A short clip from a Sumatra (codename) product demo at SIGGRAPH 2000
Looks like MarkS to me
A short clip from a Sumatra (codename) product demo at SIGGRAPH 2000
Looks like MarkS to me
L’un des plus forts symboles de succès de l’industrie québécoise des technologies, Softimage, n’existera plus. L’entreprise américaine Autodesk, qui en est maintenant propriétaire, a annoncé que la prochaine version du logiciel Softimage, qui doit paraître le 14 avril, sera la dernière.
Here’s a question from the Softimage mailing list, and what I would have answered (I didn’t answer, and I didn’t peek at the other answers either).
Given a 100×100 Grid point cloud, how would you do something to the following subsets of points?
[0,5,10, ... 595] and [1000,5,10, ... 1595]
For something like that, modulo is an obvious way to do it:
Contrast the above with this nicer tree
See also this for some compounds.
Along the banks of le fleuve Saint-Laurent…Taarna, Softimage, Discreet Logic, and Alias/Wavefront
A March 1999 article by the late Emru Townsend, a Montreal-based animation and technology writer who worked at Softimage for awhile.
Along the Banks of the St. Lawrence…
ANIMATION WORLD MAGAZINE – ISSUE 3.12 – March 1999
by Emru Townsend
Frédéric Back, in his 1993 film The Mighty River, traced the history of the St. Lawrence River (St-Laurent, to us Quebecers) in eastern Canada, as it flowed from Lake Ontario out to the Gulf of St. Lawrence before emptying into the Atlantic. His majestic film spoke of the aboriginal people who lived off the land, the fur traders, the settlers and the modern-day Canadian inhabitants. But somehow he forgot about the digital animation houses: no less than four significant players in the animation and effects industry straddle Lake Ontario and the St. Lawrence itself.
Three of these companies happen to share common ancestry, in the form of a melancholy pianist by the name of Tony de Peltrie. De Peltrie, of course, does not exist except virtually. When the eight-minute short film Tony de Peltrie was presented to the world in 1985, the eponymous character was widely considered the first computer-animated character to truly express emotion through his face and body language. Tony de Peltrie was the brainchild of Pierre Lachapelle, Philippe Bergeron, Pierre Robidoux and Daniel Langlois at Université de Montréal.
The irony is that in the short, Tony sadly reminisces about his long gone glory days. As it turns out though, his true legacy was yet to come.
Taarna Studios Swinging Strong
Taarna’s The Boxer. © Taarna Studios.
Closest to the St. Lawrence, in the area of Montreal known as the Old Port, Taarna Studios — named after the scantily-clad warrior that graces every Heavy Metal poster — goes about the business of giving animators the necessary tools to create life on the screen. As it happens, Taarna was the name given to the software that Philippe Bergeron used to bring Tony de Peltrie to life.
In 1994, their Digits ‘n Art (DnA, for short) subsidiary was born, specifically to market flesh, a 3D paint software application, and LIFEsource, a complete motion capture system. Among their numerous clients are Rhythm & Hues, Bandai, and NHK. flesh is also a recent addition to Mainframe Entertainment’s stable, where it handles the paint and texture-mapping chores on Beast Wars.
Taarna’s playground for beta-testing their software is The Boxer, a CGI film which seems to feature a boxing match between two seemingly mismatched opponents. “Seems to be” is the operative phrase, since production on the short is very secretive, though the impressive one-minute, forty-second trailer to the film has won several awards in recent years. Directed by Pierre Lachapelle, The Boxer was originally to be a 20-minute film slated for film and television outlets; it’s now destined for large-screen IMAX theaters, with a running time of 40 minutes.
Running the Gamut: SoftImage
Mainframe’s Beast Wars is produced in Canada as well as using Canadian-made software. © Mainframe Entertainment.
Daniel Langlois, another Tony de Peltrie co-creator, founded SoftImage in 1986, but it was 1993′s Jurassic Park that made the world sit up and take notice. Remember the gallimimus herd stampeding as they fled from the hungry tyrannosaurus? That was through judicious use of SoftImage 3D (familiarly referred to as just “SoftImage”).
