![]() ![]() Again it is physically correct, and modelled by the RIS integrator. At certain angles in combined mediums of different index of refractions, the boundary objects tend to behave like mirrors…in the case of Finding Dory it can be seen when looking along the line of a water / glass boundary (1.33 and 1.5 IOR respectively). Total Internal Reflection is an extension of this and more complicated to explain, but it is what allows fibre optic cables to not leak light. "We needed to do multilayered shaders with subsurface, refractions and multiple specular lobes and RIS was able to deliver, it was great to get such level of flexibility.” RIS allows multi-pass workflows to be consolidated, allowing the Director to see a final image very early on the look development stages, without having to estimate or guess how global illumination or other complex rendering techniques will affect the shot. 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. 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. “The days of calculated guesswork are over, nowadays, I can use checkpointing to overview shots for look development two or three times a day, that’s a huge time saver. ![]()
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |