The Desolation Of Smaug In The Hobbit

Introduction Smaug is a chracter from J. R. R. Tolkien’s, The Hobbit which then came to life in the making of the movie, The Hobbit: The desolation of smaug. He was a feirsome, colossal dragon who’s head is the size of a bus and his body, twice the size of a 747 jumbo jet, a commercial jet airliner, also used for cargo. In the film, He invaded the Dwarf Kingdom of Erebor and took over the Lonely Mountain which the Dwarfs, along with the company of Hobbit Bilbo Baggins, intend to reclaim. http://www.ew.com/article/2013/12/07/peter-jackson-hobbit-smaug

Animation Weta Digital’s own “Tissue” system was used to amimate the magnificent Smaug. Unlike other programs which focus only on the skin, the “Tissue” system would simulate the skin,
The treasure helped tremendously in this shot because of the way it reflected the light. Raytracing, as its name suggests is a rendering technique where the software tries to imitate the light bouncing off surfaces. It traces the path of light from the source to the objects. Raytracing aims to determine the colour of every single and individual ray that strikes the view window before it reaches the eye. However, there is a misconception that raytracing is done when there is a single light source and then straight to the eye. However, it is much more complicated than that because of the infinite number of rays that are shone from the light source. Some rays directly travel to the eye, some bounce off and reflects off objects before reaching the eye and many do not even reach the eye at
Let’s take the middle point of the fog as point Z. Deep composition gives you an array of pixels from point Z to the front or back of the fog. For example, it can give you a range of distance between point Z to the pixels that are further back and has more depth. This also means you can composite a moving rendered 3D fog as it will be able to give a range where the fog would start and end. In traditional compositing, the moving fog would have to be rendered as a 2D flat image as it would only have one depth position. If you have the fog move through an object, the you would still see the object because the fog is transparent. If you use traditional compositing, you would have to render the front half of the cloud and the back half of the cloud using hold out mattes because you are only given one position of depth. But with Deep Compositing, you are given a range of numbers with the different intestines of the cloud on the front and at the back so the use of mattes and rendering the fog portion by portion in a flat image is not needed. However Deep Compositing also uses up a lot of memory space. Weta Digital relies heavily on Deep Compostiing that it just becomes a standard way of