Friday, 05 February 2010 20:58 |
Project Natal to ship in 2010
By Alan Brandon
With Project Natal 'you are the controller' as shown in this demo at CES 2010
At CES 2010 in January Microsoft announced that its controller-less accessory for the Xbox 360, dubbed Project Natal, will ship by the end of 2010. Unveiled in June 2009, Project Natal is the Redmond company’s attempt to out-Wii the Wii. Instead of a hand-held controller, wireless or otherwise, Project Natal uses a 3D sensing unit on top of your TV to read your gestures, recognize your face or other objects, and even respond to your voice. Project Natal is among the latest examples of devices that are controlled by so-called “natural user interfaces”.
The goal of a natural user interface (NUI) is to eliminate the awkward and often complex artificial controls between a user and their device. Each generation of UI tries to bring the user experience closer to this ideal - from desktop mouse to multi-touch screens. Although it first announced Project Natal at the E3 Expo video game trade show in June 2009, Microsoft has been working to develop other NUI technologies as well. In addition to the high-profile Project Natal, other examples include Microsoft Surface, Windows Touch, and Ford SYNC, the voice-controlled, in-car entertainment and communications system that Microsoft developed jointly with Ford. But it is Project Natal that brings us the closest to the sci-fi interfaces seen in movies like Minority Report and Star Trek.
The key aspect of Project Natal is its ability to recognize gestures, but the system also includes the ability to respond to voice commands and facial or object recognition. These last two technologies are well established at this point. Despite some consistency issues and a literal learning curve, voice recognition is commonly found in cell phones and speech-to-text typing applications. Facial recognition, often viewed with trepidation for its big-brother security implications, is now widely available in consumer point-and-shoot cameras.
At CES 2010 and at E3 in 2009, Microsoft demonstrated several games on the Project Natal platform including Ricochet, a handball-type game where your avatar hits balls against a wall, and Burnout, a driving game where you move your hands as if you’re holding an invisible steering wheel while your foot controls the virtual accelerator pedal.
Microsoft hopes that Project Natal’s advanced technology brings together gesture, voice, and facial recognition to create a UI that is more approachable for people who might be less comfortable with technology. The technology is essentially hidden, adapting to the person using it instead of the other way around. One of Microsoft’s goals is for Project Natal to broaden the Xbox 360's audience beyond its hardcore gamer base.
The Project Natal hardware itself is a flat horizontal sensor about 9in. (23cm) wide that mounts on top of your television set. Inside lurks a microphone plus a depth sensor that includes am infrared projector combined with a CMOS sensor camera. This array allows Project Natal sensor to see in 3D under nearly any ambient light conditions. The unit has an adjustable sensor range, plus the ability to automatically calibrate itself based on the user’s movement, game play, and the physical environment (for example, the presence of furniture and so on).
The Project Natal 3D sensor works somewhat like a laser rangefinder to provide detailed three-dimensional information about the gaming environment. Unlike a simple camera, the Project Natal sensor generates a “point cloud” based on the surface of objects and people in its range. The Project Natal software uses this 3D data to interpret certain parts of the point cloud as a person, using advanced human tracking algorithms to further identify which parts are the hands, feet, head, and so on.
All of this computer vision processing requires some processing horsepower, and the Project Natal sensor was originally designed to have its own on-board CPU. However, earlier this year Microsoft dropped the chip from the controller presumably to reduce costs. This is in line with recent reports that 3DV Systems (the original developers of the Project Natal technology) first demonstrated the system to Nintendo, who declined to pursue it because of the high price.
The removal of the on-board CPU means that the Xbox 360 will have to use 10 to 15% of its CPU processing power to handle computing chores for the Project Natal sensor. What impact this will have on Xbox 360 game play remains to be seen, but it seems likely that not all Xbox games will be able to support the CPU demands of Project Natal. Indeed, Microsoft has said that Project Natal will focus primarily on “brand new experiences”, meaning games that are designed specifically for it using gesture and voice for control.
The release of Project Natal at the end of 2010 will mark the ten-year anniversary of the Xbox console, which arrived on store shelves for the 2000 holiday season. Over the last decade, UI technology has continued to advance in nearly all areas of consumer electronics. Touch-screen technology has exploded in dozens of different types of products, voice recognition continues (though struggling somewhat on the sidelines), and early brain-to-device interfaces have begun to show some progress. Project Natal, with its gesture, voice, and facial recognition, is bringing UI technology closer to that ideal combination of natural inputs to create a truly natural user interface.
Though Project Natal is scheduled to be released during the fourth quarter of 2010, Microsoft has not announced pricing nor the final list of game titles that will be available.
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Friday, 05 February 2010 17:44 |
Mocap production begins on Happy Feet 2
Director George Miller announced the beginning of production for Happy Feet 2 in Sydney, adding that NSW and Australia have been ‘lazy’ but that situation is changing, particularly with the state’s production attraction activities and the opening of a new state-of-the-art motion capture facility at CarriageWorks in Sydney.
