Millimeter - Reviews & Features cameras

B O S T O N
Publication sponsored by
The Magazine for the 33 rd International Conference & Exhibition on Computer Graphics and Interactive Techniques
Summer 2006
www.digitalcontentproducer.com/siggraph_2006
Volume 4 Issue 1
1

ON THE COVER
Art Director Amanda Fletcher captures the diversity and
festival-like atmosphere of SIGGRAPH using a collage of still
images from films shown at this year’s Computer Animation
Festival and wall-hung art pieces displayed in the Art Gallery.
This multi-layered cover image came from the following works:
The Magic Box by Alexander Beim, Rama by Eric Bruneton,
Kungfu Gecko by Nickson Fong, calidri by Brian Evans, Relighting
Human Locomotion by Paul Debevec, E-scape by Masakazu
Takano, and The Fly by Hanjin Song.
FEATURES
12 HANG ON TO YOUR SOCKS! By Michael Mallory
Sure to impress attendees, the 2006 version of the SIGGRAPH Computer
Animation Festival aims to be a discussion for the books—
maybe even the Guiness Book. The goal of the comittee was to bring
a big experience to the crowd, from the overarching tone of humor in
the entries to the biggest Etch-A-Sketch® on earth. Michael Mallory
gets the scoop from Festival Chair Terrence Masson.
22 THE 2006 PAPERS PROGRAM
Sit in on the presentations that shape the SIGGRAPH community
as research results are shared and discussed by leading firms and
institutions. From college campuses to industrial labs, top researchers
give insights into how their technological advancements will
revolutionize the computer graphics industry.
DEPARTMENTS
04 FROM THE CHAIR
06 IN THE GALLERY
06 KEYNOTE
11 EMERGING
TECHNOLOGIES
16 GUERILLA STUDIO
16 POSTERS
16 SKETCHES
18 COURSES
18 ART
RETROSPECTIVE
19 PANELS
19 SPECIAL SESSIONS
20 EXHIBITOR LIST
CONTENTS
www.siggraph.org/s2006
www.digitalcontentproducer.com/siggraph_2006 3
© Pixar

SIGGRAPH SCENE
FROM THE CHAIR
In 2003, after many years of attending SIGGRAPH and seeing the significance
of the show within the CG industry, John Finnegan, associate
professor of computer graphics technology at Purdue University,
decided to become more involved. Three years later, he’s running the
show, spending the past 20 months motivating his committee to develop
a SIGGRAPH like never before.
“I have worked with a lot of groups over the years in putting on large
events,” Finnegan says. “I have to say this group definitely took my call
to action, ‘to be the best SIGGRAPH ever,’ and rose above the challenge.
The time, energy, and talent of every member of the team is simply
phenomenal. I am amazed on a daily basis as to what they brought
to the process and what they delivered.”
Finnegan and his committee focused this year’s show on the essence
words: InterAction and InterFace. And as you trek the halls of the Boston
Convention and Exhibition Center you’ll notice Finnegan’s overall theme
of “INTER-.” “The myriad of ‘inter’ words all include the coming together
of disparate entities to make a whole that is greater than the sum of its
parts,” he notes. “I think this concept is what SIGGRAPH is about.”
So, what exactly did this year’s committee deliver? “Simply the best,”
Finnegan says. “Emerging Technology is bringing cutting edge technology
to the conference. The Computer Animation Festival has scoured
the globe for the finest animations available. In addition to the incredible
submitted Art Gallery content, we worked with The Ohio State University
to add a special ‘Charles Csuri Restrospective,’ the first extensive
exhibition of his work, providing an historic look at CG and animation.”
Finnegan also notes that this year’s job fair is expanded, providing
more options to job-seekers than ever before. Plus, the exhibit floor
features many first-time exhibitors, broadening the already significant
gathering of CG hardware and software companies from around the
world. “It’s the one place you can go and get all your [technology] questions
answered.”
SIGGRAPH 2006 returns to the East Coast after many years away.
Finnegan found that Boston not only acts as a great venue for the conference,
but also presents attendees with great opportunities away
from the show. “Boston is a great family city, so attendees can not only
attend the premier CG conference, but they can bring their families and
experience the rich history, the cutting edge technology, some of the
world’s best museums, and much more.”
No matter what attendees seek at SIGGRAPH 2006, Finnegan affirms,
“I don’t think anyone will be disappointed.” As with years past, the show
is bound to be a hit. And it just might live up to Finnegan’s call to be the
best ever. Welcome to Boston! Enjoy the conference and exhibition!
SIGGRAPH 2006 COMMITTEE
SIGGRAPH 2006 was made possible by the
dedication of the following individuals and others
who invested their time, expertise, intellectual
curiosity, and enduring faith in CG.
SIGGRAPH 2006
Conference Chair
John Finnegan, Purdue University
Art Gallery
Bonnie Mitchell, Bowling Green State University
Computer Animation Festival
Terrence Masson, Digital Fauxtography, Inc.
Courses
Dave Shreiner
Educators Program/
Teapot Exhibit
Marc Barr, Middle Tennessee State University
Emerging Technologies
Tom Craven
GraphicsNet
David Spoelstra, MediaMachine
Guerilla Studio
Kimberly Voigt, Temple University, Tyler
School of Art
International Resources
Kirsten Cater, University of Bristol
Panels
David (grue) Debry, Electronic Arts
Papers
Julie Dorsey, Yale University
Research Posters
Mike McGrath
Sketches
Hanspeter Pfister, Mitsubishi Electric
Research Laboratories (MERL)
Special Sessions
Josh Strickon, New York Times Company
Student Volunteers
Jaime Radwan
Outreach
Scott Lang, Bergen County Academies
Lynn Pocock, New York Institute of Technology
Pathfinders
Lou Harrison, North Carolina State University
Development Donations
Coordinator
Pete Braccio, Monterey Bay Aquarium
Research Institute
Student Mentoring
Jacquelyn Martino, Massachusetts Institute
of Technology
4 SIGGRAPH 2006 Magazine presented by Millimeter and Digital Content Producer