Microsoft bought SoftImage in 1994, and just last year the Redmond giant sold them to Avid. During that time, the software stable had expanded to include SoftImage DS and Eddie (editing, compositing, and effects), and Toonz (digital ink and paint program for 2D cel animation). The operating platform also grew from being exclusively SGI-based to Windows NT — coincidentally, this last development took place during the time they were owned by Microsoft.
Considering the modest size of the SoftImage product line, the work created with their tools has a surprising breadth across styles and media. The all-new, all-CGI Godzilla was created using SoftImage; the traditionally-animated Anastasia and Balto were inked and painted using Toonz; Hayao Miyazaki’s anime Princess Mononoke, which is second only to Titanic in the history of Japan’s box office revenue, made use of SoftImage 3D’s Toon Shader plug-in; and Mainframe’s ReBoot, War Planets, and Beast Wars all use SoftImage alongside other tools.
Award Winning Discreet Logic
Discreet Logic is a second-generation descendant of Tony de Peltrie; two of its four founders were originally from SoftImage. Literally around the corner from Taarna, Discreet Logic’s products, which feature such colorful names as flint, flame, and inferno, cover considerable ground: their software runs on Silicon Graphics, DEC Alpha, Windows 95, Windows NT and Macintosh platforms. More to the point, their software spans the complete production spectrum. To pick three examples, paint handles 2D animation and rotoscoping; effect is for compositing, effects, and motion tracking; light is a 3D rendering and animation package.
By the time you read this, Discreet will have made industry headlines for winning the Scientific and Engineering Award from the Academy of Motion Picture Arts and Sciences. Hardly a surprise, considering that their products were used to great effect in such special effects extravaganzas as Armageddon, Small Soldiers, Titanic and Godzilla.
The Power of Alias|Wavefront
Chris Landreth’s The End opened eyes when it came out in 1995. © Alias|Wavefront.
Three hundred miles southwest of Tony de Peltrie’s progeny is Toronto-based Alias|Wavefront, which sits near Lake Ontario. The company has something of a quirky history. Alias Research and Wavefront Technologies were originally two separate companies: Alias focused on modeling, Wavefront in animating models. Both were founded in 1984 and had long histories of providing production tools for film (Alias had been used in Apollo 13, The Abyss and Judge Dredd; Wavefront in Mortal Kombat, Species and Akira). The two companies merged with Silicon Graphics in 1995.
Although Alias|Wavefront’s various software runs on SGI, Windows NT and IBM RS/6000 platforms, the bulk of their product is, unsurprisingly, made for SGI systems, with Windows NT a distant second. The company’s first family of products falls under the banner of Maya, a rendering and animation suite that includes four modules: Artisan, FX, PowerModeler and Live. Two upcoming modules are Fur and Cloth, which, as their names imply, are used to mimic realistic fur and cloth behavior.
Animation festival audiences have probably seen an eyeful of Alias|Wavefront’s software capabilities in Chris Landreth’s The End, and his more recent Bingo. Bingo, created using a combination of Alias|Wavefront software (Maya, StudioPaint 3D and Composer),features a fascinating blend of the real and the unreal; the protagonist is an ordinary-looking fellow, but the people and things that poke and prod at his sanity are deliciously surreal. What’s startling is that the protagonist actually does look ordinary — as in some of Landreth’s other work, there are times when our hero looks a little too human for a CGI creation, inching us a little closer to the idea of a “synthespian,” or digital actor.
Perhaps surprisingly, Landreth doesn’t seem to like the idea of synthespians very much. “I really am not interested in trying to recreatephoto-realistic human beings,” he says. “The characters in Bingo look realistic, but in no way were we trying to `fool’ anyone into believing they were live-action humans. There is always an element of caricature or stylization in all of the characters. That’s the real item of interest to me — using CG to approach realism, but always using the opportunity that CG provides to exaggerate, streamline and create visual metaphors around the characters and environments.”
