11 (November)

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11 (November)

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T H E M A G A Z I N E F O R D I G I TA L C O N T E N T C R E AT I O N A N D P R O D U C T I O N
November 2006
Ice Pack
Artists tap around modeling
and animation issues to make
penguins dance
Movers and Shakers
Studios continue to
push motion-capture
technology forward
Watermark
A VFX crew navigates
rough seas for The Guardian
$4.95 USA
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$6.50 Canada
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Mail to [email protected] for any further request.
CW Previous Page Contents
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Zoom In Zoom Out Front Cover Search Issue Next Page EMaGS
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Karen
Moltenbrey
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Chief Editor
KAREN MOLTENBREY: Chief Editor
Following the Law
[email protected]
_______
36 East Nashua Road
Windham, NH 03087
(603) 432-7568
Change usually is a good thing, particularly in the computer graphics
CONTRIBUTING EDITORS:
industry. For the most part, “change” here means technological advance-
Courtney Howard, Jenny Donelan,
gm
editor’snote
ments. And, as this month’s issue of Computer Graphics World demonstrates,
Audrey Doyle, Evan Marc Hirsch,
George Maestri, Martin McEachern,
the CG arena continues to “change.”
Stephen Porter, Barbara Robertson
In 1965, Intel co-founder Gordon Moore made a prediction: the number of
nal statement entailed an 18-month, rather than 24-month, time frame). Known as Moore’s
Law, his observation has been the rallying cry in a technological revolution. Initially meant
[email protected]
__________
(818) 291-1113
CHRIS SALCIDO: Account Representative
ar
to be an observation and a forecast, his comment soon became an accepted timeline for the
KATH CUNNINGHAM: Production Director
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transistors on a chip will double every two years (though some sources contend his origi-
[email protected]
_________
(818) 291-1144
semiconductor manufacturers and the computer industry in general. The effect of Moore’s
m
Law on the computer graphics industry has been substantial. The reality of more processing power for less money has resulted in a visual evolution for all types of digital imagery.
COMPUTER GRAPHICS WORLD
Editorial Office:
620 West Elk Avenue
Glendale, CA 91204
While the computer industry may gauge the incremental changes of Moore’s Law using
te
(800) 280-6446, x1105
numbers and acronyms, in the graphics industry, the changes are visible. It was only a few
SALES
before-seen water effects for Warner Bros.’ summer blockbuster The Perfect Storm, for which
TIM MATTESON: Publisher/West Coast Sales
no
years ago when animators untapped the power of computer processors to generate never-
[email protected]
________
ILM crafted a raging digital ocean using a fluid-flow simulation. Soon thereafter, creating
(310) 836-4064
realistic digital water became a little easier to accomplish. For the remake of Warner Bros.’
LA Sales Office:
Poseidon earlier this year, ILM and director Wolfgang Petersen
ct
620 West Elk Avenue
not only made even bigger CG waves, but also increased the
Glendale, CA 91204
industry may gauge
realism of the physically accurate simulation. Just recently,
(800) 280-6446
ta
The computer
Flash Film Works devised a new method for creating digital
change by numbers
ocean storms that were the focal points in The Guardian (see
“High Seas,” pg. 30). This time, the team opted against a pro-
co
n
and acronyms, while
cedural method, which saved processing time and gave the
in the graphics
industry, the changes
are visual.
director more control over the water.
On the animation front, this year we’ve seen digital crea-
WILLIAM R. RITTWAGE
President and Chief Executive Officer
g,
tures (along with vehicles and structures) of all sizes and
shapes that can run, hop, skip, jump, and more. This month
Computer Graphics World Magazine is published
by Computer Graphics World, a
we will watch penguins dance in Happy Feet, an animated musical (see “Happy Feat,”
tin
pg. 12). To make photoreal penguins dance, however, was extremely difficult, foremost
because of the birds’ anatomy. But once the penguins were modeled and rigged, Animal
COP Communications company.
Computer Graphics World does not verify any claims or
other information appearing in any of the advertisements
contained in the publication, and cannot take any
responsibility for any losses or other damages incurred
Logic used state-of-the-art motion capture to give the birds their fancy footwork.
by readers in reliance on such content.
in
In fact, motion-capture technology as a whole has been evolving by leaps and bounds
Computer Graphics World cannot be held responsible for
of late. Two years ago, the general public was introduced to the terms “motion capture” and
pr
“performance capture,” thanks in large part to the publicity surrounding the digital magic
the safekeeping or return of unsolicited articles,
manuscripts, photographs, illustrations or other materials.
Address all subscription correspondence to: Computer
used in The Polar Express. This year, those terms again were used to describe the tech-
Graphics World, P.O. Box 3296, Northbrook, IL 60065-3296.
niques behind Monster House, Pirates of the Caribbean: Dead Man’s Chest, and Happy Feet.
within the United States. Non-qualified subscription rates:
As explained in “Big Moves” on pg. 18, mocap has evolved as a technology as well as a pro-
subscriptions —$75 for 1 year and $104 for 2 years;
an
Subscriptions are available free to qualified individuals
cess within a film’s production. Not long ago, animators dreamed of the day when motion
USA—$55 for 1 year, $90 for 2 years; Canadian
all other countries—$115 for 1 year and $160 for 2 years.
Digital subscriptions are available for $27 per year.
capture could be integrated into principal photography; now that dream is a reality.
Subscribers can also contact customer service by calling 847-
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Some evolutionary steps in computer graphics take longer than 18 months to occur,
while others require less time; the important thing is for the technology to continue
559-7310 or sending an email to [email protected].
_______ Change
of address can be made online at http://www.omeda.
com/cgw/ and click on customer service assistance.
moving forward. What technical innovation in computer graphics will be waiting for
Fo
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Postmaster: Send Address Changes to
Computer Graphics World, P.O. Box 3296,
us 18 months from now? I can only imagine.
Northbrook, IL 60065-3296
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NOVEMBER 2006
Computer Graphics World | 1
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Previous Page Contents Zoom In Zoom Out Front Cover Search Issue Next Page EMaGS
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November 2006 • Volume 29 • Number 11
I N N O VAT I O N S I N V I S U A L C O M P U T I N G F O R T H E G L O B A L D C C C O M M U N I T Y
Computer
Also see www.cgw.com for computer graphics news,
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special surveys and reports, and the online gallery.
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WORLD
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Fea t u re s
Cover story
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Departmen ts
Editor’s Note 1
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Following the Law
By Barbara Robertson
12
Progress in the semiconductor industry
is ruled by Moore’s Law, but in the
computer graphics industry, innovation
is often measured by what we see.
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Big Moves
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12
MODELING/ANIMATION | To give the
lovable penguins in Happy Feet their
fancy footwork required Animal Logic
to dance around some complicated
modeling issues before motion-captured
moves could be applied to the
character models.
18
MOTION CAPTURE | Ever since
animators discovered the benefits of
using mocap technology, they have
been pushing the state of the art
forward, and recently, studios and
VFX facilities have made quantum
leaps in integrating mocap into
their productions.
Spotlight 4
Products
ct
E frontier’s Poser 7
no
Happy Feat
Eyeon’s Fusion 5.1
ta
NextComputing’s
NextDimension line
Caligari’s TrueSpace 7.5
co
n
Artists re-create the traditional
flipbook effect for a television
commercial using 3D and 2D
line drawings.
Tools of the Trade 27
MOTION CAPTURE | On the
commercial side of the motion-capture
front, vendors are continually adding
innovative features and functionality
in their offerings.
By Karen Moltenbrey
27
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Viewpoint: Animation 8
Bridging the 2D and CG Gap
CG animation may be the current craze,
but can traditional animators exist in this
digital world? And, can the 3D artists
learn some valuable lessons from those
on the 2D side?
tin
High Seas 30
pr
in
FLUID SIMULATION | Devising a
surface-manipulation technique, Flash
Film Works brews some amazing
digital ocean storms for The Guardian.
Portfolio 38
Art Animation
Products 40
an
By Karen Moltenbrey
18
User Focus
On the cover:
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Penguins show they’ve got rhythm, as
well as lots of moves, as they groove in
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the CG musical Happy Feet. Pg. 12.
2 | Computer Graphics World
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NOVEMBER 2006
30
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_________________
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spotlight
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Your resource for products, user applications, news, and market research
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E frontier Announces Poser 7
E frontier is poised to release Poser 7, the company’s 3D figure
7 will have a combination of new content, features, and
design and animation software first introduced in 1995. The
improvements that modernizes its foundation. As a result,
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PRODUCTS
MODELING/ANIMATION
release of Poser 7 introduces two new realis-
both the Poser professional and the casual
tic 3D Poser figures, Sydney and Simon. Poser
ar
enthusiast will have more robust and power-
7 Special Edition, available for a limited period
ful 3D figure design and animation software
until mid-month, will feature exclusive content
m
available to them.
of high-fashion formal clothing for the new fig-
Poser 7 Special Edition for Windows and
ures, a complete casino scene with props, a
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Macintosh versions are available direct from
sports car, and many extras that are essential
E frontier’s online stores during the limited
for secret agents working a casino.
pre-order promotional period only. Upgrades
no
According to Uli Klumpp, director of product development at E frontier, this release is
7 (including Special Edition) will cost $129.99.
New users may order Poser 7 for $249.99.
ta
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the most significant Poser one to date. Poser
from previous versions of the software to Poser
co
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Eyeon Readies Fusion 5.1
Eyeon Software is set to unveil Fusion
which offers a plethora of updates. For
greatly speeding up the workflow. It
5.1, an upgrade to its Fusion 5.0 com-
instance, whereas Fusion 5.0 has the
will take into account transformation
positing software, which the company
option of importing MotionBuilder
applied to the connected object down-
rolled out a year ago. The upgrade is
FBX geometry, all the elements in a
stream from the initial location.
free of charge to Version 5.0 users.
scene were imported as a single object.
Fusion 5.1 also provides artists
SIGGRAPH 2006 attendees were
However, Fusion 5.1 adds the abil-
with two projection modes: a stand-
provided their first glimpse at 5.1,
ity to export separate objects, so the
alone projector tool and a projection
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PRODUCTS
COMPOSITING
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mode for cameras. A projected image
up the model can be
wraps around the geometry and can be
addressed individually,
used to apply textures to objects or to
making it easier for the
create pseudo-3D moves with perspec-
compositor to isolate
tive from 2D photographs—an essen-
elements and generate
tial technique for creating digital sets
passes. Enhancements
and environments. In addition, Fusion
were also made to the
5.1 adds a new per-pixel lighting path
locator
for OpenGL. Previously, Fusion used a
tool,
which
passes
scene
per-vertex model, which would gener-
data and provides a
ate chunky and inaccurate lighting in
new input on the flow,
OpenGL displays and renders.
now
| Computer Graphics World
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components that make
NOVEMBER 2006
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NextComputing, creator of the first
geometry engines, 16 pixel-shader pro-
The
FlexTop computer, has announced the
cessors, and a 512-bit ring bus memo-
allows users requiring the highest per-
availability of ATI’s FireGL V5200 and
ry controller, ATI FireGL V7200 is well
formance graphics to replace desktops
with a smaller form factor, as well as
briefcase-sized
FlexTop
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small,
FireGL V7200 graphics boards on its
suited to animators, engineers, and oth-
NextDimension portable graphics engi-
ers requiring high-performance 3D visu-
enables them to pack up the entire sys-
neering computer. The NextDimension
alization capabilities.
tem and bring their work anywhere they
Opteron processors with open-standards
nology is a mid-range graphics accelera-
architecture and advanced storage capa-
tor that provides two dual-link outputs,
bilities to optimize graphical rendering
full Shader Model 3.0 support, and a
when utilizing any PCI Express card.
scalable ultra-threaded architecture with
true 128-bit floating-point precision.
The NextDimension from NextCom-
erator for the most demanding worksta-
puting, with 64-bit support for multiple
tion users running OpenGL and DirectX-
operating systems and the power to run
based applications. Featuring full Shader
industry-leading OpenGL- and DirectX-
Pricing is determined by the system
configuration.
m
ar
Technology is a high-end graphics accel-
need to have access.
gm
ATI’s FireGL V5200 with Avivo Tech-
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incorporates single- or dual-core AMD
ATI’s FireGL V7200 with Avivo
compliant animation and digital cre-
threaded architecture with true 128-bit
ation applications, is a portable option
floating-point precision, eight parallel
for complex DCC and CAD applications.
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Model 3.0 support and a scalable ultra-
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3D MODELING/ANIMATION
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TrueSpace Offers Real-Time Collaborative Tools
Caligari has announced Version 7.5 of TrueSpace, reportedly
procedural- and physics-based clips to help easily create typi-
the industry’s first 3D software application to feature real-time
cally demanding realistic animations.
collaborative authoring technology.
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PRODUCTS
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NextDimension Supports FireGL V5200, V7200
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PRODUCTS
WORKSTATION
The new release, which will become available this quarter,
will boast several enhancements, including new character animation, modeling, rendering, and collaborative tools, as well as a
New modeling capabilities will include a new set of polygon
modeling tools in the Player, including a new Material Editor, UV
Editor, and a Draw panel with curves.
Version 7.5 will also include a redesigned PolyDraw, which
revamped,simplifiedUI.According
g,
can draw on SDS surfaces, advanced
snapping and constraints, shrink wrap,
only 3D authoring product on the
and unwrap. True displacement tools will
market to offer all aspects of real-
allow users to paint new geometry on the
time design, modeling, animation,
and rendering within a virtual 3D
existing surfaces using image brushes.
New
rendering
features
will
space shared by remote partici-
include much-anticipated hair and fur
in
tin
to Caligari, TrueSpace7.5 is the
shaders. Other new V-Ray features will
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pants over broadband Internet.
Version 7.5 will feature a new
include solid animation support, such as
character animation subsystem,
high-quality motion blur, depth of field,
post-processing, anisotropic reflections,
an
which takes advantage of the
true displacement mapping, and more.
new TrueSpace architecture and
the latest advances in animation research. The inverse kine-
One of the unique aspects of TrueSpace is a complete set of
collaborative tools, including private user-shared spaces and
styles to make character manipulation more natural, while
new integrated communications tools.
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matics is style-based, using empirical databases of motion
providing users access to every keyframable parameter. Users
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will also be able to blend traditional keyframed clips with new
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TrueSpace 7.5 will ship for $595. Free upgrade options will
be available.
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NOVEMBER 2006
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spotlight
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Bookworm
A recent television commercial for
Visa incorporates a unique digital
process to create what appears to be a
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USER FOCUS
ANIMATION
simplistic animation...and one with a
surprising twist.
The
spot,
called
“Worm/Re-
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cycling,” starts off quite unexpectedly, with white-line hand-drawn
images of a retro-style boom box
ar
and a worm popping out of a hole.
With the camera’s close framing, it’s
unclear where this scene is taking
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top and middle of the screen and the
For a unique TV commercial, CG artists re-created the traditional flipbook effect, albeit
using digital tools and techniques.
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place, though the lines through the
checkbook, which was filmed on set, and modeled it in
3D using Autodesk’s Maya 7. Then the group imported the
moves to the ’80s electronica that plays in the scene…until
2D line art, which was sketched and animated by Patrick
a stork arrives and ends the fun.
Smith of Blend Films. Next, the team projected the content
no
gray-weave background suggest something vaguely familiar. Soon the worm begins to do the “pop and lock” dance
onto the 3D-generated checkbook. Finally, the Brickyard
the scene is the product of a guy flipping through sketches
crew lit the new digital checkbook, tracked it into the live
ct
About the same time, the camera pulls out, revealing that
action using 2d3’s Boujou, and composited it with shadow
over tells us that with Visa’s online bill-paying method and
passes and contact surfaces using Adobe’s After Effects
ta
he has made on his unused checks, flipbook style. The voice-
and Autodesk’s Discreet Flame so that it blended seam-
check card, “You may never write a check again.”