SIGGRAPH SCENE
IN THE GALLERY
Chair: Bonnie Mitchell, Bowling Green State University
The Art Gallery at SIGGRAPH always provides a thought-provoking and barrier-breaking perspective on the contemporary
arts. This year’s theme, Intersections, allows attendees to explore scores of 2D, 3D, and 4D wall pieces, as well as sound
art, installation art, art animations, and screen-based work created around the globe. Says Art Gallery Chair Bonnie Mitchell,
“The breadth and depth of [this year’s] content is staggering and should leave attendees breathless.”
ART GALLERY OF SPECIAL FEATURES
In addition to the exhibits, the Art Gallery will offer
these special features:
Art Papers: Seven in-depth presentations on a
variety of topics ranging from “New Media, New
Craft?” to “Drunk on Technology, Waiting for the
Hangover.”
Art Panels: Four panels offer attendees a chance
to hear and share opinions on cutting-edge topics
like “Generative and Genetic Art” and “New
Interactions: Communities and Information.”
Electronically Mediated Performances: 15
hybrid forms of dance, theater, music, and art are
presented by groups from around the world—including
two off-stage performances throughout
Boston using digital technology and projections.
KEYNOTE ADDRESS
Joe Rhode, executive designer
and vice president of Walt Disney
Imagineering
Monday, July 31
1:15 p.m. - 3:15 p.m., Hall C
Currently in charge of design and development
of the Animal Kingdom at Florida’s Walt
Disney Resort, avid adventurer Joe Rhode has
trekked across the planet documenting its remarkable
biodiversity. Listen to Rhode discuss
the conception of Animal Kingdom, as well as
his focus on conserving authentic environments
and traditions while creating an interactive
storytelling experience.
Media Mirror by Jefferson H. Yan
An interactive video installation continuously arranges small “mosaic” snippets
of over 200 live cable TV channels, mirroring the person standing in
front of the camera lens.
biome 001 by Vicky Isley and Paul Smith
Utilizing virtual space, beyond the reaches of the frame, the biome creates
a dynamic world extending up to a mile in radius. In this space, machines
inspired by sea creatures live and behave in ways generated by a general
set of rules.
Morpho Tower/Spiral Swirl by Sachiko Kodama
This continually evolving sculpture responds to sounds in its environment,
which causes the shape and textures of the piece to alternate between the
iron core of the structure and a varying form produced by a covering of
soft, flowing fluids.
Addictive TV: Eye of the Pilot by Franciose Lamy
Guitarist Alejandro de Valero takes part with many other audio/video artists
to create this live cinema performance, remixing the personal archive of
French pilot Raymond Lamy.
Krakow: a woven story of memory and erasure
by Joanna Berzowska
Illustrating the artist’s memories of Poland, this electronic Jacquard
weaving uses thermochromic inks to change conductive yarns from black to
transparent—showing populations displaced and memories fading over time.
6 SIGGRAPH 2006 Magazine presented by Millimeter and Digital Content Producer

EMERGING TECHNOLOGIES
Chair: Tom Craven, recently retired from the Walt Disney Company
SIGGRAPH SCENE
Unique, eclectic, and diverse—these words symbolize this year’s offerings in the Emerging Technologies venue. The jury
selected a wide variety of creative technology to include advancements defined as either small steps or large strides, showcasing
the pivotal importance of all types of innovation. New to this year’s space is the “Fusion Midway,” which will be located
between Emerging Technologies and the Art Gallery. “Many of these exhibits are interactive and just plain fun,” says Emerging
Technologies Chair Tom Craven. “They’ll give attendees the challenge of deciding whether it is art or technology.”
Forehead Retina System
Hiroyuki Kajimoto, University of Tokyo
Using advancements from the SmartTouch system exhibited at SIGGRAPH
2003, the Forehead Retina System gives sight to the visually impaired. A
headband with a built-in camera converts frontal view data into vision
through the tactile electrical stimulation of 512 incorporated electrodes. The
project strives to create an inexpensive and unobtrusive system that gives
rich, dynamic 2D information to the blind.
True 3D Display Using Laser Plasma in Air
Hidei Kimura, Burton Inc.
This is the first successful attempt to display “true 3D images,” out of thin
air, using laser plasma technology. Constructed with a breakthrough plasma
emission phenomenon, real 3D images are created within X, Y, and Z axes
by focusing laser light on dot arrays in the air. Eventually this project seeks to
serve laser-produced characters for entertainment, emergency information,
or advertising in the sky.
Virtual Open Heart Surgery
Thomas Sangild Sorenson, Centre for Advanced Visualisation and
Interaction, University of Aarhus, Denmark
This year, attendees can test their operation skills by attempting to close a
ventricular septal defect of the heart using a new training tool. Devised to
help surgeons learn their way around complex open-heart surgeries, 3D
MRI data mixed with graphical settings (to represent a surgical environment)
provide morphologically accurate replicas of deformed hearts. The
GPU that runs the simulation supports elastic tissue movements including
grabbing, cutting, and suturing with haptic feedback.
bubble cosmos
Hideyuki Ando, NTT Communication
Science Laboratories
Opening the door for an entirely new advertising
venue, the bubble cosmos system displays computer
graphic images on smoke contained inside
real bubbles. At a system-determined interval, the
bubbles either disappear or burst, emitting an unexpected,
exploding sound effect.
High Resolution, Real-Time-
Geometry Video Acquisition
System
Song Zhang, Harvard University
This innovative new system introduces a video
acquisition method that allows real captured video
footage to be used in animation immediately.
With an acquisition speed of 90fps and 266,000
points per frame, the system brings the idea of
coordinating 3D objects pixel by pixel, in realtime,
to life via highly efficient and robust software
algorithms.
www.digitalcontentproducer.com/siggraph_2006 11

© Pixar
TOP LEFT: Have an inner body experience during an excerpt from John
Liebler’s film entitled The Inner Life of the Cell.
TOP RIGHT: Framestore CFC gives you an up-close look at pre-history
exposing dinosaurs like never before, detailing creatures all the way
down to their dilating pupils in Walking With Monsters.
BOTTOM: Pixar Animation Studios toots its horn with One Man Band,
which debuted as a short during the showtimes of its most recent feature
Cars.
OPPOSITE PAGE TOP: The devil has grown more
portly and less viscious in his old age, to the point he
decides to leave his kingdom of fire to extinguish his
burning heart in My Date from Hell.
OPPOSITE PAGE BOTTOM: Psyop puts musician
Sheryl Crow in a whole new world in its Animation
Theater entry Good is Good.
12 SIGGRAPH 2006 Magazine presented by Millimeter and Digital Content Producer

