11AUG

Hyperion – GI Render Của Disney Cùng 31 Sáng Chế Được Công Bố

Cùng lamphimquangcao.tv điểm qua các bằng sáng chế của engine render Hyperion nổi đình nổi đám của Disney do rất nhiều những siêu phẩm phim hoạt hình bom tất của hãng Walt Disney đã ra đời. Sau đây là 31 tài liệu thuộc về phạm vi sáng chế ra engine render Hyperion của Disney nhằm phục vụ mục tiêu của hãng trong làm phim hoạt hình với chứng nhận phim hoạt hình Walt Disney, Pixar.

Xem Hyperion của Walt Disney render thành phố San Fransokyo, thành phố trong phim hoạt hình Big Hero 6

Tác giả  cho biết nhiều tài liệu nữa luôn được tìm thấy ngoài Hyperion về các bằng sáng chế của hãng phim hoạt hình Disney cũng co thể tìm thấy ở đây:

Tác giả cũng đề nghị các sinh viên, các nhà nghiên cứu mong muốn và tò mò với việc thực hiện chế ra các engine render thì luôn nên tìm đọc cuốn sách của tác giả Matt Pharr, Wenzel Jakob và Greg Humphreys tên là Physically Based Rendering 3rd Edition. Cuốn sách này hiện tại đã hoàn toàn cung cấp miễn phí trên mạng.

Một số sách khác tác giả đề nghị nên gối đầu:

Bạn có thể tải về liên kết PDF cuốn Physically Based Rendering tái bản lần 3 ở đây
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Hiện nay trên thế giới cũng có rất nhiều nhà nghiên cứu thành lập từ nhiều team của các studio lớn cùng các công ty thương mại phát hành các tài liệu và sáng chế rất thường xuyên về engine render.

Một số tài liệu tác giả đề nghị nên tham khảo:

Đây là danh sách các phim đã dùng engine render Hyperion của hãng phim hoạt hình Walt Disney:

Phim hoạt hình điện ảnh: Big Hero 6 (2014), Zootopia (2016), Moana (2016), Ralph Breaks the Internet (2018), Frozen 2 (2019)

Phim ngắn và đề tài: Feast (2014), Frozen Fever (2015), Inner Workings (2016), Gone Fishing (2017), Olaf’s Frozen Adventure (2017)

Phim ngắn sinh viên: Ventana (2017), Voilà (2018)

Các nhà làm phim cùng làm: Weeds (2017)

Về quá trình làm ra engine render Hyperion là sự hợp tác của 2 trung tâm nghiên cứu độc lập của hãng Disney, sự kết hợp này về cả nhân sự và các tài liệu được chia sẻ giữa trung tâm nghiên cứu phát triển công nghệ hãng phim hoạt hình Walt Disney và trung tâm nghiên cứu của Disney tại Zurich Disney Research Studios. Cũng như sự kết hợp này không ngoại lệ khi có rất nhiều cộng tác đóng góp của hai hãng làm kỹ xảo và hoạt hình lớn đó là Pixar Animation Studios và Industrial Light & Magic  , cả 2 hãng này cũng cùng chung hệ thống tài sản của Disney.

31 Tài Liệu Sáng Chế Của Engine Render Hyperion

Toàn bộ tài liệu từ đây xuống sẽ để bảng gốc để các bạn dễ theo dõi, tìm tư liệu và các tài nguyên liên quan

  1. Ptex: Per-Face Texture Mapping for Production Rendering
    (Năng lực mapping vô hướng dành cho render khi sản xuất)     Brent Burley and Dylan Lacewell. Ptex: Per-face Texture Mapping for Production Rendering. Computer Graphics Forum (Proceedings of Eurographics Symposium on Rendering 2008), 27(4), June 2008.

    Internal project from Disney Animation. This paper describes per-face textures, a UV-free way of texture mapping. Ptex is the texturing system used in Hyperion for all non-procedural texture maps. Every Disney Animation film made using Hyperion is textured entirely with Ptex. Ptex is also available in many commercial renderers, such as Pixar’s RenderMan!

  2. Physically-Based Shading (vật liệu PBR là gì ) at Disney
     Brent Burley. Physically Based Shading at Disney. In ACM SIGGRAPH 2012 Course Notes: Practical Physically-Based Shading in Film and Game Production, August 2012.

