Ani210 Week13

In the last 12 weeks, we had been doing our first studio project in a group of two. Since we only have two people, so I nearly participated in each and every stage in the production of the animation. It is very interesting to be involved in the whole working flow, even though sometimes we feel really stress and depressing. At least it give us a clearly ideas of what will happen in the animation industry, so we can prepare for the next time. And last Thursday we been finished all of the stuff that relate to our commercial, the final commercial animation, branding ideas, as well as the video of the making.


Figure 1. Poster of our commercial

During this project, we are not planning really well, especially in rendering part. Even thought we went for a kind of low poly art style, some of the scenes still taking more than four hours rendering per frame. And because some of the scenes were split into different computer to render, the result we were getting for one scene are not the same, so that we have to render again.  Due to these reasons, we really spend lots of time in the rendering stage.  What I think now is some of the time we spent on rendering is not really necessary. By using that time we can enhance much better in our commercial.



Recently I saw a post about the making of a web series – LIFESUCKS! BUT AT LEAST I’VE GOT ELBOWS. It’s 12 episodes and each episode is 90 seconds. And it is all done by one guy. In order to achieve 1 episode each week, the rendering time for each frame should be controlled in a very short time. He used V-ray to render and after that optimized by after effect. In his case, he put more work in post-production. And for our situation, we planned on doing more post-production work before, but since we take a lots of time on rendering, the remaining time for post-production stage is limited. I hope next time we can find out our own solutions.

In summary, next time we will try to plan earlier on every step we are going to and have more clearly ideas on which style we are looking for. You can find our commercial through this link :

References: (2016, 06 03). LIFE SUCKS! BUT AT LEAST I’VE GOT ELBOWS – TRAILER. Retrieved 08 12, 2016, from—trailer

Chaosmonger. (2016, 06 28). Making of the web series “Life sucks! But at least I’ve got elbows”. Retrieved 08 13, 2016, from

ELBOWS, L. S. (2016, 06 29). Why are People Racist? LIFE SUCKS! #04 Racism. Retrieved 08 13, 2016, from



Ani210 week12


Figure 1. Wall.E

In recent years, in order to save costs, Many animation company will be spent their effort mainly on funny stories and characters,But the technology without significant progress. Except Pixar, in every single work, they are trying to surpass themselves in order to be more perfect. “WALL.E” again will combine “art” and “technology” to advance to the point where people can not only praise, but to worship.


Figure 2. The design concept of EVA

One of the robot,Eva was iMac-like oval shape, although the outline is simple, but the rendering of its texture has to demonstrate high-tech material  and unique lighting effects, so it would not be as smooth as its look. The kind of slightly translucent reflective effect, is more difficult than the fully reflective glossy effect in “Cars”. If not handled carefully enough, Eva will looks like a light bulb, and can not be distinguished specifically.

Comparing to Eva’s shape and the entire high-tech human Battlestar in the movie,to create a relative “low technology” Wall.e and the Earth he live with massive pollution are more complex. People familiar with making special effects clearly know that it is easier to describe the concise future world than the chaotic doomsday. Because in the former, whether is the material or the light, the majority of the changes are linear, the process of progressive or decreasing  is really smooth; and in the latter, where everything is messy and unexpected. In order to represent realistic, it needs to take more times to draw and render. The design of Wall.e,  despite of there are different textures for each parts of its body, another difficult thing is how to distribute  various external rust and dust on its body to make them look natural and showing that it appeared in long years ago. All of this are massive making progress. Just to render Wall.e’s “home”, it takes almost the same time with rendering the robots in human Battlestar.


Figure 5. Scene of WALL.E

As the first time in making an animation about science fiction theme, Pixar once again proved themselves is worthy of the dominance of American animation. Whether it is in the story, the plot, or the sense of art and visual attack embodied through their powerful technology, Pixar again perfected themselves.


Ха, А. (2008, 06 10). Wall-E Behind The Scenes The Man and the Machine. Retrieved summer 2016, from

澎湃新闻 . (2015, 11 17). 皮克斯30纽约开展:揭秘画人物幕后作手稿. Retrieved summer 2016, from (2012, 03 29). WALL·E (2008) . Retrieved summer 2016, from (n.d.). WALL•E. Retrieved summer 2016, from

Joe Ludwig. (2011, 07 07). The Imperfect Lens – Creating the Look of WALL•E (WALL•E Special Features). Retrieved summer 2016, from (2008). WALLE. Retrieved summer 2016, from

Ryan, T. (2008, 12 19). A LOOK INSIDE THE MAKING OF WALL-E. Retrieved summer 2016, from (n.d.). WALL-E(2008) . Retrieved summer 2016, from

SupaCrikeyDave. (2008). Wall E. Retrieved summer 2016, from (2011, 04 27). WALL E Wallpaper 2772×1990. Retrieved summer 2016, from


Ani210 week 11


Figure 1. Image rendered by mental ray by Nvidia company. 

Mental Ray is one of the two earliest heavyweight render engines (the other one is the Renderman that I talked about last week). It is the product for the German company named Mental Images . When its first launched, it was integrated in the famous 3D animation software Softimage 3D, as its built-in rendering engine. Because its  efficient speed and good quality, Softimage 3D has been used as the preferred software in Hollywood film production .


Figure 2. Mental ray shaders

Render man is released earlier than Mental Ray. Two of them are both very powerful. With respect to the high-quality render engine Renderman, Mental Ray rendering almost equally, and it is integrated within the major three-dimensional softwares, thus it is more convenient. Mental Ray is simpler than Renderman, you can customize shader in both engine, They are all very awesome. However, Mental Ray’s operation is  easier and more efficiency. Because the rendering system in Renderman requires using programming techniques to render the scene, and Mental Ray generally only need to set the parameters in the program, then it will calculated automatically to render just the needs of the scene.


Figure 3. Renderman VS Mental Ray  

In addition to widely being used in movie special effects and animation, currently, Mental ray has also been applied in many other business fields, such as game, product design, and architectural, etc. Mental ray is not only able to generate realistic images of the world, but also has the ability to create abstract art and hand-painted style. In 1994, “Asterix in America” is an animation with 2d hand-drawn cartoon style that completes by using Mental ray. In a sense, the art style that Mental ray can render, are mostly depending on the user’s control over graphics algorithms and uninhibited imagination.


Figure 4. Poster for Asterix in America

To achieve first-class movies, games, architectural rendering effect, especially for movie special effects field, mental ray is the favored engine, and regarded as the two of the most important film renderer with Renderman. Like “Terminator ⅲ”, “Star Wars,” “Titanic” “the Matrix”, and many other blockbusters that everyone familiar with, Mental Ray was widely applied.

References: (1995). Asterix the Gaul adventures Vol. 22 – Asterix and the Great Crossing. Retrieved summer 2016, from

Jahanlou, A. (2008, 03 10). Research. Retrieved summer 2016, from

JamesPorter. (2007, 03 29). mental ray vs. RenderMan for Maya. Retrieved summer 2016, from

Kerstin. (2009, 12 13). quest for the perfect renderer. Retrieved summer 2016, from (n.d.). Mental Ray RENDERING IMAGINATION VISIBLE. Retrieved summer 2016, from (n.d.). mental ray gallery. Retrieved summer 2016, from

Pascal. (2015, 04 20). mental ray for 3ds Max 2016. Retrieved summer 2016, from