Image And Data Visualization – Week 12 – The Art Of Rendering In Animation

Today’s lecture is based on “The Art Of Rendering”

“Rendering is an art of trying to cheat compromises.” – FXguide Rendering Article

To be honest, when viewing this image for the first time i was amazed at the sheer detail that was involved, probably simplistic in the world of animation although truly breath taking in my eyes.

We were then told by Conánn about render farming  and how various software can be used to quicken the process of rendering though time can cost money with render farming software’s. There is a program called, Rebus Render Farm, how this program would work on the likes of my current low grade laptop is unknown,

(probably still too slow, good thing i currently ordered a new computer tower that will in hope render that little bit faster).

How RebusFarm works. – Rebus-Farm YouTube Channel

What if Toy Story 1 was rendered in 2011 rather than 1995?

I came across an interesting read on “”, one of the people that had worked on Toy Story had answered the curious question of “what if Toy Story 1 was rendered in 2011 rather than 1995?” and the result was pretty mind blowing to think that the process of modern rendering took this movie that rendered in months back in 1995 to only days in 2011! *Mind Blown* Our technology is ever advancing~

Craig Good‘s answer to the looming question – 

“Toy Story was originally rendered back in 1995, and to our best estimate probably had frame render times which averaged in the range of 4 hours or so. When we went to rerender it, we obviously didn’t want to be forced to use the same kinds of machines that we used back in 1995, so we made an effort to port the software that we used forward to more modern machines. In testing, we discovered that some minor incompatibilities that had crept into RenderMan since 1995 made it better to target an intermediate version of RenderMan, notably, version 12.5. Similarly, menv had gone from its original architecture to one based entirely upon hooks. (“Hooks” were a way of including models and such in a shot via reference, and replaced a C-like #include/function call paradigm.) We reverted to the last version of menv that was still capable of loading the original models, which was version 22.  The rendering provided an interesting test of Moore’s Law. Well, not the real Moore’s law, but the one that says that computing power doubles every 18 months. In 15 years, we’d get 10 doublings, which would make modern computers 1000x faster. Our original toy story frames were averaging four hours, which is 240 minutes, so we might naively expect that we could render frames in just 15 seconds. We didn’t really achieve that: our average render times were probably on the order of 2-4 minutes per frame (the original productions weren’t instrumented to keep accurate statistics on rendertime, and we never bothered to really reinstrument them to do so.) The renders were fast enough that most of Toy Story was rerendered in “render farm white space”, we never had any sizeable backlog of work queued on the farm.  TS2 was substantially more complex: we averaged rendertimes of maybe 20-30 minutes per frame, with some especially difficult scenes taking maybe 40 minutes.” – Craig Good

RenderMan In Pixar Animation-

Taken from Fxguide article.

I particularly love the process of rendering out a scene, one of the earliest examples i remember as a child was how long it took to render ONE frame from Pixars Toy Story which took anything from forty-five minutes to three hours PER FRAME, this is crazy and it would had been crucial not to make a mistake as im sure the process had to be repeated if one thing went wrong during production.

Toy Story 3 scene design –

Four images above rightfully belong to Disney Pixar.

Composition In CG Renders –

Kshitij Khanna 2015 Show-reel:

A compilation of my work done at ‘The Mill’ (NY).
(Latest as of Jan 2015)

It’s Art Magazine Feature:
Visual FX Hub :
3DVF feature :
CGBros :
Strictly Showreels :
Rocketstock feature :

[00:0000:27] – Anomaly
[00:2700:32] – Bingle ‘Chimpfall’
[00:3200:55] – Penny Dreadful Promo
[00:5501:02] – Budweiser ‘Collective Energy’
[01:0201:09] – Nissan ‘Winter Warrior’
[01:0901:14] – Chevrolet ‘Stingray Showdown’
[01:1401:15] – Playstation ‘Experience More Together’
[01:1501:26] – Bingle ‘Chimpfall’
[01:2601:27] – Playstation ‘Experience More Together’
[01:2701:42] – Lockheed Martin ‘Manifesto’
[01:4201:46] – Chevrolet ‘Stingray Showdown’
[01:4601:48] – Playstation ‘Experience More Together’
[01:4801:56] – Nissan ‘Winter Warrior’
[01:5601:58] – FIFA ‘Feel The Game’
[01:5801:58] – Chevrolet ‘Stingray Showdown’
[01:5802:00] – FIFA ‘Feel The Game’
[02:0002:04] – Anomaly

Music : ‘Good Evening Mr. Hitchcock’ – Gramatik

Taken from Vimeo 

Karol Kolodzinski 2014 Show-reel:

A collection of work from recent years done at Ars Thanea
Here you can watch the Compositing Breakdown Reel:

Taken from Vimeo

Correctly Setting Up A Linear Workflow In Maya –


View this tutorial on Cgtuts+

So you might often find yourself wondering “what the hell is a linear workflow?” It’s the kind of thing that gives cg artists nightmares, waking in a cold sweat, afraid, left stumbling to your computer looking for answers…well you’re not alone. Working linearly is one of the most misunderstood, confusing aspects of computer graphics for all artists, new or experienced. But fear not friends, James Whiffin is here to help turn that frown upside down by giving you a crash course on working linearly.

In this jammed packed tutorial, James will show you how to setup and work with a correct Linear Workflow in Maya and the benefits of using one. He’ll explain gamma correction and the difference between working in Linear space and sRGB Color space, and why problems can arise during rendering and post production if things are setup incorrectly.

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