So, yes, as far as I remember this was the first major effort, and of course this character was the first digital character to lead a live action movie. Rob Bredow: Imageworks had recently done a lot of work on Starship Troopers, but of course the creature work was done by Tippett. They asked if I had a preference and I said I would like to work on Stuart Little because it looked like a lot of fun.ī&a: In some ways, Imageworks hadn’t really done, until then, any big creature shows – maybe Anaconda and Godzilla – had they? In fact, there were two big shows going on at Sony Imageworks in that timeframe. Rob Bredow: When I started at Imageworks, Stuart Little was my very first show. A highlight of the presentation was that the actual fur surface shader (along with some other shaders) were published in the accompanying SIGGRAPH paper.įor the 20th anniversary of Stuart Little, I sat down with Bredow to look back at that time at Imageworks, including how fur was approached and what other challenges the film threw at the team.ī&a: Had you come to Imageworks just for that show or had you already been there for a period? After the film’s release, at SIGGRAPH 2000, Bredow presented the studio’s work on rendering the fur in RenderMan. Stuart Little, directed by Rob Minkoff, was one of Imageworks’ first big creature shows, and they had to tackle fur in a major way. Some two decades years ago, he effected animator lead on Stuart Little at Sony Pictures Imageworks, a studio where he would go on to be a VFX supervisor and chief technology officer.
Rob Bredow is an executive creative director and head of ILM. A short history of mouse fur at Sony Pictures Imageworks.
0 kommentar(er)
