Embodee, Portland, OR, February 2009 – Present, CTO
Electronic Arts, Vancouver, BC, June 2004 – February 2009, Director of Creative R&D:
· Directed a team and initiatives focused on expanding the EA SPORTS brand and its interactive entertainment offerings through innovation in hi-fidelity graphics and new forms of interactivity including 3d camera devices.
· As a Senior member of an EA Worldwide advanced graphics team focused on setting a new standard for facial capture, animation and rendering in next-generation games and interactive entertainment.
· Conceived and developed idea of combining facial motion capture with multiple high-def color video cameras for a faster, more compact, and automated version of the Universal Capture approach to realistic facial animation. Performed extensive research into high-res cameras and capture systems. Initiated and participated in continuous discussions, shoot planning, pipeline design, knowledge transfer, and performed multiple tests with EA Mocap studio and game team staff to bring the tech to reliable service in the company.
· Oversaw a team of artists and engineers which extended the UCap approach from non-interactive film applications to fully real-time interactive results by inventing and implementing novel data compression and real-time interactive decompression and sequencing techniques.
· Conceived the Fight Night Round 3 concept and Tiger Woods tech demos presented at Sony's E3 2005 and 2006 press events showcasing real-time animated human characters of unparallel fidelity on the Playstation3.
· Oversaw capture, data processing and in-game integration (including compression pipeline, GPU decompression and shading) for the UCap characters featured in Tiger Woods PGA Tour 07 and NFS: Carbon.
· Participated in high profile UCap shoots with Tiger Woods, other Pro Golfers, and NBA star Dwyane Wade.
ESC Entertainment, Alameda, CA, Mar. 2001 - May 2004, VFX Technology Supervisor:
· Served as CG Supervisor on major sequences/shots for The Matrix Reloaded and The Matrix Revolutions including the Burly Brawl and the Superpunch.
· Designed and supervised the implementation and integration in production of Universal Capture (UCap)- an image-based facial animation and rendering technology which produces photorealistic animated human heads. Participated in high-profile shoots with Keanu Reeves, Hugo Weaving, Laurence Fishborne, Carrie-Anne Moss.
· Worked closely with members of staff on implementing and integrating a robust HDR image-based lighting methodology and pipeline in production.
· Pioneered the use of surface reflectance (BRDF) measurements of material samples in feature films. Completed BRDF visualization tools, interpolation code, and surface shaders. Supervised the completion of outlier editing, re-sampling of raw BRDF data and analytical BRDF visualization tools.
· Discovered and maintained contacts with XYZRGB - provider of high resolution model scanning services. Implemented a method for extracting hi-res surface scan detail into displacement maps.
· Supervised an in-house cg hair styling and rendering solution which involved the development of complex proprietary tools in Maya and mental ray.
· Led the implementation and integration in production of a practical subsurface scattering solution for rendering human skin.
· Served as the general resource for all mental ray rendering issues. Identified the necessary improvements needed by production and communicated them to mental images. Maintained continuous communication on new feature requests and bug fixes with mental images.
· Motivated and gave a lot of the ideas for the Maya / mental ray integration. Worked with artists and the vendors on specifying a feature set adequate for film production.
· Designed a surface shader architecture which allowed for rendering multiple illumination passes at no additional cost. Supervised shader writers implementing a library of base shaders within this architecture.
· Took part in standardization/unification of C&L look development to establish a facility standard.
· Supervised and designed extensions to the virtual background image-based rendering pipeline.
· Presented the technology of The Matrix movies at various academic and professional forums around the world.
· Served as a Look Development Lead for the computer generated Hale Berry character in Catwoman.
Manex Visual Effects [MVFX], Alameda, CA, Sept. 1997 - Feb. 2001, Research & Development:
· Member of the visual effects research and development team for the films: What Dreams May Come, The Matrix, Deep Blue Sea, Michael Jordan to the Max, Bless The Child, and Mission: Impossible 2.
· Served as Technical Designer for the "Bullet Time'' sequences in The Matrix. Received an Academy Scientific and Technical Achievement Award for the image-based rendering technology developed for the film and used in various other productions.
· Co-invented the UV Pelting approach for parameterization and seamless texturing of polygonal or subdivision surfaces, subject of a SIGGRAPH 2000 paper, which is becoming a standard for UV mapping in many popular 3D packages.
University of California at Berkeley , Dept. of EECS, Fall 1996 - Fall 1997, Graduate Researcher:
· Conducted research in the field of image-based modeling and rendering. Developed methods and tools for acquisition of 3-D architectural models from photographs through photogrammetry and computer vision.
· Investigated real-time view-dependent projective texture mapping techniques for realistic renderings on high-end graphics hardware.
