At this year’s Academy Scientific And Technical Achievement Awards show, OpenColorIO was among 19 other winners. If you haven’t heard of OpenColorIO, it’s a color management framework that makes managing color for cinema and video much more straightforward for engineers and artists alike. It’s been adopted by most of the major 2d and 3d applications for our business and has been a bit of a game-changer in terms of simplifying color workflows around the world.
This weekend the Academy of Motion Picture Arts and Sciences awarded Steve LaVietes, Jeremy Selen and Brian Hall an Academy Award for their work on Imagework’s Katana. Not surprisingly, it was a fantastic night.
Last week a number of the supervisors from Imageworks took a few hours to get hands-on with the latest stereo rigs and equipment. Stereo Supervisor Rob Engle led the group through some prepared material and facilitated a discussion that continued through the morning.
Many of the supervisors at Sony Pictures Imageworks have already worked on one or more stereo films. This made the discussion and the experimenting with the rigs all the more interesting.
Academy Award winning VFX supervisor Scott Stokdyk at the stereo controls. Even if you know exactly how you want to dial the inter-axial and convergence, it takes a bit of rehearsal to get used to the controls.
After a few hours on stage, the team returned to the screening room to review the results and talk about the merits of the various experiments.
It’s rare to be able to get that kind of group together in a room for a few hours to discuss and experiment with the latest in an evolving technology. Certainly one of the perks of my job.
I’m looking forward to speaking at TED this Thursday morning as a small part of the session entitled “See”. I have the privilege of unveiling some of the latest work we’ve been doing on Cloudy With A Chance of Meatballs and how it relates to the state of the art in rendering.
If you’re anything like me, browsing the TED sessions online has been a constant source of inspiration across every discipline. I’ve been a fan for years and I’m quite excited to be able to be included in this years session.
If my talk makes it to onto TED.com later this summer, I’ll be sure to point out the link.
I think it’s been since Jurassic Park that I’ve been this impressed with visual effects for a film. Digital Domain’s work on Benjamin Button’s is compelling and consistent. It raises the bar for photo-realistic human C.G. work to a level that I didn’t expect to see for a few more years. Congrats to Erik Barba and everyone involved.
Here’s hoping Benjamin Buttons takes the statue.
If you’re planning to be at Siggraph this afternoon, stop by the lighting roundtable from 1:45 to 3:30pm today in Room 411. I’ll be part of the panel discussing lighting techniques for computer animated films and I’ve gotten permission to show some early production images from Cloudy with a Chance of Meatballs. See you there.