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WORLD
Computer
THE MAGAZINE FOR DIGITAL CONTENT CREATION AND PRODUCTION
$4.95 USA $6.50 Canada
Animated shorts hit a
high note with viewers
At Your Service
Service providers bring
3D scanning to studios
The Race Is On
Project Gotham Racing 3
revs up gaming
Hanging A Shingle
The ‘hidden costs’ of
opening your own shop
Music
for the
Eyes
February 2006 www.cgw.com
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THE MAGAZINE FOR DIGITAL CONTENT CREATION AND PRODUCTION
WORLD
Computer

Portfolio 34
Jiri Adamec
Digital Training 36
A wide range of virtual tutoring
and training options allow artists to
master software at their own pace.
Reviews 38
Bauhaus’s Mirage 1.5
Features
Cover story
Short and Sweet 10
ANIMATION

|
Artists and fi lmmakers test
new styles, equipment, and ideas with
animated short fi lms, some of which may
end up on this year’s Oscar short list.
By Barbara Robertson
Point Person 20
SCANNING

|
3D scanning technology
is proving itself as an important studio
modeling tool, and service providers are
helping the facilities get this job done.
By Debra Kaufman
The Fast Track 26
GAMING

The French Student
Revolution
E-Magiciens in Valenciennes, France,
showcases animation from some of the
most creative students in the country.
See the winning entries from this
annual event.
Integration is Key
At Autodesk University in Orlando, Florida,
the crowds were big, but the emphasis
on “keeping it digital throughout the
production pipeline” was even bigger.
Iomega’s REV Drive
Backs It Up
Check out this fi rsthand look at the
Iomega REV 35
GB
/90
GB
drive, a low-cost,
portable backup device that redefi nes
the way data is archived and shared.
20
26
© 2006 Pixar.
30
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______
KELLY DOVE: Editor-in-Chief

KAREN MOLTENBREY: Executive Editor

CONTRIBUTING EDITORS:
Jenny Donelan, Audrey Doyle,
Evan Marc Hirsch, George Maestri,
Martin McEachern, Stephen Porter,
Barbara Robertson
SUZANNE HEISER: Art Director

DAN RODD: Senior Illustrator

BARBARA ANN BURGESS: Production Manager

CHRISTINE WARD: Ad Traffi c Manager

SUSAN HUGHES: Marketing Communications Manager

MICHELLE BLAKE: Circulation Manager
michelleb@pennwell
MARK FINKELSTEIN: Vice President,
Computers & Electronics Group

COMPUTER GRAPHICS WORLD
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Nashua, NH 03062-5737
(603)891-0123; FAX:(603)891-0539

www.cgw.com
editor’snote
Kelly Dove
Editor-in-Chief
French Inspiration
Lively, captivating, and often dark, French animation continues to inspire
artists worldwide. And, in Valenciennes, France, art is more than pretty pictures;
it is a way of life—even for the local government.
On a recent trip to Lille and Valenciennes, two cosmopolitan towns near
Paris, I was introduced to a new way of teaching and inspiring artists to pur-
sue their passions while helping them to “achieve the dream.”
It all starts in the schools, where artists are put through rigorous testing to prove their
talents long before they are accepted into an art program. One such school, Supinfocom,
which I visited in Valenciennes, requires students to work on a project, such as a brand
identifi er for a mock company, creating a unique artistic treatment based on a strict list
of criteria. This type of project is a pre-qualifi er for admittance, and only a handful of
students will make the cut—space is limited, and only the crème de la crème students
will be fortunate enough to add the school to their resume. While it would certainly be
easy for the school to expand and admit students who have more promise (and money)
than talent, it’s pretty obvious the school’s leaders value a solid reputation more than a
hefty bank account. Also at Supinfocom is SupinfoGames, which offers similarly struc-
tured admittance requirements, but with a focus on game creation and development.
During the fi rst and second year, students at Supinfocom focus on design and ani-
mation using programs such as After Effects. Teamwork becomes vital in the third year
as groups of three and four students are challenged to use the latest 3D modeling and
animation software to create animated projects. Team-based learning is certainly not a
new concept. The challenge for the small team of students is to work together to create
an animated short—from start to fi nish—and compete against other classmates and stu-
dents from other schools at E-Magiciens, a small trade show and conference similar to
SIGGRAPH in the early days, only with an enormous animation festival/competition.