    Internal project from Disney Animation. This paper describes the Disney BRDF, a physically principled shading model with a artist-friendly parameterization and layering system. The Disney BRDF is the basis of Hyperion’s entire shading system. The Disney BRDF has also gained widespread industry adoption the basis of a wide variety of physically based shading systems, and has influenced the design of shading systems in a number of other production renderers. Every Disney Animation film made using Hyperion is shaded using the Disney BSDF (an extended version of the Disney BRDF, described in a later paper).

    Blender đã tích hợp vật liệu này cho các artist dùng render với Cycles, EEVEE

  3. Sorted Deferred Shading for Production Path Tracing
     Christian Eisenacher, Gregory Nichols, Andrew Selle, and Brent Burley. Sorted Deferred Shading for Production Path Tracing. Computer Graphics Forum (Proceedings of Eurographics Symposium on Rendering 2013), 32(4), June 2013.

    Internal project from Disney Animation. Won the Best Paper Award at EGSR 2013! This paper describes the sorted deferred shading architecture that is at the very core of Hyperion. Along with the previous two papers in this list, this is one of the foundational papers for Hyperion; every film rendered using Hyperion is rendered using this architecture.

  4. Residual Ratio Tracking for Estimating Attenuation in Participating Media
    Jan Novák, Andrew Selle, and Wojciech Jarosz. Residual Ratio Tracking for Estimating Attenuation in Participating Media. ACM Transactions on Graphics (Proceedings of SIGGRAPH Asia 2014), 33(6), November 2014.

    Joint project between Disney Research Studios and Disney Animation. This paper described a pair of new, complementary techniques for evaluating transmittance in heterogeneous volumes. These two techniques made up the core of Hyperion’s first and second generation volume rendering implementations, used from Big Hero 6 up through Moana.

  5. Path-space Motion Estimation and Decomposition for Robust Animation Filtering
    Henning Zimmer, Fabrice Rousselle, Wenzel Jakob, Oliver Wang, David Adler, Wojciech Jarosz, Olga Sorkine-Hornung, and Alexander Sorkine-Hornung. Path-space Motion Estimation and Decomposition for Robust Animation Filtering. Computer Graphics Forum (Proceedings of Eurographics Symposium on Rendering 2015), 34(4), June 2015.

    Joint project between Disney Research Studios, ETH Zürich, and Disney Animation. This paper describes a denoising technique suitable for animated sequences. Not directly used in Hyperion’s denoiser, but both inspired by and influential towards Hyperion’s first generation denoiser.

  6. Portal-Masked Environment Map Sampling
    Benedikt Bitterli, Jan Novák, and Wojciech Jarosz. Portal-Masked Environment Map Sampling. Computer Graphics Forum (Proceedings of Eurographics Symposium on Rendering 2015), 34(4), June 2015.

    Joint project between Disney Research Studios and Disney Animation. This paper describes an efficient method for importance sampling environment maps. This paper was actually derived from the technique Hyperion uses for importance sampling lights with IES profiles, which has been used on all films rendered using Hyperion.

  7. A Practical and Controllable Hair and Fur Model for Production Path Tracing
    Matt Jen-Yuan Chiang, Benedikt Bitterli, Chuck Tappan, and Brent Burley. A Practical and Controllable Hair and Fur Model for Production Path Tracing. In ACM SIGGRAPH 2015 Talks, August 2015.

    Joint project between Disney Research Studios and Disney Animation. This short paper gives an overview of Hyperion’s fur and hair model, originally developed for use on Zootopia. A full paper was published later with more details. This fur/hair model is Hyperion’s fur/hair model today, used on every film beginning with Zootopia to present.

  8. Extending the Disney BRDF to a BSDF with Integrated Subsurface Scattering
    Brent Burley. Extending the Disney BRDF to a BSDF with Integrated Subsurface Scattering. In ACM SIGGRAPH 2015 Course Notes: Physically Based Shading in Theory and Practice, August 2015.

    Internal project from Disney Animation. This paper describes the full Disney BSDF (sometimes referred to in the wider industry as Disney BRDF v2) used in Hyperion, and also describes a novel subsurface scattering technique called normalized diffusion subsurface scattering. The Disney BSDF is the shading model for everything ever rendered using Hyperion, and normalized diffusion was Hyperion’s subsurface model from Big Hero 6 up through Moana. For a public open-source implementation of the Disney BSDF, check out PBRT v3’s implementation. Also, check out Pixar’s RenderMan for an implementation in a commercial renderer!

  9. Approximate Reflectance Profiles for Efficient Subsurface Scattering
    Per H Christensen and Brent Burley. Approximate Reflectance Profiles for Efficient Subsurface Scattering. Pixar Technical Memo, #15-04, August 2015.

