Issue link: https://digital.copcomm.com/i/884568
32 cgw s e p t e m b e r . o c t o b e r 2 0 1 7 continued from page 2 Indeed, AR and VR was everywhere this year. Hardware vendors such as Boxx, MSI, HP, and Dell touted VR-enabled computers. In fact, HP unveiled a professional VR backpack wearable computer: the new HP Z VR Backpack. The HP Z VR Backpack gives users the freedom to move and maintain total immersion with high-level visu- al performance, whether for military applications, VR experiences, medical training, architecture development, product development, or similar uses. What's more, its docking capabilities transform it into a desktop PC solution. Dell, on the other hand, celebrated its 20 th anniversary in the Precision workstation space with a special anniversary edition of its Precision 5520 mobile workstations. But what really caught my eye was the Dell Canvas, a new workspace device featuring a 27-inch QHD touch screen that sits horizontally on a desk; a digital pen offers precise tactile accuracy, and the totem offers diverse menu and short-cut interaction. The VR Village was greatly expanded this year and was a very busy area at the show. According to the chair, there were 149 sub- missions (whittled down to 114), from which 18 were accepted, and five were curated for the exhibit. But the real hit was the VR Theater, a new addition where those lucky enough to snag a ticket (they were free but given out early in the morning for the next day – and disappeared in a blink of an eye) were able to view nearly 50 min- utes of compelling VR storytelling. For those who think VR entertain- ment means games, a trip to the VR Theater would show the leaps and bounds filmmakers are making when it comes to storytelling via the medium. One highlight in the VR Village was Meet Mike in VR, which used the latest techniques in advanced facial motion capture to drive complex facial rigs for detailed interaction in VR. This allows participants to meet, talk in VR, and experience new levels of photorealistic interaction. The installation uses new advances in real-time rigs, skin shaders, facial capture, deep learning, and real-time rendering in Epic's Unreal Engine 4. Here we witnessed VFX reporter Mike Seymour, as part of his PhD project with The EDITOR'S NOTE (CONTINUED) University of Sydney, live in a glass enclosure and his avatar on screen as he interviewed leading industry figures in VR in real time and in stereo. The real Mike drove the amazingly detailed avatar of the digital Mike, providing a look into the future of photorealistic, character-driven real-time production. Outside of the Village – in fact, front and center in the lob- by – was a VR Graffiti Wall powered by the spray-painting game "Ghost Paint. And, some ambitious volunteers participated in the VR Film Jam, which transformed two linear animated short films into virtual-reality experiences. As always, the Computer Animation Festival featured phenome- nal projects and informative Production Sessions highlighting some of the year's amazing work. The Real-Time presentations showed how game engines are transforming the storytelling process and blurring the line between production and postproduction. Not surprising, there was a particular interest in game engines, especially those from Epic and Unity. That said, I was surprised that headset vendors were not out in full force, given the number of VR content creators in attendance. As always, the Emerging Technologies featured some unique and oen mind-blowing examples of technology that is more art and science than traditional in nature. The Art Gallery, once a large at- traction, seemed to get lost amid the Emerging Technology and VR Village installations. One new addition was the Production Gallery, featuring various artwork, props, costumes, and more from recent films and games. A great addition! Of course, this summary is just touching the tip of the iceberg that is SIGGRAPH. Mark your calendars for next year, as the confer- ence heads north to Vancouver August 12 through 16.