![]() go to each image node attribute page -> attribute -> add texture controlĢ. RIS Linear: Need to add attribute to the input RGB textures inorder for it to take it correctlyġ. (only if maya render view its used) render option -> passes -> output pass -> the 2nd exposure value -> switch to 2.2 (leave it to 1.0 if “it” is set to default display) renderman -> render -> preview style -> display -> switch it to “It”Ģ. The renderman “It” will added it itself.ġ. Linear: Only if the preview style is using classic maya render view. RenderMan -> render -> increase rendering thread to 8 according to CPU power Rendering Threads: will use the full power of the hardware to render stuff faster. Render Option -> Advanced -> statistics -> point the statistic xml file to a location -> the file may view in web browsers Statistics XML File: output an xml file of all the render data PxrRoundCute resultMulti > PxrMultiTexture Multi Manifold pxrRoundCube must go with PxrMultiTexture.This is the first Bond film to feature cutting-edge digital effects, and what everyone managed to achieve is pretty spectacular. " Die Another Day has broken the mold, and it was exciting to do something no one had done before. "Lee Tamahori didnt play by any of the Bond rules," Bryan says in conclusion. "It was difficult to get the scale and movement between the two elements to work in a naturalistic way," Starling says. The Cinesite team was a bit surprised to discover how hard it was to make it look as though the icebergs were interacting with the water. All reflections were achieved through ray tracing and in-house shaders developed specifically for this project." "One of our head TDs, Matthew Maude, wrote some custom Maya plug-ins to give some red light transmission through the iceberg geometry, which was then read into shaders. "Refraction was mainly achieved by testing and using Pixars new Renderman II, and by using our in-house shader writer, Douglas Harsch, to set up very specific controls and pipelines to ensure the software was working," she continues. "The amount of detail involved in a shot of that scale was considerable. "Getting the general movement of the water right and the proper scale for how big the wave should be was a challenge, and because it was ice and water we also had to create reflection and refraction," Starling explains. "I obtained every book on Antarctica that was ever printed, and the art department supplied a lot of reference material."Īccording to Dottie Starling, supervisor of Cinesites wave-sequence work, it took about a year of R&D and testing to perfect software for the water shots (a combination of Cinesites proprietary water-generation and particle-rendering programs, along with Maya and Houdini), and it took six months to perfect the iceberg shader and water-interaction software (Renderman and beta testing of Renderman II). "I went to Spitsbergen, up near the Arctic Circle, to shoot reference plates and large-format stills that we could use to digitally texture the ice," she recalls. When Lee Tamahori asked me whether we could do it, I just looked at him and said, ∞r yeah, and then I went to Cinesite and said, Ive just said yes, so weve got to do this!"īryan began by gathering reference materials in Iceland and other frosty locales. Ice has a translucency and a transparency that we cant actually give to a CG object, so we had to simulate it with lighting and shaders. "We shot Pierce against bluescreen, and everything else was entirely CG. "Its a very short sequence but probably the most demanding one in the film," she says. "And then, of course, he appears to be almost kite-surfing on an enormous, 150-foot-high wave as the swells," Bryan says with a chuckle.īryan says it took every trick in the book to make Bonds icy plunge and gale-force parasailing look credible. Thinking quickly, 007 grabs a parachute as he sails toward the raging waters, where the impact of the falling glaciers creates a mega-tsunami. Moon uses a deadly beam of sunlight to send 007s jet-powered ice yacht and the cliff its sailing on plunging into the icy sea below. More than 50 effects shots were needed to create a spectacular sequence in which Bond nemesis Col.
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