Here's what industry veterans
say about RenderMan.
"The new denoising technology currently being used in our upcoming feature, ‘Finding Dory,’ has been incredibly valuable, allowing us to compute final frames up to ten times faster. We could not finish this production without it."
Supervising Technical Director at Pixar
"RenderMan’s new and enhanced Interior Integrators provide us with full control over our volumes and allows us to push their visual quality to the next level."
Global Head of VFX Operations at MPC Film
"We’ve recently begun to see some final images for ‘Finding Dory.’ It’s our first feature using RenderMan’s RIS technology… and it’s just unbelievable RIS has opened so many new creative possibilities for us; we’re creating images that were previously impossible for us to achieve. It really is looking spectacular."
Director, Finding Dory
"It’s exciting to come to work every day and see something you have never seen before in your life. In A Bug’s Life, the story required a more natural and organic world than we had ever created before. RenderMan made it possible for us to make that world absolutely believable."
Chief Creative Officer, Pixar and Disney Animation Studios
"RenderMan continues to be the backbone of our pipeline, enabling us to realize any creature, virtual set or visual effect we can imagine."
Lead CGI Supervisor Industrial Light and Magic
"RenderMan has shown itself to be the most reliable renderer we have used, allowing us to complete challenging long form projects with elegant, efficient solutions in tight schedules and tighter budgets. I leave work much earlier with PRMan!!!"
Head of Lighting and Rendering Slave Studios
"RenderMan is the only renderer which consistently produces the image quality we demand. From T-Rex to tornadoes, RenderMan gives us the flexibility to deliver the kinds of images our clients expect of ILM."
Head of Technical Directors Industrial Light & Magic
"At Jim Henson Creature Shop all of our projects make extensive use of PRMan. Its quality and reliability are outstanding."
Jim Henson Studios
"For Matrix, RenderMan enabled us to write completely new illumination models that represent surfaces that are self-illuminated as well as realistically light-absorbing. RenderMan is the one tool in our production pipeline that’s guaranteed to give us incredibly realistic results."
Lead Color and Lighting Shader Developer, Manex VFX
"The realism inherent in the animated character we built for The Mummy would have been impossible without the flexibility and expandability of the RenderMan Shading Language."
VFX Supervisor, Industrial Light & Magic
"We have been experimenting with indirect illumination solutions for quite some time and have found Pixar's implementation to be the perfect answer for our CG department."
Director of CG Radium
"RenderMan was extensively used to make various action scenes in Final Fantasy VIII. It helped us create beautiful motion blur effects and greatly improved our development productivity."
Chief, CG Team Square Co., Ltd.
"RenderMan’s new RIS mode was incredibly stable and consistent on 'Ant-Man.' Everybody was blown away by the quality of the renders even in very early tests. With such a radically different internal architecture, RIS is a world away from any previous version, but still retains many features that made RenderMan so successful in the past."
CG Sequence Supervisor at Double Negative
"The new holdout workflow is a great addition to the RIS mode in RenderMan 20, and makes integrating CGI into live action even easier. I really like the way you can collect shadows on a per light basis, and it’s going to be really handy in my next project."
Senior 3D generalist and Founder at The Mari Channel
"The latest release of RenderMan is a technological reinvention. It’s the result of focused research and development at both Pixar and Disney, and these advancements are now freely available to the visual effects and animation community through Non-Commercial RenderMan. We look forward to seeing what our users create."
Dr. Ed Catmull
President of Pixar and Walt Disney Animation Studios
"For Guardians of the Galaxy our effects artists created the full CG tree-like creature Groot and various alien environments. From epic battleships to explosions, RenderMan helped to deliver the outstanding images you see in the movie and brought Marvel's fantastic universe to life."
Visual Effects Supervisor on Guardians of the Galaxy
"What began as an interesting artistic exercise is now an indispensable tool. It's notable that twenty years after putting its first pixels on the screen RenderMan remains the benchmark for all rendering technology."
Former Chairman of Lucas Film
"The original motivation to do the research that led to these technological discoveries was to expand the range of possibilities for storytellers."
President of Walt Disney and Pixar
"RenderMan made it possible to do so much! In the early days, motion blur was only possible with RenderMan. And it's still the most sophisticated rendering system. My hat's off to Ed Catmull and Alvy Ray Smith and the rest of the genius squad who made it available."
"Ubiquity, versatility and support make RenderMan the foundation of all the 3D pipelines I have worked with, and it has never failed to deliver."
VFX Supervisor, MPC
"RenderMan's innovation and stability have kept it the renderer of choice for the majority of high-end VFX work over the last 20 years."
VFX Supervisor, Sony Pictures Imageworks
"RenderMan's image quality is fantastic, and its flexibility allows us to create any creature or visual effect required; be it a furry mouse bathing in milk or a 30 story monster destroying Manhattan."
Creative Founder of Tippett Studio
"RenderMan has helped visual effects artists bring some of the most memorable images of the last twenty years to movie audiences all over the globe. This has contributed to the amazing success and exponential growth of the worldwide visual effects industry and raised the standards of our craft's technological aspects in every area."
Chairman Visual Effects Society
"When I first started working with RenderMan and its brilliant shading language on Terminator 2 in 1990, a whole world of creative possibilities opened up for me. 18 years and many projects later, RenderMan has never disappointed me and once again delivered the visual punch that I needed for 'Wanted.'"