    Joint project between Pixar and Disney Animation. This paper presents several useful parameterizations for the normalized diffusion subsurface scattering model presented in the previous paper in this list. These parameterizations are used for the normalized diffusion implementation in Pixar’s RenderMan 21 and later.

  10. Big Hero 6: Into the Portal
    David Hutchins, Olun Riley, Jesse Erickson, Alexey Stomakhin, Ralf Habel, and Michael Kaschalk. Big Hero 6: Into the Portal. In ACM SIGGRAPH 2015 Talks, August 2015.

    Internal project from Disney Animation. This short paper describes some interesting volume rendering challenges that Hyperion faced during the production of Big Hero 6’s climax sequence, set in a volumetric fractal portal world.

  11. A Practical and Controllable Hair and Fur Model for Production Path Tracing
    Matt Jen-Yuan Chiang, Benedikt Bitterli, Chuck Tappan, and Brent Burley. A Practical and Controllable Hair and Fur Model for Production Path Tracing. Computer Graphics Forum (Proceedings of Eurographics 2016), 35(2), May 2016.

    Joint project between Disney Research Studios and Disney Animation. This paper gives an overview of Hyperion’s fur and hair model, originally developed for use on Zootopia. This fur/hair model is Hyperion’s fur/hair model today, used on every film beginning with Zootopia to present. This paper is now also implemented in the open source PBRT v3 renderer, and also serves as the basis of the hair/fur shader in Chaos Group’s V-Ray Next renderer.

  12. Subdivision Next-Event Estimation for Path-Traced Subsurface Scattering
    David Koerner, Jan Novák, Peter Kutz, Ralf Habel, and Wojciech Jarosz. Subdivision Next-Event Estimation for Path-Traced Subsurface Scattering. In Proceedings of EGSR 2016, Experimental Ideas & Implementations, June 2016. 2016-06-24,

    Joint project between Disney Research Studios, University of Stuttgart, Dartmouth College, and Disney Animation. This paper describes a method for accelerating brute force path traced subsurface scattering; this technique was developed during early experimentation in making path traced subsurface scattering practical for production in Hyperion.

  13. Nonlinearly Weighted First-Order Regression for Denoising Monte Carlo Renderings
    Benedikt Bitterli, Fabrice Rousselle, Bochang Moon, José A. Iglesias-Guitian, David Adler, Kenny Mitchell, Wojciech Jarosz, and Jan Novák. Nonlinearly Weighted First-Order Regression for Denoising Monte Carlo Renderings. Computer Graphics Forum (Proceedings of Eurographics Symposium on Rendering 2016), 35(4), July 2016.

    Joint project between Disney Research Studios, Edinburgh Napier University, Dartmouth College, and Disney Animation. This paper describes a high-quality, stable denoising technique based on a thorough analysis of previous technique. This technique was developed during a larger project to develop a state-of-the-art successor to Hyperion’s first generation denoiser.

  14. Practical and Controllable Subsurface Scattering for Production Path Tracing
    Matt Jen-Yuan Chiang, Peter Kutz, and Brent Burley. Practical and Controllable Subsurface Scattering for Production Path Tracing. In ACM SIGGRAPH 2016 Talks, July 2016.

    Internal project from Disney Animation. This short paper describes the novel parameterization and multi-wavelength sampling strategy used to make path traced subsurface scattering practical for production. Both of these are implemented in Hyperion’s path traced subsurface scattering system and have been in use on all shows beginning with Olaf’s Frozen Adventure to present.

  15. Efficient Rendering of Heterogeneous Polydisperse Granular Media
    Thomas Müller, Marios Papas, Markus Gross, Wojciech Jarosz, and Jan Novák. Efficient Rendering of Heterogeneous Polydisperse Granular Media. ACM Transactions on Graphics (Proceedings of SIGGRAPH Asia 2016), 35(6), November 2016.

    External project from Disney Research Studios, ETH Zürich, and Dartmouth College, inspired in part by production problems encountered at Disney Animation related to rendering things like sand, snow, etc. This technique uses shell transport functions to accelerate path traced rendering of massive assemblies of grains. Thomas Müller implemented an experimental version of this technique in Hyperion, along with an interesting extension for applying the shell transport theory to volume rendering.

  16. Practical Path Guiding for Efficient Light-Transport Simulation
    Thomas Müller, Markus Gross, and Jan Novák. Practical Path Guiding for Efficient Light-Transport Simulation. Computer Graphics Forum (Proceedings of Eurographics Symposium on Rendering 2017), 36(4), July 2017.

