Pi
p
e
l
i
ne a
nd Re
nde
r
i
ng
Si
nce t
he st
ar
t of t
hi
s pr
oj
ect I k
new I had t
o i
mpr
ov
e my pi
pel
i
ne t
o be abl
e t
o manage
t
he pr
oduct
i
on of t
he shor
t
.
Ev
en i
f I
was t
he onl
y per
son wor
k
i
ng on t
he ani
mat
i
on I
set
up a pi
pel
i
ne t
hat woul
d wor
k f
or a smal
l t
eam, i
n case I needed some hel
p dur
i
ng
cr
unch t
i
me.
I pur
chased t
he scr
i
pt “
Pi
pel
i
ne” by Li
or Ben Hor
i
n,
whi
ch i
t was a l
i
f
e sav
er
. Usi
ng t
hi
s
scr
i
pt
,
I was abl
e t
o manage v
er
si
ons and mast
er
s f
or ev
er
y scene,
add descr
i
pt
i
ons t
o
each of t
hem and ev
en hav
e a pl
ay
bl
ast dat
abase.
I al
so had al
l
t
he fil
es on Googl
e Dr
i
v
e so I coul
d access t
hem f
r
om any comput
er and
shar
e t
hem wi
t
h any col
l
abor
at
or
s.
Choosi
ng t
he r
ender
er t
o use was a v
er
y t
edi
ous pr
ocess because si
nce Aut
odesk
deci
ded t
o not shi
p Ment
al
Ray wi
t
h May
a any
mor
e i
t was v
er
y di
f
ficul
t t
o find a good
r
ender t
hat had a non-
commer
ci
al of f
r
ee l
i
cence. The r
ender
er
s I t
ook under
consi
der
at
i
on wher
e Ar
nol
d,
Redshi
f
t
,
Ment
al
Ray (
usi
ng May
a 2016) and Render
man.
Al
l of t
hem had v
er
y annoy
i
ng r
est
r
i
ct
i
ons f
or r
ender
i
ng and v
er
y ex
pensi
v
e l
i
cences
wi
t
h no possi
bi
l
i
t
y t
o r
each an af
f
or
dabl
e pr
i
ce f
or st
udent
s. Pi
x
ar
’
s Render
man was a
v
er
y compet
i
t
i
v
e al
t
er
nat
i
v
e wi
t
h a f
r
ee non-
Commer
ci
al
l
i
cense.
L ear
ni
ng how t
o use i
t was a bi
t pai
nf
ul si
nce t
her
e’
s basi
cal
l
y no document
at
i
on or
t
ut
or
i
al
s t
o be f
ound onl
i
ne, but si
nce i
t i
s v
er
y si
mpl
e I managed t
o get up t
o speed
f
ai
r
l
y qui
ck
l
y and,
I must admi
t
,
I r
eal
l
y enj
oy
ed usi
ng i
t
.
F or t
he r
ender
i
ng, I opt
ed f
or t
he cl
oud r
ender f
ar
m Zy
nc. Thi
s ser
v
i
ce i
s v
er
y wel
l
i
nt
egr
at
ed wi
t
h a t
y
pi
cal
May
a wor
k
f
l
ow,
mak
i
ng t
he pr
ocess of l
aunchi
ng a r
ender v
er
y
easy and ef
f
or
t
l
ess.
The cl
oud r
ender
i
ng cut i
ncr
edi
bl
y t
he pr
oduct
i
on t
i
me mak
i
ng me
abl
e t
o k
eep wor
k
i
ng on a scene whi
l
e r
ender
i
ng anot
her wi
t
hout sl
owi
ng down my
comput
er
,
and j
ust find t
he r
ender
ed fil
es i
n t
he r
i
ght f
ol
der at t
he end of t
he r
ender
i
ng.
15
The onl
y pr
obl
em wi
t
h t
hi
s ser
v
i
ce i
s t
hat I had t
o r
un t
he denoi
si
ng (
r
emov
i
ng noi
se
f
r
om t
he r
ender wi
t
hout r
ai
si
ng t
he sampl
es t
oo hi
gh) of t
he r
ender
ed i
mages i
n my
comput
er
. Pi
x
ar
’
s Render
man i
s abl
e t
o r
un t
hi
s pr
ocess ex
t
er
nal
l
y f
r
om t
he
command l
i
ne but as most of t
he st
uf
f r
egar
di
ng t
hi
s r
ender
er
, t
her
e was v
er
y l
i
t
t
l
e
document
at
i
on onl
i
ne on how t
o do i
t
,
especi
al
l
y f
or t
he l
at
est v
er
si
on (
whi
ch I was
usi
ng)
.
Af
t
er v
er
y pai
nf
ul
r
esear
ch and t
est
i
ng,
I
was abl
e t
o wr
i
t
e a BATCH scr
i
pt t
hat
woul
d r
un t
he denoi
se i
n al
l t
he i
mages pr
esent on t
he f
ol
der wher
e t
he scr
i
pt was
pl
aced. Wi
t
h j
ust a c l
i
ck I coul
d denoi
se a whol
e sequence, and be al
er
t
ed wi
t
h a
sound at t
he end of t
he r
ender
.
Thi
s scr
i
pt al
so showed usef
ul
i
nf
or
mat
i
on about t
he
denoi
si
ng pr
ocess such as st
ar
t and end t
i
me,
and dur
at
i
on of t
he pr
ocess f
or each
i
mage.
Usi
ng Googl
e Dr
i
v
e I had al
l t
he fil
es i
n bot
h my desk
t
op comput
er and my l
apt
op,
usi
ng t
he l
at
t
er t
o ani
mat
e, and t
he desk
t
op (
f
ast
er and bet
t
er at k
eepi
ng i
nt
er
nal
t
emper
at
ur
es l
ow) f
or denoi
si
ng day and ni
ght
.
Abov
e:
Vi
ew of t
he bat
ch scr
i
pt
,
Peppe Russo
Ri
ght
:
Bat
ch scr
i
pt code,
Peppe Russo
16