Miller said that what New Zealand – and Wellington in particular – have achieved should be an inspiration for Australia.
“The Australian film industry has been complacent for about 20 years. There’s been moments of brilliance, but those moments have been unsustained. There’s a fantastic talent and infrastructure, but no productions to really keep it going,” he said.
“In NSW and Australia we were too lazy and we let others steal the march, but now it’s changing, and this is a brilliant time.”
Happy Feet 2 will use technologies similar to those employed by James Cameron in Avatar, allowing Miller to visualise actors as their penguin counterparts in real time, moving in a virtual environment, instead of seeing them with their motion capture suits in front of a green screen.
“The film industry is moving to that intersection of technology and art, that’s where Avatar is showing us the road, that’s where the guys in New Zealand are showing us the way, and there’s no reason why we can’t have that in this country. It’s happening; now we have the most advanced motion capture studio in the world at CarriageWorks, it’s huge.”
The director said he did not foresee any scheduling conflicts between Happy Feet and the upcoming Mad Max sequel Fury Road, and admitted that he has no certainty about repeating the success of the first penguin film – which earned U$384.3m worldwide.
Miller declined to announce more details about the voice cast, other than confirming that US actors Elijah Wood, Robin Williams and Hank Azaria are currently in Sydney. They will be recording their performances at Trackdown, in the Entertainment Quarter, over the next two weeks.
“We have the old cast, and a lot of new cast members too,” he said.
One of the dancers – who also worked on the first Happy Feet – told Encore that the final dancing cast has not been selected yet, and he did not expect motion capture of the dancing portion of the film to take place until at least the second half of 2010.
Happy Feet 2 is expected to create more than 500 jobs over its three-year production period, according to information released by NSW Premier Kristina Keneally.
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Friday, 05 February 2010 17:39 |
Image Metrics Offers Free Trial of Facial Animation Services
Los Angeles, Calif. - Image Metrics, a provider of facial animation technology and services for the entertainment industry, has introduced a free trial program, offering 30 seconds of animation for prospective game and film customers. Under the free trial program, Image Metrics will animate content chosen by the studio and provide results via a QuickTime video, 2D Expression Sheets, and software scene files that can be easily integrated back into studios' production pipelines.
"Facial animation can be expensive and time consuming using traditional methods, making it difficult for many studios to achieve their desired level of realism with their production budgets," says Brian Waddle, executive vice president of Image Metrics. "In addition, many studios on a deadline are naturally cautious about adopting new technology into their pipelines while working on a project. Image Metrics' free trial offers a no-risk, no-charge way for prospective clients to learn exactly how our facial animation system works, and how we've developed our process around our technology to be as versatile, fast, and as seamless as possible. We want potential customers to experience how easy it is to integrate and see how they can save money while improving their pipeline and ultimately consistently getting better quality animation." Image Metrics' proprietary facial animation software and services range from facial animation for supporting video game characters to photorealistic digital doubles for film and television. The company's complete service offerings include four different facial animation levels using its proprietary facial animation technology to analyze an actor's facial performance captured on video and transfer it with all of its subtleties and nuances to a 3D facial rig. The company offers several these different quality level results to meet each studio's desired level of realism and believability from their digital characters. Image Metrics' results are dependent on optimizing both the character rig and the video performance to be analyzed through its proprietary facial animation software. To ensure the trial rig is capable of providing structure for high-quality animation, the Company will also provide one master rig for clients or collaborate in development on a rig for the free trial. A combination of up to 15 seconds of client-provided video and 15 seconds from Image Metrics' library of pre-analyzed video clips will be used to animate the 30-second free trial.
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Thursday, 04 February 2010 22:43 |
Oscar snubs "Avatar's" motion-capture actors
Alex Ben Block
LOS ANGELES (Hollywood Reporter) - Although "Avatar" has blasted through box office records and scored nine Academy Award nominations Tuesday, its producers are frustrated that the movie's actors were ignored by Oscar voters.
Zoe Saldana and James Worthington failed to earn nominations Tuesday for their motion-capture work in the sci-fi spectacular.
"People confuse what we have done with animation," director James Cameron said at the recent Producers Guild Awards, where he and fellow producer Jon Landau lost to "The Hurt Locker."
"It's nothing like animation. The creator here is the actor, not the unseen hand of an animator," he added.
The Oscars snub is "a disappointment," said Landau, "but I blame ourselves for not educating people in the right way."
Landau explained that they needed to make clear that the system they used represents a new way to use "motion capture" photography, or as Landau puts it, "emotion capture."
A key breakthrough in "Avatar" involves photographing facial features of the actors with a tiny camera suspended from a skull cap in front of the performer's face that caught every twitch and muscle movement, all faithfully reproduced onscreen.
"We made a commitment to our actors that what they would see up on the screen were their performances," Landau said, "not somebody else's interpretation of what their performance might or might not be."
The issue of what makes an actor an actor first surfaced when Andy Serkis did Gollum in "The Lord of the Rings," but skepticism remains over whether it is the same as live-action acting.
