He works on physically based rendering, with a strong focus on shading and level-of-detail techniques. He wrote new lighting models and rendering methods for Monsters University and The Blue Umbrella , and more recently for Finding Dory and Piper , and continues to spearhead research in the rendering arena.
SIGGRAPH 2017 Course: Physically Based Shading in Theory and Practice
Christopher Kulla is a principal software engineer at Sony Picture Imageworks where he has worked on the in-house branch of the Arnold renderer since He focuses on ray-tracing kernels, sampling techniques and volume rendering. He has twenty years experience in feature animation and video games, with focus on look development, lighting, rendering and shading.
His recent projects include developing a streamlined set of layerable, physically based production shaders. Junyi Ling is a characters co-supervisor at Pixar Animation Studios. Most recently he was responsible for some of the shading and look development efforts on Cars 3 and The Good Dinosaur. His current production and research interests are focused on general look development, material modeling and illumination. He focuses on the approaches the studio takes toward rendering, lighting and look development.
SIGGRAPH 2002 Course 36 Notes
Nathan has been with Framestore since , having worked on films such as Gravity and Guardians of the Galaxy. Feng Xie started working for DreamWorks as a rendering engineer in She has credits on over 20 films at the studio, from Shrek 2 to the most recent release, The Boss Baby. Feng had been a principal engineer and the shading architect for DreamWorks Animation since , where she lead the development and adoption of physically based shaders within the studio.
Pat Hanrahan. Adam Micciulla is an independent software engineer living in Portland, Oregon. He later moved to Japan at Square-Enix as a rendering lead to develop a full package of physically based shaders and lights for mental ray.
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This book covers real-time shading systems, their design and how they work. Procedural shading, long valued for off-line rendering and production animation is now possible on interactive graphics hardware.
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These developments are important for areas such as game development, product design, and scientific visualization, among others. The authors include examples of techniqu This book covers real-time shading systems, their design and how they work.
The authors include examples of techniques for achieving common effects efficiently in a real-time shading language ranging from full procedural shading on advanced specialized hardware to limited, yet surprisingly flexible shading on unextended OpenGL, to modern PC graphics accelerators. Get A Copy. Hardcover , pages. More Details Original Title. Other Editions 2. Friend Reviews.
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