotactile, and visual feedback David Kryze semiconductor Peltier junctions intertwined into provided through a floor surface in response to Panasonic San Jose Laboratory the fabric are used as temperature actuators, users’ steps. An array of force sensors in the providing rapid heating and cooling on the same floor and on-body motion capture acquires the module. A matrix of Peltier modules is controlled movements of users. Multimodal feedback is with a tuned control circuit, introducing a novel generated in real time using physically motivated form of fabric display that can show various rendering models for the vibrotactile, auditory, and animated sequences. visual response of the respective virtual material to the steps of a user. This feedback is displayed With this breakthrough combination of technol- responsively, at the site of each footstep, via an ogy, the AmbiKraf demonstration ranges from array of high-fidelity, low-cost vibrotactile and simple calming animated displays to novel acoustic actuators embedded within the floor, in fashion-based interaction scenarios that enable addition to top-down video projection. Potential bidirectional, display-based multimodal communi- future applications of this technology can be en- cation. The robust bidirectional control combined visioned in areas such as immersive virtual-reality with high- speed color changing supersedes training simulations, responsive floor surfaces for current non-emissive technologies, thus making entertainment parks, and interactive rehabilitation AmbiKraf a more convincing and practical leap in systems. wearable technology.

Alvin Law Roshan Lalintha Peiris Jessica Ip Adrian David Cheok Benjamin Peck James Keng Soon Teh Yon Visell Owen Noel Newton Fernando Paul Kry Andrea Wen Yingqian Jeremy Cooperstock Andre Jiande Lim Severin Smith Pan Yi McGill University Doros Polydorou Keio-NUS CUTE Center

Kian Peng Ong futuract

Mili Tharakan Kris Hoogendoorn Keio-NUS CUTE Center

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An Interactive Retrographic Sensor for Touch, Texture Bloxels: Glowing Blocks and Shape Baby-Type Robot: YOTARO as Volumetric Pixels

Room 337 Rooms 346-347 Room 342 Category: Input Interfaces Category: Experimental Sensory Experiences Category: Alternative Displays

Retrographic sensing is a novel method for mea- YOTARO is a new type of interactive robot that A Bloxel is a translucent cubical block that glows suring surface texture and shape. It uses a sensor combines expressions, movements, and physi- in full color and communicates with neighboring made of clear elastomer with a painted skin to ological characteristics. It displays a variety of bloxels. Each bloxel obtains its color data from a non-destructively change an object’s reflectance emotions and reactions, such as smiling, crying, lower bloxel through infrared high-speed flickers characteristics. When an object is pressed into sleeping, anger, and sneezing. The robot is and transfers a series of color data to an upper the sensor, the painted skin conforms to the controlled by an emotion-control system based bloxel. In this way, bloxels serve as volumetric shape of the object. Viewed from behind, the ob- on inputs, such as touching, soft and warm facial pixels that can display meaningful content as a ject appears as a shaded surface, and the shape expressions, or shaking a rattle. Reactions are whole. This module-based approach introduces of the surface can be estimated using photomet- displayed as voices, facial expressions, hand a ground-breaking display technology. Moreover, ric stereo techniques. The resulting system can and leg movements, sniveling, and skin-color as an augmented version of children’s block play, reconstruct high-resolution 2.5-D surface data at changes. bloxels will have a significant impact in physical interactive rates. computing and tangible interfaces. Hiroki Kunimura Wagner Tetsuya Matsuzaki Bloxels features three technical innovations: Micah Johnson Masatada Muramoto Alvin Raj Chiyoko Ono 1. A bloxel consists of two full-color LEDs for Edward Adelson Madoka Hirai display, nine infrared LEDs for data trans- Massachusetts Institute of Technology Toshiaki Uchiyama mission, a photo detector, a battery, and a Kazuhito Shiratori micro-controller. The infrared LEDs are placed Junichi Hoshino so they can achieve data transmission even University of Tsukuba when neighboring bloxels are not completely in Anthropomorphization of contact with each other. a Space With Implemented 2. The system’s data-processing method en- Human-Like Features Back to the Mouth ables a simple system configuration. Because each bloxel communicates only with neighbor- Room 348 Rooms 346-347 ing bloxels, 3D sensors or cameras are not Category: Robotics Category: Experimental Sensory Experiences necessary to track their positions. This anthropomorphization method uses human- This interactive system uses mouth odor and 3. A horizontal tabletop display system sends like features like eyes and arms that are attached breathing action to trigger events. The user aims signals to the base of the stacked bloxels. The to the target. The anthropomorphized space can a blowgun-type device (hose, IR camera, an air- specialized DLP projector can emit high-speed, use gestures, pointing, emotion, and expression flow sensor, and an odor sensor) to direct exhaled flickering pixel-by-pixel signals to the base, to initiate interaction. The method is easy to use, air toward a group of monsters that are affected which allows users to realize several kinds of allows various representations, and extends the by specific mouth odors. The user’s breath odor applications. application of HCI studies. is weakened or strengthened by drinking green tea or eating snacks. Bloxels can be useful in educational and enter- With this method, it is possible to use metaphors tainment systems, as well as display technologies for pointing to the location of an artifact. For In tests, many users have been amazed by the and human interfaces. example, when the printer is jammed, it can say: system. To defeat the monsters, some children “I have a stomach ache”. These metaphors would have even learned to eat foods they dislike. Jinha Lee be impossible using an independent agent. This The University of Tokyo method also indirectly avoids the uncanny valley Takuya Iwamoto (strong repulsion between an industrial robot and Yusuke Sasayama Yasuaki Kakehi a human) proposed by Mori. By using human-like Kanazawa Institute of Technology Keio University features, we can verify separately what parts or actions of parts are positive and empathic for Mitsuo Motoki Takeshi Naemura users and what parts or actions are negative. We Takayuki Kosaka The University of Tokyo can research anthropomorphization that is not un- Kanazawa Technical canny by changing the humanoids’ parts, without constraining the humanoid.

Hirotaka Osawa Keio University

Kentaro Ishii Japan Science and Technology Agency, ERATO

Toshihiro Osumi Ren Ohmura Michita Imai Keio University

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CRISTAL: Control of Remotely Interfaced Systems Using Touch-Based Actions in CityMurmur Living Spaces Crystal Zoetrope

Room 340 Rooms 338-339 Room 342 Category: Visualization Category: Input Interfaces Category: Alternative Displays

The traditional topological forms of mapping and The number of digital appliances and media in The crystal zoetrope is a new visual medium that representing the city are becoming inadequate as domestic environments has risen drastically over could make everyday objects more interactive new forces shape urban development. To meet the last decade. For example, living rooms now and interesting. Traditional three-dimensional zo- these new needs, cartographers are building include digital TVs, DVD and Blu-ray players, etropes generally consist of hundreds of physical- new maps based on co-extensive visions that digital picture frames, digital gaming systems, animation objects, each located at a particular define and visualize the city’s physical and social electronically moveable window blinds, and ro- position in space by means of physical supports. networks. These new mapping activities not only botic vacuum cleaners. As these devices become Consequently, most three-dimensional zoetropes describe quantitative data, but also create new more compatible with computer networking (for have a complicated structure and tend to be narrative forms. example, internet-ready TVs, streaming digital bulky. This project employs the sub-surface laser picture frames, and WiFi gaming systems, such engraving (SSLE) technique to directly engrave The CityMurmur project addresses this issue by as Nintendo’s Wii and Sony’s Playstation), and three-dimensional models into a crystal block and sketching an image that shows the influence of as wired and wireless network infrastructures create a crystal zoetrope with a DC motor and 20 media on the city. It describes information flows become more prevalent in our homes, new op- 5W LEDs. Animation objects are embedded in a by linking them to physical geography. In addi- portunities arise for developing centralized control single crystal block that requires no supports, so tion to the noticeable city and the historic city, of these myriad devices and media into so called even subtle 3D particle animations such as fog or CityMurmur reveals a number of emerging cities “universal remote controls”. But many remote stars can be produced without difficulty. shaped by invisible but real drivers. It depicts a controls lack intuitive interfaces for mapping city as seen by local media, full of places and control functions to several devices, which leads A miniaturized crystal zoetrope is embedded in a events distributed over the territory; a city of to trial-and-error button pressing or experimenta- table with an acrylic board that assures a compel- international media, reduced to the crucial point tion with graphical user interface controls, instead ling image, thanks to the high luminance contrast of political and cultural activities; the cultural city of efficient interaction. between the inside and outside of the container. and the sports city; and all the cities created by Viewers can intuitively control and enjoy the intersections of media traces. Each city is outlined CRISTAL was developed to address this issue. speed, direction, or brightness of the animation by faint signals that are real and important when It simplifies control of digital devices in and just by rubbing the surface of the table. they are considered as a whole. around the living room. The system provides a novel experience for controlling devices in a home This new 3D-animation technique is equally appli- Online newspapers, information agencies, blogs, environment by enabling users to directly interact cable to other everyday objects or environments. personal web sites, and thematic media are moni- with those devices on a live video image of the Lighting, walls, floors, advertising, and toys could tored to highlight the pattern of perceptions in living room using multi-touch gestures on a digital all be embedded with these zoetropes. the urban space. This monitoring activity leads to tabletop. creation of an atlas that produces different maps Woohun Lee based on news sources, themes, and time. The Thomas Seifried JinHa Seong atlas allows users to understand the urban space Christian Rendl Korea Advanced Institute of Science and Technology as a function of the city’s media attention, biases, Florian Perteneder and social and cultural diversity. Jakob Leitner Michael Haller Giorgio Caviglia Upper Austria University of Applied Sciences Marco Quaggiotto Donato Ricci Daisuke Sakamoto Gaia Scagnetti JST ERATO Igarashi Design UI Project Michele Graffieti Samuel Granados Lopez Jun Kato Daniele Guido The University of Tokyo Writing Academic English Masahiko Inami Keio University

Stacey Scott University of Waterloo

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Embodied and Mediated Learning in SMALLab: A Student-Centered Mixed- Digital Decal Reality Environment Funbrella: Making Rain Fun

Rooms 338-339 Rooms 338-339 Rooms 346-347 Category: Input Interfaces Category: Input Interfaces Category: Experimental Sensory Experiences

This innovative interaction technique handles SMALLab is a mixed-reality learning environment Funbrella allows users to experience rain in dis- graphic images in a pen-based computing that has reached over 35,000 students and edu- tant places and different times. Generally, people environment. With Digital Decal, ordinary paper cators in classrooms and museums across the experience rain in sounds, sights, and sometimes replaces special decal films. Users simply place country. It brings together emerging practices in smells; this system exploits the vibration per- a sheet of paper printed with graphic images on human-computer interaction with contemporary ceived through an umbrella’s handle to let people the tablet screen and rub on it with a pen. The research in the learning sciences. With 3D object feel the rain. The extremely simple vibration struc- rubbed images are transferred directly to the tracking and real-time audio/visual and robotic ture is based on a speaker and a microphone, screen in the same manner as a traditional decal. feedback, the body serves as an expressive inter- which record and provide vibrations. face for learning experiences that are embodied, Digital Decal is based on an elaborate mecha- multimodal, and collaborative. The demo presents two applications: nism for real-time cycles of scanning an image and painting on a tablet monitor. The prototype In this highly participatory demo, attendees ex- 1. Crazy Rain. In this scenario, Funbrella stores uses an optical-fiber bundle to transfer the image perience a number of different learning scenarios many types of rain in advance, including not under the tip of the DecalPen to a color sensor. drawn from physics, chemistry, earth science, only normal rain with three levels of strength, The sensor determines the average RGB values english language learning, social wellness, and but also odd rains such as water from a bucket of the image and sends them to the computer. special education. These scenarios have been and “rains” recorded with snake toys, marbles, The position of the pen is monitored at intervals realized through an iterative co-design process BBs, and spaghetti. In this application, partici- of 10 milliseconds. The computer then paints that includes media researchers, classroom pants experience impossible or unlikely rains. pixels in the detected color where the DecalPen teachers, and curriculum specialists. The demo is pointing. serves as a context for discussion of our research 2. Tele-Rain, in which two participants hold on mixed-reality technologies for learning. Recent Funbrellas apart from each other, and one’s DecalPen can be used as a medium of artistic studies demonstrate significant student learning rain is transmitted to the other in real time. expression as well as an intuitive user interface. gains and increases in teacher performance when Users can copy interesting graphic images to a SMALLab is used in a conventional classroom. Ai Yoshida screen intuitively by simple rubbing, and they can Yuichi Itoh edit the images to express their feelings or ideas. David Birchfield Kazuyuki Fujita Ellen Campana Maya Ozaki Woohun Lee Sarah Hatton Tetsuya Kikukawa Geehyuk Lee Mina Johnson-Glenberg Ryo Fukazawa Jiseok Song Aisling Kelliher Yoshifumi Kitamura Boram Lee Christopher Martinez Fumio Kishino Hyunjung Kim Loren Olson Osaka University Korea Advanced Institute of Science and Technology Philippos Savvides Lisa Tolentino Kelly Phillips Sibel Uysal Arizona State University

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gCubik: Real-Time Integral Image Rendering for a Cubic Graphical Instruction for HeadSPIN: A One-to-Many 3D 3D Display a Garment-Folding Robot Video Teleconferencing System

Room 342 Room 348 Room 341 Category: Alternative Displays Category: Robotics Category: Alternative Displays gCubik provides a shared, interactive 3D visual An interactive graphical editing interface that Our 3D teleconferencing system enables true experience in graspable cubic display. Users view tells intelligent robots how to complete tasks in eye contact between a three-dimensionally color, stereo, and full-motion parallax 3D scenes, dynamic environments. Although natural language transmitted subject and multiple participants in viewable from any direction, without special has often been considered the ideal communi- an audience. The subject’s face is scanned in glasses. The autostereoscopic effect is delivered cation method for robots, it lacks efficiency in 3D at 30 feet per second and transmitted in real by newly designed wide-field-of-view integral specifying tasks that require visual (geometric) time to a horizontal-parallax-only 3D display. The photography lens arrays on each face of the information. Likewise, learning from demonstra- display uses a rapidly spinning mirror surface display. In this demonstration, real-time rendering tion can be useful for robots, but such methods to reproject a life-size 3D view of the subject’s of the IP images allows users to interactively ma- are often too complex to be generalized for any face. This dynamic 3D face is visible over a wide nipulate the 3D objects in the scene with simple system. 180-degree field of view by multiple audience finger gestures. members simultaneously without any 3D glasses. This project demonstrates a specialized graphical The subject can then turn to face and talk to any Roberto Lopez-Gulliver editor that allows the user to abstract and specify audience member. Shunsuke Yoshida instructions for a robot by performing simple Sumio Yano editing operations (clicking and dragging) through To achieve two-way eye contact, the system Naomi Inoue the interface. For example, a robot can be taught captures 2D video from a cross-polarized camera Mao Makino to fold garments. The demonstration shows that reflected to the position of the displayed subject’s National Institute of Information this approach is particularly effective for allowing eyes. Then it displays this 2D video feed on a and Communications Technology end-users to customize a robot’s behavior ac- large screen in front of the person being scanned, cording to their particular needs, which cannot be replicating the viewpoint of the person’s virtual conveyed by a single, pre-programmed solution self. This image is used to interactively track the for a general audience. position of the eyes of all of the observers in the scene, allowing the 3D display to create the cor- Yuta Sugiura rect vertical perspective for each of the viewers Keio University/JST, ERATO around the device. The result is a one-to-many 3D teleconferencing system that can reproduce Takeo Igarashi the effects of gaze, attention, and eye contact The University of Tokyo/JST, ERATO often missed in traditional teleconferencing systems. Hiroki Takahashi Waseda University/JST, ERATO Andrew Jones Magnus Lang Tabare Akim Gowon Graham Fyffe Harvard University/JST, ERATO Xueming Yu Jay Busch Charith Lasantha Fernando University of Southern California, Maki Sugimoto Institute for Creative Technologies Masahiko Inami Keio University/JST, ERATO Ian McDowall Fakespace Labs

Mark Bolas University of Southern California, Institute for Creative Technologies & School of Cinematic Arts

Paul Debevec University of Southern California, Institute for Creative Technologies

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Jhai Sustainable Telemedicine ILoveSketch Interactive Cooking Simulator Solution

Rooms 338-339 Rooms 346-347 Room 340 Category: Input Interfaces Category: Experimental Sensory Experiences Category: Visualization

ILoveSketch is a 3D curve-sketching system that Interactive Cooking Simulator uses visual informa- Jhai supports sustainable telemedicine in remote captures some of the affordances of pen and tion from the physical and chemical changes that villages in India and Laos. It works off-grid, at low paper for professional designers, allowing them occur during the cooking process to help users bandwidth, at low cost. It is an integrated solu- to directly alter conceptual 3D curve models. The understand theoretical operations. In real cooking, tion that includes business templates, hardware, system coherently integrates existing techniques we cannot sense the effects of cooking in real software, and training. The organizers have of sketch-based interaction with a number of new time. For example, temperatures inside the food co-created 70 businesses in Laos, and they have and enhanced features. Novel contributions of the ingredients cannot be monitored even with a ther- received requests from 60 countries. system include automatic view rotation to improve mography camera. But the Interactive Cooking curve sketchability, an axis widget for sketch Simulator can simulate states inside and outside Lee Thorn surface selection, and implicitly inferred changes the ingredients, including heat and moisture Jhai Foundation between sketching techniques. It also improves on a number of existing ideas such as a virtual The system consists of three major elements: Rajeev Kumar sketchbook, simplified 2D and 3D view naviga- Neurosynaptic Communications Pvt Ltd tion, multi-stroke NURBS curve creation, and a 1. 3D shape model and dynamic simulation, cohesive gesture vocabulary. which simulates the dynamics of food ingredi- Mark Allen ents as they are turned in the frying pan. Jhai Foundation Seok-Hyung Bae 2. Heat, moisture, and chemical-reaction Ravin Balakrishnan simulation expressed using the finite-element Karan Singh method. University of Toronto 3. Haptic interaction.

