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[ Music ]

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[ Music ]

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[ Music ]

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[ Applause ]

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>> Hi, I'm Jack Greasley.

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I work for The Foundry.

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And we make software to
do that sort of stuff.

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It's a pretty cool job.

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The Foundry was started about
15 years ago by two guys,

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Bruno and Simon, working out
off a basement in Soho, London.

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And they were making
image processing tools

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for the local film and
visual effects industry.

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Since then, we've grown a bit.

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And we've really made a name
for ourselves by taking tools

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and technologies out of
visual effects companies,

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and technologies out of
visual effects companies,

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out of animation companies,
and commercializing them

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and making them available
to everybody, so with tools

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like NUKE from Digital
Domain and KATANA

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from Sony Pictures Imageworks.

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We've taken tools
and technologies

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which were really only
available to the elite few

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and made them available
to everybody.

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One of the tools that we've done

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that way is my particular
baby which is MARI.

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And MARI is a GPU-accelerated
3D digital painting system.

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And it was originally developed
at Weta Digital in New Zealand

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which is Peter Jackson's
visual effects company.

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I'm the product manager for MARI

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but I'm also the
original author.

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And what I'd like to
do is just take you

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through just exactly what a
3D digital painting system

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actually is.

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When you're making a movie
and you're making a character

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like Gollum here, he starts
off as a model, as a mesh.

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like Gollum here, he starts
off as a model, as a mesh.

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And that model gives
you the overall shape.

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It gives you the muscle
and the size of the object.

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But it lacks the fine-grain
detail on the surface

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that really make an
object compelling.

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And it's the job of a texture
artist to go in there literally

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with a brush and paint
in individual freckles,

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individual veins, and
put the detail in there

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that really makes it, you know,
go from a gray blank model

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like this to something
looking pretty good.

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And if any of you guys have
ever painted any figurines

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or any models, you know just
how long it can take to get

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that looking good and how much
detail you have to put in there.

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So imagine that your model is
30-feet wide and it's going

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to be projected on
a screen this size.

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And this is the problem that
Weta Digital were facing.

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How do you put enough
detail into your models

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where the director can choose
to zoom into any part of it

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and have it full screen?

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and have it full screen?

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In a game, you might put,
you know, one or two textures

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on a character, and they
might be 1,000 pixel square

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or 2,000 pixel square.

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To get the level of
detail that they needed,

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Weta Digital would often put
a patchwork of 500 textures

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over the surface of
a single character.

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And each of those
textures would be big.

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It would be at least
2,000 pixel square

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and sometimes much, much bigger.

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And it doesn't stop there.

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Those 500 textures only tell
you one thing about the surface.

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They only tell you what color
it is, but you also need

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to tell the system how bumpy
it is, how shiny it is,

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how scratchy, how
dirty, how dusty.

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And each one of those pieces

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of information gives you
another 500 textures.

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So very quickly you can be
up at 10,000 huge textures

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for a single character,
and that can be 20, 30,

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40 gigabytes of information.

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And this was slowing
people down.

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This was slowing
the artists down.

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This was slowing
the artists down.

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The one thing that artists
love to do is paint.

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Things that they hate doing
are copying data around,

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renaming files and
managing complexity.

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And so, this is really
where MARI comes in.

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I was hired by Weta
Digital in 2006 to work

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with their texture artists
to really come up with tools

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and technologies
to get them back

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to doing what they
love which is painting.

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So I got on a plane from London
down to Wellington, New Zealand

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and worked with the texture
artists while they were working

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on this little movie for
James Cameron called Avatar.

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So my team and I were sitting
next to a room of fifty kind

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of busy, kind of
caffeinated texture artists

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for about four years.

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And it got to the point where we
were releasing MARI three times

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a day.

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We'd do a version in the morning
and then fix it at lunchtime

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and then another one
in the afternoon.

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And if releasing three times
a day wasn't, you know,

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And if releasing three times
a day wasn't, you know,

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enough work, my brand
new girlfriend

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at that time was a
texture artist using MARI.

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It took me a little
while to work out how

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to prioritize her bugs properly.

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[ Laughter ]

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But I'm glad to say it worked
out and we're still together.

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[ Applause ]

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Thank you.

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[ Applause ]

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So MARI was incredibly
successful at Weta.

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Every tool-- so every model,
every character, every plant,

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everything that Weta Digital
painted for Avatar was done

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in MARI, and that was
several thousand assets.

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Avatar did OK as well.

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You know, I think three billion
dollars at the Box Office.

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And MARI continues to be used
at Weta Digital until today.

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Every movie that
they've released

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since 2008 has used
MARI as its--

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as their main texture tool.

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So this includes things like
The Avengers, The Adventures

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of Tintin, Rise of the Planet
of the Apes, and most recently,

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this guy, again, for The Hobbit.

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this guy, again, for The Hobbit.

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In 2010, Weta Digital and The
Foundry came to an agreement

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to commercialize MARI.

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So The Foundry licensed
MARI from Weta.

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But what that really
meant is that they sold it

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and they sold me along with it.

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So I got on a plane from
Wellington, New Zealand back

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to London which is 32
hours door-to-door.

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And this time, I was
coming back with a USB stick

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for the source code and an
invoice for The Foundry to sign.

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My role at The Foundry
was simple.

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We wanted to make MARI
the industry standard

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for visual effects,
3D digital painting.

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Over the last three
years, we've done that.

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We've been incredibly successful
to the point that nine

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out of ten of the
movies nominated

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for visual effects
Oscars this year used MARI

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as their main texture
painting system.

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The only reason that
the tenth didn't is

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that they didn't buy it in time
enough to use on the movie.

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MARI is at use-- in
use at a whole bunch

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of companies you
will have heard of,

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so there's Industrial Light
& Magic over in the Presidio,

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DreamWorks Animations,
Sony Pictures Imageworks.

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So really if you've seen a movie
over the last couple of years

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in which there has been an
alien, a spaceship, a monster,

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something blowing up,
you've seen MARI at work.

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One of the really
great things though

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about taking an in-house
tool something thats design

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for one specific task and making
it available to everybody is

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that you start seeing uses
that you never expected for it.

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We've seen it cropping up
in games, in architecture,

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in digital design, and even
in amazing artwork like this

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which is from an album cover.

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One of our most technically
innovative artists is a good

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friend of mine called Scott
Metzger who works out of LA.

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And he's coming up with
new novel techniques

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for capturing digital
environments

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and making photorealistic
rendering incredibly easy to do.

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So what this really means is
Scott went out one weekend

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So what this really means is
Scott went out one weekend

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and rented an industrial
laser scanner

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and started scanning things,
and he scanned his apartment.

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And he scanned it down
to millimeter accuracy.

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And ran around his apartment
with a camera taking hundreds

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and hundreds of reference
photographs making this enormous

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dataset which he pulled
into MARI and used MARI

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to paint those photos down onto

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to this enormous
scan that he made.

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And this created-- I think
it was a 20 gigabyte dataset

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that he was able to
fly around inside

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of MARI, edit in real time.

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But it also meant that he could
make amazing photorealistic

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renderings like this.

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You can actually zoom down
into the work surfaces

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and you can see fingerprints,

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you can see fine-grained
detail in the paint work.

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And this is an incredibly
useful thing

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for the visual effects
industry and the film industry

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because when you're
making a film,

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what you normally do
is you build a set,

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what you normally do
is you build a set,

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you put some cameras on the set,
you get the actors on the set,

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you film it, and then the set
gets torn down and thrown away.

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But what often happens
is two months later,

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the director has this
flash of inspiration

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that the thing that's
really going

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to give him the Oscar this
time is a zoom through this set

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which is now sitting somewhere
in a dumpster in Hollywood.

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And these are called
pickup shots,

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and they're incredibly
expensive to do.

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You need to go and find the
bits of set that still exists,

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you need to rebuild the set,

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you need to reconstruct
the lighting,

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you need to match
everything perfectly.

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But with this technique, you
can actually capture the set

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and its entirety, all
of the information,

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all the lighting,
when you're shooting.

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And when the director has this
amazing flash of inspiration,

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it's then incredibly cheap
to do pickup shots rather

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than incredibly expensive.

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All of the examples
that I've shown

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up until now have been
running on Windows and Linux.

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But MARI was originally
developed for the first couple

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of years of its life on
both Macintosh and Linux.

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Unfortunately, as I mentioned,

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we were releasing
three times a day

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and maintaining six builds a day

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in full production was really
more than we could deal with.

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So we concentrated
on Linux at the time,

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but I'm incredibly pleased that
MARI is actually coming back

00:12:21.516 --> 00:12:23.126 A:middle
to the Mac later this summer.

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Thank you.

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[ Applause ]

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We've been developing on

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and targeting common
generation Mac hardware.

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And partially this
is really selfish.

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I want to demo on my brand new
shiny retina Macbook Pro and not

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on a big ugly laptop
I've got at the moment.

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The porting process for us has
been pretty straightforward.

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It's really just
some housekeeping.

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We need to take MARI's
OpenGL usage

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because it really is
fully OpenGL based

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and update it to
3.2 core profile.

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This is something
we've been meaning

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to do for a while anyway.

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to do for a while anyway.

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It really gives us a
lot of benefits in terms

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of performance, speed,

00:13:05.896 --> 00:13:07.906 A:middle
simplicity of code
and stability.

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And it's taken us
about six weeks to go

00:13:11.326 --> 00:13:13.976 A:middle
from absolutely nothing, MARI
didn't compile on the Mac,

00:13:13.976 --> 00:13:17.916 A:middle
didn't run on the Mac, to
being able to demo here today

00:13:17.916 --> 00:13:19.746 A:middle
which you guys will be
seeing in a few minutes.

00:13:20.786 --> 00:13:24.556 A:middle
The screenshots you can see
on the screen were taken

00:13:24.556 --> 00:13:26.466 A:middle
about a week apart
by my developers

00:13:26.466 --> 00:13:28.166 A:middle
as they were bringing MARI up.

00:13:28.956 --> 00:13:31.866 A:middle
The first image is the
first time MARI ran

00:13:31.866 --> 00:13:33.046 A:middle
on the Mac in five years.

00:13:33.736 --> 00:13:35.056 A:middle
The second one is a week later.

00:13:35.136 --> 00:13:36.456 A:middle
We have rendering
up and working.

00:13:37.036 --> 00:13:40.896 A:middle
And the third one is a week
after that where we're dealing

00:13:40.896 --> 00:13:45.936 A:middle
with big datasets we can
paint and we can animate.

00:13:46.526 --> 00:13:49.816 A:middle
So it really has been a
pretty seamless process.

00:13:49.936 --> 00:13:52.706 A:middle
However, we have been incredibly
lucky during this whole

00:13:52.706 --> 00:13:55.246 A:middle
process-- have been given
access to the new Mac Pro.

00:13:56.496 --> 00:14:00.886 A:middle
We originally designed MARI
with multiple GPUs in mind.

WEBVTT
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00:13:56.496 --> 00:14:00.886 A:middle
We originally designed MARI
with multiple GPUs in mind.

00:14:01.686 --> 00:14:05.486 A:middle
For me it makes so much sense
that you're going to want

00:14:05.486 --> 00:14:07.496 A:middle
to be processing
huge amounts of data

00:14:07.496 --> 00:14:09.886 A:middle
on one device while you're
displaying it fluidly

00:14:09.886 --> 00:14:12.396 A:middle
at 60 frames per
second on a second.

00:14:13.086 --> 00:14:16.896 A:middle
However, we've not really
ever seen a viable platform

00:14:16.896 --> 00:14:18.296 A:middle
for us to do this before.

00:14:18.856 --> 00:14:20.936 A:middle
We don't see multiple
GPUs installed

00:14:20.936 --> 00:14:22.556 A:middle
in visual effects
artist machines.

00:14:23.256 --> 00:14:25.696 A:middle
We see it in the
gaming world, you know,

00:14:25.696 --> 00:14:28.646 A:middle
people who put two GPUs
in their gaming rig

00:14:28.646 --> 00:14:31.686 A:middle
so they can play Gears
of War at 1080p 60 hertz.

00:14:32.316 --> 00:14:35.156 A:middle
But that power has never
been available to artists.