“Everyone has doodled on a napkin or in the margins of
co
n
their address book, so we just took that concept a bit further
lessly into the scene. Finally, they used Pixar’s RenderMan
to render the 3D imagery.
by having a person multi-purposing the empty pages of his
According to Jay Lichtman, executive producer at
checkbook as a virtual sketch pad,” says Brickyard VFX’s
Brickyard, the goal from the very beginning was to achieve
Robert Sethi, co-lead on the project along with Yafei Wu.
photoreality throughout the spot. “Obviously the line animation is a leap of faith for the viewers,” he says. “But after
g,
To bring the effect to life, the artists referenced an actual
receiving the elements from the animator, our
3D artists treated it as a pen-on-paper effect
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and used it to texture the 3D checkbook pages,
and rendered elements for seamless integration
within the live-action plates.”
in
The initial challenge, notes Sethi, was tracking the live-action plate so the 3D checkbook
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would lock into the scene and look believable
in the actor’s hand. The other challenge, he
says, was to develop the flipping action of the
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checkbook pages at a pace that shows the flipbook effect of the animation without strobing
or losing valuable information.
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“It’s not often that your project involves a
To generate the effect, the group at Brickyard VFX first referenced and then
modeled a checkbook in Maya, and later imported 2D line art.
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NOVEMBER 2006
break-dancing worm,” says Sethi.
—Karen Moltenbrey
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By Angie Jones
and Jamie Oliff
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Bridging the 2D and CG Gap
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Animation
viewpoint
Animation has been through
its evolution into computer-generated feature films—think Steamboat Willie and its
some major changes during the
progression to The Incredibles.
It is important for an animator to recognize trends in fi lmmaking, storytelling,
past 10 years, and some of them
and technology in order to increase his or her chances of continued employment.
were there, but resistance to
Trends and history reveal how evolution of an art form occurs. Paying close attention
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blindsided artists. The signs
to the trends and growth of any field helps predict the future of that industry. Three
change, fear of the machine, and
major shifts are responsible for the progression from pencil to mouse in feature ani-
ists from seeing what was on the horizon.
mation: aesthetic, audience, and storytelling.
ar
the concept of denial prevented many art-
m
As in many other fields, the computer
Changes in Aesthetic Appeal
impact on our art form. Think of the car
The first shift in animation was fueled by the increased popularity of visual effects
te
has made what is known as a disruptive
movies in the 1990s. Visual effects-driven movies brought audiences to their feet
Angie Jones has
lular phone and the pay
with higher levels of entertainment and reality than ever before. Movies such as
over 12 years experience
in computer animation and
worked on a number of
productions, including
phone, computer-gener-
Independence Day, Twister, Titanic, and Men in Black were bringing hundreds of
ated animation and tra-
thousands of people into theaters to see these new visual effects. Remember, we are
ditional 2D animation.
not talking about story yet, but rather sheer aesthetic appeal.
ct
animation’s demise. The audience began to view CG features as visually richer and
computer has changed
more exciting based solely on the aesthetic they portrayed. Video games and music
been, until recently, a
videos also had a hand in shaping this new interest in CG eye candy, especially among
pen-and-paper medium.
young viewers. The richness of 3D and its ability to move the camera around in this
Every animated fea-
new world made traditional animation suddenly seem, quite literally, flat.
ture film from the early
1900s to the late 1980s
was a traditionally handdrawn or stop-motion
ta
an art form that had
co
n
is a classical animator with
over 25 years experience
whose work includes Mulan
and Hercules, and whose
CG work includes Kangaroo
Jack and National Treasure.
Together, they authored the
book Thinking Animation.
This change in the audience’s taste was just one of the contributors to traditional
The introduction of the
Broadening the Audience
The second factor involved broadening the audience for feature animation. Before
visual effects movies became popular, there was a great divide between content for a
g,
Stuart Little 2, Oddworld:
Abe’s Exodus, X2: X-Men
United, and National
Treasure. Jamie Oliff
no
and the horse, the cel-
animated film. The tools
used to make those films
did not significantly
for making
years.
animated
film animation has been
tin
The tools
change in almost 80
in
The art of classical
relatively
to raise the bar visu-
ally through storytelling since the first crude
attempts at putting mov-
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the same
early days. Artists and
the studios have strived
an
films stayed
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ever-evolving since its
ing images on the screen.
for 80 years.
We are talking about
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classical animation and
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kid’s movie and that for mainstream movies. In the 1990s, both parents and kids
went to see movies such as Titanic, Men in Black, and Jurassic Park. Here was
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content that appealed to audience members both young and old alike.
What made these effects-driven films more appealing was the computer’s ability to create photorealistic creatures and effects that wowed audiences
because of their unprecedented believability. In addition, these effects were
seamlessly integrated into the films, heightening the experience.
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Unappealing Storytelling
The third shift in the animation evolution resulted from what many see as traditional
animation’s changing approach in terms of story. The box-office returns in tradieffects-driven movies. In turn, traditional studios tried to broaden their audience
through more adult story themes, such as those in Pocahontas, The Prince of Egypt,
and The Quest for Camelot. Instead of writing stories that would appeal to the kid in all of
Three Major Shifts that Caused
the Animation Evolution:
• A changed aesthetic of the audience
by visual effects-driven movies.
• A broadening of the audience for CG
through visual effects-driven movies.
• Poor stories in traditional animated
feature films.
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us, the new screenwriters created stories for adults and hoped kids would like them, too.
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tional features began to suffer in direct proportion to the rising popularity of visual
In addition, traditional features felt that in order to be a success, they had to fol-
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low The Lion King formula and be epic in scope. Every studio tried to follow The Lion
King mold and make large-scale, epic musicals. Studios were chasing both visual
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effects dollars…and The Lion King box-office profits. As animation became a profitable business, stories were overworked by the myriad “creative executives” in their
efforts to create a blockbuster. In turn, the traditional movies made after The Lion
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King found a smaller audience. Suddenly it seemed that every animated fi lm had to
have a giant herd of animals racing down a slope.
With improvements in animation came demands for richer backgrounds, more
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complex camera moves, and an ever-increasing level of believability. This increasing
to open the door for future characterdriven movies, from Casper to The Lord
of the Rings franchise. These movies
combine animated characters with live
action in what is now one of the staples
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need for more impressive visuals also pushed the budgets of these pictures higher
and higher. Walt Disney paved the way for most animated features in the beginning
by always striving to find new ways to push the technology and artistry in order to
make a richer and more appealing animated film. With rising costs came the inevi-
of Hollywood blockbusters.
After the release and success of Who
Framed Roger Rabbit, the 1990s exploded
get the message to the screen. The huge success of visual effects-based films played
with a stream of hugely successful ani-
a big role in how traditional studios viewed what the audience wanted to see. Visual
mated films. This new period for tradi-
effects-driven movies had mass appeal for all ages.
tional animation brought the movies The
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table call to streamline production and establish more economical ways in which to
g,
As 2D animation went through a spell of weak stories and even weaker attempts
Little Mermaid (which made $84 million domestically), Beauty and the Beast
old formula of making great stories for kids, with a wink at adults. Now the same kid
($145 million domestically), Aladdin
who saw Men in Black looked at a film like Quest for Camelot in a completely differ-
($217 million domestically), and The
ent light, and didn’t like what he or she saw. Obviously, there will be failures in the
Lion King ($328 million domestically).
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at trying to get a piece of the VFX market, CG-animated movies continued with the
Studio executives got whiplash watching
rytelling. CG is not the silver bullet that will cover up a weak story line or make up
these numbers climb.
in
CG realm as studios seek to generate profits at the expense of good old-fashioned sto-
Visual effects-driven films also con-
for uninteresting characters. But it is a hot, new toy.
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tinued to generate more revenue at the
Roger Rabbit Pushes 2D and CG Forward
box office and create more realistic-looking animation. However, traditional animation still held the upper hand when it
an
Moving through the 1980s, visual effects gained momentum with E.T. the ExtraTerrestrial and the Star Wars trilogy. 2D animated movies fell into a slump until a
came to caricaturing reality at this time.
So, what has transpired to create the
and 2D characters convincingly, Roger Rabbit busted that envelope wide open.
current environment in which 3D reigns
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crazy rabbit came into the picture. Who Framed Roger Rabbit was the channel for 2D,
CG, and visual effects to push the envelope in animation. By combining live action
Roger Rabbit was a rarity for traditionally animated fi lms in the 1980s because it
supreme and traditional features have all
but vanished? And, will traditional ani-
mainstream hit in the US. Animators didn’t know it yet, but the rabbit was helping
mation make a comeback?
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was an original animated film that appealed to both children and adults, and was a
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industry had come full circle. The foundation of classical animation, created by the past
masters including Disney’s Nine Old Men, was beginning to have an impact on computer-
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Rise of the Digital Artist
We talk about the history of the medium
generated animation. Digital artists in the 1990s had to have a good knowledge of the traditional principles of animation as well as an understanding of the computer tools.
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to encourage artists to pay attention and
be aware of the trends and shifts in their
chosen field of work. This evolution
The introduction of more 2D animators in CG continued to push the boundaries of
from 2D to CG did not happen overnight,
what computer animation was capable of and what animators demanded of the tools.
but many 2D and CG artists (not to men-
Animation artists began to force programmers to develop tools that would enable
them to realize their visions. Everything moved to a higher level because traditional
changes that were coming.
animation stars began to enter CG. By now, the public and the industry had much
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tion studios) were unprepared for the
Reluctant at first to pick up the new
higher expectations. Understanding the basics and the fundamentals of the profes-
tools, many masters of hand-drawn ani-
sion is now equally as important as mastery of a specific software.
mation were understandably wary of
By 2001, the 2D boom was in the past, and the success of Shrek was central to
changing the face of animation. Shrek, Toy Story, and other CG films proved that edu-
decades, at which to become proficient.
cating oneself equally in the arts and in the computer sciences was the key to staying
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giving up a craft that took years, if not
At the same time, many CG artists
employed in the 1990s. This new perspective was devastating to many computer animators. CG animators who had spent years honing their skills on the computer and
the quality of their animation was con-
felt they were approaching their own version of The Lion King boom suddenly had
cerned. Many of these artists were not
doors shut in their face. Traditional animators were being hired in place of those who
even trained in animation. The term
had been animating on a computer for years.
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were expected to raise the bar as far as
Many animators whom we have spoken with say they would never want to go
as recently as 20 years ago. The phe-
back to traditional hand-drawn cartoons after discovering the advantages of CG; just
nomenal growth of the CG industry,
think of the power of the Undo button alone. There are a few, however, for which the
due in part to the massive increases in
computer holds little appeal. Unwilling or unable to make the transition, they have
no
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“digital artist” was almost non-existent
decided to stay with the art form that has provided them with a great deal of artis-
puter-based talent, contrasts markedly
tic satisfaction for many years. We truly hope there is room for both mediums, and
to the snail’s pace of growth in 2D from
use Spirited Away as a great example. It should be encouraging, in light of the over-
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technology and the rapid influx of com-
whelming popularity of CG, that a traditionally animated
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Visual Effects Boom at the Box Office
• The Star Wars first trilogy franchise made approximately $2 billion.
• The Batman franchise made more than $1 billion.
• The Jurassic Park franchise made almost $8 million.
• The Back to the Future franchise made almost $4 million.
• E.T. the Extra-Terrestrial made almost $4 million.
• The Terminator franchise made almost $3 million.
• The Superman franchise made approximately $3 million.
*In domestic sales
film with a fantastic story can win the Academy Award for
Best Animated Picture in the new millennium.
In 2003, Disney made the decision to abandon the handdrawn traditional approach for the new, popular CG medium.
Today, in light of the Disney/Pixar merger, rumors have begun
to surface of the reformation of a 2D unit at the House of Mouse.
Looking at the interesting turn of events in animation,
many questions come to mind. What makes for a smooth
transition? What has helped those who have made the
jump? How much of the 2D art form is applicable to the digital realm? What have we gained and lost in the rise of CG?
What is the impact of more 2D animators entering the CG industry? Without drawing
as a craft threshold, is there room for a new set of animation heroes in CG with a sig-
caught many off guard.
nature style like, say, Ward Kimball’s (of Disney’s Nine Old Men fame)? This is a rela-
in
the days of Steamboat Willie (1928) to
The Lion King (1994); this quick growth
In the late 1990s, CG tools became
tively new art in the broader sense of the word, and we are all learning as we go.
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easier for non-programmers to use. The
Angie Jones and Jamie Oliff came to computer-generated animation from very
20th century are particularly meaningful
different backgrounds. Oliff is a classically trained animator who had to make a major
because they represent the largest single
career shift after investing 25 years in the medium of traditional animation. Jones is an
change in the art of animation since its
animator trained in fine art and computers who, after 12 years in the industry, won-
an
years encompassing the last decade of the
dered if it would be necessary to start over and learn traditional animation to survive
ogy made a more radical impact on the
shifts in the industry. In the end, both found a way to coexist and learn from each other
way we animate. More selective hiring
in a medium that is ever-changing. And that is how their Thinking Animation book
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earliest days. Never before has a technol-
came to be. Thinking Animation (www.thinkinganimation.com) provides a connection
between 2D and CG, so we can learn from our past and build upon our future.
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criteria for digital artists began in these
years at visual effects and CG studios. The
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land and causing fish to disappear. When
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their toes and have no real shoulders.”
they banish Mumble, he waddles away
All that had to change, but without los-
and begins an epic journey through
ing the birds’ “penguin-ness.” Mumble
Antarctica to prove them wrong.
and his friends tap their heels on the ice
Animal Logic’s epic journey began four
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Character Modeling/Animation
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and have fake shoulders but no sternum
and a half years ago. At that time, around 60
plate. As for their legs, even though the
employees crafted commercials and visual
film features Emperor, Adélie, and
effects for such features as The Matrix, The
other penguin varieties, all are based
Lord of the Rings: The Fellowship of the Ring,
on the anatomy of a King penguin.
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....
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Moulin Rouge!, and the two Babe films. “The King penguin is more athletic,”
says Gray. “It gave us more free-
imately 500 people for Happy Feet and its
dom in terms of the leg length
and shinbone and thighbone
ongoing digital effects work.
Digital supervisor Brett Feeney led
Oh,
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At peak, the studio expanded to approx-
ratios. We wanted to avoid having the penguins look like peo-
ar
the Animal Logic teams that designed
ple with their pants around
for Happy Feet. “Obviously, the dancing
their ankles.”
m
those irresistible penguins!
the pipeline, the processes, and the tools
crowds of penguins were a challenge we
For creating the danc-
fle, toboggan, swim, fall, tumble, huddle
had to meet,” he says. “And the surfacing
ing penguins and their envi-
together, and waddle across the ice, the
of the penguins, wow. We never had to
ronment,
adults all dressed up in their jazzy tuxe-
do that many hairy, feathered creatures
used Autodesk’s Maya and
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They can’t help but charm as they shuf-
Animal
Logic
before. But of all the challenges, being
Softimage’s XSI for modeling,
able to get the environments looking real
XSI for rigging and animation,
do. Penguins can’t dance.
took the longest time.”
Maya for effects and light-
no
dos and the children as fuzzy as a stuffed
toy. But there’s one thing penguins can’t
ing, Pixar’s PR RenderMan
Penguin Anatomy 101
for rendering, and the stu-
Because Miller wanted Happy Feet to
Animal Logic, making digital penguins
be photoreal even though the penguins
RIB files from Maya into
dance became a four-year obsession. And
would burst into dance, Animal Logic
the RenderMan pipeline. In
dancing was but one tangle the studio had had to tiptoe around penguin anatomy.
to rumble through to create Warner Bros.’ “The director wanted to portray the charmusical-adventure-comedy Happy Feet.
acters in a natural state,” says Damien
addition, the motion-capture
Gray, supervising character technical
director. “We huddled them together like
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tion directed by Australian filmmaker
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The CG feature is the first anima-
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lem, but for the Sydney, Australia-based
animation and visual effects studio
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In the penguin world, this isn’t a prob-
you’d see in any documentary. We had to
of Eastwick and wrote and directed three
include a high level of realism and still
Mad Max films and Babe: Pig in the City.
cater to their dance behavior as well.”
tin
George Miller, who directed The Witches
dio’s own MayaMan to move
Ha
Although audiences seeing Happy Feet
ing-of-age story with an epic adventure.
might think it reminds them of the 2005
The star of the film, a fuzzy young pen-
documentary March of the Penguins, the
guin named Mumble (Elijah Wood), can’t
character team began its work years earlier.
crew used software and a system from
sing, which is a problem because penguins
For inspiration, they referenced the BBC
television series Life in the Freezer. They
Giant Studios.
choose their soul mates with a “heart
song.” What Mumble can do, though, is
also looked at various types of penguins
Penguin Moves
dance, and that he does, to hip-hop, salsa,
to find those most amenable to dancing.