Hang Onto Your Socks!
The SIGGRAPH 2006 Computer Animation Festival
By Michael Mallory
“
The simple fact of recordbreaking
submissions has
pushed the quality of the
content to an all-time high.”
Terrence Masson, Computer Animation Festival Chair
Don’t expect the medium to be the whole message
at the SIGGRAPH 2006 Computer Animation
Festival, which is taking place in the spanking-new
Boston Convention and Exhibition Center, July 30
to Aug. 3. The medium will certainly be there in all
its state-of-the-art digital glory, but the message,
according to Computer Animation Festival Chair
Terrence Masson, is going to be, “Hang onto your
socks and prepare to get blown away.”
Masson, the founder of Digital Fauxtography Inc.,
has masterminded—even micro-managed—things
with the calculation of injecting humorous and
passionate pieces into the show. “We have approached
2006 very aggressively to make certain
that SIGGRAPH continues to be the premier event
to showcase the best work in computer graphics
and animation. The simple fact of record-breaking
submissions has pushed the quality of the content
to an all-time high,” Masson says.
A key element to this year’s eye-popping experience
will be the use of Sony SRX-R110 4K digital
cinema projector on the large-format main screen
of the Electronic Theater, sonically augmented
with a JBL 5.1 surround sound system. Masson
www.digitalcontentproducer.com/siggraph_2006 13

has even designed the customized seating for
2,500 viewers in the convention center’s Grand
Ballroom, and promises, “There won’t be a bad
seat in the house.”
But that’s not all. The pre-show for the Electronic
Theater will consist of the world’s largest Etch-A-
Sketch®, oficially endorsed by Ohio Arts, which
will be digitally projected onto a 35ft. by 25ft.
screen and controlled by the audience through
interactive wands. And yes, the Guinness Book
people have been alerted.
Of course, the greatest venue in the world does
not mean much if the content is not equally great,
and Masson feels that he has that base covered
as well. SIGGRAPH 2006 received a total of 726
submissions this year for the Computer Animation
Festival, up more than 125 from the 2005 event.
From that total, 97 films were selected for exhibition—some
from such far-flung places as Syria
and Iran. 458nm, a student film from Germany’s
Filmakademie Baden-Württemberg, directed
by Jan Bitzer, Ilija Brunck, and Tom Weber, was
awarded Special Jury Honors. An American entry,
Best of Show: Charlex’s One Rat Short
Most filmmakers employ rats when they want to
disgust the audience. Those at the Manhattanbased
Charlex, however, are using them to move
the audience.
One Rat Short, the 2006 SIGGRAPH Computer
Animation Festival Best of Show, is a startlingly
evocative and effective love story between a gutter
rat and a white lab rat. It is also the Emmy-winning
commercial shop’s first longer-form narrative film,
and came about as a recruiting tool, according to
writer/director Alex Weil, also Charlex’s founder
and creative director.
“I was competing with people who do features and
entertainment work, so if I wanted to get talent in
here I would have to do something besides commercials
that had an edge to it,” Weil says. Starting
out with a more comedic tone, the project’s look
evolved into a much more gritty, high-contrast,
hand-held one that juxtaposes grim mean streets
with a starkly futuristic research lab.
by Michael Mallory
And turning photorealistic rats into convincing romantic leads was no easy
task. “So much of it had to do with how we shot them, how we staged the
scene,” says lead animator Pat Porter. “All of the parts—the music, the lighting,
the staging—came together to let their emotions come through.” Some
artfully acted head movements and a lot of restraint also helped.
“The first few passes, we did a lot with the faces, but it looked cartoony,”
adds lead animator Tony Tabtong. “We found if we held back, we could get
a lot more emotion out of it.”
The team used both Autodesk Maya 6 and 7 to animate and Mental Ray for
the rendering, as well as many proprietary tweaks, notably shaders. While
changing software versions mid-stream is never recommended, the film’s
producer and art director Bryan Godwin notes, “There were numerous advancements
in the export technology and hooks for Mental Ray in version 7
that were worth going through the torture of upgrading.”
The SIGGRAPH Best of Show award is just the first stop on the Festival trail
for One Rat Short, which might ultimately lead to long-form film production,
according to executive producer Chris Byrnes. “I don’t say it lightly, but we
feel we know we can do an independent feature film,” Byrnes says. “We have
the talent and the crew, and we learned enough.”
14 SIGGRAPH 2006 Magazine presented by Millimeter and Digital Content Producer

Exemplifying exceptional
skills in creature animation,
Framestore CFC’s
work on the underwater
scenes and merpeople
in Harry Potter and the
Goblet of Fire is included
in this year’s Animation
Theater.
One Rat Short, directed by Alex Weil and produced at the New York-based
commercial house Charlex, was honored with Best of Show (see sidebar).
Masson traces the increase in the number of entries this year to a deliberate
outreach effort from him and his eight handpicked Computer Animation Festival
judges: Iota Center’s Larry Cuba, Pixar’s Bill Polson, Sprite Animation
Studio’s Moto Sakakibara, University of Toronto’s Jodie Jenkinson, Industrial
Light and Magic’s Ed Kramer, Newtonic’s Glenn Robbins, Filmakademie’s
Thomas Haegele, and Dan Krech, founder of DKP. “I wanted to pick folks
who were very aggressively outgoing in their respective areas,” Masson
says, “and I stressed the point from day one that they should each go out
and proactively say to people, ‘You know, I saw your thing online,’ or, ‘I saw
this film at a convention,’ or, ‘I know you’re doing this, because my buddy’s
at your company, and you should really submit this to SIGGRAPH.’”
Jurors were also selected for their specialties within the CG world and their
international perspectives, not to mention their experience. In fact, all the
judges can be regarded as true veterans—some, even pioneers—of this
still-young industry. “The combined years of hardcore computer graphics
production of the jury, plus that of myself, is something like 220 years,” Masson
notes.
The end result, he promises, is an overall viewing experience with no weak
links. The Electronic Theater program traditionally offers a two-hour exhibition
of the crème de la crème, which is then augmented by the programming
in the Animation Theaters. According to Masson, the quality and overall
entertainment factor is equally balanced in the Electronic and Animation
theaters based mainly on the incredible submissions and dedicated effort
of the jury. “People will be blown away by the quality in both theaters,” says
Masson. “Our humble goal has always been to push beyond all past expectations
of the Computer Animation Festival and set the bar even higher for
future pieces.” The Electronic Theater main venue will screen 37 films, while
the Animation Theater venues will show 60.
Out of the total number of entries, 38 were student works, but they were not
categorized in such a way for the judging. “I removed that [student] designation
for the jury so that an individual student film from Des Moines, Iowa, was
judged with the same criteria as ILM’s effects reel,” Masson says. And how
did the student films rate? Some knocked the jury’s proverbial socks off, he
says—particularly those from Europe.
“The international students, frankly, far and away
blew away the North American students across
the board in terms of quality, creativity, originality,
story, character animation, visual effects, aesthetics—everything,”
Masson states. “Probably eight
or nine out of 10 student works didn’t make it to
the second round [of judging].” Masson did add
that there were some surprising successes from
unexpected North American schools including
Brigham Young University, which is represented in
the Animation Theater with the short Petshop.
Of the European schools, France’s Gobelins
L’Ecole de L’Image and Germany’s Filmakademie
made the most impressive showing with five and
three pieces, respectively, accepted into the exhibition
(including the Special Jury Award winner
458nm, which Masson describes as “absolutely
brilliant”). Masson also says that commercials
were a hot source of quality digital work this year—
more so than the big tent-pole feature films. “We
turned down most of the work submitted by the big
major effects and animation companies, because
the quality has been so high for so long, we’ve just
seen it all,” Masson says.
Having said that, though, Electronic Theater attendees
will see two how-we-did-it clips from King
Kong, courtesy of New Zealand’s Weta Digital,
and get a peak at Monster House: There Goes the
Neighborhood and Open Season: Separating the
Trees From the Forest, both from Sony Pictures
Imageworks, as well as One Man Band, the new
Pixar movie. Animation Theater attendees, meanwhile,
will revisit Hogwarts through a clip from
Harry Potter and the Goblet of Fire, featuring work
from Britain’s Framestore CFC, which has four
other pieces in the show. But Narnia will go unchronicled,
Batman won’t begin, and Willie Wonka
has already been retired.
So what was the jury looking for? Masson breaks
this year’s criteria down into three critical areas:
story, animation and aesthetics, and the overall
look of a film. Oh, and humor—lots and lots of humor.
“One thing I really wanted to come through on
this show was wacky, slapstick, outrageous, overthe-top,
funny stuff,” Masson says. “Everybody
that I picked as a juror mirrored my personality
in that way: They were very outgoing, gregarious,
funny people.”
OK, so this year’s Best of Show, One Rat Short, is
not exactly Tom and Jerry in terms of anvils and
pratfalls, even if it does feature more genuine emotion
than you’re apt to find in Poseidon or MI:3. All
that means is that the SIGGRAPH 2006 Computer
Animation Festival is bound to contain a wealth of
unpredictable delights.
www.digitalcontentproducer.com/siggraph_2006 15

