International Conference on Computer Graphics and Interactive Techniques in Australasia and Southeast Asia
"Reality Without Compromise: Reflectance Field Acquisition of Actors, Objects, and Environments"
In this talk I will present new techniques for digitizing the geometry and reflectance of real people, objects, and environments, allowing these elements to be recombined and reinterpreted in the service of new creative visions. On the topic of environments, I will present a technique employed to digitize and reunite the Parthenon and its sculptures, long separated between Athens and London. This work used 3D scanning, illumination capture, and environmental reflectometry to create a detailed and relightable model of the Greek temple. For digitizing objects, I will present new a new dual light stage process for capturing how an objects reflects light that reverses the direction that light is typically generated and sensed, allowing detailed specular and diffuse behavior to be captured for real-world objects. Finally, I will present a new technique for filming an actor's performance in such a way that the lighting on the actor can be designed and modified in postproduction: moving the key, adding a rim, gelling the fill, or matching the lighting to a background plate can all be accomplished photorealistically. The technique works by lighting the actor with time-multiplexed basis lighting conditions and filming with a high-speed video camera so that many lighting conditions are recorded in the span of a traditional frame of film.
Paul Debevec is a research assistant professor at the University of Southern California and the executive producer of graphics research at USC's Institute for Creative Technologies. Debevec's Ph.D. thesis (UC Berkeley, 1996) presented Facade, an image-based modeling and rendering system for creating photoreal architectural models from photographs. Using Facade he led the creation of virtual cinematography of the Berkeley campus for his 1997 film "The Campanile Movie" whose techniques were used to create virtual backgrounds in the 1999 film "The Matrix". Subsequently, Debevec pioneered techniques for illuminating computer-generated scenes with real-world lighting captured through high dynamic range photography, demonstrating new image-based lighting techniques in his films "Rendering with Natural Light" (1998), "Fiat Lux" (1999), and "The Parthenon" (2004); he has also led the design of HDR Shop, the first widely-used high dynamic range image editing program. Most recently, Debevec has led the development of a series of Light Stage devices that allow objects, actors, and performances to be synthetically illuminated with novel lighting, recently used to create photoreal digital actors for the 2004 film "Spider Man 2". In 2001, Debevec received ACM SIGGRAPH's first Significant New Researcher Award.
"Creative Engagement with Interactive Art"
There is a growing field of interactive art that is increasingly being shown in public galleries and museums. Such work is also finding its way into cafes and bars as well as private homes. For the designers of such systems, the questions relating to audience engagement are critical but, at this time, not particularly well understood. The paper is concerned with the design of such interactive art systems. It reviews approaches to interactive art and discusses the issue of creative engagement with them by the active audience. An approach to elaborating a model of creative engagement is described and exploratory work on its refinement is reported. In particular, research in Beta_Space, a public display interactive area in The Powerhouse Museum Sydney, is discussed.
Ernest Edmonds works in the constructivist tradition and first used computers in his practice in 1968. He first showed an interactive work with Stroud Cornock at the Computer Graphics exhibition in the UK in 1970. He first showed a time-based generative work at Exhibiting Space in London in 1985 and currently is Professor of Computation and Creative Media at the University of Technology, Sydney where he runs a multi-disciplinary practice-based art and technology research group, the Creativity and Cognition Studios. He has exhibited throughout the world, from Moscow to LA and published widely in the area. He is currently collaborating with sound artist Mark Fell. He has developed strategies for iterative development of interactive artworks, including audience research, and instituted Beta_Space at Sydney's Powerhouse Museum for such studies. Artists Bookworks has recently published his book "On New Constructs in Art".
"Be Here Now Together: Interactive Participatory Fiction for the 21st Century"
Stories are an essential part of our everyday life. Because of their importance, people of all cultures have created and told stories with every possible medium and technique available. Today's technologies have led to the idea of an interactive story, where the audience gets to play an active role in the development of a tale thanks to sophisticated programming and story-design technologies. Although intriguing, this vision is incomplete, because it ignores the most powerful tool of all: people. The really exciting storytelling techniques at our fingertips today are located more in the networks than the processors. Almost all of today's story-based video games, from solo adventures to massive, multiplayer environments, are most meaningful when we directly deal with other, real people. I believe we should be developing interactive story forms that directly engage multiple people, and are capable of the same level of emotional, spiritual, and intellectual depth as mature forms like the novel and feature film. In this talk I will discuss the lay of this fascinating new land as I see it today: where we're stuck, where we're making progress, and where we have opportunities for new discovery.
Dr. Andrew Glassner is a writer-director, and a consultant in story structure, interactive fiction, computer gaming, and computer graphics. As a researcher in computer graphics, he has most recently worked at Xerox PARC and Microsoft Research, where his work has led to a half-dozen patents. He has written many papers and books in computer graphics, including "Principles of Digital Image Synthesis" and the three volumes of "Andrew Glassner's Notebook." He created the "Graphics Gems" series, founded the Journal of Graphics Tools, and served as Editor-in-Chief of ACM Transactions on Graphics and Papers Chair for SIGGRAPH '94, where he created the Sketches venue. As a writer-director, he created, wrote, and directed the Internet game "Dead Air" for the Microsoft Network, as well as the animated 3D short "Chicken Crossing" and several live-action short films. His most recent book is "Interactive Storytelling: Fiction for the 21st Century." Glassner now works as a story and character consultant to the video game industry, and is writing a new novel and feature-film screenplay. In his spare time, Andrew paints, composes and plays jazz piano, kayaks, and hikes.