    External joint project between Disney Research Studios and ETH Zürich, inspired in part by challenges with handling complex light transport efficiently in Hyperion. Won the Best Paper Award at EGSR 2017! This paper describes a robust, unbiased technique for progressively learning complex indirect illumination in a scene during a render and intelligently guiding paths to better sample difficult indirect illumination effects. Implemented in Hyperion, along with a number of interesting improvements documented in a later paper. In use on Frozen 2 and future films.

  17. Kernel-predicting Convolutional Networks for Denoising Monte Carlo Renderings
    Steve Bako, Thijs Vogels, Brian McWilliams, Mark Meyer, Jan Novák, Alex Harvill, Pradeep Sen, Tony DeRose, and Fabrice Rousselle. Kernel-predicting Convolutional Networks for Denoising Monte Carlo Renderings. ACM Transactions on Graphics (Proceedings of SIGGRAPH 2017), 36(4), July 2017.

    External joint project between University of California Santa Barbara, Disney Research Studios, ETH Zürich, and Pixar, developed as part of the larger effort to develop a successor to Hyperion’s first generation denoiser. This paper describes a supervised learning approach for denoising filter kernels using deep convolutional neural networks. This technique is the basis of the modern Disney-Research-developed second generation deep-learning denoiser in use by the rendering teams at Pixar and ILM, and by the Hyperion iteam at Disney Animation.

  18. Production Volume Rendering
    Julian Fong, Magnus Wrenninge, Christopher Kulla, and Ralf Habel. Production Volume Rendering. In ACM SIGGRAPH 2017 Courses, July 2017.

    Joint publication from Pixar, Sony Pictures Imageworks, and Disney Animation. This course covers volume rendering in modern path tracing renderers, from basic theory all the way to practice. The last chapter details the inner workings of Hyperion’s first and second generation transmittance estimation based volume rendering system, used from Big Hero 6 up through Moana.

  19. Spectral and Decomposition Tracking for Rendering Heterogeneous Volumes
    Peter Kutz, Ralf Habel, Yining Karl Li, and Jan Novák. Spectral and Decomposition Tracking for Rendering Heterogeneous Volumes. ACM Transactions on Graphics (Proceedings of SIGGRAPH 2017), 36(4), July 2017.

    Joint project between Disney Research Studios and Disney Animation. This paper describes two complementary new null-collision tracking techniques: decomposition tracking and spectral tracking. The paper also introduces to computer graphics an extended integral formulation of null-collision algorithms, originally developed in the field of reactor physics. These two techniques are the basis of Hyperion’s modern third generation null-collision tracking based volume rendering system, in use beginning on Olaf’s Frozen Adventure to present.

  20. The Ocean and Water Pipeline of Disney’s Moana
    Sean Palmer, Jonathan Garcia, Sara Drakeley, Patrick Kelly, and Ralf Habel. The Ocean and Water Pipeline of Disney’s Moana. In ACM SIGGRAPH 2017 Talks, July 2017.

    Internal project from Disney Animation. This short paper describes the water pipeline developed for Moana, including the level set compositing and rendering system that was implemented in Hyperion. This system has since found additional usage on shows since Moana.

  21. Recent Advancements in Disney’s Hyperion Renderer
    Brent Burley, David Adler, Matt Jen-Yuan Chiang, Ralf Habel, Patrick Kelly, Peter Kutz, Yining Karl Li, and Daniel Teece. Recent Advancements in Disney’s Hyperion Renderer. In ACM SIGGRAPH 2017 Course Notes: Path Tracing in Production Part 1, August 2017.

    Publication from Disney Animation. This paper describes various advancements in Hyperion since Big Hero 6 up through Moana, with a particular focus towards replacing multiple scattering approximations with true, brute-force path-traced solutions for both better artist workflows and improved visual quality.

  22. Denoising with Kernel Prediction and Asymmetric Loss Functions
    Thijs Vogels, Fabrice Rousselle, Brian McWilliams, Gerhard Rothlin, Alex Harvill, David Adler, Mark Meyer, and Jan Novák. Denoising with Kernel Prediction and Asymmetric Loss Functions. ACM Transactions on Graphics (Proceedings of SIGGRAPH 2018), 37(4), August 2017.

    Joint project between Disney Research Studios, Pixar, and Disney Animation. This paper describes a variety of improvements and extensions made to the 2017 Kernel-predicting Convolutional Networks for Denoising Monte Carlo Renderings paper; collectively, these improvements comprise the modern Disney-Research-developed second generation deep-learning denoiser in use in production at Pixar, ILM, and Disney Animation. At Disney Animation, used experimentally on Ralph Breaks the Internet and in full production beginning with Frozen 2.

