5 things that rocked at SIGGRAPH Asia Tokyo

SIGGRAPH Asia Tokyo 2018 has just wrapped up, and it was a fantastic week. The attendance was up near 10,000 and you could feel the buzz at the conference centre. Here’s my run-down of 5 of the coolest things I was able to see there. 1. Behind the scenes of Pixar’s Bao If you haven’t…

Next step: holograms

For Rolling Stone magazine, I wrote a small piece about the future of digital entertainment with holograms and digital humans.

Renderman is 30. Woah.

For VFX Voice, I talked to some of the legends at Pixar about the history of RenderMan, celebrating its 30th anniversary this year. Includes some old-school pics.

How ‘Crow: The Legend’ felt

I got to experience Baobab’s Crow: The Legend at VIEW Conference. Definitely one of the most immersive VR experiences I’ve had. Here’s my take at Cartoon Brew.

Compulsory viewing: the Computer Animation Festival at SIGGRAPH Asia Tokyo 2018

Here at vfxblog we’ve already previewed some of the VFX-related talks and dived into the Technical Papers process for SIGGRAPH Asia Tokyo this year. Now we look at the other conference highlight: the Computer Animation Festival. The ‘CAF’ takes in the Animation and Electronic Theater, and the VR Theater, plus a selection of panels and…

Ten things we learned about Framestore’s CG stuffed animals for ‘Christopher Robin’

Marc Forster’s Christopher Robin is easily one of the most delightful films of 2018, and also contains some of the finest fully-CG animated characters you’ll see this year. That work was led by Framestore, which had, of course, sharpened its expertise in integrating CG animated ‘stuffed toy’ characters with live action in the Paddington movies….

Tech papers: the secret to SIGGRAPH Asia success

The Technical Papers section of SIGGRAPH Asia 2018 in Tokyo is shaping up, as always, to be a key part of the conference. But how do authors get their tech papers into a SIGGRAPH or SIGGRAPH Asia conference? And what happens once they do? To find out, vfxblog asked Hao Li, who is a co-author…

Going back to ‘Pleasantville’: when doing a DI wasn’t so easy

In 1998, Gary Ross’ Pleasantville became the first major Hollywood feature to go through what’s now known as the digital intermediate, or DI, process. The film needed that process because its characters, stuck in a 1950s black and white existence, would slowly start to escape their repressive world as they begin experiencing colour. Getting there…