A versatile skin material for The Good Dinosaur

A versatile skin material for The Good Dinosaur A Versatile Skin Material for "The Good Dinosaur" Maria Lee Pixar Animation Studios Ana G. Lacaze* Pixar Animation Studios Figure 1: Apats, Pterodactyls, and Raptors are among the characters that used the Global Skin Material. 1. Abstract The major challenge to character shading on The Good Dinosaur is variation and scale. We have numerous Dinosaur species, each with multiple members, each member with varying skin properties on different regions of their bodies, depending on the age and character personalities. Also, the ultra realistic environments and stylized characters dictated the need for intricately designed details to bring them together. We knew the dinos were going to interact with characters of a much smaller scale (namely humans). We would not be able to paint this complex detail, given our time and multi-scale constraints. The skin details were not modeled because our shader is more art directable, flexible, and efficient. Our shader is also easy to prototype for all species and variants, and gives artists the freedom to mix and match the specific qualities as needed per character. Synthesizing the signals and not the painted texture itself was the key since it allowed us to decouple all the different qualities, and http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

A versatile skin material for The Good Dinosaur

acm — Jul 24, 2016

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acm
Copyright
Copyright © 2016 by ACM Inc.
ISBN
978-1-4503-4282-7
D.O.I.
10.1145/2897839.2927465
Publisher site
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Abstract

A Versatile Skin Material for "The Good Dinosaur" Maria Lee Pixar Animation Studios Ana G. Lacaze* Pixar Animation Studios Figure 1: Apats, Pterodactyls, and Raptors are among the characters that used the Global Skin Material. 1. Abstract The major challenge to character shading on The Good Dinosaur is variation and scale. We have numerous Dinosaur species, each with multiple members, each member with varying skin properties on different regions of their bodies, depending on the age and character personalities. Also, the ultra realistic environments and stylized characters dictated the need for intricately designed details to bring them together. We knew the dinos were going to interact with characters of a much smaller scale (namely humans). We would not be able to paint this complex detail, given our time and multi-scale constraints. The skin details were not modeled because our shader is more art directable, flexible, and efficient. Our shader is also easy to prototype for all species and variants, and gives artists the freedom to mix and match the specific qualities as needed per character. Synthesizing the signals and not the painted texture itself was the key since it allowed us to decouple all the different qualities, and

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