4 ms·

It's not like they create the film and then push render though. I assume these figures include massive amount of iterating in different work stages. So if you a

by ollifi 12y ago

It's not like they create the film and then push render though. I assume these figures include massive amount of iterating in different work stages. So if you are interested in only rendering the end product you will get there a lot faster.

rm445 12y ago
Hope someone knowledgeable can comment on this. The impression from the short making-of documentaries packaged with Pixar's films, is that they're completely animated, voiced and viewable with very basic working rendering, and the proper render is something that in principle could be done as a final complete step. Of course, that's probably a bit of movie magic; in the real world there's surely some iteration.
- MrScruff 12y ago
  There's a great deal of iteration (look development, lighting) past animation approval.
- berkut 12y ago
  Yeah, previs (pre-visualisation) is generally always done these days, as it lets the director preview what things "look" like, but that only has very basic geometry, low res textures (if any) and no proper cloth/skinning deformation animation, and no proper shaders / lighting. So it's basically using a game engine without even game engine decent lighting / shading for the most part. So while it's great for placing objects in the scene and getting the camera position correct, that's about it. There has been a move to using progressive raytracing more and more over the past year or so, but it's still very early days with that. On top of that, as previs is almost always done early (before most asset generation - modelling, texturing, maybe animation too) is done, it doesn't always give you all the info you need - i.e. it's often the case with mechanical hero objects in the scene (i.e. aircraft, robots, weapons, etc) that the basic geometry used for previs isn't good enough, and later on in real lookdev/lighting (or sometimes even at animation stage) serious issues are found - i.e. the previs has a robot moving through a street, but when animation actually start trying to rig the robot to get it moving realistically, they find for the arms to swing, it can't actually fit in the street. So there's a huge amount of iteration that works up-and-down the pipeline, sometimes causing lots of different parts of it to re-do work. Generally it goes: Previs -> Modelling / Texturing (linked, as you need UVs) -> Layout -> Animation - > Lookdev / Lighting -> Compositing. Any non-trivial change before Lookdev / Lighting will trigger new renders having to be done for some layers / scenes.
- CyberDildonics 12y ago
  The above poster is right. It's not just some iteration, there is tremendous iteration. The quality that you see comes from iterating until there are no more imperfections and that takes a lot of iterations and a lot of renders. A typical lighter may have 4 shots they are working on at one time, with one finishing about once a week. So basically the impression from the DVDs is a simplistic fantasy. While the narration says 'it's such a wonderful place' the people working there until 9 every night are thinking 'why is everything broken'.

by ollifi 12y ago

rm445 12y ago

Hope someone knowledgeable can comment on this. The impression from the short making-of documentaries packaged with Pixar's films, is that they're completely animated, voiced and viewable with very basic working rendering, and the proper render is something that in principle could be done as a final complete step. Of course, that's probably a bit of movie magic; in the real world there's surely some iteration.

MrScruff 12y ago
There's a great deal of iteration (look development, lighting) past animation approval.
berkut 12y ago
Yeah, previs (pre-visualisation) is generally always done these days, as it lets the director preview what things "look" like, but that only has very basic geometry, low res textures (if any) and no proper cloth/skinning deformation animation, and no proper shaders / lighting. So it's basically using a game engine without even game engine decent lighting / shading for the most part. So while it's great for placing objects in the scene and getting the camera position correct, that's about it. There has been a move to using progressive raytracing more and more over the past year or so, but it's still very early days with that. On top of that, as previs is almost always done early (before most asset generation - modelling, texturing, maybe animation too) is done, it doesn't always give you all the info you need - i.e. it's often the case with mechanical hero objects in the scene (i.e. aircraft, robots, weapons, etc) that the basic geometry used for previs isn't good enough, and later on in real lookdev/lighting (or sometimes even at animation stage) serious issues are found - i.e. the previs has a robot moving through a street, but when animation actually start trying to rig the robot to get it moving realistically, they find for the arms to swing, it can't actually fit in the street. So there's a huge amount of iteration that works up-and-down the pipeline, sometimes causing lots of different parts of it to re-do work. Generally it goes: Previs -> Modelling / Texturing (linked, as you need UVs) -> Layout -> Animation - > Lookdev / Lighting -> Compositing. Any non-trivial change before Lookdev / Lighting will trigger new renders having to be done for some layers / scenes.
CyberDildonics 12y ago
The above poster is right. It's not just some iteration, there is tremendous iteration. The quality that you see comes from iterating until there are no more imperfections and that takes a lot of iterations and a lot of renders. A typical lighter may have 4 shots they are working on at one time, with one finishing about once a week. So basically the impression from the DVDs is a simplistic fantasy. While the narration says 'it's such a wonderful place' the people working there until 9 every night are thinking 'why is everything broken'.