冊子テンプレート
A5 1P (210 mm×148 mm )COMPUTER ANIMATION FESTIVAL

PROGRAM GUIDE●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
「表示」＞「スライドマスター」画面より色つきのガイド線を消してから変換してください

冊子のデータ製作について
・ページ数は表紙も含めた数になります
・データは1Pごとでも 見開きでも ご入稿頂けます※見開きの場合はページ順どおりにご作成ください
・白紙のページがある場合は コメント欄にご指示ください冊子テンプレート
A5 1P (210 mm×148 mm )COMPUTER ANIMATION FESTIVAL

committee

CAF Chair
Shuzo John Shiota
Polygon Pictures, JapanCAF Producer
Kanako Tani

Polygon Pictures, JapanCAF JurySaraswathi "Vani" Balgam

Filmmaker, Creative Executive, India

CAF Administrator
Reina Fukuda
Polygon Pictures, Japan

Machiko Kusahara

Media Scholar / Media Curator, Japan

Jinny Hyejin ChooJohn McIntosh

Yoriko Ito

Seoro Oh

Korea National University of Arts, South Korea

Art Drector/Visual Development Artist, Japan

ShanghaiTech University, China

Chungkan College of Cultural Industries, South Korea

Pol Jeremias-Vila

Pixar Animation Studios, USA

CAF Reviewers
Takahiko Akiyama

Siva Kumar Kasetty

Tomasz Bednarz

June Kim

Prashant Buyyala

Kok Sen Lai

Ethan Chang

Bill E. Miller

S Peter Chanthanakone

Tomoe Moriyama

Dayne Cowan

Mike Nguyen

Nop Dharmavanich

Koichi Noguchi

4D Brain Inc., Japan

QUT Institute for Future Environments, Australia

Oriental DreamWorks, China

Shanghai Institute of Visual Art, China

University of Iowa, USA

VHQ Media, Singapore

E57, Thailand

Philippe Gluckman

Mikros Animation India, India

Sabine Hirtes

University of Applied Sciences Offenburg, Germany

John Hughes
Tau Films, USA

The Monk Studios, India

UNSW Art & Design, Australia

3dsense Media School, Singapore

Wizanima Inc., JapanTokyo University of Arts, Japan

Kaywon School of Art & Design, South Korea

Toei Animation, Japan

Andrew Ooi

Inspidea Studios, Malaysia

Dagan Potter

Oriental DreamWorks, China

Rita Street

Radar Cartoons, USA

Paul Wang
1

Pearl Studios, USA●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
「表示」＞「スライドマスター」画面より色つきのガイド線を消してから変換してください

冊子のデータ製作について
・ページ数は表紙も含めた数になります
・データは1Pごとでも 見開きでも ご入稿頂けます※見開きの場合はページ順どおりにご作成ください
・白紙のページがある場合は コメント欄にご指示ください冊子テンプレート
A5 1P (210 mm×148 mm )COMPUTER ANIMATION FESTIVAL