One of the interesting aspects of the digital animation industry is that unlike most other computer-related markets, it’s hardly a zero-sum game. Studios can and do mix and match, using different tools for different aspects of the job. For example, Centropolis, the studio behind Godzilla, used SoftImage to bring Godzilla to life, and Discreet Logic’s software to composite the big lizard into the film. Mainframe uses SoftImage 3D as their base application, along with Taarna’s flesh and a host of other custom tools.
Sometimes, the division of labor can be a bit fine. Scott Dyer, technical producer of the CGI television series Rolie Polie Olie at Toronto’s Nelvana, is one such practitioner: “Last season, we used [Alias|Wavefront] PowerAnimator for modeling, SoftImage for animation, and then PowerAnimator for lighting and rendering. This year, we’ve essentially replaced PowerAnimator with Maya.” While the decision to use two companies’ packages was partly based on their specific abilities, Dyer adds that it was also a good pragmatic choice. “Rolie Polie Olie is co-produced with Sparx in France. Their expertise was in SoftImage, and ours was in PowerAnimator, and training costs are more expensive than software.”
Really, that’s what it boils down to: like any carpenter or mechanic’s toolbox, you can use what you need, so long as you know your tools are capable of handling the work. And as dozens of clients and audiences worldwide can testify, these digital tools from along the St. Lawrence Seaway can do the job.
Emru Townsend is a freelance writer who won’t stop talking about cinema, animation and computers. He is also the founder and former editor of FPS, a magazine about animation.
Given an array like
[0, 3, 7, 22, 6, 71, 1, 0, 9]
how do you sum up the first group of three elements (0+3+7), the second group of three elements (22+6+71), the third group (1+0+9), and so on and so on, without using a Repeat node?
Well, you could write your own custom ICE node. Or you could use Generate Sample Set like this:
Someone asked me if they could use Arnold with a standalone Softimage license.
Yes, of course you can. You can use Arnold with a trial version of Softimage; the Arnold license is completely separate. As long as you can start Softimage and load the SItoA plugin, you can render with Arnold.
The SItoA plugin itself is not licensed. It isn’t until you start a render that Arnold checks out a license.
So, how does it work if you have one Standalone Softimage license and five Arnold licenses?
Another Rotate Vector example. This time, I rotate the points of a mesh around the global X axis. In short, the point positions are treated as vectors, and then rotated about the specified axis. Of course, this requires some conversion between coord systems, which is always fun
The bottom part of the tree is just for visualization.
Softimage. For years those three little syllables rolled off the tongues of 3D artists everywhere with wonder. But then something happened. 3D Studio became 3D Studio Max. PowerAnimator became Maya. And Softimage … well, Softimage remained the same.
From the moment XSI arrives it screams it’s something different.
…Softimage XSI’s largest and nearly fatal flaw…You cannot create polygonal objects of any real use with the program as it now stands.
To most 3D artists, the word “Softimage” is synonymous with animation.
What’s better than having Mental Ray as your renderer?
If I were reviewing it for a film application, it would be a five-star product, no question. If all you are interested in is creating a prerendered cinematic, then definitely give XSI a good, long look. But its utter lack of polygon tools hurts this product too deeply for me to give it any kind of recommendation.
And now the review itself, with four XSI 1.0 screenshots:
Product Review: Softimage XSI 1.0
Softimage. For years those three little syllables rolled off the tongues of 3D artists everywhere with wonder. But then something happened. 3D Studio became 3D Studio Max. PowerAnimator became Maya. And Softimage … well, Softimage remained the same. Of course, it went through incremental updates, with feature additions and interface enhancements, but the core remained the same solid foundation on which hundreds of games and movies have been produced. While not necessarily a bad thing, the “buzz” was with Max and Maya. But there was this word whispered in quiet corners of studios and art departments around the world: “Sumatra.” And it wasn’t just a request for the intern to pick up some Starbucks. Sumatra was Softimage’s oft-delayed next-generation 3D production tool, and it has finally arrived in a big way. Sumatra, now known by the somewhat less exciting name of Softimage XSI, builds on its strong heritage, and adds exciting new functionality. Drawing on the expertise of Softimage while adding the talents of Avid’s engineers, XSI is definitely going to turn a few heads.