To help animators perform a chorus of
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in
Happy Feet blends a song-and-dance com-
jazz, pop, rock—to any music he hears.
Mumble’s mother (Nicole Kidman)
“Penguins aren’t built in nature to dance
dancing penguins as well as Mumble’s
at all,” says Gray. “Their skeleton is quite
fancy steps, Animal Logic relied on motion
squatted. They have a small thigh-to-shin-
capture and, for the dancing crowds, the
bone ratio. They have a massive sternum
studio’s own system, called Horde. “We
blame poor little Mumble for disturbing
plate. They’re designed to form a torpedo
used Massive for some crowd shots, but
the natural order of Emperor Penguin
shape underwater. On land, they walk on
for the dancing, we thought it was easier
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is sympathetic, but not his father (Hugh
Jackman) or the village elders, who
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Images courtesy Warner Bros. Pictures.
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D igit al effe cts studio Animal L o g i c ch o re o g r a p h s a n e w p i p e l i n e
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t o creat e its first anima ted CG f e a t u re
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to build our own system than to divide the dance steps into tiny
the final mesh. Other rigs helped speed the animation process.
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bits and put them into brains,” says Feeney. Instead, they cap-
“We cobbled together components of various rigs into ‘Frankenrigs,’” says character supervisor, Aidan Sarsfield. “For facial ani-
the dance steps, which they multiplied onto half a million pen-
mation, we used a high-resolution face and low-res body. For
looked more natural than a simple offset,” he says.
At left, Mumble (Elijah Wood) steps out using mocap data topped with keyframe
animation. At right, dark shadows dramatize a shot with Lovelace (Robin Williams).
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guins. “We could mess with the timing enough so it
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tured as many as 15 dancers at a time and 45 individual takes of
crowd animation, we had the opposite, a Frankenfaceless, which
was a body rig without any face.” In addition, three variations of
tures, the dancers attended ornithologist Dr. Gary Miller’s “pen-
the motion-capture rig accommodated various file formats. Even
guin school.” Once onstage, however, Miller directed the action.
so, Sarsfield claims that motion transferred through all the various
what the penguins looked like while the humans were performing,” says Feeney. “The system was ahead of everything else at the
To give the penguins facial expressions, the riggers had to dance
a special jig. Penguin beaks don’t lend themselves to lip sync, and
their eyes are on the sides of their heads. Thus, rather than flapping
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time.” Thus, when a dancer bent forward, for example, the direc-
rigs ended up aligned, within pixels, in the final render.
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“The beauty of the Giant system was that George [Miller] could see
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The studio also captured dancers for the dramatic scenes and
some action shots. To learn basic penguin behavior and pos-
the beaks like clamshells, the animators tuned the corners of the
birds’ mouths using rotations and translations. “To make an ‘oooo’
ta
tor could determine whether the movement matched the penguin’s
natural behavior closely enough.
sound, the corners come forward in a circular formation on the
the data, the bits and pieces that Miller selected. “We’d take a bit
beak,” says Sarsfield. “For an ‘eeee,’ the corners travel back.”
For the eyes, the riggers worked with eye and brow shapes to
out of this take and that take, and blend them together in the same
overcome the perception that the eyes were looking in different
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It took 12 months to motion-capture all the designated scenes in
the film. During that time, Animal Logic used Softimage XSI to edit
way you would if you were editing sound or video on an Avid [sys-
directions. “Mumble probably has the most forward-facing eyes
tem],” says Feeney. The edited takes traveled to the layout depart-
because it was important for the audience to engage with him,” says
g,
ment for camera moves, then to editorial and on to motion edit
Gray. “We did a lot of work sculpting the brows to achieve the classic
for cleanup, before being handed to the animators. “Even though
Elijah Wood empathetic look. But the biggest things were eye darts.
we captured an astounding amount of data, the motion-edit group
We labored to create the high-frequency flicker that eyes tend to do.”
One of the trickiest parts of the rig, though, was the knee. “We
tin
only cleaned up the bits that were necessary,” he says.
Jazzy Rigs
had pivots for the knees, shins, ankles, and hips,” says Gray. “But
when it came to deformation, we often cheated the bulge of the
knee. We dropped it a bit lower than where the pivot point was.”
performances, and enhanced 85 percent of the motion-captured
The rig catered to both the motion derived from the joint and
in
Animators keyframed all the facial animation and some of the
the offset for the bulge. Because the skin wasn’t bound to the
knee, the knee could move further than the surface, and because
versions of their rig; Mumble easily had 50 different versions. We
the renderer didn’t render the bones, the result was a subtle skin
also rigged anything the characters interacted with or touched.”
deformation. That meant a penguin could do a high kick without
an
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data. In addition, they animated props, vehicles, and icebergs. “We
rigged 425 individual assets,” says Gray. “Some characters had 10
Each character started with a lightweight motion-capture rig
driven by the mocap performance. A second rig for animation
distorting the mesh so much it wasn’t believable, or an extreme
knee crunch that caused the bones to poke out of the surface.
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included controls for facial animation and for adjusting the motionFeathers and Fuzz
swimming and other action rigs. A deformation rig, which included
Although Mumble hadn’t yet molted into adulthood for most of
a muscle system that preserved the penguin’s round shape, created
the film, and the crew could fluff his surface with RenderMan
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captured performance. In addition, many of the characters had
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others. Photogrammetry was also useless because there’s not
the same system to do feathers and fluff, although the feathers had
much contrast range in ice. We even thought of dying bits of
geometry,” explains Feeney.
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RiCurves, a majority of the penguins are feathered birds. “We used
....
was quicker to have 10 or 12 artists set up the feathers so they
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ice with food coloring.” They ended up relying on the power of
That proprietary, rule-based system worked within Maya. “It
modelers who could shape the world as directed and on matte
painters who could extend it.
couldn’t collide with each other than to write a dynamics sys-
“When we started, we had the idea that we’d make nine or 10
tem and run simulations,” Feeney adds. “With the penguins, if
environments and we’d have the movie done,” says Feeney. “Instead,
the feathers intersected a bit, it didn’t matter.”
we had 12 different locations, and each could have up to 30 different stages.” Matte paintings projected onto 3D geometry with Maya
gm
Basically, the feathers followed this rule: The tip of a feather
that was anchored to the body had to be a particular distance
camera projection surrounded the modeled and surfaced areas.
off the body. So, when all the feathers followed the rule, none
A custom layering system for shaders, called Freezer, that
interpenetrated. For the angry, seagull-like skua birds, however,
Animal Logic built inside Maya helped the crew create the surfaces.
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the team added collision avoidance. “They had bigger, more vis- “Most of the artists knew Photoshop back to front, so we created a
system that let them layer their displacements and color textures as
ible feathers,” Feeney says.
In addition, for the “Amigos,” a group of the Adélie penguins
if they were painting a map in Photoshop,” notes Feeney.
To make the ice translucent, the technical team began look-
head feathers. Additional controls allowed the animators to
ing for subsurface scattering cheats. They ended up biting the
flare chest and tail feathers on all the birds.
bullet, as Feeney describes it, and working through the tech-
Baked Birds
with a reasonably unique system to do subsurface scattering
To make life easier for the animators, the surfacing crew, and the
with high detail on vast environments,” says Feeney. Once
lighters, Animal Logic created a special file format, a shape ani-
again, it was back to the oven for a solution: They ran subsur-
mation cache file format they named “bobject.”
face scattering on a few kilometers of terrain and baked it out.
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that Mumble meets on his journey, animators keyframed the
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“Chris Bone [head of R&D] and I came up with the idea
because he had done a project where he had baked out OBJ
one package to another, but it was unwieldy with many files.
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files per frame,” says Feeney. “It was a good way to go from
So, we made smaller, binary object [bobject] files. We’d
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niques in Henrik Jensen’s technical papers. “We did come up
select mesh parts and bake them out as bobjects.” Both Maya
and XSI could read and write the shape per frame format. So,
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for example, when animators finished a performance, it was
loaded onto the muscle rig and translated into a bobject. The
surfacing and lighting crew accessed only the frames they
needed from the bobject cache.
g,
With scenes packed with hundreds of feathered CG creatures, such streamlined processes became critical. “At the
end of the day, we had characters with three million indi-
tin
vidual feathers,” says Sarsfield. “So, for any given character, we’d get the performance and then bake out the ‘hair’
for that performance. We’d also strip out the animation con-
in
trols, fur animation controls, and guide hairs, anything that
A skua bird grabs Mumble’s fish over water created by deformers pushing
the surface up. Particle-based splashes and drips were separate elements.
would weigh it down.” Lighting TDs could work with as many as 40
of these stripped-down, render-only characters.
ber of machines and give each a piece,” Feeney says. When fin-
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Ice Pack
“If we had 100 machines, we’d divide the landscape by the numished, a custom stitching program put it all back together as a
giant texture map.
“We also baked in some ambient occlusion,” Feeney says. “It
world was a much larger challenge than surfacing the penguins.
made it a bit easier, although we couldn’t do that when something
“Once we established the look of the penguins, we dedicated
moved—when there was a landslide, for example.” The lighting
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The feathers presented a prickly problem, but surfacing the
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ourselves to the environments,” says Feeney.
department then added key lights and so forth to the baked sur-
At first, they thought they might scan glaciers to create land-
face with the subsurface scattering and ambient occlusion.
Lighting supervisor Ben Gunsberger estimates that the lighters used between 20 and 30 base lighting setups. Every scene and
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scapes. “We took a Lidar scanner to the South Island of New
Zealand,” he says. “It worked in some cases but was useless in
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shot was lit individually and often included
a story arc. For example, a scene in which
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Mumble comes back to the community
starts off upbeat and sunny. But when the
situation turns sour, clouds move in and
the sky darkens. Clouds, it turns out, were
useful in many ways.
The first fully rendered icy envi-
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ronments with fully surfaced characters slid out of the rendering pipeline in
March 2004—a scene in which a remedial teacher is training Mumble how to
Rory McGuinness, who had filmed in the
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sing. “We were all quietly unhappy with
it,” Feeney recalls. Cinematographer
Modelers working in Maya shaped the icy landscape, surface artists textured it with a custom
shader-layering system, and matte painters extended it using projections on 3D geometry.
faces, eyes, mouths, beaks, tongues, and so forth—the lighters
looked at it and said, ‘It’s the blacks. You have nothing dark in
could preserve and enhance the animators’ performances.
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Antarctic, helped them see what was wrong. Feeney says, “He
Thus, the crew began to look for ways to add such elements
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the scenes other than the penguins.’”
Back in the Huddle
Toward the end of production, the studio decided to outsource
ground, so we used moving cloud shadows to provide contrast
four action sequences to Giant Killer Robots and Rhythm &
and interest in the shots,” says Gunsberger. To create the clouds,
Hues. “George [Miller] picked the scenes with lots of motion
blur and particles spraying ice and water so that if they weren’t
no
the studio used photographs taken in Tasmania and Fiji of 360-
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as clouds. “We couldn’t play with shape and contrast on a flat
reproduced exactly, it wouldn’t show,” says Feeney. “But the
degree panoramas blended, painted, and color-graded.
“We had a small team that prepared the sky elements using
scenes look great.” Rhythm & Hues handled a scene in which
Orca whales chase penguins, and another in which Mumble
ct
a method similar to that used by matte painters, except they
chases a boat. Giant Killer Robots handled a bobsled run and a
Gunsberger began working on the film in 2003, he had a core
scene in which Mumble sees signs of “aliens.”
ta
were working with moving elements,” says Gunsberger. When
The film was a huge undertaking for what had been a small
topped 70. Lighters at Animal Logic composited the shots they lit;
digital effects studio, but like the penguins, Animal Logic stead-
the studio output each light and every component separately.
fastly handled the journey, step by step. “We just took it day by
co
n
team of five artists and TDs. By the end of the film, his crew
day,” says Gray. “Toward the end, we could turn things around
bodies,” says Gunsberger. “We worked hard to get expressions,
in a couple hours that would have taken days at the beginning;
particularly in some of the black-faced characters. If we had too
we could make large changes and propagate them through the
much diffuse light, the black faces looked dull and gray. By con-
entire pipeline efficiently.”
g,
“The penguins’ faces and heads are small in proportion to their
trolling each part of the character with separate mattes—the
Feeney is especially proud of the work the team did on the pipeline. “This was a new toy for George [Miller],”
tin
he says. “And many people had never worked
on a CG feature before. We knew there would
be changes. Yoga classes couldn’t make you as
in
flexible as our pipe at the moment.”
One of those new to CG features was
pr
Sarsfield, who had worked on The Matrix films
and Moulin Rouge!. “If I’d known what I was
getting into three years ago, I would have been
an
very scared,” he says. “Now that we’ve done it,
I’d do it again in a heartbeat.”
rc
le
Barbara Robertson is an award-winning writer
and a contributing editor for Computer
Fo
Mumble, Lovelace, and the Amigos meet the elephant seals under a cloudy sky created
from a blend of painted and color-graded photographs.
CW
NOVEMBER 2006
Graphics World. She can be reached at
[email protected].
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Motion Capture
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V i sual eff ects a nd motioncapt ure st u dios pus h the
s tat e of t he a rt for moc a p
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te c hnology an d te chnique s
That Holy Grail is
filmmakers and game developers is easy
tantalizingly close. For
tin
The ideal motion-capture system for
such
and accurate.
as The Polar Express and
in
to describe. It’s invisible, interactive,
animated
films
Monster House, Imageworks’ in-house
performer, face, and body, on set without
ImageMotion system worked with Vicon
pr
“A Holy Grail is to be able to capture a
cameras to capture audio, face, and body
out an additional setup,” says Debbie Denise,
performances from multiple actors, but on
executive vice president of production infra-
a carefully calibrated stage. For the live-
an
infringing on principal photography, with-
action film Pirates of the Caribbean: Dead
Man’s Chest, Industrial Light & Magic
employ the best actors they can; they don’t
moved motion capture outside the box and
want to have to worry about who is playing
A low-cost motion-capture system from
PhaseSpace uses active LEDs, which help
identify each marker more precisely.
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structure and executive producer at Sony
Pictures Imageworks. “Directors want to
that character. And, they don’t want to be
Fo
encumbered by the needs of visual effects.”
CW
NOVEMBER 2006
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CyberGlove® II Wireless Data Glove
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The standard for high-performance hand motion capture
gm
WATCH THE VIDEO
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See CyberGlove II in action at
www.immersion.com/ms/cyberglove2.php
or contact us for complete information.
g,
Captures
hand and finger movements in motion capture, animation,
C
simulation/training,
virtual reality, digital prototyping, and
s
biomechanics
applications
b
tin
• Freedom to move – Up to a 30 ft. wire-free range from the PC via Class 1 Bluetooth technology
• Flexible and comfortable – Extremely thin sensors and lightweight elastic glove
• VirtualHand® software compatible – Complete SDK and plug-ins available for many
in
applications
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• High accuracy and high resolution – Up to 22 high-accuracy joint angle measurements
at 0.5 degree resolution for:
- Up to 15 flexion sensors
- 4 abduction sensors
- 1 palm-arch sensor
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Immersion Corporation 801 Fox Lane, San Jose, CA 95131 USA
T: +1 408.467.1900 | F: +1 408.467.1901 | Email: [email protected]
__________________ | www.immersion.com/3d
Fo
© 2006 Immersion Corporation. All rights reserved. Immersion, the Immersion logo, CyberGlove, and VirtualHand are trademarks of Immersion Corporation in the United States and other countries.
