1/12/2024 0 Comments Renderman use backgroundIn each fileĪlpha Gain to 20, Alpha Offset to -10. Get the 32bit displacement maps for each model from the source imagesĭirectory, sourceimages-> prometheus_tutorial->. Statue, and assign a file texture as a displacement map, as shown above. Three Blinn materials with displacements are added to theĥ.Ĝonnect three standard Blinn materials to each of the three pieces of the To confirm that you have a perfectly smooth subdivision surface. SelectĮach piece of the statue, one piece at a time, and in the attribute editor select:Īttributes-> RenderMan-> Add Subdivision Scheme. In RFM, this is as easy as adding a single attribute to the shape node. While the image on the right has equal seams.įor the highest quality displacements, we'll want to render the model as a subdivision surface. In the images below, the image on the left has unequal seams, Watch UV Seams: When rendering displacement maps it is important toĬreate equal UV seams, otherwise artifacts may appear in the displacement along With RenderMan because RenderMan is capable of rendering these displacement maps Of producing high quality displacement maps, ZBrush is a useful tool for use Have displacement maps for this purpose, originally created using ZBrush. We will begin by adding displacement maps to the 3D model which will add the intricacies of Our first step is to add comlexity to thisĤ. Open the Maya tutorial scene, Stage1.mb, to get started on the tutorial. ( Where are the tutorial files?) The initial sceneĬontains a simple light setup and the three parts of our statue: Prometheus,Ĭloth, and chains. In addition, each sculpture is individually lit with warm,Ĭolored spot lights located near the ceiling.ģ. In our reference photo above we can attribute a large amount of non-directional diffuse light to the skylight above the gallery. The lighting in the gallery is made up of both direct and indirect light sources. ![]() The surface is actually a layered combination of cloudy-grey base texture, yellowish surface discoloration from environmental wear, black specs from mineral contamination, faint rain streaks, and whitish marble dust build-up in the deep cavities.Ĭreating a convincing marble will be a challenge.Ģ. Image above, we can see that marble is not simply a 3D marble texture mapped onto a Blinn material. The surface we are trying to mimic is aged, weathered marble. The 3D model of Prometheus composited over the background image.īefore we get started, open Maya and make sure that RenderMan for Maya is properly setġ. At the end of the tutorial, the final result should look something like this: This tutorial is the use of Secondary Outputs, which will allow us to use 2DĬompositing to finalize our lighting. You may need to review certain techniques elsewhere. This is an advanced tutorial combining a number of different workflows, andīecause of that, this tutorial requires a good understanding of RenderMan for Occlusion, subsurface scattering, and secondary outputs This step is where the magic and flexibility of secondary outputs pays off as we layer and correct each output to match the museum plate.īefore and After - In this tutorial we'll add These secondary outputs to build up a composite over a background plate from the museum. Third, we will render out a number of secondary outputs (diffuse, specular, occlusion, etc) with RenderMan for Maya, and use Without the benefit of an HDRI probe to light from directly, we will have to dissect the lighting from reference photos and an analysis of how sculptures are lit in the British Museum. Second, we will analyze and match the lighting setup in the British Museum. ![]() Each important node will have notes on it to explain its function in the shading network. And, of course, no marble shader would be complete without subsurface scattering.Īs the shading network builds up, refer to the Maya materials in the scene files. It will need to show small divots from the wear of time on the surface of the marble, discoloration from oxidation, and changes in specularity from polished areas to rough, unfinished areas. RenderMan for Maya offers including: micropolygon displacements, subsurface scattering, ambient occlusion, brickmaps,Īnd secondary outputs. The tutorial will be broken into threeįirst, we will develop of a marble shader that approximates the main surface characteristics our reference images. During the process, we will explore many of the advanced features that In the Prometheus tutorial, we will use RenderMan for Maya to shade, light and integrate aģD model into a background plate from the British Museum. The Prometheus tutorial was created by guest author, Scott
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