From the moment XSI arrives it screams it’s something different. Rather than the limp cardboard most packages ship in, Softimage XSI arrives in a strong particle board box that will easily stand up to the daily abuse it will take on your desktop. Installation is as simple as any Windows product. SoftImage XSI ships with a full copy of SoftImage 3.9 (more on this later), and comes on a total of 6 separate CDs, including Phoenix Tools ParticleSuite and ClothExtreme. Liscencing is equally as simple, once the license is received. Softimage uses the FlexLM system, and can be serviced via a network server or the ubiquitous parallel port dongle. Happily, it did not balk at being included in a chain of dongles for Maya and Max.
When you first start XSI, you realize it is not your average Windows application. It appears as if Avid’s Macintosh legacy has heavily influenced the interface. Whether it’s a plus or a minus for you, the only standard Windows features I could see were the title and menu bars. Even the file dialogs use Softimage’s Unix/Mac-blended UI design. This unique UI did cause one minor technical problem: as Softimage starts, it sizes itself to your current resolution — ignoring the Windows Taskbar. Setting the Taskbar to Autohide seemed to be the best solution.
The UI itself is divided into five main areas. By default, Softimage gives you the standard top/front/side/perspective that every 3D program offers. Users can also change these to any number of editors and windows, such as the Animation Editor or Schematic View. Taking up the most real estate are the workspace viewports. To the left is the Toolbar area, which is divided into Modeling, Animation, and Rendering tool sets. This is where you readily access most of your commands. The top is the main menu bar, where you access all the general functions of the program, as well as the toolsets of the Model, Animate, and Render menus without having to switch modules. The bottom contains all the timeline and command line functions. Strangely, this is also where you access all the animation editing tools. I say strangely because it was literally the last place I looked for them while going over the program the first time. Finally, the right hand of the screen contains the Main Command Area. This ominous-sounding control panel contains everything from layer controls and selection filtering to transformation and grouping tools.
One very unique feature I have come to love is the concept of “sticky” hotkeys. By quickly tapping a key, you enter into a mode or tool. Tapping the key again returns you from that mode. In addition, if you simply hold a key down, you remain in that tool or mode only as long as that key is depressed. For instance, pressing the “m” key will allow you to quickly grab and move a vertex or CV. Or by simply tapping it, you enter into a true sub-object editing routine. This is much quicker than the standard method of having to enter into a sub-object mode for every little tweak, and I find myself missing it when I’m working outside of XSI.
I can’t say I liked the interface as a whole, though. It obviously tries to retain the feeling of previous versions of Softimage while adding workflow enhancements and access to new tools. Anyone who has become accustomed to the standard Windows interface will most likely have trouble. However, artists who have never ventured outside of Softimage should have no trouble whatsoever.
The other UI element you will encounter most often is the Property editor. The Property editor offers access to every bit of data available on any object. It is organized into “pages” which users can organize in myriad ways, and it is necessary to do so for many objects in order to keep track of the most-used channels on an object. The Property editor is also one of the most convenient ways to access the construction history on an object, called the Operator Stack. Everything you do to an object, from applying a deformer to moving a vertex creates an operator, and can be easily accessed and keyframed through the Property editor.
One interesting thing I noticed about the interface is that the actual execution is extremely fast. Flying around fully shaded complex models was a breeze. And playing animations had fully skinned characters updating in all windows, fully shaded, in real time. Whether this is due to the skills of the Softimage engineers or left-over insight from when Microsoft owned Softimage is unknown, but it is impressive.
Softimage has an extensive and robust set of tools for modeling NURBS surfaces. This is a welcome change from the days of Softimage 3.x, where the NURBS modeling features were decidedly subpar. In particular, I found the Curve Net and Continuity Manager to be particularly powerful and useful tools in creating seamless, detailed organic surfaces. In addition, surface fillets, surface blends, bi-rail surfaces and four-sided surfaces provide a complete suite of tools for creating anything you may desire — using NURBS.
