When tasked with creating realistic tigers for their latest project, 4th Party Creative chose Yeti to achieve the desired result. We were blown away with their work and recently spoke with the team about how and why they used our product.
“The Tiger: An Old Hunter’s Tale”, is a film about the last tiger and a hunter of the Joseon Dynasty period in Korea. The main character of the film features the “King of Joseon’s Tigers”, his family of five, and a pack of wolves.
“We started to study and research fur which is essential to convey characters such as tigers and wolves realistically. To achieve this we needed to divide the texture of fur, movement of muscle and the surface area of characters into several parts. Yeti was just right for this work method and way of expression. Yeti is easy to work with, so even someone who uses it for the first time can learn it easily and quickly. Also, the node-based workflow enabled us to control many parts and groom more details with only basic and simple node.”
“What we especially liked about Yeti was that it’s really easy to move fur between each model. We made many kinds of tigers (with varied ages and appearances) based on a single tiger model by modifying its shape. Yeti helped us save tons of time because it’s easy to convert fur between different-shaped models with the same topology.”
“Lastly, we are very satisfied with your Technical Support Team’s quick and kind feedback on Yeti Central. We will continue using Yeti for future projects.”
Thank you for your kind words and for choosing Yeti, 4th Party Creative! We can’t wait to see what comes out of your studio next!
Watch the trailer here. Warning: contains graphic content.
At Peregrine Labs we believe it is important to foster creativity and innovation in educational institutes around the globe. That’s why we are pleased to offer a significant discount on permanent Yeti and Bokeh licenses to qualifying schools. One such institution who recently used Yeti for a short film is Media Design School, New Zealand’s most awarded tertiary institution for creative and digital technology qualifications.
We spoke with James Cunningham who wrote, produced and directed the short film titled, “Accidents, Blunders and Calamities” that looks at all the perilous ways humans inadvertently bring death to animals. Thirty-one creatures were developed, 11 of which had fur or feathers and were created using Yeti. Inspired by the Edward Gorey classic, “The Gashlycrumb Tinies”, James created an alphabet storybook that a concerned father possum reads to his kids.
In total, 44 students were involved in this project and all visual effects were completed by those in their final (third) year of their degree. The team included 3-D generalists for model, texture and light, animators and compositors. Some students were set up to be fur specialists and groomers but in some cases, strong students would complete a creature in its entirety, including adding the fur.
We asked why Media Design School chose Yeti and James told us, “We had been wanting to play with Yeti for a while and finally had a project that screamed out for the control and complexity that Yeti could achieve for us. One of our more precocious students was also mad keen on Yeti. He ended up being the lead fur designer on the possums. Yeti also fed well into our Maya and Vray pipeline. Peregrine were very supportive of the project and donated the licenses we needed for this educational production.”
He went on to explain that, “With the quails, we attempted to not use Yeti as we didn’t have that many artists trained up and interactive licenses. However the texture-only approach was just not selling it. We got an extra seat and very quickly another student got up to speed on Yeti and it turned out much better doing the feathers properly. The rendering of the close ups of the possum shots were very heavy in memory usage but once we nailed the culprit we were able to keep even these hero close shots in reasonable render times.”
James also told us that he is “no longer intimidated by creating creatures with fur. And the audiences love watching cute furry creatures.”
We are so glad Yeti could help you get over your fear, James. Fantastic work!
Watch the trailer here.
When Finish CG Supervisor Harin Hirani was tasked with creating a realistic dog for UK Life Insurance company, Beagle Street, he chose to use both Yeti and Bokeh to get the desired result. We recently spoke with Harin and asked about his experience using both of our products together – here’s what he had to say.
“The job required a photo realistic CGI dog which consisted of multiple fur elements such as the main body, whiskers, eyelashes and eyebrows. I was responsible for all look development of the dog which included modelling, texturing, shading and the fur grooming. The dog appears in the majority of shots ranging from full body wide shots to extreme facial close ups.”