With this system, users observe what happens during cooking, apply this understanding to improve cooking skills, and learn that anyone can enjoy cooking.

Fumihiro Kato Yusuke Hanaoka Tu Nguyen Ngoc Danial Keoki The University of Electro-Communications

Hironori Mitake Takafumi Aoki Tokyo Institute of Technology

Shoichi Hasegawa The University of Electro-Communications

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PhotoelasticTouch: Transparent Rubbery Interface Using an LCD Pen de Touch and Photoelasticity Pull-Navi

Rooms 350-351 Room 342 Rooms 346-347 Categories: Haptics and Virtual Reality Category: Alternative Displays Category: Experimental Sensory Experiences

Pen de Touch is a pen-shaped handheld device PhotoelasticTouch is a tabletop system designed This new interface for walking navigation pulls for haptic interactions with virtual environments. to facilitate touch-based interaction with real users’ ears. The system is composed of two clips Unlike conventional haptic displays, which provide objects made from transparent elastic material. attached to the earlobes, six DC motors to pull vibrations that do not effectively represent actual The elastic material provides a realistic haptic each ear in three directions, and a helmet that sensations, this device provides kinesthetic sen- interface, which when combined with the visual holds the motors. In experimental sessions, users sations to the user’s fingers, and the user’s move- content displayed on the LCD tabletop, enables a were inevitably tempted to move right or left when ments are not restricted by mechanical linkages. coupling of the physical world and digital content. their ears were pulled to the right or left. When The system utilizes the photoelastic properties of both ears were pulled forward or backward, the Development of an ungrounded haptic display transparent rubber to detect when a user pushes, users were tempted to walk faster or slower. Inter- that can provide continual kinesthetic sensations pulls, or pinches the object, while the LCD pro- estingly, when both ears were pulled up or down, has not been reported previously. Pen de Touch is vides appropriate visual feedback in accordance the users were tempted to walk up or down stairs based on the novel hypothesis that the kinesthetic with the stress applied to the rubber. if stairs were available. sensations felt at the user’s fingers are sufficient to provide touch sensations of touch, which The technical contribution of this work is the Pull-Navi has three advantages compared to allows the device to be relatively small. When a use of the transparent photoelastic material to previous walking-navigation systems: user holds the device, the base is fixed to the detect stress applied to tangible objects on the index finger, which is inserted in a ring, and the LCD. Previous force-sensitive rubbery interfaces 1. It is more natural. The ear-pulling interface index finger, middle finger, and thumb grasp the require special markers to be embedded inside is quite small force, and users moved in the grip. When the tip of the device touches a virtual the elastic material, which impose restrictions on guided direction without any pain or enforced object, the grip is pulled back toward the base the shape of the object. PhotoelasticTouch does feelings. This is presumably because our ears by three motors installed in the base, generating not require any markers and does not place any were pulled for navigation when we were kinesthetic sensations on the skin and muscles of restrictions on the shape of the object. Therefore, young. the fingers. the proposed system enables intuitive haptic interfaces for various interactive applications like 2. Numerous degrees of freedom. While most The simplicity and representational ability of Pen video games and digital signage using a free-form previous tactile navigation systems achieved at de Touch make it suitable for various kinds of tangible interface. most two-DOF navigation, our new interface conventional virtual-reality systems without haptic can direct full three-DOF movements (right, left, augmentation. It will soon be applied to hapti- PhotoelasticTouch is composed of an LCD and front, back, up, and down). This feature is quite cally augmented interactions for multiple users in an overhead camera, both fitted with a quarter- useful for indoor situations, such as navigation public domains such as museums. wavelength filter. When a user applies pressure in a complex department store moving through to the elastic material on the LCD by pinching or a subway station. pushing, the deformed area transforms incoming Sho Kamuro light into elliptically polarized light that is captured 3. Compact architecture. The system uses Kouta Minamizawa as a high-intensity region by the camera. The ori- small, lightweight motors to pull the ears, and Naoki Kawakami entation and power of the force can be calculated further miniaturization is easy. A prototype The University of Tokyo by monitoring the position and mounted on eyeglasses has already been size of the high-intensity region. developed. Susumu Tachi Keio University We have developed an entertainment application Many tactile navigation systems have been using a transparent elastic face. The user can developed, but, except for a few devices used interact with the 2.5-dimensional face model by by visually handicapped people, none of them is (for example) pinching the cheek or squeezing practical. Pull-Navi is designed to be the first suc- the nose. In response to these inputs, the system cessful tactile walking-guidance system. displays changes in facial expression. Yuichiro Kojima Toshiki Sato Yuki Hashimoto Haruko Mamiya Shogo Fukushima Taro Tokui Hiroyuki Kajimoto Hideki Koike The University of Electro-Communications The University of Electro-Communications

Kentaro Fukuchi Japan Science and Technology Agency

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SCOPE Sound Scope Headphones Texmoca

Room 337 Room 349 Room 342 Category: Input Interfaces Category: Audio Experiences Category: Alternative Displays

SCOPE gives traditional games a second chance, Sound Scope Headphones let users control an Texmoca is a texture-pattern generation system via augmented reality. Thanks to SCOPE, play- audio mixer with natural movements. When listen- that uses real smoke. It uses the properties of the ers have access to various functions (power, ing to music, listeners sometimes want to hear convection phenomena to generate variable geo- life, magic, experience, attack, etc.) and virtual particular parts more clearly or reduce the volume metrical patterns. accessories (weapons, tools, protection) that are of other parts. This is possible with commercial commonly found in video games. Using tan- audio mixers that perform multi-channel recording Nichrome heaters arranged like a matrix generate gible toys (figurines, robots) and equipped with and mix-downs. But commercial audio mixers are smoke. A laser sheet shows a cross section of head-mounted displays, players operate in a real too complicated for musical novices. smoke, like a CT scan image. Updrafts of smoke place with accessories from their own toy boxes. generated by the heaters converge at the top of However, thanks to augmented reality, they can This device controls an audio mixer with three the device. Because many particles of smoke also work with virtual elements that they do not sensors: a digital compass, a tilt sensor, and a gather in at the top, more laser light is reflected tangibly possess. The objective of this project is distance sensor. The sensors, mounted on the there, and viewers can see a geometrical, linear to create an imaginative and engrossing environ- headphones, detect natural movements of the image derived from shining troughs. ment, while creating value for old discarded toys. head or a hand placed behind an ear when the user is listening to music. The position of the troughs can be changed by Frantz Lasorne the thermal-energy balance of the heaters, which Previous headphones with sensors that detect is controlled by software. This patterned-genera- the direction the user is facing or the location of tion algorithm is similar to the Voronoi diagram in the head can intensify musical presence and cre- computational geometry (a unique characteristic Scratch Input ate a realistic impression, but they do not control compared to other patterned smoke generators). the volumes and panpots of each part. Sound Though the system’s geometrical trough pattern Rooms 338-339 Scope Headphones allow a listener to scope a is programmable, the fluctuation of the smoke Category: Input Interfaces particular portion of music. For example, when texture is concentrated where the convection en- listening to jazz, you might want to clearly hear ergy becomes weak. So the system offers users When this simple sensor is incorporated into the guitar or reduce the sound of the sax. By both the enjoyment of recognizing the designed mobile devices, it allows any suitable surface to moving your head left or right, you can hear the pattern and the pleasure of perceiving the fluctu- be appropriated for gestural finger input, opening music from a frontal position. By looking up or ating smoke texture. many new interaction possibilities. down, you can better hear the parts allocated to a more distant or near position. By simply putting This system could be applied to interior and Scratch Input is the first acoustic-based input your hand behind your ear, you can adjust the display design. Using special-application software system that seeks to appropriate common surfac- distance sensor and focus on a particular part for pattern composition, designers could use the es for input. The technique is highly mobile, ap- you want to hear. “smoke composer” to easily unite a unique pattern propriating surfaces wherever the user happens sequence and design their own “music of smoke”. to go and demonstrating that not all input devices Masatoshi Hamanaka have to be special purpose, but instead can be SeungHee Lee This project is sponsored by CREST (JST). co-opted from the environment. University of Tsukuba Masato Sekine The sensor is inexpensive and may provide a Kyoko Kuroda feasible path to truly ubiquitous finger input on Tatsuma Segawa mobile devices or home and office walls. Hiroya Tanaka Keio University Chris Harrison Scott Hudson Julia Schwarz Carnegie Mellon University

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Twinkle: Interface for Using Handheld Projectors to Interact The Sleighing Simulator 2.0 Touchable Holography with Physical Surfaces

Room 346-347 Room 350-351 Room 349 Category: Experimental Sensory Experiences Categories: Haptics and Virtual Reality Category: Audio Experiences

Sensation of speed is one of the important factors Recently, mid-air displays are attracting a lot of Twinkle is a novel interface for interaction with an in designing enjoyable entertainment systems attention in the fields of digital signage and home arbitrary physical surface using handheld projec- such as motion rides. Motion platforms display TV, and many types of holographic displays have tors. It determines of the features of the physical a sense of acceleration, but visual information is been proposed and developed. Although we environment and displays images and sounds essential for delivering an overall sense of speed. can “see” holographic images as if they are really that are generated according to these features. This prototype system uses LED-matrix arrays in floating in front of us, we cannot “touch” them, a peripheral visual display that augments speed because they are nothing but light. The system enables various applications. One sensation. It consists of a sleigh-like input device, example: an interface for music composition and a conventional display in front of the user, and the This project adds tactile feedback to the hovering musical performance. The pitch of a sound is peripheral display, which enhances users’ sense image in 3D free space. Tactile sensation requires determined by the size of the object illuminated of speed. contact with objects, but including a stimula- by the projector. The color of the object and the tor in the work space dilutes the appearance of user’s motion determine the tone and the volume, Yu Okano holographic images. The Airborne Ultrasound respectively, of the sound. Users can create Hiroyuki Kajimoto Tactile Display solves this problem by producing melody and rhythm by laying out objects on a Takuya Nojima tactile sensation on a user’s hand without any surface. This interface enables users to compose The University of Electro-Communications direct contact and without diluting the quality of and play music based on intuition, without any the holographic projection. knowledge of music theory.

Takayuki Hoshi The system is composed of a handheld projec- The UnMousePad: Masafumi Takahashi tor and a camera fixed to the projector. It is quite The Future of Touch Sensing Kei Nakatsuma simple and does not need other motion-tracking Hiroyuki Shinoda systems. The camera has two roles: to estimate Room 338-339 The University of Tokyo the user’s motion and to recognize the features of Category: Input Interfaces the physical surface, which allows it to calculate the projector’s position relative to the surface The UnMousePad is a flexible and inexpensive and the distance between the projector and multi-touch input sensor based on a novel princi- the surface. An optical-flow technique enables ple: interpolating force-sensitive resistance (IFSR). estimation of the direction and velocity of the IFSR devices can acquire high-quality, anti-aliased user’s hand motion on a two-dimensional surface. images of pressure over a surface at high frame Various existing image-processing methods can rates. This new touch-sensing technology has be used to recognize the features of the physical a wide range of potential applications in many surface. sectors of society, because it enables multi-touch pressure imaging at low cost in a wide variety of Takumi Yoshida form factors. The University of Tokyo

This demo shows various form factors and ap- Hideaki Nii plications of IFSR sensors, ranging from uses in Keio University portable electronic devices, electronic paper, and desktop computing environments to applications Naoki Kawakami in musical instruments, gaming, and entertain- The University of Tokyo ment. The goal is to inspire thinking about what the world would be like if common everyday ob- Susumu Tachi jects were augmented with the ability to capture Keio University the subtleties of human touch.

Ilya Rosenberg Ken Perlin Charles Hendee Alexander Grau Nadim Awad Adrian Secord Merve Keles New York University

Christian Miller University of Texas at Austin

Julien Beguin Gotham Wave Games

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Versatile Training Field: the Wellness Entertainment System Using Trampoline Interface Virtualization Gate

Rooms 338-339 Rooms 350-351 Category: Input Interfaces Categories: Haptics and Virtual Reality

The Versatile Training Field (VTF) is based on the This project associates multi-camera 3D model- wellness concept: “Change a lifestyle habit and ing, physical simulation, and tracked head- live life to the fullest”. The system is composed of mounted displays for a strong full-body immersion an input device and a PC, a short-focus projector, and presence in virtual worlds. Three-dimensional and two large-scale screens. The input device modeling is based on the EPHV algorithm, which consists of a mini trampoline and a position- provides an exact geometrical surface according sensitive-detector beneath the center of the tram- to input data. The geometry enables computation poline, which measures change on the trampoline of full-body collisions with virtual objects animated bed. When the system detects the type and state by a physical simulation. Since the algorithm is of the exercise and calculates the viewpoint of exact, it allows for consistent texture mapping the user in VR space, the short-focus projector and yields qualitative models. This full-body displays the view on large screens in front of and representation can thus be rendered on a distant below the user. Users see themselves exercising site for telepresence. It can also be rendered into in virtual reality. a HMD.

Hiroshi Mori Users see their 3D models superposed with their Kazuhito Shiratori real bodies occluded by the HMD. Since the Tomoyuki Fujieda displays are held in front of the eyes, the image Jun’ichi Hoshino projection is not impaired by elements of the real University of Tsukuba world. With a fixed screen, even in an immersive Cave-like configuration, users would not be able to see a virtual object in their palms, because their hands would occlude the light emitted by the displays. With our approach, users see the 3D model of their hands and the virtual object correctly positioned in their palms. It enables a first-person viewing and occlusion-free, co-located interactions. The 3D modeling system makes no assumption about the scene observed. One or several persons can stand in the acquisition space. The number of persons only affects the model quality and the computation time.

We presented a similar concept, the Grimage platform, in SIGGRAPH 2007 Emerging Technolo- gies. But the acquisition space was limited to a small volume for modeling the user’s hands, and images were rendered on a fixed screen positioned behind the acquisition space, providing little immersion and only third-person interactions.

Benjamin Petit François Faure Thomas Dupeux Grenoble Universités INRIA Clément Ménier Jean-Denis Lesage Florian Geffray Grenoble Universités 4D View Solutions

Hervé Mathieu Laurence Boissieux INRIA Michaël Adam Florent Falipou Edmond Boyer INRIA Grenoble Universités Richard Broadbridge Bruno Raffin 4D View Solutions INRIA

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POSTER VIEWING POSTER SESSIONS LOCATION Monday, 3 August 9 am - 6 pm An opportunity for authors to meet Auditorium Lobby Tuesday, 4 August 9 am - 6 pm with attendees. Wednesday, 5 August 9 am - 6 pm Thursday, 6 August 9 am - 6 pm Tuesday, 4 August 12:15 - 1:15 pm Friday, 7 August 9 am - noon Thursday, 6 August 12:15 - 1:15 pm

POsTeRS

Posters offer a light-weight, low-tech method for presenting student, in-progress, and late-breaking work. They are displayed throughout the conference week for attendees to browse at their leisure. Poster topics range from applications of computer graphics to novel interactive techniques to in-depth research on specific topics. Posters also present work submitted to the ACM Student Research Competition.

