![]() ![]() “We came very early on the development of RIS and worked very closely with RenderMan development to get the look we were after” he adds. This allows us to focus on the art instead of the technology”. “With RIS we get an incredible richness of color thanks to its robust shader system and analytic lights, making lighting subtleties a breeze. “We can do a lot more in less time, which means a more refined image,” says Ian Megibben, Director of Photography Lighting on Finding Dory. The more we refine a shot the better it looks.” says Paul Oakley.īe sure to read part one in our series, The Tech of Piper ![]() “The days of calculated guesswork are over, now, I can use check-pointing to overview shots for look development two or three times a day, that’s a huge time saver. The recent addition of ‘check-pointing’ (partial rendering stop and continuing) was found to be incredibly useful for Finding Dory, because it allows a frame to stop rendering at a specified time. RIS was able to handle very complex scenes By approaching my scenes in a physical way, I was able to approach lighting in a whole new way” he explains. I lit each tank with dozens of lights, simulating LED bulbs, which gave me beautiful rays through the volumes. For the big pool establishing shot, I was able to approach the shot physically, just like aquariums art direct their tanks. We were delivering shots never before seen at the studio. “RIS allowed us to reach our look development turnarounds incredibly quickly and scene complexity went through the roof. Pipeline changes had to be made and even with the artists on board,- fully embracing a pathtracing renderer such as RIS was “a big step forward” says Paul Oakley, Lighting TD for Finding Dory. Lighting TDĭeparting from micropolygon rendering, which was a cornerstone of Pixar’s signature look for over 25 years was a big undertaking. ![]()
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