SIGGRAPH SCENE
GUERILLA STUDIO
Chair: Kimberly Voigt, Temple University, Tyler School of Art
The Guerilla Studio always brings a dynamic, creative energy to SIGGRAPH. This year is no different, engaging attendees
with a broad range of interactive explorations and workshops. Overall themes for this year’s studio are Collaboration, Creative
Excellence, Exploration, Education, Synergy, and Serendipity.
The 2006 Guerilla Studio included an official Call
for Participation, accepting five artist projects and
two educational workshops, with several others
curated into the program. Attendees can expect to
learn about topics similar to past years with exhibits
on large format 2D printing, 3D printing, 3D laser
scanning, creative sessions, international collaborative
projects, and more. However, this year
adds a rejuvenating mind/body exploration from
performance/technology artist Heather Raikes’ onsite
project “Soma: Physical Media Meditation.”
Not only will Guerilla Studio draw attention at SIG-
GRAPH, but it also has plans to cultivate even
greater attendee participation. Chairperson Kim
Voigt suggests to visit www.siggraph.org/s2006
often for the latest updates on all the Guerilla Studio
has to offer.
On-site, Collaborative Artist Projects:
Enter the Graffiti Research Lab James Powderly
and Evan Roth, New York City’s Eyebeam studio
The Iterated 69 Sessions Marjan Moghaddam,
Flavia Sparacino, Adam Caine, Michael
Iannantuono, and Richard Hagen
RESEARCH POSTERS
Chair: Mike McGrath
The Research Posters and Student Research Competition (SRC) returns to SIGGRAPH
for its third year. Continuing its popularity, the committee expects more than 180 posters
in this year’s showcase, chosen from an anticipated 200 entries.
The Posters present important incremental, preliminary, partial, and innovative insights
that may not embody a complete paper on their own. Selected entries are hung, in
poster form, in a prominent area of the SIGGRAPH conference.
Accounting for all phases of research, the program provides a presentation opportunity
for smaller projects, or projects still in their infancy. This gives researchers a dynamic
venue to discuss and exchange ideas, as well as provide feedback and critical examination.
Additionally, it gives students the ability to get their ideas injected into the
research field through financial support of the SRC program.
SRC is a program established by ACM (sponsors of SIGGRAPH 2006) and is financed
with the help of Microsoft Research. Last year, 50 student researchers submitted posters
to SIGGRAPH, with half making the cut. At the show, a panel reviews the students
work and provides additional funding to three winners.
“The part that excites me most as an educator is the excitement these young researchers
exhibit in presenting their results,” says Posters Chair Mike McGrath. “[The students]
are excited about the opportunity to present at SIGGRAPH and are hungry for
feedback. These young folks are the future.”
Recontextualize your Online Avatar with OGLE (Open GLExtractor) and a
3D printer or Google Earth Michael Frumin, New York City’s Eyebeam Art
and Technology Center
Painterly Rendering with Designed Imperfection Jin Wan Park, Producer/
Director from Chung-Ang University
Interactive Holographic Window
3D Photographing, Printing, and Texturing of SIGGRAPH Attendees
Flavia Sparacino from the MIT Media Lab
Educational Workshops:
Soft Computation and Physical Interaction Workshop Joanna Berzowska,
founder of XS Labs, and Marcelo Coelho from Concordia University
Podcasting Workshops Cynthia Beth Rubin, Colette Gaiter, Copper Giloth,
and Jim Demmers
Interactive Documentary Workshop Steve Anderson and Holly Willis,
University of Southern California; Eric Gordon and Erin O’Brien, Emerson
College
Photoshop Sessions (all levels) Steven Burns, author and president of the
San Diego Photoshop Users Group
For more information visit the SIGGRAPH site at www.siggraph.org/s2006.
ON DISPLAY JULY 30 - AUG. 3
SKETCHES
Chair: Hanspeter Pfister, Mitsubishi Electric
Research Laboratories
This year’s Sketches program includes
132 selectively chosen presentations
from a record-breaking 580 submissions.
The 20-minute Sketches cover a
broad spectrum of topics in art, design,
science, and engineering—providing
provocative speculation, academic research,
industrial development, practical
tools, and behind-the-scenes
explanations of both commercial and
artistic works.
Sketches of interest include presentations
about the special effects used in
Ice Age: The Melt Down, Cars, Over the
Hedge, Pirates of the Caribbean 2, and
Poseidon. But, the 2006 offering will
run the gamut, from showing the facial
animation capture and expressive
translation system used for King Kong
to quirkier pieces, such as a presentation
about a computer game that integrates
human-pet interaction.
16 SIGGRAPH 2006 Magazine presented by Millimeter and Digital Content Producer

