Issue link: https://digital.copcomm.com/i/1536119
a lack of an interruption. We allow people to compute full game builds of crazy amounts of animation. It used to take a couple of days. With our most recent it- eration of the product, it takes the equivalent of a long lunch to do all of those lines, to basically propagate changes globally across a game build. The benefit of that to animators and developers is they can return to the work when they've just published all of those changes that same day—actually within hours—which allows them to main- tain creative continuity with their own thought processes. You know what it's like to be working on something and then put it away for the night and then come back to it, and you're like, "Yeah, what was I doing?" I think that applies across any creative exercise. Can you tell us about the Anim Revolution collective? Sarah Watling: The Anim Revolution is a group of companies that are friendly—as in we are friendly technologies that obviously com- plement one another. It would not be a surprise to find a tech stack where someone has implemented JALI but then also implemented, say, Ozone character rigs to be their 3D rig assets. JALI drives those rigs. Or House of Moves—which is our motion capture partner—they might be on the same project, and we did find each other on similar projects. At Unreal Fest in 2023, our team met Rich Hurrey from Ozone Story Tech. They are developers of some pretty exciting new rigging technology, which I believe in a year everyone will know about. It was just instant, "Okay, we're definitely going to work together." Both on the personality level and then the immediate understanding that our technologies are complementary to each other. We can help grow opportunity for each other if we work together. We did a mini collaboration at GDC last year, and another one immediately aer at Annecy. Then we went big at SIGGRAPH. Rich brought to the table—aer the success of these two collabora- tions—Jim Henson's digital puppetry and House of Moves. Basically, he brought everybody, along with Immersive Enterprise Labs—who are actually IP development as well as innovative content produc- ers. They are the perfect example of a company who would actu- ally deploy all of us together in a pipeline. Their whole angle is about disrupting the linear workflow and adopting a more holistic, iterative workflow that ideally allows the creators to fail faster and less cost- ly, so that you can move more confidently towards your desired end goal. Lenovo has always been a huge supporter of what we [Anim Rev- olution] have been doing from the beginning, as well as Xencelabs tablets, and AMD, generously providing graphics and GPU hardware and amazing displays respectively. At this year's GDC, we welcomed NVIDIA. We decided to all go in and share the cost of a booth at SIG- GRAPH, so that was the simple motivation at first. But then we were like, "What's going to be the story? What are we going to tell peo- ple? Why is this going to make sense that we're all together?" So we started working on some original assets and ways to bring them to the audience at SIGGRAPH in an interactive way that highlighted the contributions of each of the technologies. That required us all to work together in a way that's not that common. Because discretion- ary budget for that type of R&D is usually always attached to a pay- Render of the Anim Revolution booth at GDC 2025