00:14:36.216 --> 00:14:40.036 A:middle
The multiple GPUs in the new
Mac Pro especially combined

00:14:40.036 --> 00:14:41.286 A:middle
with the updated OpenGL

00:14:41.286 --> 00:14:45.876 A:middle
and OpenCL support makes
it just a dream platform

00:14:45.876 --> 00:14:46.766 A:middle
for us to develop on it.

00:14:46.766 --> 00:14:49.996 A:middle
It's been really a
fantastic experience.

00:14:50.556 --> 00:14:53.316 A:middle
It's also going to make
my life a lot easier.

00:14:53.316 --> 00:14:56.786 A:middle
A large part of my job
is actually working

00:14:56.786 --> 00:15:00.356 A:middle
with our most demanding
customers to help them design

WEBVTT
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00:14:56.786 --> 00:15:00.356 A:middle
with our most demanding
customers to help them design

00:15:00.356 --> 00:15:04.246 A:middle
and build systems that
will meet their, you know,

00:15:04.726 --> 00:15:05.936 A:middle
incredible requirements.

00:15:05.936 --> 00:15:08.586 A:middle
I often get emails in the
morning along the lines of,

00:15:08.586 --> 00:15:11.376 A:middle
"So Jack, we tried to load
250 gigs of data into MARI

00:15:11.376 --> 00:15:12.616 A:middle
and it's running a
little bit slowly.

00:15:12.616 --> 00:15:13.396 A:middle
What can we do?"

00:15:14.856 --> 00:15:17.546 A:middle
So this machine is going to
make my life really easy.

00:15:17.686 --> 00:15:19.956 A:middle
I can say, "Go buy
the new Mac Pro."

00:15:20.516 --> 00:15:22.636 A:middle
[ Laughter ]

00:15:23.136 --> 00:15:27.686 A:middle
I can genuinely say it is the
best out-of-the-box experience

00:15:27.686 --> 00:15:29.446 A:middle
I've ever seen with MARI.

00:15:30.056 --> 00:15:34.626 A:middle
In terms of our most
demanding customers,

00:15:34.966 --> 00:15:39.916 A:middle
I think Pixar Animation Studios
are right up there with them.

00:15:40.086 --> 00:15:41.736 A:middle
I love working with
them as a company

00:15:41.736 --> 00:15:43.656 A:middle
because they represent
this amazing fusion

00:15:43.656 --> 00:15:44.986 A:middle
of being deeply artistic

00:15:44.986 --> 00:15:47.036 A:middle
but at the same time
being deeply technical.

00:15:48.336 --> 00:15:51.626 A:middle
Pixar were a very--
early adopter of MARI.

00:15:51.866 --> 00:15:55.166 A:middle
And we've been working with them
for the last, about three years,

00:15:55.616 --> 00:15:57.576 A:middle
to integrate MARI
into their pipeline

00:15:57.576 --> 00:16:00.196 A:middle
to put together new techniques

WEBVTT
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00:15:57.576 --> 00:16:00.196 A:middle
to put together new techniques

00:16:00.196 --> 00:16:02.836 A:middle
for creating incredibly
realistic characters

00:16:02.836 --> 00:16:04.156 A:middle
for their upcoming movies.

00:16:04.936 --> 00:16:08.316 A:middle
We're very lucky to have
Jonathan Hoffman here today

00:16:08.316 --> 00:16:10.796 A:middle
who's a shading technical
artist from Pixar.

00:16:12.086 --> 00:16:14.116 A:middle
Using MARI on the new Mac Pro,

00:16:14.116 --> 00:16:16.886 A:middle
he's going to be giving us a
sneak peak behind the scenes

00:16:17.386 --> 00:16:21.156 A:middle
into the process of how Pixar
design and build the characters

00:16:21.156 --> 00:16:22.256 A:middle
that are going to their movies.

00:16:22.676 --> 00:16:25.076 A:middle
But before we do that, I think
we should have a quick look

00:16:25.076 --> 00:16:27.126 A:middle
at some of the amazing work
that they've been up to

00:16:27.126 --> 00:16:28.176 A:middle
for the last couple of years.

00:16:29.516 --> 00:16:36.516 A:middle
[ Applause ]

00:16:37.016 --> 00:16:44.000 A:middle
[ Music ]

00:16:44.306 --> 00:16:46.196 A:middle
>> Tonight we party
like scarers!

00:16:46.196 --> 00:16:47.966 A:middle
>> I want to piece
of that action.

00:16:50.316 --> 00:16:51.466 A:middle
>> My friends call me Sully.

00:16:51.566 --> 00:16:52.186 A:middle
>> Mike Wazowski.

00:16:53.086 --> 00:16:55.816 A:middle
I'm officially a
college student.

00:16:56.736 --> 00:16:56.803 A:middle
Yeah!

00:16:58.136 --> 00:16:59.976 A:middle
>> We don't need to study
scaring, you know, do it.

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00:17:00.126 --> 00:17:00.836 A:middle
>> That is a good point.

00:17:03.056 --> 00:17:04.886 A:middle
>> What's so scary about
a little librarian?

00:17:05.086 --> 00:17:06.776 A:middle
>> A bunch of guys went
to the hospital last year.

00:17:07.516 --> 00:17:08.616 A:middle
>> You can totally die.

00:17:09.236 --> 00:17:09.705 A:middle
>> And it's worth it.

00:17:12.126 --> 00:17:12.816 A:middle
Let the animal out!

00:17:14.066 --> 00:17:14.776 A:middle
>> Is that legal?

00:17:16.496 --> 00:17:18.506 A:middle
>> I've never seen him
this way in my life!

00:17:20.236 --> 00:17:22.336 A:middle
>> Trust me when I say
you are not going to want

00:17:22.536 --> 00:17:23.455 A:middle
to touch this bad boy.

00:17:23.455 --> 00:17:23.976 A:middle
>> I want to touch it.

00:17:26.626 --> 00:17:27.756 A:middle
>> Yeah, I want to touch him.

00:17:27.996 --> 00:17:29.336 A:middle
>> Hey, what are
you doing up there?

00:17:29.336 --> 00:17:31.516 A:middle
>> I can't go back to jail.

00:17:35.046 --> 00:17:35.836 A:middle
>> I'm going to rule!

00:17:40.516 --> 00:17:45.056 A:middle
[ Applause ]

00:17:45.556 --> 00:17:48.566 A:middle
>> Obviously a lot of work goes
into every one of our films.

00:17:48.566 --> 00:17:51.686 A:middle
It's truly a collaborative
effort between hundreds

00:17:52.126 --> 00:17:53.356 A:middle
of really talented people.

00:17:53.756 --> 00:17:54.436 A:middle
What I'm going to talk to you

00:17:54.436 --> 00:17:57.896 A:middle
about today is really only one
small part of the whole process.

00:17:59.296 --> 00:18:00.466 A:middle
You saw on the trailer,
there are a lot

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00:17:59.296 --> 00:18:00.466 A:middle
You saw on the trailer,
there are a lot

00:18:00.466 --> 00:18:02.946 A:middle
of different characters
in this upcoming film

00:18:03.006 --> 00:18:06.066 A:middle
and each character presents its
own unique set of challenges.

00:18:06.646 --> 00:18:08.716 A:middle
With Monsters University,

00:18:08.826 --> 00:18:10.836 A:middle
obviously since this is a
prequel, we're going back

00:18:11.026 --> 00:18:12.896 A:middle
to the world of Monsters Inc.

00:18:13.036 --> 00:18:14.936 A:middle
which we haven't
been to since 2001.

00:18:15.556 --> 00:18:20.676 A:middle
And recreating that world, you
know, we wanted to stay true

00:18:20.676 --> 00:18:24.066 A:middle
to the essence of the design
while still pushing the limits

00:18:24.066 --> 00:18:26.516 A:middle
of what we can do
now that it's 2013.

00:18:26.626 --> 00:18:28.856 A:middle
Obviously the technology has
come a long way since then.

00:18:29.236 --> 00:18:30.926 A:middle
Our two primary characters

00:18:30.926 --> 00:18:34.296 A:middle
in this film are still Mike
Wazowski and James Sullivan

00:18:34.296 --> 00:18:35.356 A:middle
from Monsters Incorporated.

00:18:36.136 --> 00:18:38.636 A:middle
Now, since this is
their college days,

00:18:38.636 --> 00:18:40.486 A:middle
we needed to redesign
the characters to look

00:18:40.486 --> 00:18:42.826 A:middle
like teenagers, and that
might be more difficult

00:18:42.826 --> 00:18:46.286 A:middle
than you would think because how
exactly does one make a walking

00:18:46.286 --> 00:18:49.436 A:middle
eyeball look younger, right?

00:18:49.726 --> 00:18:51.856 A:middle
You don't normally think
about this sort of thing.

00:18:51.856 --> 00:18:55.436 A:middle
But the people in the art team
did an amazing job in figuring

00:18:55.436 --> 00:18:58.186 A:middle
out and envisioning, you know,
how you take these monsters

00:18:58.186 --> 00:18:59.086 A:middle
and make them look younger.

00:18:59.416 --> 00:19:02.376 A:middle
With Mike Wazowski, this image
by our production designer,

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00:18:59.416 --> 00:19:02.376 A:middle
With Mike Wazowski, this image
by our production designer,

00:19:02.376 --> 00:19:05.296 A:middle
Ricky, is this great
progression of Mike all the way

00:19:05.296 --> 00:19:06.956 A:middle
from toddler to adulthood.

00:19:07.586 --> 00:19:10.366 A:middle
And this is the final design
for both of the main characters.

00:19:11.036 --> 00:19:12.836 A:middle
And there's a lot of
real subtle things here.

00:19:12.836 --> 00:19:14.696 A:middle
I'm going to kind of show you
some of the things that they did

00:19:14.696 --> 00:19:15.696 A:middle
to make them look younger.

00:19:16.136 --> 00:19:20.476 A:middle
With Mike Wazowski, you know,
we took lots of pictures of all

00:19:20.476 --> 00:19:22.876 A:middle
of the people of the
studio and looked at them

00:19:23.186 --> 00:19:24.396 A:middle
when they were teenagers
and then looked

00:19:24.396 --> 00:19:25.276 A:middle
at their adult pictures.

00:19:25.666 --> 00:19:28.296 A:middle
And we learned a few things,
you know, besides, you know,

00:19:28.636 --> 00:19:30.546 A:middle
we all are, you know, little
bit less hair, you know,

00:19:30.546 --> 00:19:31.376 A:middle
some things like that.

00:19:31.746 --> 00:19:36.666 A:middle
But with teenagers, teenagers
reach their adult height way

00:19:36.666 --> 00:19:38.056 A:middle
before they really fill in.

00:19:38.056 --> 00:19:40.326 A:middle
And so with Mike, you'll
notice he's the same height

00:19:40.326 --> 00:19:40.986 A:middle
as he was before.

00:19:40.986 --> 00:19:42.216 A:middle
His limbs are the same length.

00:19:42.516 --> 00:19:44.226 A:middle
His hands and his feet
are the same size.

00:19:44.566 --> 00:19:45.746 A:middle
But he's a lot skinnier, right?

00:19:45.746 --> 00:19:46.556 A:middle
He's lanky.

00:19:46.556 --> 00:19:49.376 A:middle
And there's a lot
of other things too.

00:19:49.506 --> 00:19:53.536 A:middle
The colors are much more vibrant
and saturated to give them

00:19:53.536 --> 00:19:54.616 A:middle
that sort of youthful glow.

00:19:54.836 --> 00:19:57.446 A:middle
The horns are shorter
and more blunted because,

00:19:57.836 --> 00:20:00.946 A:middle
obviously as you get older,
your horns get longer.

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00:19:57.836 --> 00:20:00.946 A:middle
obviously as you get older,
your horns get longer.

00:20:01.826 --> 00:20:04.756 A:middle
And with Mike, you know,
you've got this great detail

00:20:04.806 --> 00:20:06.976 A:middle
of that retainer just coming
out of high school, you know.

00:20:06.976 --> 00:20:08.386 A:middle
I'm sure a lot of you
had to deal with that.

00:20:08.926 --> 00:20:10.486 A:middle
And then with Sullivan,

00:20:10.486 --> 00:20:14.996 A:middle
my favorite detail is he's
got this great bedhead look.

00:20:14.996 --> 00:20:17.536 A:middle
But since it's all over his
body, it's his bed-body look.

