EDBT 2026 Demo / reviewers in the wild / expert
Daniel Teece
dblp:09/3374
· DBLP profile ↗
2ranked-venue papers
1as first author
0since 2021 · last 2018
0009-0004-9498-1707ORCID · corroborated
Domains — the database's venue-derived domains; a paper can count in several
Graphics, computer vision, multimedia, augmented reality and games · 2 · 1 first-authorHuman-computer interaction and ubiquitous computing · 1 · 1 first-author
Expertise — from the expertise taxonomy: the topics of the expert's papers under the CCF categories. A weight counts papers with recency: 1 for a paper about the topic, 0.3 when the topic is its context, halved every five years.
| Computer graphics and multimedia
2 papers |
Rendering · 96% Computer animation and physical simulation · 4% |
Topics — the 5 heaviest of 6, each with the papers that count most for it
| Topic | Weight | Papers | Last | Evidence papers |
|---|---|---|---|---|
Rendering › ray tracing
path tracing |
0.3 | 1 | 2018 | The Design and Evolution of Disney's Hyperion Renderer · ACM Trans. Graph. 2018 |
Rendering
physically based rendering |
0.3 | 1 | 2018 | The Design and Evolution of Disney's Hyperion Renderer · ACM Trans. Graph. 2018 |
Rendering
ray tracing |
0.3 | 1 | 2018 | The Design and Evolution of Disney's Hyperion Renderer · ACM Trans. Graph. 2018 |
Rendering
non-photorealistic rendering |
0.0 | 1 | 2003 | Sable: a painterly renderer for film animation · SIGGRAPH 2003 |
Rendering › non-photorealistic rendering
painterly rendering |
0.0 | 1 | 2003 | Sable: a painterly renderer for film animation · SIGGRAPH 2003 |
Methods — techniques the papers use, named apart from their topics
sorted ray batches · 0.3global illumination · 0.3painterly rendering · 0.0
| Year | Publication | Venue | Position |
|---|---|---|---|
| 2018 | The Design and Evolution of Disney's Hyperion RendererabstractWalt Disney Animation Studios has transitioned to path-traced global illumination as part of a progression of brute-force physically based rendering in the name of artist efficiency. To achieve this without compromising our geometric or shading complexity, we built our Hyperion renderer based on a novel architecture that extracts traversal and shading coherence from large, sorted ray batches. In this article, we describe our architecture and discuss our design decisions. We also explain how we are able to provide artistic control in a physically based renderer, and we demonstrate through case studies how we have benefited from having a proprietary renderer that can evolve with production needs. Brent Burley, David Adler, Matt Jen-Yuan Chiang, Hank Driskill, Ralf Habel, Patrick Kelly, Peter Kutz, Yining Karl Li, Daniel Teece |
ACM Trans. Graph. | 9 |
| 2003 | Sable: a painterly renderer for film animationabstractNo abstract available. Daniel Teece |
SIGGRAPH | 1 |