The Bluetooth word mark and logos are owned by the Bluetooth SIG, Inc. and any use of such marks by Immersion is under license.
CW
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Images ©2006 Sony Pictures Imageworks.
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Monster House director Gil Kenan could guide the performance of actors playing
gm
into principal photography on location (see “Yo Ho Ho!,” CG characters (at right) by using Imageworks’ performance-capture system,
July 2006, pg. 16). That studio’s I-Mocap system uses off- which acquires face, body, and audio information (at left).
the-shelf video cameras to capture multiple actors anywhere, in any conditions, albeit only body motion, not faces.
“They’re all different ways of looking at the same problem.”
Indeed, even real-time motion capture itself isn’t new. ILM
other ways, as well. “We have two main goals,” says Matt Madden,
used a real-time system for the 2001 film The Mummy Returns.
t@
Studios are advancing the state of the motion-capture art in
During postproduction, ILM applied motion data captured from
Arnold Vosloo in real time to a CG creature in matchmoved
ar
director of R&D at motion-capture facility Giant Studios. “One is
to shoot in any condition quickly, without interrupting the flow of
plates shot earlier, all of which helped the director frame a
tricky shot. Now, thanks to fast hardware, HD cameras, and
and King Kong, and did on-location mocap for The Chronicles of
efficient software, motion capture is becoming part of prepro-
Narnia: The Lion, the Witch and the Wardrobe.
m
principal photography. The other is interactivity.” Giant handled
motion capture for Weta Digital on The Lord of the Rings trilogy
te
duction and production, rather than only postproduction. And,
Traditionally, studios have used motion-captured data to help
it’s even helping speed postproduction.
animators perform CG creatures that resemble humans or animals,
doubles. For the most part, data acquisition happened on motioncapture stages during postproduction, with dancers, stunt peo-
For example, Vicon’s mocap service studio, House of Moves,
recently brought a small MX motion-capture system onto a set
and incorporated the film camera for principal photography into
ct
ple, and, occasionally, animals acting the part of digital doubles
Moving On Up
no
for motion cycles used in crowd simulations, and to create digital
the motion-capture process. The goal was to apply an actor’s
motion in a close-up shot to a photorealistic CG human that didn’t
These days, that’s only part of the story.
ta
or CG characters. Sometimes the director would be involved in the
motion-capture sessions, but usually not.
match the actor’s face.
On set, the House of Moves team captured the head and
on how studios are integrating “motion capture” into the film-
torso of a live principal actor and also tracked them in 3D. “The
making process and vice versa. In visual effects studios and
tracking markers were positioned differently on each shot so
co
n
Some of the biggest innovations in data acquisition center
they weren’t evident in the film camera,” says Gary Roberts,
tracking, matchmoving, and virtual sets. “It’s all about figuring
vice president of production for Vicon’s House of Moves, “but
out how things are moving in 3D,” says Seth Rosenthal, CEO of
our cameras could see them.”
g,
service bureaus, motion capture is now a synthesis of camera
Tweak Films and former head of the motion-capture unit at ILM.
survey was in the same coordinate space, the mocap data lined
up with the survey and the tracked camera. “We could lock the
mocap data to the principal film camera,” Roberts says. “It sounds
in
Image ©2005 Disney Enterprises, Inc. and Walden Media, LLC.
tin
ter company, 2d3. Because the mocap team made certain the 3D
simple, but it saves a huge amount of time otherwise spent track-
pr
ing the head and the camera in post. That’s got everyone excited.”
Facial capture for that project, which can’t yet be unveiled, happened later at House of Moves with two systems capturing data
an
simultaneously: Vicon’s MX optical mocap system and Mova’s
new Contour, an image processing-based capture system; the two
systems were genlocked together. “So for every take, we acquired
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motion from our system, motion from Contour, and motion from
Fo
Giant Studios’ mocap helped VFX studios replace human legs with
animal legs for such creatures as the faun Mr. Tumnus (James
McAvoy) in Narnia. For the big battle, Giant moved mocap outside.
CW
To set up the shot, House of Moves first tracked the camera
in footage provided by its client, using Boujou from Vicon’s sis-
NOVEMBER 2006
the reference cameras,” Roberts says.
At Giant Studios, a motion-capture project for a film that combines CG characters and live action is also pushing the state of the art.
w w w. c gw. c om
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Motion Capture
“All of that is available now to be
time,” says Madden. “Characters, the
manipulated interactively,” says
environment, the camera, everything
Madden. “It demands more work
m
“Everything has to be available in real
ai
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....
A
has to be presented at a high level—not
up front to set up the characters
just the data capture, but the real-time
and scenes properly, but it pays
graphic performance, as well.”
off on the back end.”
To help make that possible, the
Similarly, at House of Moves,
production company’s art department
a game client created a cinematic
optimized scenes for real-time dis-
gm
using real-time motion capture
play. In real time, the captured per-
with camera tracking. “It’s the
formances streamed to Autodesk’s
first time I’ve seen a game client
MotionBuilder and powered CG char-
hire an independent director to
acters that performed in environments
t@
help direct cinematics,” says Jon
which were textured and lit to approx-
Darmush, Vicon general manager.
imate the final render. “Here’s the dif-
For the cinematic, House of Moves
ference it makes,” Madden explains.
ar
created the fuselage of an aircraft
“Say you’re shooting on a set with
built to within 1mm of the actual
props, a crew, and reference cameras.
m
aircraft. The CG version needed
You have a huge vehicle that a person
te
has to jump off and then grab a rope.
The rope may be attached to something that’s flying. You can see all that
no
At top shows a motion-capture session with real-time
in real time. You can put a character
previews using Vicon’s MX40+ system. At bottom shows an
on a vehicle, make the vehicle move,
actor prepped for a performance-capture session.
and put the camera anywhere you
want. And, you can see different scales simultaneously.”
to line up perfectly with the prop
so that CG characters driven by
data captured from actors would
interact with the environment
even though they had different
proportions.
“Everything lined up perfectly—
ct
the actors interacted with the environment and the CG characters
interacted in the CG world,” says Darmush. The director rehearsed
the shot and used the real-time 3D as previz. When he finished
ta
For example, if two six-foot humans were performing a 50foot character and a three-foot character, the system could capture both simultaneously yet display them as different-sized CG
directing the motion capture, he played it back on set in 3D side by
characters. “We scale up the space,” Madden says. “It would be
side with video from reference cameras and audio, changing cam-
era angles and framing in the 3D version to be certain he had cap-
the bones wouldn’t match.”
tured what he wanted.
co
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impractical to drive the movement in different scales because
And, for a film project at House of Moves, the director, the
director of photography, and an editor all took part in the
g,
This means the director can make changes on the fly—
move a prop or alter the set, change the lighting, and so forth.
six actors being motion-captured,” says Darmush. “He
could get immediate playback with a rough capture to
tin
choose camera angles, or we could quickly process the
data through our farm. The editor was on-site, and we
were streaming real-time CG into an Avid system. Then
pr
formance, in his camera. He replayed the performance
and concentrated on the camera move.”
an
Real-time Animation
In addition to using motion-capture systems for previsualization and for directing the action during principal photography on live-action films, live-action direc-
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Images courtnesy Vicon and House of Moves.
in
the director went back onto the motion-capture stage
with a camera that had the master shot, the 3D per-
Fo
On-set previsualization with a Vicon system at House of Moves enables the
director and DP to interface with actors, preview their performance in a CG
environment, and direct the CG sequence in real time.
CW
motion-capture session. “The director was out with the
NOVEMBER 2006
tors with no experience in animation are using real-time
systems to create animated films.
One of the most extensive uses of a real-time system
w
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Motion Capture
Foodfight!, in which grocery store products run amok, is being
animators perform penguins in the animated feature Happy Feet
acted out on stage. CG characters perform in real time as director
m
was by Animal Logic. That studio used Giant’s system to help
Lawrence Kasanoff runs the actors through their motions. “Larry
dancers performed on the motion-capture stage, director Gary
[Kasanoff] is actually animating on the stage,” says Darmush.
Miller could see their movements transferred onto the penguin
“He’s directing the characters, not the actors.”
ai
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(see “Happy Feat,” pg. 12) by motion-capturing dancers. As the
stars of the film. “Others have used real time for a few minutes
But real time isn’t for every director. One of the first directors to use motion capture for an animated feature was Robert
Zemeckis, who directed Warner Bros.’ The Polar Express and pro-
production,” notes Madden. “This is the year when real time is
duced Sony Pictures’ animated feature Monster House. Now, he’s
starting to proliferate out to the bigger projects.”
directing the third performance-capture film, Beowulf, using the
gm
of effects work or selected shots, but Happy Feet was groundbreaking in that it was the first to leverage real time throughout
third generation of Imageworks’ ImageMotion system. With this
te
m
Images courtesy Warner Bros. Pictures.
ar
t@
Indeed, at House of Moves, Threshold’s animated feature
....
Fo
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Live-action director George Miller used motion capture throughout
production for Happy Feet, an animated feature. He could see the
dancers’ (at left) movements applied to CG penguins (above) in real time.
CW
_________________________
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NOVEMBER 2006
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Motion Capture
that problem for Beowulf, a process known as electroculography,
which is primarily used by ophthalmologists, will capture the
ple working in a 25-by-25-foot stage. Imageworks doesn’t feed the
movement of the actors’ eyes and eyelids with electrodes, or sen-
data to CG characters in real time, though. Instead, the studio
sors, placed around their eyes.
ai
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system, Imageworks now simultaneously captures the facial
expressions, dialog, and body motion of between 12 and 15 peo-
applies the data for selected takes to the CG characters later, and
Also moving facial capture forward is Mova’s new Contour
Zemeckis films the performing CG characters using real cameras
system, which caused a stir at SIGGRAPH this year. The system
that drive virtual cameras.
uses 1.3-megapixel cameras to capture movement by following
“Some directors want to set up camera angles in the motion-
and evaluating patterns in special phosphor makeup applied to
capture shoot and want data applied to characters in real time,”
the performer. Kino Flo fluorescent lights aimed at the subject
says Denise. “Not Bob [Zemeckis]. It’s all about the perfor-
flash between 90 and 120 times per second; when they don’t flash,
mance for him.” Even so, Imageworks is working with Vicon to
the phosphorescent makeup glows, and digital cameras capture
develop real-time capability with their marker set.
gm
....
A
the random patterns, which, when correlated, produce a moving,
t@
high-resolution 3D model. At the same time, texture cameras capFace of the Future
ture videos of the lighted surfaces for texture maps. The system is
Anyone who has tried to create a digital human will tell you how
particularly appropriate for capturing soft tissue—such as faces.
To make the dense 3D mesh useful in animation, Mova can
tion to moving motion capture outside, fitting it into principal pho-
track surface vertices. The 3D mesh happens automatically, but
tography, and making it interactive, many studios are concentrat-
the tracking doesn’t. “The clients specify where they want the
ing on improving facial capture. In fact, one criticism of The Polar
points tracked, and we run the tracking,” says Mova founder
Express was the lack of expression in the characters’ eyes. To solve
Steve Perlman. “We can turn around the data in a week.” In addi-
te
m
ar
difficult it is to avoid making creepy CG characters. Thus, in addi-
tion to high resolution—Perlman claims they
can track more than 1100 points, far more than
ta
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no
Mova uses black light to
show patterns in the
phosphorescent makeup
used for Contour mocap.
In practice, digital cameras
capture grayscale patterns
from which Contour derives
facial motion. In visible Kino
Flo fluorescent light, the
makeup looks flesh-toned.
ing. Imageworks has developed its own system to retarget facial animation, as did Weta to
retarget Andy Serkis’ expressions onto Kong’s
co
n
face in the 2006 Oscar-winning film for visual
effects. Softimage and Mova expect Face Robot
to provide that solution for Contour. “Face
Robot will have direct import capability for
g,
Contour,” says Perlman, “not only for tracked
points, but also for the surface geometry.”
State-of-the-art in-house systems at many
tin
visual effects facilities also target facial capture.
ILM is not ready to reveal details of that studio’s
new facial capture system, but two other studios, Double Negative and Pendulum, are.
in
pr
mixture of motion-capture data and keyfram-
Double Negative has been developing its
facial animation system for five years and working with Image Metrics for the past two years.
“Our system is basically an image-processing system that tracks the
an
shapes of the eyes and mouths and a few key points,” says visual
effects supervisor Paul Franklin. “It’s a collaboration between us
and Image Metrics. They came out of the computer vision community, so rather than tracking targets, their system is about giving
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The trick is getting the data into a form
that’s helpful to animators so they can use a
the computer an understanding of what it’s seeing.”
The system can work with one camera if the actor looks in
only one direction; otherwise, more cameras provide more flex-
CW
possible using reflective dots—animators can
ask for changes in the tracking points later.
NOVEMBER 2006
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Motion Capture
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ibility. “We recently did a shoot with six Sony HD cameras for a
project we’re working on to capture a performer moving around
ai
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in an unrestricted fashion,” says Franklin.
The Image Metrics side of the system analyzes the captured
shapes and compares them to measurements of facial movement
on more than 200 people, according to Franklin. Then, it extrapolates the muscle groups that created the shapes in the actors’ eyes
and mouth. The process works on the principle that any time you
gm
contract a face muscle, it affects the eyes and mouth. “You can’t
contract only one muscle,” says Franklin.
Thus, Double Negative receives animation curves for 28
groups of contractions. “We fit that data to our model,” says Frank-
t@
lin. “One of the neat things is that we can map it onto characters
that look very different from the actor or onto digi-doubles.”
The motion-capture crew at Double Negative relates that data
ar
to a facial animation rig that is informed by the system of facial
expressions known as FACS. “As a result, we get detailed facial
ct
or Vicon; to capture only head movements, they use photogram-
te
To get full-body capture, Double Negative runs the facial system with infrared cameras and systems from Motion Analysis
The visual effects studio Pendulum, which specializes in commercials,
music videos, and game cinematics, developed a marker-based facial
animation system called Stretch Mark that can retarget data from an
actor being motion-captured, and place it onto a CG character in real
time, as they did to create a digital Marc Antony.
no
tors normally use to do keyframing,” he says. “They can leave it as
m
capture that plugs straight into the animation rig that our animais, modify it, or create a new performance on top.”
....
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CW
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NOVEMBER 2006
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Motion Capture
McCormick adds, “Our original objective was to be able to re-
has captured performers only on a sound stage, but there’s noth-
create a digital actor. The speed we can apply data has opened up
ing to stop the studio from using it outside as long as the light-
new areas. The biggest investment is in creating the model and
ing conditions are fairly even.
blendshapes. Once that’s done, we can go from the motion-cap-
For its part, Pendulum has taken a route that more closely
m
metry tools through a camera-tracking process. So far, Franklin
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....
A
ture stage to having data for animators within a couple of hours.”
resembles Imageworks’ solution to capture useful facial expresFast Track
sions. The trick is that its system is very fast.