00:20:17.536 --> 00:20:19.766 A:middle
It looks like he just
rolled out of bed and all

00:20:19.766 --> 00:20:20.676 A:middle
of his hair is disheveled.

00:20:21.816 --> 00:20:24.466 A:middle
So a lot of thought and
time and effort goes

00:20:24.466 --> 00:20:27.976 A:middle
into really making these
character designs perfect

00:20:28.136 --> 00:20:30.986 A:middle
for these characters,
to really stay true

00:20:30.986 --> 00:20:32.956 A:middle
to that original design
but really take them

00:20:32.956 --> 00:20:34.436 A:middle
in a new direction
for this film.

00:20:34.986 --> 00:20:38.646 A:middle
But for every main character,
for every, you know, for these--

00:20:38.686 --> 00:20:40.476 A:middle
our core characters,
we need a good foil,

00:20:40.476 --> 00:20:42.496 A:middle
we need a good antagonist
for the story.

00:20:42.496 --> 00:20:45.046 A:middle
And so, I'm going to
introduce you to the character

00:20:45.046 --> 00:20:47.096 A:middle
that I have the chance to work
on for this film and I'm going

00:20:47.096 --> 00:20:50.416 A:middle
to show you a never before
seen clip from the movie

00:20:50.416 --> 00:20:52.896 A:middle
to introduce that character.

00:20:53.786 --> 00:20:55.446 A:middle
>> Please, let me
try the simulator.

00:20:55.636 --> 00:20:56.416 A:middle
I'll surprise you.

00:20:57.156 --> 00:20:58.126 A:middle
>> Surprise me?

00:20:59.076 --> 00:21:01.096 A:middle
I doubt that very much.

WEBVTT
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00:20:59.076 --> 00:21:01.096 A:middle
I doubt that very much.

00:21:03.236 --> 00:21:05.846 A:middle
>> All right, so that
is Dean Hardscrabble

00:21:05.846 --> 00:21:08.006 A:middle
of the Monsters University
School of Scaring.

00:21:08.376 --> 00:21:11.246 A:middle
Now, she is the scariest
monster on campus.

00:21:11.356 --> 00:21:13.166 A:middle
And she is a scaring legend.

00:21:13.856 --> 00:21:16.676 A:middle
And with a character like
this, where does it start?

00:21:16.786 --> 00:21:19.506 A:middle
How does a character go
from start to finish?

00:21:19.506 --> 00:21:20.316 A:middle
Where does it begin?

00:21:20.566 --> 00:21:22.356 A:middle
Well it starts with
a bunch of drawings.

00:21:22.866 --> 00:21:25.996 A:middle
The art team does hundreds
of drawings for weeks to try

00:21:25.996 --> 00:21:28.376 A:middle
and really figure out
what a character is,

00:21:28.476 --> 00:21:30.546 A:middle
to experiment with
different ideas.

00:21:31.126 --> 00:21:34.416 A:middle
And with Hardscrabble, they
had a very challenging goal.

00:21:34.416 --> 00:21:37.766 A:middle
They needed her to be
very poised and elegant

00:21:37.766 --> 00:21:39.376 A:middle
and have this sense
of authority.

00:21:39.906 --> 00:21:42.066 A:middle
But they also needed
her to be terrifying.

00:21:42.696 --> 00:21:44.976 A:middle
And they were trying a bunch of
different ideas but it wasn't

00:21:44.976 --> 00:21:49.656 A:middle
until they saw this video
of a Amazonian centipede

00:21:49.656 --> 00:21:51.216 A:middle
which these things are huge.

00:21:51.216 --> 00:21:52.776 A:middle
It's a giant Amazonian
centipede.

00:21:53.156 --> 00:21:57.466 A:middle
They saw this video and
it had this amazing grace

00:21:57.466 --> 00:21:59.386 A:middle
to it despite the fact
that the first things

00:21:59.386 --> 00:22:01.316 A:middle
that you see is "Wow,
that is scary.

WEBVTT
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00:21:59.386 --> 00:22:01.316 A:middle
that you see is "Wow,
that is scary.

00:22:01.316 --> 00:22:03.966 A:middle
I'm going to"-- you know, if you
see that you want to run away.

00:22:04.046 --> 00:22:07.746 A:middle
But you see it and it had this
movement, this deadly grace

00:22:07.746 --> 00:22:09.776 A:middle
to it, and that is
exactly what they wanted

00:22:09.776 --> 00:22:10.666 A:middle
for Dean Hardscrabble.

00:22:10.666 --> 00:22:13.546 A:middle
So the director, Dan Scanlon,
drew the centipede tail

00:22:13.546 --> 00:22:14.596 A:middle
onto the back of Hardscrabble

00:22:14.596 --> 00:22:16.196 A:middle
and they realized
that is the design.

00:22:16.636 --> 00:22:19.566 A:middle
That was the central
part of her visual look.

00:22:19.566 --> 00:22:23.926 A:middle
So this is the final design by
Jason Deamer and it really--

00:22:24.256 --> 00:22:27.296 A:middle
the central figure of the
design is that centipede,

00:22:27.296 --> 00:22:30.766 A:middle
but then he's incorporated all
these other really scary animals

00:22:30.856 --> 00:22:31.776 A:middle
into that design.

00:22:32.076 --> 00:22:35.276 A:middle
She's got these bat wings, the
sort of dragon/lizard head.

00:22:35.836 --> 00:22:39.226 A:middle
And this, you know,
this was the character

00:22:39.226 --> 00:22:42.186 A:middle
that they've been searching
for, this elegance and grace,

00:22:42.736 --> 00:22:46.456 A:middle
authority along with
this idea of being very,

00:22:46.456 --> 00:22:48.386 A:middle
very scary and terrifying.

00:22:49.556 --> 00:22:52.336 A:middle
The first film, we had a--

00:22:52.336 --> 00:22:55.376 A:middle
you know, we had this cast of
very candy colored characters,

00:22:55.446 --> 00:22:59.736 A:middle
these very bright, you know,
and saturated characters.

00:22:59.736 --> 00:23:02.696 A:middle
And with the next film, we
wanted to stay true to that.

WEBVTT
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00:22:59.736 --> 00:23:02.696 A:middle
And with the next film, we
wanted to stay true to that.

00:23:03.266 --> 00:23:06.476 A:middle
But with Hardscrabble, we needed
to make sure that she still fit

00:23:06.476 --> 00:23:08.576 A:middle
in the world of all these
other characters and

00:23:08.576 --> 00:23:09.536 A:middle
yet was still scarier.

00:23:09.976 --> 00:23:12.126 A:middle
In Monsters Incorporated, if
you remember the character

00:23:12.166 --> 00:23:13.636 A:middle
of Waternoose, he was
a little bit different.

00:23:13.636 --> 00:23:16.016 A:middle
And so we were trying to go
for something similar to him

00:23:16.016 --> 00:23:18.486 A:middle
where he still fit in the
world but was different

00:23:18.486 --> 00:23:19.286 A:middle
than all the other characters.

00:23:19.286 --> 00:23:22.036 A:middle
She again needed to be
scarier and yet still feel

00:23:22.036 --> 00:23:23.176 A:middle
like she came from
the same planet.

00:23:24.406 --> 00:23:27.816 A:middle
So once the design is settled,
it really gets passed in to kind

00:23:27.816 --> 00:23:28.876 A:middle
of two different areas.

00:23:28.876 --> 00:23:32.736 A:middle
The first is the modeling
department where, in this case,

00:23:32.736 --> 00:23:35.586 A:middle
Michael Honsel took this
design and began to sculpt it

00:23:35.586 --> 00:23:38.946 A:middle
on the computer, very much
how he would sculpt an object

00:23:38.946 --> 00:23:40.306 A:middle
in real life in real clay.

00:23:40.566 --> 00:23:42.386 A:middle
But he's sculpting it
digitally on the computer.

00:23:42.776 --> 00:23:45.476 A:middle
But it also gets passed to the
art department again to start

00:23:45.476 --> 00:23:48.056 A:middle
to develop the textural
look of the character.

00:23:48.636 --> 00:23:52.446 A:middle
And so this is a painting by
Shelly Wan and it was given

00:23:52.446 --> 00:23:55.606 A:middle
to me to show me,
OK, this is the way

00:23:55.606 --> 00:23:57.926 A:middle
that the surface should look
when it's reacting to light.

00:23:58.006 --> 00:24:00.726 A:middle
This is how the character
needs to look

WEBVTT
X-TIMESTAMP-MAP=MPEGTS:181083,LOCAL:00:00:00.000

00:23:58.006 --> 00:24:00.726 A:middle
This is how the character
needs to look

00:24:00.726 --> 00:24:03.016 A:middle
in color and with specularity.

00:24:03.016 --> 00:24:05.076 A:middle
And I'll explain some of
the details of that later.

00:24:05.586 --> 00:24:07.476 A:middle
And so we've got
this beautiful image.

00:24:08.396 --> 00:24:11.816 A:middle
And along with this image comes
a bunch of reference photography

00:24:11.816 --> 00:24:15.086 A:middle
of the different creatures that
make up what Hardscrabble is.

00:24:15.086 --> 00:24:18.676 A:middle
And so, we we start with
her makeup, you know,

00:24:18.676 --> 00:24:20.276 A:middle
and all these little
great details

00:24:20.276 --> 00:24:22.026 A:middle
about what her face makeup
is going to look like.

00:24:22.026 --> 00:24:24.396 A:middle
But then we moved into
her different aspects

00:24:24.396 --> 00:24:26.416 A:middle
like the horns, how those
are going to be shaped,

00:24:26.416 --> 00:24:28.846 A:middle
what the colors are going
to be, how shiny they are.

00:24:28.846 --> 00:24:30.566 A:middle
And we go through
all of these details

00:24:30.566 --> 00:24:31.626 A:middle
of these different aspects.

00:24:31.886 --> 00:24:34.526 A:middle
But one of the things about
her shells and her legs,

00:24:35.186 --> 00:24:38.056 A:middle
with a centipede that's only
this big, I mean only this big,

00:24:38.416 --> 00:24:41.276 A:middle
it has this sort of
translucency to it

00:24:41.346 --> 00:24:43.426 A:middle
but that would give her a
sense of being very small.

00:24:43.426 --> 00:24:47.536 A:middle
So instead of going with the
insect variety of shells,

00:24:47.536 --> 00:24:49.206 A:middle
we went with more
of a crustacean look

00:24:49.546 --> 00:24:51.766 A:middle
because that would indicate
a larger scale creature.

00:24:52.166 --> 00:24:55.046 A:middle
So we have these great images
of her legs, of the shells,

00:24:56.066 --> 00:24:58.366 A:middle
and also these great
batwings and the translucency

00:24:58.366 --> 00:24:59.696 A:middle
that we could get
with the batwings.

00:24:59.696 --> 00:25:00.836 A:middle
All these things
were thought about.

WEBVTT
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00:24:59.696 --> 00:25:00.836 A:middle
All these things
were thought about.

00:25:01.606 --> 00:25:05.756 A:middle
But with this photography-- with
these images, I wasn't supposed

00:25:05.756 --> 00:25:09.496 A:middle
to take them and make a
photorealistic character.

00:25:09.786 --> 00:25:13.816 A:middle
The goal at Pixar is never to
go with just loads and loads

00:25:13.816 --> 00:25:16.186 A:middle
of detail and just make
it look like a creature

00:25:16.446 --> 00:25:19.246 A:middle
because we've hit this area
called "Uncanny Valley".

00:25:19.246 --> 00:25:22.136 A:middle
It's something we try to avoid
very much where you've added

00:25:22.136 --> 00:25:25.736 A:middle
so much detail that it
looks too realistic.

00:25:26.156 --> 00:25:30.126 A:middle
And at Pixar, we want to find
the essence of these designs.

00:25:30.126 --> 00:25:32.366 A:middle
We want to boil it down
to its simplest idea

00:25:32.366 --> 00:25:34.576 A:middle
and then really pull
that idea out.

00:25:34.806 --> 00:25:36.926 A:middle
And so with all these
photography, I was supposed

00:25:36.926 --> 00:25:39.326 A:middle
to take inspiration
but not copy exactly.

00:25:39.676 --> 00:25:42.166 A:middle
I was supposed to
find that simple idea.