committee

VR Theater Director
Kenji Ishimaru

Kodansha VR Lab., Japan

VR Theater Administrator
Yumiko Kano

VR Theater Technical Director
Daisuke Miyagawa

VR Theater Jury
Tuna Bora

Kaei Sou

Kodansha VR Lab., Japan

Independent Artist / Filmmaker, USA

Katsutoshi Machiba
eje, Japan

Polygon Pictures, JapanSQUARE ENIX, Japan

VR Theater Technical Support
Wong Wai Keat (Justin)
SQUARE ENIX, Japan

Stephanie Timmins
SQUARE ENIX, Japan

Sangwon Kim

SQUARE ENIX, Japan

Production Gallery Director
Norimasa Nishihara
Born Digital, Japan

Production Gallery Curator
Sanae Hiraya

Production Gallery Designer
Aki Nakae

Production Gallery Artists
Haruhiko Shono

AKIHITO

Takayuki Hayashi

Eiji Kitada

Yoshinori Motouchi

Sachiko Eba

Born Digital, JapanCG Artist, Japan

Digital Matte Painter, Japan

Model Maker/Miniature Artist, Japan

Born Digital, Japan

Fine Artist, Special Effects Make-up Artist, Japan

Environment Modeling Supervisor,
ModelingCafe, Japan

Digital Matte Painter, Fude, Japan

Toshiyuki Kimura

Takuya Suzuki

Tomo Hyakutake

Kouji Tajima

Concept/Matte Artist, VFX Supervisor,
Fine Artist, Japan

Environment & Props Modeling Supervisor
Photon Arts, Japan

Character Designer, Special Make-up Artist,
Model Maker, Japan

Concept Artist, Japan

Takehiko Hoashi

Creature Artist, CG Artist, Japan

CEO, Picapixels, Japan
Outside Director, AURAS, Taiwan

Naoe Tojo

Digital Matte Painter, Japan

Yuuki Morita

Keita Okada

Digital Sculpture, Japan

Masahiro Sawada
Concept Artist, Japan

Kenichiro Tomiyasu
Concept Artist, Japan●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
「表示」＞「スライドマスター」画面より色つきのガイド線を消してから変換してください

2

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A5 1P (210 mm×148 mm )COMPUTER ANIMATION FESTIVAL

timetable

Animation Theaterfrom Tuesday, 04 to Friday, 07 December 2018
Venue
9:00-18:00

G407
4F, Glass Building
Animation Theater : Rising Stars – Student Films (40mins)
Animation Theater : Shorts and Features 1 (40mins)
Animation Theater : Shorts and Features 2 (40mins)

Electronic Theater & Production Sessions
Tuesday, 04 December 2018
Venue
16:15-18:00

G502
5F, Glass Building

Hall C
4F, C Block

Production Session:
Making of “Out of the Cradle”
Luminous Productions

Wednesday, 05 December 2018
Venue
9:00-10:45

G502
5F, Glass Building

Hall C
4F, C Block

Production Session:
The Making of Pixar’s Bao:a Production Panel
Pixar Animation Studios

Computer Animation Festival Award Ceremony

11:00-12:45
14:15-16:00

Special Screening:“Batman Ninja”

16:15-18:00

Production Session:
Texture Look Created Post-Rendering:"Batman Ninja“
Kamikaze Douga *日本語(逐次英訳)

Computer Animation Festival Opening
Ceremony-------------------------------------Pre-Show “AI DJ PROJECT” by Qosmo------------------------------------Electronic Theater (110mins) 17:00-19:00

3●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
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冊子のデータ製作について
・ページ数は表紙も含めた数になります
・データは1Pごとでも 見開きでも ご入稿頂けます※見開きの場合はページ順どおりにご作成ください
・白紙のページがある場合は コメント欄にご指示ください冊子テンプレート
A5 1P (210 mm×148 mm )Thursday, 06 December 2018
Venue
9:00-10:45

G502
5F, Glass Building

Hall C
4F, C Block

Production Session:
Winner Talk: Best in Show ”L’oiseau qui
danse”

Production Session: 9:30-10:30
Cinematography of “Incredibles 2” – Functionand StyleJean-Marie Marbach

11:00-12:45

Erik Smitt, Pixar Animation Studios

Production Session:
SONARIA: The Making of a Sound-driven,
6DOF Spotlight Story
Scot Stafford, Kevin Dart

14:15-16:00

Production Session:
Implementing Unreal Engine 4 to Anime
Polygon Pictures *日本語(逐次英訳)

16:15-18:00

Production Session:
Creating an Animation in 64kB: A Dive
Into The Making of Immersion
Ctrl-Alt-Test

Electronic Theater (110mins)

18:15-20:15

Friday, 07 December 2018
Venue

G502
5F, Glass Building

9:00-10:45

Special Screening:“Land of the Lustrous”

