continued... Computer Graphics World

"However, Maya wasn't sure how to interpret the data," says Vargas. "Most of the time the process would just shred my model to pieces or produce a fog effect whereby the colors changed constantly." Through trial and error, the team found that the fewer coordinates they fed to Maya, the cleaner the results became. Using an algorithm that selected coordinates at set intervals, they were able to control the look and dynamic properties of the data representation, generating a mix of both low-resolution imagery and cinematic effects. With this method, Vargas eventually achieved the desired result—a cinematic-quality model that interacts with a low-res graphic in a way that "the character looks like it is passing through a block of Neapolitan ice cream."

"Taking data that is consistent with visualization systems and geophysical graphs, and blending it with a high-quality human model, provides a unique way of showing the connection between ourselves and the Earth," Vargas says, "which is closer than most people realize."

To enhance the scenes, the artists are creating additional effects, such as particles, using Discreet's combustion, software they also are using to color-correct the imagery. The team is employing Maya for rendering the geographic data and Mental Images' mental ray for rendering the cinematic imagery in order to take advantage of its global illumination capability, which gives the graphics more of a dynamic look. To composite the imagery, which consists of various resolutions and bit depths, the group is using Apple Computer's Shake. Once the animations are completed, Vargas will edit the piece using Canopus's Edius and place it onto a DVD that will be played during each live performance. Because the visuals are prerendered, the actors must synchronize their movements perfectly during the performance with the animations on the DVD. According to Vargas, the CG should augment the stage performances, rather than become the focal point. "Essentially, the performance is about the dancers, and if you're not careful, the CG can own the stage," he says. "We use it to set the tone, and we'll pull it back if necessary."

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