{"id":1428,"date":"2010-06-03T17:56:54","date_gmt":"2010-06-03T23:56:54","guid":{"rendered":"http:\/\/www.realtimerendering.com\/blog\/?p=1428"},"modified":"2010-07-18T07:57:51","modified_gmt":"2010-07-18T13:57:51","slug":"siggraph-2010-courses-update","status":"publish","type":"post","link":"https:\/\/www.realtimerendering.com\/blog\/siggraph-2010-courses-update\/","title":{"rendered":"SIGGRAPH 2010 Courses Update"},"content":{"rendered":"<p>Since <a href=\"http:\/\/www.realtimerendering.com\/blog\/siggraph-2010-courses\/\">my original post about the SIGGRAPH 2010 courses<\/a>, some of the courses now have updated speaker lists (including mine &#8211; regardless of <a href=\"http:\/\/www.realtimerendering.com\/blog\/siggraph-2010-course-scheduling\/\">what Eric may think<\/a>, I&#8217;m not about to risk <a href=\"http:\/\/www.mit.edu\/~mkgray\/head-explode.html\">Hyper-Cerebral Electrosis<\/a> by speaking for three hours straight). I&#8217;ll give the notable updates here:<\/p>\n<h3>Stylized Rendering in Games<\/h3>\n<p>Covered games will include:<\/p>\n<ul>\n<li><em>Borderlands <\/em>(presented by Gearbox cofounder and chief creative officer <strong>Brian Martel<\/strong> as well as VP of product development <strong>Aaron Thibault<\/strong>)<\/li>\n<\/ul>\n<ul>\n<li><em>Brink <\/em>(presented by lead programmer <strong>Dean Calver<\/strong>)<\/li>\n<\/ul>\n<ul>\n<li>The 2008 <em>Prince of Persia <\/em>(presented by lead 3D programmer <strong>Jean-Fran\u00e7ois St-Amour<\/strong>)<\/li>\n<\/ul>\n<ul>\n<li><em>Battlefield Heroes <\/em>(presented by graphics engineer <strong>Henrik  Hal\u00e9n<\/strong>)<\/li>\n<\/ul>\n<ul>\n<li><em>Mirror&#8217;s Edge <\/em>(also presented by <strong>Henrik  Hal\u00e9n<\/strong>).<\/li>\n<\/ul>\n<ul>\n<li><em>Monday Night Combat <\/em>(presented by art director <strong>Chandana Ekanayake<\/strong>) &#8211; thanks to Morgan for the update!<\/li>\n<\/ul>\n<h3>Physically Based Shading Models in Film and Game Production<\/h3>\n<ul>\n<li><strong>I&#8217;ll<\/strong> be presenting the theoretical background, as well as technical, production, and creative lessons from the adoption of physically-based shaders at the <a href=\"http:\/\/www.activision.com\/index.html\">Activision<\/a> studios.<\/li>\n<\/ul>\n<ul>\n<li>Also on the game side, <strong>Yoshiharu Gotanda<\/strong> (president, R&amp;D manager, and co-founder of <a href=\"http:\/\/www.tri-ace.co.jp\/en\/index.html\">tri-Ace<\/a>) will talk about some of the fascinating work he has been doing with physically based shaders.<\/li>\n<\/ul>\n<p>On the film production side:<\/p>\n<ul>\n<li><strong>Adam Martinez<\/strong> is a computer graphics supervisor at <a href=\"http:\/\/www.imageworks.com\/\">Sony  Pictures Imageworks<\/a> whose film work includes the <em>Matrix <\/em>series  and <em>Superman Returns<\/em>; his talk will focus on the use of  physically based shaders in <em>Alice in Wonderland<\/em>.\u00a0 Imageworks uses  a ray-tracing renderer, unlike the micropolygon rasterization renderers  used by most of the film industry; I look forward to hearing how this affects shading and lighting.<\/li>\n<\/ul>\n<ul>\n<li><strong>Ben Snow<\/strong> is a visual effects supervisor at <a href=\"http:\/\/www.ilm.com\/\">Industrial Light and Magic<\/a> who has done VFX work on numerous films (many of them as CG or VFX supervisor) including <em>Star Trek: Generations<\/em>, <em>Twister<\/em>, <em>The Lost World: Jurassic Park<\/em>, <em>The Mummy<\/em>, <em>Star Wars: Episode II &#8211; Attack of the Clones<\/em>, <em>King Kong<\/em>, and <em>Iron Man<\/em>. Ben has pioneered the use of physically based shaders in <em>Terminator Salvation<\/em> and <em>Iron Man 2<\/em>, which I hope to learn more about from his talk.