 So I have a question for you. Are you ready for the 2019 ready-man art and science fair? Turns out that's good because that's exactly what this is Yeah, and my name is old system and the top my name when I talk is this is not toy Because it's a production rendering so I Just wanted to say that I think this is the greatest event in visual effects At the Novo theater tonight because we are at SIGGRAPH and there's great visual effects go on them all week long so So SIGGRAPH is great. Apparently the theme is Thrive. I don't know about you, but I'm thriving And and we have a great show for you tonight at least I hope it is and I'm going to start with Toy Story 4 Yeah, the first or the fourth movie in the Toy Story trilogy We used Render Man to render this movie and I have some fun facts from the film that I would like to share with you Tonight and I have actually four fun facts and one ugly one So to start off the first fun fact here's a carnival from Toy Story 4. How many people have seen Toy Story 4? How many people haven't I don't know Spoiler alert, it's a story about toys In the carnival scene there's lots of little tiny lights a lot of these are little bulbs or a list of geometry and if you count them all up There's over 17,000 lights and these lights Three percent of these lights are No good. They've burnt out Just for added realism because that's how well they maintain this carnival But each light was calibrated relative to all the other lights in the entire show Including that light in the side of the sky called the sun So we would use scene-wide exposures to get added realism So that's pretty cool. It seems complicated But if you went inside the antique mall You would find that it was kind of dirty and in some shots we'd have up to 50 million dust fibers Represented as R.I. Curves we can follow Woody as he walks behind this cabinet here. He's walking by cobwebs dust bunnies Dust it's kind of grows back there and all this stuff happens completely automatically in your own home In CG it's much more complicated and later on we're gonna have some folks talking about that length specifically from Pixar another fun fact solely our friend solely 2001 he was really cool. He was hip. He had 2.3 million hairs also represented by R.I. Curves and now today in 2019 the dust in Toy Story 4 is way more complicated than he is Sorry guy If you go outside the antique mall and walk around there's a bunch of trees and if you count the leaves on the trees and You stop when you've counted them all you'll have counted over 6.7 billion leaves. I Guess they're thriving Seems pretty complicated until you decide you want to count all the pine needles on the trees There's a lot of pine needles. There's actually over 1 trillion pine needles on the tree on the trees and To you that might seem a little insane but at Pixar we prefer to call it reality challenged and That's exactly what the complexity of Pixar is what we do is you build these complex worlds and we use Render Man and Have tuned it unoptimized it to render all this stuff. So So that brings me to the final fun fact or should I say not so fun fact Because in the whole Toy Story 4 there is not a single Utah T-Pot. I Know I couldn't believe it myself And I I think we had the technology to render it because if we go back to the original Toy Story Here's a Utah T-Pot. There wasn't any problem rendering a Utah T-Pot back then during the misnesbent scene of Toy Story and So I thought tonight we could try and Fix this oversight in Toy Story 4 with with the walking T-Pot Bo Peep could love and that T-Pot is behind door number one and Should I open door number one? Sure, why not it is the misnesbent T-Pot And we we have those for for some of you unfortunately, sorry, we don't have them for all of you tonight You're gonna have to settle for the T-Pot behind door number two So now whenever you want you can have a little caffeinated buzz So you're all gonna get T-Pots which one will you get how should I know? So we fix the T-Pot problem now Let's look at kind of our traditional animation pipeline of Pixar and where we're kind of taking that and how that's evolving at our studio So traditionally we'd have pre-production just shovel stuff into marbling and go to layout Lighting rendering out in the end would be a movie It was very linear, right and there was as far as departments go There's like cross departmental collaboration things like that, but even today We still have what I refer to as the VFX Illuminati And you have the folks in modeling that have been doing it for 50 or 60 years You have like people that have really deep knowledge about very specific domains And they might not talk to the people in shading or lighting or rendering and nobody talks to the people in rendering They don't get any sleep so So we wanted to move You know towards something that's more collaborative more interactive and less siloed So last year we talked a little bit about live-action sets and some of the techniques that we used from live-action photography and film on Incredibles 2 we want to start using more of That technology that allows us to collaborate more efficiently and work more interactively. So we're doubling down on two technologies at Pixar and We're doubling down on USD and render man heavy-duty stuff And that allows us to do things that that in ways that we couldn't do before and transform our pipeline So let's look at USD USD allows us to do a lot of things. It's not just a file format At US at Pixar we use USD to represent all the objects in our antique warehouse The USD team is here. We have a couple pods. You can check them out They're using they're optimizing USD to make it as fast as possible We're using non-destructive workflows with concepts like variants and opinions and critically They're helping clap collaboration. So if we have a giant set like the antique warehouse we can have a subset and That subset allows us to have people from multiple departments Work on the same scene. So a layout artist can like do layout an animator can do