11:00-12:45

Production Session:
TV Animation: "Land of the Lustrous"
Approaching Color and Style for CG from
Hand-drawn Concept Arts

Hall C
4F, C Block

Orange *日本語(逐次英訳)

13:30-14:15

Production Session:
Incredible Environments : Building theWorld of “Incredibles 2”

Electronic Theater (110mins) 13:00-15:00

Pixar Animation Studios

14:30-16:15

Production Session:
Reinterpreting Memorable Characters in“Incredibles 2”
Pixar Animation Studios

4●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
「表示」＞「スライドマスター」画面より色つきのガイド線を消してから変換してください

冊子のデータ製作について
・ページ数は表紙も含めた数になります
・データは1Pごとでも 見開きでも ご入稿頂けます※見開きの場合はページ順どおりにご作成ください
・白紙のページがある場合は コメント欄にご指示ください冊子テンプレート
A5 1P (210 mm×148 mm )COMPUTER ANIMATION FESTIVAL

winners

Award Ceremony

Hall C (4F, C Block)
Wednesday, 05 December | 11:00-12:45

Winner Talk : Best in Show “L’oiseau qui danse”
G502 (5F, Glass Building)Thursday, 06 December | 9:00-10:45

BEST IN SHOW
L’oiseau qui danse

directed by Jean-Marie Marbach
FranceCreated and animated with particles in the spirit ofVisual Music, this music video for Canadian electro
band Tennyson features the journey of an origami
bird in a mysterious field of light.

BEST STUDENT PROJECT
Reverie

directed by Philip Louis Piaget Rodriguez
The Animation Workshop, VIA University College
Mexico/Denmark
Deep in the harsh countryside, where life fades withevery breath, a boy tormented with grief battles aninescapable beast.

JURY SPECIAL PRIZE
Vermindirected by Jérémie Becquer
The Animation Workshop, VIA University College
Luxembourg/Denmark
A Rat poet, whose hopeful poetry contrasts theworld in which he lives in, gets confronted with theharshness of a society bias towards Mice.

5●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
「表示」＞「スライドマスター」画面より色つきのガイド線を消してから変換してください

冊子のデータ製作について
・ページ数は表紙も含めた数になります
・データは1Pごとでも 見開きでも ご入稿頂けます※見開きの場合はページ順どおりにご作成ください
・白紙のページがある場合は コメント欄にご指示ください冊子テンプレート
A5 1P (210 mm×148 mm )COMPUTER ANIMATION FESTIVAL

Electronic Theater

Electronic Theater: Pre-Show “AI DJ PROJECT” by Qosmo
Hall C (4F, C Block)
Wednesday, 05 December | 16:15 doors open, 16:35 show starts

AI DJ PROJECT - A dialogue between AI and a human

Nao Tokui + Shoya Dozono (Qosmo)“AI DJ Project – A dialogue between AI and a human” is a live performance featuring
an Artificial Intelligence (AI) DJ playing alongside a human DJ. Utilizing deep neuralnetwork technology, the AI system selects and mixes songs and performs othermusical tasks. Playing back to back, each DJ selects one song at a time, embodying a
dialogue between the human and AI through music.

Photo by Yasuhiro Tani
Courtesy of Yamaguchi Center for Arts and Media [YCAM]

Electronic Theater (110mins)

Hall C (4F, C Block)
Wednesday, 05 December | 17:00-19:00
Thursday, 06 December | 18:15-20:15
Friday, 07 December | 13:00-15:00

Bilby

Grand Bassin

directed by Liron Topaz, Pierre Perifel, JP Sans
Dreamworks, USA

directed by Héloïse Courtois,
Chloé Plat Victori Jalabert, Adèle Raigneau
FranceReflection

