"We chose Clarisse for look development and rendering of large scale landscapes on the Assassin's Creed Valhalla: Cinematic World Premiere Trailer because it allowed us to work extremely quickly, iterating on creative ideas and delivering film-quality results on a tight deadline."
Tibor Nádas, Lead Matte Painter at DIGIC Pictures, at DIGIC Pictures
Tibor Nádas, Lead Matte Painter at DIGIC Pictures  

Not only is Clarisse a blazingly fast renderer but it allows an artist an incredible amount of flexibility in how they setup their scenes. It somehow manages to allow very complex setups while making it seem simple, intuitive and artist friendly. As our industry changes and the requirements of visual effects become more and more complex, this intuitive approach is invaluable. Fortunately it's also backed up with a renderer that can handle the complexity.
Graham Jack, Chief Technology Officer at DNEG
Graham Jack  

It's very easy to add, move or remove geo in Clarisse and have a very quick idea of how it's going to look integrated into the environment. Once the layout is sitting in Clarisse, artists can really focus on the look, with a faster turnover allowing more look iterations than before.
Eric Vezinet, Rendering Supervisor at DNEG
Eric Vezinet  

The interactive rendering you experience when working with Clarisse is a massive bonus. It means we can light and work on assets and shots at a much quicker rate than we could previously (...) Having a lot of indirect lighting was always a challenge for us previously, and this was something that Clarisse brought to the table. Clarisse general rendering speed is a massive increase on what we were used to.
Peter Seager, Lighting & Rendering Supervisor at DNEG
Peter Seager  

Of all the 3d programs I've used, Clarisse is way out ahead of the pack in terms of ease of use, interactivity, fast handling of huge amounts of data, and ease of pipeline integration. The guys at Isotropix are dedicated to putting power into the hands of production artists and streamlining their work flow, and the result is an entirely new experience of creativity and productivity that we have all been waiting for.
Paul Huston, Senior/Lead Digital Matte Artist at Industrial Light & Magic
Paul Huston  

When we first tested Clarisse we were like kids in front of Santa. It was the first time we could directly work on the final image and play with so many polygons. We could test lots of stuffs... Since, we use Clarisse for all digital sets we are working on.
Christophe Courgeau, Matte Painting Supervisor at Mikros Image
Christophe Courgeau  

With Clarisse “What you see is what you get” is now a reality for CG artists! The new 3.0 is surprisingly faster, more interactive and its brand new features are just awesome for quick iterations in scenes with tons of geometry.
Paul Florian Bruchhäeuser, CTO at Liga 01 Computer Film
Paul Florian Bruchhäeuser  

Clarisse is the most responsive, optimized, and clever software I have ever used. Every new release adds tons of features, without compromising performance and usage simplicity. There is a clear vision behind this product, and I just can't wait what's coming next.
Pascal Beeckmans, 3D Generalist at Gameloft
Pascal Beeckmans  

More than half of the shots of the BMW Visionary Lights commercial were done with Clarisse . This software made it possible to generate extremely rich environments without worrying about number of polygons. We managed to reach 20 billion polygons without any sign of slowing down. Scatter tools slope and noise helped us generate thousands of plants with simplicity an interactivity that we couldn’t find with any other software.
Raminta Poskute, Post Producer at Mathematic
Raminta Poskute  

From a technical perspective, Clarisse was a huge help (...) Because of Clarisse’s referencing system, updating assets is as simple as changing out a symbolic link on disk, or a file path in Clarisse. It allows dozens of people to work on one environment at a time. For example, an environment artist can dress in an incomplete model before a modeler has finished it. As the model is improved, we simply refresh the shot, and all of the days work shows up in the nightly render.
Alex Hessler, VR and CG Supervisor at Tippett Studio
Alex Hessler  

Easy to integrate into the pipeline. Artist friendly and very fast to pick up. Powerful core concept and a very passionate and talented team behind it all. Seems clear to me!
Yafei Wu, COO - Chief Operating Officer at Important Looking Pirates
Yafei Wu