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4

|
Computer Graphics World
FEBRUARY 2006

www.cgw.com
spotlight
EFFECTS TOOLS
VISUAL EFFECTS
Your resource for products, user applications, news, and market research
PRODUCTS
PRODUCTS
IMAGE LIBRARIES
PRODUCTS
Autodesk Media and Entertainment’s Discreet Combus-
tion 4 visual effects software is now available for the
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effects animation, and 3D compositing for use in the cre-
ation of motion
pictures, episodic
television shows,
and commercials.
New features in
Combustion 4 in -

in time or XY space. Four independent
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Silhouette Paint can be integrated
with Silhouette Roto’s Shape tool for
motion tracking, variable-edge soft-
ness, and realistic motion blur. Brushes
can be applied to shape layers and auto-
matically matchmoved. Blemishes, for
example, can be automatically erased
over time. Silhouette Paint is priced at
$495 and Silhouette Roto sells for $595.
Silhouette FX Introduces Nondestructive Painting
See the Forest, the
Trees, and the Signs
Dosch Design has introduced fi ve new collections in
its Dosch Viz-Images series, offering everything from
road signs and streetlamps to plants and trees. Three
new Road Sign libraries each have 500 images that
include hazard, right-of-way, speed limit, construc-
tion and tour-
ism signs and
symbols in
JPEG format.
The Forest
Trees collec-
tion features
100 trees, and the Urban Features collection includes
benches, hydrants, streetlamps, mailboxes, and more.
The images in these two collections are supplied in

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Introducing
The Powerful, Approachable, Complete 3D Solution experience it at eovia.com
Inspire
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Productive. You want to lead, not follow.
Something great is here now.
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JPR’s “TechWatch.”
She can be reached at

6

|
Computer Graphics World
FEBRUARY 2006

www.cgw.com
By Kathleen Maher
Adobe has a long history in digital video with its Premiere and After Effects soft-
ware and, in piling it all into one box, the company is trying to give its customers what
they want—true compatibility between the different modules of the Production Studio,
better tools for collaboration, new presets for After Effects, more and better templates,
enhanced ease of use for DVD creation, and fundamental improvements in Audition.
The Pieces of the Production
Adobe’s newest release of Production Studio is available in two versions: Standard,
which includes After Effects 7.0, Premiere Pro 2.0, and Photoshop CS2 ($1199) and
Premium, which adds Audition 2.0, Encore DVD 2.0, and Illustrator CS2 ($1,699).
One of the guiding principles for Adobe’s development is that the use of Photoshop
and Illustrator is almost universal among creative professionals, making back-and-
forth compatibility a built-in advantage for Production Studio users right from the
start. Expanding on this, Adobe has created consistently similar environments for
Premiere Pro, After Effects, and Audition.
Taking intercommunication between the software programs even further, Adobe
has added Dynamic Link, which enables users to work smoothly within modules with-
out having to perform intermediate rendering. I talked to people who were already
using the Production Suite as beta testers for Adobe and they universally tipped their
hat to the power of Dynamic Link.

Adobe appears to be aim-
ing directly at Apple.
Yet, Adobe is exploiting
several advantages—its
ownership of creative
tools such as Photoshop
and Illustrator (which are
ubiquitous in the indus-
try), its possession of PDF
(the de facto standard
for document exchange),
and its acquisition of
Macromedia’s Flash, a
leading format for small
form animation used
widely in phones and
on the Web.
Adobe
revamps
its video
products and
takes aim
at Apple.
Production Studio’s Bridge component is a centralized fi le browser with media management
capabili ties, allowing users to fi nd and work with all fi les related to projects within any of
the Production Suite modules.
Adobe’s Suite Production
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www.cgw.com

FEBRUARY 2006
Computer Graphics World
|

7
Pro and After Effects is “incalculable.”
Interoperability, notes Kolowich, actually
makes the programs more powerful than
they would be on their own. For example,
he says that one of the aspects of video
that separates professionals from amateurs
is the skillful use of animated titles. He
has been able to take advantage of Adobe’s
inclusion of text animation and presets in
After Effects since the last introduction of
Adobe’s Production Suite, but now feels
like it is an embedded utility. “It’s like the
Adobe Titler on steroids,” he says.
Other work fl ow improvements in
the Production Suite include Bridge,
Adobe’s name for its centralized fi le
browser with media management that
helps users fi nd and work with all the
fi les related to projects within any of the
Production Suite modules. Also, Adobe
has added DVD creation to its Premiere

