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P.O.Box 9399 Marina Del Rey, CA 90295 los-angeles-chapter@siggraph.org |
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P.O.Box 9399 Marina Del Rey, CA 90295 los-angeles-chapter@siggraph.org |
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Bert Terreri
Visual Effect Supervisor
At Rhythm & Hues, Bert has been involved with such feature film projects as
Flight of the Intruder, Hocus Pocus, Stay Tuned, and Speed 2: Cruise Control
along with theme park work for Walt Disney Imagineering and commercial work
for Coca-Cola, including the "Polar Bears" campaign.
Bert began his career at ILM in the early '70's as an Optical Administrator on the original Star Wars. In 1979, Bert went to Robert Abel & Associates as a Special Effects Coordinator. During his time at Abel's he worked with every major animation and live action director that came through the studio.
His presentation will deal with Speed 2 and the challenges involved in creating believable effects for this movie.
Tim Cheung
Animator / Director
Tim Cheung knows how to engage an audience. Tim's first animated short,
Rolling Stone, garnered critical acclaim at festivals around the world and
delighted audiences at the SIGGRAPH '95 Electronic Theater. When Tim joined
PDI last year, he immediately began working as a character animator on the
animated feature, ANTZ. But, that didn't stop him from bringing another
irreverent tale of misadventure to life. Tim and PDI premiered the fiendishly
entertaining Gabola the Great at SIGGRAPH '97. Prior to joining PDI, Tim was
an animator at Manhattan Transfer, a New York based post-production house. He
is a graduate of Pratt Institute.
Tim will talk about Gabola The Great, his latest animation which tells the
classic story of a vaudville magician whose tricks never seem to work as
planned. Set on a dimly lit stage, a single smoky spotlight illumines the
magician as he prepares to amaze a rather sparse audience. With a cunning
sleight of hand, he transforms an egg into a dove -- that perishes after a
very short flight into the rafters. Nervously trying to please his restless
audience, the hapless magician attempts to pull a rabbit from his top hat. The
outcome is darkly humorous.
Jay Redd
Technical Director
Jay joined Imageworks in August 1996 specifically to work on the Robert
Zemeckis film Contact. As an amateur astronomer, he was the perfect person to
create the opening shot, a 4,710 frame journey from earth to the end of the
known universe. Before coming to Imageworks, Jay spent three years and Rhythm
& Hues where he worked on numerous commercials, the Seafari theme park ride,
and the feature films Babe, Waterworld, and Ace Ventura II. He began his
career at a post-production facility in Salt Lake City. Jay studied
photography, music, and Japanese at the University of Utah, and has worked
with computers since age twelve.
Ken Hahn
Technical Director
Ken joined Imageworks in November 1997 and began to work immediately on the
Robert Zemeckis film Contact. Before that, he worked for three years at Walt
Disney Feature Animation as Technical Director on such films as Hercules, The
Hunchback of Notre Dame, Pocahontas, and Fantasia 2000. Prior to Disney, Ken
spent four years at AT&T as a Software Engineer. He holds an M.S. in computer
science from the New York Institute of Technology and a B.S. in computer and
systems engineering from Rennselaer Polytechnic Institute. He has since
continued his studies at both New York University and the University of
California Los Angeles in film and video.
Special Thanks:
Judy Conner
Stan Szymanski
Audrea Topps Harjo
For one brief and intense week, vendors and production companies compete to see who can be the most hospitable host thereby attracting the best and brightest developers and creatives, Ed Catmull calls it the "feeding frenzy for talent." A lot of planning and hard work goes into these parties, and they have become an integral part of what defines SIGGRAPH (and a lot of hard work also goes into how to attend as many parties as possible!) My only complaint is that so many events happen on the same night. Because of this I opted out of the regular conference activities this year -- exhibitor, course, and paper receptions held at the California Plaza WaterCourt, and Pershing Square. While all nice places, I was looking for something beyond the same old thing.
Monday night began with a SIGGRAPH tradition, Yochiro Kowaguchi's Super High
Definition show and sake barrel reception. Softimage and Kinetix also held
well attended hotel cocktail and hors d'oeuvres receptions. Next, Ray Feeney
and RFX sponsored a D.O.A. (Digital Productions, Omnibus, Abel & Associates)
reunion which was a very classy affair held in the exclusive treetop of the
L.A. Zoo. This was later opened up to the Professional Chapters' party which
was being held nearby. This was one of the best local groups I've ever
attended and was supported by many great CG companies including IBM, LaVecke
Corporation, and Square Worldwide. After a brief tram ride, guests were
enjoyed live music, live rhinos, and Jason Bentley spinning disks while skinks
did unmentionables in the snake maze.
Tuesday night began with the OZONE reception, hosted by Stewart McSherry at the Hyatt Regency. Sony's soiree at the old MGM back lot was no less than flawless. They had a wonderful spread of food and great entertainment from a swing band to The Presidents of the United States of America. Fiat Lux attendees later got a kick out of seeing the SIGGRAPH TV video of Coco Conn crashing the "Sony Insider Party" to find out that "nothing was smoking" there!
I then proceeded to the Ambassador Hotel for Disney's "Swingin' at the Grove." To see the Coconut Grove alive again and dressed up to the nines was just wonderful. The lack of adequate air conditioning did not stop the party goers from having a good time, they simply danced in the fountain. L.A. local, Wook, and the talented team at Digital Domain brought the house down at the Century Club and hands down won the best celebrity appearance (in my book) with the cultural icon George Clinton. With over 20 people on a tiny stage at any given time -- the crowd 'got off their a** and jammed.' D.D. also wins best invite with a Titanic Lenticular.