CHARLES A. CSURI
•
•
•
•
•
SIGGRAPH SCENE
COURSES
Chair: Dave Shreiner
Attendees to this year’s courses will find themselves immersed in a richly concentrated learning environment for current
initiatives in the computer graphics industry. From production pipelines, content creation, and rendering to research and
programming, everyone will be able to find a course that fits their interests. Courses Chair Dave Shreiner has lined up some of
the industry’s best to share techniques and ideas, discussing not only projects of yesterday, but even projects in production
today (without giving away key secrets, of course).
A team from Sony Pictures Imageworks will
give a detailed look of how a group of digital
animators can work directly with traditional
storytellers and artists to create an animated
feature in “The Art of Open Season: Traditional
2D Styling With Today’s Bells and Whistles.”
Sunday, Jul. 30, 8:30 a.m.
Brad Hiebert and his Rhythm & Hues Studios
cohorts discuss new workflows, new procedures,
proprietary software, and more in “The
Chronicles of Narnia: The Lion, The Crowds,
and Rhythm & Hues.” Sunday, Jul. 30, 1:45 p.m.
Ramesh Raskar of Mitsubishi Electric Research
Laboratories goes over manipulation
techniques used in creating pictures for CG
and extracting scene properties in “Computational
Photography.” Monday, Jul. 31, 8:30 a.m.
Pamela Kleibrink Thompson of Ideas To Go
exhibits and discusses tools for getting work in
the computer graphics field during “Résumés
and Demo Reels: If Yours Aren’t Working, Neither
are You!” Monday, Jul. 31, 3:45 p.m.
Walt Disney Feature Animation’s Rudy Cortes
gives detailed insight into RISpec in the
three-part course “RenderMan for Everyone.”
Tuesday, Aug. 1, 8:30 a.m.
SIGGRAPH 2006 celebrates computer graphics
innovator Charles A. Csuri with an art retrospective
exhibiting pieces from his first experiments
in computer graphics to his works of today. Csuri
is recognized as the father of digital art and
computer animation by Smithsonian Magazine,
and the Museum of Modern Art considers him the
leading pioneer of computer animation.
•
•
Ted Burge of Walt Disney Feature Animation assembles four screenwriting
gurus to look at story structure, believable characters, and creating
emotional connections with your audience in “The Art of Story Telling.”
Tuesday, Aug. 1, 8:30 a.m.
Fred Pighin of Industrial Light & Magic has organized a discussion on
the current innovations in mo-cap, modeling, and cross-tracking during
“Performance-Driven Facial Animation.” Wednesday, Aug. 2, 8:30 a.m.
BEYOND BOUNDARIES: CSURI RETROSPECTIVE
Since creating some of the first digital art in 1963, Csuri has led the digital
art and animation industry as co-founder of one of the world’s first animation
production companies, Cranston/Csuri Productions, and has directed
various programs dedicated to the research and development of computer
graphics and animation. Csuri’s former students and assistants have put
their acquired knowledge and skills to practice at Pixar, Industrial Light &
Magic, REZN8, Rhythm and Hues, BlueSky Productions, and Walt Disney
Productions. Their credits can be found on films such as Star Wars, Terminator
2, Lawnmower Man, Jurassic Park, Casper, Ice Age, and Toy Story.
The exhibition includes some of Csuri’s earliest work, “After Cezanne” and
“Sinescape,” which he created in the 1960s. A number of large-scale digital
images, “Brick Landscape,” “Golden Mask,” and “Venus in the Garden” will
also be on display. Csuri’s work has evolved with advances in technology,
but remains true to his vision. His surrealist and abstract artwork continues
to utilize one of his original concepts, the Infinite Art Object, incorporating
mathematical techniques to generate the infinite viewpoints of 3D images.
18 SIGGRAPH 2006 Magazine presented by Millimeter and Digital Content Producer
NARNIA © DISNEY/WALDEN

PANELS
Chair: David (grue) Debry, Electronic Arts
SIGGRAPH SCENE
Get right in the middle of discussions and debates over industry hot topics at the 2006 Panels. This year’s sessions revolve
around the theme of legal limitations within the computer graphics industry, discussing the ethical boundaries of image manipulation
in film, magazines, and journalism. “The SIGGRAPH community is at an interesting point in time,” says Panels Chair David
(grue) Debry. “For 33 years, SIGGRAPH has been influential in technological and artistic progress in computer graphics. Now
that this medium is so widespread, we’re starting to face questions not just of innovation, but of ethics and responsibility.”
Digital Rights, Digital Restrictions
Mon., Jul. 31, 3:45 - 5:30 p.m.
With increasing bandwidth and accelerating speeds on the Internet, the
world population can disperse and deliver large amounts of digital information
almost instantly. Today’s entertainment corporations attempt to curb
piracy through legal means via the Digital Millennium Copyright Act (DMCA).
Collaboration between studios and hardware or software companies has
created products that limit the way audio and video files can be used and
shared. Should these collaborations be legal? Is forcing all users to purchase
or upgrade to certain digitally rights managed hardware a fair move?
Panelists - Robert Ryang of P.S. 260; Karen Sandler of Software Freedom
Law Center; Mitch Singer of Sony Pictures Entertainment; Emru Townsend
of FPS Magazine
So You Want to Create Content: Licenses,
Copyrights, and Other Things to Think About
Tue., Aug. 1, 1:45 - 3:30 p.m.
Over the years, licensing generated content has gone from deciding between
open and proprietary licenses, to deciding between “free as in beer” or “free
as in speech,” up to today’s multitude of schemes devised for copyrighting
and licensing—most differing on what’s protected and what’s not. Why do
we need so many schemes? Why are we creating even more schemes, notably
the GPL version 3? What’s left out of today’s schemes that tomorrow’s
will cover? As creators, what are our biggest concerns in licensing to protect
our wealth? Panelists - Andy Luckey of Greater Family, LLC; Gary Morris of
Kenyon & Kenyon, LLP; Gregory Silberman of Kaye Scholer, LLP
Ethics in Image Manipulation
Tue., Aug. 1, 3:45 - 5:30 p.m.
Some of the new graphics technology developed and presented by the SIG-
GRAPH community has found its way into certain image infringements. Most
notable are Time Magazine’s doctoring of O.J. Simpson’s mug shot, the digital
duplication of soldiers at a George W. Bush campaign rally in 2004, and
CBS digitally replacing the NBC logo on the Times Square Jumbotron during
the 2000 New Year’s celebration. Our community takes credit for these
amazing technologies, should we also take responsibility? When is image
manipulation appropriate? How should the SIGGRAPH community respond
to the unethical applications we have created? Panelists - Kathryn Carlson of
Fluid Effect; Brian DeLevie from the University of Colorado at Denver; Aude
Oliva from the Massachusetts Institute of Technology
Is a Career in Computer Graphics Possible?
Tue., Aug. 1, 10:30 a.m. - 12:15 p.m.
Wed., Aug. 2, 3:45 - 5:30 p.m.
This two-part series looks at the internal and external hurdles faced by those
attempting to break into the industry. Part 1 focuses on the skills and training
of individuals from schooling and company training, alike. What skill sets
are most valuable? Is it better to be a generalist or a specialist? Are there
strategies to avoiding obsolescence? Part 2 revolves around dedication and
expectations of employees. Can companies stay profitable while avoiding
massive overtime? Should we just learn to live with serious stress and eventual
burnout? Panelists (Part 1) - Chryssa Cooke from Ex’pression College
for Digital Arts; Greg Maloney of Industrial Light & Magic; Ken Maruyama of
Sony Pictures Imageworks; (Part 2) - Jenny Fulle of Sony Pictures Imageworks;
Kevin Koch of The Animation Guild, IATSE Local 839; Henry LaBounta
of Electronic Arts
SPECIAL SESSIONS
Chair: Josh Strickon,
New York Times Company
Sure to be a highlight in Boston are this
year’s Special Sessions. Chairperson Josh
Strickon decided early on that his sessions,
although fewer in number, would be grander
in scheme. Sessions were designed around
specific themes and will not only focus on the
film industry, but also reflect the balance of
SIGGRAPH as a whole, including art, sci-viz,
and design.
“While the expectation of the community may
have been to see a Pixar Cars session,” Strickon
says, “I took it one step further to create
a session that will include not only work from
Pixar, but also real car designers.”
Concepts of the other three sessions include a
performance session tied to the art community,
an oceanography session targeting the
sci-viz sector, and a voice talent session for
the film industry. But, all sessions are sure to
have appeal to general audiences.
Plugged In: Creating Emotional Responses
Through the Use of Entertainment
Technology and Live Performance
Monday, Jul. 31, 4:45-6:45 p.m.
Vrooom Vrooom: SIGGRAPH at 500
Horsepower
Tuesday, Aug. 1, 4:45-6:45 p.m.
20,000 Bits Under the Sea: How Robotics,
Visualization, and Scientific Computing are
Changing the Way We Explore, Discover,
and Understand our Oceans
Wednesday, Aug. 2, 1:45-3:45 p.m.
Sounding Off: How Voice Talents Bring
Characters to Life in CG Film
Wednesday, Aug. 2, 4:45-6:45 p.m.
www.digitalcontentproducer.com/siggraph_2006 19