But while these studios are pushing the high end and moving
were founding members of Giant Studios, Pendulum’s primary
toward computer vision-based solutions that take advantage
focus is in commercials, music videos, and game cinematics.
of HD cameras, one technology company has taken a differ-
gm
Co-founded by Robert Taylor and Michael McCormick, who
ent track. PhaseSpace has created a fast, high-resolution, inex-
House of Moves, with which they have built a pipeline relation-
pensive motion-capture system that uses active markers. Each
ship. Then they move that data into their own software, Stretch
marker has a unique ID, which makes finding x and y coordi-
Mark. In Stretch Mark, animators use between 12 and 15 “han-
nates quick and accurate. And, occlusion isn’t a problem.
t@
They start with 95 markers to capture data from a performer at
Digital Domain animator Dan Taylor used the PhaseSpace
dles” to drive the motion-captured data.
system to create a test for a high-profile feature on which the stu-
ar
“Stretch Mark doesn’t try to reproduce where the dot was on
dio is bidding. “The thing I like about the system is that it’s priced
position. Because we’re using blendshapes, not muscles or points,
right,” he says. Taylor notes that for most studios, building an in-
our CG head can be cartoony. We’re sampling differences, not
house motion-capture facility is not an option. “Most systems can
m
the actor’s face,” Taylor says. “It tries to reproduce its relative
put the sticks onto the points,” he says, referring to transferring
and turn the multiplier up and down almost in real time.”
motion-captured data to an animation skeleton. “But motion cap-
te
shapes. We can even give the system an exaggeration multiplier
ture is a craft. Motion-capture studios like Giant have the people
cal explanation: “It’s a solver that determines coefficients for
and software to clean up data. They also have expertise in off-
no
Michael Hutchinson, the lead developer, gives the techni-
sets for targeting motion to characters that don’t match
morph targets. The power is that it isn’t based
human proportions. But, we could use PhaseSpace for
on anatomy, only what you give it.”
Each system has its advantages. ILM’s image-based
approach removes any restrictions on the director during principal photography, allows the director to work
with performers being motion-captured alongside liveaction actors, and works with standard high-def video
cameras, but it requires a lot of handwork after the capture to derive data that animators can use. Imageworks’
studio is pushing toward on-set motion capture.
Meanwhile, House of Moves has begun integrating Boujou’s tracking software and Peak Performance’s
in
digital video-based capture software to move toward
real-time, through-the-lens, high-quality data capture.
pr
Similarly, Giant is pushing its on-set motion-capture
technology and moving toward a facial system that
works in what Madden calls an “interactive paradigm.”
an
So, with all this in mind, is it possible to predict
what’s in store for the future? The answer is simple:
rc
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Fo
CW
dollar, it’s worth it.”
system is not yet real time and doesn’t travel; however,
Clockwise from top, left: Industrial Light & Magic’s I-Mocap system, first used
for Pirates of the Caribbean: Dead Man’s Chest, allowed the studio to capture
motion from actors on location during principal photography. That data was
applied to CG models created from cyberscans of the actors and then to highly
detailed models that were rendered to create the final image.
pickup shots in production. Or for hands. Dollar for
the system captures the entire performance, and the
tin
Images ©2006 Disney Enterprises, Inc. and Jerry Bruckheimer, Inc. Courtesy ILM.
g,
co
n
ta
ct
rehearsing, so we don’t burn dollars at Giant. And for
NOVEMBER 2006
“Better results with less input,” says Rosenthal.
Barbara Robertson is an award-winning writer and a contributing editor for Computer Graphics World. She can
be reached at _______________
[email protected].
w
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Motion Capture
....
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m
Tools of the Trade
A number of studios recently have broken new ground in terms of motion capture, as detailed in
C om m ercial moc a p
the feature “Big Moves” on pg. 18. In those instances, studios are advancing the state of the art
off er ings tra ck
in motion capture through R&D involving the use of both proprietary and commercial solutions.
Sometimes, though, a film studio, game developer, medical team, or industrial design group sim-
gm
movem ent s for a
ply is looking to get a job done—acquire accurate movements and apply the data to digital models,
whether it’s a human, a prop, an animal, a creature, or something that’s difficult to categorize. To
r ange of applications
t@
accomplish this, they turn to commercial hardware and software. Some of these tools are available
for purchase, while others are used by vendors offering mocap services. Following is a look at vari-
By Karen Moltenbrey
ar
ous motion-capture vendors along with a summary of their products/offerings.
Ascension Technology Corp.
ports additional I/O capability. And, the optional
m
cameras, or complex stages. The company’s technology has been for some of today’s most popular games,
VirtualHand SDK streamlines the task of adding hand
MotionStar Wireless 2
including Grand Theft Auto, Table Tennis, 24: The
motion capture, hand interaction, and force feed-
ReActor 2
Game, and more for some of the industry’s leading
back to mechanical CAD, R&D, or 3D e-commerce
www.ascension-tech.com
developers. Pricing is project-dependent.
applications. Backed by over 10 years of experience,
te
MotionStar
no
Ascension’s three mocap products track the realtime position and orientation of sensors or emitters
the basic CyberGlove II system includes one data
glove, two batteries, a battery charger, and a USB/
Immersion Corp.
Bluetooth technology adaptor with drivers. An 18-
puter characters. The two DC magnetic trackers, the
CyberGlove II Wireless Glove
sensor system is priced at $12,295, while a 22-sensor
ct
placed on a performer’s body for animating com-
www.immersion.com/3d
Wireless 2. They support the simultaneous, full-body
A standard for high-performance motion capture, the
tracking of up to five performers for close interaction
CyberGlove II wireless glove captures hand and fin-
Measurand, Inc.
without data loss or gaps in coverage. MotionStar
ger movements for animation, biomechanics, digital
ShapeHand
now comes with a Data Optimization tool kit that
prototyping, simulation/training, and virtual-reality
ShapeWrap II
system, helping to eliminate distortion and noise in
tracker outputs. The active optical ReActor 2 over-
www.measurand.com
Measurand offers the ShapeHand wireless data glove,
which works on its own or integrates with a user’s
existing motion-capture system. ShapeHand captures
g,
comes occlusions and frequent camera calibration
co
n
enables users to predetermine the best setup for the
system costs $17,795.
ta
tethered Motion Star, and the untethered MotionStar
issues while delivering clean, real-time data. Its 544
complete hand and finger movement. The offering
has separate glove and sensor components, and different gloves use the same ShapeTape-based sensor
outs. MotionStar ranges in price from $29,000 to
array, so gloves can be chosen for best fit and can
tin
digital detectors are embedded in a rugged 12-bar
frame that virtually eliminates occlusion and drop-
be renewed any time, as the sensor array slips into
and ReActor 2, $85,000 to $88,000.
the glove to capture hand shape and motion. The
Image Metrics
in
$35,000; MotionStar Wireless, $59,000 to $65,000;
products can be used for character animation, virtual
reality, MRI research, motion analysis, and 3D input
fort and a mesh palm for ventilation, the fully instru-
applications. The company’s ShapeWrap II self-con-
www.image-metrics.com
mented glove provides either 18 or 22 high-accu-
Image Metrics specializes in performance-driven
racy joint-angle measurements using proprietary
facial animation. The company’s markerless, patented
resistive bend-sensing technology. For applications
an
pr
applications. Constructed with stretch fabric for com-
Facial-capture solution
needing position and orientation of the forearm, the
capture, and can map all of the muscles in the human
CyberGlove II wristband supplies mounting provisions
face, mouth, eyes, tongue, and skin. Additionally, its
for InterSense, Polhemus, and Ascension six-degrees-
single-camera motion-capture technology does not
of-freedom (DOF) tracking sensors. A software-pro-
require the use of special suits, markers, mocap
grammable switch and LED on the wristband sup-
Fo
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computer-vision technology is based on performance
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NOVEMBER 2006
A
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....
A
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Motion Capture
Tools of the Trade
the movement of objects. The systems combine pro-
ume. FDA-approved flesh- or lip-colored phosphorescent
eras or marker systems) is flexible and portable, mak-
prietary hardware, software, and electro-optical tech-
makeup is sponged onto skin and lips, and transparent
m
tained motion-capture system (with no ties to cam-
niques with standard computer and video hardware,
phosphorescent powder is dyed into cloth. For small cap-
and are used to evaluate motion in a variety of appli-
ture volumes or head-mounted systems, as few as two
ai
l.c
o
ing it ideal for schools and teaching environments,
as the product captures and translates complete 3D
body movement, poses, walking, and orientation in
cations, including animation production, movement
cameras can be used, or for large volumes with multi-
real time using shape-sensing tapes free of occlusion
analysis, and industrial measurement and control. EVa
ple performers, as many as 200 or more cameras can be
and magnetic distortion. The ShapeWrap II sells for
Real-Time Software (EVaRT) provides a simple inter-
used. Contour is compatible with many popular anima-
$28,500, while the ShapeHand sells for $9900.
face that enables users, within a single software envi-
tion software and hardware systems, including those by
Vicon. Contour data can also be exported as OBJ, C3D,
or Autodesk Point Cache 2 files, and synchronized with
SMPTE time-code. Contour can be used simultaneously
gm
ronment, to set up, calibrate, capture motion in real
time, capture motion for post-processing, edit, and save
data in a chosen format. Motion Analysis’ Calcium is
an accurate skeletal creation, setup, and motion-solv-
with marker-based capture and/or with live-action
GypsyGyro-18
ing software solution for body, face, and hand capture
shoots under synchronized lighting.
Standard Deviation Facecap
that is easy to use for solving captured marker data on
Movimento
a skeleton; the whole skeleton is fitted to the cloud of
iClone
markers at once, allowing actors to walk in and out of
t@
Meta Motion
Ruby Motion Captor System
www.metamotion.com
the capture area and be identified automatically. The
Impulse optical motion-capture system
Meta Motion, a mocap distributor, provides motion-
company’s latest product, Talon Glove, is a wireless
www.phasespace.com
mocap glove that measures abduction/adduction, flex-
PhaseSpace produces the Impulse optical motion-cap-
mocap solutions, including full-body motion-capture
ion/extension, thumb rotation, and pinch events, and
ture system, an affordable, high-end optical motion-cap-
hardware, hand motion-capture tools, face trackers,
can be integrated with the company’s other offerings
ture technology. With 12-megapixel optical resolution, the
and more. Some of the company’s newest solutions
for simultaneous real-time capture of both the hand
Impulse system can track three actors in real time, and
include: Ruby megapixel high-speed digital cam-
and body. Virtual Director, meanwhile, is a unique hard-
allows them to interact, with realistic motions, by using
eras for STT’s Motion Captor optical mocap system
ware/software offering that allows a director to utilize
active-marker LEDs. These smart LEDs are controlled by
(priced below $50,000). The Ruby cameras provide
motion capture to create a virtual environment of props,
a battery pack that gives each LED a unique digital ID,
large capture volumes, clean data, and dual-person
set pieces, and characters that can be visualized live in
thereby reducing marker swap and data cleanup require-
capture from a six-camera system. GypsyGyro-18, by
real time. Pricing was unavailable.
that suffer from low-res, 4-megapixel resolution, at low-
no
te
capture hardware and software tools and customized
ct
m
ar
PhaseSpace, Inc.
ta
Animazoo, is priced below $80,000 and is now available with a new suit providing easier attachment of
ments by a factor of 10 over older, passive technologies
speed 160 Hz tracking. So, users are no longer forced to
Mova, Inc.
choose between speed and resolution. With eight-cam-
use. Standard Deviation’s new Facecap face tracker
Contour Reality Capture
era systems priced starting under $50,000 and 24-cam-
(prices starting below $10,000) offers a high level of
comfort, adjustability, and secure attachment, with
accurate registration. Facecap can be integrated
www.mova.com
era systems costing under $125,000, PhaseSpace offers
Mova Contour Reality Capture provides markerless, high-
three times the speed, three times the resolution, and one-
resolution, photoreal 3D capture of almost any surface,
third the price of legacy optical motion capture. This price
whether deformable or rigid, including faces, hands, bod-
includes unlimited seats of PhaseSpace Recap motion edit-
g,
with optical systems for simultaneous facial capture.
co
n
its inertial sensors for greater accuracy and ease of
ies, and cloth. With the service, every subtle detail is cap-
is a video-based motion-capture system that can
tured—wrinkles around the eyes, flared nostrils, pursed
most of the remaining data gaps since the IDs of the mark-
be used with a wide range of video cameras for full-
lips, billowing fabric—with over 100,000 polygons per
ers are known. Origami Digital is using the system to push
mocap to the next level by doing real-time on-screen ani-
tin
New from RealViz, Movimento (starting at $20,000)
ing and viewing software, which automatically cleans up
frame at up to 120 fps. And Contour provides precise
vertex-continuous tracking of any surface mesh that the
matics, whereby the director can control the virtual charac-
for applying mocap and animation to 3D characters
client’s animation team specifies (or tweaks) at any time,
ters and scenes live, by interacting with the actors as com-
for previsualization and machinima.
even after the shoot. Performers are made up and cos-
puter animations with a virtual camera. PhaseSpace also
pr
in
body, facial, or on-set motion capture. Priced below
$200, iClone, by Reallusion, is affordable software
tumed as they would for a live performance, thus they
is working with the US Air Force on tracking models in a
have complete freedom of movement within the vol-
Mach 15 wind tunnel, as well as with others.
an
Motion Analysis Corp.
EVaRT
PTI Phoenix Technologies
Visualeyez
Virtual Director
HydraNet
www.motionanalysis.com
www.ptiphoenix.com
Motion Analysis manufactures high-performance opti-
PTI Phoenix offers a range of advanced, cost-effective, real-
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Calcium
Talon Glove
Fo
cal instrumentation systems that test and measure
CW
NOVEMBER 2006
time mocap solutions for full-body, hand, and
w w w. c gw. c om
___________
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B
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A
B
F
Motion Capture
Tools of the Trade
range depending on the level of accuracy required.
extra capability when needed. Their compact, ergo-
Up to 16 receptors per system can be connected for
nomic design allows users to position them where they
A proprietary technology enables the Visualeyez sys-
thousands of square feet of total coverage. Each
want: rackmounted, on the desktop, or freestanding.
tem to operate at high speed, in spite of the simple
marker houses the electromagnetic source, control
Meanwhile, Vicon iQ provides an intuitive interface
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m
facial capture. Its Visualeyez real-time 3D mocap systems offer professional active-optical mocap solutions.
electronics, and a lithium ion battery. Incorporating
with all of the tools needed to manage, automate, cap-
the industry’s most advanced hardware and soft-
ture, and process an entire motion-capture production,
applications with sub-millisecond delay. This results in
ware, the system’s electronic unit processes signals
offering a complete, real-time environment for setup,
a very fast feedback response, allowing users to real-
from the receptors to compute the position and orito motion capture, the LATUS system is being used
application that allows data captured by one or more
for military simulation and training (“indoor GPS”),
Visualeyez systems to be composited and streamed
virtual reality, and biomechanics. Recently, Total
in real time to as many other computers as the user
Immersion used LATUS for an augmented-reality
needs. Each application can choose the motion data it
application, as seen on CBS’s 48 Hours. Meanwhile,
needs for its own special purpose. Thus, applications
the standard Liberty offering, a wired tracking sys-
t@
entation in full six degrees of freedom. In addition
optional data composition and distribution network
gm
one-marker-at-a-time capture method that it uses.
After a marker is captured, its data is output to user
ize real-time operation. HydraNet, meanwhile, is an
tem, is fast and accurate, and can track up to 16 sen-
parallel processing can easily be accomplished. The
sors at a sample rate of 240HZ with an accuracy of
company also offers various software and accessories.
less than 0.8mm (0.03 inches). It is widely used for
Pricing was unavailable.
sports motion analysis and motion-capture applica-
tion Vicon MX systems. Vicon iQ dramatically stream-
tions where sample rate and accuracy are critical.
lines motion-capture workflow, offering unprecedented
ar
requiring high computing power and/or especially
calibration, and capture with Vicon’s ultra-high-resolu-
m
te
Vicon
Liberty
Vicon MX
www.polhemus.com
Vicon iQ
Polhemus has been providing position and orienta-
Blade
ct
Liberty LATUS
no
Polhemus
precision when tracking complex interaction between
multiple actors and significantly reducing the efforts
previously required in editing captured information. It
will rapidly and easily process the most difficult multiple-character capture scenarios automatically. Using
all-new algorithms and a calibrated biomechanical and
tion tracking systems for over 35 years. Its newest sys-
Diva
tem, Liberty LATUS (Large Area Tracking Untethered
www.vicon.com
System), purported to be the first, true wireless mag-
Academy Award-winning Vicon is the largest supplier of
netic tracking system (no body pack needed), offers
precision motion-tracking systems, serving leading-name
the benefits of magnetic tracking in a wireless solu-
customers and CG animation applications in film, visual
motion-capture functionality based on the systems devel-
effects, computer games, and broadcast, as well as engi-
opment and motion-capture service of Vicon and House
neering and life-science industries. Vicon operates in
of Moves. The software, developed following years of
four offices worldwide, including its Los Angeles-based
real-world production and Academy Award-winning
area that is scalable up to 6400 square feet with
kinematic model of the actors and props being cap-
ta
tured, Vicon iQ solves most of the ambiguities that typi-
co
n
tion. Besides being wireless, LATUS covers a large
g,
entertainment headquarters, a 26,000 square-foot facil-
an
pr
in
tin
ity equipped with three performance-capture stages
cally exist with optical motion.
