Village Gamer

It appears that there were loads of news announcements made while we were at SIGGRAPH with very sketchy wireless. The media room where we could have had a wired connection was two floors and a long walk away, but we wouldn’t have had long enough on the wired connection to catch up on everything. Here are just a few of the stories that broke during the past few days:

The Montreal International Game Summit announced its keynote speakers. The conference will open with Jason Rohrer, an independent Game Designer, and Richard Lemarchand, Lead Game Designer for Naughty Dog, on November 1st and 2nd respectively. Yves Guillemot, Co-Founder and CEO of Ubisoft, will have the honour of delivering the conference’s closing keynote.

Other featured speakers at MiGS 2011 include David Hego, Artistic Director for Rocksteady Studios, who will be presenting in the Arts & VFX Track. Alain Tascan, President & CEO at Sava Transmedia will be participating in the Business track while Lee Perry, Senior Gameplay Designer for Epic Games will be on the Design track. Over on the Technology track, attendees will find a presentation by Stefan Boberg, Technical Development Director at EA DICE, while the Production track will feature a presentation by David Anfossi, Producer – DX: HR at Eidos Montreal. A new track has been added for 2011, and Tom Salta, Music Composer known for producing scores featured in popular franchises such as R.U.S.E. and Prince of Persia: The Forgotten Sands will be the featured presenter for the brand new Audio track. Please visit the MiGS site for an up-to-date speaker list.

Ubisoft announced that PlayStation^® gamers will be able to test their assassination skills beginning on September 3rd with a multiplayer beta of the highly anticipated Assassin’s Creed Revelations that will run until September 11th. PlayStation^®Plus members and Uplay members will enjoy exclusive access to the multiplayer beta on PlayStation^®3. The multiplayer beta offers access to nine characters – The Sentinel, The Vanguard, The Guardian, The Vizier, The Thespian, The Deacon, The Bombardier, The Trickster and The Champion, three maps – Knight’s Hospital, Antioch, Constantinople, and four playable modes – Wanted and Manhunt, as well as two new modes, Deathmatch and Artifact Assault. The rest of us will apparently have to wait until the game’s release on November 15th.

Bioware’s Dragon Age franchise has expanded to Google+ games. Dragon Age™ Legends, the popular dark fantasy Play4Free® RPG developed by BioWare San Francisco (formerly EA 2D) has launched, and is the only game of its kind on Google’s new real-life social project. Dragon Age Legends extends the award-winning Dragon Age franchise and reinvents it for social play on Google+. The game blends accessible and engaging tactical combat, progression and exploration in the Dragon Age universe, and is perfect for co-operative and competitive gameplay across players’ Google+ Circles and Hangouts.

Vancouver’s WordLogic Corporation, a provider of advanced predictive text software for smartphones, PCs and other devices, has announced the availability of WordLogic Intelligent Input™ technology for licensing to manufacturers and software developers. The technology is ideal for mobile app developers, search providers, and device OEMs looking for the best possible predictive text or search technology.

WordLogic Intelligent Input™ helps make text input on touchscreen smartphones, tablets, and other consumer electronics devices faster, more accurate and helpful. Devices like smartphones, tablets, automotive infotainment systems, Internet TV, and game consoles are proliferating by the billions. They enable the Internet and employ touchscreens, body motion, infrared controllers or other non-mechanical keyboards to enter text, search and control applications. WordLogic Intelligent Input™ brings next generation text input to these text-hungry devices.

Current predictive text methods, which rely upon adjacent key prediction or misspellings, are frequently so inaccurate use that people simply turn them off. Alternatives require too much of a learning curve for mass adoption. Voice input has improved, but even server-based voice recognition is frequently insufficient in environments subject to background noise, such as groups where conversation is taking place, in vehicles, and on the street.

Gorilla Nation Media Canada has announced that it will exclusively represent the online advertising sales for European news site Figaro Medias in the Canadian market.