00:25:42.986 --> 00:25:44.786 A:middle
So, the next thing
that we're going

00:25:44.786 --> 00:25:49.116 A:middle
to do is actually demonstrate
the process of how I began

00:25:49.116 --> 00:25:50.776 A:middle
to paint this character
on the computer.

00:25:50.776 --> 00:25:54.696 A:middle
Now, bear with me
because this is, you know,

00:25:55.036 --> 00:25:56.906 A:middle
the new Mac Pro,
it's unreleased.

00:25:56.906 --> 00:25:59.756 A:middle
We're running on an unreleased
OS and the software, MARI,

00:25:59.756 --> 00:26:01.446 A:middle
has only been on the
Mac for about six weeks.

WEBVTT
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00:25:59.756 --> 00:26:01.446 A:middle
has only been on the
Mac for about six weeks.

00:26:01.446 --> 00:26:03.736 A:middle
So, what could possibly
go wrong, right?

00:26:04.996 --> 00:26:06.706 A:middle
So it'll be exciting
for me, hopefully,

00:26:06.706 --> 00:26:08.606 A:middle
exciting for you
as well to do this.

00:26:08.716 --> 00:26:10.566 A:middle
So, all right.

00:26:11.486 --> 00:26:12.546 A:middle
So this is the new Mac Pro

00:26:12.546 --> 00:26:14.806 A:middle
and this is MARI running
on the new Mac Pro.

00:26:14.806 --> 00:26:17.566 A:middle
And this is how I get the model
from the modeling department.

00:26:17.566 --> 00:26:18.256 A:middle
It's gray.

00:26:18.256 --> 00:26:20.936 A:middle
It doesn't have any detail
yet because it's my job

00:26:21.276 --> 00:26:22.726 A:middle
to add the detail
to the character.

00:26:22.796 --> 00:26:25.266 A:middle
So I'm going to navigate around
and you can see, you know,

00:26:25.266 --> 00:26:27.436 A:middle
this is a 3D model
brought in to the computer.

00:26:28.326 --> 00:26:31.196 A:middle
And the first thing that I do
when I'm creating a character,

00:26:31.196 --> 00:26:32.656 A:middle
when I'm starting to
paint in the detail,

00:26:32.996 --> 00:26:34.916 A:middle
is I start with the big
details and then I move

00:26:34.916 --> 00:26:36.226 A:middle
into the smaller details.

00:26:36.566 --> 00:26:39.106 A:middle
So for her, I'm going to start
with the color and I'm going

00:26:39.106 --> 00:26:44.196 A:middle
to start with her base color,
basically her flat base color.

00:26:44.196 --> 00:26:46.266 A:middle
So she's more of this
color than anything else.

00:26:46.266 --> 00:26:47.306 A:middle
So this is where
I'm going to start.

00:26:47.796 --> 00:26:50.576 A:middle
And the first big read that
I got from that shader packet

00:26:50.606 --> 00:26:53.556 A:middle
that I showed you earlier
is that her horns are sort

00:26:53.556 --> 00:26:55.316 A:middle
of different material
than her face.

00:26:55.316 --> 00:26:57.486 A:middle
It's a darker shell.

00:26:57.766 --> 00:26:59.216 A:middle
And so, I'm going to
paint in a little bit

00:26:59.216 --> 00:27:00.486 A:middle
of that variation first.

WEBVTT
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00:26:59.216 --> 00:27:00.486 A:middle
of that variation first.

00:27:00.856 --> 00:27:03.376 A:middle
And I'm going to be a little
bit rough and sloppy here

00:27:03.376 --> 00:27:06.356 A:middle
because I'm compressing
a couple--

00:27:06.356 --> 00:27:08.736 A:middle
I would at least want to work on
this character for a few weeks

00:27:08.736 --> 00:27:10.666 A:middle
and I'm going to compress
that into about 15 minutes.

00:27:10.666 --> 00:27:15.126 A:middle
So I apologize if I'm a
little bit sloppy with this.

00:27:15.696 --> 00:27:17.716 A:middle
So I'm grabbing a brush,
and this is very similar

00:27:17.716 --> 00:27:19.456 A:middle
to a program like Photoshop
where you have a bunch

00:27:19.456 --> 00:27:21.826 A:middle
of different brushes that
can do different things.

00:27:22.236 --> 00:27:23.796 A:middle
And I'm just going to
start painting right

00:27:23.796 --> 00:27:26.066 A:middle
onto this model if I can.

00:27:26.976 --> 00:27:27.506 A:middle
Let's see.

00:27:28.846 --> 00:27:30.836 A:middle
Again, live demo, I apologize.

00:27:32.376 --> 00:27:33.216 A:middle
All right, here we go.

00:27:33.956 --> 00:27:36.846 A:middle
So I'm painting straight onto
this model and you can see

00:27:36.846 --> 00:27:38.266 A:middle
that it's, you know,
accepting this paint

00:27:38.266 --> 00:27:40.416 A:middle
and I'm getting a nice
gradient towards her horns.

00:27:41.036 --> 00:27:42.736 A:middle
I'm just trying to
lay in, you know,

00:27:42.736 --> 00:27:44.586 A:middle
a nice amount of detail here.

00:27:45.436 --> 00:27:47.556 A:middle
I'm going to move the camera
and that paint is going

00:27:47.556 --> 00:27:49.396 A:middle
to be dropped onto the model.

00:27:49.396 --> 00:27:50.936 A:middle
So you can see it's
actually been projected

00:27:51.026 --> 00:27:51.806 A:middle
through the model here.

00:27:51.806 --> 00:27:56.996 A:middle
I'm just going to add a little
bit more from this angle.

WEBVTT
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00:28:01.496 --> 00:28:03.786 A:middle
Then I'm going to go in and
do a little bit more detail

00:28:03.816 --> 00:28:04.816 A:middle
on one of these horns.

00:28:04.816 --> 00:28:07.746 A:middle
Now, again, I'm trying
to lay in some

00:28:07.746 --> 00:28:11.636 A:middle
of the bigger base details
first and then I'll start moving

00:28:11.636 --> 00:28:12.796 A:middle
into the smaller details.

00:28:12.796 --> 00:28:15.016 A:middle
You never want to start
with small details.

00:28:15.226 --> 00:28:16.456 A:middle
And any artist will
tell you this,

00:28:16.456 --> 00:28:19.656 A:middle
"If you start painting the
eyelashes before you've really,

00:28:19.656 --> 00:28:21.286 A:middle
you know, figured out
the shape of the head,

00:28:21.826 --> 00:28:23.086 A:middle
you're doing something wrong."

00:28:23.086 --> 00:28:26.166 A:middle
So I'm starting with the
big broad strokes first.

00:28:26.786 --> 00:28:29.496 A:middle
And this horn, if you remember
that image from the lizard,

00:28:30.246 --> 00:28:32.876 A:middle
it had some really nice
striations that kind

00:28:32.876 --> 00:28:34.386 A:middle
of ran along the horn.

00:28:34.386 --> 00:28:38.886 A:middle
And so, I'm going to start
painting some of those in.

00:28:39.756 --> 00:28:42.766 A:middle
But I don't want to go-- I
don't want to go too detailed.

00:28:42.766 --> 00:28:43.866 A:middle
I'm trying to keep this--

00:28:44.086 --> 00:28:47.696 A:middle
these shapes graphic
and really strong here,

00:28:48.096 --> 00:28:51.696 A:middle
get that simple idea
without going into, you know,

00:28:51.696 --> 00:28:53.946 A:middle
all those tiny little
nitty-gritties.

00:28:56.336 --> 00:28:58.146 A:middle
So I'm just rotating
this around.

00:28:58.496 --> 00:29:02.466 A:middle
Now, you'll notice that
this feels very liquid.

WEBVTT
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00:28:58.496 --> 00:29:02.466 A:middle
Now, you'll notice that
this feels very liquid.

00:29:02.466 --> 00:29:03.896 A:middle
It feels very smooth, right?

00:29:03.896 --> 00:29:06.166 A:middle
As I'm tumbling,
it's so responsive.

00:29:06.166 --> 00:29:09.136 A:middle
And this really feels just
like I've got an object,

00:29:09.296 --> 00:29:11.756 A:middle
a model in my hand and I'm just
turning it and painting it.

00:29:11.876 --> 00:29:14.116 A:middle
And the way-- the reason that
that's possible is two things.

00:29:14.116 --> 00:29:16.616 A:middle
First, MARI is very,
very slick at allowing me

00:29:16.716 --> 00:29:17.706 A:middle
to see all these detail.

00:29:17.706 --> 00:29:20.086 A:middle
But secondly, it's
really so responsive

00:29:20.086 --> 00:29:22.346 A:middle
because the hardware is
supporting it is so well.

00:29:22.666 --> 00:29:26.036 A:middle
It's just-- you know, I forget
that I'm painting on a computer

00:29:26.036 --> 00:29:27.496 A:middle
and it feels like I'm
painting in real life

00:29:27.736 --> 00:29:30.706 A:middle
which is exactly what
I want as an artist.

00:29:31.406 --> 00:29:32.676 A:middle
So I painted this first horn.

00:29:32.676 --> 00:29:35.046 A:middle
I'm relatively satisfied
with it.

00:29:35.046 --> 00:29:37.776 A:middle
As with everything, as an
artist, I'd want to sit here

00:29:37.776 --> 00:29:38.626 A:middle
and noodle it for an hour.

00:29:38.626 --> 00:29:41.006 A:middle
But I'm going to skip
ahead, not bore you

00:29:41.006 --> 00:29:42.296 A:middle
with painting the
rest of these horns.

00:29:42.296 --> 00:29:45.036 A:middle
So I'll just-- this is another
layer here that shows you,

00:29:45.176 --> 00:29:47.546 A:middle
you know, the same treatment
to all these other horns.

00:29:47.956 --> 00:29:51.976 A:middle
And now as I zoom back, you get
that first pass at her color.

00:29:51.976 --> 00:29:53.566 A:middle
Like if you were to see
her from this far away,

00:29:54.036 --> 00:29:54.776 A:middle
she looks pretty good.

00:29:54.776 --> 00:29:56.956 A:middle
This is the biggest
read of the character.

00:29:56.956 --> 00:29:58.876 A:middle
But her skin is way
too simple, right?

00:29:58.946 --> 00:30:01.966 A:middle
Every-- all skin
has variety to it.

WEBVTT
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00:29:58.946 --> 00:30:01.966 A:middle
Every-- all skin
has variety to it.

00:30:01.966 --> 00:30:03.596 A:middle
It has mottling and
freckles and--

00:30:03.986 --> 00:30:06.686 A:middle
you know, even the most perfect
person has a large amount

00:30:06.686 --> 00:30:07.936 A:middle
of variation in their skin.

00:30:08.396 --> 00:30:10.206 A:middle
If they look like this,
they look like a mannequin.

00:30:10.206 --> 00:30:13.636 A:middle
So I'm going to start adding
in some variety to her skin.

00:30:14.166 --> 00:30:18.136 A:middle
And I'm not-- you know, I
don't want to go too far again

00:30:18.136 --> 00:30:19.566 A:middle
because I don't want to
make her look grotesque.

00:30:20.236 --> 00:30:22.926 A:middle
But I want her to look--
I want her to look old.

00:30:22.926 --> 00:30:26.646 A:middle
She needs to be sort of this
figure of wisdom and authority.

00:30:27.106 --> 00:30:30.076 A:middle
And so, I need her to kind
of feel like she's had some,

00:30:30.186 --> 00:30:32.106 A:middle
you know, had some years,
had some experience.

00:30:32.526 --> 00:30:38.136 A:middle
Not exactly sure how quickly
lizard, centipede, bats age,

00:30:38.806 --> 00:30:42.356 A:middle
but, you know, she's got to
look a little bit lived-in.

00:30:42.546 --> 00:30:47.166 A:middle
So I'm just going to add in some
basic variety to her skin here.

00:30:48.336 --> 00:30:49.596 A:middle
You know, MARI comes
with these, you know,

00:30:49.596 --> 00:30:51.746 A:middle
a lot of really great brushes
that I can kind of start with

00:30:51.746 --> 00:30:53.886 A:middle
and lay on some detail.

00:30:58.326 --> 00:31:00.356 A:middle
Add some freckles, a
little bit of darkening.

WEBVTT
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00:30:58.326 --> 00:31:00.356 A:middle
Add some freckles, a
little bit of darkening.