Blade is a new software package combining the best
motion-capture systems engineering, provides a single,
unified, and future-looking tool set that supports the
and 125 Vicon MX40 cameras for Vicon’s service com-
growing demands of real-time motion capture, full-per-
pany, House of Moves. Vicon is part of OMG, plc (Oxford
formance capture, and on-set visualization, and makes
Metrics Group), a group of technology companies that
processing and applying mocap data for the 3D anima-
produces image-understanding solutions for the enter-
tion pipeline simpler and more direct. Key enabling capa-
tainment, defense, life-sciences, and engineering mar-
bilities include support for real-time playback of video and
kets, and includes Emmy Award-winning 2d3 and newly
motion-captured data, with fully rendered and lit digital
founded Geospatial Vision, Ltd.
characters either side by side with, or composited over,
Vicon MX, an advanced optical motion-capture sys-
video. The software will also enable customers to repli-
tem, delivers a substantial level of precision, perfor-
cate the POV of video or reference cameras. The prod-
mance, and practicality, having been designed to be
uct, along with its pricing, will be available in early 2007.
flexible, expandable, and easy to integrate into a work-
In addition, Vicon offers Diva, a powerful motion-cap-
ing environment. With a combination of MX system
ture editing tool based on the real-world motion-capture
$13,000 to $64,000—can be linked together. Each
components, users can create any size of system and
production needs of Vicon’s House of Moves. Diva’s fea-
marker is fully self-contained in a compact design for
link it easily to a choice of external devices. The modu-
tures include management of digital mocap assets, batch
rc
le
one system. For an even larger coverage area, multiple Liberty LATUS systems—ranging in price from
lar design of these components gives MX a completely
processing of data, skeletal animation functions, editing
by a receptor that has a receiving sphere of varying
scaleable architecture, offering the ability to quickly add
functions, and more.
Fo
seamless integration. Each marker is tracked in space
CW
....
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NOVEMBER 2006
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Fluid Simulation
m
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A
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V i s u al eff ect s a rtis ts de v is e
a n e w m et hod for c re a ting
t u rbulent w ater in T he Gua rdia n
t@
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High
an
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in
tin
g,
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ta
ct
no
te
m
ar
Seas
Fo
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Most of the water in The Guardian (left) was digitally manipulated
or all-CG. Above is a final shot of a boat in distress. To the right
(from l. to r.) shows the scene in its precomp stage, the RealFlow
fluid simulation results, and the RealFlow water sim integrated into
the water that was hand-manipulated with a surfacing technique.
CW
NOVEMBER 2006
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Fluid Simulation
m
movie about a team of US Coast Guard rescue swimmers and their daring missions.
ai
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“Disney’s challenge to us was that we
By Karen Moltenbrey
raise the bar for ocean FX even further
interacted with a real boat. For those
than we had before,” says William Mesa,
shots, the particle splashes were gener-
founder of Flash Film Works and visual
ated from footage of real elements. Real
effects supervisor on the project. Mesa is
particles were also added by Furious FX
been a challenge for visual effects artists.
used to getting his feet wet when it comes
for the scenes filmed from the inside of
First, VFX teams found a way to generate
to digital water; his Flash Film Works has
rescue helicopters, while Digital Dream
relatively calm CG water for films such as
been creating CG water for the past six
did a number of shots looking out from
Waterworld and Titanic. Then they tack-
years in a number of films, including The
inside the helicopters.
led more turbulent seas, making waves,
Deep Blue Sea and Into the Blue. For The
In the majority of scenes, however, it
literally, in The Perfect Storm, with a wide
Guardian, Mesa was able to build on that
was up to the artists at Flash Film Works
range of water effects culminating in a
experience while working with Davis,
100-foot wave that sank the small fishing
with whom he has teamed on all but one
boat Andrea Gail.
of the director’s films.
t@
gm
Creating realistic digital water has always
to ensure that the real water elements
integrated seamlessly with the CG water
ar
surfaces. “I didn’t want to go into a
“From the beginning, Davis wanted
movie like this saying that we had to do
us to create storms and water footage by
all of this water using a CG methodology.
m
Since then, the process has become a
little easier, thanks to the R&D efforts of
whatever means it was going to take to
make the imagery look realistic, like the
for various films, as well as the progress
footage we had from the Coast Guard,”
and do a mix that was believable,” says
made by fluid-simulation and DCC soft-
Mesa says. Hoping that The Guardian
Mesa. “Even before we were doing the
ware vendors in recent years. Despite
will do for Coast Guard rescue swimmers
animatics, we were developing a way
these advances, generating realistic CG
what Top Gun did for Navy fighter pilots,
to mix elements together to make this
water, even today, is far from smooth sail-
the US Coast Guard lent the production
water realistic.”
ing. Several months ago, ILM, with assis-
its support, providing thousands of hours
I wanted to be able to composite many
live elements together with CG elements
Some of the “calmer” water scenes were
of film footage taken during actual res-
filmed inside a water tank that could gen-
cues. “From all that footage, we had a
ing a 200-foot wave that capsized an 1100-
fairly good idea of what the Bering Sea,
filmed against a 150-foot bluescreen that
foot 3D cruise ship in the remake Poseidon
where a lot of the movie takes place, was
wrapped around the back of the tank. The
(see “Size Matters,” April 2006).
like under these pretty horrific condi-
artists then extended the water to include
tions,” Mesa adds.
a vast sea that would appear behind the
become another high watermark in terms
surfaces, including boat wakes, whitecaps,
erate up to five-foot waves. The actors were
actors in the film. “We also took that foot-
A Storm Is Brewing
age and stretched it to pull up some of the
According to Mesa, a significant part of
g,
of CG fluid technology, with stormy ocean
co
n
Flash Film Works spearheaded what has
ta
tance from Stanford University, unleashed
new methods for simulating water, creat-
ct
no
te
Digital Domain, Industrial Light & Magic,
and other studios while crafting the effects
More recently, visual effects facility
peak-point heights and dropped it down
to the lower position,” explains Mesa. “So
when the actors were in the tank, we were
featured throughout the film The Guardian.
almost all of that water in the movie was
able to make the water look higher and
In The Guardian, directed by Andy Davis,
digitally manipulated or created from
lower, generating larger swells than what
the rough sea is more than just an effect;
scratch. Pixel Magic took charge of exte-
were actually there.”
it is the main antagonist in the live-action
rior, wide boat shots in which real water
tin
bow sprays, and enormous breaking waves
the film takes place on or in the ocean,
mainly during stormy conditions. And,
Fo
CW
Images ©2006 Disney.
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NOVEMBER 2006
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Fluid Simulation
Other scenes were shot within a dry environment, requiring all-
And, as Mesa explains, to change the water and make it do all
m
....
A
CG water. This was especially true of the big, wide ocean shots.
the specific things the director wanted at key moments in time
would take a tremendous amount of work if the water were created procedurally. “Up in the Bering Sea there are a lot of cross-
ai
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In the past, Flash Film Works used procedural methods to
accomplish most of its water work. “A lot of the way in which
CG water is created requires an action/reaction method of how
swells, with one current going one way and another going in a
the water is manipulated, meaning if you want to create more
different direction. They collide into each other and peak-point,
wave heights, you can add more wind factor or lift the swell
with the waves breaking over top the other. That would have
heights,” says Mesa. “But the calculations in doing that and
been difficult to control procedurally,” he says. “So, we faced a
big challenge even before this film started—we needed a new
has some duplication of what it will be doing down the line. So,
way of generating the water aside from a procedural method.
when you look at a computer-generated open ocean, it doesn’t
We needed a way to control the water at all times.”
gm
how the computer lays out the sea requires some procedure. It
Flash Film Works spent more than a year in R&D before com-
footage, the water is very different all over the place. You might
ing up with a method of hand-manipulating the water surfacing
have a large wave on the right of the frame and moments later a
using a combination of proprietary tools and commercial soft-
large wave on the left of the frame.”
t@
feel organic in what it is doing out there. When you look at real
ware. “We mimicked the real water from the Coast Guard footage using, in simplistic terms, multiple projection maps,” explains
ar
Moreover, the director wanted to be able to control what was
Mesa. With the reference footage as an underlay, the group created
cedural methodology for creating the water in The Guardian.
surfaces and controllable bump maps of sorts that were more like
g,
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ct
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occurring in the shots; therefore, he did not want to use a pro-
on one surface alone the crew
might have 50 different projection surfaces that were created
either by CG methods or by
using real-water surfacing (or
element surfacing) that was
projection-mapped onto the
CG surface to create a particular water surface. On top of
that, the group would create
other projection map surfaces.
Next,
the
artists
ani-
mated the digital surfaces
faces so the CG would act
tin
and react identically to the
water in the footage. “From
pr
in
To hit certain story points, the
director needed total control
over the water, so the group
opted against generating the
water procedurally. To this end,
Flash Film Works teamed with
Mark Stasiuk, who used RealFlow particle technology to
help create some of the film’s
most turbulent water, as seen
in this shot (bottom). Above
shows the water and boat
interaction, along with the
RealFlow water.
an
CW
NOVEMBER 2006
inside NewTek’s LightWave
software. As Mesa points out,
atop the actual water sur-
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morph targets that the artists
could control. This was done
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Fluid Simulation
tions at the proper times. The group then brought the encoded
data back to its facility at Flash Film Works, where it began
director wanted a large wave to come up alongside the boat
creating the digital water to coincide with both those camera
as the actor was leaning over and performing a particular task,
moves and how the boat was operating mechanically.
m
that point, we were capable of controlling and animating those
surfaces exactly the way we wanted to,” Mesa says. “So if the
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....
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we could control the water process so it would do all the exact
The next big step for the team was making the water react
things at the right time, especially in relation to the action and
to the boat. To do this, the artists used the encoded data with
reaction of the boat.”
the camera moves and applied it to a detailed CG model of the
Staying on Course
as it was placed underneath the footage of the mechanical boat.
The boat depicted in several scenes was a mechanical rig that
Next, the artists built a CG rig that was virtually identical to the
gm
boat, built in LightWave. The model, however, was not visible,
operated dry. It was not completely motion-controlled, but it was
mechanical boat’s rig so it could operate in the same manner.
able to receive data and hit positions at specific points in time.
As a result, the crew could animate the CG boat to follow the
exact movements of the mechanical vessel.
t@
“We could place the camera at a certain spot, and we knew that
eight seconds later the boat would be at another position, so we
“It could be placed in our CG water so the CG water could
react and be hit and deformed by the CG boat in the proper
to lay out, in an almost crude way, large-scale camera moves,
way,” explains Mesa. “When you render out the water without
with the assurance that the boat would be in the proper posi-
the CG boat in it and put the footage of the [mechanical] row-
te
m
Flow
no
Go with the
With a PhD in fluid mechanics, Mark Stasiuk, cofounder of Fusion CI Studios, along with producer/
ar
could reposition the camera,” Mesa says. This allowed the crew
line, done troubleshooting, and provided fast turn-
maintain a high level of expertise in these kinds of
around custom scripts to accelerate their simulations
effects over the long term; it’s just not what they
or eliminate problems.
are focused on from day to day, so it becomes
ct
director partner, Lauren Millar, has worked with software developer Next Limit Technologies in its R&D
ta
efforts for the past three years while using the com-
expensive and unwieldy. And, certainly, they have
How did you apply that
difficulty maintaining a highly specialized line of
commercials. Most recently, Stasiuk assisted Flash Film
knowledge to The Guardian?
R&D. We bring along years of accumulated R&D,
Works in creating millions of particles that augmented
the digital surfacing technique devised by Flash Film
Works for generating turbulent water in The Guardian.
In a Q&A with CGW chief editor Karen Moltenbrey,
Stasiuk discusses the work he did for the film.
co
n
pany’s commercial RealFlow software in features and
I came into this project with an accumulated library of
a rare ability to quickly perform robust, new R&D,
optimization procedures, algorithms, simulation meth-
plus strong, specialized support from Next Limit
ods, and rendering ideas that I had already developed.
Technologies, with whom we have an exclusive col-
I then extended many of those to a more advanced
laborative relationship.
g,
state, or customized them for this project’s particu-
What was your task/role on the film?
tin
I worked in-house with Flash Film Works as the fluid
lar needs. I was also familiar with the issues that new
Exactly what does that R&D entail?
RealFlow users face, so was able to find ways to get
Our body of R&D includes everything from ways to
junior artists productive faster.
make simulations run two or three times faster than
simulation supervisor. My main role was to supervise
and teach a group of eight RealFlow artists to work
in
with Dan Novy (the technical supervisor) on pipeline
issues, to develop custom production tools, and to
pr
communicate with VFX supervisor William Mesa and
various CG artists and compositors involved in shots
an
requiring CG fluid effects.
Have you done similar work
in the past?
they would otherwise, to stability methods, to cus-
Is your specialty solely in fluid sim?
tom force fields for achieving certain behaviors. In
Really it’s in general dynamics, including general parti-
addition, we have the hardware and a group of art-
cle FX, with fluid simulation being a special (and espe-
ists who we’ve trained to get shots done fast. So we
cially difficult) area of dynamics. We work on prob-
can quickly turn around complex effects with very lit-
lems involving rigid bodies, soft bodies, dust, smoke,
tle ramp-up time. Studios can struggle for months to
plasma, fire, explosions, etc., including interactions
get to the point where they are productive with com-
between these different things. In addition, we pro-
plex fluid FX, whereas we can turn around useful itera-
vide help with render pipelines related directly to the
tions in a matter of weeks. It’s just because that’s what
FX elements we create.
we’re focused on and experienced with.
What can you provide that a
Why was this task
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I did similar work on Poseidon, working within CIS
Hollywood, and have also consulted with several stu-
dios on CG fluid projects. For many of our clients, I
Fo
have acted as an advisor for their workflow and pipe-
CW
VFX studio cannot do on its own?
especially challenging?
Typically, small to midsize VFX studios can’t easily
The Guardian was challenging for two reasons. First, a
NOVEMBER 2006
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Fluid Simulation
When he came aboard The Guardian, he brought along a number
ing to the CG water.”
of optimization procedures, algorithms, simulation methods, and
Stormy Seas
could extend and/or customize as needed for this project (see
m
boat back into the CG water, the rowboat looks like it is react-
....
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rendering ideas he had developed over the past few years that he
For the really rough water, Flash Film Works called on Mark
“Go with the Flow,” pg. 34). Yet, the fact that many of the shots
Stasiuk, co-founder of Fusion CI Studios, who served as the
had to achieve particular story elements posed a challenge for
fluid-simulation supervisor. Flash Film Works had been work-
Stasiuk, just as it did for Mesa. “This requirement made for beau-
ing with a current version of Next Limit Technologies’ RealFlow
tiful, meaningful visuals, but it also meant that we had to make
the fluid elements behave within an existing, ‘near-finaled’ 3D
fine enough detail. Stasiuk, meanwhile, had been experiment-
environment,” Stasiuk says.
gm
and was encountering some problems generating particles in
To this end, Stasiuk devised a collision method using
RealFlow 4 and particle dynamics that would react to the water
state. “At the same time, we were working with a 64-bit version
surfacing methodology that Flash Films Works had created
of LightWave that could also work in a much higher particle
for the other rough seas in the film. “When we wanted a lot
t@
ing with an unreleased 64-bit, multi-threaded version of the
software that was capable of handling a much higher particle
more particle dynamics to happen at a specific time and place,
being able to transfer RealFlow data into LightWave with our
we could manipulate the water to make different movements,”
own scripting system so we could work in super-high particle
Mesa points out. “This was one of the big advantages to hav-
rates that hadn’t been achieved before.”
ing our own method for doing water, as opposed to using a
m
ar
state,” Mesa notes. “As a result, we developed a new method of
procedural method.” In these 21 extra-turbulent shots, the artists manipulated the CG water surfacing to achieve greater or
no
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Stasiuk, who performed similar work on Poseidon, has collaborated with a number of other effects studios on CG fluid projects.