animation a Modeler and lighter can do their own thing While everybody's working on the same thing because we have these seems schemas things called schemas layer So this works really great for production because it allows us to bring people together and work And USD is becoming easier to implement. So it used to be you have to build a lot of stuff around Your pipeline to get USD integrated and there's a bunch of announcements that are coming up that are going to make it work more out of box such as the recent lease of render man and USD we have a new render man Hydra Delegate. So over here we can see Over here we can see the open GL delegate This is a new render man Hydra Delegate. So you can open up USD view and See your pixels coming from render man just by selecting render man as a renderer We also have announcements such as command line rendering of USD Autodesk is talking about basically Unifying all the my USD plugins from Animalogic from Luma pictures and Pixar into one open source repository Foundry is working on similar strategies to ship USD plugins for Katana and Newt followed by Mari and Where side effects has announced Solaris, which will have a foundational USD as part of the platform So there's a lot of exciting stuff going on right now in USD And if you want to check it out, you can talk to the folks in the USD pods. We're having a great SIG graph So let's give the USD folks And we also have XPU and we have a little update on XPU for you all and It's a research and development project. We're still plodding away on it in big ways We're making a lot of progress and here is an asset the antique small from Toy Story 4 being rendered in the R&D version of XPU There's a lot of data that's being pushed around here But before I break that down very much I wanted to point out that the XPU project Is intended to replace render man and become an entirely self-contained renderer So it's going to be able to Niversally consume a GPU or a CPU as needed and required by a certain scene on working on the same image This particular shot is the antique mall has one environment light outside And the light that you see bouncing around inside is actually three bounces of illumination Coming from this environment light we have simple shaders in the scene But we're really impressed with how much performance we're getting out of XPU And we're achieving lots of milestones So we're we're encapsulating lots of different types of data now from from curves to points We can render lots of textures and finally We have other milestones as far as shading and lighting goes so we have many milestones before our Our developers can sleep well at night But we're working really hard at making a next generation renderer And this is a long plan and we're we're really excited to to share it with you We have an XPU pod over there that you can check out after the presentation and ask any questions that you'd like Render man today we have a special announcement We have a new render man challenge So this is our render man challenge if you haven't seen our challenges We invite people to light shade and texture these scenes and submit them to a competition and then the best uh the best uh entry wins If uh, if you if you win you can impress your friends if you don't have any friends You can buy them with over 23 thousand dollars of prizes We have some great sponsors That That helped us out with that. So, uh, we're we're excited about that. I'm gonna I'm gonna plug free non-commercial render man. So if you want to join the challenge try out render man We have a non-commercial render man. You can use it with this generous you look and uh, you might as well try non-commercial render man As I say, it's not going to try itself So some of our latest updates include since uh 22 last year we've we've In our dart releases we've really like piled on a bunch of interesting stuff this year So we've we've made render man more interactive and faster And we have a couple big initiatives including the our collaboration with intel to accelerate osl and also a complete rewrite of our render man for houdini plugin to uh to take all the benefits of render man 22 And yeah, it's it's a pretty nice pretty nice upgrade And more info on this all the pods have have stuff that's relevant to to this Render man 22.6 that was just released last week Or uh weeks ago. We have a new uh picks our curvature pattern in this dot release So you don't have to beat yourself up trying to beat up your shaders We have a new render man for mari. So we have uh GL sl shader That's real time that emulates the pixar surface shader Which is a surface shader that we use in production at pixar and that we also shift with render man That's now emulated mari And we also have the render man dot hydra delegate that I was talking about earlier So a pretty nice release uh that also has more stuff because who doesn't like more stuff right, um, so Our major announcement that we're announcing at sebra This year is uh after version 22 shock whore render man 23 so That's unbelievable line out And render man 23 is going to have houdini 18 support for saris and usd and we're planning to Deliver that for to drop on day one of uh houdini 18. So we're working really close with side effects on that command line usd You can write a render usd files from the command line with render man We have ipr improvements and api and platform updates for uh the developers out there that want to make tools That are integrated with render man and more and this is all coming in the fourth quarter this year And if you'd like to know more about our apis, uh the feature showcase pod as folks that can talk to those points as well so That brings me to the most exciting point of uh this demo or a present presentation is the live demo so can we switch over to the To this live demo i'm going to demo both render man for maya and houdini because i'm crazy And uh, I just want to show A little bit of the interactivity here. I have an ipr section running inside of maya and this is this is basically