(Source: promenadeblog.com)            Because I had lost my Ratatouille poster last night I decided that the best thing you could do was to attend another RenderMan presentation, get another walking teapot, get another RenderMan sample DVD and to fill out another survey sheet. In the comments section I apologized for attending another session and that I was eager for a new poster. Sometimes you just have to be honest. Still I took a seat not directly in the front again.

But instead of hearing the same stuff again about the integration of Massive into the Pixar pipeline by Ziah Fogel there was Afonso Salcedo, one of the lighters at Wall-E who did about 3 or 4 percent of the shots in the whole movie, “a good average”. I learned much about the way of lighting at Pixar, and how they dodge using ray tracing, the Achilles heel of RenderMan. For Wall-E the director wanted a 70s sci-fi movie look so Pixar got Dennis Muren over to set up some of the basic lighting for Wall-E in the atrium with a 70mm-film camera with anamorphic lenses. They did tests on the DOF, the cushioning and the way lens flares and iris circles look. That’s what I love about Pixar: Total involvement and research for every project.

Source with more:  promenadeblog.com



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