A stylized light rig was created that created three levels of detail disparity in the stylized world, allowing director Domee Shi to have three levels of focus in shots, softening background elements as needed. Dylan used Turning Red to showcase RenderMan’s capabilities. The final part of the presentation was about artistic stylization at Pixar. Shadows were another modification made, with shadow fringe modified to match the artist’s drawings. In reality, you would see the ocean floor mirrored on the surface of the water, but the behavior of light was changed so that Alberto could be seen on the shore waiting for Luca. They also had to change the way light behaves in the film, an example being a shot that follows Luca as he swims to the short and rises above the surface. The director’s artwork included stylized ovals in the seafoam and Dylan showed off some animation tests as well as a comparison of the seafoam in the short film Piper alongside the way it looks in Luca. RenderMan is more than capable of producing photorealistic water, but the stylized world of Luca required breaking those rules. Speaking of Luca, the second part of the presentation was all about the stylization of that film and how RenderMan made director Enrico Casarosa’s vision possible. The latest release, RenderMan 24, includes a new rendering process called XPU and Dylan showed a side-by-side comparison of a sequence from Luca, which would take 1 hour and 16 minutes with the previous RIS process, but now takes just 7 minutes through XPU. RenderMan’s renderer had to be extended for Coco, with Miguel and Dante’s arrival in the Land of the Dead features over 8 million individual lights (9 lights per pixel), which are currently available in the commercial version of RenderMan. For Toy Story 4, the entire world the film takes place in was developed in such a way that multiple artists could work on the same file at once without overloading the system. The soul s in Soul are stylized volumes (like clouds ), which required the RenderMan team to break the code in order to render and shade them. In Lightyear, now playing in theaters, an artificial intelligence denoiser was applied to every pixel in the film, developed by Disney Research in Zurich, which allows images to be rendered 40% faster. The presentation was broken into three parts after that amazing introduction, the first touching on RenderMan’s recent innovations at Pixar. I’m not going to lie, it was hard to tell the difference. Dylan also showed off the tool’s ability to replicate the hand-drawn look through 6 images, 3 or which he drew by hand, 3 of which were CG builds rendered with this technique. Noise was added to the short to replicate the filmic quality of Bambi Meets Godzilla. Programmed into the code are hand-drawn variance of the lines, giving the illusion that they are changing in thickness from frame to frame as they would if drawn by hand. If the short didn’t swipe away the effect routinely to show the CG characters behind it, I would’ve sworn it was hand-drawn. The short showcased a new RenderMan feature, the ability to render CG objects as 2D drawings. Dylan debuted a new short made with RenderMan and starring his teapot character, titled “Teapot Meets Potzilla” (an homage to Marv Newland’s cult classic Bambi Meets Godzilla ). Dylan Sisson is famous within the animation community for his walking teapots, not only used for animation demos but also given away as three-dimensional wind-up toys (he brought a few to give away during a Q&A at the end of the panel).
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