This year, I did not make it to Rhythm and Hues at the Mayan, but it was a good location choice and I heard only good things about it. I actually returned to the Ambassador later to be pleasantly surprised they kept on the entertainment for extra after hours sets. We swang big time to Big Voodoo Daddy. And being a member of the L.A. Conservancy's Modern Committee, I must admit that I was truly won over by a special late night vintage guest performance of the Rat Pack themselves.
On Wednesday night, after attending the Electronic Theatre and doing a late night search for gas downtown, I finally made it to Square USA and Nicheman Graphics, who held added appeal for attendees because they were recruiting for their Hawaiian office. The hip looking crowd enjoyed the amped up groove of Asian underground music at the Union Station. Next, Amazon picked a most attractive location and held a rooftop jam at the historic 1928 art deco Oviatt Penthouse. I did a little samba to a great group and the catering by Border Grill was delicious.
I also received a gracious invitation from Max Ivins to the VIFX party which was my final stop of the evening. The night burned hot and long with D.J. Bruno Guez and gusgus creating an amazing rave ambiance. (John Bryant gave both it and Sony a 10.) The artificial beach atmosphere was complete with sand, surfboard riding, sushi, and "shower maidens."
Thursday Night: I never made it to Boss Studio's party at Fais DoDo, and I am also disappointed that I missed the San Diego SIG Chapter's party at MONA. Instead, I was treated to an intimate PDI/DreamWorks event. The friendliness of our hosts was certainly impressive and the evening included a screening of the first twelve minutes of their upcoming first animated feature, and won best stimulating visual projection.
On a final note Fiat Lux 97 had an overwhelming attendance this year, with technical presentations, mini video shows and two minute opinion pieces at the Omni Hotel. Conference attendees lined up to pay their $0.25 admittance fee. A special thanks to Bruce and Carmi for arranging to keep the Sierra Room for the post-Fiat Lux reception until the wee small hours of the morning.
If you want to make sure your event is covered next year please contact the L.A. SIGGRAPH Party Sub-committee, los-angeles-chapter@siggraph.org.
The following opportunities are available at Dream Quest:
SUPERVISOR, 3D ANIMATION
Responsible for supervision of 3D Animation Group. 5+ years experience with 3D
animation and effects software applications, the integration of live action,
miniatures, and computer generated elements. Will assist in recruiting, artist
development and software evaluations. Must have extensive production
experience.
SUPERVISOR, 2D COMPOSITING
Responsible for supervision of 2D Compositing Group. 5+ years experience with
image compositing, 2D animation effects software applications, and the
integration of live action, model, and computer generated elements. Must have
extensive production experience.
LEAD TECHNICAL DIRECTORS
Capable of set-up and production of complex 3D elements in live action
environments. Experience using Alias/Wavefront Power Animator, Dynamation,
Prisms or Softimage software packages. Focus in particle systems, lighting,
rendering and texturing. C and Renderman a plus.
SENIOR CHARACTER ANIMATORS
Classically trained artists with experience in traditional character
development and animation techniques. Working knowledge of high-end animation
software packages and UNIX production environment a plus.
LEAD COMPOSITORS
Experience on SGI platforms using Alias/Wavefront Composer, Illusion/Matador,
Elastic Reality and Ultimatte Cinefusion software packages. UNIX and C a plus.
SOFTWARE DEVELOPER
Experience in image processing, film scanning and recording,
device-independent color management, signal processing, hardware interfacing,
video technology. Strong background in software development, C, C++, UNIX, X,
and Motif. Ability to work in group environment.
SOFTWARE DEVELOPER
Experience in one or more: 3D rendering, shader theory, image processing, 3D
modeling, GUI design. Strong background in software development, C, C++, UNIX,
CG math. Experience writing plug-ins, interfacing with complex APIs. Alias,
Composer, OpenGL, X, and Motif a plus. Ability to work in group environment.
Please send or fax your resume and salary requirements to:
The UCLA Extension Department of Entertainment Studies and Performing Arts offers a wide range of lecture series, seminars, and hands-on workshops. Some courses are offered in collaboration with Weynand Training International (WTI). This curriculum is continually updated to reflect the rapidly developing nature of new media.
Offered fall Quarter 1997
New This Quarter
An intensive weekend program held in the Sony Pictures Imageworks theater...
Introductory Courses
An introduction to how computer and digital technologies are changing the way moving images and sounds are created and utilized in storytelling...
Digital Image Creation
PC-Based Workshops
Silicon Graphics-Based Workshops
Internet and World Wide Web: Design and Production
Interactive Multimedia: Concept Development and Production
This course fee is discounted for LA Siggraph members.
Do you have questions about a specific course? Call us at (310) 825-9064.
http://www.unex.ucla.edu
All of our instructors are fully certified by the software manufacturers and have extensive training in teaching specialized graphics.
All classes are taught on production-level Silicon Graphics or Windows NT workstations; normally only one student is assigned per workstation to assure adequate access to hands-on practice.
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Accepted Media and Formats:
Floppy, e-mail (<10MB), Zip, Jaz, Quark, PageMaker, FreeHand, Illustrator,
Word, Photoshop, TIFF, and PICT. Make sure to include all linked images and
fonts.
Send your ad and check, made payable to Treasurer L.A.SIGGRAPH, via FedEx or messenger to:
COMMITTEE MEMBERS
Natalie Bizic, John Bryant, Larry Carroll, Betsy Asher Hall, Paras
Kaul, Maurice Kimball, Diana Lee, Aliza Sorotzkin, MM Stratton, Ronda
Szymanski, Pamela Thomspon, Cindy Troianello
Special Thanks: Connie Jorgensen, Advertising
Los Angeles ACM/ SIGGRAPH is a non-profit organization.
Last Updated: Thu Jun 29 01:23:08 2000
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