Introducing Clarisse, the unknown VFX software used by large studios
While rendering engines and GPUs race for technical superiority in a constantly growing landscape, there is software that may already be ahead.
And that’s software I’ve never heard of until today.
Have you ever heard of Isotropix? I didn’t have until a few days ago. When I first heard about it, I was a little obsessed and interfered as intensely as possible. Why?
Well, they have software called Clarisse iFX that is supposed to have practically no polygon boundaries. That said, there is an almost infinite amount of detail and models that you can throw into a scene. You had this software available long before it was last Unreal 5 nanite technologythat is similar but still seems a little behind Clarisse.
This allows you to create entire dense forests or cityscapes while maintaining a fully interactive viewport.
Still not sold? Well, it’s been used in hundreds of films (some of them with Oscars for VFX). It will be credited to him last war of stars, some Marvel movies and principle. say what you want Nolan and VFXbut if it’s good enough for him, it’s good enough for me.
With Clarisse, it appears that you get a full-featured digital content creation (DCC) tool, command line rendering system, and a node-based workflow from rendering to compositing. In the video below, Andrey Lebrov breaks the whole thing up fantastically.
There are a couple of key things I love about what I see with Clarisse – the scatter tools and the shading groups.
However, being able to do this without using up all of the VRAM in the world is a huge plus. They advertise the ability to have nearly trillions of polygons in one scene with no hiccups.
Also, the shading group system seems to make automatic decisions about materials and shading with your objects based on the group you put them into. This could mean that you can essentially create completely procedurally generated scenes without constantly tweaking materials and settings.
This is all very new to me. I’m still figuring out some of the details of what makes Clarisse so capable of handling such large workloads. But here too I think we can allow that Family tree to speak for itself.
I think this is a very exciting time. These tools just drop left and right and they are becoming more affordable.
In Hollywood, a lot of the VFX tools used are either proprietary in-house software or just something that is a little out of reach for most people. Be it the price or sometimes just the ability to find out about it without inside knowledge, there are many barriers to entry to certain Hollywood tools.
However, here’s the exciting part about Clarisse –You can try it now for free.
That’s right, they have a version that is easy for you to learn from. Or if you’d rather own it outright, they have a knot-tied variety at different levels ($ 59 for 30 days, $ 499 for 1 year, and $ 999 for perpetual). For such a powerful tool, all of these prices are perfectly reasonable.
I don’t know about you, but I look forward to diving in more and giving Clarisse a chance.