00:31:00.666 --> 00:31:01.966 A:middle
And I can put some stuff on

00:31:01.966 --> 00:31:04.386 A:middle
and then pull it off
if I've gone too far.

00:31:05.326 --> 00:31:05.696 A:middle
That's nice.

00:31:10.776 --> 00:31:13.926 A:middle
Paint some freckles in
the back of her neck here.

00:31:15.116 --> 00:31:17.686 A:middle
It's always interesting,
the back of people's arms,

00:31:17.686 --> 00:31:19.696 A:middle
the back of people's necks
always get a little bit dark

00:31:19.696 --> 00:31:20.906 A:middle
and I'm not sure if
that's because of--

00:31:20.906 --> 00:31:23.196 A:middle
you know, that you just
get more sun there,

00:31:23.246 --> 00:31:25.676 A:middle
if the skin is a bit
more aged in those areas,

00:31:25.716 --> 00:31:26.886 A:middle
but it always seems that way.

00:31:27.826 --> 00:31:29.906 A:middle
It's one of those
things you start staring

00:31:29.906 --> 00:31:33.876 A:middle
at people differently when
you've been painting, you know?

00:31:33.876 --> 00:31:36.566 A:middle
And on creatures and humans
and characters for a long time,

00:31:36.566 --> 00:31:38.116 A:middle
you just-- you're
staring at someone's--

00:31:38.196 --> 00:31:40.106 A:middle
you know, the back of their
leg for whatever reason

00:31:40.106 --> 00:31:42.056 A:middle
and they're thinking, you
know, "What's he doing?

00:31:42.056 --> 00:31:42.976 A:middle
Why is he looking at me?"

00:31:42.976 --> 00:31:45.136 A:middle
And it's just because there's
this really cool vein doing this

00:31:45.136 --> 00:31:45.906 A:middle
really cool thing.

00:31:46.556 --> 00:31:49.526 A:middle
And it's not, you know, I'm
not trying to be insulting,

00:31:49.526 --> 00:31:51.476 A:middle
it's just that I'm
fascinated by it, right?

00:31:52.166 --> 00:31:53.936 A:middle
Because I'm going to use it to--

00:31:53.936 --> 00:31:55.756 A:middle
on the next day when I'm
painting this character.

00:31:55.876 --> 00:31:57.226 A:middle
So, anyway.

00:31:57.676 --> 00:32:00.276 A:middle
I hope I haven't
offended too many people.

WEBVTT
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00:31:57.676 --> 00:32:00.276 A:middle
I hope I haven't
offended too many people.

00:32:01.916 --> 00:32:04.956 A:middle
Anyway, so I'm OK with
where she is right now.

00:32:04.956 --> 00:32:05.936 A:middle
And I want to talk a little bit

00:32:05.936 --> 00:32:08.196 A:middle
about how MARI is
storing this data.

00:32:08.526 --> 00:32:10.736 A:middle
You know, Jack gave you
a really great overview

00:32:10.736 --> 00:32:12.426 A:middle
of what MARI does, and we're
going to get in a little bit

00:32:12.426 --> 00:32:14.326 A:middle
into the nuts and bolts
as I'm demonstrating here

00:32:14.826 --> 00:32:16.166 A:middle
without being too technical

00:32:16.166 --> 00:32:18.096 A:middle
because I don't really
understand all the nuts

00:32:18.096 --> 00:32:18.756 A:middle
and bolts.

00:32:20.356 --> 00:32:21.846 A:middle
So you can see what
I've been painting

00:32:21.846 --> 00:32:24.956 A:middle
on the left side is mirrored
over here on the right side.

00:32:24.956 --> 00:32:27.906 A:middle
And what we're looking
at here is a series

00:32:27.906 --> 00:32:29.886 A:middle
of slightly disturbing images

00:32:30.296 --> 00:32:35.256 A:middle
where the character has been
flattened out or kind of pelted

00:32:35.256 --> 00:32:36.956 A:middle
into these tiles, right?

00:32:36.956 --> 00:32:38.716 A:middle
And what these tiles represent,

00:32:38.716 --> 00:32:41.436 A:middle
each one represents
a single color image,

00:32:41.526 --> 00:32:43.276 A:middle
just like an image you
would take on your phone.

00:32:43.836 --> 00:32:46.746 A:middle
And these images keep
all of that color data

00:32:46.746 --> 00:32:47.486 A:middle
that I've been painting.

00:32:47.486 --> 00:32:48.506 A:middle
And they can be scaled

00:32:48.946 --> 00:32:50.906 A:middle
to whatever amount
of detail you need.

00:32:50.906 --> 00:32:54.426 A:middle
So for a video game, they'd be
down at like 256 pixel squared

00:32:54.766 --> 00:32:55.516 A:middle
which is pretty small.

00:32:55.916 --> 00:32:57.226 A:middle
But for a feature film,

00:32:57.696 --> 00:32:59.876 A:middle
you never know how much
detail you're going to need.

WEBVTT
X-TIMESTAMP-MAP=MPEGTS:181083,LOCAL:00:00:00.000

00:33:00.076 --> 00:33:04.226 A:middle
So these are actually 8,000
pixels by 8,000 pixels.

00:33:04.846 --> 00:33:08.556 A:middle
That's 33 times bigger
than an HD frame

00:33:08.556 --> 00:33:09.876 A:middle
from a movie, all right?

00:33:10.306 --> 00:33:12.556 A:middle
But the reason you need that
is because you never know

00:33:12.556 --> 00:33:14.546 A:middle
if the character is going to
walk right past the camera

00:33:14.876 --> 00:33:16.726 A:middle
and we're going to
see all of this detail

00:33:16.726 --> 00:33:18.296 A:middle
on one of these legs, right?

00:33:18.346 --> 00:33:19.566 A:middle
And that actually
happened in the film.

00:33:19.566 --> 00:33:21.626 A:middle
She walks right past the camera.

00:33:21.626 --> 00:33:25.066 A:middle
So we really need this level
of fidelity to make sure

00:33:25.066 --> 00:33:28.596 A:middle
that she holds up in any
situation that she shows up in.

00:33:28.676 --> 00:33:31.206 A:middle
So, the next thing I'm going
to do and the reason why I came

00:33:31.206 --> 00:33:34.956 A:middle
into this view is to show you
how I would paint her makeup.

00:33:34.956 --> 00:33:37.146 A:middle
And I painted on
the flat version

00:33:37.146 --> 00:33:38.566 A:middle
because it's a little
bit easier than trying

00:33:38.566 --> 00:33:39.816 A:middle
to work around the 3D shape.

00:33:40.136 --> 00:33:41.186 A:middle
But as I paint on the right,

00:33:41.186 --> 00:33:42.656 A:middle
you'll see that it
updates on the left.

00:33:43.576 --> 00:33:45.826 A:middle
So I'm going to grab this
great eye shadow color.

00:33:45.826 --> 00:33:49.896 A:middle
Now, a couple of weeks
ago, we had the wrap party

00:33:49.896 --> 00:33:53.546 A:middle
where the movie is-- the movie
is finished and we all go

00:33:53.546 --> 00:33:55.346 A:middle
to see it for the first
time and we dress up.

00:33:55.346 --> 00:33:57.666 A:middle
And my wife usually gets her
makeup professionally done.

00:33:57.666 --> 00:34:00.496 A:middle
But I told her, "Honey, I
painted makeup before, you know.

WEBVTT
X-TIMESTAMP-MAP=MPEGTS:181083,LOCAL:00:00:00.000

00:33:57.666 --> 00:34:00.496 A:middle
But I told her, "Honey, I
painted makeup before, you know.

00:34:00.496 --> 00:34:02.226 A:middle
I do it for work.

00:34:02.526 --> 00:34:03.906 A:middle
It's not a big deal.

00:34:03.906 --> 00:34:04.936 A:middle
I can handle it."

00:34:05.176 --> 00:34:08.056 A:middle
So, I painted her makeup,
I painted her eye shadow.

00:34:08.056 --> 00:34:09.706 A:middle
I thought it looked
great, you know?

00:34:10.065 --> 00:34:11.286 A:middle
I thought I did this great job.

00:34:11.286 --> 00:34:15.545 A:middle
She looks in the mirror, was
not pleased with my efforts.

00:34:15.545 --> 00:34:18.946 A:middle
So, we ended up being about
half an hour late to the movie.

00:34:19.826 --> 00:34:20.846 A:middle
Well we made it before
the movie.

00:34:20.846 --> 00:34:21.976 A:middle
We're half an hour
late to the party.

00:34:22.176 --> 00:34:23.556 A:middle
So we made it for
the important part,

00:34:23.656 --> 00:34:26.755 A:middle
but I doubt she'll trust me to
do her makeup again after that.

00:34:27.676 --> 00:34:28.946 A:middle
I guess, you know, painting

00:34:28.946 --> 00:34:31.275 A:middle
on monsters doesn't
necessarily transfer directly

00:34:31.275 --> 00:34:33.516 A:middle
over to painting on humans.

00:34:34.585 --> 00:34:35.386 A:middle
Would never have guessed.

00:34:35.696 --> 00:34:38.036 A:middle
Anyway, so I'm painting
this sweet purple eye shadow

00:34:38.036 --> 00:34:38.856 A:middle
onto this character.

00:34:39.136 --> 00:34:40.485 A:middle
And you can see,
again, as I'm painting

00:34:40.485 --> 00:34:41.806 A:middle
on the right it's
updating on the left.

00:34:42.166 --> 00:34:48.456 A:middle
And-- So what we've got
here is basically two views

00:34:48.456 --> 00:34:49.196 A:middle
of the same thing.

00:34:49.916 --> 00:34:52.436 A:middle
So now I've done that, I'm
going to just go ahead and visit

00:34:52.436 --> 00:34:54.496 A:middle
on the other side of--
I've got another layer

00:34:54.496 --> 00:34:56.906 A:middle
that has her makeup
on the other side.

00:34:56.976 --> 00:34:59.406 A:middle
I always forget character
right or my right.

WEBVTT
X-TIMESTAMP-MAP=MPEGTS:181083,LOCAL:00:00:00.000

00:35:00.986 --> 00:35:03.446 A:middle
Guess-- I guessed right, great.

00:35:03.686 --> 00:35:05.006 A:middle
I'm not even going to
bother with her lipstick.

00:35:05.006 --> 00:35:06.066 A:middle
Painting lipstick for me is

00:35:06.066 --> 00:35:08.066 A:middle
like when your four-year-old
daughter tries

00:35:08.066 --> 00:35:09.516 A:middle
to paint her lipstick
for the first time,

00:35:09.956 --> 00:35:11.406 A:middle
I've never gotten past

00:35:11.406 --> 00:35:13.186 A:middle
that because I just
don't do it often enough.

00:35:13.846 --> 00:35:15.846 A:middle
Anyway, so we've
got her makeup done,

00:35:15.846 --> 00:35:17.376 A:middle
and her skin color looks good.

00:35:17.666 --> 00:35:20.276 A:middle
But it's still lacking
some that detail

00:35:20.276 --> 00:35:21.366 A:middle
that we saw from the packet.

00:35:21.406 --> 00:35:23.196 A:middle
Now, this is the color channel

00:35:23.196 --> 00:35:25.396 A:middle
and I've got some nice
variety to her color.

00:35:25.846 --> 00:35:29.026 A:middle
But with every character
in a 3D film,

00:35:29.426 --> 00:35:32.076 A:middle
there are multiple channels
that define different parts

00:35:32.076 --> 00:35:33.326 A:middle
of what the character
looks like.

00:35:33.646 --> 00:35:35.196 A:middle
So this is the slide
from the shader packet

00:35:35.236 --> 00:35:37.916 A:middle
that shows me what the
characters look like,

00:35:37.986 --> 00:35:39.866 A:middle
what the character's face
looks like in more detail.

00:35:39.866 --> 00:35:42.396 A:middle
And there's some really
graphic shapes to her wrinkles

00:35:42.786 --> 00:35:46.346 A:middle
and to the, you know,
the shape of her face,

00:35:46.346 --> 00:35:47.456 A:middle
more than just the color.

00:35:47.966 --> 00:35:50.476 A:middle
And so we would actually paint
that on a separate channel.

00:35:50.476 --> 00:35:53.486 A:middle
It would be on what we call the
bump or the displacement map.