and looking ahead. Corporate clients are likewise moving
to HD, and, of course, the broadcast industry is racing to get to HD. But the other
reality of video is that it’s big and demanding. Luckily, hardware manufacturers
are coming to the rescue. To keep up with the trend, Adobe has added support for
the Aja Xena HS and also native support for HDV. In addition, Adobe’s support for
OpenGL gives hardware graphics boards the ability to accelerate processes. One
of the most obvious advantages will be support for high dynamic range imagery,
thanks to OpenGL, and also support for effects and plug-ins.
Adobe was among the fi rst to spawn a plug-in community with its SDK for Photoshop
Encore DVD’s fl owchart simplifi es organization when creating interactive
menus, multiple audio tracks, subtitle tracks, and more.
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audio products, and Frequency Space
Editing lets users zero in on a particular
sound, or frequency, to actually see the
area that needs work.
The Bottom Line
As always, it’s not about the pieces, it’s
about the whole. Much of the Adobe
Production Studio has been evolving to
this point—some of the features, such
as presets, titles, frequency space edit-
ing for Audition, and so on, were actu-
ally included in earlier versions of the
software. Nor are these features unique,
but they are necessary. Apple’s Final Cut
Pro, for example, has multi-cam features,
Apple introduced Motion to compete with
After Effects, and Apple has very strong
audio editing tools. What’s most impor-
tant is the way the pieces fi t together and
the way in which they enable people to
work with each other creatively. Perhaps
one of the most revolutionary additions
to the Creative Suite Production Studio
won’t even be realized until the prod-
uct is used in the creative commu-
nity. Adobe has enhanced its Acrobat
PDF format to work with video content,
allowing collaborators and customers to
attach notes for items such as sequence
fi xes, additions, deletions, etc.

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’s secret list of nomination candidates this year, only two were ani-
mated solely with 3D computer graphics tools: Pixar’s “One Man Band” and Shane Acker’s “9,” which won Best in
Show at SIGGRAPH 2005. Two other shorts, though—Anthony Lucas’s “The Mysterious Geographic Explorations
of Jasper Morello,” which won the Grand Prix at the prestigious 2005 Annecy International Film Festival, and Cédric
Babouche’s “Imago,” which has taken honors at several festivals—used a 2D/3D mix: 2D characters in 3D back-
grounds. In addition, many advocates of hand-drawn fi lms use computer software the
se days, if only to edit and
composite their scanned images, as did John Canemaker for his fi lm “The Moon and the Son.” The other fi lms
likely up for nominee consideration are the traditionally animated “Badgered” by Sharon Colman, which
received a Student Oscar nomination, “The Fan and the Flower,” a black-and-white hand-drawn ani-
mation by Bill Plympton, and Michael Sporn’s “The Man Who Walked Between the Towers,”
which is based on the 2004 Caldecott Medal-winning children’s book.
Chances are, three of these fi lms will be nominated for the Oscar. And through
these projects, artists have demonstrated that animation can be as rich a
medium as live-action fi lms.
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petition these days. Instead, the Oscar-
winning studio releases a short with each
feature fi lm and showcases the fi lms at
festivals, albeit out of competition. To
qualify for this Oscar race, the studio qui-
etly screened its “One Man Band” in a
commercial theater. The short’s world pre-
miere, though, was at Annecy, and its US
premiere during the December opening
of the Pixar exhibition of artwork at the
Museum of Modern Art in New York City.
Directed by Mark Andrews and Andrew
Jimenez, “One Man Band” takes place
in an old-world piazza. There, a peasant
child about to toss a coin into a fountain
becomes the focus of a musical sparring
match between a tired, tune-making regu-
lar and a charming, fl ashy new performer.
Bass, the piazza’s one-man band regu-
lar, has his arms fi lled with an accordion,
drum, tuba, clarinet, cymbals, and a few
horns. Treble, the energetic upstart, wields
bows and piccolos. At fi rst, each upstages
the other in turn, but soon the compe-
tition for the little girl’s coin turns into a
cacophony, with both musicians playing at
the same time, one on each side of the girl,
until she . . . well, that would be a spoiler.
Sometimes Pixar creates short fi lms to
exercise new technology; sometimes the

idea that an audience can get in 10 to 15
seconds, variations on that idea which
predict an outcome, a twist on the pre-
dictable outcome, one or two characters,
and one environment. With this list in
mind, they developed three stories: one
from Andrews, one from Jimenez, and a
third, which became “One Man Band.”
“We’re both musicians, so we won-
dered what we could do with music,”
says Andrews. “That’s how we came up
with the image of a one-man band.”
Then, they added a second character.
“Our idea was to have one character
who is good at something (but doesn’t try
very hard) challenged by someone younger
and better,” says Jimenez. “We showed
the ideas to John [Lasseter, the executive
producer] and he lasered in on this one.
He said, ‘I can see Andy in that character
[Treble] and Mark in the other one [Bass].”
At fi rst, the directors sketched story-
boards that had the musicians perform-
ing for a crowd. Eventually, the crowd
began to shrink until the audience com-
prised a mother and a little girl, and then,
only the child. One reason for the change
was the budget. “The short-fi lm directors
learn to work within creative boundar-
ies,” says Shurer. “There are per-charac-

One Man Band
The character Tinny holds the
coin that prompted a battle of
the one-man bands in Pixar
Animation Studios’ latest short.
©

2
0
0
6

P
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x
a
r
.
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. . . .