“Group Figaro is enthusiastic to join the Gorilla Nation family. We share the same vision of the digital business, which is to guarantee premium, innovative and engaging contents (video, chat session, etc.), to join our audience on all devices and platforms and to respond with care to our advertisers the same way we care about our content. The adaptability and the service quality of Gorilla Nation bring a new dynamic to the Figaro Medias offer in Canada,” says Eileen Lemuet, International Commercial Director at Figaro Medias.

“With the addition of Figaro Medias to our roster of sites, it shows our commitment and seriousness in increasing our offer in the French Canadian market, while complementing some of the new business sites we have recently added,” says Jean-Sébastien Tremblay, Director of sales, East of Canada, at GN Media Canada.

Game On Audio has taken the first steps towards launching its newest offering: studios capable
of simultaneously recording the highest quality audio while also capturing the full-body and facial performances of video game actors. Game On Audio has tapped Organic Motion’s new “OpenStage” markerless motion capture mo-cap technology, which is making its debut at Siggraph 2011, purchasing three systems.

Organic Motion’s new markerless, suitless mo-cap system delivers many innovative features including multiple actor tracking, fundamental prop tracking, larger scanning space, increased accuracy, as well as eliminating the need for a backdrop. Construction on these precedent-setting studios begins mid-September 2011 in Game On’s Venice facility and is due to be completed January 15th 2012, while the Montreal facility installation will begin in July 2012 and finalized by October 2012. The performance studios will be exact duplicates of each other to maintain quality control in all aspects of the performance capture. Internationally renowned architectural firm, Boto Design will handle the design and construction for the new studios.

The installation of Organic Motion’s “OpenStage” will enable Game On Audio to provide clients in both the gaming industry, and the entertainment industry as a whole, with the ability to simultaneously capture the performances of actors vocally and physically. Standard motion capture stages aren’t outfitted and equipped to capture high-quality sound, which leads to costly dubbing sessions where actors have to add voices to the physical action. With Game On’s new “Performance Studios,” which are fitted to Game On’s company-wide audio specifications, this has been consolidated into a one-step process.

“We’ve seen how costly it can be for clients forced to capture their actors’ motion imagery and voicework separately,” said Sam Girardin, CEO and Founder of Game On Audio. “Organic Motion’s new system allows for actors to immerse themselves in the scene and not worry about the confinements and restrictions that the traditional motion capture process entails. This is a completely different approach that makes sense on many levels, for us and for our clients. We’re proud to be the first company to design studios specifically for this purpose.”

Game On has already been working with facial motion capture, having provided the service on Assassin’s Creed Brotherhood and many yet to be announced AAA titles. With offices in Montreal and Los Angeles, Game On Audio is a recognized leader in voice recording, casting, direction, facial motion capture, game mixing and audio post-production for the global video game industry. In addition, through a network of partner studios in New York, Paris, Toronto and Vancouver, the company provides clients with access to the most diverse pool of talent in the industry.

For those of you visiting the site today and wondering where all of the great Canadian news is that I usually share with you, well, we’re at SIGGRAPH 2011 with limited internet access, so posting any news is going to be a challenge. That said, there are lots of awesome Canadian companies (or international companies with a Canadian location) at SIGGRAPH this year, so I hope you stop by to visit. I’ve listed those with booths below.  We are in Booth 1018 – please stop by for a visit and an interview.

In the meantime, we have soft-launched our new project. Right now you can only look at our announcement, because there just aren’t enough hours in the day for the two of us to work on the new project, work on Village Gamer, get ready for SIGGRAPH and put in appearances at our paying day jobs. So, without further ado, please visit Canadian Creative and sign up for email notifications (we won’t be selling, renting or giving away your addresses) so that you know when the front door is unlocked and the coffee is on.