Bacchusdirected by Ihsu Yoon
Giantstep, South Korea

directed by Rikke Alma Krogshave Planeta
Denmark

6●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
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冊子のデータ製作について
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・白紙のページがある場合は コメント欄にご指示ください冊子テンプレート
A5 1P (210 mm×148 mm )COMPUTER ANIMATION FESTIVAL

Electronic Theater

Pulse

Book of the Dead

directed by Sarah Forest
Francedirected by Veselin Efremov
Unity Technologies, Sweden

Out of the Cradle

Oculus Malus

directed by Isamu Watamori
Luminous Productions, Japan

directed by Félix Benicourt, Maxime Blin, Mathieu
Bouzard, Camille Bullet, Valentin Chotel, Adrien
Kottelat, Quentin Masingarbe, Dorian Mouty, France

One Small Step

Cocolors

directed by Toshihisa Yokoshima
Kamikaze Douga, Japan

directed by Andrew Chesworth, Bobby Pontillas
Taiko Animation Studios, USA

7

How To Paint Your Rainbow

The Bolt Connection

directed by Erick Oh
BEASTS AND NATIVES ALIKE, USA

directed by Nicolas Lebas
FranceMayday – Final Chapter

Reverie

directed by Muh ChenGRASS JELLY FILM, Taiwan●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
「表示」＞「スライドマスター」画面より色つきのガイド線を消してから変換してください

directed by Philip Louis Piaget Rodriguez
The Animation Workshop VIA University College,
Mexico/Denmark

冊子のデータ製作について
・ページ数は表紙も含めた数になります
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・白紙のページがある場合は コメント欄にご指示ください冊子テンプレート
A5 1P (210 mm×148 mm )COMPUTER ANIMATION FESTIVAL

Electronic Theater

Wild Love

Digital Actor: Albert Einstein

directed by Paul Autric, Quentin Camus Maryka Laudet, Léa Georges, Zoé Sottiaux, Corentin
Yvergniaux, France

directed by Leszek Plichta
Filmakademie Baden-Württemberg GmbH,Germany

BooxzeThe Stained Club

directed by Till Sander-Titgemeyer, Diego Hauenstein
Filmakademie Baden-Württemberg GmbH, Germany

directed by Mélanie Lopez
FranceHors Piste

Vermindirected by Léo Brunel,
Loris Cavalier, Camille Jalabert,
Oscar Mallet, France

directed by Jérémie Becquer
The Animation Workshop VIA University College,
Luxemburg/Denmark

L’oiseau qui danse

directed by Jean-Marie Marbach
France8●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
「表示」＞「スライドマスター」画面より色つきのガイド線を消してから変換してください

冊子のデータ製作について
・ページ数は表紙も含めた数になります
・データは1Pごとでも 見開きでも ご入稿頂けます※見開きの場合はページ順どおりにご作成ください
・白紙のページがある場合は コメント欄にご指示ください冊子テンプレート
A5 1P (210 mm×148 mm )COMPUTER ANIMATION FESTIVAL

Animation Theater

Animation Theater: Rising Stars – Student Films (40mins)
G407 (4F, Glass Building)from Tuesday, 04 to Friday, 07 December | 9:00-18:00

Game Changer

Lillandril

directed by Aviv A. Mano
Ringling College of Art and Design, USA

directed by Margaux Tamic
Pôle IIID école d’animation, France

Undiscovered

City of Memories

directed by Sara Litzenberger
Savannah College of Art and Design, USA

directed by Signe Tveitan
The Animation Workshop
VIA University College,
Denmark

Inheritor

Sans Gravité

directed by Napatsorn Potranun
Rangsit University, Thailand

directed by Charline Parisot
Supinfocom RUBIKA, France

Stuffeddirected by Élise Simoulin
Supinfocom RUBIKA, France

9●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
「表示」＞「スライドマスター」画面より色つきのガイド線を消してから変換してください

冊子のデータ製作について
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・白紙のページがある場合は コメント欄にご指示ください冊子テンプレート
A5 1P (210 mm×148 mm )COMPUTER ANIMATION FESTIVAL