00:35:53.636 --> 00:35:56.056 A:middle
And that's a grayscale
channel that defines

00:35:56.306 --> 00:35:58.366 A:middle
where the wrinkles go in
and where things bump out.

00:35:58.776 --> 00:36:01.686 A:middle
And so, I'm going to show you
how I would do that over here.

WEBVTT
X-TIMESTAMP-MAP=MPEGTS:181083,LOCAL:00:00:00.000

00:35:58.776 --> 00:36:01.686 A:middle
And so, I'm going to show you
how I would do that over here.

00:36:04.676 --> 00:36:06.986 A:middle
So, here we're starting with a
color and I'm going to switch

00:36:06.986 --> 00:36:09.196 A:middle
over to the bump channel.

00:36:09.816 --> 00:36:11.976 A:middle
It starts out with this--

00:36:12.176 --> 00:36:14.176 A:middle
you know, just this
gray solid image.

00:36:14.286 --> 00:36:18.276 A:middle
And the first thing I'm going
to do is flood in some texture,

00:36:18.316 --> 00:36:22.366 A:middle
flood in just this
basic leather variety.

00:36:22.366 --> 00:36:25.756 A:middle
Now, it looks good but it
doesn't have the specificity

00:36:25.756 --> 00:36:29.176 A:middle
that we'd really want for this
character to match that artwork,

00:36:29.176 --> 00:36:30.086 A:middle
that beautiful artwork.

00:36:31.506 --> 00:36:34.966 A:middle
So the first thing that I'm
going to do is actually bring

00:36:34.966 --> 00:36:36.166 A:middle
in a picture of an elephant.

00:36:36.296 --> 00:36:39.246 A:middle
So this is the side of an
elephant as you can see.

00:36:40.116 --> 00:36:43.756 A:middle
And I'm actually going to
use that to paint through

00:36:43.756 --> 00:36:46.816 A:middle
and get some wrinkles on the
surface of this character.

00:36:46.816 --> 00:36:48.026 A:middle
So I'm going to start
with her eye.

00:36:49.196 --> 00:36:52.936 A:middle
And I'm trying to find the right
angle to paint through because

00:36:53.296 --> 00:36:55.626 A:middle
with wrinkles, if you look at
some with really wrinkly skin,

00:36:55.626 --> 00:36:57.376 A:middle
none of the wrinkles
are arbitrary.

00:36:57.376 --> 00:37:01.216 A:middle
All of them flow exactly
where the skin would fold

WEBVTT
X-TIMESTAMP-MAP=MPEGTS:181083,LOCAL:00:00:00.000

00:36:57.376 --> 00:37:01.216 A:middle
All of them flow exactly
where the skin would fold

00:37:01.216 --> 00:37:02.366 A:middle
and compress over time.

00:37:02.966 --> 00:37:05.516 A:middle
And so, I can't just
paint these willy-nilly.

00:37:05.516 --> 00:37:06.656 A:middle
I have to really make sure

00:37:06.656 --> 00:37:09.906 A:middle
that they are feeling what we
would call motivated, right?

00:37:09.946 --> 00:37:12.666 A:middle
That they would be--
they would be naturally

00:37:12.666 --> 00:37:14.216 A:middle
where the character
would be wrinkling.

00:37:14.216 --> 00:37:15.846 A:middle
Now, this is obviously
a made up character.

00:37:15.846 --> 00:37:18.236 A:middle
But the character still has
to feel believable, right?

00:37:18.296 --> 00:37:20.726 A:middle
If this character
creature were to exist,

00:37:21.366 --> 00:37:22.726 A:middle
how would she wrinkle
in her face?

00:37:22.956 --> 00:37:25.086 A:middle
So, I'm good with these.

00:37:25.216 --> 00:37:26.716 A:middle
I'm going to zoom out.

00:37:26.716 --> 00:37:27.456 A:middle
And this is one of my--

00:37:28.016 --> 00:37:30.526 A:middle
it's really one of my
favorite features in MARI

00:37:30.576 --> 00:37:34.166 A:middle
because I can get so much detail
so rapidly onto the character.

00:37:34.596 --> 00:37:36.396 A:middle
And so I'm just going to paint
some of these wrinkles in.

00:37:36.396 --> 00:37:38.486 A:middle
And again, since this is
the black and white map,

00:37:38.936 --> 00:37:40.436 A:middle
it's really hard to tell
it how this is going

00:37:40.436 --> 00:37:42.216 A:middle
to affect the final
look of the character.

00:37:42.506 --> 00:37:43.706 A:middle
And I'll get more
into that later.

00:37:43.766 --> 00:37:46.286 A:middle
But this is, you know,
this is where we start

00:37:46.366 --> 00:37:49.156 A:middle
from in getting a lot
of this detail in.

00:37:49.386 --> 00:37:51.596 A:middle
There's this great spot on
the texture that looks just

00:37:51.596 --> 00:37:54.136 A:middle
like forehead, if I can find it.

00:37:54.916 --> 00:37:56.586 A:middle
Right about-- I'm upside down.

00:37:56.756 --> 00:37:57.716 A:middle
There we go.

WEBVTT
X-TIMESTAMP-MAP=MPEGTS:181083,LOCAL:00:00:00.000

00:38:02.546 --> 00:38:04.656 A:middle
So the next image that I'm
actually going to pull in came

00:38:04.656 --> 00:38:06.486 A:middle
from a picture that
I took on my iPhone

00:38:06.486 --> 00:38:07.676 A:middle
from the Pixar parking lot.

00:38:07.676 --> 00:38:08.756 A:middle
There are these trees there.

00:38:09.086 --> 00:38:11.036 A:middle
You can the tire of
my car over here.

00:38:11.996 --> 00:38:15.746 A:middle
These trees there that spray sap
in all the cars for some reason,

00:38:15.876 --> 00:38:17.476 A:middle
and I'm not sure, you know, why.

00:38:17.476 --> 00:38:21.196 A:middle
But I was walking into work and
I saw the texture on the side

00:38:21.196 --> 00:38:23.036 A:middle
and I just stared at it,
like, you know, weirdo.

00:38:23.186 --> 00:38:23.756 A:middle
I'm like, wow.

00:38:24.426 --> 00:38:25.616 A:middle
That texture looks really cool.

00:38:25.616 --> 00:38:26.726 A:middle
I'm not sure what I'm
going to use it for.

00:38:26.726 --> 00:38:29.596 A:middle
So I took the picture and then
I realized it was actually this

00:38:29.646 --> 00:38:33.816 A:middle
really perfect way to transition
from the organic leather

00:38:33.816 --> 00:38:36.466 A:middle
on the front of her face
to the more hardened shells

00:38:36.466 --> 00:38:37.336 A:middle
on the side of her head.

00:38:37.686 --> 00:38:40.666 A:middle
So, I really loved it for
that particular purpose.

00:38:40.666 --> 00:38:41.926 A:middle
Though when I took the
picture, I had no idea

00:38:41.926 --> 00:38:45.086 A:middle
when I was going to use it.

00:38:45.266 --> 00:38:48.706 A:middle
Again, I'm trying to get sort
of this material transition

00:38:48.706 --> 00:38:51.136 A:middle
because we're talking about
two different textures here.

00:38:53.456 --> 00:38:54.786 A:middle
This, again, is one
of my favorite parts

00:38:54.786 --> 00:38:58.466 A:middle
because I can really paint in
as much detail as I would like.

00:38:59.196 --> 00:39:02.706 A:middle
Now, so we've got these shapes
and it's starting to feel good

WEBVTT
X-TIMESTAMP-MAP=MPEGTS:181083,LOCAL:00:00:00.000

00:38:59.196 --> 00:39:02.706 A:middle
Now, so we've got these shapes
and it's starting to feel good

00:39:02.706 --> 00:39:04.466 A:middle
but it's still in the realm

00:39:04.466 --> 00:39:06.886 A:middle
of being a bit too
photorealistic, right?

00:39:06.926 --> 00:39:10.036 A:middle
We could be moving into Uncanny
Valley here if I'm not careful

00:39:10.236 --> 00:39:12.616 A:middle
with all of this photo
detail that I'm using.

00:39:12.616 --> 00:39:16.296 A:middle
And so, the next thing that
I would do is actually start

00:39:16.296 --> 00:39:20.146 A:middle
to paint on top of this
to really nail the details

00:39:20.146 --> 00:39:23.276 A:middle
down the way that-- the way
that it was in the art packet.

00:39:24.836 --> 00:39:27.126 A:middle
So, let's see.

00:39:27.486 --> 00:39:31.176 A:middle
I remember from the packet there
were these really graphic shapes

00:39:31.176 --> 00:39:31.876 A:middle
around her eyes.

00:39:31.876 --> 00:39:33.276 A:middle
I'm going to try
and pull those out.

00:39:33.666 --> 00:39:35.986 A:middle
Again, like I said, I'm
going pretty darn fast here.

00:39:35.986 --> 00:39:43.716 A:middle
So, I apologize I'm being a
bit sloppy in how I do this.

00:39:43.936 --> 00:39:46.116 A:middle
Once I've painted kind
of on top of this,

00:39:46.116 --> 00:39:48.926 A:middle
it starts to make
it feel more graphic

00:39:48.926 --> 00:39:51.836 A:middle
and make it feel a
bit more painterly

00:39:51.836 --> 00:39:53.946 A:middle
and less creature-shop.

00:39:54.636 --> 00:39:58.556 A:middle
I'm just trying to get
in some of these folds.

00:39:59.366 --> 00:40:02.936 A:middle
I'm going to get some
great crow's feet

WEBVTT
X-TIMESTAMP-MAP=MPEGTS:181083,LOCAL:00:00:00.000

00:39:59.366 --> 00:40:02.936 A:middle
I'm going to get some
great crow's feet

00:40:02.936 --> 00:40:03.556 A:middle
on the side of her face.

00:40:03.866 --> 00:40:06.096 A:middle
It's funny because, shaders,
we always love to work

00:40:06.096 --> 00:40:09.396 A:middle
on old characters because their
faces really tell a story.

00:40:10.306 --> 00:40:13.176 A:middle
You can see, you know, the most
common expression a person has

00:40:13.176 --> 00:40:13.986 A:middle
had for their whole life.

00:40:14.616 --> 00:40:17.346 A:middle
You know, if you frown a
lot, those lines are kind

00:40:17.346 --> 00:40:19.206 A:middle
of etched permanently
into your face.

00:40:19.846 --> 00:40:23.186 A:middle
And with older characters,
I actually get to take part

00:40:23.186 --> 00:40:25.886 A:middle
in telling the story by what
the character looks like.

00:40:26.006 --> 00:40:29.816 A:middle
And that was-- you know, my goal
here is I-- with Hardscrabble,

00:40:29.816 --> 00:40:33.386 A:middle
I really wanted her to look
as good as this character was,

00:40:33.386 --> 00:40:35.046 A:middle
I mean, because she's
such an awesome character

00:40:35.046 --> 00:40:38.596 A:middle
and I really wanted to take
part in telling that story

00:40:38.596 --> 00:40:41.456 A:middle
and make her look visually
as cool as I possibly could.

00:40:42.106 --> 00:40:45.546 A:middle
So this is good enough for
now, a good starting point.

00:40:45.546 --> 00:40:47.906 A:middle
So I've painted into
this bump channel.

00:40:48.566 --> 00:40:52.056 A:middle
And I can actually take
that channel and start

00:40:52.056 --> 00:40:53.466 A:middle
to use it in the color.

00:40:53.466 --> 00:40:55.636 A:middle
So when I visit that
channel here,

00:40:55.636 --> 00:40:57.786 A:middle
I can multiply the color
just like in Photoshop.

00:40:58.106 --> 00:41:00.276 A:middle
And we can start to see how
it will affect the final look

WEBVTT
X-TIMESTAMP-MAP=MPEGTS:181083,LOCAL:00:00:00.000

00:40:58.106 --> 00:41:00.276 A:middle
And we can start to see how
it will affect the final look

00:41:00.276 --> 00:41:00.836 A:middle
of the character.

00:41:01.286 --> 00:41:02.636 A:middle
But there's a whole
lot of other channels

00:41:02.666 --> 00:41:05.716 A:middle
that are needed for
the final look.

00:41:05.896 --> 00:41:07.626 A:middle
The first is the
specular channel.

