Rhythm & Hues Studios: 25 Years of Art, Technology and People

"Snow White and the Huntsman" ©/ TM Universal Pictures. Image: Rhythm & Hues

In this panel and presentation, an array of artists and executives associated with the past and present of Rhythm & Hues Studios explore the many factors that have led to the studio’s longevity and success. Highlights include a retrospective of the company’s early days, from its origins at the pioneering CGI company Robert Abel and Associates in the 1970s and 80s and the founding of Rhythm & Hues in 1987, to its groundbreaking animation work in the ‘90s and its recent work “The Chronicles of Narnia: The Lion, the Witch and the Wardrobe”, VFX Oscar winner “The Golden Compass”, “The Incredible Hulk”, the “Alvin and The Chipmunks” franchise, and more.

Industrial Light & Magic Presents: The Visual Effects of “Battleship”
Panelists: Grady Cofer Visual Effects Supervisor, Doug Smythe, Digital Production Supervisor, Glen McIntosh, Animation Supervisor, Willi Geiger, CG Supervisor from Industrial Light & Magic

A behind-the-scenes look at Peter Berg’s blockbuster sci-fi epic “Battleship”. The ILM production team reviews the film’s various challenges and describes why it was necessary to revamp the studio’s award-winning fluid-simulation system. Also, advances in CG destruction and simulation technology required to accurately depict everything from a resurrected World War II battleship to a fleet of modern-day naval ships, not to mention aliens and their formidable fleet of spacecraft.

Balancing Act: Life as a Visual Effects Supervisor at DreamWorks Animation
Panelists: Ken Bielenberg, “Puss in Boots”, Mahesh Ramasubramanian, “Madagascar 3: Europe’s Most Wanted”, David Prescott, “Rise of the Guardians” (November 2012) and Markus Manninen “The Croods” (March 2013) from DreamWorks Animation

In this panel, the Visual Effects Supervisors for the last two and next two DreamWorks Animation films discuss how they approached each production. In the studio environment, there are opportunities to share development with other shows, but differing visual requirements also mean each show has unique needs. How do the visual-effects teams balance the safety of using tried-and true-techniques with the requirements to create ever more visually sophisticated and complex work? How do they manage the benefits of sharing across shows with the specific needs of their show? Each panelist shares some successes (and failures!) from their most recent projects.

Weta Digital Presents Virtual Production: Combining Animation, Visual Effects, and Live-Action Filmmaking

Four-time Oscar-winning Senior Visual Effects Supervisor, Joe Letteri, presents Weta Digital’s pioneering virtual-production work on “The Adventures of Tintin” and “Avatar”. His talk also addresses workflow development at Weta going all the way back to “The Lord of the Rings” and suggests some areas of future development. Weta sees virtual production as a connected, holistic approach to filmmaking that melds the best of animation and live-action techniques in pre-production, onset, and post. This presentation demonstrates how virtual production brings all of the components of filmmaking together to provide a way of working that has attracted directors like Peter Jackson, James Cameron, and Steven Spielberg.

The Art and Science Behind Walt Disney Animation Studios’ “Paperman”
Moderator: Darrin Butters, Animator
Panelists: John Kahrs, Director, Patrick Osborne, Animation Supervisor, Amol Sathe, Lighting and Compositing Supervisor, Jeff Turley, Art Director, and Brian Whited, Final Line Software

Applying a technique that seamlessly merges computer-generated and hand-drawn animation techniques, first-time director, John Kahrs takes the art of animation in a bold new direction with “Paperman”. Using a minimalist black-and-white style, the short film follows the story of a lonely young man in mid-century New York City, whose destiny takes an unexpected turn after a chance meeting with a beautiful woman on his morning commute. In this panel, members of the small, innovative group at Walt Disney Animation Studios that created “Paperman” share their insights about the art, design, and technology of this innovative project.

High Frame Rate Cinema, Impacts on Art and Technology With Douglas Trumbull and Dennis Muren
Panelists: Paul Salvini, Christie Digital Systems USA, Inc.; Douglas Trumbull, Filmmaker; Dennis Muren Industrial Light & Magic; Phil Oatley, Park Road Post Production; Lincoln Wallen, DreamWorks Animation; Jim Beshears, DreamWorks Animation SKG; Darin Grant, Digital Domain; Matthew Cowan, RealD Inc.; Luke Moore Side Effects Software Inc.; John Helliker, Screen Industries Research and Training Centre

Some of the biggest movies on the horizon – “Avatar’s” sequels and “Lord of the Rings” prequels – will be presented in stereoscopic 3D high-frame-rate cinema. Peter Jackson and James Cameron are betting on their expectation that audiences will love the more immersive and detailed worlds that these 3D productions can offer. But what IS high-frame-rate cinema, and what will it mean to producers of content and to the audience experience? This panel of experts explains high-frame-rate cinema and discusses the implications of producing and experiencing cinematic content in the new medium.

LAIKA's "ParaNorman": The Fusion of Stop Motion and CG in a Zombie-Ridden World
Panelists: Brian Van't Hul, VFX Supervisor, Steve Emerson, Compositing Supervisor, and Andrew Nawrot, CG and Look Development Supervisor

Get a first-hand, 3D look at LAIKA's interdependent combination of stop-motion and CG in an environment where hand-crafted movement is seamlessly integrated with computer technology, from initial concept to final frame. Academy Award-winner Brian Van't Hul is joined by Steve Emerson and Andrew Nawrot to discuss the collaborative relationship of the technologies in the upcoming feature "ParaNorman" (in theaters August 17).

Assembling the VFX for Marvel’s “The Avengers”
Panelists: Victoria Alonso, Executive Producer and Executive Vice President of Visual Effects & Post Production; Jeff White, Visual Effects Supervisor, ILM; Guy Williams, Visual Effects Supervisor, Weta Digital; Marc Chu, Animation Supervisor, ILM; Aaron Gilman Animation Supervisor, Weta Digital

Credit: “Marvel's The Avengers still photo courtesy of Marvel Studios. TM & © 2012 Marvel & Subs”

Leaders of the visual effects teams from Industrial Light & Magic and Weta Digital will discuss the unique effects challenges that this blockbuster film presented and how the studios broke new ground with their respective approaches to creating the seamless effects work. From the epic Mountain Battle between Iron Man and Thor and the climatic alien invasion of Manhattan to bringing the Hulk to life, the supervisors will detail what worked, what didn’t and the complexities involved in bringing "The Avengers" to the big screen.

Source: ACM SIGGRAPH