Animation Theater

Animation Theater: Shorts and Features 1 (40mins)
G407 (4F, Glass Building)from Tuesday, 04 to Friday, 07 December | 9:00-18:00

Ocean of Oblivion

God of War 4 TV Commercial

directed by Seong-young Kim
Pixar, USA

directed by UNIT IMAGE, France

Miazmat

Assassin’s Creed Origins Cinematic Trailer

directed by Klaudiusz Wesolowski
Platige Image, Poland

directed by István Zorkóczy
DIGIC Pictures, Hungary

St(r)ay

Grands Canons

directed by Chiang Yao
FREAK Agency, Spain

directed by Alain Biet
FranceBloeistraat 11

directed by Nienke Deutz
France10●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
「表示」＞「スライドマスター」画面より色つきのガイド線を消してから変換してください

冊子のデータ製作について
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・データは1Pごとでも 見開きでも ご入稿頂けます※見開きの場合はページ順どおりにご作成ください
・白紙のページがある場合は コメント欄にご指示ください冊子テンプレート
A5 1P (210 mm×148 mm )COMPUTER ANIMATION FESTIVAL

Animation Theater

Animation Theater: Shorts and Features 2 (40mins)
G407 (4F, Glass Building)from Tuesday, 04 to Friday, 07 December | 9:00-18:00

RobhotAn Island

directed by Donato Sansone
Italy

directed by Rory Byrne
And Maps And Plans, Ireland

SonderLe Minordirected by Neth Nom
Soba Productions, USA

directed by Tai Wedekind
FranceElectronic Theater and Animation Theatersponsored byDigital Projection Partner

11●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
「表示」＞「スライドマスター」画面より色つきのガイド線を消してから変換してください

冊子のデータ製作について
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・データは1Pごとでも 見開きでも ご入稿頂けます※見開きの場合はページ順どおりにご作成ください
・白紙のページがある場合は コメント欄にご指示ください冊子テンプレート
A5 1P (210 mm×148 mm )COMPUTER ANIMATION FESTIVAL

Production Sessions

Making of “Out of the Cradle”
G502 (5F, Glass Building)Tuesday, 04 December | 16:15-18:00"Out of the Cradle" is an innovative documentary TV program that employs thelatest cutting-edge computer graphics, and traces mankind's footsteps back to
Africa, as based on the most recent academic theories. Without question, mostexpert studies on this topic in writing, are far too esoteric for the average person.
And though the injection of an entertainment element into such areas ofacademia may seem the ideal solution for the purposes of education, it's often
easier said than done. With this new documentary, we believe that we were able
to attain this objective, by utilizing our technical skills in visual expression honed
through years of making video games and full-length CG movies. In this particularsession, we would like to introduce you to all the activities and work that went
into this program up until its completion.

・Ryuhei Ozai, Luminous Productions, Japan・Isamu Hasegawa, Luminous Productions, Japan・Shuhei Shibata, NHK, JapanThe Making of Pixar’s Bao : a Production Panel
G502 (5F, Glass Building)Wednesday, 05 December | 9:00-10:45“Bao” tells the story of an aging Chinese mom suffering from empty nest
syndrome who gets another chance at motherhood when one of her dumplings
springs to life as a lively, giggly dumpling boy. Dive into the production process of
Pixar’s latest animated short, with a cross-disciplinary group of artists who brought
first time director, Domee Shi’s vision to life. We’ll explore the early inspiration forthe story, survey the art that inspired the look and cinematography of the short,examine the efforts that went into bringing graphically appealing characters to life,and discuss the challenges of creating a culinary delight for the eyes.