<\/li>\n<\/ul>\n<h3>Color Enhancement and Rendering in Film and Game Production<\/h3>\n<p>The game side of the course has two speakers in common with the &#8220;physically-based shading&#8221; course:<\/p>\n<ul>\n<li><strong>Yoshiharu Gotanda<\/strong> will talk about his work on film and camera  emulation at <a href=\"http:\/\/www.tri-ace.co.jp\/en\/index.html\">tri-Ace<\/a>, which is  every bit as interesting as his physical shading work.<\/li>\n<\/ul>\n<ul>\n<li><strong>I&#8217;ll<\/strong> discuss my experiences introducing filmic color grading techniques at the <a href=\"http:\/\/www.activision.com\/index.html\">Activision<\/a> studios.<\/li>\n<\/ul>\n<p>And one additional speaker:<\/p>\n<ul>\n<li>While working at <a href=\"http:\/\/www.ea.com\/\">Electronic Arts<\/a>, <strong>Haarm-Pieter Duiker<\/strong> applied his experience from films such as the <em>Matrix<\/em> series and <em>Fantastic Four<\/em> to game development, pioneering the filmic tone-mapping technique recently made famous by <a href=\"http:\/\/filmicgames.com\/\">John Hable<\/a>. He then moved back into film production, working on <em>Speed Racer<\/em> and <em>2012<\/em> (for which he won a VES award). Haarm-Pieter also runs <a href=\"http:\/\/duikerresearch.com\/\">his own company<\/a> which makes tools for film color management.<\/li>\n<\/ul>\n<p>The theoretical background and film production side will be covered by a roster of speakers which (although I shouldn&#8217;t say this since I&#8217;m organizing the course) is nothing less than awe-inspiring:<\/p>\n<ul>\n<li><strong>Dominic Glynn<\/strong> is lead engineer of image mastering at <a href=\"http:\/\/www.pixar.com\/\">Pixar   Animation Studios<\/a>. He has worked on films including <em>Cars<\/em>, <em>The   Wild<\/em>, <em>Ratatouille<\/em>, <em>Up<\/em> and <em>Toy Story 3<\/em>.  Dominic  will talk about how color enhancement and rendering is done at   different stages of the Pixar rendering pipeline.<\/li>\n<\/ul>\n<ul>\n<li><strong>Joseph Goldstone<\/strong> (Lilliputian Pictures LLC) is a prominent  consulting color scientist; his film credits include <em>Terminator 2:  Judgment Day<\/em>, <em>Batman Returns<\/em>, <em> Apollo 13<\/em>, <em>The Fifth  Element<\/em>, <em>Titanic<\/em>, and <em>Star Wars: Episode II &#8211;  Attack of  the Clones<\/em>. He has contributed to industry standards  committees  such as the International Color Consortium (ICC) and the  Academy of  Motion Pictures Arts and Science&#8217;s Image Interchange  Framework.<\/li>\n<\/ul>\n<ul>\n<li><strong>Joshua Pines<\/strong> is vice president of color imaging R&amp;D at <a href=\"http:\/\/www.technicolor.com\/\">Technicolor<\/a>;  between his work at Technicolor, <a href=\"http:\/\/www.ilm.com\/\">ILM<\/a> and other production companies he  has over 50 films to his credit, including <em>Star Wars: Return of the  Jedi<\/em>, <em>The Abyss<\/em>, <em>Terminator 2: Judgment Day<\/em>, <em>Jurassic Park<\/em>, <em>Schindler&#8217;s  List<\/em>, <em>Forrest Gump<\/em>, <em>Twister<\/em>, <em>Mission: Impossible<\/em>, <em>Titanic<\/em>, <em>Saving  Private Ryan<\/em>, <em>The Mummy<\/em>, <em>Star Wars: The Phantom Menace<\/em>, <em>The Aviator<\/em>, and  many others. Joshua lead the development of ILM&#8217;s film scanning system and <a href=\"http:\/\/old.oscars.org\/scitech\/2006\/winners.html\">has a Technical Achievement Award<\/a> from the  <a href=\"http:\/\/www.oscars.org\/\">Motion Pictures Academy of Arts &amp; Sciences<\/a> for his work on film archiving.