EXHIBITOR LIST
Below is a sampling of the more than 250 exhibitors—a SIGGRAPH record—displaying technology and services on the floor
of the Boston Convention & Exhibition Center. For a complete list visit www.siggraph.org/s2006. (List as of 6/23/06)
1 Beyond . . . . . . . . . . . . . . . . . . . . . . . . 206
2d3 Ltd. . . . . . . . . . . . . . . . . . . . . . . . . . 129
3D Consortium . . . . . . . . . . . . . . . . . . . 120
3D Systems . . . . . . . . . . . . . . . . . . . . 1400
3D Training Institute . . . . . . . . . . . . . . 2302
3Dconnexion . . . . . . . . . . . . . . . . . . . 2306
3dMD/3Q . . . . . . . . . . . . . . . . . . . . . . 2303
5DT (5th Dimension Technologies . . . . 429
Academy of Art University . . . . . . . . . 1723
Act-3D, B.V. . . . . . . . . . . . . . . . . . . . . . 2523
Adobe Systems Incorporated . . . . . . 2006
AJA Video Systems . . . . . . . . . . . . . . 1031
Akasaka Natural Vision
Research Center . . . . . . . . . . . . . . . 608
AMAX Information Technologies . . . . . 930
AMD . . . . . . . . . . . . . . . . . . . . . . . . . . . 806
American Paper Optics . . . . . . . . . . . . 404
Anark Corporation . . . . . . . . . . . . . . . 2030
Andersson Technologies . . . . . . . . . . . 113
Animation Magazine . . . . . . . . . . . . . . 2208
Anthro Corporation . . . . . . . . . . . . . . . 2414
Anzovin Studio . . . . . . . . . . . . . . . . . . . 530
ARTVPS . . . . . . . . . . . . . . . . . . . . . . . 2514
ASC-American Cinematographer . . . . 115
ATI Technologies . . . . . . . . . . . . . . . . 1513
auto.des.sys . . . . . . . . . . . . . . . . . . . . . 819
Autodesk . . . . . . . . . . . . . . . . . . . . . . . 1706
Avid Technology . . . . . . . . . . . . . . . . . 1713
Axceleon . . . . . . . . . . . . . . . . . . . . . . . . 430
B&H Photo-Video . . . . . . . . . . . . . . . . . 729
Ballistic Media Pty. . . . . . . . . . . . . . . . . 406
Barco . . . . . . . . . . . . . . . . . . . . . . . . . . 219
Beijing ZhongShiDian
Digital Technology . . . . . . . . . . . . . . 116
BlueSky Studios . . . . . . . . . . . . . . . . . . 623
BigStockPhotos.com
BlueArc Corporation . . . . . . . . . . . . . 2226
BlueBoxME . . . . . . . . . . . . . . . . . . . . . 2624
Boris FX . . . . . . . . . . . . . . . . . . . . . . . 2525
BOXX Technologies . . . . . . . . . . . . . . 1523
BrightSide Technologies . . . . . . . . . . . 209
CADD Edge . . . . . . . . . . . . . . . . . . . . . . 830
CalDigit . . . . . . . . . . . . . . . . . . . . . . . . . 329
Caligari Corporation . . . . . . . . . . . . . . 2426
cebas Computer GmbH . . . . . . . . . . . 1701
Center for Computation &
Technology at Louisiana
State University . . . . . . . . . . . . . . . 2506
Ciara Technologies . . . . . . . . . . . . . . . . 815
Ciprico . . . . . . . . . . . . . . . . . . . . . . . . 2131
CMG-Collaborative Media Group . . . . 130
Cogswell Polytechnical College . . . . . 222
Computer Graphics World . . . . . . . . . 2219
Corel Corporation . . . . . . . . . . . . . . . . . 303
Cosmic Blobs/SolidWorks . . . . . . . . . . 314
Craft Animations and
Entertainment AB . . . . . . . . . . . . . 2613
Create Magazine . . . . . . . . . . . . . . . . . 119
Cycling ‘74 . . . . . . . . . . . . . . . . . . . . . 2508
DataDirect Networks . . . . . . . . . . . . . 2620
DAZ Productions . . . . . . . . . . . . . . . . 2400
DigiPen Institute of Technology . . . . . . 131
Digital Artist Management. . . . . . . . . . 416
Digital Content Producer Magazine . . 508
Digital Domain/D2 Software. . . . . . . . . 416
Digital Media Arts College . . . . . . . . . . 216
Digital Media Professionals . . . . . . . . . 409
Digital-Tutors . . . . . . . . . . . . . . . . . . . 2616
Drexel University . . . . . . . . . . . . . . . . 2129
DVS Digital Video . . . . . . . . . . . . . . . . 2119
e frontier . . . . . . . . . . . . . . . . . . . . . . . 2211
e-on software . . . . . . . . . . . . . . . . . . . 1828
Electronic Arts . . . . . . . . . . . . . . . . . . 1530
EON Reality . . . . . . . . . . . . . . . . . . . . 2417
eyeon Software . . . . . . . . . . . . . . . . . . 2206
FiatLux/KGT . . . . . . . . . . . . . . . . . . . . 2424
Florida Interactive Entertainment
Academy . . . . . . . . . . . . . . . . . . . . . 211
Fork Particle . . . . . . . . . . . . . . . . . . . . . 403
Frantic Films . . . . . . . . . . . . . . . . . . . . . 331
GenArts . . . . . . . . . . . . . . . . . . . . . . . . 1700
Genesis Microchip . . . . . . . . . . . . . . . . 123
Gibbs College . . . . . . . . . . . . . . . . . . . . 207
Google . . . . . . . . . . . . . . . . . . . . . . . . . 226
Great Eastern Technology . . . . . . . . . . 215
Hash . . . . . . . . . . . . . . . . . . . . . . . . . . 2223
Hewlett Packard . . . . . . . . . . . . . . . . . 1203
Hotronic . . . . . . . . . . . . . . . . . . . . . . . . 827
I-CubeX . . . . . . . . . . . . . . . . . . . . . . . . 2518
IBM . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
IdN Magazine . . . . . . . . . . . . . . . . . . . . 417
IDT Entertainment . . . . . . . . . . . . . . . 2011
Illuminate Labs . . . . . . . . . . . . . . . . . . . 617
Immersion Corporation . . . . . . . . . . . 1211
Immersive Media . . . . . . . . . . . . . . . . 2308
InSpeck . . . . . . . . . . . . . . . . . . . . . . . . 2028
IntegrityWare . . . . . . . . . . . . . . . . . . . 2517
International Academy of
Design & Technology . . . . . . . . . . . 2200
InterSense . . . . . . . . . . . . . . . . . . . . . 1214
Isilon Systems . . . . . . . . . . . . . . . . . . 2416
ITT Educational Services . . . . . . . . . . . 114
John Wiley & Sons . . . . . . . . . . . . . . . . 322
JourneyED.com . . . . . . . . . . . . . . . . . 2116
Khronos Group . . . . . . . . . . . . . . . . . . . 611
LAIKA . . . . . . . . . . . . . . . . . . . . . . . . . . 426
LightSpace Technologies . . . . . . . . . 2331
Lightspeed Design . . . . . . . . . . . . . . . . 102
Linden Lab . . . . . . . . . . . . . . . . . . . . . . 301
Lucasfilm Ltd. . . . . . . . . . . . . . . . . . . . 1717
Massive Software . . . . . . . . . . . . . . . . 1023
MAXON Computer . . . . . . . . . . . . . . . . 603
Measurand . . . . . . . . . . . . . . . . . . . . . . 128
MediaLab . . . . . . . . . . . . . . . . . . . . . . 2528
Meta Motion . . . . . . . . . . . . . . . . . . . . . 423
Microsoft Corporation . . . . . . . . . . . . 2619
Millimeter Magazine . . . . . . . . . . . . . . . 508
Mitsubishi Electric Research
Laboratories . . . . . . . . . . . . . . . . . . . 307
Morgan Kaufmann/Focal Press . . . . . 2014
Motion Analysis Corporation . . . . . . . 1503
MOVA . . . . . . . . . . . . . . . . . . . . . . . . . 1027
National Animation &
Design Centre . . . . . . . . . . . . . . . . 2128
NEC Display Solutions of America . . . 515
New York Film Academy . . . . . . . . . . . 125
New York Institute of Technology . . . 2526
20 SIGGRAPH 2006 Magazine presented by Millimeter and Digital Content Producer

