No abstract available.
Proceeding Downloads
Magic Made Real: How POSSIBLE and Riot Games Realize League of Legends for the Stage
The annual League of Legends World Championship Opening Ceremony, viewed by over 100 million people around the world, continually pushes the envelope in marrying cutting-edge technology with unparalleled spectacle. Join the creative and producing team to ...
The Visual Effects of Dungeons & Dragons: Honor Among Thieves
Dungeons & Dragons: Honor Among Thieves is a hilarious fantasy adventure set in the world of the Dungeons & Dragons tabletop role-playing game. Join Production Visual Effects Supervisor, Ben Snow, ILM Animation Supervisor Kevin Martel, and Legacy Effects ...
Wētā FX Presents Avatar: The Way of Water
Wētā FX's Senior VFX Supervisors Joe Letteri and Eric Saindon, Pre-Production Supervisor Marco Revelant, FX Supervisor Nick Illingworth will be joined by Lightstorm Entertainment's VFX Supervisor Richard Baneham to discuss the VFX for this award-winning ...
Playing with Fire and Water – The Making of Pixar's Elemental
What does a world look that is shaped by waves of dynamic "elemental" immigrants? Elemental's characters are comprised of the classical four elements: Fire, Water, Earth and Air. From the very beginning, the director's vision, especially for the main ...
Adventures with USD in Animation
The workflows in animation have always been different than in a traditional VFX pipeline. Both look deceivingly similar - yet they need to address very different needs. Few companies have succeeded at building production pipes that can do both ...
Sony Pictures Imageworks & Sony Pictures Animation Presents: “Spider-Man: Across the Spider-Verse”
- Mike Lasker,
- Alan Hawkins,
- Bret St. Clair,
- Pav Grochola,
- Humberto Rosa,
- Nicolle Cornute-Sutton,
- Steven Argula
Join artists from Sony Pictures Imageworks for an exclusive behind-the-scenes look at the making of "Spider-Man: Across the Spider-Verse." This session will focus on the artistic and technological innovations the production has developed for this much-...
Road to Knowhere: The VFX behind Guardians of the Galaxy Vol. 3
This production session features Wētā FX's VFX Supervisor Guy Williams, Framestore's VFX Supervisor, Alexis Wasjbrot, and Sony Pictures Imageworks' VFX Supervisor, Theo Bialek. Finishing the trilogy off in a crescendo of visual effects, they will discuss ...
Bridging Virtual to Physical
Walt Disney Imagineers combine innovation with storytelling to bring Disney stories, characters, and worlds to life. Come behind the scenes for a dive into how an attraction emerges from the digital design into the physical world.
• How does the virtual ...
Heart, Sweat and Tears: Nimona's Journey To The Screen
METALLLLLLLLLL! Nimona is here! And the journey from best-selling graphic novel to full-length animated feature was an adventure on par with our namesake's. Join the DNEG Animation team as they talk through the experience of picking up a special film ...
Fortiche : Crafting the Bridge
This Production Session will be a conference held by members of Riot and Fortiche who had a key role on Arcane: Mr. DUPONT Hervé, Producer (Fortiche), Remy TERREAUX, Animation Supervisor (Fortiche), Phillippe LLERENA, CTO (Fortiche) and Arnaud BAUDRY, ...
Visual Style of Puss In Boots: The Last Wish
DreamWorks Animation faced a challenging task in creating the next chapter of the fan favorite Puss In Boots after more than a decade, aiming to create something fresh while also building on the established world and titular hero character. In "Puss In ...
Bringing Opportunity to Mars: The Visual Effects of 'Good Night Oppy'
"Good Night Oppy" tells the inspirational true story of Opportunity, a rover that was sent to Mars for a 90-day mission but ended up surviving for 15 years. The film follows Opportunity's groundbreaking journey on Mars and the remarkable bond forged ...
Index Terms
- ACM SIGGRAPH 2023 Production Sessions
Recommendations
Acceptance Rates
Year | Submitted | Accepted | Rate |
---|---|---|---|
SIGGRAPH '11 | 432 | 82 | 19% |
SIGGRAPH '10 | 390 | 103 | 26% |
SIGGRAPH '09 | 439 | 78 | 18% |
SIGGRAPH '08 | 518 | 90 | 17% |
SIGGRAPH '07 | 455 | 108 | 24% |
SIGGRAPH '06 | 474 | 86 | 18% |
SIGGRAPH '05 | 461 | 98 | 21% |
SIGGRAPH '04 | 478 | 83 | 17% |
SIGGRAPH '03 | 424 | 81 | 19% |
SIGGRAPH '02 | 358 | 67 | 19% |
SIGGRAPH '01 | 300 | 65 | 22% |
SIGGRAPH '00 | 304 | 59 | 19% |
SIGGRAPH '99 | 320 | 52 | 16% |
SIGGRAPH '98 | 303 | 45 | 15% |
SIGGRAPH '97 | 265 | 48 | 18% |
SIGGRAPH '96 | 247 | 52 | 21% |
SIGGRAPH '95 | 257 | 56 | 22% |
SIGGRAPH '94 | 242 | 57 | 24% |
SIGGRAPH '93 | 225 | 46 | 20% |
SIGGRAPH '92 | 213 | 45 | 21% |
SIGGRAPH '90 | 210 | 43 | 20% |
SIGGRAPH '89 | 190 | 38 | 20% |
SIGGRAPH '88 | 161 | 34 | 21% |
SIGGRAPH '87 | 140 | 33 | 24% |
SIGGRAPH '85 | 175 | 35 | 20% |
SIGGRAPH '84 | 118 | 41 | 35% |
SIGGRAPH '81 | 132 | 38 | 29% |
SIGGRAPH '80 | 140 | 52 | 37% |
SIGGRAPH '79 | 110 | 43 | 39% |
SIGGRAPH '78 | 120 | 64 | 53% |
Overall | 8,601 | 1,822 | 21% |