RealFlow’s new 64-bit version allowed us to access
For me, a highlight of this work was that a relatively
tion, just because of the timeline and the evolving needs
massive amounts of RAM and, therefore, run much-
small group of talented VFX artists, without massive
of the production. Second, many of the scene elements
larger-scale simulations.
ct
significant amount of R&D had to be done during produc-
resources or months and months of pre-production R&D,
could deliver advanced CG fluid effects. That speaks to
ta
were non-dynamic and strongly art-directed, because the
Did you use any other
shots needed to achieve very particular story elements.
the quality of the tools (RealFlow and LightWave), as
software or hardware?
fluid technology?
well as to the skill of the artists involved and the support
co
n
Why couldn’t you use out-of-the-box
We used LightWave 9, and made use of both 32-bit
at critical moments from the software developers.
and 64-bit AMD Opteron systems. The 64-bit systems
For a minority of elements, we did just that. But for
many of the elements, the needs were very particu-
had up to 16GB of RAM to deal with the large number
At any time did you have to
of particles and polygons in the simulations.
dial back the effects?
One of our favorite custom simulation tools was
g,
lar and art-directed. Simulations generally do cool and
Which features/functions did you use,
a script I created to magnify forces to get bigger
director needs. We needed extra control. Plus, for a
and for what end?
splashes—we dubbed it the “cowbell force.” We’d
number of effects, there just aren’t pre-fab tools avail-
We used a combination of the built-in tools (fluid par-
often get requests for more cowbell. But by the end,
able in RealFlow—for example, there are none for
ticles, force fields, fully coupled fluid-object interac-
in a lot of cases, we toggled on too much cowbell. It
generating realistic splashes around the intersection
tion) plus the Python scripting capability to do custom
was nice to hear, ‘OK, less cowbell, please’ from the
tasks, like tailor-made force fields.
supervisor.
in
tin
realistic things, but sometimes that’s not what the
of any two polygonal objects. We also needed to keep
pr
the simulation times manageable and stable.
What’s next for you?
Fusion’s part in the project lasted about four months;
We’re focusing on providing fluid effects elements for
to accomplish your goals?
the solution to the rendering issue was developed over
features now, and working less in-house with other
just a few weeks early in the production work, which
studios. And we’re currently involved in a few projects
an
How long did you work on this project?
How did RealFlow enable you
RealFlow is a relatively fast and stable dynamics solver
was early enough that it was really solved before we
requiring large-scale, non-water-type fluid effects and
incorporates scripting. It provided the foundation for
got into the peak of the simulation work.
continuing to work with Next Limit Technologies to
tial for custom control via scripting within a well-devel-
Are there any other points about your
amazingly violent and yet highly ‘directable’ particle
oped UI makes it ideal for this kind of work. In addition,
work that are worth mentioning?
effects coming soon.
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with a lot of flexibility built into it now that the product
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us. The fact that the software provides a lot of poten-
CW
ramp up to RF5 in the process. Watch out for some
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NOVEMBER 2006
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Fluid Simulation
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quicker movements so the particle dynamics would work faster
and greater, depending on what was needed.
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“Even though the particle dynamics were used only on 21 shots,
they were some of the most difficult ones in the film,” notes Mesa.
Wrangling Water
Getting physical simulations to behave in a very specific way is
never easy. In those shots, Stasiuk’s job was to create simulated
gm
water elements that would interact with 3D objects such as helicopters and boats. In many of them, a CG boat moves through a
polygonal, deforming ocean. Neither element was dynamically
driven or simulated, so there was no true fluid interaction. Thus,
t@
the RealFlow team had to create the elements to sell the physicality of the shots, “to make the boat look like it was actually
touching that ocean,” he says.
ar
To accomplish this, Stasiuk created a variety of procedural
Python scripts for specific natural phenomena, and deployed
m
those as production tools that would, for instance, maintain stability, create water particles at the waterline of the boats, and
te
generate breaking waves. He also crafted tools for generating
additional passes such as spray and mist from the fluid elements. “This involved developing the methods and scripts, gen-
no
erating high-quality hero elements for a particular shot, and
training artists to use the tools so they could generate elements
in other shots,” he says. “They could take 3D elements such
ct
as boats and ocean surfaces, and quickly simulate interactive
effects like realistic whitecaps and boat wakes, providing them
ta
as rendered elements for the compositors.”
This technology allowed Mesa to order up complex, large-
cisely fit the director’s requirements. It also resulted in rich,
photorealistic fluid behaviors. In one scene, a boat is sinking
g,
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scale fluid elements consisting of millions of particles that pre-
CG motion, and the CG water reaction generated by
placement that would shoot out of the boat as well
tin
as waves that would bang against the sides of the
boat. “A lot of water would be displaced coming off
the boat as it began to submerge,” notes Mesa. And
in
that was done using Stasiuk’s particle system.
In another exciting 18-second all-CG shot, a dis-
pr
tressed cargo ship is tossed about during a storm as its
load—cars and debris—is spilled into the sea. Again,
the same water surfacing methodology from Flash
Films Works, supplemented by Stasiuk’s particle tech-
an
CW
cuers. In addition to the mechanical motion, the
Flash Film Works, the crew also needed water dis-
nology, was used to achieve the enormous splashes
In this dramatic all-CG scene, 3D objects aboard a
digital cargo ship spill into the sea as waves crash
against the boat. In all, the VFX crew had to deal with
particle dynamics on nearly 20 different locations on
the ship model, a task that had to be done in pieces.
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and the actors are being pulled off the back by res-
NOVEMBER 2006
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Fluid Simulation
we were able to use the Python scripting to develop a custom
the boat in much the same way as the CG water surfacing inter-
export of the data as LightWave partigon objects. This meant the
fluid particles could be rendered as single polygons,” says Stasiuk.
In those shots and others, the artists still had to tackle the
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acted with the CG boat,” Mesa notes.
m
that flood the front of the ship. “The particle dynamics reacted to
....
“It was much faster than other alternatives, and it looked great.”
dynamics work in segments, despite the ability to generate
To composite water elements and other imagery into the scenes,
super-high particle rates. In the cargo boat scene, the shot
the group used Eyeon Software’s Digital Fusion, utilizing the Z buffer space within the composite. This was due to all the 3D camera
moves within the shots, which also had to conform in the compos-
as the ship teetered in the water. As a result, there were 15 to
ite. For tracking other shots, the group used Apple’s Shake.
gm
called for a giant splash to slam across the front of the boat,
water to pour off the vessel, and waves to hit against the side
20 different places on the boat where the artists had to deal
with the dynamics. “We had five different particle dynamics
In Deep Water
for just that part and another four or five running across the
According to Mesa, the big difference between the water requirements in this film and those in other movies is the vast amount
ing off the boat itself—in addition to what is going on behind
featured in The Guardian. Also, the viewpoint for this movie is
the boat,” explains Mesa. “Behind the boat were big waves
often at water level. “In The Perfect Storm, there is a little of that,
t@
bottom of the water, and four or five more for the water pour-
but not much,” he says. “In this movie, there are many shots
ders for that one shot because we had to combine a number of
of the swimmers in these giant, stormy seas; the audience gets
ar
that were hitting the cargo. There were so many dynamic ren-
m
to witness these horrific conditions from the
swimmers’ perspective.”
te
And, like the water work in The Perfect
Storm and Poseidon, the CG fluid simulation
ct
no
in this movie sets a new precedence of what
method, you need to think out the process—
ta
power,” says Mesa. With this method, all the
computer had to do is render out the surfacing
or positions the group told it to create, which
results in a huge leap forward in actual speed,
co
n
g,
tin
just to get the particle count fine enough.”
ing different avenues for the creation of virtual
water. “Anytime you are doing a procedural
make calculations—and that utilizes computer
time, and changeability. And after the render,
if the artists want to change something, the
shot can be quickly re-rendered without the
Flash Film Works spent more than one year in R&D before devising a method of handmanipulating the water surfaces to control the majority of the fluid in the film. The
studio accomplished this task using proprietary and commercial tools.
different dynamics together to create a specific wave splash
can be done within the digital realm by open-
computer having to recalculate the whole process over again. Since the water was laid out
in a morph-target fashion, the artists just ani-
mated it as they would any other animation.
“So many people were worried that we had to render out all
this CG water. And, I remember back when we did The Deep
dynamic locations had five rendered versions. The entire ren-
Blue Sea; some shots took a week to render the water,” says
dering for the fluid, mist, spray, and other passes were simu-
Mesa. “For this film, we rendered out the general surfacing in
in
What this meant, says Mesa, is that each of those 15 to 20
multiple layers, about five on average. We didn’t try to render
all the CG water with the lights reflecting on it. Things like that
an optimized pipeline. According to Stasiuk, the biggest hur-
were rendered out separately and composited together. If we
dle the group faced was rendering the large quantities of data.
didn’t like it, we could control it in the composite.”
an
pr
lated over a day or so for most elements and rendered as selfshadowing particles over a few hours inside LightWave through
In the film, the Coast Guard rescue swimmers have to battle the
such large particle numbers; thus, the process was taking too
most horrendous storms conjured up by Mother Nature. Similarly,
long. Alternatively, the team opted for sprite-type rendering for
the digital effects artists had to control the natural phenomenon
the largest particle numbers.
that they themselves had created. In the end, both triumphed.
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Typical hypervoxel renders in LightWave were not meant for
In LightWave, though, that was not a straightforward process.
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“However, under the direction of Dan Novy and Jen Hachigian,
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Karen Moltenbrey is the chief editor for Computer Graphics World.
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Art Animation
Portfolio
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Akkad By Pierre Henon, this art animation examines the effects
of big-city rhythms on our lives and relationships. The project was
created using Photoshop, After Effects, Final Cut, and RhythmTX.
an
Autarkeia Aggregatum An integrated sound-and-image
composition emphasizing continuous flow and transformation,
this piece by Bret Battey was made using Apple Motion 2 with a
custom filter plug-in, along with other tools.
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Transrec Patrick Doan used Photoshop, After Effects, Premiere
Pro, and Cinema 4D to look at transitional spaces, travel theory, and,
by extension, their relationship to the subconscious abstraction.
Fo
A tort ou a raison In this award-winning music video, produced
by Joris Clerte and Philippe Massonnet, a seemingly static drawing
on a table comes alive and begins to sing. While the animated
characters are simple line drawings, they express emotion and
convey the message of the song.
38
CW
Digital fine art can assume numerous forms. Many of us are accustomed to viewing
2D, 3D, and 4D wall-hung works that fall into the category of CG art. In reality, these
are just the tips of the virtual iceberg: Digital fine art is not limited to an image that
can be printed. Nor is it something that only can be seen. Rather, computer-generated
selections can have dimension (for instance, sculptures created on the computer and
output using stereolithography) or virtual dimensionality (a hologram). Some embrace
sound, while others entail motions, either through cooperative interactive participation, electronically mediated performances, or animation.
During the past few months, Computer Graphics World has highlighted a number
of unique and interesting works that were featured in the Intersections art gallery during SIGGRAPH 2006. Most of those selections fell into the interactive or wall-hung
categories. This month we are taking a look at art animations, which shared gallery
space with the more traditional—as well as untraditional—pieces.
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Unlike the works featured in the SIGGRAPH Animation Festival, these pieces are
less focused on traditional storytelling through the art of animation for entertain-
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ment purposes. Instead, they use a range of methods to create an animation, often
with a global message. And at the center of those animations is usually imagery
that, in its raw form, exists in reality.
an
For instance, in “Akkad,” Pierre Henon uses a variety of software and hardware
to craft a moving array of traffic that illustrates how concentrated populations, mass
transportation, architecture, and town planning are resulting in an isolation of the
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people, drowning them in a hurried crowd. Here, real imagery is “artfully” arranged
using digital methods to show this concept.
In addition to “Akkad,” other art animations from Intersections are featured on
Clockwise from top:
Fall of Antioch Students created this film in a Film & Animation class
at the University of Applied Sciences in Nuremberg, Germany, and were
inspired from listening to music on the Windows Media Player with the
Particle Visualization engaged. Among the tools used to create the piece
were Softimage XSI, After Effects, Inferno, and more.
Swim For this striking music video, Sil van der Woerd used Maya,
Tracker, Final Cut Pro, After Effects, and other tools to craft a unique
synthetic space for this film, whose simple focus is the power that brings
us all to life. As such, the atmosphere is organic, yet there is still
somewhat of a clinical feel to it.
Cafe Bouillu In this animation directed by Stephane Berla, a cut-out
paper person revolves in a merry-go-round, progressively realizing that
his universe is not the thing that is spinning.
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these two pages. —Karen Moltenbrey
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NOVEMBER 2006
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For additional product news and information, visit
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products
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ww.cgw.com
__________________________
patibility for Avid Xpress Pro 5.5 and Media
SOFTWARE
gm
Composer 2 customers on Mac OS X. These
Avid updates are only for PowerPC-based
VIDEO
A Magic Bullet
when Avid releases new versions compatible
Mac Red Giant Software, publisher of pro-
with Intel-based Mac systems.
fessional digital video tools, including
Red Giant Software; www.redgiantsoftware.com
Magic Bullet and Knoll Light Factory, has
ar
2 D A N I M AT I O N
announced free software updates for professionals using Intel and PowerPC Macs or
Win • Mac
or Avid Media Composer software. Magic
E
frontier
m
Anime Studio
running Apple Final Cut Pro, Avid Xpress Pro,
t@
Mac systems. A new update will be available
America
has
released Anime Studio 5, a 2D animation
and cartoon creation software offering. An-
manipulation and drawing tools can be used
PowerPC-based Macs using Final Cut Pro
ime Studio employs a “bone rigging” system
with digital photos to create cutout anima-
5.1. The standard engine is updated to sup-
common of 3D graphics software, designed
tions similar to those found on Jibjab.com
to streamline the animation workflow,
and SouthParkStudios.com. Anime Studio
reduce production time, and save money by
also enables the importation of drawings,
Mac systems. Magic Bullet Editors 2.1 and
requiring a smaller team of animators than
movies, and sounds to create quality, enter-
Knoll Light Factory 2.5.1 also provide com-
normally used in animation. The software’s
taining animations. Anime Studio was pre-
NEWS
ing the challenges of complex data-intensive
then downloaded, signed, and returned to
workflows and accelerating breakthrough
DA. Upon receipt, a user name, and password
discoveries. Also last month, SGI announced
is provided via e-mail. Work history, skill sets,
that it has reorganized and has emerged from
and software application precedes the upload
Chapter 11 status in less than six months.
window. Currently, the upload system accepts
SGI Files Lawsuit Against ATI
SGI last month filed a patent infringement
g,
lawsuit against graphics card manufacturer
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port Intel processors under Mac OS X, and
the render speed should be similar to Power
ct
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Bullet Editors 2.1 and Knoll Light Factory
2.5.1 are now compatible with Intel- and
JPG, PDF, and MOV file formats.
complaint, SGI asserts that products in ATI’s
Disney Opens Online
Submission Portal
service for everyone,” says Dawn Rivera-Ernster,
line of Radeon graphics processors infringe on
Disney Animation (DA) is connecting talent to
director of animation resources for DA. “It allows
its US Patent number 6,650,327. As a result,
animation opportunities with the online artistic
artists to submit reels and portfolios whenever
the company seeks unspecified damages
submission portal. At www.DisneyMouseLink.
it is convenient for them, 24/7, with a quick and
and a court-ordered injunction against future
com,
___ artists can submit their demo reels and/
convenient process. For DA, it allows us immedi-
infringement, if ATI is found guilty. “The com-
or portfolios through a secure Web-based
ate access to the incredible global talent pool.”
pany’s technology covered by the patent is
upload system. DisneyMouseLink.com
_____________ was
an important resource in achieving enhanced
developed in-house and allows interested
Autodesk Unveils Area Portal
graphics processing demanded by today’s
applicants to submit their resumes, demo
Autodesk has announced a new community
computer systems,” stated Dennis McKenna,
reels, and/or portfolios. This portal is an indus-
portal called Area (www.the-area.com) that
CEO of SGI, in a press release issued by SGI.
try first that will allow greater connectivity to
allows artists to network with peers and enjoy a
“SGI has licensed this technology to ATI’s
the artistic community.
repository of 3D content. The content is posted
an
pr
in
tin
ATI Technologies in US District Court. In the
“Creating DisneyMouseLink.com is a great
To access DisneyMouseLink.com, interested
by community members and Autodesk. Area
sively protect and enforce its IP.” SGI delivers
applicants can go to www.DisneyMouseLink.
contains tips and tutorials, forums, downloads,
a range of high-performance server and stor-
com
___ and create an account using a valid e-
a showcase area, member portfolios, and blogs
age solutions for aiding customers in overcom-
mail address. A required submission form is
from Autodesk’s product management team.