  23. Plausible Iris Caustics and Limbal Arc Rendering
    Matt Jen-Yuan Chiang and Brent Burley. Plausible Iris Caustics and Limbal Arc Rendering. ACM SIGGRAPH 2018 Talks, August 2018.

    Internal project from Disney Animation. This paper describes a technique for rendering realistic, physically based eye caustics using manifold next-event estimation combined with a plausible procedural geometric eye model. This realistic eye model is implemented in Hyperion for use in future unannounced projects.

  24. The Design and Evolution of Disney’s Hyperion Renderer
    Brent Burley, David Adler, Matt Jen-Yuan Chiang, Hank Driskill, Ralf Habel, Patrick Kelly, Peter Kutz, Yining Karl Li, and Daniel Teece. The Design and Evolution of Disney’s Hyperion Renderer. ACM Transactions on Graphics, 37(3), August 2018.

    Publication from Disney Animation. This paper is a systems architecture paper for the entirety of Hyperion. The paper describes the history of Disney’s Hyperion Renderer, the internal architecture, various systems such as shading, volumes, many-light sampling, emissive geometry, path simplification, fur rendering, photon-mapped caustics, subsurface scattering, and more. The paper also describes various challenges that had to be overcome for practical production use and artistic controllability. This paper covers everything in Hyperion beginning from Big Hero 6 up through Ralph Breaks the Internet.

  25. Clouds Data Set
    Walt Disney Animation Studios. Clouds Data Set, August 2018.

    Publicly released data set for rendering research, by Disney Animation. This data set was produced by our production artists as part of the development process for Hyperion’s modern third generation null-collision tracking based volume rendering system.

  26. Moana Island Scene Data Set
    Walt Disney Animation Studios. Moana Island Scene Data Set, August 2018.

    Publicly released data set for rendering research, by Disney Animation. This data set is an actual production scene from Moana, originally rendered using Hyperion and ported to PBRT v3 for the public release. This data set gives a sense of the typical scene complexity and rendering challenges that Hyperion handles every day in production.

  27. Denoising Deep Monte Carlo Renderings
    Delio Vicini, David Adler, Jan Novák, Fabrice Rousselle, and Brent Burley. Denoising Deep Monte Carlo Renderings. Computer Graphics Forum, 38(1), February 2019.

    Joint project between Disney Research Studios and Disney Animation. This paper presents a technique for denoising deep (meaning images with multiple depth bins per pixel) renders, for use with deep-compositing workflows. This technique was developed as part of general denoising research from Disney Research Studios and the Hyperion team.

  28. The Challenges of Releasing the Moana Island Scene
    Rasmus Tamstorf and Heather Pritchett. The Challenges of Releasing the Moana Island Scene. In Proceedings of EGSR 2019, Industry Track, July 2019.

    Short paper from Disney Animation’s research department, discussing some of the challenges involved in preparing a production Hyperion scene for public release. The Hyperion team provided various support and advice to the larger studio effort to release the Moana Island Scene.

  29. Practical Path Guiding in Production
    Thomas Müller. Practical Path Guiding in Production. In ACM SIGGRAPH 2019 Course Notes: Path Guiding in Production, July 2019.

    Joint project between Disney Research Studios and Disney Animation. This paper presents a number of improvements and extensions made to Practical Path Guiding developed by in Hyperion by Thomas Müller and the Hyperion team. In use in production on Frozen 2.

  30. Machine-Learning Denoising in Feature Film Production
    Henrik Dahlberg, David Adler, and Jeremy Newlin. Machine-Learning Denoising in Feature Film Production. In ACM SIGGRAPH 2019 Talks, July 2019.

    Joint publication from Pixar, Industrial Light & Magic, and Disney Animation. Describes how the modern Disney-Research-developed second generation deep-learning denoiser was deployed into production at Pixar, ILM, and Disney Animation.

  31. Taming the Shadow Terminator
    Matt Jen-Yuan Chiang, Yining Karl Li, and Brent Burley. Taming the Shadow Terminator. In ACM SIGGRAPH 2019 Talks, August 2019.

    Internal project from Disney Animation. This short paper describes a solution to the long-standing “shadow terminator” problem associated with using shading normals. The technique in this paper is implemented in Hyperion and is in use in production on Frozen 2.

Phần thông tin và tài liệu này thuộc về CODE & VISUALS BY YINING KARL LI

Post Author: Vu Pham

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