・Ian Megibben, Technical Supervisor, Director of Photography(Lighting)・Rona Liu, Production Designer
・Patrick Lin, Director of Photography(Camera)
・Mara MacMahon, Character Artist
・Domee Shi, Director
Pixar Animation Studios, USA

Texture Look Created Post-Rendering: "Batman Ninja"

G502 (5F, Glass Building)Wednesday, 05 December | Special Screening 14:15-16:00, Session 16:15-18:00
Batman Ninja, Kamikaze Douga's first full-length theatrical offering, was released
this year. Almost all of the character animation in the film was created in 3DCG,
mainly using LightWave. Employing materials that were actually used during
production, the speakers will explain the process they used to bring thecharacters to the screen looking nearly exactly as designed by Takashi Okazaki.

・Takanobu Mizuno, CGI Director
・Shunya Iwamoto, Rendering Chief
Kamikaze Douga, Japan

12●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
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A5 1P (210 mm×148 mm )COMPUTER ANIMATION FESTIVAL

Production Sessions

Cinematography of Incredibles 2 – Function and Style
Hall C (4F, C Block)Thursday, 06 December | 9:30-10:30

Exploring the visual language of i2, we will cover influences and motivations both
new and familiar to this sequel. Together we will explore visual concepts, andthen talk in detail about our methods for realizing those designs to achieve ourcinematic goals.

・Erik Smitt, Director of Photography
Pixar Animation Studios, USA

SONARIA: The Making of a Sound-driven, 6DOF Spotlight Story
G502 (5F, Glass Building)Thursday, 06 December | 11:00-12:45

Sonaria is a short VR film directed by Scot Stafford and Chromosphere. It is asound-driven film that pushes audio and interactive 6DOF storytelling forward.
Our challenge: create an immersive 360º interactive film that can only be told in
6DOF VR; quickly transport the audience through a dozen environments, from thedeep sea to above the clouds, without making the audience dizzy; combine richly
detailed audio with stylized and minimalist art; and make it run in real time on awide range of devices, from mobile phones to the latest VR headgear.

・Scot Stafford

Google Spotlight Stories / Pollen Music Group, USA・Kevin Dart

Chromosphere, USA

Implementing Unreal Engine 4 to Anime
G502 (5F, Glass Building)Thursday, 06 December | 14:15-16:00

Polygon Pictures' "Project Layered" is (possibly) the first Japanese "Anime"style animation series implemented real-time engine to its production.
We would like to introduce our challenges on pipeline with Unreal Engine 4;
difficulties and achievements.

・Daisuke Miyagawa
・Yasuhisa Niizato
Polygon Pictures, Japan
13●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
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A5 1P (210 mm×148 mm )COMPUTER ANIMATION FESTIVAL

Production Sessions

Creating an Animation in 64kB: A Dive Into The Making of Immersion
G502 (5F, Glass Building)Thursday, 06 December | 16:15-18:00

We will present some of the techniques used to create "H - Immersion".
This animation is rendered in real-time on consumer level hardware, but adds
another technical challenge on top of it: it fits entirely within a single 64kB (65536
bytes) executable binary file. The engine, textures, 3d models, music, animations
and other effects are all included inside that tiny file.
In the digital art subculture known as "the demoscene", this type of animation isreferred to as "64K intro". The content is created with custom authoring tools,
using various techniques including procedural generation and extreme
compression. We will show how this can be done and how it affects the creation
process.

・Julien Guertault, Director/Programmer
・Laurent Le Brun, Programmer
・Daniel Lindholm, Composer
Ctrl-Alt-Test, France

TV Animation: "Land of the Lustrous" Approaching Color and Style
for CG from Hand-drawn Concept Arts
G502 (5F, Glass Building)
Friday, 07 December | Special Screening 9:00-10:45, Session 11:00-12:45"Land of the Lustrous" is a TV anime series that aired from October to December
2017. In order to establish the aesthetic the concept art was hand-drawn,
becoming the base for exploring different styles in CG. Hand-drawn as well as
graphical styles were skillfully interwoven into a realistic look made only possible
through the use of CG. We will explain "concept art" from a hand-drawn
perspective and "VFX art" from a CG perspective, for these can be considered theorigin points of this series as they took on the challenge of achieving a nextgeneration visual style never before seen in the world of Japanese CG characteranimation.