00:41:07.626 --> 00:41:10.306 A:middle
What this is, and I'm not going
to bother painting it today,

00:41:10.776 --> 00:41:14.976 A:middle
what this is, is it's showing
where the shininess is,

00:41:14.976 --> 00:41:16.076 A:middle
if that makes any sense.

00:41:16.076 --> 00:41:17.186 A:middle
It's showing what
parts are going

00:41:17.186 --> 00:41:18.866 A:middle
to be shinier than other parts.

00:41:19.276 --> 00:41:21.456 A:middle
And then the roughness channel,
which makes it even less sense,

00:41:21.456 --> 00:41:23.386 A:middle
is showing how glossy

00:41:23.386 --> 00:41:26.206 A:middle
or how rough those specular
highlights are going to be.

00:41:26.966 --> 00:41:30.496 A:middle
Now, as an artist, these
things don't make a whole lot

00:41:30.496 --> 00:41:31.476 A:middle
of sense to me visually.

00:41:31.476 --> 00:41:33.316 A:middle
I look at this gray
and I'm like, "OK.

00:41:33.976 --> 00:41:35.636 A:middle
What does that mean, right?

00:41:35.636 --> 00:41:36.496 A:middle
Her eyes are black.

00:41:36.496 --> 00:41:39.566 A:middle
Her lips are a slightly
darker gray than her skin.

00:41:39.606 --> 00:41:40.856 A:middle
Her color is this other gray.

00:41:41.266 --> 00:41:44.506 A:middle
I don't know how that
affects the final look."

00:41:44.506 --> 00:41:47.076 A:middle
And before a program like
MARI, I would have to load

00:41:47.076 --> 00:41:49.516 A:middle
up these channels as
individual flattened images

00:41:49.796 --> 00:41:51.016 A:middle
in a program like Photoshop.

00:41:51.356 --> 00:41:54.956 A:middle
I'd paint the gray her of her
lips and hope that it was going

00:41:54.956 --> 00:41:57.116 A:middle
to be the right shade of gray.

00:41:57.116 --> 00:41:58.866 A:middle
And then I'd kick off a render,

00:41:58.996 --> 00:42:01.856 A:middle
and that render would take
anywhere from two minutes

WEBVTT
X-TIMESTAMP-MAP=MPEGTS:181083,LOCAL:00:00:00.000

00:41:58.996 --> 00:42:01.856 A:middle
and that render would take
anywhere from two minutes

00:42:01.856 --> 00:42:05.016 A:middle
for a really kind of
inexpensive render

00:42:05.016 --> 00:42:07.306 A:middle
that shows me a vague idea
of what it's going to look

00:42:07.306 --> 00:42:11.036 A:middle
like to a full 12-hour render if
I'm going into the actual shot

00:42:11.036 --> 00:42:13.166 A:middle
from the film with all of the
lighting and all the bells

00:42:13.166 --> 00:42:14.046 A:middle
and whistles turned on.

00:42:14.506 --> 00:42:17.156 A:middle
So if I really wanted to see
how her lips looked in the shot,

00:42:17.586 --> 00:42:19.786 A:middle
I would need to wait up
to 12 hours to see that.

00:42:19.786 --> 00:42:21.076 A:middle
And so, I'd paint my gray.

00:42:21.656 --> 00:42:22.766 A:middle
I'd save the image.

00:42:22.766 --> 00:42:23.856 A:middle
I'd kick off the renders.

00:42:24.586 --> 00:42:25.326 A:middle
And I would wait.

00:42:25.326 --> 00:42:27.556 A:middle
And then I get to render
back and I go like, "OK,

00:42:27.556 --> 00:42:30.146 A:middle
her lips are too
glossy," so I'd go back.

00:42:30.176 --> 00:42:32.016 A:middle
I'd paint a slightly
darker gray.

00:42:32.416 --> 00:42:34.816 A:middle
And then I'd send it and then
I'd realize I'd gone the wrong

00:42:34.816 --> 00:42:36.886 A:middle
direction, and now her
lips are even shinier.

00:42:37.136 --> 00:42:38.726 A:middle
And I'd wait another
12 hours, right?

00:42:38.726 --> 00:42:39.806 A:middle
So, you can see how

00:42:39.806 --> 00:42:42.906 A:middle
that iteration could completely
kill the creative process.

00:42:43.326 --> 00:42:45.776 A:middle
What MARI allows us to do
is it allows us to take all

00:42:45.776 --> 00:42:49.376 A:middle
of these separate kind
of nonsensical channels

00:42:49.786 --> 00:42:53.166 A:middle
and create a shader that we can
actually preview in real time

00:42:53.496 --> 00:42:56.186 A:middle
that lets us look at
what the final look

00:42:56.186 --> 00:42:58.656 A:middle
of the character is going to
be in that finished render.

00:42:59.366 --> 00:43:02.276 A:middle
And instead of waiting for
anywhere from 2 minutes

WEBVTT
X-TIMESTAMP-MAP=MPEGTS:181083,LOCAL:00:00:00.000

00:42:59.366 --> 00:43:02.276 A:middle
And instead of waiting for
anywhere from 2 minutes

00:43:02.306 --> 00:43:06.356 A:middle
to 12 hours, we can see that
at 60 frames per second.

00:43:07.186 --> 00:43:09.036 A:middle
So I'm going to switch
over to her shader

00:43:10.116 --> 00:43:11.006 A:middle
and turn on the lighting.

00:43:11.776 --> 00:43:14.616 A:middle
And you can see here
how now we've got all

00:43:14.616 --> 00:43:15.506 A:middle
of those different channels

00:43:15.506 --> 00:43:17.726 A:middle
that I've painted
working at the same time.

00:43:18.166 --> 00:43:20.606 A:middle
We've got those bumps that I
just painted, those wrinkles.

00:43:21.246 --> 00:43:22.136 A:middle
We've got the color.

00:43:22.136 --> 00:43:25.366 A:middle
And then the shininess, you
can see how her eyelid is much

00:43:25.476 --> 00:43:28.036 A:middle
shinier than the
rest of her skin.

00:43:28.036 --> 00:43:30.986 A:middle
And this is, you know, this
is possible, you know, again,

00:43:30.986 --> 00:43:32.926 A:middle
through the hardware and the
software working together

00:43:32.926 --> 00:43:33.826 A:middle
to give us this image.

00:43:34.366 --> 00:43:37.736 A:middle
And if you think about it,
remember how I said that each

00:43:37.736 --> 00:43:40.626 A:middle
of those frames was
8,000 pixel squared.

00:43:40.946 --> 00:43:43.516 A:middle
Well there's nine of those
for every single channel.

00:43:43.676 --> 00:43:45.916 A:middle
So for one channel,
the color channel,

00:43:45.916 --> 00:43:49.366 A:middle
that's 600 million
pixels, all right,

00:43:49.486 --> 00:43:52.136 A:middle
600 million points
of image data.

00:43:53.386 --> 00:43:56.506 A:middle
Now we're looking at four
channels simultaneously which is

00:43:56.586 --> 00:44:00.106 A:middle
about 2.4 billion
pixels, all right?

WEBVTT
X-TIMESTAMP-MAP=MPEGTS:181083,LOCAL:00:00:00.000

00:43:56.586 --> 00:44:00.106 A:middle
about 2.4 billion
pixels, all right?

00:44:00.666 --> 00:44:02.146 A:middle
That is a vast amount of data.

00:44:02.146 --> 00:44:04.756 A:middle
That's 10 gigabytes
of image data.

00:44:05.196 --> 00:44:07.996 A:middle
And MARI is letting us
preview that all in real time

00:44:08.496 --> 00:44:10.646 A:middle
and it's running so
smoothly on this hardware.

00:44:10.726 --> 00:44:14.536 A:middle
I've been working on MARI for
about two or three years now

00:44:14.576 --> 00:44:16.156 A:middle
and I've never seen
it run smoother

00:44:16.236 --> 00:44:17.776 A:middle
than it does on the new Mac Pro.

00:44:17.966 --> 00:44:20.626 A:middle
By the way, so I've been
working on this for a couple

00:44:20.626 --> 00:44:22.976 A:middle
of weeks now and it's
been in this giant box.

00:44:23.126 --> 00:44:26.816 A:middle
I had no idea what it looked
like until yesterday, all right?

00:44:26.886 --> 00:44:27.296 A:middle
No idea.

00:44:28.016 --> 00:44:29.606 A:middle
[ Applause ]

00:44:29.606 --> 00:44:33.666 A:middle
The funny thing was it could've
been the size of a mini fridge.

00:44:33.696 --> 00:44:34.846 A:middle
I had no idea.

00:44:34.986 --> 00:44:35.856 A:middle
Or an iPhone.

00:44:35.856 --> 00:44:37.676 A:middle
We were thinking it was this
floating sphere, you know.

00:44:37.796 --> 00:44:38.596 A:middle
I had no idea.

00:44:38.596 --> 00:44:40.986 A:middle
But I just knew that it
was running really well.

00:44:40.986 --> 00:44:43.006 A:middle
I just had no idea it was
inside this mystery box.

00:44:43.006 --> 00:44:47.906 A:middle
So, it was just as exciting for
me yesterday as for you guys.

00:44:47.906 --> 00:44:49.066 A:middle
Anyway, I lost my
train of thought.

00:44:49.176 --> 00:44:51.646 A:middle
So here we are.

00:44:51.646 --> 00:44:52.826 A:middle
We're looking at
all these shaders.

00:44:52.826 --> 00:44:55.526 A:middle
Now, the great thing is even
though it's really pretty

00:44:55.526 --> 00:44:57.466 A:middle
to see this shader in real time,

00:44:57.866 --> 00:45:00.516 A:middle
here's where the actual
real advantage comes in.

WEBVTT
X-TIMESTAMP-MAP=MPEGTS:181083,LOCAL:00:00:00.000

00:44:57.866 --> 00:45:00.516 A:middle
here's where the actual
real advantage comes in.

00:45:01.696 --> 00:45:04.486 A:middle
Working at an animation studio,
you paint all these details

00:45:04.486 --> 00:45:06.156 A:middle
and then the animators
have to come in

00:45:06.156 --> 00:45:08.086 A:middle
and start moving
stuff around, right?

00:45:08.086 --> 00:45:09.996 A:middle
I mean the audacity of that.

00:45:10.206 --> 00:45:12.676 A:middle
So, I paint the wrinkles on her

00:45:12.676 --> 00:45:16.336 A:middle
and then once the character
actually is talking and moving,

00:45:16.336 --> 00:45:19.136 A:middle
sometimes what I painted
doesn't look right anymore

00:45:19.136 --> 00:45:20.006 A:middle
and I have to fix it.

00:45:20.006 --> 00:45:22.886 A:middle
Now, in the past, it's really
hard to identify those problems

00:45:22.886 --> 00:45:24.256 A:middle
or at least it takes
a lot of time

00:45:24.256 --> 00:45:27.086 A:middle
because to render the animation,
I definitely need to wait

00:45:27.086 --> 00:45:28.636 A:middle
at least a few hours
to see that.

00:45:29.236 --> 00:45:31.486 A:middle
And if I want to see it in
the context of the shot,

00:45:31.886 --> 00:45:33.506 A:middle
I would need to wait
up to 12 hours.

00:45:33.726 --> 00:45:37.906 A:middle
So, MARI allows us to bring the
final animation from the shot

00:45:38.076 --> 00:45:40.516 A:middle
into this environment so
I can actually preview it.

00:45:40.516 --> 00:45:42.816 A:middle
So, I'm going to scrub
to her animation here.

00:45:42.816 --> 00:45:44.506 A:middle
And this is the same
shot that I showed you.

00:45:44.786 --> 00:45:47.306 A:middle
And you can see her
speaking and moving around.

00:45:47.366 --> 00:45:50.946 A:middle
And I noticed at this point
where she raises eyebrow like,

00:45:50.946 --> 00:45:55.296 A:middle
wow, OK, my textures are
stretching right there,

00:45:55.296 --> 00:45:55.666 A:middle
all right?

00:45:55.666 --> 00:45:56.576 A:middle
So let me fix that.

00:45:56.576 --> 00:45:58.636 A:middle
So I'm going to go
to my bump channel.

00:45:58.636 --> 00:46:01.876 A:middle
I'm going to pull in my
elephant texture again.

