We’ve been working on a stereoscopic production, and we’ve been coming up with helpful tricks to make things just a tiny bit easier.  Here’s an example comp that shows a couple of them.

Position Pass and Camera Metadata Screengrab

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You never know what files you are going to get from customers.  After several phone calls talking through using FTP or shipping a hard drive, confirming compression usage, acceptable file formats there is still the possibility weird naming schemes.

This is example of a schema that came through last week.

I was about to whip out my favorite file renaming software, but I wanted to retain the original names for communication with the customer.  The solution is pretty easy so I thought I’d share it.  There might be a tool that does this already but its good to know how to do this on any machine without any special tool installed.  We’re going to fix this problem with CMD.exe. muahahaha!

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Trying out some new datasets and new techniques…

EDIT:  Jim asked for some more details, and I already had some images that I intended to post, but forgot about.  So here’s a breakdown of the three layers used to make the above image…

Chameleon rendered layers

The left layer is an environment map lookup, the middle is a front lit with high opacity, and the right is a backlit with low opacity.   These were then additively composited together.

I also did some tests on this dataset with clipping.

Chameleon culled with spherical gizmo

Chameleon culled with box

The box culling was an accident, but I thought it looked like a cut of meat that had been chewed on by mice.

Just a little ditty put together for some testing.  Investigating the how the specular highlights look on a low resolution dynamic dataset.

Because we’re often trying to simulate small wet transparent things we rely pretty heavily on stochastic raytracing. We can handle transparency, large light sources, depth of field, light scattering, etc. all at the same time. It’s a general purpose setup that works well for a broad range of “soft” phenomenon. Brazil is pretty fast, but there are limits to our patience, especially since the sampling isn’t reusable. Once you make any change at all to the scene, you essentially have to start over. So we try to get a lot of revisions done to refine a look and still keep the speeds good so we can get those revisions turned around quickly.

When you reduce the number of samples, you get a large increase in speed, but the downside is aliasing, which generally looks like noise, since it is stochastic.

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So here’s my inaugural post…

SEM shaders, before and after

When I started working at Anatomical, we had a compositor (of sorts) working here who we would pass shots off to. Because a variety of reasons it wasn’t very effective, and so I pushed to have the process modified so that the people doing the 3D rendering were actively involved in the compositing workflow, and vice versa. Fast forward some years, and at this point, I comp nearly all of my own shots, and our “compositor” is pretty darn good with rendering from 3ds max.

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