・Kensuke Yamamoto, VFX Art Director
・Yoichi Nishikawa, Concept Artist
Orange, Japan

Behind the scenes of Solo - A Star Wars Story
G602 (6F, Glass Building)
Friday, 07 December | 9:30-10:30

・Nigel Summer, Creative Director
・Atsushi Kojima, Lead Animator
ILM Singapore, Singapore

14●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
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A5 1P (210 mm×148 mm )COMPUTER ANIMATION FESTIVAL

Production Sessions

Incredible Environments: Building the World of Incredibles 2
G502 (5F, Glass Building)
Friday, 07 December | 13:30-14:15

From a clifftop mansion to the gritty streets of New Urbem, the environments ofIncredibles 2 spanned multiple cities and many forms of transportation. Pixar’s
Sets department was tasked with not only upgrading locations from the first film,
but also creating multiple new dynamic urban environments, all while keeping thefeel of the original. A procedural city system was built in City Engine, Houdini and
Presto (Pixar’s core pipeline software) that allowed for production models to beingested and distributed in a neighborhood-based pattern and then output to arender-efficient point-instancer format. All of these buildings, vehicles and props,
required a more efficient way of shading. Using Flow, Pixar’s gpu-based pathtracing shading tool, artists created USD-based libraries of physically plausible
materials which could be assigned and re-used at modeling time. This allowed
artists to quickly build cities at massive scales, with few colors tweaks insequences and almost no paint work. Coordination with the Lighting department
allowed models to come into Katana with light attach points and a structure thatallows for script-based lighting setup. These techniques and many others allowed
the Sets team to construct the huge world of Incredibles 2 in a short time frame.

・Nathan Farris, Sets Supervisor
・Chris Burrows, Sets Shading Lead
Pixar Animation Studios, USA

Reinterpreting Memorable Characters in 'Incredibles 2‘
G502 (5F, Glass Building)
Friday, 07 December | 14:30-16:15

Everyone’s favorite family of superheroes is back in “Incredibles 2” – but this time
Helen (voice of Holly Hunter) is in the spotlight, leaving Bob (voice of Craig T.
Nelson) at home with Violet (voice of Sarah Vowell) and Dash (voice of Huck
Milner) to navigate the day-to-day heroics of “normal” life. It’s a tough transition
for everyone, made tougher by the fact that the family is still unaware of baby
Jack-Jack’s emerging superpowers. When a new villain hatches a brilliant anddangerous plot, the family and Frozone (voice of Samuel L. Jackson) must find away to work together again—which is easier said than done, even when they’re
all Incredible.

・Salvatore Melluso, Character Technical Director
・Nancy Tsang, Character Technical Director
・Lou Hamou-Lhadj, Character Technical Director
Pixar Animation Studios, USA・Jacob Speirs, Character Technical Director
・Kevin Singleton, Character Technical Director
・Trent Crow, Character Shading Technical Artist

15●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
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A5 1P (210 mm×148 mm )COMPUTER ANIMATION FESTIVAL

VR Theater

VR Theater

Hall E (B2F, E Block)
Wednesday, 05 December | 10:00-18:00 (8 Shows)Thursday, 06 December | 10:00-18:00 (8 Shows)
Friday, 07 December | 10:00-16:00 (6 Shows)Hop Step Sing!
Nozokanaide Naked Heart (5mins)

Shennong: Taste of Illusion (10mins)

directed by Hiroshi Chida
Kodansha VR Lab., Japan

directed by Li Mi
Pints Studios, China

Sonaria (5mins)

