It allows the studios to have a bigger porting convenience of the scenes between the different applications (MayaHoudiniKatana). RenderMan arrives with a new scene format: Pixar’s Universal Scene Description. This interaction between the different teams as well as the development make of RenderMan an unique commercial renderer. This difficulty has been skirted thanks to the close collaboration between the producing and the R&D teams. For instance, in “Coco”, there were some scenes with an indecent number of light sources (up to 8 milions including instanciations). The cool thing about RenderMan is that the Pixar/Disney movie of the year always unveils what you will find in further versions of the renderer. By testing the software and browsing the documentation, you get to understand that the upgrade of RenderMan is based on technics that were needed in the various productions of Pixar movies. There are more settings in the rendering parameters or in the materials. To me, this renderer seems less intuitive than other renderers. But why not dreaming and pretend that I am working on the next Disney/Pixar? Indeed, this is possible thanks to the free version of RenderMan, available for download. To design my frames, I usually use other renderers which are less focused on animation/VFX. Using the very same renderer as the creators of Toy Story, Nemo and the Incredibles is like tuning your Twingo with a F1 car engine! RenderMan –Pixar’s rendering engine-, has a very special place in the 3D sphere and the heart of 3D lovers.
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