Members- $15 (Login to purchase advance tickets)

Tickets for groups and non-members will be open to the public on June 21, 2013.

Non-members – $25

Group – $20 (5 or more)

**There are no physical tickets to pick up. We have a list with the purchaser’s name at the ticket desk at the event. If the purchaser is not attending OR you have a group of people and want to have them enter on their own, please contact us with the names and purchaser information. Thanks!

ALEX McDOWELL

Associate Professor, Production, IMD, iMAP

USC School of Cinematic Arts

Alex McDowell is one of the most innovative and influential designers working in narrative media. With the impact of his ideas extending far beyond his background in cinema, he advocates an immersive design process that acknowledges the key role of world building in storytelling.

In his 30+ years as a narrative designer, McDowell has worked with directors Terry Gilliam, Tim Burton, David Fincher, Zack Snyder and Steven Spielberg, amongst many others.

From 1999-2001 Alex McDowell worked with Steven Spielberg to design and develop a world for the film Minority Report, prior to a completed script. The process that evolved changed the nature of film design from analogue to digital, and profoundly affected the nature of digital production, with a radical shift towards a non-linear workflow. Since then McDowell’s work has build on the dynamic relationship between creativity and emergent technologies.

McDowell recently designed Man Of Steel, Zack Snyder and Chris Nolan’s retelling of the Superman origin story, where he built the holistic world of Krypton, its history and its integration with Earth.

McDowell is associate professor in the Interactive Media, Production, and Media Arts and Practice (iMAP) divisions at the School of Cinematic Arts, USC, where he is creative director of the World Building Media Lab and the 5D Institute. As visiting artist at MIT’s Media Lab from 2006-2011 he designed the robot opera Death and the Powers for composer Tod Machover. He is a Getty Research Institute scholar, and a member of the AMPAS SciTech Council. In 2006, he was awarded Royal Designer for Industry by the UK’s Royal Society of Arts.

Alex McDowell is co-founder and creative director at 5D | Organization, a cellular and interdisciplinary transmedia design practice.

Moses Znaimer’s ideacity is Canada’s top gathering of thinkers and doers – a constellation of talented individuals assembled for three days each June for a festival of talk, thought, and conversation. This is a unique species of annual conference, where innovative people convene to say important things about the world. The Rio Theatre is excited to be participating in this year’s inspiring edition of ideacity via live stream, broadcasting this inspiring conference to West Coasters daily.

While ideacity has always talked tech, now it’s the Main Event – Moses is assembling a Gaggle of Geeks to speak on top tech trends. This year the focus is on technology as ideacity serves up a stunning panorama of dreams and schemes that, only a few years ago, would have been considered the stuff of science fiction. But now they’re actually happening in the real world – and ideacity brings you face-to-face with the geeks, nerds, and brainiacs responsible!

 June 19th, 20th, 21th

9:00 am – 6:00 pm daily (PST) Including breaks for food & discussion.19+ event with bar service after 12 noon.
One Day Pass $30
Two Day Pass $50
Three Day Pass $75
www.riotheatretickets.ca

Moses Znaimer’s ideacity – Live Streaming at the Rio Theatre June 19, 20, 21, 2013 hosted by Johnathon Vaughn Strebly and Mark Busse from Creative Mornings Vancouver.

List of Presenters http://www.ideacityonline.com/upcoming-ideacity/upcoming-presenters/

www.riotheatre.ca
www.ideacityonline.com

We encourage all our active members to vote and to come on out to our Annual General Meeting on June 26, 2013 at 9:00PM at the Vancouver International Film Center following the presentation. For those not attending the presentation but still want to attend the AGM, we will be opening the doors immediately after the presentation ends. Every member will need to check in with the ticket desk to sign in for the AGM.

Vote Here

Only members that are logged in can vote. Non-members and non-logged in members will be redirected to our membership page

Bringing Down the House – Stephan Tronjansky, VFX Supervisor Scanline VFX

Stephan will discuss the ways Scanline VFX created, then destroyed Stark Mansion and everything in it; everything from Iron man suit construction and animation to the mega destruction that left Tony trapped at the bottom of the ocean.

A Closetful of Suits; A Barrel of Monkeys – Erik Nash, VFX Supervisor Digital Domain

In Marvel’s latest release, Tony Stark/Iron Man goes on a quest to find the enemy who has destroyed his world. Attendees at this event will see how Digital Domain’s VFX journey unfolded. From the dozens of new suits (including a new Mark 42) that stemmed from Digital Domain’s creative development to the ‘barrel of monkeys’ sky rescue sequence, an all-CG Air Force One and self-igniting extremists, Oscar-nominated Digital Domain VFX Supervisor Erik Nash walks through the biggest VFX challenges the company faced on the movie.

