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Daniel Teece

dblp:09/3374 · DBLP profile ↗
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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

TopicWeightPapersLastEvidence papers
Rendering › ray tracing
path tracing
0.312018
The Design and Evolution of Disney's Hyperion Renderer · ACM Trans. Graph. 2018
Rendering
physically based rendering
0.312018
The Design and Evolution of Disney's Hyperion Renderer · ACM Trans. Graph. 2018
Rendering
ray tracing
0.312018
The Design and Evolution of Disney's Hyperion Renderer · ACM Trans. Graph. 2018
Rendering
non-photorealistic rendering
0.012003
Sable: a painterly renderer for film animation · SIGGRAPH 2003
Rendering › non-photorealistic rendering
painterly rendering
0.012003
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
YearPublicationVenuePosition
2018 The Design and Evolution of Disney's Hyperion Renderer
abstract
Walt 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 animation
abstract
No abstract available.
Daniel Teece
SIGGRAPH1