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Sony Pictures Imageworks Arnold
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 have tailored ...
RenderMan: An Advanced Path-Tracing Architecture for Movie Rendering
- Per Christensen,
- Julian Fong,
- Jonathan Shade,
- Wayne Wooten,
- Brenden Schubert,
- Andrew Kensler,
- Stephen Friedman,
- Charlie Kilpatrick,
- Cliff Ramshaw,
- Marc Bannister,
- Brenton Rayner,
- Jonathan Brouillat,
- Max Liani
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 over the years with ...
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
The Manuka rendering architecture has been designed in the spirit of the classic reyes rendering architecture: to enable the creation of visually rich computer generated imagery for visual effects in movie production. Following in the footsteps of reyes ...
Arnold: A Brute-Force Production Path Tracer
- Iliyan Georgiev,
- Thiago Ize,
- Mike Farnsworth,
- Ramón Montoya-Vozmediano,
- Alan King,
- Brecht Van Lommel,
- Angel Jimenez,
- Oscar Anson,
- Shinji Ogaki,
- Eric Johnston,
- Adrien Herubel,
- Declan Russell,
- Frédéric Servant,
- Marcos Fajardo
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 created to ...
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
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,
- François-Louis Tariolle,
- Philippe Guillotel
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 cinematographic—control of ...
Automatic Machine Knitting of 3D Meshes
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 and ...
Active Animations of Reduced Deformable Models with Environment Interactions
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 generate ...
An Omnistereoscopic Video Pipeline for Capture and Display of Real-World VR
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
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 image ...
Methodology for Assessing Mesh-Based Contact Point Methods
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 methods, ...