POSTER CATEGORIES ACM STUDENT RESEARCH HUMAN COMPUTER INTERACTION PHYSICS SIMULATION COMPETITION SEMI-FINALIST 28A – 30A 55A – 57A 1A – 13A IMAGE & VIDEO PROCESSING RENDERING ANIMATION 31A – 36B 58A– 65A 15A – 21A INTERACTION SCIENTIFIC VISUALIZATION ART 37A – 45A 66A – 67B 22A – 24A MODELING VIRTUAL REALITY/AUGMENTED HARDWARE 46A – 52A REALITY 25A – 27A 68A – 71B MUSIC 53A – 54A

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Animation 17B. Directable Anime-Like 21A. Story Engine for Hardware Shadow Based on Water- Interactive Characters Mapping Filter Katsutoki Hamana 15A. Animating Character 25A. Adaptive Coded Aperture Yohei Shimotori Hiroshi Mori Images in 3D Space Projection Shiori Sugimoto Atsushi Nakano

Shigeo Morishima Junichi Hoshino Bing-Yu Chen, Shih-Chiang Dai Max Grosse Waseda University University of Tsukuba National Taiwan University Bauhaus-Universität Weimar

Shuen-Huei Guan 18A. Expressive Facial Gordon Wetzstein Digimax Subspace Construction Art University of British Columbia From Key Face Selection Anselm Grundhoefer Tomoyuki Nishita Oliver Bimber The University of Tokyo Ryo Takamizawa 22A. GreenLite Dartmouth: Bauhaus-Universität Weimar Takanori Suzuki Unplug or the Polar Bear 15B. Animating Lip-Sync Hiroyuki Kubo Gets It 25B. Mobile Tagging & Mixed Speech Faces by Dominated Akinobu Maejima Shigeo Morishima Realities Animeme Models Evan Tice, Tim Tregubov,

Waseda University Kate Schnippering, Yoon-Ki Park, Martha Gabriel Fu-Chung Huang Ray diCiaccio, Max Friedman, Universidade de São Paulo /Centro University of California, Berkeley 18B. Model-Based Synthesis Jennifer Huang, Justin Slick, of Visual Speech Movements Giulia Siccardo, Jessica Glago, Universitário Belas Artes de São Paulo Stephanie Trudeau, Daniel Gobaud, Yu-Mei Chen, Tse-Hsien Wang, From 3D Video Daniel Garcia, Craig Slagel, Bing-Yu Chen 26A. Rendering of Vector Lorie Loeb National Taiwan University James Edge Objects on Curved Surface Dartmouth College Adrian Hilton Using Pivot Triangle Primitives Shuen-Huei Guan Philip Jackson Digimax The University of Surrey 22B. H-LINK 3D: Hyper-Learn- Norihiro Nakamura ing Interface and Navigation Yoshiyuki Kokojima 16A. CG Animation for Piano 19A. Muscle-Based Facial Ani- Kit in 3D Virtual Worlds Yasunobu Yamauchi Toshiba Corporation Research Performance mation Considering Fat-Layer Saba Kawas & Development Center Structure Captured by MRI Nozomi Kugimoto, Kota Takai, North Carolina State University

Rui Miyazono, Kosuke Omori, 26B. Three-Dimensional Auto- Hiroto Yarimizu Takeshi Fujimura, Shinichi Furuya, Yasushi Ishibashi 23A. Himawari: A Plant Robot Stereoscopic Animated Image Haruhiro Katayose, Hiroyoshi Miwa, Hiroyuki Kubo With a Long Viewing Distance Noriko Nagata Akinobu Maejima Akira Nakayasu Using High-Precision Image Kwansei Gakuin University Kiyoshi Tomimatsu Shigeo Morishima Kyushu University Correction Waseda University 16B. Characteristic Gait- Takehito Teraguchi Animation Synthesis From 19B. Pliant Motion: Integration 23B. IArtist\: A Self-Learning Hiromasa Yamashita Single-View Silhouette of Virtual Trajectory Control Computer Artist Ken Masamune

Into LCP Based Physics Takeyoshi Dohi Shinsuke Nakamura, Benjamin Raynal Hongen Liao Engines Masashi Shiraishi Institut d’electronique et d’informatique The University of Tokyo Shigeo Morishima Gaspard-Monge Waseda University Takashi Tokizaki Université Paris Est Marne-la-Vallée Shoichi Hasegawa 27A. The UnMousePad – Mayu Okumura The University of Electro-Communications Xavier Gouchet The Future of Touch Sensing Yasushi Makihara French Algorists Yasushi Yagi 20A. Polygonal Functional Ilya Rosenberg Osaka University Hybrids for Computer Vincent Nozick Ken Perlin Charles Hendee Venceslas Biri Animation and Games Alexander Grau Institut d’electronique et d’informatique 17A. Extraction of Characteris- Nadim Awad Gaspard-Monge tic Postures in a Dance by Denis Kravtsov Adrian Secord Université Paris Est Marne-la-Vallée Statistical Analysis of a Oleg Fryazinov Merve Keles Database of Motion Data Valery Adzhiev New York University Alexander Pasko 24A. Thermotaxis Peter Comninos Takeshi Miura , Kazutaka Mitobe Christian Miller NCCA, Bournemouth University Takuji Narumi Akita University University of Texas at Austin The University of Tokyo Takaaki Kaiga 20B. Retrieval of Motion-Cap- Julien Beguin Akagawa Tomohiro Digital Art Factory, Warabi-za Co., Ltd. ture Data Based on Short- Gotham Wave Games, Inc. Tokyo University of the Arts Term Feature Extraction Takashi Yukawa Young Ah Seong North Asia University Jianfeng Xu Michitaka Hirose Haruhisa Kato The University of Tokyo Toshiyuki Taniguchi Akio Yoneyama Hideo Tamamoto KDDI R&D Laboratories Inc. Akita University

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Human Computer Image & Video 33B. Deblurring With Interaction Interaction Processing Rank-Structured Inverse Approximations 37A. A Random Cursor Matrix 28A. A Saccade-Contingent 31A. 3D-Model-Based Face Mary Hudachek-Buswell to Hide Graphical Passwords Display for Suppressing Replacement in Video Catherine Matos Color Breakup Clayton State University Alice Boit Yi-Ting Cheng Universität Potsdam Wei-Chung Cheng Virginia Tzeng Michael Stewart National Chiao Tung University Yu Liang Georgia State University Thomas Geimer National Taiwan University Joern Loviscach Jih-Fon Huang 34A. Image-Based DressUp Fachhochschule Bielefeld Industrial Technology Research Institute Chuan-Chang Wang System Next Media Animation Limited

28B. Nari Kim 37B. A Selective-Rendering Mobile-Screen Transition Bing-Yu Chen Animations Yung-Yu Chuang Jong-Chul Yoon Algorithm Based on Ming Ouhyoung In-Kwon Lee Memory Schemas Jussi Huhtala National Taiwan University Yonsei University Ari-Heikki Sarjanoja Alexandros Zotos Nokia Research Center 31B. A Comparison of Three 34B. Image Panoramic System Katerina Mania for Mobile Devices Technical University of Crete Jani Mäntyjärvi Methods of Face Recognition

Technical Research Centre of Finland for Home Photos Yingen Xiong Nicholaos Mourkoussis Minna Isomursu Che-Hua Yeh Xianglin Wang University of Sussex Jonna Häkkilä Pei-Ruu Shih Marius Tico Nokia Research Center Kuan-Ting Liu Chia-Kai Liang 38A. BiDi Screen: Depth and Yin-Tzu Lin Kari Pulli Lighting Aware Interaction 29A. rAir Flow Menus: Toward Huang-Ming Chang Nokia Research Center and Display Ouhyoung Ming Reliable 3D Gestural Input National Taiwan University 35A. Proportional Constraint For Radial Marking Menus Matthew Hirsch for Seam Carving Massachusetts Institute of Technology 32A. Augmenting a Camera Danny Rado With a Thermometer Kei Utsugi University of Minnesota Douglas Lanman Takuma Shibahara Brown University Joern Loviscach Takafumi Koike 29B. Thermo-Pict Fachhochschule Bielefeld Hitachi Ltd. Ramesh Raskar Kensuke Takada Henry Holtzman 32B. Takeshi Naemura Kyoko Higurashi Automatic Colorization Massachusetts Institute of Technology Tatsuhiko Suzuki of Grayscale Images Using University of Tokyo Misako Ota Multiple Images on the Web 38B. Bloxels: Glowing Blocks Tetsuaki Baba 35B. Ray Tracing to get 3D as Volumetric Pixels Kumiko Kushiyama Yuji Morimoto Fixations on VOIs From Tokyo Metropolitan University Yuichi Taguchi Portable Eye Tracker Videos Takeshi Naemura Jinha Lee The University of Tokyo The University of Tokyo 30A. Using Eye Tracking Susan Munn to Analyze Stereoscopic Jeff Pelz Yasuaki Kakehi 33A. Data-Driven Diffuse- Filmmaking Rochester Institute of Technology Keio University Specular Separation Celambarasan Ramasamy of Spherical Gradient 36A. Uniform Looking Vector Takeshi Naemura Donald House Illumination Plot With Streamline The University of Tokyo Andrew Duchowski Fragmentation Brian Daugherty Tongbo Chen 39A. collecTable: A Natural Clemson University Abhijeet Ghosh Naoki Kawai Paul Debevec Interface for Music Dai Nippon Printing Co., Ltd. University of Southern California, Collections Institute for Creative Technologies 36B. Video Segmentation With Maria Paula Saba Motion Smoothness Universidade Federal do Rio de Janeiro

Chung-Lin Wen Luiz Velho Yu-Ting Wong Instituto Nacional de Matemática Pura e Bing-Yu Chen Aplicada National Taiwan University Andre Maximo Youichi Sato Universidade Federal do Rio de Janeiro The University of Tokyo

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39B. The Design and Evalu- 42B. Real Map-Based Interface Modeling 49A. Dynamic Simplicial ation of a Lightweight Multi- for Browsing Content on Meshes View Interaction Metaphor for Mobile Devices 3D Visualization in the CAVE 46A. 3D Reconstruction of Sebastian Pena Serna Kazuhiko Yamamoto Planetary Nebulae Using Fraunhofer-IGD Andrew Bragdon Taketoshi Ushiama Hybrid Models David Laidlaw Reiji Tsuruno Andre Stork Toki Takeda Fraunhofer-IGD, Technische Brown University Stephan Wenger Kyushu University Universität Darmstadt Magnor Marcus 40A. Factors Formatting Technische Universität Braunschweig 49B. AeroSynth: Aerial Scene Perceptional Impression 43A. Sketch-Based in 3D Cyber Spaces: A Annotations in Google Earth Morisset Christophe Synthesis from Images Cross-Cultural Study of Steffen Wolfgang Christian Schulze David Nilosek Korean and American Users Universidad Nacional Autónoma de Laurens Nienhaus Karli Walli México Fachhochschule Bremen Carl Salvaggio Mi-Sun Lee John Schott Mi-Gi Han 46B. A Natural Smile Synthesis Joern Loviscach Rochester Institute of Technology Joo-Youn Park From an Artificial Smile Fachhochschule Bielefeld Su-e Park 50A. Inca Reconstruction Seoul Women’s University Hiroki Fujishiro 43B. Smart Pen – Ä New Takanori Suzuki Using Shape Grammar Multimodal Computer Control 40B. LipMouse – A Novel Shinya Nakano Jingyuan Huang Multimodal Human-Computer Tool for Dyslexia Therapy Akinobu Maejima Shigeo Morishima Stephen Mann Interaction Interface Andrzej Czyzewski Waseda University Bill Cowan Piotr Odya University of Waterloo Andrzej Czyzewski Agnieszka Grabkowska 47A. Accurate Skin-Deforma- Piotr Dalka Michal Grabkowski 50B. Lace Curtain: Modeling Bozena Kostek tion Model of Forearm Bozena Kostek and Rendering of Woven Gdansk University of Technology Using MRI Gdansk University of Technology Structures Using BRDF/BTDF 41A. MYGLOBE: Cognitive Kentaro Yamanaka -- Production of a Catalog 44A. TypeTile: A Keyboard Map as Communication Shinsuke Nakamura of Curtain Animations -- System That Decorates Shota Kobayashi Media Characters Depending on Waseda University Yoshiki Mizushima the Way of Typing Shuhei Nomura Fumitaka Ozaki Akane Yano Genki Umeizumi Takuo Imbe Yasuko Hayashi Sony Corporation Noriko Nagata Shin Kiyasu Kensei Jo Kwansei Gakuin University Yusuke Mizukami The University of Tokyo Masashi Shiraishi Yuta Sugiura Shigeo Morishima Yoshiyuki Sakaguchi Naohito Okude Yasuaki Kakehi Waseda University Digital Fashion Ltd. Masahiko Inakage Keio University/Presto, Japan Science Masahiko Inami and Technology Agency Maki Sugimoto 47B. Aging Model of Human 51A. Numerical Simulation Adrian Cheok Face by Averaging Geom- of Fluid Flow on Complex Takeshi Naemura Shuichi Ishibashi etry and Filtering Texture in Geometries Using the Lattice- The University of Tokyo Keio University Database Boltzmann Method and CUDA-Enabled GPUs 44B. Utilizing Photos As 41B. PCCD: Parallel Continu- Satoko Kasai ous Collision Detection Program Themes Shigeo Morishima Eugen Riegel Waseda University Thomas Indinger Kai-Yin Cheng DukSu Kim Technische Universität München Ko-Yuan Chou Sung-eui Yoon 48A. City Generator: GIS Sheng-Jie Luo Korea Advanced Institute of Science Driven Genetic Evolution Bing-Yu Chen 51B. Representing 3D Mesh and Technology National Taiwan University in Urban Simulation With Attributed Root Trees

42A. Pen de Touch Ming Tang 45A. Virtual Stroboscope Yu-Bin Yang Tang & Yang Architects, LLC for Robot Motion Design Jin-Jie Ling Sho Kamuro Nanjing University Kouta Minamizawa 48B. Defining and Computing Tatsuya Ishikawa Naoki Kawakami Shoichi Hasegawa Mixed-Dimensional Skeletons The University of Tokyo The University of Electro-Communications Lu Liu Susumu Tachi Tao Ju Keio University Washington University in St. Louis

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52A. User Studies on the Fea- 56A. The Framework of Sound 59B. Curvature-Dependent 63A. RACBVHs: Random- sibility of Oblique Contouring Rendering for Particle-Based Local Illumination Accessible Compressed Physics Approximation for Bounding Volume Hierarchies Ross Sowell Translucent Materials Lu Liu Kazuhiko Yamamoto Tae-Joon Kim Tao Ju Kyushu University Hiroyuki Kubo Sung-eui Yoon Cindy Grimm Mai Hariu Korea Advanced Institute of Science Washington University in St. Louis 56B. Physics for Animation Shuhei Wemler and Technology Artists Shigeo Morishima Christopher Abraham Waseda University 63B. Reflection Model Garima Gokhroo Alejandro Garcia of Metallic Paints for Daniel Low Alice A. Carter 60A. Washington University School of Medicine Direct Illumination From Reflectance Acquisition J. Courtney Granner Dynamic Area Lights David Chai Masashi Baba San Jose State University Music Greg Nichols Naoki Asada Chris Wyman Hiroshima City University 57A. Real-Time Droplet University of Iowa Modeling Using Color-Space 64A. Single-Pass Rendering 53A. A Visual Beat Detection Environment Matting 60B. Gaussian Projection: of Composable Volumetric System for Grid-Based A Novel PBR Algorithm for Lens Effects Interactive Percussion Biswarup Choudhury Real-Time Rendering and Synchronization Pisith Hao Jan-Phillip Tiesel Sharat Chandran Sajid Farooq Christoph W. Borst Trishul Mallikarjuna Indian Institute of Technology, Bombay Paul Siebert University of Louisiana at Lafayette Georgia Institute of Technology University of Glasgow 64B. Variance Minimization 53B. The Blues Machine Rendering 61A. Interactive Lighting Light-Probe Sampling Manipulation Application Marcelo Cicconet on GPU Kuntee Viriyotha Ilana Paterman 58A. Autonomous Lighting University of Southern California Paulo Cezar Carvalho Agents in Global Illumination Luiz Velho Borom Tunwattanapong Instituto Nacional de Matemática Paul Debevec Paul Debevec Adrien Herubel Pura e Aplicada University of Southern California, University of Southern California, Venceslas Biri Institute for Creative Technologies Institute for Creative Technologies Institut d’electronique et d’informatique 54A. Pandeiro Funk: Experi- Gaspard-Monge 61B. Layered Solid Texture 65A. Virtual Video Camera: ments on Rhythm-Based Interaction Farchad Bidgolirad Synthesis From a Single Image-Based Viewpoint Duran Duboi 2D Exemplar Navigation Through Space Sergio Krakowski and Time Christian Lipski Kenshi Takayama Luiz Velho 58B. Beyond Triangles: Giga- The University of Tokyo Instituto Nacional de Matemática voxels Effects in Video Games Christian Linz Pura e Aplicada Kai Berger Takeo Igarashi Marcus Magnor Cyril Crassin The University of Tokyo, JST/ERATO Technische Universität Braunschweig Francois Pachet INRIA Rhône-Alpes Sony CSL/Paris Fabrice Neyret 62A. Oriental Stylization With LJK/INRIA/Grenoble Universities/CNRS Strokes and Shades Scientific Visualization Physics Simulation Sylvain Lefebvre Seungju Bang INRIA Sophia-Antipolis Kyoungju Park 66A. Data Visualization for Chung-Ang University 55A. A Data-Driven Visual a Stream Ecosystem and Simulation of Fire Phenomena Miguel Sainz its Watershed NVIDIA Corporation 62B. Painterly Caricature

Maker Moohyun Cha Ouida Meier Elmar Eisemann Korea Institute of Machinery and Materials Western Kentucky University MPI Informatik, Universität Yoon-Seok Choi

des Saarlandes Electronics and Telecommunications 66B. The Journey of the 55B. Desired Deformation of Research Institute Cystic Fibrosis Gene Continuum Surfaces in 3DCG 59A. Cosine Lobe Based Animation by Time-Varying In-Kwon Lee Relighting From Gradient Phoebe Coleman Stable Forms Yonsei University Illumination Photographs University of Colorado Denver

Bon-Ki Koo Ippei Takauchi Graham Fyffe Electronics and Telecommunications Masatoshi Ochiai University of Southern California, Research Institute Hiromu Saito Institute for Creative Technologies Ryo Asakura Motofumi Hattori Kanagawa Institute of Technology

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67A. Spatio-Temporal Sensing 70A. Non-Photorealistic Student Research Competition Semi-Finalists and Visualizing of CO2 3D Video-Avatar

Takashi Nariya Daniel Tokunaga ACM Student Research Competition Presentations Young Ah Seong Ricardo Nakamura Finalists in the ACM Student Research Competition present their work Tomoko Hashida Romero Tori to SIGGRAPH 2009 attendees and receive their prizes. Takeshi Naemura Escola Politécnica da Unversidade The University of Tokyo de São Paulo Friday, 7 August | 10:30 am - 12:15 pm Rooms 265-266 67B. Visualization Laboratory 70B. Robot RockStars for Earth Sciences: A Multidisciplinary Learning Sheila Tejada 1A. 3D Reconstruction of 3A. Autonomous Lighting Environment Brooklyn College Planetary Nebulae Using Agents in Global Illumination Hybrid Models Aguilar Alejandro Sierra 71A. SteganoScan: Persis- Adrien Herubel Universidad Nacional Autónoma tence of Vision Display With Stephan Wenger Venceslas Biri de México Pixel-Level Visible Light Magnor Marcus Institut d’electronique et d’informatique Communication Projector Technische Universität Braunschweig Gaspard-Monge