This is where we come to Softimage XSI’s largest and nearly fatal flaw. You cannot create polygonal objects of any real use with the program as it now stands. While you have access to a variety of polygon primitives, the only way to edit them is pulling on vertices or using deformers. This is, without a doubt, unacceptable for in-game model creation. This is the main reason for the inclusion of Softimage 3D, which has a full suite of polygon editing and creation tools. In particular, I found their UV editing tools to be quite excellent. Luckily, Softimage XSI can easily import Softimage 3D scenes completely intact, including any polygonal objects.
While using Softimage 3D is quite a powerful solution to XSI’s polygonal shortcomings, forcing game artists to learn two programs to create assets is a hindrance to Softimage XSI gaining ground with companies dedicated to Max, Maya, Lightwave, or Mirai. To artists already using Softimage 3D, this should be no big deal, and may actually help in the process of switching to Avid’s next-generation offering.
To most 3D artists, the word “Softimage” is synonymous with animation. Softimage first introduced most of the indispensable tools and techniques for modern computer animation. From IK to constraints, function curves to dope sheets, Softimage’s touch is felt industry-wide in every package. They hope to continue that tradition of innovation and revolution with nonlinear animation.
Nonlinear animation is nothing new to game artists. We’ve been doing it for years without even realizing we were revolutionizing the very process of animating. To the uninitiated, nonlinear animation (NLA) is the process by which different motion assets can be strung together, blended, combined, and generally messed with in every conceivable combination, all in a nondestructive fashion. You access XSI’s NLA features through the Animation Mixer. This interface is similar to nonlinear editors such as Adobe Premiere or (this should come as no surprise) Avid Media Composer. Clips can be created and saved to libraries or simply cut and pasted within an active animation asset. The simplest application of this technology is to use in-game animation assets to string cutscenes together quickly, and to keep the motions “in-character.” But this is missing the true power of NLA.
By overlaying and blending multiple clips, an artist can create seamless transitions between separate actions, or layer animations on top of each other. Once the possibilities of these functions are fully realized, animators will be drooling to get their hands on these tools.
For instance, no longer will animators slave away trying to get all the start and end poses of their animations exactly the same. You can simply save the pose as an Action Clip and bring it in at the beginning and end of your cycles to have perfect match-up. Hand-creating transition animations is also greatly helped by the blending functions. Take your walk cycle and your run cycle, overlay them by the proper amount, and keyframe the influence to get your transition animation.
But wait, there’s more! Because the animation blending only takes into account the transformation channels you want it to and only on the objects you want it to, you can create whole new assets from old ones. For instance, once you have animated and perfected your generic walk cycle, you can simply save out arm poses for various weapons or props and create consistent animations. And then apply those same arm poses to the run cycle. And then to the jump animation, the idle animation, and so on. By keeping these assets non-linear, you can seemingly tweak one animation for an excessive amount of time because you get so many real assets out of it.
NLA is a truly revolutionary tool and will be welcomed by artists everywhere. It will be interesting to see how this technology develops in the coming years. XSI already offers a robust NLA tool suite, and looks to be an industry leader in this exciting technology.
Other than the NLA tools, XSI offers nothing too revolutionary to its animation tool set. This is not a complaint by any means. The NLA tools are truly amazing, and Softimage already had a robust tool set. Noticeably lacking, however, was the dope sheet. A frequently (and obviously) overlooked tool, this holdover from the days of traditional animation will be sorely missed, and will hopefully make a return in a later release.
Softimage XSI uses very solid IK routines. What’s amazing is that XSI builds the IK directly into the skeletal chains, which makes rigging skeletons quick and simple. I’m a control freak, and don’t like being removed from the rigging process, but I can see the appeal for many artists.
Because the IK is built into the skeletal chains, an animator can use forward kinematic techniques to pose the skeleton without having to do any wacky constraint tricks. Simply select the bone and rotate it. If you’re an animator, I know you’re smiling with glee right now.