SOLD OUT

We will be opening up the overflow area for this event. Overflow is in the cafe/lounge area of VIFC where we project the presentation onto the wall. Only ticket holders will be allowed into the theatre. Overflow tickets will be available at the door for $20, CASH ONLY.

Members- $15 (Login to purchase advance tickets)

Tickets for groups and non-members will be open to the public on May 21, 2013.

Non-members – $25

Group – $20 (5 or more)

**There are no physical tickets to pick up. We have a list with the purchaser’s name at the ticket desk at the event. If the purchaser is not attending OR you have a group of people and want to have them enter on their own, please contact us with the names and purchaser information. Thanks!

Erik Nash – VFX Supervisor, Digital Domain

Erik Nash’s career spans three decades and dozens of films. He was twice nominated for Academy Awards®, for his work on I, Robot and Real Steel, and his visual effect supervisor credits include the recently-completed Iron Man 3, along with Pirates of the Caribbean: At World’s End, Armageddon, Rules of Engagement, O Brother, Where Art Thou?, Red Planet and My Super Ex-Girlfriend. Previously, Erik was visual effects director of photography on Apollo 13, Chain Reaction, Star Trek: Nemesis, xXx, Stealth and Titanic. Earlier in his career Erik was a visual effects camera operator on Star Trek: The Motion Picture and spent eight seasons as lead visual effects cameraman on the television series Star Trek: The Next Generation and Star Trek: Deep Space Nine. His work on the Star Trek shows earned him two Emmy Awards. Erik is a member of the Academy of Motion Picture Arts & Sciences.

Stephan Trojansky -VFX Supervisor, Scanline FX

Stephan began his career in visual effects 15 years ago at Scanline VFX/Munich, rising through the
ranks from digital effects artist to VFX Supervisor as well as partner in the company. In 2007 he helped
build Scanline’s Los Angeles facility, followed by a further expansion into Vancouver in 2011.
With a background in architecture and computer programming, he is the principal designer of Flowline,
Scanline’s proprietary fluid simulation software. Flowline has been instrumental in the creation of water
and fire related effects in films like Poseidon, 2012, Hereafter, Super 8 (for which Scanline created the
signature train crash sequence) Battleship, The Avengers, and the upcoming films Man of Steel, 300
Rise of an Empire, and Iron Man 3. For the development of Flowline, in 2008 Stephan and his team
were awarded a Scientific and Technical Achievement Academy Award.
Along with fellow Scanline VFX Supervisors Bryan Grill and Joe Farrell, Stephan also received an
Academy Award nomination for Best Achievement in Visual Effects for director Clint Eastwood’s
Hereafter, on which Scanline was the sole vendor. Scanline’s work in that film was also awarded the
Visual Effects Society (VES) Award for Outstanding Supporting Visual Effects in a Feature Motion
Picture.
Stephan is currently acting as additional VFX Supervisor and Creative Director on 300: Rise of an
Empire for director Zack Snyder, for which Scanline is handling all ocean-based battles. The work
(approximately 600 shots) features extensive digital ships, ocean environments, doubles, destruction
effects, and natural phenomena such as smoke, fire, fog, and of course, water.
Stephan currently divides his time between Scanline’s Los Angeles and Vancouver studios.

I’m supposing a pronounciation pun of ‘INTO IT’ as a description of why we design, why we are ‘in to it’ as professional, creative people.

The premise of the presentation, using examples of my own work throughout my fifty-plus year career, is that ‘STORY’ is the initial inspiration starter for ideas. I contend that ideas need a rationale and I have found that having a ‘story’ premise is key. STORIES take place in the STORY WORLD. I make the point that movies are to story telling what the symphony orchestra is to music, the most elaborate format we have for coaxing belief. Once we establish the STORY and the WORLD in which the STORY takes place we need to furnish that WORLD with all the stuff we have in our familiar world. That in turn leads to my presentation of ‘movies that were never made’ as I threaded my way through the strange world of movie production. As an ‘almost never made’ movie, BLADERUNNER deserves to be exploited, especially since Sir Ridley Scott has recently gone on record as announcing that he will direct a ‘sequel’ to his iconic 8O’s noir film.

