We present a method for generating art-directable volumetric effects, ranging from physically-accurate to non-physical results. Our system mimics the way experienced artists think about volumetric effects by using an intuitive lighting primitive, and decoupling the modeling and shading of this primitive. To accomplish this, we generalize the physically-based photon beams method to allow arbitrarily programmable simulation and shading phases. This provides an intuitive design space for artists to rapidly explore a wide range of physically-based as well as plausible, but exaggerated, volumetric effects. We integrate our approach into a real-world production pipeline and couple our volumetric effects to surface shading.

Abstract Explicit parameterization of subdivision surfaces for texture mapping adds significant cost and complexity to film production. Most parameterization methods currently in use require setup effort, and none are completely general. We propose a new texture mapping method for Catmull‐Clark subdivision surfaces that requires no explicit parameterization. Our method, Ptex, stores a separate texture per quad face of the subdivision control mesh, along with a novel per‐face adjacency map, in a single texture file per surface. Ptex uses the adjacency data to perform seamless anisotropic filtering of multi‐resolution textures across surfaces of arbitrary topology. Just as importantly, Ptex requires no manual setup and scales to models of arbitrary mesh complexity and texture detail. Ptex has been successfully used to texture all of the models in an animated theatrical short and is currently being applied to an entire animated feature. Ptex has eliminated UV assignment from our studio and significantly increased the efficiency of our pipeline.