Official website

www.solidangle.com
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.

1 of 4

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.

Solid AngleRecent articles

3D Character Sculpting: Modeling and Posture

3D Character Sculpting: Modeling and Posture

Scott Denton from The Mill talked about the character production and his Sagart from Street Fighter fanart.
Character Production with Maya & XGen

Character Production with Maya & XGen

Coss Mousikides shared the details of the Synthetic project made with Maya, XGen, and Arnold: character production, hair, skin, clothes, lighting.
Character Breakdown: Blood Elf

Character Breakdown: Blood Elf

Antone Magdy did a breakdown of his character Blood Elf: blocking the body, skin texturing, armor production, and more.
Creating a Dark Priest from Scratch

Creating a Dark Priest from Scratch

Dmitry Yehorov prepared a breakdown of his character bust made within Valentin Erbuke’s course and talked about blocking, texturing, rendering, and more.
Character Art Tips from Igor Golovkov

Character Art Tips from Igor Golovkov

Igor Golovkov talked about his approach to character production: concept, modeling, detailing, retopology, texturing and rendering.
Exploration of VR-Based Workflows

Exploration of VR-Based Workflows

Zrinko Kozlica talked about his exploration of VR workflows: utilizing Gravity Sketch, Microsoft Maquette, combining traditional and VR tools, and more.
Crafting a Sad Muse Mask

Crafting a Sad Muse Mask

Arturo Ramírez also known as Limkuk talked about his Sad Muse mask design made with ZBrush, Maya, and Substance Painter.
CGMA Student Project: Antelope & Dragon Studies

CGMA Student Project: Antelope & Dragon Studies

Nicole Jackson shared her experience with CGMA and did a breakdown of sculpted antelope Nyala and Dragon. Software used: ZBrush, Maya, Arnold.
CGMA Student Project: A Spaceship

CGMA Student Project: A Spaceship

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

We need your consent

We use cookies on this website to make your browsing experience better. By using the site you agree to our use of cookies.Learn more