When: 7:00pm Friday April 26, 2013

Where: Science World, 1455 Quebec St, Vancouver, BC V6A 3Z7, Canada

Doors: 6:00pm for an industry mixer

Members- $15 (Login to purchase advance tickets)

Non-members – $25

Group – $20 (5 or more)

**There are no physical tickets to pick up. We have a list with the purchaser’s name at the ticket desk at the event. If the purchaser is not attending OR you have a group of people and want to have them enter on their own, please contact us with the names and purchaser information. Thanks!

SYD’S BIO:

Sydney Jay Mead was born in St. Paul Minnesota, July 18th, 1933 but spent only a few years there before moving to what would be the second of many homes throughout the western United States prior to graduating from High School in Colorado Springs, Colorado in 1951. After serving a three year enlistment in the U.S. Army, Syd Mead continued on to the Art Center School in Los Angeles, (now the Art Center College of Design, Pasadena) where he graduated with great distinction in June of 1959. He was immediately recruited by the Ford Motor Company’s Advanced Styling Studio under the management of Elwood Engle which he left after 2 years in order to accept a variety of assignments to illustrate books and catalogues for large corporate entities such as United State Steel, Celanese, Allis Chalmers and Atlas Cement. In 1970, he launched Syd Mead Inc. in Detroit, Michigan to accommodate the high caliber of offers he received, most notably the PHILIPS ELECTRONICS. As the principal of his newly formed corporation in the 1970’s, Syd Mead spent about a third of his time in Europe primarily to provide designs and illustrations for Philips of Holland. Together with his roster of major American clients, he continues to make his creative mark, internationally. Throughout the 1970’s and 1980’s, Syd Mead, Inc. provided architectural renderings both interior and exterior, for such clients as Intercontinental Hotels, 3D International, Harwood Taylor & Associates, Don Ghia, and Gresham & Smith, to mention a few. His architectural clients have recently expanded to include the New York firm of Philip Koether Architects for which he designed the interior of a Manhattan eatery. Design activity accelerated after the corporate and personal move to California in 1975. In 1979, projects began to include work with most major studios, on such feature films as Star Trek: The Motion Picture, followed by, Bladerunner, TRON, 2010, Short Circuit, Aliens, Time Cop, Johnny Mnemonic, and most recently, “Mission Impossible-3” starring Tom Cruise for director J.J. Abrams. Beginning in 1983, Syd began to develop close working relationships with a number of major Japanese corporate clients, including; Sony, Minolta, Dentsu, Dyflex, Tiger, Seibu, Mitsukoshi, Bandai, NHK and Honda as well as contributing to two Japanese film projects, The New Yamato and Crises 2050. In the 1990s’, Syd supplied designs for two Japanese toy icons, “The New Yamato” and all eight robot characters in the new Turn-A Gundam mobile suite series which were also seen as characters in Television shows.

With transportation design as his first love, Syd Mead seldom misses an opportunity to provide his unique blend of futurism and believability to those projects consisting of a vehicle that travels from “A” to ‘B”. Whether it be designing solar powered unicycles, show cars, luxury yachts, cruise ships,  the interiors of private 747’s, or interplanetary spacecraft, each receives the same attention to detail within a perfectly designed scenario. This combination has become a Syd Mead trademark and has been seen in everything from concept cars for Ford Motor Company to futuristic “Hypervans” which have been the subject of his latest full color illustrations.

Syd Mead continues an active schedule of one man shows, which started with an invitation to exhibit at Documenta 6, Kassel, West Germany in 1973. His work has since been exhibited in Japan, Italy, California, and Spain. In 1983 in response to an in invitation from Chrysler Corporation to be a guest speaker to their design staff, Syd Mead assembled a selection of slides to visually enhance his lecture. The resulting presentation was a resounding success and has since been expanded and enhanced with computer generated imagery specifically assembled at the requests of such clients as Disney, Carnegie Mellon University, Purdue, Pratt University, the Society of Illustrators., and many others both academic and corporate around the world. In March of 2010, Syd completed a four city tour in Australia to capacity audiences at each venue.

Always an advocate of new technologies, Syd Mead has expanded his horizons to include computer illustrations and graphics by mastering a variety of Softwares. Beginning with the official poster of the 1991 Concours d’Elegance “Eyes on the Classics” in Detroit, Michigan, Mr. Mead has attempted to utilize the latest in available techniques to their best advantage. In 1993, a digital gallery comprised of 50 examples of his art with interface screens designed by Syd Mead became one of the first CD ROM’s released in Japan in 1992 and in 2004 in response to many requests, cooperated with the Gnomon School of Visual Effects to produce a 4 volume, “How To” DVD series titled, “TECHNIQUES OF SYD MEAD” which continues to be sought after by designers around the world.

