enter search term and/or author name
Guest Editor’s Introduction: Special Issue on Production Rendering
Article No.: 28
Sony Pictures Imageworks Arnold
Christopher Kulla, Alejandro Conty, Clifford Stein, Larry Gritz
Article No.: 29
Sony Imageworks’ implementation of the Arnold renderer is a fork of the commercial product of the same name, which has evolved independently since around 2009. This article focuses on the design choices that are unique to this version and...
RenderMan: An Advanced Path-Tracing Architecture for Movie Rendering
Per Christensen, Marc Bannister, Brenton Rayner, Jonathan Brouillat, Max Liani, Julian Fong, Jonathan Shade, Wayne Wooten, Brenden Schubert, Andrew Kensler, Stephen Friedman, Charlie Kilpatrick, Cliff Ramshaw
Article No.: 30
Pixar’s RenderMan renderer is used to render all of Pixar’s films and by many film studios to render visual effects for live-action movies. RenderMan started as a scanline renderer based on the Reyes algorithm, and it was extended...
Manuka: A Batch-Shading Architecture for Spectral Path Tracing in Movie Production
Luca Fascione, Johannes Hanika, Mark Leone, Marc Droske, Jorge Schwarzhaupt, Tomáš Davidovič, Andrea Weidlich, Johannes Meng
Article No.: 31
The Manuka rendering architecture has been designed in the spirit of the classic
Arnold: A Brute-Force Production Path Tracer
Iliyan Georgiev, Eric Johnston, Adrien Herubel, Declan Russell, Frédéric Servant, Marcos Fajardo, Thiago Ize, Mike Farnsworth, Ramón Montoya-Vozmediano, Alan King, Brecht Van Lommel, Angel Jimenez, Oscar Anson, Shinji Ogaki
Article No.: 32
Arnold is a physically based renderer for feature-length animation and visual effects. Conceived in an era of complex multi-pass rasterization-based workflows struggling to keep up with growing demands for complexity and realism, Arnold was...
The Design and Evolution of Disney’s Hyperion Renderer
Brent Burley, David Adler, Matt Jen-Yuan Chiang, Hank Driskill, Ralf Habel, Patrick Kelly, Peter Kutz, Yining Karl Li, Daniel Teece
Article No.: 33
Walt Disney Animation Studios has transitioned to path-traced global illumination as part of a progression of brute-force physically based rendering in the name of artist efficiency. To achieve this without compromising our geometric or shading...
Directing Cinematographic Drones
Quentin Galvane, Christophe Lino, Marc Christie, Julien Fleureau, Fabien Servant, Fran¸ois-louis Tariolle, Philippe Guillotel
Article No.: 34
Quadrotor drones equipped with high-quality cameras have rapidly raised as novel, cheap, and stable devices for filmmakers. While professional drone pilots can create aesthetically pleasing videos in short time, the smooth—and...
Automatic Machine Knitting of 3D Meshes
Vidya Narayanan, Lea Albaugh, Jessica Hodgins, Stelian Coros, James Mccann
Article No.: 35
We present the first computational approach that can transform three-dimensional (3D) meshes, created by traditional modeling programs, directly into instructions for a computer-controlled knitting machine. Knitting machines are able to robustly...
Active Animations of Reduced Deformable Models with Environment Interactions
Zherong Pan, Dinesh Manocha
Article No.: 36
We present an efficient spacetime optimization method to automatically generate animations for a general volumetric, elastically deformable body. Our approach can model the interactions between the body and the environment and automatically...
An Omnistereoscopic Video Pipeline for Capture and Display of Real-World VR
Christopher Schroers, Jean-Charles Bazin, Alexander Sorkine-Hornung
Article No.: 37
In this article, we describe a complete pipeline for the capture and display of real-world Virtual Reality video content, based on the concept of omnistereoscopic panoramas. We address important practical and theoretical issues that have remained...
Locally Adaptive Rank-Constrained Optimal Tone Mapping
Xiao Shu, Xiaolin Wu
Article No.: 38
High dynamic range (HDR) tone mapping is formulated as an optimization problem of maximizing perceivable spatial details given the limited dynamic range of display devices. This objective can be attained, as supported by our results, by a novel...
Methodology for Assessing Mesh-Based Contact Point Methods
Article No.: 39
Computation of contact points is a critical sub-component of physics-based animation. The success and correctness of simulation results are very sensitive to the quality of the contact points. Hence, quality plays a critical role when comparing...