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Practical Physically-Based Shading in Film and Game Production

Practical Physically-Based Shading in Film and Game Production. Notes and slides now/ soon !. Course Page. bit.ly /s12shaders.

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Practical Physically-Based Shading in Film and Game Production

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  1. Practical Physically-Based Shading in Film and Game Production

  2. Notes and slides now/soon! Course Page bit.ly/s12shaders

  3. 09:00 Intro: The Importance of Physically-Based Shading(Hill)09:05 Background: Physics and Math of Shading (Hoffman)09:30 Calibrating Lighting and Materials in Far Cry 3(McAuley)10:00 Beyond a Simple Physically-Based Blinn-Phong Model in Real-Time(Gotanda)10:30 Break10:45 Physical Production Shaders with OSL(Martinez)11:15 Physically-Based Shading at Disney(Burley)11:45 Reflection Model Design for WALL-E and Up(Smits) Schedule

  4. The Importance of Physically-Based Shading

  5. Physically-Based vs Photo Realism “Photo-realistic rendering places emphasis on the appearance of its output rather than the techniques used to derive it. Anything goes, basically, as long as the final image looks nice.” - Greg Ward http://radsite.lbl.gov/radiance/refer/Notes/rendering_note.html

  6. Artists are the bottleneck Avoid: 100s of sliders Unintuitive, interconnectedvalues Complex shaders, passes Aim for: Consistency of materials “Works out of the box” Mounting Complexity

  7. Energy conservation: Physically-Based Shading 101 Glossiness

  8. Energy conservation: Avoids gloss-reflectance dependency Physically-Based Shading 101 Glossiness

  9. Input data Calibrated textures Artist guidelines Physical values Lights Material properties Architecture Shading language Renderer Bottom-line: less guesswork It’s a Framework

  10. Easier to breakdown production problems “Why is my material too dark?” Artists can self-diagnose Missing effects can be reasoned about My hope in the future: “I think you screwed up the energyconservation of the Ashikhmin-Shirleymodel. Take a look at my simpletest case.” Language  understanding It’s a Common Language

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