Pixar RenderMan v24 releases with a new render architecture for animation and VFX, able to use both the CPU and GPU, and a new shading system for layered materials.
Read more: Pixar RenderMan v24 releases with a new render architecture for animation and VFX
Following Redshift’s April release bringing support for MacOS Metal, the Apple M1 chip and Open Shading Language, Maxon Redshift 3.0.46 includes robust support for OpenColorIO v2, enabling users to achieve more accurate and filmic colour through the use of ACES (Academy Color Encoding System) and other custom colour profiles. For users this gives significant enhancements to workflows with many new options and extra parameters.
For example, when employing ACEScg – a slightly larger colour space than the ITU Rec. 2020 colour space and linearly encoded for use within CG rendering and compositing tools – Redshift will automatically use the correct colour space for blackbody temperature on lights, melanin on hair, dispersion in the rsMaterial and the physical sun/sky. This latest version of Redshift also supports the ability to choose colours within a colour space in those host applications that already support OCIO.
OCIO v2 establishes comprehensive colour management for studio pipelines and makes it easier for everyone to achieve film-like results via ACES colour space. An OCIO configuration is supplied with Redshift, or users can reference a configuration for a specific pipeline. Users can choose from the available colour spaces when adding textures and define the colour space for rendering and viewing renders within the RenderView. Redshift for 3ds Max also includes a new Color Picker that allows users to choose colours within a colour space.
This latest release of Redshift for macOS, Windows and Linux is available now, with ongoing regular updates for stability and optimisation. www.maxon.net/en/redshift
V-Ray 5 for Cinema 4D, update 1, now supports node-based material editing, making it possible to achieve photorealistic looks without sacrificing the artist’s creative choices made ahead of rendering. Users can view and manage their complete V-Ray shading network within Cinema 4D, using the Material Node Editor throughout their creation process from the first ideas to finishing.
The V-Ray Material has also been updated to make it easier to create translucent materials in fewer steps, with built-in volumetric subsurface scattering. The result can be immediately applied to skin, plastic, wax and similar surfaces.
Material Node Editor
As an integration of two softwares, V-Ray 5 for Cinema 4D, update 1 aims for efficiency so that the artist can do more in one place, including relighting and compositing from a single render. In the latest update, artists can start rendering multiple dome lights at the same time. Direct support in Light Mix makes it possible to mix light sources and relight a scene – changing the colour and intensity of the lights – after it has been rendered.
For highly precise adjustments to renders, artists can use any of V-Ray’s masking render elements, or render passes, directly in the V-Ray Frame Buffer’s Compositor. These include Cryptomatte, MultiMatte and Object, Render and Material IDs, which may be used to fine tune an image without re-rendering or resorting to another application.
The V-Ray Material makes it easier to create translucent materials in fewer steps.
The Frame Buffer has tools for control over the rendered output, for reviewing, analysing and post processing images, and is also a place to monitor work-in-progress and manage colours.
Rendering reflected lights and refractions from surfaces like glass and water is now easier, with more realistic looks, using V-Ray’s progressively calculated caustics. It helps achieve reflections faster and can be set up without using pre-calculated photon maps. Using sampling techniques, the Progressive caustics solver is able to trace the required photons without the memory constraints of traditional Photon Mapping.
V-Ray Fur is a simple, procedural fur plugin – that is, the fur is generated only during render time and is not actually present in the scene. It can be used to produce grass and fabrics, carpets, hair and similar materials.
Another render-time effect that does not modify the actual scene geometry is V-Ray Clipper, used to quickly create cutaways and section renders for scenes or objects. Any scene object can also be converted to a clipper. www.chaosgroup.com
'War for Planet of the Apes'
Weta Digital has designed and developed a set of tools embedded in Autodesk Maya, and has partnered with Autodesk in order to market them as a subscription cloud service called WetaM.
Weta Digital, one of the world’s top VFX studios, has already won 13 Academy Sci-tech Awards for its tools that artists use to produce some of the world’s best known film and TV series including ‘The Lord of the Rings’, ‘Avatar’, ‘Game of Thrones’ and ‘Planet of the Apes’. Weta intends to release WetaM as a private beta towards the end of 2021.
Weta’s proprietary VFX tools have been built on Maya’s open API, and will be commercialised through WetaM. Artists from around the world will have access to a complete cloud-based pipeline, running from stage to screen. WetaM is the first product launch under a new division within Weta Digital devoted to Software-as-a-Service (SaaS). This new arm of the business is integral to Weta’s expansion strategy to make professional and prosumer tools available to artists working in media & entertainment. The dedicated website will be located here.
As a leader in VFX and animation for the last three decades, Weta Digital is founded in technological innovation, artistic talent and exceptional visual style. “Weta Digital has brought together the most creative minds in the world and been a pioneer in the visual effects and entertainment industry for decades,” said Prem Akkaraju, CEO of Weta Digital. “WetaM is the first step toward making VFX and animation production accessible to every artist.” www.autodesk.com
Comparison of Weta Koru software with Autodesk Maya.
Weta Digital's ecosystem simulator Totara.
'Mortal Engines'
VFX company Pixomondo and Canada’s TV & film equipment rental business, William F. White International, a Sunbelt Rentals company, announced a collaboration to build LED volumes across Canada together with a combined initial capital commitment of more than $30 million.
Under the new arrangement, William F. White and Pixomondo will co-rent LED volume equipment, with two new stages already under joint construction in Vancouver and Toronto. Several other new sites across Canada will follow in 2022.
The high demand for virtual production shoots, coupled with strong bookings at Toronto’s first LED Volume in the city’s West End, prompted the decision to formalise the working arrangement over the long term, for the whole of Canada.
The second Toronto stage will be completed in July 2021 and is designed for shorter-term bookings and projects with quick turnaround times. It will be based at Studio City’s recently completed development at the east end of the city's downtown core, minutes away from Pixomondo’s Toronto office at Revival Studios and close to William F. White’s Toronto office and Pinewood Studios.
The new Vancouver stage, which will be the largest build of the three sites to date, is under construction at an undisclosed location and is scheduled for completion in September 2021.
As with the first Toronto stage, the two new volumes will be operated by on-set Pixomondo personnel for all productions, including those using the company’s 3D environment creation services. Pixomondo and William F. White have designed and will build the volumes in close collaboration with their technology partners Brompton Technology, Epic Games, Lenovo, NVIDIA and ROE Visual.
Jonny Slow, Pixomondo CEO, said, “We are delighted to be able to formalise our collaboration with William F. White and their excellent track record in film and TV equipment rental and studio property management. Combined with Pixomondo’s award winning VFX offering, and a game changing capital commitment from both parties, we are excited to confirm additional virtual production investment into Canada and into these state-of-the-art physical production techniques.”
“As leaders in our respective industries, our two companies are such a natural fit when it comes to providing a full-service client experience that is truly unmatched in the world of virtual production,” says Garin Josey, Executive Vice President/Chief Operating Officer, William F. White. “This next phase we’re embarking on together has the potential to radically change the production process. These LED volumes in Vancouver and Toronto are only a preview of what’s to come.”
“Over the past few months, we’ve been building a fantastic relationship with Jonny and the team at Pixomondo and we’re eagerly anticipating a bright future together,” said Rick Perotto, Vice President, Business Development, William F. White. “Our local offices in Vancouver and Toronto will provide virtual production clients with access to a world-class selection of production equipment to support their needs.” www.pixomondo.com www.whites.com