Canadian Companies on display at SIGGRAPH 2011:

3D3 Solutions – Booth: 879

Autodesk, Inc. – Booth: 429

British Columbia Film Commission – Booth: 889

Campbell River Creative Industries Council – Booth: 580

Capilano University – Booth: 807

Centre for Digital Media – Booth: 938

cebas Visual Technology Inc. – Booth 250

Digital Domain – Booth 343

Emily Carr University of Art + Design – Booth: 947

Eos Systems Inc. – Booth: 273

iDesign Solutions Booth: 609

MPC – Booth: 463

Measurand Inc. – Booth: 252

Ministry of Tourism, Trade and Investment Booth: 890

Muuun Technologies Inc. – Booth: 690

NDI – Booth: 969

Nelvana Studio – Booth: 708

NorPix Inc. – Booth: 1017

PO-MO Inc. – Booth: 808

Peer 1 Hosting Booth: 283

Pixar Animation Studios Booth: 235

Point Grey Research Inc. Booth: 255

Rainmaker Entertainment Booth: 971

Sheridan College Booth: 813

Side Effects Software Inc. Booth: 712

Simon Fraser University School of Interactive Arts and Technology – Booth: 151

Southpaw Technology Inc. – Booth: 158

Think Tank Training Centre Booth: 944

Toon Boom Animation, Inc. – Booth: 710

Ubisoft World – Booth 955

VanArts – Vancouver Institute of Media Arts Ltd. Booth: 490

Vancouver Animation School Booth: 381

Vancouver Film School – Booth: 739

Vancouver Motion Capture: Animatrik and Alastair Macleod – Booth: 968

Waterloo Region – Canada’s Technology Triangle – Booth: 480

Note:  booth numbers are as of August 1st, hopefully they weren’t moved – let me know if I missed anyone

Have you made Vancouver home for the next six days? If so, that must mean you’re planning to be at SIGGRAPH 2011, which opens tomorrow at the Vancouver Convention Centre and runs until Thursday evening. The Conference and Computer Animation Festival goes from August 7 right through until the 11th and the Exhibition floor with (200+ displays) is open from August 9th through 11th. It is still possible to pick up single day passes, and at just $45.00, they are too good of a deal to miss out on. If you prefer, there are passes still available for the entire week. We got a sneak peek at the expo floor last evening, and it looks awesome. Check out your options on the SIGGRAPH 2011 Registration Info page.

This is the first time the flagship conference for the ACM SIGGRAPH organization has been held in Canada, and is an incredible opportunity for the Canadian digital media and film industry sectors. There are, at my count, 37 Canadian companies – or international companies with a Canadian location – with exhibit booths on the conference floor, including ourselves in Booth 1018. This does not include the number of Canadian companies who may have a booth in the Job Fair area of the conference, nor those like Corel who will be working out of LightBox’s booth. Nor does it include the Canadian studios who will be represented in our booth with their trailers and games or those being highlighted through the DFAIT and provincial economic development booths. There is without a doubt going to be lots to see, lots to learn, and many people to meet at SIGGRAPH 2011.

SIGGRAPH 2011 highlights the full spectrum of the $67 billion annual computer graphics industry, showcasing the world’s finest technology exhibits, interactive displays, and the best in animation and visual effects. Numerous cutting-edge research and commercial products are shown to the public for the first time in interactive exhibit areas. Examples include:

• Displays: Watch attendees interacting with cutting-edge 3D displays that will change their home theaters and video game experiences.
• Robotics, Wearables, and Haptics: See people engaging with robots and stimulation devices such as a wearable pregnancy jacket that allows the user to feel a fetus’s temperature, movements, and heartbeat.
• Mobile Devices: Interact with the next wave of advancements in mobile technological devices such as a “watch” that turns your hand into a mini-keyboard.

You can get a look at the expo floor map (PDF) on the SIGGRAPH web site, it is current as of August 1st, and for those who are not aware, the expo hall is on the lower level of the new convention centre.

ViXS Systems Inc. will be demonstrating the latest in the connected home digital media processing and networking technologies to cable operators  at the CableLabs Summer Conference in Keystone Aug 8 – 10.

“ViXS’ smart processors put us firmly at the center of the latest trends in set top boxes,” said Sally Daub, President and CEO of ViXS Systems. “We look forward to demonstrating how our leading-edge technology enables a large portfolio of new advanced networked media devices, including: media gateways, advanced set top boxes, and streaming media and connectivity solutions.”

