The session was broken into one 40 minute presentation and two 20 minute presentations. First was “Curls Gone Wild: Hair Simulation in Brave” which focused on the challenges presented by all the different types and styles of hair in the movie. In order to handle the complexity, a new simulator was written called Taz. It was originally designed for curly hair but is general enough that it could be used on other hair types and was used on most of the hair in the movie. There was an in-depth look at how the simulator was created and then the focus shifted to rigging which gave the animators additional control over the hair.
Next, was “High-Fidelity Facial Hair Capture” which described a process to scan faces with facial hair. The process allows for an individual to be scanned without having to shave and includes removing a person’s facial hair digitally and replacing it with a simulation. The last presentation was “Furry, Fuzzy, Lovable: Once Upon a Monster’s Fur Pipeline” which focused on how to streamline the fur making process for game characters.
This Talk consisted of four smaller presentations. The first was titled “Computer-Assisted Animation of Line and Paint in Disney’s Paperman” and started with a clip from the short so attendees could see the look of the piece. Paperman is considered a 2D/3d hybrid and faced many challenges due to this fact. Several tools were developed to create the short, including a MotionBetween tool, to make things easier for the artists. Despite the fact that everything was created digitally, the movie was lauded as a handcrafted piece because the artists painted the scenes to give the short its distinctive look.
“Simulation Preview in Brave” was next and talked about the use of low resolution clothing to allow animators to preview what the shot would look like; the preview took the guesswork out of the animation process. “Stable, Art-Directable Skin and Flesh Using Biphasic Materials” started with a brief history on skin simulation before doing a breakdown of skin and flesh simulations. The talk ended with future related work which included such things as skin wrinkles and speeding up the simulation process.
The final presentation was “Character Design: Visual Complexity in Brave” and focused on the challenges of building the animals in the movie. The process of building the horse, Angus, began with research. This allowed the modeller to become familiar with the muscles in a horse and to pick and choose the most interesting and prominent of the muscles. In the case of the bears and Angus, there was some trial and error until they found what worked to give the animals a sense of realism in their movements.
Members of the gaming community were brought together to address some of the issues they faced during game production. Emil Persson from Avalanche Studios discussed some of the obstacles they faced when bringing the world of “Just Cause 2” to life. Some examples included shadow glitches and disk space. He then talked about the fixes that were employed to address the issues and reviewed some DOs and DON’Ts.
Caleb Howard from EA Canada focused on “Creating 300 Tracks on a 10-Track Budget.” He mentioned the tool that was developed for SSX to improve the work flow and also delved into market pressures which included creating high quality, lower cost games in less time.