WEBVTT
X-TIMESTAMP-MAP=MPEGTS:181083,LOCAL:00:00:00.000

00:45:58.636 --> 00:46:01.876 A:middle
I'm going to pull in my
elephant texture again.

00:46:02.776 --> 00:46:05.836 A:middle
And I'm going to
grab these wrinkles.

00:46:13.766 --> 00:46:15.186 A:middle
And I can paint straight

00:46:15.296 --> 00:46:17.926 A:middle
onto this animated frame,
right, in real time.

00:46:18.016 --> 00:46:19.096 A:middle
[ Applause ]

00:46:19.096 --> 00:46:19.836 A:middle
It's pretty cool, huh?

00:46:20.516 --> 00:46:23.906 A:middle
[ Applause ]

00:46:24.406 --> 00:46:27.396 A:middle
And now when I play the
animation, I can say, "OK,

00:46:27.516 --> 00:46:29.926 A:middle
you know, how does it look, you
know, at this moment, right?

00:46:29.926 --> 00:46:32.586 A:middle
How does it look, you
know, at any given frame?"

00:46:32.586 --> 00:46:35.496 A:middle
And I've just identified
and fixed a problem

00:46:35.496 --> 00:46:37.766 A:middle
in about 30 seconds that
would've typically taken me

00:46:37.766 --> 00:46:40.426 A:middle
about 2 days before if I
were to wait for the full--

00:46:40.646 --> 00:46:42.246 A:middle
all the bells and
whistles renders, right?

00:46:42.486 --> 00:46:43.676 A:middle
And that is fantastic.

00:46:43.676 --> 00:46:47.336 A:middle
It is-- you know, I'm able
to work ridiculously faster

00:46:47.336 --> 00:46:48.666 A:middle
in an environment like this.

00:46:48.746 --> 00:46:53.176 A:middle
And it is, you know,
again-- so, like I said,

00:46:53.176 --> 00:46:55.556 A:middle
MARI has never run faster than
I've seen it on this machine.

00:46:55.626 --> 00:46:57.346 A:middle
And we can push the
limits of that.

00:46:57.346 --> 00:47:00.636 A:middle
So, this character represents
about 10 gigabytes worth

WEBVTT
X-TIMESTAMP-MAP=MPEGTS:181083,LOCAL:00:00:00.000

00:46:57.346 --> 00:47:00.636 A:middle
So, this character represents
about 10 gigabytes worth

00:47:00.636 --> 00:47:02.606 A:middle
of image data but we
can do more than that.

00:47:02.696 --> 00:47:07.956 A:middle
I can bring in Mike Wazowski
which essentially doubles it

00:47:07.956 --> 00:47:09.916 A:middle
to about 20 gigabytes
because he's got his own set

00:47:09.916 --> 00:47:10.546 A:middle
of textures.

00:47:10.716 --> 00:47:12.666 A:middle
And so he's over here, right,

00:47:12.666 --> 00:47:14.566 A:middle
and we can preview
his animation as well.

00:47:15.206 --> 00:47:20.206 A:middle
So he's saying, "Please,
let me try the simulator.

00:47:20.616 --> 00:47:21.246 A:middle
I'll surprise you."

00:47:22.181 --> 00:47:24.181 A:middle
[ Laughter ]

00:47:24.346 --> 00:47:24.926 A:middle
So there he is.

00:47:24.926 --> 00:47:27.236 A:middle
And we've got both of these
characters and I can see them

00:47:27.236 --> 00:47:29.016 A:middle
in context together, right?

00:47:29.046 --> 00:47:33.226 A:middle
I can see them right here
and that is so helpful.

00:47:33.226 --> 00:47:37.596 A:middle
It's so amazing to be able to
find and identify any problems

00:47:37.596 --> 00:47:39.146 A:middle
that we have by having
these characters

00:47:39.146 --> 00:47:39.886 A:middle
in the same room together.

00:47:39.886 --> 00:47:42.726 A:middle
And I can even bring
in the set and see them

00:47:42.726 --> 00:47:44.746 A:middle
with their shadows
in this environment.

00:47:45.486 --> 00:47:47.026 A:middle
And it's been so amazing.

00:47:47.066 --> 00:47:49.596 A:middle
And, you know, I think
that's it for the demo.

00:47:50.096 --> 00:47:53.566 A:middle
I've-- it's been such a
privilege to speak to you today

00:47:53.566 --> 00:47:55.136 A:middle
to able to work with
this amazing hardware.

00:47:55.136 --> 00:47:56.486 A:middle
I can't wait to get
my hands on one.

00:47:56.486 --> 00:47:58.416 A:middle
I can't wait 'til the fall.

00:47:59.096 --> 00:48:01.266 A:middle
And I've been so-- it's been
such a privilege to work

WEBVTT
X-TIMESTAMP-MAP=MPEGTS:181083,LOCAL:00:00:00.000

00:47:59.096 --> 00:48:01.266 A:middle
And I've been so-- it's been
such a privilege to work

00:48:01.266 --> 00:48:02.176 A:middle
on Monsters University.

00:48:02.176 --> 00:48:03.566 A:middle
We're really proud of this film.

00:48:03.566 --> 00:48:06.056 A:middle
And I hope that all of you guys
go see it because it's amazing.

00:48:06.396 --> 00:48:09.776 A:middle
We're going to end with
another trailer from the movie.

00:48:10.116 --> 00:48:11.676 A:middle
And, yeah, let's go to that now.

00:48:12.516 --> 00:48:18.956 A:middle
[ Applause ]

00:48:19.456 --> 00:48:22.376 A:middle
>> [Background Music]
Welcome to the Scare Floor.

00:48:22.696 --> 00:48:23.396 A:middle
>> Wow.

00:48:25.386 --> 00:48:27.656 A:middle
>> How do I become a scarer?

00:48:29.806 --> 00:48:32.016 A:middle
>> I'm officially
a college student!

00:48:32.856 --> 00:48:33.586 A:middle
Mike Wazowski.

00:48:33.906 --> 00:48:34.456 A:middle
>> James P.

00:48:34.456 --> 00:48:34.976 A:middle
Sullivan.

00:48:35.266 --> 00:48:36.506 A:middle
>> Like Bill Sullivan?

00:48:36.646 --> 00:48:37.056 A:middle
>> He's my dad.

00:48:37.236 --> 00:48:39.176 A:middle
>> I expect big things from you.

00:48:40.316 --> 00:48:43.406 A:middle
>> I just need to ace my
classes, graduate with honors,

00:48:43.876 --> 00:48:45.096 A:middle
and become the greatest
scarer ever.

00:48:45.916 --> 00:48:46.056 A:middle
>> Help!

00:48:47.281 --> 00:48:49.281 A:middle
[ Noise ]

00:48:49.546 --> 00:48:50.596 A:middle
>> Were you kissing my hand?

00:48:50.596 --> 00:48:52.256 A:middle
>> And what about you
with all your shedding.

00:48:52.256 --> 00:48:52.796 A:middle
>> I don't shed.

00:48:52.896 --> 00:48:53.106 A:middle
>> Really?

00:48:53.856 --> 00:48:57.416 A:middle
>> The star player
has just arrived.

00:48:58.266 --> 00:48:58.696 A:middle
>> You're my hero.

00:48:59.076 --> 00:48:59.143 A:middle
>> Yeah!

WEBVTT
X-TIMESTAMP-MAP=MPEGTS:181083,LOCAL:00:00:00.000

00:49:01.186 --> 00:49:02.056 A:middle
>> Slow down, squirt.

00:49:02.056 --> 00:49:04.076 A:middle
>> This is a party
for scare students.

00:49:04.076 --> 00:49:05.176 A:middle
>> I am a scare student.

00:49:05.176 --> 00:49:07.046 A:middle
>> I mean for scare
students who actually,

00:49:07.046 --> 00:49:08.756 A:middle
you know, never change.

00:49:09.296 --> 00:49:11.396 A:middle
>> Just wait hotshot.

00:49:11.556 --> 00:49:13.656 A:middle
I'm going to scare circles
around you this year.

00:49:14.516 --> 00:49:17.936 A:middle
[ Noise ]

00:49:18.436 --> 00:49:21.136 A:middle
>> My brothers appose
my [inaudible].

00:49:22.216 --> 00:49:24.746 A:middle
>> [Inaudible] everybody
let's keep a dream journal.

00:49:25.026 --> 00:49:26.186 A:middle
>> I'm a dance major.

00:49:26.436 --> 00:49:27.046 A:middle
And I'm not.

00:49:27.046 --> 00:49:28.976 A:middle
>> Not exactly the
scariest group in the world.

00:49:29.136 --> 00:49:29.346 A:middle
>> Smile!

00:49:30.196 --> 00:49:31.486 A:middle
>> Hi mom!

00:49:32.061 --> 00:49:34.061 A:middle
[ Laughter ]

00:49:34.106 --> 00:49:35.416 A:middle
>> I thought I could
show everybody

00:49:35.416 --> 00:49:37.926 A:middle
that Mike Wazowski
is something special.

00:49:38.166 --> 00:49:40.966 A:middle
>> Just reach deep down
and let the scary out.

00:49:43.276 --> 00:49:44.846 A:middle
>> Boys, oh, scary.

00:49:45.066 --> 00:49:45.856 A:middle
>> Up top.

00:49:47.656 --> 00:49:48.796 A:middle
>> The whole school
is finally going

00:49:48.886 --> 00:49:49.946 A:middle
to see what Mike
Wazowski can do.

00:49:53.226 --> 00:49:53.946 A:middle
>> Time to go to work.

00:49:54.076 --> 00:49:55.256 A:middle
>> Scary feet, scary
feet, scary feet.

00:49:55.256 --> 00:49:56.396 A:middle
The kid's in the bathroom.

00:49:56.396 --> 00:49:57.936 A:middle
[Shouting]

00:49:57.936 --> 00:49:58.436 A:middle
Angry poodle.

00:49:58.436 --> 00:49:58.676 A:middle
Dance clown.

00:49:59.146 --> 00:50:01.406 A:middle
My Aunt Phyllis.

WEBVTT
X-TIMESTAMP-MAP=MPEGTS:181083,LOCAL:00:00:00.000

00:49:59.146 --> 00:50:01.406 A:middle
My Aunt Phyllis.

00:50:01.496 --> 00:50:01.816 A:middle
In the morning.

00:50:02.046 --> 00:50:03.596 A:middle
>> Shhh! Quiet.

00:50:03.776 --> 00:50:06.096 A:middle
>> What's so scary about
a little old librarian?

00:50:06.616 --> 00:50:08.126 A:middle
>> I said quiet!

00:50:08.626 --> 00:50:09.146 A:middle
>> Move it!

00:50:09.146 --> 00:50:09.946 A:middle
Move it! [Shouting]

00:50:10.366 --> 00:50:12.366 A:middle
[ Music ]

00:50:12.716 --> 00:50:14.546 A:middle
>> I want to piece
of that action.

00:50:14.546 --> 00:50:17.066 A:middle
>> Tentacles and
serpent's wings, they-- ugh!

00:50:18.196 --> 00:50:20.676 A:middle
>> Can't wait to start
scaring with you brothers.

00:50:20.676 --> 00:50:22.816 A:middle
>> We're going to
hit you to pieces.

00:50:23.516 --> 00:50:26.036 A:middle
[ Music ]

00:50:26.536 --> 00:50:27.486 A:middle
>> Stop doing that.

00:50:28.976 --> 00:50:30.546 A:middle
>> Have fun kids.

00:50:30.986 --> 00:50:33.446 A:middle
I'll just be here
listening to my tunes.

00:50:34.516 --> 00:50:41.516 A:middle
[ Music ]

00:50:42.016 --> 00:50:45.000 A:middle
[ Applause ]

00:50:45.686 --> 00:50:49.086 A:middle
>> OK. So thank you very much to
Jonathan and thank you very much

00:50:49.086 --> 00:50:50.736 A:middle
to Apple for the opportunity
for being here today.

00:50:50.736 --> 00:50:53.066 A:middle
And thank you for
being here to watch.

00:50:53.286 --> 00:50:53.516 A:middle
Thank you.

00:50:53.516 --> 00:50:53.976 A:middle
>> Thanks for coming.

00:50:54.516 --> 00:50:59.920 A:middle
[ Applause ]