Transcoding, media processing and home networking are critical to the networked digital media revolution. At the CableLabs Summer Conference, ViXS will showcase its latest solutions to leading cable MSOs. The following demonstrations will be shown in ViXS’ private demo room:

• XCode® 5195 with integrated MoCA: Headless Gateway Transcoder, revolutionizing digital home entertainment and enabling true content mobility by transcoding and streaming content on up to four high definition (HD) sources to multiple devices within the home
• XCode® 4210: Advanced Set-top Box, Blu-ray and Smart TV module System on Chip ( SOC) featuring a high level of concurrency including dual HD transcoding, dual HD display, advanced networking, full HD resolution 3D TV and 3D graphics
• Over-the-top (OTT) and content mobility solutions to address seamless connectivity to iPADs, tablets and other connected media devices

PwC has released the 2011 Big Table of Film and Video Incentives that are available across Canada. Use them to your development benefit. The following information is from the PwC site.

Filmed Entertainment

Canadian film and television productions now account for about $5 billion in annual revenue and employ more than 117,000 people (Canadian Audio-Visual Certification Office – CAVCO, 2010). The Canadian industry continues to grow with the support of federal, provincial and territorial governments, which encourage investment by domestic and foreign producers through incentives that help offset the cost of productions in Canadian locations. The big table is your guide to these incentives.

PwC’s Global entertainment and media outlook forecasts that global spending on filmed entertainment will reach $113.1 billion in 2015. North America will continue to be the largest region, and will grow at 5.2% (compounded annually) from $39.0 billion in 2010 to $50.3 billion in 2015.

The Entertainment and Media practice at PwC provides solutions to critical issues facing the Canadian film industry. We welcome the opportunity to put our industry expertise and resources to work for you. Please contact us to find out more.

View the  Big Table of Film and Video Incentives in Canada — August 2011 (PDF 426kb)

Digital Media and Animation — Gaming

Canadian businesses in the digital media and animation sector have tremendous opportunities for growth as markets continue to emerge and expand. Global console games, the largest category, with revenues of $28.1 billion in 2010, will expand at a 4.4% compound annual rate to $34.8 billion in 2015.

The online market will benefit from increased penetration of broadband households combined with growing digital distribution of content. The increasing popularity of massively multiplayer online games (MMOGs), with their subscription fees and micro-transactions, is also aiding the expansion of the market. Casual games and social network games are important components as well. In addition, smartphones and tablets—such as the iPad® —with improved graphic capabilities, will raise the bar for the quality of wireless games and drive demand. At the same time, new application stores will increase the number of gamers willing to purchase games. Burgeoning 3G/4G networks will enable wireless games to approach the quality of console games.

To meet this demand, digital media and animation companies can take advantage of credits and incentives from two broad categories. First, several provinces offer refundable interactive digital media tax credits, based on eligible labour expenditures and eligible marketing and distribution expenses claimed by qualifying corporations with respect to interactive digital media products. The other, generous tax incentives under Canada’s scientific research and experimental development (SR&ED) program, reward companies advancing science or technology in the gaming industry.

View the Big Table of Digital Media and Animation Incentives in Canada — August 2011 ( PDF 324 KB)

Within ten months of launching its service in Canada, Netflix has surpassed one million members. The milestone was in July, when Amanda Bell James, from Flin Flon, Manitoba joined Netflix and won a lifetime membership to the world’s leading Internet subscription service for enjoying movies and TV shows.

“We’re thrilled that Canadians have embraced Netflix so rapidly, and are we’re equally proud to have welcomed one million members in such a short period,” said Reed Hastings, Netflix CEO and co-founder. “Our focus remains on building up the breadth and range of movies and TV shows to watch instantly, as well as constantly improving the experience, and we look forward to welcoming many more new members.”

For $7.99 a month, Canadians can instantly watch unlimited movies & TV episodes streaming from Netflix, whenever and as often they want. Having an extensive library of thousands of movies and TV episodes ensures that Netflix members have a wide range of choices to watch instantly.

“I’m excited to be the millionth Canadian member,” said Amanda Bell James. “Netflix is something I enjoy with my family and I look forward to continue watching our favorite movies and TV shows via Netflix in the future.”