render man for maya with with render man running in it And this is an inclusion integrator. We can make it a little bit more interesting by switching our integrator from just running Inclusion calculations to render render in a full path tracing. So let's swap that out here And now i'm rendering some some path tracing Which is which is pretty nice, but maybe Maybe we'd like a one bounce of global illumination here. So I'll add one bounce of global illumination Get a little more detail there And just to point out this is duke kaboom from toy story 4 We've taken the same shading networks converted them over to render man for maya. So it works with the off-the-shelf software And if I zoom into the car exhaust The big bike exhaust here you can see that there's really a lot of data in these textures So we haven't dumbed the textures down. These are like 4k and 8k textures that we're feeding into these this the shading network here Not as complicated as the the full pixel shading network, but still a shading network And I'll zoom out here to This shot and show you a couple things That I can do in my IPR session. I'll select part of my network Zoom in there and I have A pixar vari node and I'll close down my globals here And hop over to my attribute editor I have a pixar vari node on my motorcycle. So this is my motorcycle shader And if I start changing some of these pixar vari nodes, it's going to start adding randomness To different parts of the bike based on their Their object names So now we have different colors on the bike because I've changed the random seed for these different things that pixar varies Like just putting it on putting on different colors based on the object name I can go to my displacement shader and this is one thing that we couldn't do until Until 22.5 came out. So this is new from last year But I can take my displacement shader here And I can make the bike a little puffy So I found that displacement is something that you can use to make things puffier Uh, so I can dial that down a little bit and it's it's not quite as puffy can make it Probably more puffy Then then it really needs to be but you know, uh, I can dial it down when the boss walks by and be like, well it's just a normal bike so I can zoom out here and we can see that I did a little bit of a look dev workflow I can also grab some of these things. This is like a light filter And I've selected my light filter And by increasing the The density of my light filter I can create a spotlight effect And then I can make the spotlight a little bit bigger Because the filter is affecting the areas Around it if I invert the effect you can see that the light goes outside it and then I re-invert it and Light goes inside it. I also have another kind of cool filter if I can find it here I don't recommend working at a workstation with big spotlights shining in your face It's uh, it's harder to to do things but I'll increase the density here And what I have is a ramp That you can see this ramp right here. Yeah, so I can move this These little nodes in this ramp and kind of craft The lighting in mind scene In real time check that out. So that's great. So this is great for looked up. It's great for uh lighting And also something that I can do in 22 that we couldn't do on Toy Story 4 because It was rendered in RenderMan 22 or 21 Is let me see I would turn off the selection highlighting And now I can just simply say well, maybe Duke should be going over a bigger jump. Maybe that would make it more dramatic So I can just try that out that idea Maybe the director comes by and says you're crazy. So make that smaller again So those are some kind of fun workflows in in RenderMan 4 Maya But let's say I wanted to take this into RenderMan 4 Houdini and make it maybe more dramatic than just making the book bigger Well I have this thing over here called the preset browser And the preset browser allows me to take all the shaders that are attached to Duke Save them out into this little section here and Save out Duke as an olympic and then I can open up Houdini. So I'm going to do that right now Close out Maya And I hope this computer doesn't blow up Let's see. Okay. So here's here's Duke In Houdini we have a little A little Simulation running behind him. It's like a Some confetti stuff and over here you can see The preset browser. So this is the same preset browser and it's pointing the same location That I had my RenderMan 4 Maya pointing at and here are the same shaders from Duke Kaboom So all I did was import the olympic and then attach those shaders and then I get this this answer from it I can kind of kind of Look around here. Let's see. I'm starting up my session. Hopefully And it's the best thing about my demos Okay, I'm getting some pixels in here. So we're getting the pixels come in. So the first time we start up this session It puts a lot of stuff into memory. So it takes a little bit and then I have a pretty fast interactive session And that's kind of dramatic. But what if we want more drama? Well, is this enough drama for you? So, uh, yeah, that seems pretty dramatic But unfortunately our legal department said that we can't burn up Duke Kaboom. So I can take the cvdb file and turn it off during my my, um My uh my IPR session if I'm really concerned about that, but it's SIGGRAPH. I'm not really so I'll just turn that back on And so I have my IPR session I'll send it off to the render farm and then I'll show you the final result as far as What the final animation looks like so if we can switch back over to the the laptop Here we have Duke Kaboom We have the fire and he's going to jump right through that hoop. So if you're ready for it, here we go That that always works in rehearsal So in closing I just wanted to say that we're excited to be here sharing all the developments that we have Like the the near term stuff with 23 the the far far term plan with XPU and a lot of the exciting stuff that's happening in the industry with usd So uh with that in closing, I would like to say The future is coming. So thank you