Neural style transfer and enhancements to Pixar’s curvenet animation tools were part of the toolset on the film.
How the new denoiser works.
ACM has made 50 years of their publications open and freely available, including this killer animation-related session.
We talk to Pixar’s Dylan Sisson about ‘Teapot Meets Potzilla’, a homage to Marv Newland’s ‘Bambi Meets Godzilla’ made with RenderMan’s Stylized Looks.
A number of technical Pixar papers and videos have already been published covering cloth, hair and environment R&D in computer graphics for the film.
Pixar effects supervisor Bill Watral discusses sparks, light speed and more.
Lots of fun details in their Technical Paper.
A new way of rigging and articulation developed at Pixar called profile movers helped craft the very expressive characters in the film.
Pixar, DNEG, Weta Digital, Digital Domain and more.
The hairball model Pixar used to develop the dynamic movements of Sulley’s fur.
Thanks to Animal Logic, WDAS, Pixar, Oats, Unity and Epic.
Here’s what got released in VFX and animation tools this week.
Behind this particular framework in the latest release of Pixar’s RenderMan.
Sign up to this Foundry webinar for an insight into Pixar’s work on the film.
Find it in ‘Inside Pixar’.
A look at the production of the SparkShorts at the studio.
Behind the scenes of the tech from Weta Digital, ILM, Walt Disney Animation Studios and Pixar.
A number of technical Pixar papers and videos have been published.
I mean, have you ever *tried* to animate a pianist playing the right notes?
A look at Pixar’s animation and modeling process from ‘back in the day’.
How Framestore made a baby.
‘wmFur’, the Marschner Model and more.
The rendering advancements made for the extremely memorable character.
How RenderMan was used for the film’s coral reef.
How Pixar made cheese and bread and grapes look good enough to eat.
I’ll be joining him for a chat about the latest RenderMan tech, including NPR.
A look back at brick maps and radiance caches.