Members can instantly watch movies and TV shows from Netflix via the Internet on a number of devices from computers to game consoles to smart phones and Internet connected televisions. The experience allows members to pause, fast forward and rewind their selection on any of their devices. Movies and TV shows are shown without ads or trailers.

Thinware Media Ltd., developers of StudioCAP workflow automation and asset management for animation studios, and Render Rocket LLC, an advanced cloud-based rendering services company based in California, have announced a new strategic partnership and technology integration that will enable animation studios to fully automate the process of rendering completely managed via cloud  computing.

StudioCAP (CAP=Computer Aided Production) is a completely new workflow automation and asset management solution for animation studios. Its cloud-based system enables studios to more efficiently store, track, and move 2D and 3D CGI (computer generated image) assets through the creation process without having to install and manage a costly IT infrastructure to do so. Render Rocket is a cloud-based, high-end rendering service that provides professional-grade rendering power on-demand to any 2D or 3D production team regardless of size or location.

Together, StudioCAP and Render Rocket will enable studios to manage their files more effectively, and automatically trigger a render job by simply submitting an image or shot after an artist has completed it. This will immediately package and send all the files to Render Rocket for rendering. Render Rocket will quickly return the files to StudioCAP fully rendered. The entire process not only automates rendering for artists, it alleviates the need for studios to purchase and maintain dedicated file servers and rendering machines, since both StudioCAP and Render Rocket operate in the cloud.

“We are very excited that Ruben and his team are onboard with Thinware Media,” said Mark Rocchio, CEO of Thinware Media Ltd. “Render Rocket is a well-established, easy-to-use rendering solution that works seamlessly with StudioCAP, and this will undoubtedly simplify how our customers take content from concept to final render.”

Ruben Perez, CEO of Render Rocket, added: “StudioCAP is the perfect complement to our cloud-based rendering solution. Now studios of all sizes can create content more efficiently, manage projects and assets more efficiently, and render more efficiently – all within the cloud and without massive capital investment. This partnership has the potential to re-define how all types of media are produced.”

Motives in Movement, the dramatic-content consultancy and providers of the next generation of convergent solutions for animation software developers, has completed its first Proof of Concept with cutting edge French animation company, Dynamixyz. The POC coincides with Motives in Movement founder and Heavy Rain actor Pascal Langlois relocating to Toronto, and he will be attending SIGGRAPH 2011in Vancouver. Dynamixyz will be in Booth 351.

Pascal Langlois

While Motives in Movement still operates from a London base, the recent Dynamixyz POC and relocation of the company founder to Canada demonstrates that it is in countries like Canada and France that leading edge game tech and boundary pushing projects receive significant support. This support is still lacking in the UK games industry and while it is undoubtedly deserved, it is not a reality.

Pascal Langlois explains “The fact is, in France and in Canada, there is a climate of government-level faith in this young industry. It’s founded on a belief that it’s worth investing in, to guarantee being at the heart of its future.”

The Motives in Movement and Dynamixyz relationship started at Gamescom 2010, where the two companies discovered they shared a common and unique approach to animation source material. Instead of using fundamental expressions as a starting point, both companies believe that libraries and animation tools work better with fluid, live performances resulting in the final animation being considerably more believable and engaging than existing systems. The overall process is also radically faster and more efficient.

This collaborative and new wave thinking not only proves that Motives in Movement and Dynamixyz make a good team but also opens up exciting new prospects for both companies.

Dynamixyz is a french company working in the field of high quality 3D facial analysis/synthesis. Distinguished by the French Ministry of Research, Dynamixyz has developed a unique statistical modelling technology making possible to “clone” the expressions and dynamics of a subject. This model can then be used to produce high quality facial animations at low costs. Dynamixyz also develop marker-less performance capture for the entertainment industry.

Dynamixyz and MiM, besides sharing the same point of view on enhancing facial animation, have a really complimentary approach, one providing technology and one providing the necessary high quality content and expertise.