Virtual Reality/ Ryo Kishi Morisset Christophe Farchad Bidgolirad Augmented Reality The University of Tokyo Steffen Wolfgang Duran Duboi Universidad Nacional Autónoma Yasuaki Kakehi de México 3B. Bare-Hand Interaction in 68A. Augmented Reality Keio University/Presto, Japan Science Tabletop-Augmented Reality and Technology Agency Underwater 1B. Adaptive Coded Aperture Projection Bruno Fernandes Takeshi Naemura Lisa Blum Joaquin Fernández The University of Tokyo Wolfgang Broll Universitat Politècnica de Catalunya Max Grosse Fraunhofer-Institut für Angewandte Bauhaus-Universität Weimar 71B. Stereoscopic Display Informationstechnik 4A. Beyond Triangles: Giga- Technique for Web3D Images Gordon Wetzstein voxels Effects in Video Games Stefan Müller The University of British Columbia Kazuhisa Yanaka Universität Koblenz Cyril Crassin Kanagawa Institute of Technology Anselm Grundhoefer INRIA Rhône-Alpes 68B. Bare-Hand Interaction in Oliver Bimber Tabletop-Augmented Reality Bauhaus-Universität Weimar Fabrice Neyret LJK/INRIA/Grenoble Universities/CNRS Bruno Fernandes 2A. Augmented Reality Joaquin Fernández Under Water Sylvain Lefebvre Universitat Politècnica de Catalunya INRIA Sophia-Antipolis Lisa Blum 69A. Flexible Foot Interface Wolfgang Broll Miguel Sainz for Versatile Training Field Fraunhofer-Institut für Angewandte NVIDIA Corporation Informationstechnik Elmar Eisemann Hiroshi Mori Stefan Müller MPI Informatik, Universität Kazuhito Shiratori Universität Koblenz des Saarlandes Tomoyuki Fujieda Jun’ichi Hoshino University of Tsukuba 2B. Automatic Colorization 4B. BiDi Screen: Depth- and of Grayscale Images Using Lighting-Aware Interaction 69B. Haptic Ring: Touching Multiple Images on the Web and Display Virtual Creatures in Mixed- Reality Environments Yuji Morimoto Matthew Hirsch Yuichi Taguchi Massachusetts Institute of Technology Takeshi Naemura Takafumi Aoki The University of Tokyo Douglas Lanman Hironori Mitake Brown University Tokyo Institute of Technology

Ramesh Raskar Shoichi Hasegawa Henry Holtzman The University of Electro-Communications Massachusetts Institute of Technology

Makoto Sato Tokyo Institute of Technology

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5A. Bloxels: Glowing Blocks 7B. Haptic Ring: Touching 10B. Polygonal Functional as Volumetric Pixels Virtual Creatures in Mixed- Hybrids for Computer Reality Environments Animation and Games Jinha Lee The University of Tokyo Takafumi Aoki Denis Kravtsov Hironori Mitake Oleg Fryazinov Yasuaki Kakehi Tokyo Institute of Technology Valery Adzhiev Keio University Alexander Pasko Shoichi Hasegawa Peter Comninos Takeshi Naemura The University of Electro-Communications NCCA, Bournemouth University The University of Tokyo Makoto Sato 11A. Proportional Constraint 5B. Curvature-Dependent Tokyo Institute of Technology for Seam Carving Local Illumination Approxima- tion for Translucent Materials 8A. Interactive Lighting Kei Utsugi Manipulation Application Takuma Shibahara Hiroyuki Kubo on GPU Takafumi Koike Mai Hariu Hitachi Ltd. Shuhei Wemler Borom Tunwattanapong Shigeo Morishima Paul Debevec Takeshi Naemura Waseda University University of Southern California, University of Tokyo Institute for Creative Technologies 6A. Defining and Computing 11B. RACBVHs: Random- Mixed-Dimensional Skeletons 8B. Layered Solid Texture Accessible Compressed Synthesis From a Single Bounding Volume Hierarchies Lu Liu 2D Exemplar Tao Ju Tae-Joon Kim Washington University in St. Louis Kenshi Takayama Sung-eui Yoon The University of Tokyo Korea Advanced Institute of Science 6B. Direct Illumination From and Technology Dynamic Area Lights Takeo Igarashi The University of Tokyo, JST/ERATO 12A. Ray Tracing to Get 3D Greg Nichols Fixations on VOIs From Chris Wyman 9A. Muscle-Based Facial Portable Eye Tracker Videos University of Iowa Animation Considering Fat-Layer Structure Captured Susan Munn 7A. GreenLite Dartmouth: by MRI Jeff Pelz Unplug or the Polar Bear Rochester Institute of Technology Gets It Hiroto Yarimizu Yasushi Ishibashi 12B. Three-Dimensional Auto- Evan Tice Hiroyuki Kubo Stereoscopic Animated Image Tim Tregubov Akinobu Maejima With a Long Viewing Distance Kate Schnippering Shigeo Morishima Using High-Precision Image Yoon-Ki Park Waseda University Correction Ray diCiaccio Max Friedman 9B. Pandeiro Funk: Experi- Takehito Teraguchi Jennifer Huang ments on Rhythm-Based Hiromasa Yamashita Justin Slick Interaction Ken Masamune Giulia Siccardo Takeyoshi Dohi Jessica Glago Sergio Krakowski Hongen Liao Stephanie Trudeau Luiz Velho The University of Tokyo Daniel Gobaud Instituto de Matemática Pura e Aplicada Daniel Garcia Craig Slagel 13A. Variance Minimization François Pachet Lorie Loeb Light-Probe Sampling Sony CSL/Paris Dartmouth College Kuntee Viriyotha 10A. Pen de Touch University of Southern California

Sho Kamuro Paul Debevec Kouta Minamizawa University of Southern California, Naoki Kawakami Institute for Creative Technologies The University of Tokyo

Susumu Tachi Keio University

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DAYS & HOURS LOCATION Monday, 3 August 9 am - 6 pm Rooms 343-345 Tuesday, 4 August 9 am - 6 pm Wednesday, 5 August 9 am - 6 pm Thursday, 6 August 9 am - 6 pm the studio Friday, 7 August 9 am – noon

The Studio is an environment reserved for creative output. It is a studio where artists come together to make their work, share their methods, and exchange ideas with one another and the conference at large. It mixes traditional and cutting-edge creative tools, professional artists, novices, scientists, and technicians into an inspiring learning environment. The Studio is staffed with expert volunteers who can help attendees navigate technologies and activities in order to confidently explore their own artistic ideas.

The Studio provides a broad range of opportunities for conference attendees on a variety of levels. Learning, creating, teaching and other interactions occur among conference attendees, the Studio team, our technology contributors and sponsors.

The Studio is a working “digital kitchen”, a “collaboratory” for testing new ideas in digital media and computing, and for merging traditional techniques with digital processes and making computational creole.

This year’s Studio “menu” serves up a host of entrées for great experiences and digits-on learning opportunities:

2D imaging, drawing, compositing, and manipulation 3D modeling, scanning, printing, and prototyping 4D animation, video, motion capture, stop motion, interactivity, music, and sound

To add another dimension for everyone, The Studio also presents a full daily program on the studio stage and classroom for workshops, lectures, and performances.

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Fun-filled and dramatic ceremony in which FJORG! and GameJam! participants present their completed projects.

DAYS & HOURS LOCATION Monday, 3 August 9 am - Midnight Rooms 255-257 FJORG! Tuesday, 4 August Midnight - 5 pm Teams of animators from around the world forgo sleep and resist several staged distractions for 32 non-stop hours to produce the best character-driven animation in the universe. Teams are formed based on participants’ skills and expertise.

Corporate Sponsor THE TEAMS PEANUT BUTTER JELLY The Stepped Children Squid Juice Sparkle Kittens Briar Roses Paola E. Paulino Jorge Garcia Kelly Mermelstein Alejandra Quintas Ami DeLullo Brendan Carroll Dan Lane Taylor Cook Gianna Ruggiero Kristin Palach Joo Young Lee Liron Topaz Vadim Kiyaev Kent Muddle Dawn Rivers Ringling College Ringling College Pratt Institute Ringling College Ringling College of Art + Design of Art + Design of Art + Design of Art + Design OAW Prestissimo Team Riot HongJoong Kim A.O.M. The Bunko Squad Sasapitt Rujirat John Sabbath HyeSook Kim Christopher Monti Frank Suarez Phon Tiramongkol Gayane Bagdasaryan SeJin Lee Linlin Si Kinlyn Chou Lee Croudy Shuang Chang anipark studio Xuemei Song Chase Hill The Monk Studio Rochester Institute Rochester Institute Bunko Studios, Inc. of Technology of Technology

DAYS & HOURS LOCATION Tuesday, 4 August 6 pm - Midnight Rooms 255-257 GAMEJAM! Wednesday, 5 August Midnight - 6 pm GameJam! hosts two competitions during the 24-hour competition. Twenty participants collaborate and create a 3D game using the Panda3D game engine. Nine participants compete in teams of three to create 2D games using Flash.

Prizes will be given for best 3D character, SIGGRAPH attendees’ favorite 3D character, most lifelike 3D character, most creative 3D character, best 2D game, and SIGGRAPH attendees’ favorite 2D game.

PARTICIPANTS 3D Game Participants Brianne Francisco Brian Nixon Teri Shellen 2D Game Participants Neil Bonsteel Rochester Institute Bowling Green State Animation Mentor Left 3 Dead Rochester Institute of Technology University Jonathan Holt of Technology Eric Savino Michael Molinari Dylan Hunter Emily Oess Fullsail University Andrew Deeds Walton Ben Colbourn Animation Mentor Animation Mentor Ringling College Fullsail University Greg Wark of Art + Design Scott Huster Rory Riggins Bowling Green State Riannon Delanoy Animation Mentor Rochester Institute University Organic Lava Blocks Rochester Institute of Technology Chance Dodd of Technology James Maloney Toby Winder Melissa Guldbrand Bowling Green State Benjamin Rosales Animation Mentor Laurissa Hughes John Fielding University LDSanimators.com Rochester Institute The Manimators of Technology Ryan Neff Elizabeth Sewell Carlos D’Hazas Rochester Institute FullSail University Watcharin Jariyasukdipong of Technology Luis Salazar Woodbury University www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 104 GO TO TABLE OF CONTENTS n SIGGRAPH2009 Full Conference Final Program

DAYS & HOURS LOCATION REsEARCH Tuesday, 4 August 1:45 - 3:30 pm Rooms 265-266 CHALLENGE A special session in which the selected finalists who have worked on this year’s Research Challenge problem present their solutions. Judges evaluate the projects and award wonderful prizes to the teams displaying the most complete, creative, elegant, and appealing solutions.

The SIGGRAPH 2009 Research Challenge problem, announced October 2008, is: “Choose a specific animal, or a specific animal’s sense, and develop a system that will enable a person to experience the physical or social world as that animal does.”

THE FINALISTS The P-War: Interactive Social Game Based on Dogs’ Territorial Behaviors Project: Prey Dogs have been human companions for ages, and we humans often as- Project: Prey simulates the auditory and visual experiences of animals of sume that we understand them better than we actually do. P-War is an prey, including (among others) rabbits, deer, and squirrels. It allows human experimental game that uses GPS and mobile technologies that allows users to experience “hearing” with two ears that rotate 180 degrees, inde- players to experience dog social dynamics from a dog’s point of view while pendently of each other. The project also provides users an opporutnity to physically interacting with each other and exploring territories they mark as “see” with monocular vision. Both experiences are markedly different from dogs would, using the custom-designed P-War mobile screen interface. the auditory and visual capabilities of human beings.

Younghui Kim Hyuna Choi Hyunhee Kim Matt Canada Chris Ozone Kara Bohnenstiel Sanghwa Hong Soomi Jeong Hongik University Felicia Collum Toija Riggins New York City College Jaeseok So David Martinez Aaron Yaw of Technology

Catalyst: Seeing Through the Eyes of a Cat An Ant’s Life This simulation of the cat visual system is based on neuroscientific research. In this first person interactive game, players experience the world as mem- It illustrates four of the major differences between the cat and human bers of an ant colony, from hatching through successive life phases in and visual systems, and maps those contrasts into a space that can be readily around the nest. The game’s interface maps the antÕs dominant senses observed by humans. This project also includes an educational game that is (smell, taste, and touch) to a first-person interactive audiovisual display, con- designed to teach players about how their vision differs from cat vision. veying a localized and qualitative perception of the environment. The game takes place in a fully accessible and interactive simulation of the colony and Jeremy Long David Bartle Amy Gooch its environment, populated by other ants and critters. As the ants mature, Anthony Estey Sven Olsen University of Victoria they grow larger and stronger, their senses become more refined, and their range increases.

Alexandre Francois Greg Harris Eric Stewart Ian Altgilbers Matthew Knowles Daniel Thayer Jessie Berlin Huy Ngu Lindsay Verola Alissa Cooper Gregory Scott Sonny Zhao Eric Gustavson Rashmi Singhal Tufts University SPEEDLAB Opening Session Speedlab Judging Ceremony Monday, 3 August | 3:45 - 5:30 pm Friday, 7 August | 1:45 - 3:30 pm Rooms 265-266 Auditorium B

SpeedLab is a multi-disciplinary competition, in which teams are assigned SpeedLab is an opportunity for both new and experienced researchers a problem at the beginning of SIGGRAPH 2009, and they present their to meet, interact, and invent together in a spirited, upbeat atmosphere of solutions to a panel of celebrity judges four days later. The judges select the friendly competition. It offers participants a chance to make new friends and winning teams and confer fame and prizes. Solutions will be evaluated on professional contacts while working together to solve an interesting and their creativity, practicality, and “cool factor”. useful problem.

It’s easy to join a SpeedLab team. Attend the SpeedLab opening session, Monday, 3:45 – 5:30 pm, in Room 265-266. We invite both students and professionals to participate. Teams will be formed at SIGGRAPH 2009 based on participants’ skills and expertise.

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Conference Registration Categories

n Full Conference Access l Basic Access s Computer Animation Festival COmPUtEr AnIMaTIoN fEsTIvAL The Computer Animation Festival is celebrating its 36th year as an internationally renowned forum for presentation of the world’s most innovative and stimulating computer-generated animated films. The festival also offers a wide spectrum of genres: narrative animation, medical visualizations, video game and simulations demonstrated in real-time, music videos, pro- motional spots, and many others can be seen in one location over the course of five days.

t SPECIal GuES Image courtesy of Meats Meier SpEAkERS Chris Landreth “The Spine” and Psychologically Driven Animation Thursday, 6 August | 10:30 am - 12:15 pm Auditorium B

Peter Ludé Senior Vice President, Engineering, Sony Electronics Executive Vice President, SMPTE Board of Directors ITVS 3D to the Home: What Can Possibly Go Wrong? Thursday, 6 August | 8:30 - 9:15 am Rooms 260-262

Bob Whitehill Stereoscopic Supervisor, Pixar Animation Studios Visual Storytelling in Three Dimensions Thursday, 6 August | 9:15 - 10 am Rooms 260-262

For SIGGRAPH 2009, the Computer Animation Festival introduces two new sections: Real-Time Rendering n, devoted to work produced interactively in real time; and Visual Music n, which includes music visualizations and other artworks that combine music and images into a captivating multi-sensory experience.

www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 106 GO TO TABLE OF CONTENTS n Computer Animation Festival SIGGRAPH2009 Full Conference Final Program juRIed Films The Computer Animation Festival Juried Films present the best of this year’s visual effects, animated shorts, student animations, scientific and musical visualizations, experimental subjects, and so much more.

The Best in Show Award qualifies the winner to be considered for nomination in the Academy of Motion Picture Arts and Sciences Best Animated Short Film category. Other awards presented by the jury are the Jury Award, Best Student Film, the WTF Prize, and Honorary Mentions.