Animation
“[Lasseter] said it had to sound like
live music,” notes Jimenez, “like real
people were playing it. So, we recorded
the sounds of fi ngers sliding on metal.”
Although the animators sometimes
had the characters accurately play the
notes from the sound track, the two
one-man bands don’t have enough
fi ngers to match the music through-
out the fi lm. Instead, judicious use of
close-up shots of fi ngers on strings and cheeks puffed out to
blow horns convince the audience that the characters are creat-
ing the complex sounds.
The number of instruments became an interesting challenge
for the technical team: Each character had many surfaces. “Each
surface needs a shader, a texture map, and application space,”
says Bill Polson, supervising technical director. “You’d open up
a character, and the list of shaders would scroll up and down
the page—10 kinds of brass, the felt on the keys for the trum-
pet plungers, 10 kinds of wood... it goes on and on.” Although
the studio has built an infrastructure to handle that complexity
for the upcoming feature Cars, that infrastructure didn’t exist for
Finding Nemo or for “One Man Band.”
“Our pipeline at that point hadn’t handled characters with 400
or 500 shaders attached to them—it’s not like a fi sh that has four
or fi ve,” Lucas says, “so we just carried around big data fi les.”
To create the city surrounding the piazza, the team began

stuff,” says Polson. “I’m becoming a real advocate for that in the
studio.” —Barbara Robertson
Australian animator Anthony Lucas of
3-D Films turned 2D cutouts, stop-
motion animation, and 3D backgrounds
into a 28-minute Gothic horror/mystery/
adventure that has taken the festivals by
storm. It’s a science-fi ction fi lm set in
the past and fi lled with Victorian Rube
Goldberg machines—steam-powered
computers and iron airships.
“It’s a ‘steampunk adventure,’” says
Lucas. “William Gibson did a steam-
punk book set within an alternate uni-
verse in Victorian times. It doesn’t come
from that, but having fi nished the fi lm,
I fi nd myself in that genre.” Instead,
Lucas was inspired by writers Edgar
Allan Poe and Jules Verne.
Although Lucas typically works with
stop-motion characters, the stars of this
fi lm are silhouettes: 2D cutouts. “The
adventure takes place in an alternate uni-
verse where light doesn’t refl ect,” Lucas
explains. “That’s why the characters are
silhouettes. Also, I like the look of it. I
guess I worked out a reason for why this
world is like it is.”
The fi lm is set in the clouds; there is
The Mysterious Geographic Explorations

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ated for about every 12 frames—to com-
plete the animation. Animators worked
with CelAction’s CelAction2D software
to create the characters, animating them
on white backgrounds as if they were live-
action actors on greenscreen stages. “You
make a fi gure as a 2D object, and hinge
it like a puppet,” explains Lucas. “It’s
classic cutout animation. We give it a 3D
spin—they look 3D when they turn their
heads, but they’re not.”
Because the characters are always sil-
houetted, they’re always jet-black, although
the fl at planes have a bit of texture to cre-
ate such detail as buttons. The posed sil-
houettes are output as Photoshop fi les. “We
slide the Photoshop fi les on top of each
other to make it look like the characters
turn around,” explains Lucas.
To create the iron fl yingships that fl oat
through the sky, the crew used Autodesk
Media and Entertainment’s 3ds Max; to
create the clouds, they used (Autodesk)
Maya particles. Compositors then com-
bined all these images in Autodesk’s
Discreet Combustion, and added glows
and color tints to the scene. “We put a tint
throughout the fi lm, and the tint changes,”
says Lucas. “Because this is an alternate
universe that echoes Victorian times, or

Film historian, author, teacher, animator, and director of the
animation program at New York University’s Tisch School of
the Arts, John Canemaker created a 28-minute animated imagi-
nary conversation with his father that recently won the Fabrizio
Bellocchio Prize for Best Social Content at the I Castelli Animati
animation festival in Genzano, Italy. Film historian Leonard
Maltin calls the animation, titled “The Moon and the Son,”
Canemaker’s “most personal work ever—and his most brilliant.”
Canemaker writes, “I made this fi lm to resolve long-stand-
ing emotional issues I have with my late father. I wanted to fi nd
answers to our diffi cult relationship, to understand the reasons
he was always a feared fi gure in my childhood, why he was
always angry and defensive, verbally and physically abusive,
and often in trouble with the law.”
“The Moon and the Son,” which features the voices of actors
Eli Wallach and John Turturro as father and son, respectively,
was traditionally drawn.
Even so, the fi lm was cut and sound effects were added
with an Avid system; the composure used Apple’s Logic Pro
to compose, print, and mix the music, and Adobe’s Photoshop
to scan and edit three of the scenes. Apple’s Final Cut Pro
helped the team put it all together. —Barbara Robertson
Animator John
Canemaker uses
drawings to per-
sonify emotions
on the screen and
make what’s in
the mind become
alive in his fi lm.

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