A CGI Dog from Finish using Yeti and Bokeh

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.”

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“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.”

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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.

Aardman uses Yeti for U.N. Global Goals Campaign

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

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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.”

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Be sure to watch the entire short film here.

Amazing work, as always, Aardman. We are thrilled that you chose Yeti for this project!

A feathery Masquerade created by Shed

The talented artists at Shed in Montreal accepted the challenge of creating a Masquerade Ball featuring the iconic “golden bird” for Y&R’s yearly La Poule Aux Oeufs D’or gala.

Using Yeti’s procedural feather primitive they constructed many species of birds to create this beautiful feast for the eyes.

Head over to Shed’s site to hear more about the making of this production.

Panoptiqm for Lilyhammer

The team at Panoptiqm (along with their friends at Animaskin) were called upon to create VFX for Netflix’s Lilyhammer, relying heavily on Yeti to produce an all CGI Tiger.

Check out their project page for more information, and a great making of video by clicking the image below.

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Nibb-It’s Squirrely CEO by Nozon

Nozon used Yeti to help create Nibb-It’s busy CEO – we spoke with Gaël Honorez, Nozon’s head of lighting, shading, R&D and pipeline about the project and he may be almost as busy as the character the team created.

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“The briefing was to realize a realistic red squirrel, CEO of Nibb-It chips, going to work and testing new chips. The squirrel is fully CG, integrated in live plates and interacting with humans – I did the look-dev of the squirrel and the lighting for all the shots.”

“We have been using Yeti for quite some time now and are so happy with it that choosing it for fur work is a no brainer – the graph & groom/cache pipeline allows us to iterate fast enough to match the client demands.”

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