2BTextures Atherosclerosis Cinetique ED Bonnie Mitchell Thomas Brown Maxime Causeret Pierre Alran Elainie Lillios Nucleus Medical Art Arts et Technologie de l’Image Francois Hosy Bowling Green State University USA France Olivier Renard USA Nicolas Juncos Audi “Unboxed” Coach Supinfocom Arles återbesök Aaron Duffy Nikita Ratnikov France Michael “Mondi” Anyango Russell Brooke Artem Sukharev Sweden Passion Pictures 15 Frame Animation Eins (One) United Kingdom Ukraine Jens Bendig Absolut Dissection MotionDesign Rob Smiley Barclaycard ‘Waterslide’ Compare the Market “Aleks” Germany MassMarket Peter Thwaites Darren Walsh USA The Mill Passion Pictures Engel zu Fust (Angel Afoot) United Kingdom United Kingdom Jakob Schuh Acura “Bullet” Saschka Unseld Nicolai Fuglsig BBC iPLayer ‘Penguins’ Counterclockwise Studio Soi GmbH & Co.KG The Mill Vince Squibb David Muth Germany USA Darren Walsh Royal College of Art The Mill United Kingdom Ephemeral Alarm United Kingdom Tony Radevski Moo Hyun Jang CR Uchu-senkan Yamato 2 Jongsu Oh MESAI Bedtime Stories Yasuo Koga Australia South Korea Adam Shankman Omnibus Japan Inc. Cinesite Japan Escape From the Temple Alma USA Zhou Xing Rodrigo Blaas Daydreamer The National Academy of Chinese Spain Big One, The Roland Womack Theatre Arts Amit Chourasia School of Visual Arts China Anima San Diego Supercomputer Center, USA Rémi Devouassoud University of California, San Diego EVOBEAT Elliott Kajdan USA Dim Sum Shun Hachiya Nicolas Maurice Jin Sop Kum Japan Electronics College Julien Lasbleiz Cartoon Forum Trailer Ringling College of Art & Design Japan Supinfocom Valenciennes Regina Welker USA France Max Lang Facteur Mineur Filmakademie Baden-Württemberg Dix Marc Czerwiec Après la Pluie Germany Bif (The Mill) Geoffrey Skrajewski Charles-André Lefebvre The Mill Arnaud Joli Manuel Tanon-Tchi cEvo - Teaser United Kingdom François Ruiz Louis Tardivier Andrés Felipe Hernández Supinfocom Valenciennes Sébastien Vovau Vortice Studios Drench “Brains Dance” France Emmanuelle Walker Colombia Ringan Ledridge Gobelins l’ecole de l’image The Mill Fernet 1882 “Mini Cab France Cherries United Kingdom Company” Cisma Fabian Galvez As One boolab E.T.A. Pickle Visual Effects & Animation Makoto Yabuki Spain Henrik Bjerregaard Clausen Argentina Tangram Co. Ltd. The Animation Workshop Japan Denmark

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Flame Dance Hey ITFS Spot Scheibenwischer Malaria Lifecycle, The Tooru Hayai Guy Ben Shetrit (Drop) Drew Berry Taiyo Kikaku Co, Ltd. Anova Music Gottfried Mentor The Walter and Eliza Hall Institute Japan Israel Filmakademie Baden-Württemberg of Medical Research Germany Australia Frank had a Dream Hit and Run Dae Jung Alex Marino and Greg Peltz Jin Kai Syu Mercurius Sheridan College Ringling College of Art & Design Takahiro Hayakawa Bret Battey Canada USA Kyushu University De Montfort University Japan United Kingdom French Roast Honglong Century Plaza Fabrice O. Joubert Deng Bohong Jump Minamitama District Pumpkin Factory/Bibo Films DANS Till Nowak Nobuo Takahashi France China Framebox Nagoya City University Germany Japan friends? House of Numbers: Animation Sveinbjörn J. Tryggvason of the Replication of HIV KitKat “The Ultimate Break” Minds Vancouver Film School W. Scott Meador Akama Nico Casavecchia Canada Emagination-Media Wanda Productions boolab USA France Spain Future Psychoanalisis Diego Huacuja Hum Krishna’s Garden MIZU-HANABI Televisa Søren Bendt Pedersen Miriam Nagi Tetsuka Niiyama Mexico The Animation Workshop Ringling College of Art & Design Taiyo Kikaku Co, Ltd. Denmark USA Japan Gorilla Lucas Elliot Hydrodynamic Butterflies KUDAN Mon(s)tre (Monster-clock) boolab Yoichiro Kawaguchi Taku Kimura Charles Schneck Spain The University of Tokyo Links DigiWorks Inc. Geoffroi Ridel Japan Japan Daphné Parrot Greed Yann Poyac Alli Sadegiani I Am Alive La Main des Maîtres Anthony Le Saout AnimationMentor Olivier Martineau Adrien “CaYuS” Toupet L’institut supérieur des arts appliqués Sweden Mikros Image Clément Delatre France France Vivien “Looky” Chauvet Happy Duckling, The L’Ecole Européenne Supérieure MR 316 Gili Dolev Incident at Tower 37, The d’Animation Guillaume Poirier Israel Chris Perry France Philippe Massicotte Hampshire College Louis Borgeat Harmonic Fluid USA Lacoste “ Future” Guy Godin Sound Synthesis Akama National Research Council of Canada Canada Changxi Zheng Insight Wanda Productions Doug James Salvador Simo Busom France Cornell University The Animation Workshop Murano Togo - Lost Interiors USA Denmark Lautriv Chromagnon Kazumasa Otsuki Medusa (LCM) CAD CENTER Creative Studio Harmonix “Rock Band II” Insulin Production and Franz Fischnaller Japan Pete Candeland Type 1 Diabetes F.A.B.R.I.CATORS Passion Pictures Etsuko Uno Italy murmur United Kingdom Drew Berry Peter Byrne The Walter and Eliza Hall Institute of Lilium Urbanus Carole Woodlock Heavenly Appeals Medical Research Anca Risca Michaela Eremiasova Byrne Studio David Lisbe Australia Joji Tsuruga USA Ringling College of Art & Design School of Visual Arts USA Interim Camp USA Vera-Maria Glahn MUZORAMA Elsa Bréhin Hellboy II: The Golden Army Marcus Wendt Love_Child Raphaêl Calamote Guillermo del Toro Field Wen-Sheng Shiao Mauro Carraro Double Negative Germany Chun-Wang Sun Maxime Casaux United Kingdom National Taiwan University of ITFS Spot Colorflow Science and Technology Emilien Davaud Laurent Monneron Sebastian Nozon Taiwan Heroes of the Nation Axel Tillement Sascha Geddert Kenny Rossett La Station Animation Roland Petrizza LRO Scouts for Safe Landing Henri Bouvand France Romain Revert Filmakademie Baden-Württemberg Sites - Stereoscopic Version Germany Helen-Nicole Kostis Matthieu Villain Nine Inch Nails Ghosts 8 L’institut supérieur des arts appliqués University of Maryland Baltimore County Shawn Faherty France & Scientific Visualization Studio, NASA USA USA

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Nobel Center Radiohead “House of Cards” SOE: The Space on Toshiba ‘Time Sculpture’ Deng Bohong James Frost Earth Project & Mitch Stratten DANS The Syndicate Quantum City Project The Mill China USA Franz Fischnaller United Kingdom F.A.B.R.I.CATORS Office Noise Reach Italy Twisted Murder Mads Johansen Luke Randall Paulo de Almada Torben Søttrup AnimationMentor Steel Life Mandala Studio LA Karsten Madsen Australia Mathieu Gérard USA Lærke Enemark France The Animation Workshop Rebel With a Cause Unbelievable Four Denmark Kristian Labusga Symphony Sukwon Shin Stuttgart Media University Erick Oh In Pyo Hong One Fine Day Germany University of California, Los Angeles Illusion Studio Gretchen Glover USA USA Ringling College of Art & Design Rebel, The USA Ben Logsdon Taming the Cat Unplan the Moment Roguzdon Productions Visual Media Lab, KAIST Toni Costa Orange Mirrors Japan South Korea Kal Karman Ayelet Menahemi boolab Gravity Roll’n Rock Tezcatlipoca Spain Israel Nico Casavecchia Robin George boolab Southern Adventist University Unwrapping the Mummy 3: Oxygen Spain USA Tomb of the Dragon Emperor Christopher Hendryx Rob Cohen Ringling College of Art & Design Round The “Other World” Rhythm & Hues Studio USA Kirk Hendry Eli Sverdlov USA United Kingdom Gravity Peking1935 Israel Vilnius-Guggenheim Ah Tsann (Lu Canhai) salia Richard Gönci Lu Canrong Brian Evans The Beauty Studio AMD Forest & Land 3D Studio University of Alabama Mao Qi Chao USA China USA Magic Animation Studio China Who’s Gonna Save My Soul Penguins of Madagascar Scab Chris Milk “Gone in a Flash”, The Marjan Moghaddam The Curious Case of Radical Media Bret Haaland Long Island University Benjamin Button USA Nickelodeon USA David Fincher USA Digital Domain Wild Dogs Scratch Me USA Catherine Hicks People in Red Nico Casavecchia Ringling College of Art & Design Roni Kleiner boolab The Day The Earth Stood Still USA Gravity Spain Scott Derrickson Israel Cinesite Wilkinson “Fight for Kisses” Second Souffle United Kingdom Akama Phase Maxime Causeret Wanda Productions Yasuhiro Kobari Arts et Technologie de l’Image The Enlightened Monk France Tangram Co. Ltd. France Emily Tse Japan Ringling College of Art & Design Window Pains Seed USA Paul Tillery IV Picciotti Della Benavita Kosai Sekine Savannah College of Art & Design Bonsaininja Studio Taiyo Kikaku Co, Ltd. The Sound of Silence USA Italy Japan Yi-Yun Chen Ling Tung University World of Warcraft: Wrath Pigeon: Impossible Sentinels of the Heliosphere Taiwan of the Lich King - Lucas Martell Gregory W. Shirah Intro Cinematic USA NASA This Way Up Jeff Chamberlain USA Smith & Foulkes Blizzard Entertainment, Inc. PoPoLei Nexus Productions USA Frederic Mayer Silhouettes of Jazz United Kingdom Ciboulotstudio Dominik Käser Yankee Gal France Martin-Sebastian Senn Tongue of the Hidden Céline Desrumaux Mario Deuss David Alexander Anderson Gary Levesque ETH Zürich Project: Alpha Schofield Films Antoine Perez Switzerland Matthías Bjarnason United Kingdom François Pons The Animation Workshop Supinfocom Valenciennes Denmark France

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DAYS & HOURS LOCATION Monday - Thursday, 3 - 6 August, 6:30 - 9 pm La Nouvelle Orleans Ballroom EVENING theater

The Evening Theater includes three categories of exceptional creative work:

• Live demos of outstanding real-time work. • The Juried Reel, work selected by the Computer Animation Festival Jury from hundreds of international submissions. • The Curated Reel, work invited by the Computer Animation Festival Chair.

Each Evening Theater show includes the same material. On Monday and Wednesday, the Juried Reel is shown first, followed by the Curated Reel. The order of presentation is reversed on Tuesday and Thursday:

Monday & Wednesday Tuesday & Thursday 6:30 pm Real-Time 6:30 pm Real-Time 7 pm Juried Reel 7 pm Curated Reel 8 pm Curated Reel 8 pm Juried Reel

Short breaks after each segment allow attendees to come and go. Those with multi-day passes may extend their viewing of the Evening Theater over several days.

Evening Theater shows begin with 30-minute demos of outstanding achievements in real-time graphics: Flower, DT4 Identity SA 1.7, Froblins, Fight Night 4

On Monday night, the Evening Theater begins with presentations of this year’s Computer Anima- tion Festival Awards: Best of Show (which qualifies the winner to be considered for nomination in the Academy of Motion Picture Arts and Sciences Best Animated Short Film category), the Jury Award, Best Student Film, the WTF Prize, and Honorary Mentions.

Juried Reel Curated Reel Festival Opening Seed Festival Opening Live Music (Mass by Florian Witzel Who’s Gonna Save by Florian Witzel Animation Project) Sillhouettes of Jazz My Soul Pigeon: Impossible ILM: Robots, Cyborgs, Project: Alpha French Roast This Way Up (trailer) and the Final Frontier Barclaycard Wilkinson “Fight SOE: The Space Cloudy with a Chance “Waterslide” for Kisses” Earth Project of Meatballs Toshiba “Time Alma Vilnius-Guggenheim Digital Domain Sculpture” ITFS Spot Colorflow Shade Recovered in Review Anima Window Pains The Spine Evian “Skating Babies” friends? Unbelievable Four (5-minute clip) Pixar’s Partly Cloudy

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DAYS & HOURS LOCATION Monday, 3 August | 1:45 - 3:30 pm La Nouvelle Orleans Ballroom Reels: Nominees, Visual Music 1 AFTERNOON Monday, 3 August | 3:45 - 5:30 pm La Nouvelle Orleans Ballroom Reels: Young at Heart, Visual Music 2

theater Monday, 3 August | 6:30 - 7:15 pm Rooms 271-273 Reels: Visual Music Reel 1 & Visual Music Reel 2 (repeated)

Wednesday, 5 August | 3:45 - 5:30 pm La Nouvelle Orleans Ballroom Reels: Real Time in Real Time

Thursday, 6 August | 3:45 - 5:30 pm La Nouvelle Orleans Ballroom Reels: 2 Cool 4 School

Friday, 7 August | 8:30 - 10:15 am La Nouvelle Orleans Ballroom Reels: Digital Schoolhouse

Friday, 7 August | 10:30 am - 12:15 pm La Nouvelle Orleans Ballroom Reels: The Underneath

Friday, 7 August | 1:45 - 3:45 pm La Nouvelle Orleans Ballroom Reels: Jury Chair’s Reel, Festival Chair’s Reel

DAYS & HOURS LOCATION Thursday, 6 August | 6:30 - 9 pm Rooms 271-273 3D Clip and Trailer Screening 3D SCREENINGS A mix of clips in stereo from trailers to short films.

Thursday, 6 August | 7 - 9 pm Rooms 260-262 3D Festival Track Kick-Off: Screening of “Coraline”

Friday, 7 August | 11:30 am - 12:15 pm Rooms 260-262 3D Clip and Trailer Screening A mix of clips in stereo from trailers to short films.

DAYS & HOURS LOCATION Friday, 7 August | 1:45 - 3:45 pm Rooms 260-262 “Cloudy With a Chance of Meatballs”: SPECIAL Select Cuts SCREENING

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AFTERNOON REELS Nominees Reel Chronomops Absolute Dissection The Underneath 200 Nanowebbers Taming the Cat Monday, 3 August | 1:45 - 3:30 pm Counterclockwise ITFS Spot “Colorflow” Friday, 7 August | 10:30 am - La Nouvelle Orleans Ballroom Sensorium ITFS Spot Scheibenwischer 12:15 pm Scab Wanted & The Dark Knight La Nouvelle Orleans Ballroom SIGGRAPH 2009 Computer Sprots and Dyversions Reach Animation Festival Nominees All That Remains Yankee Gal Kudan Harry Potter and the La Main des Maitres W.T.F. (The Well Told Fable) Half-Blood Prince Twisted Murder Nominees Young at Heart Rock n’ Roll The Rebel friends? Scratch Me I Am Alive Unbelieveable Four Monday, 3 August | 3:45 - 5:30 pm Gorilla World of Warcraft: Wrah of the Lich Fernet 1882 “Mini Cab Company” La Nouvelle Orleans Ballroom Cherries King - Intro Cinematic Unplan the Moment Facteur Mineur Student Prize Nominees PoPoLei Symphony Piccotti Della Benavita Dim Sum Alarm Audi “Unboxed” Muzorama Incident at Tower 37 Cinesite VFX Highlights: Bedtime Compare the Market “Aleks” Coach Project: Alpha Stories BBC iPlayer ‘Penguins’ Greed Cinesite VFX Highlights: The Day Hey One Fine Day Jury Award Nominees The Earth Stood Still Radiohead “House of Cards” Heavenly Appeals Dix The Incident at Tower 37 CR Uchu-senkan Yamato 2 Hit and Run Love_Child The Penguins of Madagascar “Gone Nine Inch Nails Ghosts 8 Ephemeral Anima in a Flash” Jump ETA Office Noise Monster Clock Best of Show Nominees Lilium Urbanus The Beauty Engel zu Fust (Angel Afoot) Frank Had a Dream Digital Schoolhouse Heroes of the Nation French Roast Après la Pluie Dix Silhouettes of Jazz Cartoon Forum Trailer Friday, 7 August | 8:30 - 10:15 am Krishna’s Garden La Nouvelle Orleans Ballroom Honorable Mention The Enlightened Monk Evening Theater Alma Oxygen Sentinels of the Heliosphere Wild Dogs MR 316 in the Afternoon Winners announced Monday at the Dim Sum Harmonic Fluid Sound Synthesis Friday, 7 August | 1:45 - 3:45 pm beginning of the Evening Theater. Insight The Malaria Lifecycle La Nouvelle Orleans Ballroom Engel zu Fust (Angel Afoot) Insulin Production and Type 1 Diabetes Juried Reel Visual Music Reel 1 The Curious Case of Benjamin Silhouettes of Jazz 2 Cool 4 School Button Project: Alpha Monday, 3 August | 1:45 - 3:30 pm Future Psychonalysis Anima Thursday, 6 August | 3:45 - 5:30 pm La Nouvelle Orleans Ballroom The Emily Project friends? Monday, 3 August | 6:30 - 7:15 pm La Nouvelle Orleans Ballroom Rebel With a Cause Seed Room 271-273 The Big One Who’s Gonna Save My Soul Daydreamer Smasung: “Visit to Grandma’s French Roast Harmonix “Rock Band II” 2BTextures House” Alma Flame Dance Mercuris Steel Life Window Pains As One Interim Camp Escape From the Temple Unbelievable 4 cEvo - Teaser Murmur Eins (One) Lacoste “Future” Murano Togo (Lost Interiors) Evobeat Curated Reel Kitkat “The Ultimate Break” Unwrapping the Mummy 3: Tomb Hydrodynamic Butterflies Vilnius-Guggenheim Fernet 1882 “Mini Cab Company” of the Dragon Emperor Phase This Way Up (trailer) Tezcatlipoca People in Red Night Fishing with Cormorants SOE: The Space Earth Project Hellboy II: The Golden Army Minds Jin kai Suy & Quantum City Project Hum Tongue of the Hidden Energie Wilkinson “Fight for Kisses” Round Peking 1935 Shade Recovered Drench “Brains Dance” Nobel Center Live Music (Mass Animation Project) Toshiba ‘Time Sculputure’ Honglong Century Plaza ILM: Robots, Cyborgs, and the Visual Music Reel 2 Orange Mirrors Minamitama District Final Frontier Watchmen Atherosclerosis Monday, 3 August | 3:45 - 5:30 pm The Spine Chroma Chameleon Lautriv Chromagnon Medusa (LCM) La Nouvelle Orleans Ballroom Barclaycard ‘Waterslide’ Neotel “No Restrictions” House of Numbers: Animation Monday, 3 August | 6:30 - 7:15 pm Pigeon Impossible VW “Polo Dog” of the Replication of HIV Rooms 271-273 Digital Domain in Retrospect BA “Aquarium” Mizu-Hanabi Cloudy with a Chance of Meatballs Bridgestone “Taters” The Sound of Silence Salia Audi Quatro “Carver Love_Child Cinetique Second Souffle återbesök Acura “Bullet”

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REAL-TIME RENDERING For the first time, the Computer Animation Festival features a section focused entirely on real-time computer graphics. In recent years, the graphics capabilities and production values of videogames on consoles and computers have grown dramatically. This section of the festival shows the latest examples of videogames and real-time simulations that push the boundaries of what users and viewers have come to expect.

