A new ad campaign from the International Fund for Animal Welfare features rendered images of cross-sectioned endangered animals on the beds of 3D printers, being printed out, layer by layer. Read the rest
CGI artist Jim Kazanjian's work is both surreal and hyper-real, looking for all the world like photos of true, improbable things. Read the rest
Marvel at this computer graphics demo reel created c.1980 by the company Mathematical Applications Group (MAGI). More specifically, you're seeing the work of the firm's MAGI/SynthaVision group, one of the main outfits that created the CGI for Tron, including the light cycles (clip below)! From Wikipedia:
In 1981, MAGI was hired by Disney to create half of the majority of the 20 minutes of CGI needed for the film Tron. Twenty minutes of CGI animation, in the early 1980s, was extremely gutsy, and so MAGI was a portion of the CGI animation, while other companies were hired to do the other animation shots. Since Synthavision was easy to animate and could create fluid motion and movement, MAGI was assigned with most of Tron's action sequences. These classic scenes include the light cycle sequence and Clu's tank and recognizer pursuit scene. Despite the high quality images that Synthavision was able to create, the CSG solids modeling could not create anything with complex shapes and multiple curves, so simpler objects like the light cycles and tanks were assigned to MAGI. MAGI was given $1.2 million to finance the animation needed for Tron. MAGI needed more R&D and many other engineers who were working in government contacts at MAGI were assigned back into MAGI's "Synthavision" division.Read the rest
MAGI sped up the process of supplying its work to Disney Studios in Burbank by a transcontinental computer hook-up. Before each scene was finalized in MAGI's lab in Elmsford, New York, it was previewed on a computer monitor at Disney.
Can't get enough of nude, 3D-modelled humans with the internal physics of bags of jelly interacting with physics simulations? We've got you covered with Albert Omoss's Plug Party 2K3. (via JWZ) Read the rest
Once you've got a human-shaped 3D model that you've imbued with a suitably squishy physics, what do you do? You could torture thousands of them in a virtual infernal device straight out of The Wasp Factory, but why bother when you can strip them naked and drop them in perfect columns? (via Kottke) Read the rest
A. Peer, M. Ihmsen, J. Cornelis and M. Teschner's SIGGRAPH paper "An Implicit Viscosity Formulation for SPH Fluids," explored techniques for simulating the physics of smoothed-particle hydrodynamics -- solids that melt and squoosh into liquids and slimes. As interesting as the paper is, the video is a showstopper -- never have simulated anthropomorphic armadillo action-figures been so meltfully delightful! Read the rest
This raw footage provides an inside look at the making of Mad Max: Fury Road. Read the rest
Pixar has released its Renderman imaging software to the public free to download. This version is identical to the software it uses on it's own films, which was invented in-house, and is used today by major film and video game studios for animation and visual effects. This free license is for non-commercial use only, which includes show reels and student films.
Free Non-Commercial RenderMan can be used for research, education, evaluation, plug-in development, and any personal projects that do not generate commercial profits. Free Non-Commercial RenderMan is also fully featured, without watermark, time limits, or other user limitations.
Pixar is also launching a Renderman Community Site to share knowledge and assets, showcase work, and support all the new users bound to take advantage of this unique opportunity.
It is a hermetically sealed fantasy, full of digitally created memories, counterfeit physics and controlled accidents. A place where reality fails because it's too perfect, and where spectacular CGI setpieces are replaced with more introverted and complex fantasies - fantasies of the digital-artist-as-god, lost in uncanny valley.
Farbeit from me to argue with the artist, but let's forget the Uncanny Valley. There's more to this than that. It's not about what the machine can't quite show. It's not even about what the machine sees; it's about what the machine makes you see. Read the rest