TITLE

RENDERMAN FOR MAYA

AUTHOR(S)
Monos, John
PUB. DATE
November 2005
SOURCE
Millimeter;Nov2005, Vol. 33 Issue 11, p37
SOURCE TYPE
Trade Publication
DOC. TYPE
Article
ABSTRACT
The article highlights Pixar Animation Studios' PhotoRealistic RenderMan (PRMan). The RenderMan standard describes a series of rules and specifications for creating a 3D scene. One of the advantages of PRMan over other renderers is its scalability, or the ability of handling complex scenes. Reliable texturing, motion blur, depth-of-field and image filtering round out the core feature set of PRMan.
ACCESSION #
18986200

 

Related Articles

  • Cause and Effect. Jones, Drew // movieScope Magazine;Nov/Dec2012, Issue 31, p52 

    The author discusses the approach of his team in responding to the myriad of challenges of the digital world. The author states that greater flexibility and clever management are required in creating films, particularly in the prevalence of third-dimensional (3D) technology which changed the...

  • 3-D exhib boom's new post puzzles. Debruge, Peter // Daily Variety;4/13/2007, Vol. 295 Issue 9, pB1 

    The article discusses the use of three-dimensional (3-D) digital system in cinematography in the U.S. It mentioned that the popularity of 3-D may have some profound effects on filmmaking techniques and be tested by time. According to 3ality Digital founder-CEO Steve Schklair, 3-D films are...

  • CHARLOTTE HUGGINS. Cohen, David S. // Daily Variety;7/31/2008, Vol. 300 Issue 19, pA28 

    The article profiles Charlotte Huggins, producer of three-dimensional (3-D) movies, theme-parks, and Imax. She initiated stereoscopic 3-D movie making since 1994. Some of her films include "Honey, I Shrunk the Audience," "Journey to the Center of the Earth," and "Fly Me to the Moon." Huggins...

  • What impact has stereo 3d made this year?  // Televisual;Aug2009, p19 

    The article presents views from production managers on the developments of the stereo 3D applications in Great Britain in 2009. William Sargent, chief operating officer (COO) of Framestore, believes that with 3D application in production, the entertainment industry will expect a revenue...

  • The story of Carmen. Jarrett, George // TVB Europe;Apr2011, p46 

    The article offers information on the factors being considered by Phil Streather before accepting the production responsibilities in creating the movie "Carmen 3D" in Europe. Streather considers the film's planning, production and the involvement of high profile ReaID project. He then includes...

  • Goal for 3D. Giardina, Carolyn // Hollywood Reporter;10/8/2010, Vol. 416 Issue 36, p17 

    The article presents information on technological innovations related to 3D technolgy. Innovations in stereo 3D production the MPE200 by Sony developed for the World Cup offers a stereo image processor box. According to Steve Schklair, the founder and chief executive officer (CEO) of 3ality...

  • Stereo3D post: 5 tips for a great result. Owen, Steve // IBE: International Broadcast Engineer;Sep/Oct2010, p58 

    The article provides tips on how to maximize the use of three-dimensional (3D) technology when doing post production work in 3D films. The suggestions include using the right system such as Quantel's Pablo and iQs that can handle the constant moving around of the job for fixes, titles, and...

  • Stereo 3D Field Guide. Long, Bruce K. // Computer Graphics World;Aug2008, Vol. 31 Issue 8, p10 

    The author assesses the future of stereoscopic three-dimensional (3D) filmmaking. He sees a resurgence in 3D filmmaking due to improved 3D images produced by filmmakers. He notes that it is up to the filmmakers to make the right choices in adopting the technology. However, the author reminds...

  • Scalawags in Stereo. Goldman, Michael // American Cinematographer;Jun2011, Vol. 92 Issue 6, p26 

    The article focuses on the production of the film "Pirates of the Caribbean: On Stranger Tides," by Dariusz Wolski. It is considered that shooting the film in three-dimensional (3-D) technology makes it a high-profile test case for the shift in stereoscopic cinematography. Wolski uses Red...

Share

Read the Article

Courtesy of VIRGINIA BEACH PUBLIC LIBRARY AND SYSTEM

Sorry, but this item is not currently available from your library.

Try another library?
Sign out of this library

Other Topics