To help emphasize the difference between these works and the pre-rendered works in the Screenings, real-time pieces are demonstrated on their actual platforms. In addition, a selection of the games will be available for attendees to try out in the SIGGRAPH 2009 Sandbox.

REAL-TIME REAL-TIME KS REAL-TIME RENDERING RENDERING DEMOS RENDERING TAL PRODUCTION SESSIONS Evening Theater Immersive and Impressive: Big, Fast and Cool: Making the Art Monday-Thursday. 6:30 pm The Impressionistic Look of for Fight Night 4 & Gears of War 2 n La Nouvelle Orleans Ballroom Flower on the PS3 n Wednesday, 5 August | 8:30 - 10:15 am Wednesday, 5 August | 1:45 - 3:30 pm La Nouvelle Orleans Ballroom Real Time Live La Nouvelle Orleans Ballroom Wednesday, 5 August | 3:45 - 5:30 pm La Nouvelle Orleans Ballroom Building Story in Games: No Cut Scenes Required n Thursday, 6 August | 10:30 am - 12:15 pm La Nouvelle Orleans Ballroom

REAL-TIME S RENDERING WORK

DT4 Identity SA Froblins Gears of War 2 OLE Coordinate Real-Time Hair Real-Time Render- Tatsuo Unemi Abraham Wiley Wyeth Johnson System Simulation and ing and Animation Daniel Bisig Natalya Tatarchuk Epic Games Jun Fujiki Rendering on the of Trees Soka University Christopher Oat Kyushu University GPU Ralf Habel Jeremy Shopf Sarah Tariq Institut für Computer- AMD graphik und Algorithmen NVIDIA’s Medusa NVIDIA Corporation Fight Night Demo Real-Time Car Round 4 Mark Swain Turbulence Frank Vitz Flower NVIDIA Corporation Jonathan Cohen Split Second Jenny Freeman John Edwards NVIDIA Corporation David Jefferies Rick Stringfellow thatgamecompany Disney Interactive

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STEREOSCOPIC 3D: and Entertainment Research, Applications,

SPECIAL GUEST SPEAKERS Peter Ludé Bob Whitehill Senior Vice President, Engineering, Sony Electronics Stereoscopic Supervisor, Pixar Animation Studios Executive Vice President, SMPTE Board of Directors ITVS Thursday, 6 August | 9:15 - 10 am Rooms 260-262 Thursday, 6 August | 8:30 - 9:15 am Rooms 260-262 Visual Storytelling in Three Dimensions 3D to the Home: What Can Possibly Go Wrong? In combination with other visual techniques such as color and compo- There are over two million 3D-ready televisions already in US house- sition, stereography (if used wisely) can enhance mood, evoke emo- holds, but the industry remains divided about delivering stereoscopic tion, and draw an audience further into a film’s story. Using examples content to the home. How much programming will be available, how from “UP”, “Toy Story”, and “Toy Story 2”, Bob Whitehill discusses the will it be delivered, and by when? Will consumers need to wear those use of 3D as a visual storytelling device in Pixar’s films. funny glasses? Will the world adopt 3D standards, or will competing formats emerge? Will the images on the small screen look as good as in the cinema? Peter Ludé will review these thorny topics and address the technical, business, and creative decisions that will be required over the next few years in the transition to 3DTV.

3D sCREENINGS PANELS PRODUCTION sESSIONS 3D Clip and Trailer Screening The Masters Speak: Game Developers “Cloudy With a Chance of Meatballs”: A mix of clips in stereo from trailers to short films. Weigh in on True 3D Gaming n Making Mouthwatering 3D n Thursday, 6 August | 6:30 - 9 pm Thursday, 6 August | 8:30 - 10:15 am Wednesday, 5 August | 1:45 - 3:30 pm Rooms 271-273 Rooms 271-273 La Nouvelle Orleans Ballroom

3D Festival Track Kick-Off: Screening Beyond The Big Screen: The Evolution Monsters vs. Stereo: How Stereo of “Coraline” of 3D Standards in Cinema, Broadcast, Affected Production on “Monsters Thursday, 6 August | 7 - 9 pm and the Home n vs. Aliens” n Rooms 260-262 Thursday, 6 August | 10:30 am - 12:15 pm Thursday, 6 August | 10:30 am - 12:15 pm Rooms 271-273 Rooms 260-262 Pixar’s “Tokyo Mater” 3D Friday, 7 August | 11:30 am - 12:15 pm A Journey From Outer to Inner Space: G-Force 3D: Guinea Pigs, Gadgets Rooms 260-262 Scientific and Biomedical Stereoscopic and Post-Production Stereoscopic Visualization n Filmmaking n 3D Clip and Trailer Screening Thursday, 6 August | 3:45 - 5:30 pm Thursday, 6 August | 1:45 - 3:30 pm A mix of clips in stereo from trailers to short films. Rooms 271-273 Rooms 260-262 Friday, 7 August | 10 - 11:30 am Rooms 260-262 “Coraline”: The Changing Face of Animation n Thursday, 6 August | 3:45 - 5:30 pm Rooms 260-262 SPECIAL sCREENING “Cloudy With a Chance of Meatballs”: Select Cuts Friday, 7 August | 1:45 - 3:45 pm Rooms 260-262

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VISUAL MusIC Films and sessions that combine music and images, whether created by solo filmmakers or as part of a collaboration, to showcase the wide range of approaches and achievements in Visual Music.

VISUAL MUSIC FILMS COURSE återbesök Chronomops (Invited) Night Fishing With The Making of “Shade Recovered”: Michael Anyango Tina Frank Cormorants (Invited) Networked Senses at Play n Sweden Tina Frank Design Betsy Kopmar Monday, 3 August | 8:30 - 10:15 am Austria Expression College Rooms 243-245 200 Nanowebbers USA (Invited) Counterclockwise Ruth Jarman David Muth Salia Joe Gerhardt Royal College of Art Brian Evans TAL K Semiconductor Films United Kingdom University of Alabama See What You Feel: A Study in the Visual United Kingdom USA Extension of Music n Energie! (Invited) Matthew Bain Music Performance and Talk Thorsten Fleisch 2BTextures Scab Monday, 3 August | 6 - 8 pm Fleisch Film Bonnie Mitchell Marjan Moghaddam Rooms 243-245 Elainie Lillios Germany Long Island University Bowling Green State University USA USA Mercurius Bret Battey Sensorium (Invited) KS All That Remains (In- De Montfort University Karen Aqua VISUAL MUSIC TAL United Kingdom vited) Ken Field Monday, 3 August | 1:15 - 5:45 pm Stephanie Maxwell Conical Music Rooms 243-245 Michaela Eremiasova murmur USA Peter Byrne Rochester Institute of Technology From Pythagoras to Pixels: The Ongoing USA Carole Woodlock Sports and Diversions Trajectory of Visual Music Michaela Eremiasova (Invited) n 1:15 - 1:45 pm Rochester Institute of Technology Bum Lee USA USA Designing Instruments for Abstract Visual Improvisation n 2 - 2:30 pm

Modulated Feedback: The Audio-Visual Composition “Mercurius” n DAY & LOCATION 2:45 - 3:30 pm Tuesday, 4 August Rooms 271-273 Visual Music and the True Collaboration URBAN PLANNING of Art Forms and Artists n 3:45 - 4:15 pm

What Sound Does Color Make? n KS 4:30 - 5 pm URBAN PLANNING TAL Exploring Shifting Ground: Creative Intersections Between Experimental The Evolution of Revolution of Design: Model Rebuilding for New Orleans Animation and Audio From Paper Models and Beyond Transportation n n n 5:15 - 5:45 pm 8:30 - 9:20 am 3 - 4:05 pm

Green From the Ground Up: Infrastructure Model-Based Community Planning, Rehabilitation and Sustainable Design n Decision Support, and Collaboration n 1:45 - 2:50 pm 4:15 - 5:30 pm

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Seating in Production Sessions is on a first-come, first-served basis. Please be sure to arrive early for the Production Sessions you wish to attend. PrODUCtIOn SEsSIOnS The Computer Animation Festival presents insider updates on the production secrets behind recent feature films.

Building Benjamin Button: Big, Fast and Cool: Making the Art Monsters vs. Stereo: How Stereo Affect- A Blending of “Technique-ologies” for Fight Night 4 & Gears of War 2 ed Production on “Monsters vs. Aliens” Monday, 3 August | 8:30 - 10:15 am Wednesday, 5 August | 8:30 - 10:15 am Thursday, 6 August | 10:30 am - 12:15 pm La Nouvelle Orleans Ballroom La Nouvelle Orleans Ballroom Rooms 260-262

Artists from Digital Domain and Lola take an With the arrival of high-def game consoles, super- This session tracks the impact of stereo from con- expansive look at the main techniques and realistic graphics with immersive CG environments, cept to delivery on the production of “Monsters technologies developed and deployed to create characters, and VFX are no longer the exclusive vs Aliens”, the first animated feature for which the CG head of Benjamin Button, and the aging territory of film. This session looks at how the art of stereo was integrated into the primary filmmaking and “youthening” of the character. The panelists Fight Night 4 and Gears of War have exploded the process. Discover the lessons learned and how present behind-the-scenes images and clips to boundaries of what’s possible in real time. stereo affected the production pipeline from art, educate and entertain, and discuss concepts story, and editorial to layout and animation, and of invention, artistry, and technology. Moderator finally to lighting and effects. Evan Hirsch Ed Ulbrich Moderator Steve Preeg Panelists Darin Grant Jonathan Litt Jenny Freeman Dreamworks Animation Marco Maldonado Frank Vitz Paul Lambert Electronic Arts, Canada Panelists Digital Domain Ken Bielenberg Wyeth Johnson Mahesh Ramasubramanian Epic Games Phil Captain 3D McNally Rich Shiba Robots, Cyborgs, and the Final Frontier: Dreamworks Animation An Inside Look at “Transformers: “Cloudy With a Chance of Meatballs”: Revenge of the Fallen”, “Terminator Making Mouthwatering 3D Salvation”, and “Star Trek” G-Force 3D: Guinea Pigs, Gadgets and the Wednesday, 5 August | 1:45 - 3:30 pm Stereoscopic Post-Production Workflow Tuesday, 4 August | 1:45 - 5:30 pm La Nouvelle Orleans Ballroom La Nouvelle Orleans Ballroom Thursday, 6 August | 1:45 - 3:30 pm The Sony Pictures Imageworks production Rooms 260-262 Industrial Light & Magic sheds light on the visual team discusses and demonstrates the creative effects in the next chapter of the Transformers and technological elements that helped them The journey of this traditionally shot hybrid CG series and looks at the latest installments of two achieve the most delicious event since macaroni and live action film from flat elements to dimen- legendary franchises. met cheese. This behind-the-scenes look at the sional experience used a variety of visual effects making of an epic food-filled film featuring food techniques and created a breakthrough workflow Terminator: clouds and spaghetti twisters reviews the early for stereoscopic film production. Marc Chu design decisions that drove the look of the film, Philippe Rebours Rob Engle the global illumination renderer used to bring the Industrial Light & Magic Dan Lobl movie to life, and more. Sony Pictures Imageworks Star Trek: Roger Guyett Rob Bredow Matt DeJohn Hilmar Koch Karl Herbst In-Three, Inc. John Goodson Danny Dimian Industrial Light & Magic Sony Pictures Imageworks “Coraline”: The Changing Face Transformers 2: of Animation Jeff White Scott Benza Thursday, 6 August | 3:45 - 5:30 pm Jason Smith Rooms 260-262 Industrial Light & Magic An overview of how 3D printing technology was used to change the way stop-motion animation was used in the creation of the characters in “Coraline”.

Brian McLean LAIKA, Inc.

Neil Ranney Objet Geometries Inc. www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 116 GO TO TABLE OF CONTENTS n Computer Animation Festival SIGGRAPH2009 Full Conference Final Program

PANELS Computer Animation Festival Panels explore current and future techniques, controversies, and productions in animation, visual effects, and visualization.

Getting a Job in CG for Entertainment: Tomorrow’s Yesterday: Scientific Beyond The Big Screen: The Evolution Visual Effects, Animation, and Games n and Biomedical Visualization n of 3D Standards for Cinema, Broadcast, Monday, 3 August | 1:45 - 3:30 pm Wednesday, 5 August | 8:30 - 10:15 am and the Home n Rooms 260 - 262 Rooms 271-273 Thursday, 6 August | 10:30 am - 12:15 pm Rooms 271-273 Keeping a Job in CG for Entertainment: Deconstructing “Watchmen” n Visual Effects, Animation, and Games n Thursday, 6 August | 8:30 - 10:15 am The Mass Animation Project and the Monday, 3 August | 3:45 - 5:30 pm La Nouvelle Orleans Ballroom Future of Crowd-Sourced Creativity n Rooms 260 - 262 Thursday, 6 August | 1:45 - 3:30 pm The Masters Speak: Game Developers La Nouvelle Orleans Ballroom Building Digital Cities n Weigh in on True 3D Gaming n Tuesday, 4 August | 9:20 - 10:15 am Thursday, 6 August | 8:30 - 10:15 am A Journey from Outer to Inner Space: Rooms 271-273 Rooms 271-273 Scientific and Biomedical Stereoscopic Visualization n Will GPUs Change the Face of Thursday, 6 August | 3:45 - 5:30 pm Rendering CGI for Motion Pictures? n Rooms 271-273 Tuesday, 4 August | 1:45 - 3:30 pm Rooms 260-262

TAL KS In Computer Animation Festival Talks, musicians, programmers, artists, researchers, gamers, and filmmakers explain their recent work and future projects.

Visual Music Talks n Making Pixar’s “Partly Cloudy”: Real Time Live n Monday, 3 August | 1:15 - 5:45 pm A Director’s Vision n Wednesday, 5 August | 3:45 - 5:30 pm Rooms 243-245 Tuesday, 4 August | 3:45 - 5:30 pm La Nouvelle Orleans Ballroom Hall E 1-2 Matthew Bain Music Performance Building Story in Games: No Cut and Talk n From Pitchvis to Postvis: Scenes Required n Monday, 3 August | 6 - 8 pm Integrating Visualization Into Thursday, 6 August | 10:30 am - 12:15 pm Rooms 243-245 the Production Pipeline n La Nouvelle Orleans Ballroom Wednesday, 5 August | 10:30 am - 12:15 pm 2009 Japan Animation Festival Review n Rooms 271-273 Real-Time Design Review and Collabora- Monday, 3 August | 1:45 - 3:30 pm tion for Global Infrastructure Projects n Rooms 271-273 Immersive and Impressive: Thursday, 6 August | 1:45 - 3:30 pm The Impressionistic Look of Rooms 271-273 Urban Planning Talks n Flower on the PS3 n Tuesday, 4 August | 8:30 am - 5:30 pm Wednesday, 5 August | 1:45 - 3:30 pm Rooms 271-273 Rooms 271-273

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BIRDs OF A FEaTHeR Attendees who want to get together with others who share their interests, goals technologies, environments, or backgrounds are invited to attend a Birds of a Feather session. For a listing of the Birds of a Feather days, times, and locations see the SIGGRAPH 2009 Conference Locator.

