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Making Movies

Making Movies. CS 445/645 Fall 2001. Assignment 4, part 2. How is this done in hardware? Interpolate reflection vectors across polygon surface Compute cube environment intersection for each relection vector Assign polygon texture according to cube face texture map . Assignment 4, part 2.

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Making Movies

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  1. Making Movies CS 445/645 Fall 2001

  2. Assignment 4, part 2 • How is this done in hardware? • Interpolate reflection vectors across polygon surface • Compute cube environment intersection for each relection vector • Assign polygon texture according to cube face texture map

  3. Assignment 4, part 2 • How is this different from what we do • We compute texture vertices and linearly interpolate across texture • Which is faster?

  4. Extra Credit Assignment • Write a ray tracer from scratch • IMPORTANT – DON’T USE THE WEB FOR THIS ASSIGNMENT! • Archaeologists foundthis relic from my 1993ray tracing assignment

  5. Raytracer Specs • Render 6 polygons and 6 spheres • Use multiple colors • Specular and diffuse lighting effects • Must demonstrate object -> object shadows • Sphere to sphere • Sphere to polygon • Polygon to sphere • Polygon to polygon

  6. Making Movies • Concept • Storyboarding • Sound • Character Development • Layout and look • Effects • Animation • Lighting

  7. Concept • Pixar’s Lasseter is a genius – “Nothing gets in the way of the story”

  8. Storyboarding • Explicitly define • Scenes • Camera shots • Special effects • Lighting • Scale • Used as guide by animators

  9. Sound • Voice recording of talent completed before animation begins • Animations must match the voice over • A puppeteer once told me that the voice makes or breaks a character

  10. Character Development • 300 Drawings

  11. Character Development • 40 Sculptures

  12. Character Development • Computer Models

  13. Layout and Look • Build scenery • Match colors

  14. Matchmoving • CG camera must exactly match the real camera • Position • Rotation • Focal length • Aperature • Easy when camera is instrumented • Hard to place CG on moving objects on film

  15. Matchmoving

  16. Matchmoving • Square patterns in live action made it easier to track – furniture, wall paper • 2D – 3D conversion in Maya

  17. Water

  18. Particle Sim and Indentation

  19. Tools

  20. Compositing

  21. Compositing • Lighting

  22. Facial Animation

  23. Facial Animation

  24. Fur

  25. Cloth

  26. Buttons and Creases

  27. Texture

  28. Companies • Pixar • Disney • Sony Imageworks • Industrial Light and Magic (ILM) • Rhythm and Hues • Pacific Data Images(PDI) • Dreamworks SKG • Tippett Studios • Angel Studios • Blue Sky • Robert Abel and Associates • Giant Studios

  29. Toy Story (1995) • 77 minutes long; 110,064 frames • 800,000 machine hours of rendering • 1 terabyte of disk space • 3.5 minutes of animation produced each week (maximum) • Frame render times: 45 min – 20 hours • 110 Suns operating 24-7 for rendering • 300 CPU’s

  30. Toy Story • Texture maps on Buzz: 189 • (450 to show scuffs and dirt) • Number of animation ‘knobs’ • Buzz – 700 • Woody – 712 • Face – 212 • Mouth – 58 • Sid’s Backpack - 128

  31. Toy Story • Number of leaves on trees – 1.2 mil • Number of shaders – 1300 • Number of storyboards – 25,000

  32. Toy Story 2 • 80 minutes long, 122,699 frames • 1400 processor renderfarm • Render time of 10 min to 3 days • Direct to video film

  33. Toy Story 2 • Software tools • Alias|Wavefront • Amazon Paint • RenderMan

  34. Newman! • Subdivision-surfaces • Polygonal hair (head) • Texture mapped on arms • Sculpted clothes • Complex shaders

  35. Devil’s in the Details • Render in color • Convert to NTSC B/W • Add film effects • Jitter • Negative scratches • Hair • Static

  36. Images

  37. Images

  38. Images

  39. Stuart Little • 500 shots with digital character • 6 main challenges • Lip sync • Match-move (CG to live-action) • Fur • Clothes • Animation tools • Rendering, lighting, compositing

  40. Stuart Little • 100+ people worked on CG • 32 color/lighting/composite artists • 12 technical assistants • 30 animators • 40 artists • 12 R&D

  41. Shooting Film For CG • Actors practice with maquettes • Maquettes replaced with laser dots • lasers on when camera shutter is closed • After each take, three extra shots • chrome ball for environment map for Stuart’s eyes • white and gray balls for lighting info

  42. Match-moving • Film scanned • Camera tracking data retrieved • 3D Equalizer + Alias Maya to prepare (register) the digital camera • Once shot is prepared, 2D images rendered and composited with live action

  43. Making Movies • Production Team • Production Line • Special Effects

  44. Production Team • Directors • Modelers • Lighting • Character Animators • Technical Directors • Render Wranglers • Tools Developers • Shader Writers • Effects Animators • Looks Team • Security Officer • Janitor • Lackey

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