Motives in Movement (MIM) has expertise in both high level traditional media and AAA game development. We provide ‘convergent consultancy’ on performance based library creation, Direction and Acting, for all levels of Capture. Motive’s unique ability to draw on skill sets from both industries, offers developers and animation software providers the next generation of convergent solutions. Motives in Movement now operates from both London and Toronto and is actively engaged in business development in both locations.

British Columbia’s star power as a film-friendly production centre has received a boost from $275,000 in provincial government funding to help regional organizations attract and provide services to film and video producers from around the world.

British Columbia is the third-largest production centre in North America after Los Angeles and New York, with the local film industry directly and indirectly employing more than 25,000 people with overall 2010 wages adding up to approximately 450 million dollars.

The Ministry of Community, Sport and Cultural Development distributed the funding to regional film commissions, as well as specific tourism associations and municipalities that work closely with the BC Film Commission to showcase and promote their regions to filmmakers and liaise with film production companies. If you would like to talk more with the BC Film Commission, they will be in Booth #889 at SIGGRAPH 2011, which takes place at the Vancouver Convention Centre next week, August 7th through 11th.

“Film in British Columbia represents a significant economic enterprise supporting good jobs and bringing substantial revenue to communities across the province,” said BC’s Community, Sport and Cultural Development Minister Ida Chong. “A visually dramatic landscape, a skilled film industry labour pool and a favourable tax regime established by the Province help attract film and video production, including projects in British Columbia’s regions.”

Every year, British Columbia’s regions provide locations for various film projects, including movies, television series, documentaries and commercials. Motion picture and television producers spent more than $1 billion in British Columbia during 2010. About 90 per cent of productions use the services of the BC Film Commission, including regional film commissions and offices.

“Since 1978, the BC Film Commission has successfully showcased the province as a motion picture production centre and filming destination. Regional commissions and organizations are instrumental in building and promoting B.C.’s inventory of locations,” added BC Film Commissioner Susan Croome. “They provide local production services and support required by visiting film crews and ensuring film-friendly procedures are in place through local regulatory authorities.”

Services provided in support of regional film include:

• Surveying and scouting film locations.
• Providing logistical support while filming is underway on location.
• Supplying information for producers matching scripts with possible locations.
• Offering production research, location expertise and technical support.
• Assisting with film permits, labour regulations and immigrant/work permits.

Contrary to popular belief, BC’s film industry, while largely located in the Lower Mainland region of the province, makes full use of the environmental and cultural diversity found throughout British Columbia:

· Since 1996, the Greater Victoria Film Commission (GVFC) has been the go-to agency for film productions doing business on southern Vancouver Island. Over the last decade, GVFC has supported the regional economy by helping to generate more than $165 million in direct spending in the Capital Regional District.

· The Vancouver Island North Film Commission has serviced film productions generating more than $80 million in economic impact for rural communities on Vancouver Island over the past 15 years.

· The Northern British Columbia Film region has played host to several Hollywood feature films including: Double Jeopardy, Reindeer Games, Insomnia, Dreamcatcher, Eight Below and most recently The Grey, filmed in Smithers for six weeks this past winter.

· In the last 10 years, the Thompson-Nicola Film Commission has worked with film projects resulting in $22 million in direct spending in the region, with a total estimated economic impact of more than $77 million in Kamloops and surrounding communities.

· Since 1990, film productions supported by the Okanagan Film Commission (OFC) have generated a multi-million dollar economic impact on the region. OFC has worked with international animation studios set to open offices in the region, including Bardel Entertainment / Nickelodeon, Lizard Brain and Disney. These new studios will employ young professional people at above-average salaries.

· In the fall of 2010, Nelson, Salmo and Ymir in the West Kootenays hosted filming of The Tall Man. The 42-day production generated $11 million in economic activity. More than 1,200 local people responded to an extras casting call.

The B.C. government provides between $130 million and $200 million in annual refundable tax credits for the film and television industry, depending on the level of production activity.

Even though it’s embroiled in a controversial referendum, the current HST assists in ensuring a competitive film industry in British Columbia. Under the HST, the 7% PST portion of the tax is now recoverable and provides significant savings on the purchases of goods and services such as catering and equipment.