Academy Sci-Tech Awards

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The Academy of Mo­tion Pic­ture Arts and Sciences has se­lected 18 sci­en­tific and tech­ni­cal award re­cip­i­ents (34 in­di­vid­u­als), as well as five or­ga­ni­za­tions, which will be hon­ored at the an­nual Sci­en­tific and Tech­ni­cal Awards Pre­sen­ta­tion, set for Feb. 11 at the Bev­erly Wil­shire Ho­tel. Tech­ni­cal Achieve­ment

Awards Thom­son Grass Val­ley for the de­sign and en­gi­neer­ing of the pi­o­neer­ing Viper FilmStream dig­i­tal cam­era sys­tem. Larry Gritz for the de­sign, im­ple­men­ta­tion and dis­sem­i­na­tion of Open Shad­ing Lan­guage. Carl Lud­wig, Eu­gene Trou­bet­zkoy and Mau­rice van Swaaij for the pi­o­neer­ing de­vel­op­ment of the CGI Stu­dio ren­derer at Blue Sky Studios. Brian Whited for the de­sign and de­vel­op­ment of the Me­an­der draw­ing sys­tem at Walt Dis­ney An­i­ma­tion Studios. Mark Rap­pa­port for the con­cept, de­sign and de­vel­op­ment; Scott Oshita for the mo­tion anal­y­sis and CAD de­sign; Jeff Cruts for the de­vel­op­ment of the faux-hair fin­ish tech­niques; and Todd Mi­nobe for the char­ac­ter ar­tic­u­la­tion and drive-train mech­a­nisms, of the Crea­ture Ef­fects An­i­ma­tronic Horse Pup­pet. Sci­en­tific And En­gi­neer­ing

Awards ARRI for the pi­o­neer­ing de­sign and en­gi­neer­ing of the Su­per 35 for­mat Alexa dig­i­tal cam­era sys­tem. RED Dig­i­tal Cin­ema for the pi­o­neer­ing de­sign and evo­lu­tion of the RED Epic dig­i­tal cin­ema cam­eras with up­grade­able Glenn San­ders and Howard Stark for the de­sign and en­gi­neer­ing of the Zax­com Dig­i­tal Wire­less Mi­cro­phone Sys­tem. David Thomas, Lawrence E. Fisher and David Bundy for the de­sign, de­vel­op­ment and en­gi­neer­ing of the Lec­troson­ics Dig­i­tal Hy­brid Wire­less Mi­cro­phone Sys­tem. Parag Haval­dar for the de­vel­op­ment of ex­pres­sion-based fa­cial per­for­mance-cap­ture tech­nol­ogy at Sony Pic­tures Image­works. Nicholas Apos­toloff and Geoff Wedig for the de­sign and de­vel­op­ment of an­i­ma­tion rig-based fa­cial per­for­mance-cap­ture sys­tems at ImageMovers Dig­i­tal and Dig­i­tal Do­main. Ki­ran Bhat, Michael Kop­er­was, Brian Cantwell and Paige Warner for the de­sign and de­vel­op­ment of the ILM fa­cial per­for­mance-cap­ture solv­ing sys­tem. full-frame im­age sen­sors. Sony for the de­vel­op­ment of the F65 CineAlta cam­era with its pi­o­neer­ing high-res­o­lu­tion imag­ing sen­sor, ex­cel­lent dy­namic range, and full 4K out­put. Panav­i­sion and Sony for the con­cep­tion and de­vel­op­ment of the ground­break­ing Ge­n­e­sis dig­i­tal mo­tion pic­ture cam­era. Mar­cos Fa­jardo for the cre­ative vi­sion and orig­i­nal im­ple­men­ta­tion of the Arnold Ren­derer, and to Chris Kulla, Alan King, Thi­ago Ize and Clif­ford Stein for their highly op­ti­mized ge­om­e­try en­gine and novel ray-trac­ing al­go­rithms which unify the ren­der­ing of curves, sur­faces, vol­u­met­rics and sub­sur­face scat­ter­ing as de­vel­oped at Sony Pic­tures Image­works and Solid An­gle SL. Vladimir Koy­la­zov for the orig­i­nal con­cept, de­sign and im­ple­men­ta­tion of V-Ray from Chaos Group. Luca Fas­cione, J.P. Lewis and Iain Matthews for the de­sign, en­gi­neer­ing, and de­vel­op­ment of the FACETS fa­cial per­for­mance cap­ture and solv­ing sys­tem at Weta Dig­i­tal. Steven Rosen­bluth, Joshua Bar­ratt, Robert Nolty and Archie Te for the en­gi­neer­ing and de­vel­op­ment of the Con­cept Over­drive mo­tion con­trol sys­tem. [

It’s a good time for the an­i­ma­tion, vis­ual ef­fects and re­lated in­dus­tries. Busi­ness is grow­ing, thanks to the world’s in­creas­ing de­mand for en­ter­tain­ment and in­for­ma­tion, and an­i­ma­tion’s unique abil­ity to en­lighten any sub­ject.

