Call for Submissions
Make your mark in real-time history.
Marvel Studios' Victoria Alonso Keynotes SIGGRAPH 2019
Make your mark in real-time history.
Real-Time Live! invites you to share your cutting-edge real-time technology with a captive, world-wide audience. Whether it’s games, movies, simulation, virtual reality, augmented reality, or otherwise—there is no better opportunity to plant your roots and make a mark in real-time history!
Submit your most exciting interactive novelties that are pushing the boundaries of technology and rising to meet the challenges of our increasingly connected society.
We look forward to your submissions!
We Are Seeking Cutting-Edge Real-Time Work In The Following Areas:
View the Sample Submission Form to get an overview of all of the details needed to complete a submission.
In particular, please be aware of crucial information that you will need to provide, including but not limited to:
Entries are judged by a panel of computer graphics and real-time technology experts from across the industry. They are looking for the best interactive work driven by real-time technology that results in compelling and innovative content for a live audience. Creativity, innovation, content, and performance will be considered. The jury will meet in May 2019 to review each submission on the following major criteria:
The jury will select the top-rated pieces for presentation at SIGGRAPH 2019, and all submitters will be notified of their submission status: accepted, conditionally accepted or rejected.* In all cases, the jury will provide detailed feedback to submitters.
*In very rare cases, submissions may be conditionally accepted. If your work is conditionally accepted, you must demonstrate your submission to a jury member in person, so that its interactivity and/or real-time graphics aspects can be verified. Jurors who have a conflict of interest with your submission will not be permitted to review your submission.
SIGGRAPH reviewers cannot sign non-disclosure agreements for submissions. For information on Patents and Confidentiality see the Submissions FAQ.
Upon acceptance, presenters will be required to:
Arrange travel to Los Angeles, California to arrive BEFORE NOON on Saturday, 27 July for presenter check-in and tech setup. ALL presenters must be present at that time.
22:00 UTC/GMT, 9 April 2019
Acceptance or rejection notices are sent to all submitters.
Confirmations due, alongside submission updates and permissions for representative image and video.
Mandatory virtual rehearsals will take place using videoconferencing software. You will be expected to demonstrate your entire presentation in 6 minutes or under to the Real-Time Live! Committee.
(At discretion of Real-Time Live! Chair) Upload a copy of the final piece (executable or equivalent) a month before the conference to a designated SIGGRAPH server. Enhancements to the technology are encouraged after that time, but all core code must be complete.
Pre-conference meeting will be held using videoconferencing software to discuss logistics and final questions before arriving on-site.
Arrive in Los Angeles, California BEFORE NOON for presenter check-in and tech setup. ALL presenters must be present on-site at this time.
28 July – 1 August 2019
Los Angeles Convention Center
Los Angeles, California
If Your Work is Accepted for Presentation at SIGGRAPH 2019: You must complete the ACM Rights Management Form. The form will be sent to all submitters whose work is accepted.
Your representative image and text may be used for promotional purposes. Several SIGGRAPH 2019 programs – Art Gallery, Art Papers, Real-Time Live!, Technical Papers, and all installation programs – will prepare preview videos for pre-conference promotion of accepted content, which may include a portion of the video you submitted for review. You have the ability to grant or deny us the ability to use the representative image and submitted video for these purposes.
From Previs to Final in Five minutes. Epic Games teamed up with Ninja Theory, Cubic Motion, and 3Lateral to create the world's first believable human driven live by an actress within an Unreal Engine game world.
Birdly was an installation that explored the experience of a bird in flight. Unlike a common flight simulator, users do not control a machine. Instead, they embody a bird, the Red Kite. To evoke this embodiment, the system relied on sensory-motor coupling. Participants controlled the simulator with hands and arms, and a head-mounted display provided a first-person perspective of a bird.
A tactile feedback device that delivered effective and expressive tactile sensations in free air, without requiring the user to wear a physical device. Combined with interactive graphics and applications, AIREAL enabled users to feel virtual objects, experience free-air textures and receive haptic feedback with free-space gestures.