· Co-authored and implemented the pioneering image-based rendering algorithms used in The Campanile real-time demo and a short film shown at SIGGRAPH 1997.
Conexant / Rockwell Semiconductor Systems, Newport Beach, CA, Summer 1996
Systems Engineer: Developed various simulations and image processing algorithms including interpolation, enhancement, and bad pixel removal for a novel CMOS color imaging sensor.
Digital Video/Image Processing Lab, University of Rochester, NY, Fall 1994 - Spring 1995
Undergraduate Researcher: Developed an improved motion segmentation algorithm for layered representation, motion tracking, and low bit rate video coding. Studied and implemented recently proposed motion estimation (optical flow) and motion segmentation algorithms.
mental ray, RenderMan, Cg/HLSL, Maya, Digital Fusion, Shake, Maya MEL/API, Python, C, C++, Matlab
University of California at Berkeley
Master of Science, May 1997, Department of Electrical Engineering and Computer Science; GPA: 3.88/4.0
University of Rochester, Rochester, NY
Bachelor of Science with Highest Distinction, May 1995, Major: Electrical Engineering; Minor: Applied Economics; Certificate of Management Studies, GPA: 3.97/4.0
· Visual Effects Society (VES) Awards 2003 - Outstanding Visual Effects Photography in a Motion Picture for UCap facial photography in The Matrix sequels
· Scientific and Technical Academy Awards 2000 - Technical Achievement Award for the development of an image-based rendering virtual cinematography system
· Member of the Visual Effects Oscarâ winning teams of What Dreams May Come and The Matrix
· University of Rochester 1995- Electrical Engineering Faculty Prize for research achievements
1. George Borshukov, John Hable, Jefferson Montgomery. “Playable Universal Capture”, chapter in GPU Gems 3, Addison Wesley, August 2007
2. George Borshukov, et. al., “Playable Universal Capture 2007 Reel”, appeared in ACM SIGGRAPH 2007 Computer Animation Festival's Electronic Theater, August 2007.
3. George Borshukov, Jefferson Montgomery, Witek Werner, et. al., “Playable Universal Capture”, appeared in ACM SIGGRAPH 2006 Sketches and Applications Program, August 2006.
4. George Borshukov, Kody Sabourin, et. al., "Making of the Superpunch", appeared in ACM SIGGRAPH 2004 Sketches and Applications Program and Computer Animation Festival's Electronic Theater, August 2004.
5. George Borshukov, Dan Piponi, Oystein Larsen, J.P.Lewis, Christina Tempelaar-Lietz, "Universal Capture - Image-based Facial Animation for The Matrix Reloaded", appeared in ACM SIGGRAPH 2003 Sketches and Applications Program, July 2003.
6. George Borshukov, "Measured BRDF in Film Production - Realistic Cloth Appearance for The Matrix Reloaded", appeared in ACM SIGGRAPH 2003 Sketches and Applications Program, July 2003.
7. George Borshukov and J.P.Lewis, "Realistic Human Face Rendering for The Matrix Reloaded", appeared in ACM SIGGRAPH 2003 Sketches and Applications Program, July 2003.
8. Tadao Mihashi, Christina Tempelaar-Lietz, George Borshukov, "Generating Realistic Human Hair for The Matrix Reloaded", appeared in ACM SIGGRAPH 2003 Sketches and Applications Program, July 2003.
9. Dan Piponi and George Borshukov, "Seamless Texture Mapping of Subdivision Surfaces by Model Pelting and Texture Blending," in ACM SIGGRAPH 2000 Conference Proceedings, Annual Conference Series, pages 471-478, August 2000.
10. P. E. Debevec, Y. Yu, G. D. Borshukov, "Efficient View-Dependent Image-Based Rendering with Projective Texture Mapping," in 9th Eurographics workshop on Rendering, pp 105-116, June 1998.
11. P. E. Debevec, G. D. Borshukov, Y. Yu, et. al., "FACADE: The Campanile Movie," shown at the Electronic Theater of ACM SIGGRAPH 1997 Computer Animation Festival.
12. G. D. Borshukov, G. Bozdagi, Y. Altunbasak, and A. M. Tekalp, "Motion Segmentation by Multi-stage Affine Classification," IEEE Transactions on Image Processing, Vol. 6, pp. 1591-1594, November 1997.
13. G. D. Borshukov, G. Bozdagi, Y. Altunbasak, and A. M. Tekalp, “Improved Motion Segmentation by Affine Parameter Clustering,” Proc. IS&T/SPIE Symposium on Electronic Imaging: Science and Technology, Image and Video Processing IV, Vol. 2666-17, San Jose, CA; January 1996.