A look at some of the presentations coming to SIGGRAPH, the annual computer graphics conference. This glimpse at the future of animation includes a synthesized voice that can be edited using text, and facial animation that copies styles from drawings in real-time.
Ideally, you’ll strap on a VR headset for this, but if you don’t have one, you can still appreciate the ethereal fractal journey that Julius Horsthuis has laid before you, accompanied by excerpts from one of evolutionary biologist Richard Dawkins‘ most profound lectures.
Want to stage a massive battle, fill an empty stadium, or take on a zombie horde? There was a time that you’d need thousands of extras to pull off such epic scenes, Golaem shows us some of the ways their software has been used to make movie, TV, and video game magic.
In live action films, editors come in after (most of) the footage has been shot. But in general, it takes way longer to create additional animated sequences. So instead, animated film editors work before anything is “shot”, helping to polish the screenplay and storyboards.
One of the most talked about aspects of Rogue One was the digital resurrection of actors as they appeared in 1977. ABC News‘ Nightline had an opportunity to go behind the scenes with ILM’s John Knoll and his effects team to learn how they pulled off this modern movie magic.
These days, we’re accustomed to such seamless and realistic visual effects on the big screen and even some TV series that we’ve become pretty jaded by CGI. But one look at Diane Bullock’s reel of 1990’s movie VFX should serve as a reminder of just how good we’ve got it today.