His one man show, “Cavalcade to the Crimson Castle” consisting of 114 original paintings and illustrations, enjoyed a three month showing at the Center for the Arts in San Francisco in the Fall of 1996. The highlight of the show turned out to be Syd’s presentation and lecture attracted an audience that exceeded the available capacity of the auditorium. Subsequent personal appearances at schools across the country have attracted record numbers. “SYD MEAD PROGRESSIONS” a travelling one-man-show of his work, is now in the planning stage to mark the 40th anniversary his work.  This touring exhibition is currently scheduled to premier in Glendale, California at the Forest Lawn Gallery of Fine Arts in January 2012.

In February 1998, Syd Mead relocated his studio to Pasadena, California, where he continues to be involved in a variety of design projects. including publication of two books, SENTURY,(in 2001), and SENTURY II in 2010 as well as  a documentary of his career with director Joaquin Montalvan, “VISUAL FUTURIST”,  released in May of 2007 on DVD. Mead attributes success in an astonishing range of creative activities to the premise that imagination…the idea, supersedes technique. “There are more people in the world who make things than there are people who think of things to make.”

www.sydmead.com

Members- $15 (Login to purchase advance tickets)

Tickets for groups and non-members will be open to the public on March 11, 2013.

Non-members – $25

Group – $20 (5 or more)

**There are no physical tickets to pick up. We have a list with the purchaser’s name at the ticket desk at the event. If the purchaser is not attending OR you have a group of people and want to have them enter on their own, please contact us with the names and purchaser information. Thanks!

Speaker bios:

Vic DeLeon – Lead Mission Artist, Props Art Director at 343 Industries

Vic specializes in organic sculpting and modeling of environments, as well as directing the artistic quality of environment prop setpieces. His work on Halo 4 includes modeling and texturing of the Reclaimer, Requiem, and Infinity missions, as well asRagnarok, Harvest, Shatter, and Wreckage in Wargames. He also worked on Spartan Ops season 1 and 2. Vic previously worked at Bungie on Halo 2, Halo 3, Halo: ODST, and Halo Reach.

RJ Ranola – Senior Environment Artist at 343 Industries

RJ specializes in hard-surface environment modeling, texturing, and level assembly. His work on Halo 4 includes modeling and texturing work on the Dawn, Shutdown, and Composer missions as well as Spartan Ops season 2. He also modeled the massive Mammoth vehicle from the Reclaimer mission. He previously worked at Raven Software on several major titles like Singularity, Return to Castle Wolfenstein, and Def Jam Icon.

Kenny Magnusson – Lead Lighting Artist

Kenny’s responsibilities at 343 were to make sure the lighting system accommodated what the art and design teams wanted to do, while also working closely with the Art Director to set the tone and style for Halo 4. He has worked at DICE for 15 years prior to coming to 343 in October 2011. At DICE he worked on almost all of the titles as an Art Director and Lead Artist. He has always been very passionate about lighting and rendering. He worked most notably on the lighting system and its development for the Frostbite 2engine and editor, the system that Battlefield 3 used.

Join us Wednesday, February 13th, as Vancouver ACM SIGGRAPH proudly presents members of the VFX team from Image Engine speaking about their work in one of 2012′s most critically acclaimed films: ZERO DARK THIRTY!

Image Engine provided over 300 shots for Kathryn Bigelow’s critically acclaimed Zero Dark Thirty, a chronicle of the decade-long hunt for al-Qaeda terrorist leader Osama bin Laden. It was of critical importance to the filmmakers that the CG elements and general filmmaking conditions were as true to events as possible, to support the integrity of the movie – with all the details coming under rigorous scrutiny. The crew had to dig deep to find aesthetic solutions within these parameters, with very little creative license to change the nature of things to make them ‘work’.

The work involved digital environments, hard surface animation, compositing and FX. In addition to creating hero assets such as the computer generated Stealth Hawk helicopters, the crew also digitally augmented the bustling military encampments, which included extensive matte paintings as well as the addition of upwards of 400 digital soldiers, lots of ground vehicles, helicopters, planes and all the auxiliary dust that each of these would kick up in the dirty, dusty environments.

Chris Harvey,  the Visual Effects Supervisor for the production will discuss how the team at Image Engine overcame the challenges of integrating CG in the “no-light” zone from early concept and development to final shot breakdowns.

