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by Franciszek Zgliński
3 hours ago

9:46 - actually I have a solution for You ;) Try this setup instead of LandscapeCoords node: https://drive.google.com/file/d/1N4FMmG4TtRjI8TPTHqD6kKcKolbYGZs0/view

you have access to OpenColorsIO since 2011. The Academy Software Foundation (ASWF), a neutral forum for open source software development in the motion picture and media industries hosted at the Linux Foundation, today announced that OpenColorIO (OCIO) has been approved as the Foundation’s second hosted project. https://www.aswf.io/ocio-joins-aswf/ btw spi released

by Rathan kumar.Muthyam
1 days ago

Thanks for sharing and detailed production breakdown

Solid Angle
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We are a leading provider of rendering software for animation and visual effects. At its core, Solid Angle is based on a passion for numerical methods and an obsession for performance. We believe that accurately and efficiently computing light transport in CG scenes is the best way to create stunning imagery for films and TV. We strive to provide our clients with the best rendering tools to efficiently create realistic images.

The roots of Solid Angle date back to 1997 when founder Marcos Fajardo had the realization that a brute-force path tracing solution to the rendering equation could be optimized to produce previously unattainable imagery. His early ray tracing code was integrated into WYSIWYG, a stage lighting design tool, helping Toronto-based CAST Software secure an Engineering Emmy Award. The inspiration and itch to work in film production was sparked by a 1998 visit to Blue Sky Studios in New York, where co-founder Carl Ludwig showed Marcos beautiful and intriguing images rendered with their pioneering Monte Carlo ray tracer. Arnold was born shortly after.

One of the first uses of Arnold was by Spanish animator Daniel Martinez Lara, who in 1999 released the animated short Pepe, creating ripples in the CG world. Ruairi Robinson’s short film Fifty Percent Grey, another early use of Arnold, was nominated for an Academy Award in 2001. The first Arnold license was sold to Mikros Image in 2001 to render VFX shots for the French feature film Le Boulet. After a year-long collaboration at USC ICT, Arnold was used to render Paul Debevec’s short film The Parthenon shown at SIGGRAPH 2004.

In 2004 Sony Pictures Imageworks licensed the source code to Arnold and entered into a partnership with Marcos to co-develop it and adopt Arnold as Imageworks’ main renderer. Fruit of this joint work was the 2006 Academy Award nominated Monster House, the first animated feature film entirely rendered with brute-force path tracing, as well as Cloudy with a Chance of Meatballs, Alice in Wonderland and many other films. This fruitful collaboration continues to this day on slightly different versions of the renderer, access to the respective code bases and jointly published research work.

Fifteen years after its inception, Arnold has established itself as the go-to solution for efficient, unbiased global illumination rendering in feature film production. The team has grown to 30 people and most leading VFX and animation facilities have chosen Arnold as their preferred rendering solution.

Arnold

Birdman

Arnold is an advanced Monte Carlo ray tracing renderer built for the demands of feature-length animation and visual effects. Originally co-developed withSony Pictures Imageworks and now their main renderer, Arnold is used at over 300 studios worldwide including ILM, Framestore, MPC, The Mill and Digic Pictures.

Arnold was the primary renderer on dozens of films from Monster House and Cloudy with a Chance of Meatballs to Pacific Rim and Gravity. It is available as a standalone renderer on Linux, Windows and Mac OS X, with plug-ins for MayaSoftimageHoudini, Cinema 4D and Katana.

Features

image

Fur & Hair

An efficient raytraced curve primitive makes Arnold the perfect choice for rendering fur and hair using very little memory. Its hair shader has double offset speculars, transmission and is specifically designed to reduce flickering of thin hairs.

image (1)

Motion blur

Accurate 3D motion blur correctly interacts with shadows, volumes, indirect lighting, reflection or refraction. Deformation motion blur is extremely efficient and works for polygons, hairs and particles. Rotational motion describes precise circular arcs.

image (2)

Sub-surface scattering

Our raytracing-based sub-surface scattering approach makes tuning point clouds a thing of the past. It’s easy to use, requires no additional memory, supports motion-blurred lighting, interactive lighting and its performance scales optimally as more CPU threads are used.

image (3)

Volumes

The volumetric rendering system is based on proprietary importance sampling algorithms and can render effects such as smoke, clouds, fog, pyroclastic flow or fire. Volumes interact with direct and indirect lighting from arbitrary area light sources. Supports OpenVDB and MayaFluids.