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major competitors, and SGI intends to aggres-
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Join the CAUSE!
Become an active and proud member of the
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CGW community!
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CGW is very excited to introduce a live
24/7 forum! This new community site is
specifically designed for you and we
hope you’ll enjoy the access and privileges of being a participant in this exciting industry.
We take our responsibility here at CGW
seriously and believe it is our duty to
offer as many ways for our industry to
touch one another beyond the printed
pages – We encourage you to take the
time to JOIN US!
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Within the forum you can now share your
expertise, offer support to your peers,
post your work, look for opportunities
and much more...
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products
nection. StoneGate takes advantage of
als and studios to create feature films, short
the Wiretap API to convert the hierarchi-
films, and commercials. Anime Studio will be
cal structure of the Stone’s Clip Library into
available for $49.99 and Anime Studio Pro
a virtual file system that maps as a local
Archicad 10, the latest version of its Virtual
for $199.99.
drive on the client’s workstation. Users can
Building modeling technology, now sup-
E frontier; www.e-frontier.com
remotely browse multiple machines, vol-
ports Apple Macintosh OS X running on the
umes, projects, libraries, and clip folders
new Intel Core processor platform. Graphisoft
to access the individual frames. These are
Archicad is designed to help users design more
exposed as standard graphic files (RAW,
creatively, analyze earlier, generate documen-
BMP, TIFF, DPX, and Cineon) that can be
Work Groups
ics, animation, paint, editing, and com-
Tiger Technology, developer of stor-
Mac
Graphisoft has announced that
tation rapidly, and efficiently coordinate projects both internally and externally.
Graphisoft; www.graphisoft.com
ar
Win
read or written using standard graph-
A Bite of the Apple
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STORAGE
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tion workstations over a regular LAN con-
in the animation community by profession-
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CAD
viously known as Moho, and has been used
age area networking (SAN) and work-
positing applications, such as Adobe After
group management software solutions, has
Effects, Adobe Photoshop, and Autodesk
announced StoneGate. The new solution is
Combustion. StoneGate will begin shipping
Win
a virtual file system that enables raw image
this month for Windows, with support for
ments to its Autodesk DirectConnect family
sequences stored on an Autodesk Media and
Mac OS X scheduled for early 2007. The
of translators and Autodesk ImageStudio, a
Entertainment Stone file system to be manip-
product is priced at $995.
ulated using standard graphics and anima-
Tiger Technology; www.tiger-technology.com
Autodesk has announced improve-
rendering software. An update to Autodesk
DirectConnect software is now available for
Start The New Year Out Right
ta
Computer
I N N O V AT I O N S I N V I S U A L C O M P U T I N G F O R T H E G L O B A L D C C C O M M U N I T Y
ct
no
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DirectConnect, ImageStudio
WORLD
October 2006 www.cgw.com
co
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Rat’s Nest
Before the holiday rush begins, make sure
you treat yourself to a full year of
Computer Graphics World
World.
DreamWorks uses digital clay to sculpt
the diverse worlds in Flushed Away
Past Tense
CG helps bring
ancient history to life
Playing in the
Big Leagues
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An indie CG filmmaker
hits a home run
Shadow Play
in
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Artists shine light
on Hollywood’s
dark side
cgw.com
$6.50 Canada
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$4.95 USA
Renew your subscription online at
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download from the product center section of
addressing the need to post-process and visu-
the Autodesk Web site, www.autodesk.com/
alize data generated by computational fluid
directconnect.
________ The release features improve-
dynamics (CFD) applications, has introduced
ments to the DirectConnect tool, enabling
FieldView Version 11.1. FieldView has been
faster and more robust data translation and
updated with new capabilities and functionality to deliver scalable post-processing performance to users of multi-CPU/multi-core
importing CAD data into other Autodesk
gm
enhanced data fidelity. DirectConnect is a
family of data translators that aid users in
workstations, large shared-memory systems,
to optimize the workflow for visual effects art-
software applications.
ists working in Adobe After Effects on multi-
An update to Autodesk ImageStudio 3.0
processor and multi-core computers. Nucleo
data analysis, automation, and data read-
software is now available for download from
Pro, an After Effects plug-in (After Effects 7 is
the product center section of the Autodesk
required), introduces the concept of rendering
t@
Meanwhile, Autodesk ImageStudio 3.0.1:
and cluster computing environments. New
Web site at www.autodesk.com/images-
and working at the same time, while maximiz-
flow integration and accessibility. FieldView’s
tudio.
___ ImageStudio is a rendering software
ing the full use of all available CPU resources.
Parallel capabilities achieve speed increases
tool, used to create high-quality rendered
Nucleo Pro enables users to render as they
on the order of five times on eight CPUs when
images of 3D files created in Autodesk
work with Spec Preview and Spec Render;
post-processing realistic, multi-grid CFD sim-
AliasStudio or complementary CAD applica-
push the render to the background using the
ulations on systems with AMD Opteron pro-
tions. This update provides improvements to
new Background Render Queue and continue
cessors, reducing turnaround time for simu-
QuickTime movie rendering, image-based
working in After Effects or any other applica-
lighting environments, as well as enhanced
tion; and commit layers to disk to have Nucleo
importing of AliasStudio wire files with
Pro render only the specified layers. GridIron
embedded images.
Nucleo Pro sells for $395.
Autodesk; www.autodesk.com
GridIron Software; www.gridironsoftware.com
ing capabilities are also a part of this release.
FieldView 11.1 enables in-depth analysis of
ta
ct
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CFD simulations, while maintaining work-
WORKFLOW
On the GridIron
Win • Mac GridIron Software has announced
Let the Data Flow
Win • Mac • Linux • Unix Intelligent Light, in
g,
the availability of GridIron Nucleo Pro, designed
co
n
A N A LY S I S
FieldView image courtesy of Intelligent Light. Fluent simulation results
courtesy of Fluent, Inc.
_____________
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________________
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EDITING
entered on the remote control.
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lations. FieldView Parallel capabilities are
m
available for users of multi-CPU/multi-core
In addition, the TLP-X3000U projec-
workstations and HPC server users. FieldView
tor includes composite video and S-video
11.1 will support multi-grid parallel execution
inputs, audio in, and variable audio output
Win • Mac Media 100 revealed plans to sup-
on shared-memory systems of up to four
capabilities. The special monitor-out capabili-
port the new Apple Intel-based Macs. Media 100
Media’s Mac Focus
ties allow users to display and view images on
HD Suite, Media 100 HDe, Media 100 SDe, and
a monitor and screen simultaneously.
Media 100 sw will be qualified for Intel-based
running on Itanium processors. Pricing starts
Toshiba Digital Products; www.toshiba.com
Mac systems in early 2007. The Intel-based Mac
gm
processor cores without modification or fees.
Also new to this release is support for HP-UX
development effort is anticipated to increase
for multi-processor Linux, and single-CPU
the overall performance of the Media 100 sys-
VIDEO CARDS
Windows licenses.
t@
at $2500 for a single-user annual license,
tems, enhancing editing and graphics creation
Intelligent Light; www.ilight.com
processes for Media 100 users. Media 100 also
Diamond Offering
plans to maintain backward compatibility with
qualified PowerPC-based Mac systems.
ar
Diamond Multimedia, a manufacturer of PC
HARDWARE
graphics cards, sound cards, and communica-
Media 100, www.media100.com
m
tions products, has begun shipping three new
versions of its Viper video card line. The new edi-
PROJECTOR
te
tions include the X1950 CrossFireT, X1950XTX
INPUT
with PCI Express, and X1950PRO in an AGP
version. The X1950 high-performance graphics cards produced by Diamond feature the ATI
no
Toshiba Projection
Toshiba’s Digital Products, a division of Toshiba
Sandio Technology’s 3D Mouse
Sandio Technology, a 3D input company,
America Information Systems, Inc., has intro-
Radeon chip. The cards have tested memory
debuted a new advanced version of its 6DOF
duced the TLP-X3000U LCD projector with
speeds of 450MHz faster than the most recent
3D mouse. The 3DeePro is a 3D professional
generation of X1900 cards, to provide an
mouse designed to improve the productiv-
fessionals, educators, corporate trainers, and
immersive experience.
ity of 3D applications. The new version of
The X1950 cards are also equipped with
Sandio’s 3DeePro was developed for profes-
and weighing 6.2 pounds, the TLP-X3000U
the Avivo ATI Technology video and display
sionals who currently use 3D applications,
features Toshiba’s Natural Color Enhancer3
platform, which enables an HD visual experi-
such as Autodesk’s 3ds Max and Maya, and
sharp and vivid. Packaged in a compact form
factor, the projector features XGA 1024x768
resolution and a 400:1 contrast ratio. The TLP-
co
n
(NCE3), which makes presentation colors
ta
small- to midsize businesses. Priced at $1739
ct
3000 ANSI lumens, designed for mobile pro-
ence and allows for universal connectivity to
more. Sandio 3DeePro has been enhanced to
various digital devices, including home-the-
aid users in improving their productivity, using
ater systems, LCD monitors, HD TVs, projec-
the mouse to move along and rotate about x, y,
tors, and notebooks. In addition, the X1950
and z axes. 3DeePro is patent-protected, com-
cards support HDR with full post-processing
patible with 2D and 3D PC applications, intui-
feature: a removable palm-sized control panel
capabilities, including anti-aliasing. The X1950
tive, and priced at $100. Sandio also offers an
on the projector specially designed with a self-
CrossFire and X1950 XTX each ship for the
SDK for the 3D mouse that enables application developers to create new images with “6
tin
g,
X3000U also incorporates a unique security
price of $449.
Diamond Multimedia;
degrees of freedom (6DOF)” movement.
no longer operable unless the password is
www.diamondmultimedia.com
Sandio Technology; www.sandiotech.com
in
assigned password for theft prevention. When
the control panel is removed, the projector is
an
pr
November 2006, Volume 29, Number 11: COMPUTER GRAPHICS WORLD (USPS 665-250) (ISSN-0271-4159) is published monthly
(12 issues) by COP Communications, Inc. Corporate offices: 620 West Elk Avenue, Glendale, CA 91204, Tel: 818-291-1100; FAX:
818-291-1190; Web Address: [email protected].
___________ Periodicals postage paid at Glendale, CA, 91205 & additional mailing offices.
COMPUTER GRAPHICS WORLD is distributed worldwide. Annual subscription prices are $55, USA; $75, Canada & Mexico; $115
International airfreight. To order subscriptions, call 847-559-7310.
rc
le
© 2006 CGW by COP Communications, Inc. All rights reserved. No material may be reprinted without permission. Authorization to photocopy
items for internal or personal use, or the internal or personal use of specific clients, is granted by Computer Graphics World, ISSN-0271-4159,
provided that the appropriate fee is paid directly to Copyright Clearance Center Inc., 222 Rosewood Drive, Danvers, MA 01923 USA 508750-8400. Prior to photocopying items for educational classroom use, please contact Copyright Clearance Center Inc., 222 Rosewood Drive,
Danvers, MA 01923 USA 508-750-8400. For further information check Copyright Clearance Center Inc. online at: www.copyright.com. The
COMPUTER GRAPHICS WORLD fee code for users of the Transactional Reporting Services is 0271-4159/96 $1.00 + .35.
Fo
POSTMASTER: Send change of address form to COMPUTER GRAPHICS WORLD, P.O. Box 3296, Northbrook, IL 60065-3296.
44
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BRAINSTORMS…
IMPOSSIBLE TO PREDICT.
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Dell 19" 1907
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Call: M-F 7a-8p Sat 8a-5p, CT *Pricing/Availability: Pricing, specifications, availability, and terms of offer may change without notice. Taxes, fees, shipping, handling and any applicable restocking charges extra, vary and
are not subject to discount. Offers may be combined with other select offers or discounts. U.S. Dell Small Business new purchases only. LIMIT 5 DISCOUNTED OR PROMOTIONAL ITEMS PER CUSTOMER. In case of customers
leasing under these promotions, please note that items leased will be subject to applicable end-of-lease options or requirements. Dell cannot be responsible for pricing or other errors, and reserves the right to cancel orders
arising from such errors. Adobe Video Collection 2.5 Standard Offer: Offer valid only with purchase of Dell Precision™ 380, 390, 490, 690, M65, M90. Quad-Channel Memory: Quad-channel memory requires 4 each of the
same capacity memory DIMMs. Dell Precision™ 4GB Memory: The total amount of available memory will be less than 4GB. The amount less depends on the actual system configuration. To fully utilize 4GB or more of memory
requires a 64-bit enabled processor and 64-bit operating system. Windows® Vista™ Capable: Based on currently available information from Microsoft. Requirements subject to change. Since the operating system and drivers
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Service may be provided by third party. Technician will be dispatched, if necessary, following phone-based troubleshooting. Subject to parts availability, geographical restrictions and terms of service contract. Service timing
dependent upon time of day call placed to Dell. Leasing: Monthly payment based on 48-month Fair Market Value (“FMV”) QuickLease and does not include taxes, fees, shipping and handlingcharges. Your monthly payment may
vary, depending on your creditworthiness. QuickLease arranged by Dell Financial Services L.P. (“DFS”), an independent entity, to qualified Small Business customers. Minimum transaction size of $500 required. At the end of the
FMV QuickLease, you can: purchase the equipment for the then FMV, renew the lease or return the equipment to DFS. Please contact your DFS representative for further details. All terms subject to credit approval and availability,
and are subject to change without notice. Hard Drive: For hard drives, GB means 1 billion bytes; actual capacity varies with preloaded material and operating environment and will be less. DVD+/-RW: Discs burned with this
drive may not be compatible with some existing drives and players; using DVD+R media provides maximum compatibility. Trademark/Copyright Notices: Dell, the stylized E logo, E-Value, UltraSharp, CompleteCare and Dell
Precision are trademarks of Dell Inc. Intel, Intel logo, Intel Inside, Intel Inside logo, Xeon, Xeon Inside, Intel Core, Core Inside are trademarks or registered trademarks of Intel Corporation or its subsidiaries in the United States
and other countries. Microsoft and Windows are trademarks or registered trademarks of Microsoft Corporation in the United States and/or other countries. Adobe, the Adobe Logo and Acrobat are either registered trademarks
or trademarks of Adobe Systems Incorporated in the United States and/or other countries. ©2006 Dell Inc. All rights reserved.
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11 (November)

Transcription

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