Joining us will be:
Chris Harvey – VFX Supervisor
Geoff Anderson – VFX Producer
Jesus Lavin – Lead Compositor
Mathias Lautour – Lighting/ Look Dev Lead
Sam Hancock – Lead FX

Online ticket sales are open until midnight on February 12th, with any remaining tickets available at the door.
Where: Vancity Theatre 1181 Seymour Street (@ Davie)

When: 7:00pm Wednesday February 13, 2013

Doors: 6:00pm for an industry mixer (19+, cash bar, ticket holders only)

Members- $10 (Login to purchase advance tickets)

Tickets for groups and non-members will be open to the public on January 7, 2012.

Non-members – $15

Group – $12 (5 or more)

There are no physical tickets to pick up. We have a list with the purchaser’s name at the ticket desk at the event. If the purchaser is not attending OR you have a group of people and want to have them enter on their own, please contact us with the names and purchaser information. Thanks!

Speaker Bios

Chris Harvey – VFX Supervisor
http://pro.imdb.com/name/nm2751124/
Chris completed his first job with Image Engine, creating one of the alien creatures, called a thug in Peter Berg’s Battleship. He brings experience spanning a broad range of projects from around the world and a dedication to artistic excellence.
Chris has recently spent many years at Prime Focus, where he held increasingly responsible positions, including Visual Effects Supervisor, Global Head of 3D and Facilities Supervisor; working on projects including The A-Team, Superman Returns, X-Men 3 and The Fantastic Four films.

Chris contributes considerable stereoscopic expertise to the company. Previous projects range from the groundbreaking Journey to the Center of the Earth to Tron:Legacy, and he played a critical role as Stereoscopic Consultant at Prime Focus for Avatar, where he helped to advance the company’s stereo pipelines and best practices.  Chris attracts clients and artists alike to want to work with him due to his reputation for enthusiasm, his natural leadership qualities and can_do attitude. He also shares his insights at industry events and educational facilities, as well as sitting on several product advisory boards for various industry software leaders including Autodesk and contributes to many of their training materials.

Geoff Anderson – Visual Effects Producer
http://pro.imdb.com/name/nm1010592/
Bringing over 15 years of experience in VFX, Geoff Anderson was placed as VFX Producer for the feature film Safe House, following that with Zero Dark Thirty and currently working on Fast and Furious 6.

The majority of Geoff’s experience comes on the production side of the VFX industry based in Vancouver, BC, working in television for such series as The Outer Limits and Stargate : Atlantis.

He also spent over 4 years working on Disney family films as a VFX Supervisor/Producer and 2nd Unit Director.

In the creation of Halo 4, one of the primary goals was to deliver a compelling and immersive story via great character performance. Improving upon facial fidelity was a key element to this, and in this talk they will cover how the team utilized new scanning technology and advanced rigging techniques to deliver high fidelity facial models and performances. In addition, they’ll walk you through the creation of an entirely new enemy class, the Prometheans, and cover their development from early concept through modeling, texturing, rigging, animation and FX to bring them to life in Halo 4.

Joining us will be:

Matt Aldridge – Lead Character, Weapon and Vehicle Artist
Scott Parish – Lead Creature Technical Director
Gabriel Garza – Senior Concept Artist
Stephen Dyck – Animation Director
Jon Wood – Lead FX Artist.

Needless to say, this is going to be amazing. Don’t miss it!

Online sales are open until midnight on January 15th, with any remaining seats available at the door.

Purchase Tickets Here**

Members- $15 (Login to purchase advance tickets)

Tickets for groups and non-members will be open to the public on December 27, 2012.

Non-members – $25

Group – $20 (5 or more)

**There are no physical tickets to pick up. We have a list with the purchaser’s name at the ticket desk at the event. If the purchaser is not attending OR you have a group of people and want to have them enter on their own, please contact us with the names and purchaser information. Thanks!

Scott Parish
At 343 Industries, Scott and his team are responsible for the rigging and technical execution of character, weapon, and vehicle animation assets for Halo 4. Prior to joining 343 Industries in 2010, Scott was a Lead Creature TD at Industrial Light and Magic where notable projects included The Last Airbender, Transformers: Revenge of the Fallen, Terminator Salvation, The Spiderwick Chronicles, and Pirates of the Caribbean: Dead Man’s Chest. Prior to working at ILM, he worked on Character Pipeline, Rigging, and Simulation at Sony Pictures Imageworks on Beowulf, Monster House and Polar Express.

