SIGGRAPH 2010 Course: Physically-Based Shading Models in Film and Game Production
Physically grounded shading models have been known for many years, but they have only
recently started to replace the "ad-hoc" models in common use for both film and game
production. Compared to "ad-hoc" models, which require laborious tweaking to produce
high-quality images, physically-based, energy-conserving shading models easily create
materials that hold up under a variety of lighting environments. These advantages
apply to both photorealistic and stylized scenes, and to game development as well
as production of CG animation and computer VFX. Surprisingly, physically-based models
are not more difficult to implement or evaluate than the traditional "ad-hoc" ones.
This course begins with a short explanation of the physics of light-matter interaction
and how it is expressed in simple shading models. Then several speakers discuss
specific examples of how shading models have been used in film and game production.
In each case, the advantages of the new models are demonstrated, and drawbacks or
issues arising from their usage are discussed. The course also includes descriptions
of specific production techniques related to physically-based shading.
- 2:00 - 2:30 Background: Physically-Based Shading (Naty Hoffman)
- 2:30 - 3:00 Practical Implementation of Physically-Based Shading Models at tri-Ace (Yoshiharu Gotanda)
- 3:00 - 3:30 Crafting Physically Motivated Shading Models for Game Development (Naty Hoffman)
- 3:30 - 3:45 Break
- 3:45 - 4:30 Terminators and Iron Men: Image-Based Lighting and Physical Shading at ILM (Ben Snow)
- 4:30 - 5:00 Faster Photorealism in Wonderland: Physically-Based Shading and Lighting at Sony Pictures Imageworks (Adam Martinez)
- 5:00 - 5:15 Conclusion, Q&A (Yoshiharu Gotanda, Naty Hoffman, Adam Martinez)
Naty Hoffman is a Technical Director at Activision Studio Central, where he assists
Activision's worldwide studios with graphics research and development. Prior to
joining Activision in 2008, Naty worked for two years on God of War III
at SCEA Santa Monica Studio. Naty has also worked at Naughty Dog (where he had an
instrumental role in the development of the ICE libraries for first-party PS3
developers), at Westwood Studios (where he was graphics lead on Earth and
Beyond) and at Intel as a microprocessor architect, assisting in the
definition of the SSE and SSE2 instruction set extensions.
Yoshiharu Gotanda is the CEO and CTO of tri-Ace, Inc, which is a game
development studio in Japan.
Adam Martinez is a Computer Graphics supervisor for Sony Pictures Imageworks and a
member of the Shading Department, which oversees all aspects of shader writing and
production rendering at Imageworks. He is a pipeline developer, look development
artist, and technical support liaison for productions at the studio and he is one
of the primary architects of Imageworks' rendering strategy behind 2012
and Alice In Wonderland. Adam started his career in commercial post houses
and animation boutiques in New York City as a freelance computer graphics artist.
He began his work in film visual effects on the project Cremaster 3 by
artist-filmmaker Matthew Barney. Since then he has served as both effects and
lighting technical director, CG supervisor and pipeline developer for various
studios in the San Francisco Bay Area.
At ESC Entertainment, Adam led the effects team in the creation of complex insect
crowd simulation tools for Constantine and destruction effects for
Matrix:Revolutions. As computer graphics supervisor for The Orphanage on
Superman Returns, Adam oversaw the creation of a ballistics simulation
and rendering system. At Lucas Animation Adam was both a rendering pipeline developer
and CG concept artist for television and feature animation. Adam's primary interest
is in simulation and the construction of complex, but highly usable, systems for
dynamic effects and rendering. Adam has a BA from Rutgers University.
Ben Snow studied computing and film at the University of Canberra. He started in
Computer Graphics while traveling in the U.K., then returned to Australia to set
up the computer animation department for a company in Sydney.
In 1994, Snow left Australia to join Industrial Light & Magic. At ILM he played a
leading role in the R&D development for Twister, Deep Impact,
The Mummy and Pearl Harbor. In 2002 he became visual effects
supervisor on Star Wars: Episode II - Attack of the Clones for which he
was honored with an Academy Award nomination for best achievement in visual effects.
Snow also received Academy Award nominations for his work on Pearl Harbor
and Iron Man.
Snow went to Weta digital in October 2004 to work as a visual effects supervisor on
Peter Jackson's King Kong. Returning to ILM in 2006, Snow visual effects
supervised Iron Man, Terminator Salvation, and Iron Man 2.
He's currently supervising ILM's work on Pirates of the Carribean: On Stranger