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To create the ocean texture, I used a combination of Substance masks and maps to generate a foam mask and make the crest of the waves a bit brighter, pushing the natural subsurface look that oceans usually have. Substance Painter was used to create and export those maps. Other than a flat color for the parts, I painted a very subtle roughness map and added small bumps to the normal map, just to break a little bit the infamous computer graphic specular look and match the character’s feeling a bit more with the final product.
Since they are the main selling product I didn't want them to look used or damaged in any possible way. 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.
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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.
RENDERMAN WATER SHADER MOVIE
Contact your preferred university for more information.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. Over 200 universities all over the world have chosen Pixar's RenderMan as part of their curriculum. This collaboration between Pixar Animation Studios and Khan Academy is sponsored by Disney. The subjects you learn in school - math, science, computer science, and humanities - are used every day to create amazing movies at Pixar. You will be able to animate bouncing balls, build a swarm of robots, and make virtual fireworks explode.
Pixar in a Box is a behind-the-scenes look at how Pixar artists do their jobs. We offer both application and craft-based courses, online discussion forums, and vpn software. By professionals.įxphd is a subscription-based online vfx, post-production, and motion graphics training program led by professionals. Through individual, corporate, academic and government subscriptions, members have access to the video library of engaging, top-quality courses taught by recognized industry experts.
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