![denoise renderman denoise renderman](https://renderman.pixar.com/resources/RenderMan_20/images/rfkDenoiseCrossFrameScript.png)
I wanted to retain that pristine vinyl toy look. Much of the texturing process was as straightforward as it could be for the characters. Some of the pose studies we did for Quint. It was really a fast and interactive turnaround workflow. Once I was happy with the pose, I would let the scene converge to a desired level of quality and in combination with the interactive denoise tool and send the screenshot for approval. Using RenderMan IPR during this process was an extremely helpful tool, not only would I get a fast idea on how the pose would look like in final lighting and shading conditions, but I also would catch any displacement penetrations and errors that might occur if the pose was pushed too far. Together, Funko Games and I would explore a range of poses to see what would better fit both the cover scene and the playing cards illustrations. One of Quint's poses showcasing a very basic skeleton rig.
#DENOISE RENDERMAN SKIN#
I didn't have much time for this task, so I decided to paint the skin weight as good as I could and fix any skinning errors that might appear, with Maya's Sculpting tools. To be able to pose the main character, Quint, I decided to create a very basic bone structure and skin it using geodesic voxel mode. Then I used Maya's Sculpting tools to refine the shapes a little bit more.īOSS spectral waves with Sculpting tools were used to shape the ocean model. Selecting a subdivided plane and adding a SpectralWave system to it enabled me to fiddle with the parameters until I found a desired wave pattern look. So I resorted to Maya's Bifrost Ocean Simulation System (BOSS). I did a preliminary sculpt of the ocean in ZBrush by hand, and it turned out so bad I won't even show here. Just a portion of the deck, to be precise.Īll the unique models used in the final image. I didn’t "need a bigger boat," in fact, the one I needed was way smaller. Since the boat would only be visible in one angle, I didn't bother to model anything more than what was necessary for the scene.
#DENOISE RENDERMAN MOVIE#
Turns on both unpremultiply by color and features.For the props and set modeling, I created a reference board with frames from the movie and the concept in pureRef – an amazing free software that lets you have your reference or mood board organized and visible at all times – and start modeling asset by asset using Maya's polygon tools, keeping in mind not to over-detail and keeping the stylized toy look that the project required. Turns off unpremultiply by color options.ĭefines the parameters of the noise filter, using separate, diffuse vs specular variances. Turns off the firefly killer for the noise filter.ĭefines the parameters of the noise filter, using separate diffuse vs specular variances. Turns off use of the 'depth' feature to cue the noise filter. Sets the noise filter's prev/next frame warp type to 'nearest' (non-interpolated). Sets the noise filter's prev/next frame warp type to 'linear'.
![denoise renderman denoise renderman](http://www.cgchannel.com/wp-content/uploads/2016/02/160223_RenderMan21-500x250.jpg)
Removes fireflies (bright pixels) from an image. Notice these are named as filteroverride. There are also several override filter settings that can be combined with the base filters. The below examples are the same result with different methods.ĭenoise -override '_albedo' 0.07 - Optional Pre-made Filter Controls You may also set a different environment override. You can override the default filter and settings using the -f or -override flags. It's important to use the volume filter on images containing isolated volume elements or you may introduce more noise into the filtered image using the default filter. Used for volumes rendered alone onto transparent black. This filter achieves reasonable results without changes. The Denoise tool comes with three filter presets: t nthreads Number of threads default is number of cores on machine override key val Override a value from filter definition file. H Lists all available filter config files Separate multipleįiles with '+' or use multiple -f's. f configFiles Filter definition file and/or overrides. Motion vectors from the variance file itself To "." Note that "-v variance" will use the Motion vectorsĪre located based on the variance filename, changing v name Uses motion vectors with crossframe mode. layers Filter only render output layers matching these names. skiplast, -L Doesn't output an image for the last frame skipfirst, -F Doesn't output an image for the first frame crossframe Cross-frame sequence mode: filters across frames Output includes filtered version of variance's color filtervariance If a mix of variance and non-variance files are specified, outdir dir Outputs to this directory instead of the input file's n Output basename is based on variance image rather than o name Outputs to shotCam_name.exr instead of shotCam_filtered.exr