New York University - CADA . . . . . . . 2425
NewTek . . . . . . . . . . . . . . . . . . . . . . . . 1518
Nexstar . . . . . . . . . . . . . . . . . . . . . . . . 2522
Next Limit Technologies . . . . . . . . . . . . 402
NextEngine . . . . . . . . . . . . . . . . . . . . . . 630
Northeastern University . . . . . . . . . . . 2622
NVIDIA . . . . . . . . . . . . . . . . . . . . . . . . 1017
Ohio University School of
Telecommunications . . . . . . . . . . . 2130
Okino Computer Graphics . . . . . . . . . 2408
Orad Hi Tec Systems . . . . . . . . . . . . . . 502
Peachpit Press . . . . . . . . . . . . . . . . . . 2018
PipelineFX . . . . . . . . . . . . . . . . . . . . . . 2614
Pixar Animation Studios . . . . . . . . . . . . 811
Pixologic . . . . . . . . . . . . . . . . . . . . . . . 1223
PNY Technologies . . . . . . . . . . . . . . . . 626
Point Grey Research . . . . . . . . . . . . . . 928
Post Magazine . . . . . . . . . . . . . . . . . . 2219
Purdue University, Department of
Computer Graphics Technology . . 1728
Radical Entertainment . . . . . . . . . . . . 2509
Ravensbourne College of Design
and Communication . . . . . . . . . . . . 229
Reallusion . . . . . . . . . . . . . . . . . . . . . . . 600
REALVIZ . . . . . . . . . . . . . . . . . . . . . . . . 419
Relic Entertainment . . . . . . . . . . . . . . 2026
Renderosity . . . . . . . . . . . . . . . . . . . . . 203
Rhythm & Hues Studios . . . . . . . . . . . 2023
Ringling School of Art and Design . . . 411
Rochester Institute of Technology . . . . 200
Savannah College of Art
and Design . . . . . . . . . . . . . . . . . . . 2016
SensAble Technologies . . . . . . . . . . . . 408
Side Effects Software . . . . . . . . . . . . 1713
snowball VFX . . . . . . . . . . . . . . . . . . . . 715
Sony Pictures Imageworks . . . . . . . . 1506
SpheronVR AG . . . . . . . . . . . . . . . . . . 2404
Spine3D . . . . . . . . . . . . . . . . . . . . . . . 1601
Springer . . . . . . . . . . . . . . . . . . . . . . . 2419
Stash Media . . . . . . . . . . . . . . . . . . . . . 529
Storewiz . . . . . . . . . . . . . . . . . . . . . . . . 615
Stratasys . . . . . . . . . . . . . . . . . . . . . . . . 514
StudentFilmmakers . . . . . . . . . . . . . . 2628
Sybex . . . . . . . . . . . . . . . . . . . . . . . . . . 323
T-Splines . . . . . . . . . . . . . . . . . . . . . . . . 108
Technicolor . . . . . . . . . . . . . . . . . . . . . 2430
TechViz . . . . . . . . . . . . . . . . . . . . . . . . . 208
TeraRecon . . . . . . . . . . . . . . . . . . . . . . 2406
Texas Memory Systems . . . . . . . . . . . 1702
The Art Institutes . . . . . . . . . . . . . . . . 1006
The Center for Digital Imaging
Arts at Boston University . . . . . . . . 531
The CGAL Project . . . . . . . . . . . . . . . . . 316
The Cleveland Institute of Art . . . . . . . 2611
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EXHIBITOR LIST
The DAVE School . . . . . . . . . . . . . . . . 2630
The Guildhall at SMU . . . . . . . . . . . . . . 308
The MIT Press . . . . . . . . . . . . . . . . . . . . 831
The University of the Arts . . . . . . . . . . . 118
Thomson Course Technology . . . . . . . 619
Toon Boom Animation . . . . . . . . . . . . 1201
Total Immersion . . . . . . . . . . . . . . . . . 2202
Triple Squid Software Design . . . . . . . 2626
University of Massachussetts-
Dartmouth . . . . . . . . . . . . . . . . . . . . 629
Valenciennes Digital/Supinfocom . . . . 926
Vancouver Film School . . . . . . . . . . . . 2204
Vertus . . . . . . . . . . . . . . . . . . . . . . . . . . 616
Virtools . . . . . . . . . . . . . . . . . . . . . . . . . 823
VisMasters . . . . . . . . . . . . . . . . . . . . . 1014
Visual Media . . . . . . . . . . . . . . . . . . . . 1301
Wacom Technology . . . . . . . . . . . . . . 1011
Walt Disney Animation . . . . . . . . . . . . 1227
Web3D Consortium . . . . . . . . . . . . . . . 223
Westbridge Film School . . . . . . . . . . . 2428
wondertouch . . . . . . . . . . . . . . . . . . . . 606
Xerox Corporation . . . . . . . . . . . . . . . . 517
Yorkshire Forward . . . . . . . . . . . . . . . 2427
Z Corporation . . . . . . . . . . . . . . . . . . . 1831
Zygote Media Group . . . . . . . . . . . . . . 2411
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21