But with growth comes many chal­lenges: How can in­di­vid­u­als find the best jobs for them­selves and their tal­ents and in­ter­ests? Where can em­ploy­ers find peo­ple qual­i­fied and tal­ented enough to ex­e­cute their vi­sions?

These aren’t al­ways easy ques­tions to an­swer, but An­i­ma­tion Mag­a­zine is mak­ing it eas­ier with the de­but Feb. 13 of its new Ca­reer Cen­ter, to be found on­line at www.an­i­ma­tion­magazine.net.

The new Ca­reer Cen­ter is de­signed to meet em­ploy­ers’ re­cruit­ment needs, al­low­ing them to eas­ily post jobs, search ef­fec­tively for highly qual­i­fied and pro­fes­sional can­di­dates us­ing pre­screen filters, and only pay to see the re­sumes of job seek­ers in­ter­ested in the po­si­tion they are look­ing to fill.

Job seek­ers can sim­i­larly tar­get open­ings that fit their ex­pe­ri­ence and in­ter­ests. They also can post re­sumes anony­mously and cre-

flat and dead. So with this crea­ture you don’t want a face with eyes that have noth­ing be­hind them be­cause the au­di­ence will turn off and lose in­ter­est.”

The VFX su­per­vi­sor made sure that — even as the CG crea­tures fo­cused on a con­ver­sa­tion with another char­ac­ter — their eyes didn’t stay static. The eyes were made to have lit­tle dart­ing move­ments here and there since it makes it ap­pear that the crea­tures are think­ing and tak­ing in the whole scene when their eyes move in this way. It’s a more nat­u­ral way to bring these large, en­gag­ing be­ings to life.

“You try to make peo­ple for­get there’s a CG char­ac­ter there for a mo­ment,” says Aithadi. “They know it’s a CG char­ac­ter, but if you can switch off for a minute that they know that, then you can get peo­ple to en­joy the char­ac­ter for the char­ac­ter it­self. So, in my opin­ion, the eyes are the most im­por­tant thing and if you have good eyes, you have a way to make everything hap­pen for the au­di­ence.” Karen Idel­son is a free­lance en­ter­tain­ment and tech writer who lives in the South Bay. She’s pretty ex­cited for the next Blade Run­ner movie.

RealFlow has been used for fluid sim­u­la­tions for a long time now. And Next Limit con­tin­ues to push its bound­aries with new tools for con­trol­ling the sim­u­la­tions — tweak­ing things un­der the hood to make it faster and more sta­ble, and all the while mak­ing things more com­plex.

The big­gest ad­vance is beef­ing up the Dyverso mul­ti­physics solver, which has been op­ti­mized and takes ad­van­tage of both the GPU and the CPU in your work­sta­tion. In­tro­duced in RealFlow 2015, the solver is meant to take into con­sid­er­a­tion many dif­fer­ent kinds of ob­jects, re­quir­ing dif­fer­ent solvers, and get them to work to­gether. So even though RealFlow has had fluid and rigid-body solvers, and they have worked to­gether in the past, the Dyverso solver makes them faster, more ac­cu­rate and more solid.

But then you add the lat­est craze of gran­u­lar stuff — teeny tiny grains. Sand. Snow. Tiny ball bear­ings. Frozen’s dy­namic snow-clump­ing sim­u­la­tions come to mind, as does the hy­per-macro world of Pixar’s short, Piper, with its wet sand. And most re­cently, an Im­pe­rial AT-AT (or I guess, ATACT to be ac­cu­rate) in Rogue One step­ping onto the beaches of Scarif.

Yeah, gran­u­lar sim­u­la­tions are a thing. And Next Limit not only has im­ple­mented it, but be­cause it’s within the Dyverso uni­verse, it can in­ter­act with other ma­te­ri­als like wa­ter and rigid bod­ies.

But they haven’t ig­nored the Hy­brido solver, which makes the larger fluid sim­u­la­tions, such as boats plow­ing through waves or wa­ter crash­ing up on craggy rocks. Speed, sta­bil­ity and mem­ory man­age­ment have all im­proved.

Lu­cas Till plays a scene with Creech, who in­hab­its ve­hi­cles in Mon­ster Trucks.

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