Matt Aldridge

Matt began his career as a TD / Senior Modeler for the cinematics team at Oddworld Inhabitants working on the Munch and Stranger titles.  His work experience also includes time served at Electronic Arts, Activision, and Lucasfilm where he worked on the Medal of Honor series and The Force Unleashed.  Matt leads the team responsible for the Character, Vehicle, and Weapon art produced for HALO 4 at 343 Industries.

Steve Dyck

Animation Director

At 343 Industries, Steve and his team are responsible for breathing life into the characters, weapons and vehicles of Halo 4.  Prior to joining 343 in 2010, Steve worked as an Animation Director & Lead Animator EA Blackbox, Capcom Vancouver and several VFX studios in Vancouver. With just under 15 years industry experience, notable franchises Steve has worked on include: Halo, Dead Rising, SSX, NBA Street and FIFA. Steve is a graduate of Vancouver Film School where he studied 3D and classical animation.

Jon Wood

Jon Wood began his career within the movie industry in Los Angeles, California, as a visual effects artist (aka 3d Technical Director) during 1996.  Where he develop a well-rounded skill set including animation, particle simulations, compositing, roto scoping, color timing, tracking, rendering, lighting, Renderman shader writing, research and develop and occasionally writing tools.  The studios where he had developed his skills are Sony Pictures Imageworks, Rhythm and Hues and 20^th Century Fox’s VIFX.  The more memorable films that he had worked on are Cast Away, Charlie’s Angels – Full Throttle, End of Days, Face Off, Harry Potter and the Sorcerer’s Stone, Little Nicky, Star Trek IX – Insurrection, Stuart Little 2, the X-files Movie and Titanic.

Jon had transitioned into the game industry in 2005 working on a project named “Superman Returns, the Video Game” at the EA studio in Orlando, FL called Tiburon. He then began to develop real-time skills like particle simulations, lighting and HLSL shader writing.  Real-time has always been a fascination of Jon’s.  After a number of sports titles, Jon acquired a job at n-space where he further developed his real-time skills and became a full-time effects lead.   The memorable titles he had worked on between the 2 studios are Tron Legacy (wii), Madden 08 (PS3, XBOX 360), NCAA 08(PS3, XBOX 360) and  NASCAR 08 & 09 (PS3, XBOX 360).

In November of 2010, Jon joined the Microsoft studios, 343 Industries team.  Excited to work on a new Halo title, Jon lead a team of effects artists during the Halo 4 project.

Gabo

Robogabo (Gabriel Garza) has been a professional artist for the last 12 years. Born in Mexico, he now lives in Seattle, working for 343 Industries.
His artwork is heavily influenced by his years of experience working at a newspaper. His passion for video games attracted him into the concept art community and led him to work and live across the US doing video games.

When Gabo is not painting, he likes to spend time home with his family and try to enjoy life outside his art cave.

Lighting in CG creates the atmosphere and mood of the film, helps you feel the acting and directs your eye on the screen. A Lighter’s role at Pixar is to ensure that the characters and environments capture the director’s vision and enhance the story-telling.This talk covers how tips on how to make the characters look their best, how to work with colours and temperatures, atmospheric lighting, depth and lighting/ reflective light. Chris also will talk about some of the greatest challenges we had filming our most recent short, Partysaurus Rex. including lighting bubbles.

This talk will suit those who are currently working in Lighting TD roles or are interested in the process and medium of CG lighting.

There will be a Q & A following the presentation.

Online ticket sales are open until midnight on November 20th, with any remaining tickets available at the door.

Bringing a CG character to life is no easy task especially when faced with an iconic character such as Spider-Man, and especially when dealing with a fresh reboot of an already successful franchise. That’s what the animators on Amazing Spider-Man were faced with when they began production back in May 2011. Not only would they be handling a full CG version of the famous web-slinger in various shots, but they were also dealing with bringing a new CG character to life, the iconic villain “The Lizard”. Both of these characters offered challenges in their own right, and in this presentation, Mike will take you through the process of bringing them to life. Through various sequence and shot breakdowns he will discuss the challenges they faced both creatively and technically, the obstacles they overcame, and share some behind the scenes stories as they went through the animation process on The Amazing Spider-Man.

Become a VANCOUVER ACM SIGGRAPH member by November 1st and you could win a  Wacom Intuos5 Touch Professional Pen Tablet! Sign up here!

Our membership is limited so your chances to win are very good!
As a member you will also be eligible for discounted ticket prices to all of our events.

There will be a Q & A following the presentation.

Online ticket sales are open until midnight on October 31st, with any remaining tickets available at the door.

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