3D Printing for Art and Come Meet the SIGGRAPH OpenGL BOF Teaching Computer Visualization Student Services (S3) Committee Barthold Lichtenbelt Graphics in Context Jeremy Swan Lou Harrison marketing (at) khronos.com Steve Cunningham swanjere (at) mail.nih.gov lou_harrison (at) siggraph.org rsc (at) cs.csustan.edu OpenSG Birds of a Feather ACCAD/OSU Alumni Gathering Computer Graphics for Dirk Reiners Teaching Math Through Elaine Smith Simulation BOF mail (at) dirkreiners.com Game Development Elaine (at) accad.ohio-state.edu John F. Richardson Mitch Williams Richards (at) spawar.navy.mil OpenSceneGraph BOF Mitch.williams (at) 3d-online.com ACM SIGGRAPH Cartographic Paul Martz Visualization Project Birds of a Computer Graphics Pmartz (at) skew-matrix.com Temerity Pipeline User Group Feather Meeting Pioneers Reception Jim Callahan Theresa Marie Rhyne Michael Macedonia Purdue University Reunion jim (at) temerity.us tmrhyne (at) nscu.edu MMacedonia (at) forterrainc.com James Sprinkles jsprink (at) purdue.edu Tokyo ACM SIGGRAPH AnimationMentor.com Gathering DIVERSE - Flexible Open-Source Chapter Party Molly Wolfsehr VE API RIT Alumni Reception Yukio Ando molly (at) animationmentor.com John Kelso Ron Goldberg Yukio.andoh (at) gmail.com Kelso (at) nist.gov rjgrar (at) rit.edu Animux: Free Software UNC SIGGRAPH for Animators Dynamic Simulation Second Multi-User Virtual Envi- Alumni Reception Mark Puttnam Birds of a Feather ronments Meeting (MUVEmoot) Courtney Ferriter mark (at) animux.org Mark A. McLaughlin Chris Thorne ferriter (at) cs.unc.edu mark.mclaughlin (at) disney.com Dragonmagi (at) gmail.com Beyond the Screens: How to Turn Using Computer Graphics in Everything Into Interactive Media Friends of the Art Institutes Sharing Ideas in Teaching 3D Performance Umyot Boonmarlart Jennifer Lasater Animation Marla Schweppe umyotb (at) gmail.com jlasater (at) edmc.edu Richard Lapidus marla_schweppe (at) siggraph.org lapidus (at) morainevalley.edu Blender Foundation, Interactive Ray Tracing Web3D CAD Working Group Artist Showcase Peter Shirley Shotgun Users Group Anita Havele Ton Roosendaal pshirley (at) nvidia.com Kevin Porterfield Anita.havele (at) web3d.org Ton (at) blender.org kp (at) shotgunsoftware.com Interdisciplinary Computer Web 3D User Interface Blender Foundation, Graphics Education SIGGIG: Gays in Graphics Working Group Community Meeting Jasminka Hasic Jeffrey Weekley Anita Havele Ton Roosendaal jhasic (at) gmail.com jdweekle (at) nps.edu Anita.havele (at) web3d.org Ton (at) blender.org Leonardo Town Hall Meeting SIGGRAPH Pin Collectors Women in Animation - BRL-CAD: Open-Source Pam Grant-Ryan Showcase Men are Welcome Too! Solid Modeling pgr (at) leonardo.info Christopher Sean Morrison Pamela Thompson Christopher Sean Morrison siggraph (at) brlcad.org pamrecruit (at) q.com siggraph (at) brlcad.org Molecular Graphics Jeremy Swan Simulating Humans and Animals X3D Medical Working Group Collaborative Undergraduate swanjere (at) mail.nih.gov Philippe Beaudoin Anita Havele Computing Studios Facilitating beaudoin (at) cs.ubc.ca Anita.havele (at) web3d.org Decentralized Participation Motion Graphics BOF Margaret Lomas Carpenter Gil Irizarry Taipei ACM SIGGRAPH Reunion X3d, MIDI, and Sound marge (at) viz.tamu.edu Gil (at) conoa.com Bing-Yu Chen Anita Havele robin (at) ntu.edu.tw Anita.havele (at) web3d.org COLLADA BOF OpenCL BOF Rita Turkowski Neil Trevett marketing (at) khronos.org ntrevett (at) nvidia.com www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 118 GO TO TABLE OF CONTENTS n SIGGRAPH2009 Full Conference Final Program

DAYS & HOURS LOCATION Sunday, 2 August 2 - 6 pm Hall G (SIGGRAPH Village) Monday, 3 August 8 am - 6 pm Tuesday, 4 August 8 am - 6 pm Wednesday, 5 August 8 am - 6 pm Thursday, 6 August 8 am - 6 pm InTErNATIONaL Friday, 7 August 8 am - 2 pm REsOURCeS Learn how the industry is evolving worldwide and collaborate with attendees from five continents. The International Center offers bilingual tours of SIGGRAPH 2009 programs, informal translation services, and space for meetings, talks, and demonstrations. Throughout the year, the Internation- al Resources program facilitates worldwide collaboration in the SIGGRAPH community, provides an English Review Service to help submitters whose first language is not English, and encourages participation in all conference venues, activities, and events.

INTERNATIONAL RESOURCES COMMITTEE Scott Lang (USA) Alexis Casas Wobbe F. Koning (The Netherlands) International Resources Co-Chair International Resources Booth Manager Montclair State University Bergen County Academies Delacave Languages: Dutch, German, English Languages: English Languages: English, French, Spanish, German Yong Tsui Lee (Singapore) Sandro Alberti (Mexico, USA) Miho Aoki (Japan) Nanyang Technological University International Resources Co-Chair Arctic Region Supercomputing Center, Languages: Mandarin, English fen-om; Universidad de Guadalajara University of Alaska Fairbanks Languages: Spanish, Italian, English Languages: Japanese, English Patrick Marais (South Africa) University of Cape Town Matt Adcock (Australia) Kirsten Cater (United Kingdom) Languages: English English Review Coordinator University of Bristol, United Kingdom CSIRO Australia Languages: English Marilenis Olivera (Venezuela, USA) Languages: English Stanford University Alexia Convers (France, USA) Languages: Spanish, English Studio PCH Languages: French, Spanish, English, Czech, Serbo-croatian

Overview of SIGGRAPH 2009 INTERNATIONAL RESOURCES LOCATION (with Japanese interpreter) Hall G (SIGGRAPH Village) EVENTS Monday, 3 August Informative international sessions on the current state of computer 1 - 3 pm graphics around the world, organized by representatives of ACM SIGGRAPH and affiliated societies. Members of the SIGGRAPH 2009 Committee present an overview of the conference and highlights of their programs. Contact: mihoalaska (at) gmail.com (Miho Aoki) SpaceTime Animation Screening Monday, 3 August, through Thursday, 6 August SpaceTime Student Exhibition Opening 10 am - 1 pm Monday, 3 August Digital review of projects accepted to the annual SpaceTime competition. 3:30 - 4:30 pm Featuring the state of creative computer-based student work from around the globe. Opening and Awards presentation for ACM SIGGRAPH SpaceTime Student Contact: mjbarr (at) mtsu.edu (Marc Barr) Exhibition. Contact: mjbarr (at) mtsu.edu (Marc Barr)

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CG in Latino Countries Animation by Japanese Students Monday, 3 August August 5, Wednesday 4:30 - 5:30 pm 1:30 - 2 pm

A brief overview of the state of CG in Latino countries. The session ends DCAJ shows some of the animation works by young Japanese students with a celebratory piñata. which won prizes at Didital Creators Cometition 2008 (DCC 2008). Also, Contact: marilenis (at) gmail.com (Marilenis Olivera) animations submitted by young Korean, Canadian and Malaysian artists will be included. Contact: suzuki (at) dcaj.or.jp (Toshio Suzuki) Inter-Society for the Electronic Arts (ISEA) Open Forum Industrial Application of CG in Japan Tuesday, 4 August 1 - 2:30 pm August 5, Wednesday 2 - 3 pm ISEA is an international non-profit organization fostering interdisciplinary academic discourse and exchange among culturally diverse groups and DCAJ presents some of Japanese companies practicing highly advanced individuals working with art, science, and emerging technologies. This industrial application of CG technology. discussion includes information about the organization, the upcoming ISEA Contact: suzuki (at) dcaj.or.jp (Toshio Suzuki) Symposium to be held in the Ruhr region, Germany in 2010, and plans for the future of ISEA, including the new Headquarters based at The University of Brighton, UK and the launch of the ISEA archive site. All interested mem- Art & Economics of Animation in Latin America bers of the electronic arts community are welcome to attend, to learn about Wednesday, 5 August future symposia and share ideas for potential organizational collaborations. 3 - 4:15 pm: Presentation Contact: sue.gollifer (at) googlemail.com (Sue Gollifer) 4:15 - 5 pm: Latin Snacks

Presentations by Latin America chapters and producers, including short Communicating and Understanding demo. The goal of this talk is to shed light on the quality of animation that Camera Culture can - and is - being produced in Latin America. The types of service that Tuesday, 4 August clients can expect, as well as the costs and time involved in producing 2:30 - 4 pm animation in Latin America, are also discussed. Contact: alejandro.perelman (at) avsistemas.com (Alejandro Perelman) This forum features Ramesh Raskar (Camera Culture, MIT Media Lab), who is presenting the SIGGRAPH 2009 Course Next Billion Cameras, and provides an opportunity to discuss “camera culture” with people in various Chapters Business Meeting fields. The session focuses on next-generation cameras and how our lives will change to adapt to these new inventions. Presented in English with a Thursday, 6 August Japanese interpreter. 9 - 10 am: Meeting Contact: ayumi.miyai (at) cgartgs.or.jp (Ayumi Miyai, CG Arts) The annual Business Meeting for the ACM SIGGRAPH Chapters. Contact: scott (at) siggraph.org (Scott Lang) Professional Chapters and Student Chapters Start-Up Meeting Wednesday, 5 August 12:30 - 1:30 pm

The Professional and Student Chapters of ACM SIGGRAPH span the globe. Within their local areas, chapters continue the work of ACM SIGGRAPH on a year-round basis via their meetings and other activities. Each chapter consists of individuals involved in education, research and development, the arts, industry, and entertainment who are interested in the advancement of computer graphics and interactive techniques, related technologies, and their applications. Chapter members gather throughout the year at meetings, site visits, conferences, video screenings, art shows, and special events.

This session explains how to start and run a successful ACM SIGGRAPH Professional or Student Chapter. Topics regarding the process are outlined in detail by members of the Chapters Committee, and the session concludes with a Q&A session. Contact: scott (at) siggraph.org (Scott Lang)

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ACM SIGGRAPH EXECUTIVE COmMItTeE

President G. Scott Owen Georgia State University

Vice President James Foley Georgia Institute of Technology

Treasurer Jeff Jortner Sandia National Laboratories

Directors-at-Large Ex-Officio Executive Committee Members ACM SIGGRAPH Committee Chairs

Marie-Paule Cani SIGGRAPH Conference Advisory Group Chair Chapters Committee Grenoble Universities & INRIA Jackie White Scott Lang California State University, Los Angeles (retired) Bergen County Academies Rob Cook Pixar Animation Studios SIGGRAPH Asia Conference Advisory Communications Committee Group Chair Kathryn Saunders Paul Debevec Thierry Frey Kathryn Saunders Design Inc. University of Southern California, Institute for Creative Technologies SIGGRAPH Conference Chief Staff Executive Digital Arts Committee Bob Niehaus Jacquelyn Ford Morie Scott Lang Talley Management Group, Inc. Institute for Creative Technologies Bergen County Academies SIGGRAPH Asia Chief Staff Executive Education Committee Kathryn Saunders Adrian Sng Marc Barr Kathryn Saunders Design Inc. Koelnmesse Middle Tennessee State University

Peter Schröder SIGGRAPH Conference Strategic Advisor External Relations Committee California Institute of Technology Gregg Talley Alain Chesnais Talley Management Group, Inc. Tucows Inc.

ACM Program Director Information Services Ginger Ignapoff Jenny Dana ACM Nominations Committee ACM SIGGRAPH Project Manager Alain Chesnais Erin Butler Tucows Inc. SmithBucklin Corporation Publications Committee Stephen N. Spencer University of Washington

Small Conferences Committee Brian Wyvill University of Victoria

Student Services Committee Lou Harrison North Carolina State University

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ACM SIGGRAPH is a diverse group of researchers, artists, developers, filmmakers, scientists, and other professionals, who share an interest in computer graphics and interactive techniques. The community values excellence, passion, integrity, SIGGRAPH 20O9 volunteerism, and cross-disciplinary interaction. COmMItTeE

SIGGRAPH 2009 Conference Director GameJam! Chair Real-Time Rendering Chair Conference Chair of Knowledge Transfer Tina Ziemek Evan Hirsch Ronen Barzel Dave Shreiner University of Utah ARM Ltd. Sandbox Chair ACM SIGGRAPH Conference Games Project Lead Eli Neilburger Chief Staff Executive Conference Director of Operations Stephen Jacobs Bob Niehaus John Fujii Rochester Institute of Technology SIGGRAPH 2009 Talley Management Group, Inc. Hewlett-Packard Company +1 Outreach Chair General Submissions Chair Jerome Solomon SIGGRAPH 2009 Conference Director Dena DeBry Industrial Light & Magic Conference Manager of Production Communities Buttonwillow Six Francesca Regan Jim Hillin SIGGRAPH 2010 Talley Management Group, Inc. Digital Domain Graphic Design/Editing/Web Site Conference Chair Q LTD Terrence Masson Art Papers Chair Conference Industry Northeastern University Jacquelyn Martino Relations Director GraphicsNet Chair IBM Watson Research Center Pete Braccio David Spoelstra SIGGRAPH 2011 Monterey Bay Aquarium MediaMachine LLC Conference Chair Audio Visual Support/General Research Institute Pete Braccio Services Information Aesthetics Monterey Bay Aquarium Freeman Audio Visual Solutions/ Conference Management/ Showcase Chair Research Institute Freeman Marketing and Media Victoria Szabo SmithBucklin Corporation Duke University SIGGRAPH 2012 Computer Animation Conference Chair Festival Consultant Courses Chair International Resources Co-Chairs Rebecca Strzelec Emru Townsend Mashhuda Glencross Sandro Alberti Penn State Altoona (1969 - 2008) University of Manchester fen-om; Universidad de Frames Per Second Magazine Guadalajara The SIGGRAPH Curated Art Chair Information System (SIS) Computer Animation Festival Makai Smith Scott Lang The OPAL Group Executive Producer Bentley Systems Bergen County Academies Carlye Archibeque Student Volunteers/Ex-Student LightStage, LLC Donations Chair Juried Art Chair Volunteers Chair Megan Kreiner Elona Van Gent Nicolas Gonzalez Conference Administration DreamWorks Animation University of Michigan STTARR Project, Princess Talley Management Group, Inc. Margaret Hospital (UHN) Emerging Technologies Chair Music Program Producer Conference Arts Director Manabu Sakurai Amy Morie The Studio Chair Rebecca Strzelec QBay Consulting, LLC Amy Morie Landscape Design Matthew Hollern Penn State Altoona The Cleveland Institute of Art Emerging Technologies Late-Breaking Chair & Sessions Conference Director-at-Large Curation Chair Coordinator Technical Papers Chair Andrew Glassner Daniel Wigdor Helen-Nicole Kostis Thomas Funkhouser Microsoft Surface University of Maryland Baltimore Princeton University Conference Director of Encounters County & Scientific Visualization Mk Haley Exhibition Management Studio, NASA Visual Music Project Lead Disney-ABC Television Group Hall-Erickson, Inc. Dennis Miller Organizational Development Northeastern University Conference Director FJORG! Chair Bob Berger of Future Thinking Patricia Beckmann-Wells The Scooter Store Cindy Grimm Bunsella Films Washington University in St. Louis Publications Game Papers Chair Stephen N. Spencer Conference Director Tracy Fullerton ACM SIGGRAPH Publications of Interactive Play University of Southern California Committee Chair Drew Davidson University of Washington Carnegie Mellon University

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ACM SIGGRAPH In the span of 35 years, ACM SIGGRAPH has grown from a handful Digital Library and receive full access to the Guide to Computing of computer graphics enthusiasts to a diverse group of research- Literature, which features more than one million bibliographic cita- ers, artists, developers, filmmakers, scientists, and other profes- tions from the vast world of computing. ACM members also receive sionals who share an interest in computer graphics and interactive discounts on cutting-edge magazines, journals, books, and confer- techniques. Our community values excellence, passion, integrity, ences. For more information, visit: www.acm.org nn volunteerism, and cross-disciplinary interaction. We sponsor not only the annual SIGGRAPH conference, but also focused symposia, chapters in cities throughout the world, awards, grants, educational Awards resources, online resources, a public policy program, and the ACM SIGGRAPH awards the prestigious Steven A. Coons award for SIGGRAPH Video Review. The second annual SIGGRAPH ASIA lifetime achievement, the Computer Graphics Achievement Award conference will be held in Yokohama, Japan, December 2009. for notable achievements, the Significant New Researcher Award for new contributors to our field, the Outstanding Service Award, and the Distinguished Artist Award for lifetime achievement in digital art. Membership For a list of past award recipients, visit: www.siggraph.org/awards nn The SIGGRAPH community depends on your support. Help us continue our global efforts in education, communications, and advocacy by joining ACM SIGGRAPH for $42 per year ($30 per year Education Committee for students, $47 for Pioneers, and $28 for Eurographics members). The ACM SIGGRAPH Education Committee works to support com- Become an ACM SIGGRAPH member and receive a siggraph.org puter graphics education as well as the use of computer graphics in email alias, access to the archive of SIGGRAPH Proceedings in the education. Computer graphics education encompasses technical, ACM Digital Library, Computer Graphics e-Quarterly, discounted creative, and developmental studies in curricular areas ranging from registrations on ACM SIGGRAPH sponsored programs and events computer science to digital arts. The Education Committee under- including the annual SIGGRAPH and SIGGRAPH Asia confer- takes a broad range of projects and activities in support of the ences and partner conferences such as Eurographics, as well as CG education community, such as curriculum studies, resources discounts on publications and preferred vendor deals on valuable for educators, and SIGGRAPH conference-related activities. This merchandise. For more details on membership or to join online, includes the international, juried SpaceTime Student Competition visit www.siggraph.org nn and select “Membership.” For those of & Exhibition and much more. For more information, please visit: you who are already members, thank you for your continued and education.siggraph.org nn loyal support.