image (4)

Flexibility and extensibility

Thanks to an easy to use C++ API with Python bindings, TDs and programmers can integrate Arnold in external applications, and create custom shaders, cameras, light filters and output drivers. Arnold has been integrated into many apps, both commercial and proprietary.

image (5)

Scalability

Arnold is carefully multi-threaded and makes optimal use of all available CPU threads. Even for traditionally single-threaded operations such as loading of procedural geometry, displacement or ray accel construction. Hyper-threading provides a solid 20% speedup.

image (6)

Instances

Arnold can efficiently raytrace instances of any scene object with transformation and material overrides. It is easy to create thousands or even millions of instances resulting in trillions of renderable primitives, which is great for vegetation, large environments and FX.

image (7)

Memory efficient

Thanks to Arnold’s compact and highly optimized data structures, you can render scenes with hundreds of millions of unique primitives quickly and with a much lower memory footprint than is possible with other renderers.

image (8)

Deferred geometry loading

Geometry can be created on demand through “procedural” nodes (or stand-ins) rather than upfront. This allows the modular assembly of scenes. Procedural nodes can point to ASS, OBJ, PLY and DLL/DSO files, opening the door to programmatic scene creation and compositing.

image (9)

Subdivision and displacement

Arnold supports Catmull-Clark subdivision surfaces. Subdivided vertices are then vector-displaced through arbitrary shader networks. High frequencies can be automatically captured as bump map, reducing the need for excessive subdivision.

image (10)

Arbitrary Output Variables (AOVs)

Arnold can render any number of AOVs or passes for compositing purposes, including normal, Z-depth, position and ID masks. It also supports deep image data. Shaders can create their own custom outputs (such as direct and indirect diffuse, specular, SSS, etc).

image (11)

Standalone command-line renderer

Arnold has a native scene description format stored in human-readable text files (Arnold Scene Source, or .ass). These files are easily edited, can be read and written with the C/Python API, can be lazily loaded at render time, or can be fed to the command-line renderer, kick.

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Arturo Ramírez also known as Limkuk talked about his Sad Muse mask design made with ZBrush, Maya, and Substance Painter.

19 December, 2018

1854 views
2 comments
Nicole Jackson shared her experience with CGMA and did a breakdown of sculpted antelope Nyala and Dragon. Software used: ZBrush, Maya, Arnold.

29 November, 2018

1529 views
CGMA student Mark Hołubowski shared his experience of taking Hard Surface Modeling for Films course and talked about the production of his spaceship model.

2 November, 2018

1910 views
Abdelrahman Kubisi allowed us to repost his tutorial on making realistic portraits with Maya, Arnold, ZBrush, and Mari.

30 October, 2018

2640 views
Christophe Desse has uploaded a new tutorial showing techniques that will help you render a model from Substance Painter in Redshift or Arnold.

27 August, 2018

1197 views
Arvid Schneider has shared a new 3-part advanced tutorial series about crystal and ice shading with Arnold.

21 August, 2018

2331 views
Rohit Singh talked about finding himself in character art and creating his awesome Orc with ZBrush, Maya, Arnold, and Mudbox.

20 August, 2018

3071 views
2 comments
Solid Angle has revealed Arnold 5.2 that adds a number of new features in addition to performance and usability improvements.

13 August, 2018

1221 views
Jean-Baptiste Caillet, a student at ArtFx, gladly broke down his colorful and serene winter landscape scene made with Maya, Arnold and Substance Designer.

7 August, 2018

2218 views
1 comments
Aviral Agarwal talked a bit about the way he works on the production of awesome 3d characters.

22 June, 2018

3095 views
Ellie Porfyridou shared some important tips and advice, which will help you to build hair in XGen and export it in UE4.

19 June, 2018

11665 views
1 comments
Gael Kerchenbaum introduced his CGMA course Sculpting Anatomy: From Animal to Creature and talked about creating an awesome dragon!

11 June, 2018

2473 views
Nikie Monteleone talked about the way she painted the amazing model by Nina Tarasova, based on the concept of Alli White.

3 May, 2018

4966 views
Marius Wittig and his colleagues discussed the sculpting, texturing and rendering process, which helped them to build a detailed CGI creature.

10 April, 2018

3070 views
2 comments
Andrew Giovannini discussed some of the useful techniques of hair production he's learned during CGMA's Hair Creation for Games course.

