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Practical Physically-Based Shading in Film and Game Production
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Course Page
§ Notes and slides now/soon!
bit.ly/s12shaders
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Schedule
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 Break 10:45 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)
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The Importance of
Physically-Based Shading
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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
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Mounting Complexity
§ Artists are the bottleneck § Avoid:
§ 100s of sliders § Unintuitive, interconnected
values § Complex shaders, passes
§ Aim for: § Consistency of materials § “Works out of the box”
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Physically-Based Shading 101
§ Energy conservation:
Glossiness
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Physically-Based Shading 101
§ Energy conservation:
§ Avoids gloss-reflectance dependency
Glossiness
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It’s a Framework
§ Input data § Calibrated textures § Artist guidelines
§ Physical values § Lights § Material properties
§ Architecture § Shading language § Renderer
§ Bottom-line: less guesswork
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It’s a Common Language
§ 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 energy
conservation of the Ashikhmin-Shirley model. Take a look at my simple test case.”
§ Language ó understanding
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