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Rendering hair in motion pictures is an important and challenging task. Despite much research on physically based hair rendering, it is currently difficult to benefit from this work because physically based shading models do not offer artist friendly controls. As a consequence much production work so far has used ad hoc shaders that are easier to control, but often lack the richness seen in real hair. We show that physically based shading models fail to provide intuitive artist controls and we introduce a novel approach for creating an art-directable hair shading model from existing physically based models. Through an informal user study we show that this system is easier to use compared to existing systems. Our shader has been integrated into the production pipeline at the Walt Disney Animation Studios and is being used in the production of the upcoming animated feature film Tangled.

In the simplest of production pipeline flow charts, Look Development sits squarely between the Modeling department and the Shot Finaling department. The former feeds us models of individual elements, which we create looks for. The term "look" is our word for the final appearance created by the materials, textures and lighting properties. Shot Finaling takes these looks, along with the final animation, and lights, renders and composites them for film.In reality, it is not that simple. Not only do we need the final model, we need reference for the visual development department. We also need some idea of how each element is actual used in the film. Do we see it Siggraph 2006 -Course 25 -RenderMan For All 83

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