Pixar

reference http://alvyray.com/Pixar/documents/Pixar_ImageComputer.pdf https://ohiostate.pressbooks.pub/app/uploads/sites/45/2017/09/pixar-image-processor.pdf Pixar Image Computer What inspired me to write this article is that last month, March, I took a quick look at The Renderman Companion A Program’s Guide To Realistic Computer Graphics, which mainly describes how to use the Renderman C API interface to achieve 3D image rendering. The book was published in 1989, when Pixar had developed the Renderman rendering interface standard and implemented the PRMan PhotoRealistic Renderman implementation that is now widely used in the film industry. One of the interesting things is that in 1986 Pixar also developed a computer graphics hardware system similar to today’s Nvidia general-purpose graphics cards - Pixar Image Computer. ...

Paper Deep Learned Super Resolution for Feature Film Production Learning Recently I have been learning about 3D modeling rendering and production, and I saw a paper about Pixar’s release in 2020, the main content is about how Pixar’s internal engineers and developers use deep learning to improve the resolution of rendered images, fine rendering of a 4k image frame may consume a lot of capital cost, if the final rendering of 2k resolution image then use deep neural network to boost it to 4k, the image is more detailed and richer, then it can help companies reduce a lot of the cost of rendering. Unlike the previous image super-resolution enhancement model, the film industry typically uses images that contain data with high dynamic range of lighting, and true reproduction of color, which makes the current mainstream super-resolution models simply unusable in the film domain. This is an area of interest to me at the moment, as using deep learning for industrial applications is more practical than theoretical. ...

The Art of Innovation When we talk about Renderman, we also have to mention Pixar, the studio that makes animated films. Let’s take a look at the history of the studio, which was born out of the need to create real images in the digital world. The history of Pixar shows that science and art go hand in hand in the world of film creation, so let’s find out what exactly Renderman is a tool for. Just like painting, the painter remembers the color, light and shadow of the objects he sees in his brain through constant observation of the things around him, and then relies on his hands to present the objects of the three-dimensional world on the canvas of the two latitudes, Renderman is such a set of tools, we tell him what objects are in the three-dimensional space, where the light source is, the position of the camera and the angle of observation of this space is. Rendering a picture is of course not enough, we need to make the viewer feel that the picture was taken with a real camera, then we need to simulate real world light and color in the computer world, and that’s what Renderman needs to do. After the model is built, we can output a scene description file that is compatible with the Renderman program, input this description file into Renderman, and we get a photo with real texture. Renderman is actually the specification and implementation of a series of external interfaces that take Rendering out of modeling for independent development, then any 3D modeling program that can communicate with Renderman through these interfaces can deliver the scene description to a renderer with a Renderman interface implementation to render the image. ...

Reference articles https://docs.blender.org/manual/en/latest/render/color_management.html https://rmanwiki.pixar.com/display/REN24/Color+Management https://www.arri.com/en/learn-help/learn-help-camera-system/camera-workflow/image-science/aces https://github.com/colour-science/OpenColorIO-Configs https://acescentral.com/knowledge-base-2/using-aces-reference-images/ https://opencolorio.readthedocs.io/en/latest/configurations/aces_1.0.3.html Talk about Gamma Correction Table[x^2.2, {x, 0, 1, 0.1}] {0., 0.00630957, 0.0289912, 0.0707403, 0.133209, 0.217638, 0.325037, \ 0.456263, 0.612066, 0.79311, 1.} Table[x, {x, 0, 1, 0.1}] {0., 0.1, 0.2, 0.3, 0.4, 0.5, 0.6, 0.7, 0.8, 0.9, 1.} Table[x^(1/2.2), {x, 0, 1, 0.1}] {0., 0.351119, 0.481157, 0.578533, 0.659353, 0.72974, 0.792793, \ 0.850335, 0.903545, 0.953238, 1.} #^2.2 & /@ Table[x^(1/2.2), {x, 0, 1, 0.1}] {0., 0.1, 0.2, 0.3, 0.4, 0.5, 0.6, 0.7, 0.8, 0.9, 1.} To get a preliminary understanding of the gamma function, it can be seen from the above expression that the transformation obtained by the gamma function 2.2, we can keep the input and output in a linear relationship by the inverse gamma function 1/2.2. ...

Abstract This is an article from 2020. After recording the title of the article, I didn’t write the content, but now I’m taking advantage of the vacation time to give a detailed description of Matte Painting, a magical field in which we create fantasy worlds inside our own minds. This article is about the history of Matte Painting and the techniques of Matte Painting. History Wikipedia Matte Painting Matte painting is the painting of landscapes, sets, and vistas, often allowing the filmmaker to create environments in the film that do not exist in the location, combining the painted image with live footage. ...