Shed in Montreal recently executed this beautiful spot for IGA, we spoke with Luc Girard about how Yeti helped their move from XSI to Maya while surpassing their expectations.
Peregrine Labs: Can you introduce us to the sequences on this production that use Yeti and your involvement?
Luc Girard: This is the 11th and latest ad of a series our studio created for a chain of grocers here in Québec. Yeti was used for all of the hair you see in the spot and I did the grooming and simulation setups for all of the hero characters as well as the extras. I enlisted the help of my colleague Marc Lebuis to help me get all of the nHair simulations completed when the final animation was ready.
Cinesite created over 350 visual effects shots on 300: Rise of an Empire, completing work in just a few short weeks. Many of their shots involved the creation of Ancient Greece, and Yeti was used to create a key aspect of one of their main sequences.
Cinesite’s Visual Effects Supervisor Richard Clarke: “Sparta is a place where the wind defines the ambience of the environment and the movement of wind over the wheat field was a great way of representing this. In this shot, I wanted to create huge, open, natural wheat fields wafting in the wind.”
Yeti’s instancing was improved due to feedback from Cinesite; including full support for PRMan’s ObjectInstance (and similar for the other rendering engines) which was used heavily on the production.
For the BBC’s second series of Wolfblood Trixter turned to Yeti for the digitally created stars of the show. Rendering Pipeline Supervisor Barry Kane was kind enough to share why the studio made the move to Yeti and some of the challenges of integrating it with Katana.
“We were looking for a fast high quality solution which could also allow us to move away from large I/O intensive RIB archives as used on the first series of the show.”
“A native RenderMan capability which could be potentially integrated with Katana was an additional requirement. The PRMan DSO supplied with Yeti saved us from a potentially very lengthy development cycle of our own to achieve the same capability.”
Csaba Elteto of Digital Apes Ltd. shares why the studio turned to Yeti to help solve their feather challenges when asked to create a CG Seagull.
“The job was to create an opening film sequence that would feature a computer generated seagull, so we went to look for a software solution that could do exactly that. The facility had already been using the usual hair and fur tools for smaller jobs but we hadn’t had enough positive experience to use them for a bigger project so our team immediately thought of Yeti as a possible solution.”
Julien Leveugle, Compositing Supervisor for Animal Logic’s The Lego Movie, took some time to share details with us about Bokeh’s involvement with the production.
“We used Bokeh extensively on The Lego Movie, due to the miniature nature of the Lego figurines we went for a shallow depth of field look. I would say that about 90% of the shots of the movie contain Bokeh one way or an other, sometimes used to achieve extremely shallow depth of field.”