"What an actor is doing when acting is not just looking like something but expressing something going on inside," says James Lipton, host of Bravo's "Inside the Actor's Studio." "I'm not sure that motion capture, while it captures the flicker of an eyebrow, the twist of a mouth, a gesture of a hand, equally captures emotion."
Critic Peter Rainer of the Christian Science Monitor tended to agree." On one hand, it is a performance, but on the other, it is so aided by technology," he said. "If I were 'King of the World,' I would create a separate category."
Film professor Richard Brown doesn't agree. "This is very much the first film of the 21st century," Brown said. "What we need to do is expand our concept of what the word actor means. It's unfair to take performances as good as these and not designate them as actors."
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Tuesday, 02 February 2010 20:42 |
Stanton Starts Shooting John Carter for Disney
Disney’s feature film adaptation John Carter of Mars, based on the Edgar Rice Burroughs books and marking the live-action directing debut of Finding Nemo and WALL•E helmer Andrew Stanton, has begun principal photography in London.
The film features a lot of crossover from animation into live action. Among the crew are producers Jim Morris (WALL•E, Ratatouille) and Colin Wilson (Avatar, War of the Worlds). Pixar alumnus Stanton also has worked as a screenwriter or executive producer on Toy Story, Toy Story 2, A Bug’s Life, Monsters, Inc., Ratatouille and Up.
"I have been waiting my whole life to see the characters and worlds of John Carter of Mars realized on the big screen,” says Stanton. “It is just a wonderful bonus that I have anything to do with it."
The cast is led by Taylor Kitsch (Friday Night Lights, X-Men Origins: Wolverine) in the title role, Lynn Collins (50 First Dates, X-Men Origins: Wolverine) as the warrior princess Dejah Thoris and Oscar nominee Willem Dafoe (Spider-Man 3, Shadow of a Vampire) as Martian inhabitant Tars Tarkas.
The cast also includes Thomas Haden Church, Polly Walker, Samantha Morton, Mark Strong, Ciaran Hinds, British actor Dominic West, James Purefoy and Bryan Cranston. Daryl Sabara takes the role of John Carter’s teenaged nephew, Edgar Rice Burroughs.
The creative team includes Oscar-nominated production designer Nathan Crowley (Public Enemies, The Dark Knight, Batman Begins), costume designer Mayes Rubeo (Avatar, Apocalypto), cinematographer Daniel Mindel (Star Trek, Mission Impossible III, Spygame) and video effects supervisor Peter Chiang (The Reader, The Bourne Ultimatum).
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Thursday, 28 January 2010 20:44 |
James Cameron Planning an Avatar Trilogy
Published by Jeff Leins
Once Avatar started setting box office records, it was inevitable talk of a sequel would emerge. The science fiction epic is up to $1.4 billion worldwide (just $400 million shy of Titanic), and this weekend it will pass Star Wars to become the third highest-grossing movie of all-time at the domestic box office.
Rumors of a second adventure on Pandora circulated until James Cameron himself attended a Variety-hosted screening and Q&A in Hollywood. The director confirmed “there’ll be another” and said the plan was always to make a trilogy of films, according to an account on Ain’t It Cool News.
The new issue of Entertainment Weekly confirmed the trilogy concept with a quote from Cameron. “I’ve had a storyline in mind from the start — there are even scenes in Avatar that I kept in because they lead to the sequel,” Cameron said. “It just makes sense to think of it as a two or three film arc, in terms of the business plan. The CG plants and trees and creatures and the musculo-skeletal rigging of the main characters — that all takes an enormous amount of time to create. It’d be a waste not to use it again.” Any thoughts on what scenes set up a sequel?
As usual with high-profile blockbusters, Sam Worthington is signed for an eventual sequel and a new adventure as Jake Sully. Stephen Lang even joked about returning to the series as the scarred Col. Quaritch. “Nothing’s over so long as they’ve got my DNA.” Cameron is expected to return as the director.
As for a potential plot line, you might remember Pandora is just one of many moons orbiting the planet Polyphemus. Cameron has said he has story ideas on how to branch out onto the other surfaces in the solar system. Oh great, more planets that will make people depressed upon learning they aren’t real.
The original took over a decade in conception and four years in actual production, so if we’re lucky we could see Avatar 2 by maybe 2014? I have to believe he’ll be able to turn a sequel around much quicker than that, especially if he’s already hatched an arc to the stories and developed the 3-D performance capture technology. That’s the hope any way.
The question becomes “will Avatar 2: Escape from Pandora be James Cameron’s next movie?” In the time it takes to finalize the script and prepare the props, the timeline allows for him to detour to another project. He’s long been attached to an adaptation of Battle Angel, which Yahoo! says is in pre-production already. Cameron has also optioned the rights to “The Last Train to Hiroshima” about Tsutomu Yamaguchi, the last known survivor of the atomic bombs dropped on both Hiroshima and Nagasaki during World War II.
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