Reyes Rendering

Reyes Rendering Wikipedia

Reyes rendering is a computer software architecture used in 3D computer graphics to render photo-realistic images. It was developed in the mid-1980s by Lucasfilm's Computer Graphics Research Group, which is now Pixar. It was first used in 1982 to render images for the Genesis effect sequence in the movie Star Trek II: The Wrath Of Khan. Pixar's PhotoRealistic RenderMan is one implementation of the Reyes algorithm. According to the original paper describing the algorithm the Reyes image rendering system is "An architecture ... for fast high-quality rendering of complex images." Reyes was proposed as a collection of algorithms and data processing systems. However the terms "algorithm" and "architecture" have come to be used synonymously and are used interchangeably in this article.

Reyes is an acronym for Renders Everything You Ever Saw (the name is also a pun on Point Reyes, California, near where Lucasfilm was located) and is suggestive of processes connected with optical imaging systems.

Reyes Renderers

The following renderers use the Reyes algorithm in one way or the other or at least allow users to select it to produce their images:

* Digits 'n Art's 3Delight
* Aqsis
* jrMan
* Pixar's RenderMan Pro Server & RenderMan for Maya
* Pixels 3d Renderer
* Pixie
* DotC Software's RenderDotC
* SideFX's VMantra
* e frontier Poser's FireFly

Transformers and ILM

fxguide - Michael Bay and the Edit of Transformers

Industrial Light & Magic

Transformers uses six Meridian Avids on Unity with about 2 terabytes of storage. A Nitris is used for all screenings including their preview. There are three main edit rooms, a fourth system in a closet, the assistants have two systems, and director Michael Bay has one. There’s a Media Net hook-up used for daily transmissions between ILM and Bay.

“For 3d modeling ILM used mostly Maya, 3ds Max, Zeno and zBrush,” says Farrar. “For lighting and rendering we use Zeno with RenderMan and Mental Ray. For compositing it's all Shake along with our Sabre systems, and editing uses Avids.”

There are about 630 visual effects shots in the film. There are 430 executed at ILM, 91 at Digital Domain, 70 at the Asylum and the rest are 2D clean up and fixes done by CO3, ISolve and Ken Blackwell. Technical advancements were made in environments, lighting, and simulation of physical effects and integration of CG characters in a real environment.