Digital Arts Community ACM The ACM SIGGRAPH Digital Arts Community committee serves to ACM SIGGRAPH’s parent organization is ACM, the Association foster the evolution of a strong digital arts community within the inter- for Computing Machinery. ACM is the world’s largest educational national organization and to promote a dialogue between visual art- and scientific computing society, uniting educators, researchers, ists and the larger SIGGRAPH community. It maintains an interactive and professionals to inspire dialogue, share resources, and address Arts Portal, arts.siggraph.org, with an associated social networking the field’s challenges. ACM strengthens the computing profession’s site, siggrapharts.ning.com n that provides a central place for artists collective voice through strong leadership, promotion of the highest and scientists to share resources, information, artwork, and opportu- standards, and recognition of technical excellence. ACM supports nities. All SIGGRAPH members are invited to utilize the site to follow the professional growth of its members by providing opportunities for developments in the arts, stay connected, and identify potential col- life-long learning, career development, and professional networking. laborators. For more information visit: arts.siggraph.org nn Many ACM SIGGRAPH members also join ACM. The benefits of ACM membership include full access to online books and courses, the ACM Career & Job Center, subscriptions to ACM’s popular email alert news digests TechNews and CareerNews, and the online newsletter Member-Net. ACM members may subscribe to the

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External Relations Committee SIGGRAPH Asia 2009 ACM SIGGRAPH has agreements with a number of organizations Yokohama, Japan and conferences around the world. To see the list of current affili- ations or to inquire about what is involved in entering into such a Start planning now to be in Yokohama for the second relationship, stop by the ACM SIGGRAPH Membership booth or SIGGRAPH Asia Conference and Exhibition. Drop by our visit: www.siggraph.org/affiliationsnn booth in Hall F Lobby and have a chat with us to find out more details. www.siggraph.org/asia2009 nn

Professional & Student Chapters Chapters of ACM SIGGRAPH exist in 65 cities in 16 countries SIGGRAPH Asia 2010 around the world. They form an international multi-cultural 15-18 December 2010 network of people who develop, share, continue, and extend the Seoul, Korea work and achievements presented at the annual conference. Chapter members include those involved in research, develop- Drop by the SIGGRAPH Asia 2009 Booth located in Hall F Lobby ment, education, art, gaming, visualization, and entertainment, just for more information. to name a few. For more information about the ACM SIGGRAPH network of chapters, or if you would like to start a Professional or Student Chapter, visit: www.siggraph.org/chapters nn SIGGRAPH Video Review SIGGRAPH Video Review is the world’s most widely circulated video-based publication. Over 160 programs document the Publications annual SIGGRAPH Computer Animation Festival, providing an ACM SIGGRAPH publications provide the world’s leading forums unequaled opportunity to study state-of-the-art computer graphics for computer graphics research. Our conference series provides the techniques, theory, and applications. New releases and recent issues largest source of citations in computer graphics literature. Publica- are available in DVD format. Visit the SIGGRAPH Review booth outside tions are available to ACM SIGGRAPH members for substantial the La Nouvelle Orleans Ballroom. discounts. See: www.siggraph.org/publications nn Volunteers Small Conferences and Symposia All of the programs developed by ACM SIGGRAPH rely heavily on ACM SIGGRAPH helps organize and sponsor focused conferences, volunteer support. As a member, you are eligible to serve in some of workshops, and other symposia around the world on topics related ACM SIGGRAPH‘s most visible positions, including leading a pro- to computer graphics and interactive techniques. These gatherings fessional chapter, chairing the annual conference, or serving on the enable groups with specific interests to get together and exchange ACM SIGGRAPH Executive Committee. For more information, see: information. To see the list of symposia or find out how to get help www.siggraph.org/gen-info/volunteer-positions.shtml nn for a conference you’d like to organize, stop by the ACM SIGGRAPH Membership booth or visit: www.siggraph.org/events/symposia nn

SIGGRAPH 2010 Los Angeles, California

Interested in participating in the SIGGRAPH 2010 conference as a presenter or volunteer? Stop by the SIGGRAPH 2010 booth in Hall F Lobby, talk with the volunteer leaders who organize the annual SIGGRAPH conference, and discover how you can contribute your expertise and energy. Questions and comments are encouraged. www.siggraph.org/s2010 nn

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Annecy Eurographics Annecy has been showcasing the very best in animation for over 45 The European Association for Computer Graphics is a professional years, making it the industry’s leading international competitive festi- association that assists members with their work and careers in val. The capacity to present and promote animation in all its different computer graphics and interactive digital media. Eurographics has forms has made Annecy a world-wide point of reference members worldwide and maintains close links with developments for the animation industry. in the USA, Japan, and other countries, by inviting speakers from those countries to participate in Eurographics events and by send- www.annecy.org nn ing representatives to other events. Eurographics 2010 will be held in Norrköping, Sweden May 3-7, 2010. China Cartoon Industry Forum (CCIF) www.eg.org Supported by the Chinese government, the China Cartoon Industry nn Forum was founded by the Cartoon Commission of China TV Art- ists Association. As the most influential Chinese conference, CCIF FMX promotes industrialization, internationalization, and market develop- FMX is the primary European meeting of the digital community. Pre- ment. CCIF operates two projects, which are ‘Asian Youth Animation senting cutting edge digital entertainment, the conference addresses & Comics Contest’ (AYACC) and ‘China Animation& Comics Game’ the interests of professionals in creation, production and distribution (CACG). Asian Youth Animation & Comics Contest is aimed to be the from all corners of the industry. Innovative approaches in the anima- top annual award for Asian original animation and comic. CACG is tion, visual effects and gaming industries create a focus for discus- committed to building an animation-training system to sions about the convergence and future of digital entertainment. provide vocational animation and comics training courses studies for all trainees in China. Meet top names in the industry as they present their latest achievements, interview with recruiters searching for new talent and test www.ccif.com.cn / www.51cacg.com nn (will be launched with English and Chinese versions soon) hard- and software innovations directly with developers – all in an open atmosphere of qualified discussion and informal encounter. The level of knowledge and experience and the openness with which Computer Graphics Arts Society it is shared has made FMX a set date for cg professionals all around (CG-ARTS) the world. The Computer Graphics Arts Society, officially recognized by the Min- istry of Education, Culture, Sports, Science and Technology in 1992, www.fmx.de nn is a publicly funded body dedicated to promoting Japanese computer graphics education from drafting curricula to the development and IMAGINA publication of teaching materials, nurturing instructors, and providing IMAGINA will be held at the Grimaldi Forum in Monte-Carlo, certification tests to evaluate the ability of each individual. It is also 3- 5 February 2010. IMAGINA, The European 3D Simulation and dedicated to developing a distinctive Japanese media arts culture in Visualisation Event centred on solutions which assist in designing and the 21st century by hosting the Computer Graphics Contest for Stu- reaching decisions through visualisation and simulation. dents since 1995 and co-organizing the Japan Media Arts Festival in www.imagina.mc conjunction with the Agency for Cultural Affairs since 1996. nn www.cgarts.or.jp nn Laval Virtual The 12th International Conference on Virtual Reality will be held on Digital Content Association April 7-11, 2010, in Laval, France. First event in Europe dedicated to of Japan (DCAJ) Virtual Reality, Realtime 3D and Interactive Techniques, Laval Virtual is DCAJ is a government-approved non-profit organization promoting where virtual reality users share their latest techniques from their fields the Japanese digital content industry. It organizes Digital Content of expertise. Expo (DC EXPO) 2009 (www.dcexpo.jp) from October 22 to 25 at www.laval-virtual.org Miraikan Museum in Tokyo. nn www.dcaj.org/outline/english/index.html nn Seoul International Cartoon & Animation Festival (SICAF) SICAF focuses on the dynamic new-media environment and presents current trends in cartoons and animation through Exhibition Conven- tion, Animated Film Festival and SPP Market. www.sicaf.org nn

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Toulouse St

St. Louis St Jackson Square Gravier St Crozat St Dauphine St Tulane Ave Basin St Iberville BurgundySt St6 10 N Rampart St 16 Perdido St Conti St Canal St Bourbon St 19 FRENCH Elk Pl Bienville Ave 61 3 QUARTER Gravier St

Common St 2 Royal St 10 Perdido St Chartres St

9 12 N Peters St 15 Decatur St Poydras St N Front St 90 1 Canal S Rampart St Louisiana Burgundy St Place 23 New Orleans Algiers Superdome Baronne St PoydrasCarondelet St St St Charles Ave

Camp St 22

Magazine St Harrah’s New Orleans Loyola St Lafayette St Casino Arena Tchoupitoulas St Mississippi River 21 Lafayette 90 New Orleans Girod St Square 13 8

Clio St Julia St Port of New Orleans Pl

Union 17 St Peters S Station Notre Dame St St Fulton Riverwalk

WAREHOUSE/ Howard Ave ARTS DISTRICT Martin Luther King Jr Blvd 5

4 Blvd Center Covention St Joseph St

Lee Commerce St 14 Circle 18 20 11 Andrew Higgins Dr

Oretha C Haley Blvd Tchoupitoulas St

Magazine St

Constance St Baronne St Ernest N. Morial 90 Convention Center Carondelet St Gaiennie St

St Charles Ave Erato St

7 Pl Orleans New of Port

Thalia St Covention Center Blvd

N Tchoupitoulas St Melpomene St

Terpsichore St

Blaine Kern's Euterpe St Mardi Gras World Henderson St

1 Sheraton New Orleans 7 Hampton Inn & Suites New 13 Loews New Orleans Hotel 19 Royal Sonesta Hotel Headquarters Hotel Orleans Convention Center +1.504.595.3300 +1.504.586.0300 +1.504.525.2500 +1.504.566.9990 www.loewshotels.com www.sonesta.com www.sheratonneworleans.com www.hamptoninn.com 14 New Orleans Marriott 20 Spring Hill Suites New Orleans 2 Astor Crowne Plaza 8 Hilton New Orleans Riverside at the Convention Center Convention Center +1.504.962.0500 +1.504.561.0500 +1.504.613.2888 +1.504.522.3100 www.astorneworleans.com www.hilton.com www.marriott.com www.marriott.com

3 Chateau Bourbon 9 Holiday Inn Express - 15 New Orleans Marriott 21 W New Orleans +1.504.586.0800 French Quarter +1.504.581.1000 +1.504.525.9444 www.wyndham.com +1.504.962.0800 www.marriott.com www.starwoodhotels.com www.ichotelsgroup.com 4 Courtyard New Orleans 16 Omni Royal Orleans 22 Windsor Court Hotel Convention Center 10 Holiday Inn New Orleans - +1.504.529.3333 +1.504.523.6000 +1.504.598.9898 French Quarter www.omnihotels.com www.windsorcourthotel.com www.marriott.com +1.504.529.7211 www.ichotelsgroup.com 17 Renaissance Arts Hotel 23 Westin New Orleans 5 Embassy Suites New Orleans +1.504.613.2330 Canal Place - Convention Center 11 Hotel New Orleans - www.marriott.com +1.504.566.7006 +1.504.525.1993 Convention Center www.starwoodhotels.com www.embassysuite.hilton.com +1.504.524.1881 18 Residence Inn New Orleans www.hotelneworleansconventioncenter.com Convention Center 6 French Quarter Chateau +1.504.522.1300 LeMoyne 12 JW Marriott New Orleans www.marriott.com +1.504.581.1303 +1.504.525.6500 www.hiclneworleanshotelsite.com www.marriott.com

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KEY

Telephones

Information

Restrooms

Food & Beverage

Biologic Art: First Aid A Natural Generative History of Fabrication Digital Art Baggage Check

356-357 352-355 Shuttle Pick-up and Drop-off

The Studio Handicap Access 350- Haptic/VR 351 343-345 Experimental Sensory The Sandbox Experiences 349 Audio Experiences 346-347 348 Robotics 337-339 340 341-342

Input Visualization Interfaces Alternative Emerging Technologies Displays

THIRD FLOOR

GameJam! Geek FJORG! Bar 252- 255-257 253 Music Computer Performances Bookstore Animation Information Festival Aesthetics La Nouvelle Showcase 243-245 Auditorium Orleans 260-262 263-264 SIGGRAPH Ballroom II 270 271-273 C Video 274-277 A 238- Review B 235-237 239 240-242 265- 286- 266 267-269 278- Posters Media 291-292 287 293-296 Keynote Computer 279 280-282 Of ce Speakers Animation Festival Conference Posters SECOND FLOOR Management Speaker 283-284 Of ce Prep 288-290 297-299

Food Court Exhibition Management Tech Of ce Talks

HALL F Exhibition Hall HALL G

Entrance Entrance

Merchandise Self Registration Hall E 1-2 Hall E 3 Pickup Center SIGGRAPH Village Registration Job Fair SIGGRAPH 2010/Asia 2009 LOBBY E Booth SIGGRAPH ATM Store LOBBY F Food The Collectible Court Business Card LOBBY G Entrance Game Mobile Phone Scavenger Hunt Shuttle Bus Pick Up Entrance and Drop Off Entrance Entrance FIRST FLOOR CONVENTION CENTER BLVD.

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Art Papers PL Studios, Inc. Music Performances PNY Technologies, Inc. ArtServe Michigan PNY Technologies, Inc. Amy Morie Landscape Design Reel Exchange IBM Watson Research Center Wacom Co., Ltd. Cycling ‘74 Rhythm & Hues Studios Penn State Altoona Walt Disney Animation Studios I-CubeX STTARR Project, Princess University of Michigan Monterey Bay Aquarium Margaret Hospital (UHN) GameJam! Research Insitute The Gnomon School BioLogic: A Natural History Adobe Systems Incorporated New Orleans Music Exchange University College Dublin of Digital Life Animation Magazine Inc. Northeastern University University of North Carolina ArtServe Michigan Animotion Inc. Stanford University at Chapel Hill IBM Watson Research Center Autodesk, Inc. University of Utah Next Generation Design Leaders Ballistic Media Pty. Ltd Outreach Wacom Co., Ltd. Programme, supported by Carnegie Mellon University Adobe Systems Incorporated Walt Disney Animation Studios Korean Minis DreamWorks, L.L.C. Animotion Inc. Penn State Altoona John Wiley & Sons, Inc. Autodesk, Inc. The Studio Philip Beesley Architect Inc. Noesis Interactive Ballistic Media Pty. Ltd 3D Systems Corporation School of Art & Design, University NVIDIA Corporation Craft Animations & Entertainment 3Dconnexion, a Logitech company of Michigan O’Reilly Media, Inc. DreamWorks Adobe Systems Incorporated Walt Disney Animation Studios Peachpit Press Industrial Light & Magic Albeton AG PL Studios, Inc. Peachpit Press Animotion, Inc. Computer Animation Festival PNY Technologies, Inc. Pixologic, Inc. Apple Inc. Advanced Micro Devices, Inc. Wacom Co., Ltd. PL Studios, Inc. Autodesk, Inc. AJA Video Systems Walt Disney Animation Studios The Gnomon School AutoDesSys, Inc. Apple Inc. Xgaming, Inc Toon Boom Animation Inc. Avid Technology, Inc. Carnegie Mellon University Walt Disney Animation Studios Bunkspeed Digital Domain Productions Inc. Geek Bar Cakewalk, Inc. Doremi Labs, Inc. Walt Disney Animation Studios Podcasts California College of the Arts Electronic Arts Adobe Systems Incorporated Canon Inc. FotoKem, a division of Next Lab General Submissions Bergen County Academies Celemony Software GmbH Industrial Light & Magic Buttonwillow Six Digital Domain Productions, Inc. Cleveland Institute of Art Lenovo Hewlett-Packard Development Walt Disney Animation Studios Corel Corporation LightIRON Company, L.P. Cycling ‘74 LightStage, LLC Scientific Visualization Studio, Research Challenge Eyeon Software Microsoft Game Studios NASA/GSFC John Wiley & Sons, Inc. Fender Musical Instruments Corporation Miranda Technologies, Inc. University of Maryland Baltimore O’Reilly Media, Inc. Geomagic, Inc. Mulholland Bays County, GEST Peachpit Press Gibson USA NVIDIA Corporation Washington University in St. Louis GigaPan PlasterCITY Digital Post The Sandbox Hewlett-Packard Development RealD Generative Fabrication Ann Arbor Distrcit Library Company, L.P. Smith Micro Software, Inc. Bentley Systems Carnegie Mellon University I-CubeX Sohonet Limited Blue Sky Studios Lenovo Image Content Technology LLC Sony Electronics Blumer-Lehmann AG Walt Disney Animation Studios Intel Corporation Sony Pictures Imageworks Kreysler & Associates Lenovo THQ Inc. MFR Consultants Social Games Materialise Group Penn State Altoona Carnegie Mellon University MAXON Computer Courses Walt Disney Animation Studios GarageGames Monterey Bay Aquarium ARM Ltd. Z Corporation Georgia Institute of Technology Research Insitute The University of Manchester Rochester Institute of Technology Native Instruments GmbH GraphicsNet Savannah College of Art and Design NewTek, Inc. Donations Fluke Networks Next Engine DreamWorks, L.L.C. Lee County School District SpeedLab Northeastern University MediaMachine LLC Washington University in St. Louis Penn State Altoona Emerging Technologies Monterey Bay Aquarium Phase Space Disney ABC Digital Media Research Institute Student Volunteers Pixologic, Inc. Drexel University Network for Computational Activision, Inc. PL Studios, Inc. Microsoft Corporation Nanotechnology Adobe Systems Incorporated RDG Woodwinds QBay Consulting, LLC Purdue University Animation Magazine Inc. Right Hemisphere Walt Disney Parks and Resorts Sallie Mae AnimationMentor.com Robert McNeel & Associates Zynga, Inc. Stanford University Autodesk, Inc. SensAble Technologies, Inc. Ballistic Media Pty. Ltd. Stanford University Encounters Information Aesthetics CGSociety Stratasys, Inc. Wacom Co., Ltd. Showcase Computer Graphics World The Gnomon School Carnegie Mellon University Digital Domain Productions Inc. Wacom Co., Ltd. FJORG! Duke University ISIS Program DreamWorks Animation X-Rite Incorporated 3Dconnexion, a Logitech company and Visual Studies Initiative DreamWorks Adobe Systems Incorporated Renaissance Computing Institute Electronic Arts Technical Papers Animation Magazine Inc. Stanford University Escape Studios Disney Research Animotion Inc. Eyeon Software Google Autodesk, Inc. International Resources iloura Microsoft Corporation Ballistic Media Pty. Ltd. Bergen County Academies INSIGHTS Toronto Princeton University DreamWorks Animation L.L.C. fen-om LAIKA Inc. John Wiley & Sons, Inc. Universidad de Guadalajara Microsoft Corporation Monterey Bay Aquarium Noesis Interactive Research Insitute Late Breaking Submissions NVIDIA Corporation Nickelodeon, Scientific Visualization Studio, O’Reilly Media, Inc. Viacom International Inc. NASA/GSFC Peachpit Press Noesis Interactive University of Maryland Baltimore Pixar Animation Studios O’Reilly Media, Inc. County, GEST Pixologic, Inc. Peachpit Press Washington University in St. Louis PL Studios, Inc. www.siggraph.org/s2009 LINK WITHIN PDF n LINK TO WEB nn Full Conference Final Program 128