“We were exploring a number of fur solutions for this particular job as we needed something that could give us more control and flexibility than what we currently had. We quickly fell in love with Yeti’s node based workflow and the power it gave us to create and layer up multiple complicated fur systems. The dog has very specific fur characteristics that change over different parts of the body so we knew we would need to have the ability to match this easily.”
He went on to tell us that, “The advert itself was shot with very narrow depth of field so we knew we would need to match the defocus and with the render times being expensive, rendering the depth of field in the renderer wasn’t an option. That’s when we looked into rendering this job in deep and using post Bokeh as it gave us very clean artifact free blur and natural lens defects like chromatic aberration and the ability to make adjustments to these at the compositing stage.”
When asked, if he was able to achieve all of his goals for the project and if Yeti and Bokeh accommodated all of his needs, Harin told us that, “We had a very good system in place using Yeti whereby we could carry on working with the model and the groom in parallel and know that we could update everything accordingly before sending things off to render. Yeti made it very easy to accommodate changes in the pipeline. Using Bokeh allowed us to achieve a natural defocus on the dog which meant he sat in quite convincingly on the live action plates.” We’d have to agree with him on this!
Harin also added, “We were really impressed with the speed of the viewport previews; this helped us massively when we were creating the look of the fur. It was nice having the confidence of knowing what we see in the viewport is a good representation of what we would get at render time!”
We think this spot is great and love that both Yeti and Bokeh were used together. Well done, Harin and the team at Finish!
View the full spot here.
The exceptionally talented team at Aardman Animations recently completed a short film called Project Everyone – We Have a Plan, to support the U.N. Global Goals Campaign. We caught up with Rich Spence, CG Supervisor for the project, and asked him to tell us more about how and why Yeti was used for this film.
“All the characters required either fur or feathers and we choose Yeti for its flexibility and great grooming tools. There are a lot of different styles with such a large range of creatures and Yeti was able to handle them all without any problems. Other than the opening exterior shots we used Yeti in almost every frame of this short film.”, Spence explained
When we asked if Aardman was able to achieve all of their project goals using Yeti, Spence responded that, “The procedural workflow of Yeti meant we could work in parallel on the model and fur systems without the concern of losing work if one or the other changed. This way we were able to spend more time finessing the look. It also meant we could easily transfer one fur system to another character to give us a head start on the groom.”
Spence also added, “Yeti seamlessly integrated into our pipeline and rendering setup in Arnold. Its caches were quick to create and preview which allowed us to do multiple reviews to get the fur behaving exactly how we wanted.”
Be sure to watch the entire short film here.
Amazing work, as always, Aardman. We are thrilled that you chose Yeti for this project!
Peregrine Labs is very happy to announce the release of Yeti 2.0 – with numerous new features, optimizations and bug fixes this is the first major release in three years.
Over the course of development we have had the opportunity to work closely with many of our customers to provide a modern and reliable solution for creating limitless fur, hair, feather and other procedural effects while maintaining the flexibility of previous versions.
Taking full advantage of modern hardware was a major focus of Yeti 2.0 which includes full support for Maya’s Viewport 2.0 and an even more aggressive use of multi core processors to improve feedback while working on larger grooms. This coupled with a tighter integration with Maya’s UI via the new Yeti Graph Panel leads to an improved user experience.
Due to popular demand our licensing has been restructured to allow more affordable batch rendering and caching options for distributed dynamics simulation and baking without using a full interactive license. Coupled with the ability to do so concurrently and via a refactored dynamics solver means that more time is spent creating those beautiful images we love to see.
Numerous other features include updated brush dynamics, new sculpting tools, additional graph nodes and much more!
All of this, and a price drop! At $699CAD it’s even easier to get started using Yeti in your productions – this includes 5 render licenses so you never have to wait (additional batches of 5 render licenses can be purchased at $399CAD). For current users with a Yeti license purchased after May 1st 2015 this will be a free upgrade, any others will cost $299CAD (which includes 20 render licenses).
Please request a trial license to test this great new release and contact our team for further information regarding Yeti 2.0.