PAPERS
Each year, the SIGGRAPH Papers Program showcases
the leading innovations in computer graphics.
Signifying the expanding influence of the SIG-
GRAPH community around the globe, this year’s
Papers committee accepted more than 80 hot
topic submissions from 15 countries around the
world. Attendees in Boston will hear presentations
given by industry leaders from the United States,
Israel, Germany, China, Scotland, Korea, Austria,
Hong Kong, Canada, France, Switzerland, England,
Belgium, and Finland.
“Papers is a premier forum for disseminating
groundbreaking, provocative, and important new
work in computer graphics,” says Julie Dorsey,
SIGGRAPH 2006 Papers Chair. So, when deciding
on criteria for narrowing down the 474 paper
submissions, the committee primarily looked at
two things: the excellence of ideas and expected
impact on the field.
As it is every year, the Papers Program is a key component
of this year’s SIGGRAPH conference. Topics
covered usually resonate within the core of the
industry and can ignite attempts to break barriers
on all levels of the CG terrain. Participation in SIG-
GRAPH Papers provides a forum to discuss breakthrough
research from various sources, including
top educational institutions such as Columbia University
and Stanford University, as well as leading
research facilities such as Microsoft Research and
Mitsubishi Electric Research Laboratories (MERL).
Papers address traditional topics within the industry,
including animation, modeling, and rendering.
University of Washington representatives
Adrien Treuille, Seth Cooper, and Zoran Popovic
discuss their attempts to improve animated crowd
movement with collision avoidance in “Continuum
Crowds.” Electronic Arts evaluated and licensed
its new algorithm, which creates a realtime performance
that may be used in its next generation
of games. In “A Fast Multigrid Algorithm for Mesh
Deformation,” researchers Lin Shi, Yizhou Yu, Nathan
Bell, and Wei-Wen Feng at the University of
Illinois at Urbana-Champaign explore more efficient
techniques for deforming large surface and
volume meshes. The team discovered a system
that trades accuracy for speed, which saves time
and money, to achieve greater interactivity.
Beyond coverage of traditional core areas of computer
graphics, the Papers Program also spans a
range of additional topics, including image manipulation
and capture, which are presented in
“Multiple Interacting Liquids.” Another discussion
given by representatives from the University of Toronto and Massachusetts
Institute of Technology focuses on correcting the chronic problem of blurry
photographs. Their paper, “Removing Camera Shake From a Single Photograph,”
introduces a new algorithm for removing these effects to create
clearer images.
For a complete list of the 2006
Papers, as well as information
on other SIGGRAPH presentations,
such as the Panels
Program and Special
Sessions, visit www.siggraph.org/s2006.
Researchers from the University of
Illinois at Urbana-Champaign will
present “A Fast Multigrid Algorithm for
Mesh Deformation” during Thursday’s
Shape Deformation Papers session.
The SIGGRAPH 2006
Papers Program
Monday, July 31
Session: “Sampling and Ray Tracing”
8:30 a.m. – 10:15 a.m.
Session: “Image Processing”
8:30 a.m. – 10:15 a.m.
Session: “Shape Matching and
Symmetry” 10:30 a.m. – 12:15 p.m.
Session: “Shape Modeling and
Textures” 10:30 a.m. – 12:15 p.m.
Session: “Image Manipulations”
3:45 p.m. – 6:00 p.m.
Tuesday, August 1
Session: “Surfaces”
8:30 a.m. – 10:15 a.m.
Session: “HDR and Systems”
10:30 am–12:15 pm
Session: “Appearance
Representation” 1:45 p.m. – 3:30 p.m.
Session: “Matting and Deblurring”
3:45 p.m. – 5:30 p.m.
Wednesday, August 2
Session: “Fluids”
8:30 a.m. – 10:15 a.m.
Session: “Image Collections”
8:30 a.m. – 10:15 a.m.
Session: “Motion Capture”
10:30 a.m. – 12:15 p.m.
Session: “Image Capture”
10:30 a.m. – 12:15 p.m.
Session: “Precomputed Transfer”
3:45 p.m. – 6:00 p.m.
Thursday, August 3
Session: “Appearance Modeling”
8:30 a.m. – 10:15 a.m.
Session: “Meshes”
8:30 a.m. – 10:15 a.m.
Session: “Light Transport”
10:30 a.m. – 12:15 p.m.
Session: “Shape Deformation”
10:30 a.m. – 12:15 p.m.
Session: “Numerical and Geometric
Algorithms and Crowds”
1:45 p.m. – 3:30 p.m.
Session: “Animation”
1:45 p.m. – 3:30 p.m.
Chair: Julie Dorsey
Yale University
Session: “Non-Photorealistic
Rendering” 3:45 p.m. – 5:30 p.m.
22 SIGGRAPH 2006 Magazine presented by Millimeter and Digital Content Producer