<\/li>\n<\/ul>\n<ul>\n<li><strong>Jeremy Selan<\/strong> is the color pipeline lead at <a href=\"http:\/\/www.imageworks.com\/\">Sony Pictures Imageworks<\/a>. He has worked on films including <em>Spider-Man 2<\/em> and <em>3<\/em>, <em>Monster House<\/em>, <em>Surf&#8217;s Up<\/em>, <em>Beowulf<\/em>, <em>Hancock<\/em>, and <em>Cloudy with a Chance of Meatballs<\/em>. Jeremy has contributed to industry standards committees such as the Digital Cinema Initiative (DCI), SMPTE, and the Academy of Motion Picture Art and Science&#8217;s Image Interchange Framework. At the course, Jeremy will unveil an exciting new initiative he has been working on at Imageworks.<\/li>\n<\/ul>\n<ul>\n<li>The creative aspects of color grading will be covered by <strong>Stefan Sonnenfeld<\/strong>, senior vice president at <a href=\"http:\/\/www.ascentmedia.com\/\">Ascent Media Group<\/a> as well as president, managing director, and co-founder of <a href=\"http:\/\/www.company3.com\/\">Company 3<\/a>. An industry-leading DI colorist, Stefan has worked on <span style=\"text-decoration: underline;\">almost one hundred <\/span>films including <em>Being John Malkovich<\/em>, the <em>Pirates of the Caribbean <\/em>series, <em>War of the Worlds<\/em>, <em>Mission: Impossible III<\/em>, <em>X-Men: The Last Stand<\/em>, <em>300<\/em>, <em>Dreamgirls<\/em>, <em>Transformers<\/em>, <em>Sweeney Todd<\/em>, <em>Cloverfield<\/em>, <em>The Hurt Locker<\/em>, <em>Body of Lies<\/em>, <em>The Taking of Pelham 1 2 3<\/em>, <em>Transformers: Revenge of the Fallen<\/em>, <em>Where the Wild Things Are<\/em>, <em>Alice in Wonderland<\/em>, <em>Prince of Persia: The Sands of Time<\/em>, and many others, as well as numerous high-profile television projects.<\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>Since my original post about the SIGGRAPH 2010 courses, some of the courses now have updated speaker lists (including mine &#8211; regardless of what Eric may think, I&#8217;m not about to risk Hyper-Cerebral Electrosis by speaking for three hours straight). I&#8217;ll give the notable updates here: Stylized Rendering in Games Covered games will include: Borderlands [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[48],"tags":[250,9,358],"class_list":["post-1428","post","type-post","status-publish","format-standard","hentry","category-reports","tag-courses","tag-siggraph","tag-siggraph-2010"],"_links":{"self":[{"href":"https:\/\/www.realtimerendering.com\/blog\/wp-json\/wp\/v2\/posts\/1428","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.realtimerendering.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.realtimerendering.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.realtimerendering.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.realtimerendering.com\/blog\/wp-json\/wp\/v2\/comments?post=1428"}],"version-history":[{"count":36,"href":"https:\/\/www.realtimerendering.com\/blog\/wp-json\/wp\/v2\/posts\/1428\/revisions"}],"predecessor-version":[{"id":1635,"href":"https:\/\/www.realtimerendering.com\/blog\/wp-json\/wp\/v2\/posts\/1428\/revisions\/1635"}],"wp:attachment":[{"href":"https:\/\/www.realtimerendering.com\/blog\/wp-json\/wp\/v2\/media?parent=1428"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.realtimerendering.com\/blog\/wp-json\/wp\/v2\/categories?post=1428"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.realtimerendering.com\/blog\/wp-json\/wp\/v2\/tags?post=1428"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}