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  • Hi!

  • We're at the Intel booth showcasing

  • Ziva Dynamics, the world's leading character simulation

  • technology.

  • Ziva technology enables creators to make my life-like creatures

  • and characters for film and TV.

  • The Intel Xeon servers expand the creative capacity

  • for Ziva's simulations.

  • And I'm going to pass it over to Lonnie Kraatz who

  • is going to give us a demo of our technology.

  • Ziva's improving the workflow and final results of studios

  • all around the world.

  • This is a Maya plugin that allows studios and indie

  • creators to create more realistic characters,

  • as seen in "The Mag," "Ghostbusters," and "Suicide

  • Squad."

  • So here we have Max, our virtual human asset.

  • And we have the bones, the muscle, and the skin.

  • The bones in this case are the input

  • to the soul, which are driving the muscles, which

  • in turn are driving the skin.

  • So if I scrub this, you can see how this stuff interacts.

  • And you can see how, a pec would kind of deform differently

  • than the traditional.

  • This approach allows your muscles

  • to bend, stretch, and flex like they would in real life.

  • It's-- we're solving this with real world properties.

  • Here's an example of our own demo.

  • Now if I, just grabbed this arm, you can see that this is just--

  • these bones are being driven by the Maya IK,

  • and these ones are solved.

  • So if I go back to the start frame,

  • you can see this is an actual solve in progress.

  • You see the muscles reacting to the inputs of the bones.

  • And then with that you can change the properties

  • of any of this stuff.

  • So I can go into the muscle and make it softer, for example.

  • And there you go.

  • So you can kind of see how all this stuff kind of

  • works together.

  • Here you can look at--

  • here you see a muscle.

  • And if we select it, you can barely

  • see the orange little line.

  • And that's defining the flow of the fibers.

  • So if I go and paint--

  • if I go and paint the fiber endpoint,

  • you can see the direction that the fibers

  • are taking by going from the black to the white.

  • So now if I were to change that, you

  • can see how the fibers change direction.

  • But ultimately that's defining how the muscle fires.

  • So when I hit play, that's--

  • that's where they're firing from.

  • With Ziva you get greater artistic control

  • over the muscle deformations and all material properties.

  • To learn more about Ziva, you can check us out

  • online at zivadynamics.com or visit the community

  • at community.zivadynamics.com.

Hi!

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