Robots' shaders were almost entirely procedural.
We dabbled a little with procedural shaders on the first Ice Age, but You introduced procedural shaders for Robots. It's massively more powerful, so we could up the detail.
Now we can make it look better.' And, purely from a horsepower standpoint, the renderfarm we have now is no comparison to what we had then. All those things we figured out for the pictures that came in between, so when Epic hit, we said, 'All right.
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We know how to build trees more efficiently than before. We've learned how to deal with complex scenes, with high memory loads in our renderer, and with lots of detail and geometry. Why could it be visually better now than before?
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But, the movie we made now is far better visually than we could have done then. Technically, we could have made the movie then. From a materials standpoint, it is a very, very complex, ambitious movie for us - one of the biggest things we've done since Robots. We ended up choosing to make other movies first, but Chris kept it flowing with a small team. We worked on a test for Epic and began developing the technology to do it. And, look for a fourth with co-producer Michael Travers, coming soon.) When did you and the materials department begin working on Epic?Ĭhris directed Robots, and we started on Epic, which was titled Leafman at that time, just as Robots was wrapping. (Also read a Q&A with Chris Wedge in the May/June 2013 issue of CGW, and another with CTO Carl Ludwig online and accessible via the May/June 2013 issue box on cgw.com. Here, Hill discusses his latest work on Epic with CGW Contributing Editor Barbara Robertson. Thus, the materials department surfaced geometry for a human-sized world, and that world as seen through the eyes of two-inch-tall characters, then sent the assets to CGI Studio, Blue Sky’s proprietary, physics-based rendering software. Epic, the studio’s latest animated feature, shrinks a teenager and places her in a natural environment filled with trees, grass, flowers, and magical creatures. Blue Sky Studios’ Materials Supervisor Brian Hill has been in the thick of the action on the animation studio’s last five feature films, where he has led teams working on – in his words – “two and a half” movies.
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