Tales of Wedding Rings VR (12mins)

directed by Scot Stafford & Chromosphere
Chromosphere, USA

directed by Kaei Sou
SQUARE ENIX, Japan

VR Theater sponsored by

16●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
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・白紙のページがある場合は コメント欄にご指示ください冊子テンプレート
A5 1P (210 mm×148 mm )COMPUTER ANIMATION FESTIVAL

Production Gallery

Production Gallery : "Artists Behind the Scenes Exhibition"

Registration area (1F, Glass Building)Wednesday, 05 and Thursday, 06 December | 9:00-18:00
Friday, 07 December | 9:00-16:00

Production Gallery "Artists Behind the Scenes Exhibition" is an exhibition of works by artists involved in digital image production.
This exhibition includes work by sixteen artists active inside and outside Japan, from works by Japanese artists working in Hollywood,to miniature pieces actually used in films, to exhibitions
by concept artists who construct breathtaking visions. We hope that, through these works, you will see a side of production that
normally remains out of view, building your interest in digital image production work.

Production Gallery sponsored by

Production Gallery produced by

17●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
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A5 1P (210 mm×148 mm )COMPUTER ANIMATION FESTIVAL

Parties!

Kawaguchi's SAKE party & CG show at Siggraph Asia 2018 (BOF)

the Sorabako ( Recruit Holdings Co.,Ltd)
41F, Grand Tokyo South Tower, 1-9-2, Marunouchi, Chiyoda-ku, Tokyo
Tuesday, 04 December | 20:00-21:30

SIGGRAPH ASIA 2018 welcome all SIGGRAPH Asia 2018 attendees to attend Japan's local specialty "SAKE (Japanese rice wine)" Party!
Supported by: GHELIA Inc. & ASAHI-SHUZO SAKE BREWING CO., LTD.

SIGGRAPH Asia CAF Party in Tokyo
Production Party Marking the 3rd Night of SA2018
BENOA Ginza
B3F, Ginza Wall Bldg., 6-13-16 Ginza, Chuo-ku, Tokyo
Thursday, 06 December | 20:00-24:00

To celebrate SIGGRAPH ASIA 2018, more than 10,000 computer professionals gathering from all across the globe, a party presented
by Japanese production studios will be held on 12/6(THU) from 8 pm. This party will take place as the official party of the Computer
Animation Festival (CAF) of SA2018. Don't miss out on this opportunity to mix and mingle with computer professionals, educators andstudents from not only Japan but around the world!
Please join us to make this an extra exciting night for SIGGRAPH Asia. FREE to enter!
Special guest appearances by the creative unit AC-BU and more!

Register from Peatix ! https://siggraphasia-cafparty.peatix.com/
Presented by:

Anima/N-Design/ENGI/Optical Force/Orange/OLM Digital/SOLA DIGITAL ARTS/Kamikaze
Douga/Sublimation/SAMURAI PICTURES/Sanzigen/Toei Animation/Polygon Pictures/Modeling
Cafe/LIBZENT/wise
Sponsored by:

IMAGICA DIGITALSCAPE/D-STORM/Borndigital/CG-ARTS/Institute for Information Industry/DigiSpace/ GEMHORN/Too/ FOUNDRY/ VFX-JAPAN
Co-presented by:"Anime Technic Sessions Unlimited for Creators 2018"/CG-ARTS Human Resources Development
Forum/Taipei ACM SIGGRAPH Chapter Reunion (a.k.a. Taiwan Night)

18●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
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A5 1P (210 mm×148 mm )SIGGRAPH ASIA 2018 Tokyo
Computer Animation Festival
wishes to thank to all contributors

SIGGRAPH Asia 2018 Computer Animation Festival
sponsored by●水色の枠線……切れてはいけない要素（文字やロゴ等）をいれる範囲●ピンクの枠線…仕上がりのサイズ●みどりの枠線…フチなし印刷にする場合、背景を伸ばす範囲★★★ ＰＤＦに変換して入稿される場合 ★★★
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