SoftImage XSI does contain some very useful curve reduction tools. Combine these motion curve reduction abilities with the Animation Mixer, and you have an extremely powerful tool for editing motion capture. Imagine bringing in a captured motion, smoothing out the kinks and pops, and then adding in new motions to the captured data in a nondestructive fashion.
In addition to its inherited IK skeletal chains, character setup is aided by a brush motif suspiciously similar to Artisan in Alias|Wavefront’s Maya. Here, however, bone assignment is clearer with a full-color interface. I did find XSI’s brush tool to be a lot less refined than Maya’s, however, and it definitely takes some getting used to. I’m excited to see this interface spreading, as it is the most artist-friendly innovation in years.
Like 3D Studio Max and Maya, Softimage XSI incorporates scripting into its core operations. Unlike 3D Studio Max and Maya, XSI does not rely on a proprietary language. Instead, it relies on ActiveX so anything supporting ActiveX will work, including VBScript, Jscript, PerlScript, and Python. The significant implications of this, in addition to being able to call on the expertise of programmers who are likely already fluent in ActiveX scripting, is its integration with Windows. Imagine a script that can e-mail you when it finishes rendering, or if something goes wrong. The simplest actions unavailable in other packages can be accomplished easily through these Windows tie-ins, such as playing a sound when a function is complete. Since almost all functions in XSI are accessible through scripting. it will surely become as useful to XSI users as it has to Maya and 3D Studio Max users.
Softimage has deeply incorporated Mental Images’ Mental Ray renderer into XSI. While I know that to many games artists rendering is completely pointless, I would be not do this program justice without mentioning this aspect. After all, for many games today, a major selling point is their prerendered video sequences. For those who do not know, Mental Ray is a very powerful shader-based renderer, with full raytracing support. Softimage XSI allows you to create and render shaders visually through the Render Tree. A daunting and expansive tool, the Render Tree allows the user to create powerful surfaces based on any number of shading models, from Phong and Blinn to anisotropic and Strauss.
Of course, no mention of XSI’s implementation of Mental Ray would be complete without mentioning Render Region, XSI’s interactive rendering tool. By simply dragging a rectangle in any viewport, you create a variable-resolution rendering that updates interactively as you adjust material properties. This is an amazing tool that allows you to experiment and tweak lights and shaders and all their associated properties to perfection.
The images produced with Mental Ray are of astounding quality. It is renowned in the film industry for its crisp, clear raytracing, beautiful shadowing, and wonderful volumetric effects. Any company relying on rendered cutscenes or images for their game will find the possibilities that Mental Ray offers them intriguing
This is the hard part. I now have to give Softimage XSI a star rating. My problem is I really liked it. And If I were reviewing it for a film application, it would be a five-star product, no question. If all you are interested in is creating a prerendered cinematic, then definitely give XSI a good, long look. But its utter lack of polygon tools hurts this product too deeply for me to give it any kind of recommendation. It has enormous potential, but there really is no excuse for offering a product without polygon tools at this stage in time to the game development market. I sincerely look forward to seeing where Avid takes Softimage in the near future; they have a great history, and XSI provides a solid foundation. Now it’s time for them to build.
Softimage XSI 1.0
Softimage XSI Essentials: $7,995
Softimage XSI Advanced: $11,995
For Windows 2000/NT (SP 4 or higher); workstation with Intel Pentium or higher; compatible OpenGL-accelerated graphics card with a minimum 8MB RAM; 128MB RAM required, 256MB RAM recommended; 195-360 MB disk space. N32 libraries and patches; SGI workstation with MIPS R10000 or higher processor; 128MB RAM required, 256MB RAM recommended; 645MB disk space. Both platforms require a three-button mouse and CD-ROM drive.
1. Excellent animation tools.
2. Nonlinear animation tools.
3. Powerful NURBS modeling.
1. No polygon tools.
2. Unconventional interface.
3. No polygon tools.