5 April, 2018

12019 views
Basem Shenouda has shared a new hair experiment from XGen.

8 March, 2018

3812 views
3 comments
The amazing CeTA Film Studio, behind an Oscar-nominated film "Loving Vincent", talked about their process, techniques and ways to bring a genius artist into the film.

2 March, 2018

3392 views
Have a look at a 4-part video guide to texturing 3D characters by Flagship Creative.

9 February, 2018

2548 views
Diego Rodriguez did an amazing breakdown of his awesome character study, done during the CGMA’s course Character creation for Films/Cinematics with Pete Zoppi.

7 February, 2018

2969 views
3 comments
Vladislav Solovjov has released a pack of free materials.

24 December, 2017

9026 views
Fredi Walker did a breakdown of his great urban environment, which mixes intricate details with beautiful camera work.

21 December, 2017

3213 views
Arvid Schneider has launched a new 5-part tutorial series on setting up, shading and lighting some nice-looking mushrooms.

26 October, 2017

2512 views
Felipe Pesántez talked about the modern 3d production tools, including his work with Mandelbulb, Megascans, and Houdini.

18 October, 2017

3303 views
Marcel DeJong published a video, where he shows how he renders an entire forest with MASH and Arnold in Maya 2018.

31 August, 2017

2444 views
3d artist Claudio Clemente did a very cool breakdown, showing the tech behind his amazing Game of Thrones fan art.

28 August, 2017

4395 views
1 comments
Saber Jlassi talked about some of the very cool things you can create with Houdini and use in your game.

23 August, 2017

4839 views
2 comments
An interview with Bernhard van der Horst about his marvelous ancient Kandarian Dagger.

14 August, 2017

2538 views
1 comments
In this interview 3d artist Mao-Lin talked about his approach to the creation of realistic 3d models of human characters.

14 July, 2017

4817 views
Nathan Huang shared some techniques he uses to build beautiful visual effects for his projects.

20 June, 2017

12654 views
1 comments
Tons of free-to-use textures map sets with no cost involved.

31 May, 2017

8634 views
2 comments
Jessi Ruselowski gave a couple of tips on modeling and texturing very unusual stylized cartoony 3d scenes.

26 May, 2017

9099 views
DOOM VFX artist Wirginia Romanowska talked about the way visual effects are produced and used in video games.

25 May, 2017

6619 views
1 comments
A deep look into the production process behind the amazing effects of the space epic. Plus a guide to frame blending with motion vectors by Klemen Lozar.

15 May, 2017

4466 views
Piotr Rusnarczyk discussed the production process behind his amazing artworks.

27 April, 2017

2483 views
Recreation of Rembrandt's famous painting "The Anatomy Lesson of Dr. Nicolaes Tulp".

29 March, 2017

2102 views
12 base Arnold shaders and a testing Maya file.

8 February, 2017

4380 views
Lee Griggs, who's best known for his amazing Arnold tutorials, has recently talked with 80.lv about his love for surrealistic deconstructions of human bodies in 3d.

19 December, 2016

5360 views
3d artists Gael Kerchenbaum, Thomas Obrecht, Charles Chorein shared how they've created a 3d model of the dinosaur and helped it move in 3d. It's not Jurassic Part yet, but it's a start.

1 December, 2016

2575 views
3d artist and a 3d-scanning genius Christoph Schindelar talked about photogrammetry and real-displacement-textures. It's out of this world.

29 November, 2016

8421 views
Together with Max Emski we've discussed his production process and some of his thoughts on the modeling of complex mechanisms in Maya.

28 November, 2016

6337 views
2 comments
A French technical artist talks working on jaw-dropping clouds.

28 October, 2016

15431 views
3 comments

26 July, 2016

3174 views
Madina Chionidi from DICE discussed her personal project, where she created an outstanding 'Sharpshooter' model with excellent materials and clothes.

26 July, 2016

23760 views
1 comments

22 July, 2016

3139 views

27 June, 2016

7801 views

25 May, 2016

5362 views
Amazing 3d artist Pol Cuenca discussed procedural tools in VFX.

18 May, 2016

5264 views

23 April, 2016

2094 views

22 April, 2016

1467 views
3d artist Andre Kostin talks about the use of procedural tools and the way he creates his impressive surrealistic images.

15 April, 2016

3073 views