3D ENVIRONMENT LIGHTING MAYA PDF

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3D Environment Lighting is our new page tutorial series, where over the course of six chapters we detail Platform: Maya Format: DOWNLOAD ONLY PDF. Maya анаStill Life Part 1анаTexturing & Lighting. Realistic lighting and texturing is the key to photorealism in your 3D renders. Objects and . наGives the surface the ability to reflect its surroundings (the environment, other surfaces) or. Maya анаStill Life Part 2анаLighting & Rendering. With the basic materials the mental ray renderer to have access to the most realistic lighting and rendering features. наLet's go Environment and add it automatically to your scene.


3d Environment Lighting Maya Pdf

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more information about mental ray for Maya direct lighting, see ”Direct Use this workflow to make a 3D object look like it's in a real environment. The real. the texturing and lighting theories and approaches to other 3d programs. this Specialized effects, such as Environment Fog, Light Fog, the Toon renderer, like to take your Maya knowledge even further, an tiebuckverpani.ml file is. LightWave 3D, Autodesk Maya, Autodesk Softimage, Autodesk 3ds Max, or any other . CHAPTER FOUR: Lighting Environments and Architecture Sunlight .

The Key Light establishes the main illumination and shaping on the orange. Separate Specular Lights can give better control over the highlights.

Split a light into separate diffuse and specular components by making two copies of the light, setting one copy to emit diffuse, the other to emit specular. Slashes of light are features of many sets, you can fake them with barn doors if you don t have an offscreen window or door modeled. Fill lights are aimed into the subject and background so that they don t overpower the key light illumination.

As demonstrated, rim lights are best aimed and fine-tuned from the point-of-view of the camera. A kick light is broader than a rim, and visibly illuminates a part of the front of a surface and its texture.

Light Type spot, point, area, directional, etc. Optional only mention if relevant. Source Sky, Sun, Fire, Headlight, etc. Subject What is it lighting? On the Set, on a character, etc.

Setting up an IBL stage with Autodesk Maya and Mental Ray

Side or Position Top, Left, Right, etc. It s OK to abbreviate these things, but at least the Function, Source, and Subject are vital aspects of a light that should be clear in its name. Shadow Rays Leave at 1 if Light Radius is 0, increase to oversample soft raytraced shadows and smooth out dithered appearance.

Ray Depth Limit Increase to make shadows appear in reflections and through refractions. Area Light Select the light and scale it larger. Directional Light Increase Light Angle in degrees. High Samples set horizontal and vertical samples where the shadow is directly visible.

Low Samples sets sampling when the shadow appears in reflections or through refraction, beyond the number of ray bounces set by the High Sample Limit. Here s a quick overview of your choice between raytraced shadows and depth map shadows. Advantages of raytraced shadows: Sharp shadows remain crisp and accurate, even in high resolution rendering.

Soft raytraced shadows dissipate realistically with distance.

Raytraced shadows support transparency. Raytraced shadows avoid the artifacts and bias problems of depth maps. Advantages of shadow maps: Dmap shadows can be previewed in real-time.

Dmap shadows generally render faster and use less memory. Fixing Shadow Artifacts Keywords: shadow artifacts, adjusting Bias, shadow framing, Use Auto Focus, light leaking through corners, fixing light leaks, Filter Size and light leaks, geometry causing light leaks, blocker geometry, blockers and flags.

Shadow artifacts can often be fixed by increasing the Bias of shadow maps.

Lights and shadows - Maya lighting and rendering tutorial

Too high a bias can create a gap between the shadow and the geometry that casts it, so don t increase the bias higher than needed. Besides lowering the bias, light leaks can also be fixed by adding shadow objects to block shadows.

It only takes a little tweaking to get depth map shadows looking good in Mental Ray. Use the controls under the Mental Ray tab in the light s attribute editor. Check here.

Click here. Increase this number until the shadows look good.

Spot Lights and Point Lights are both point-source lights. Spot lights are more efficient at casting depth map shadows because by default they use the Use only Single Dmap option.

Point lights don t have this option, and need to compute 6 different depth maps in order to cast shadows in all directions.

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You can make your shadows larger by moving a point-source light closer to the subject, or smaller by moving the light further away. With Directional Lights, the distance from the object doesn t matter, and shadows are always orthogonal. Directional Lights cast shadows as if they came from an infinitely distant source, and work well for simulating sun light.

Ambient Lights should generally be avoided. Volume Lights are an incredibly useful, versatile type of light source. Shadows-Only Lights cast shadows without adding any illumination to the scene: 1. Set the light s color to black 2.

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The subject matter for our underwater scene In this tutorial, we will cover lighting and rendering an underwater scene with a school of sharks. We will setup the scene with fog to achieve an under water feel to the scene. Fog We will start off by creating some fog for our underwater scene.

Open the Render Settings window. Under the Environment attributes , change the Atmosphere from none to Fog. You should see the Fog attributes in the attribute editor. Increase the Distance a small amount to something like 0. You should get something that looks like this: Default fog settings. Ground point is Z by default.

Ground Normal Change the fog color to a mid blue and change the Ground Normal to Y up by entering 1 in the Y axis field and 0 in the Z axis field. The sharks are going to be near the surface of the sea, and so we want to give the impression that light is coming from the top and attenuates in the Y direction.

Ground Normal 1 Y-Axis We now want to increase the amount of fog. Increase the Distance value to around 1. Distance increased to 1 The sharks at the top are not receiving much fog. This will push more fog to the top of the scene and will make the scene look more convincing. Height 5 Spotlight lighting Now we need to cast some light in the scene. We will use a spotlight. This will enable use to add some light filters to it that will give us more control of the lighting in the scene.

Create a spot light and increase the cone angle so that it covers the entire renderable scene. In this case, we have used a cone angle of Increase the intensity or exposure enough so that the sharks are visible.

Ai Gobo Next, we will create a fake caustic effect that is projected through the light source. To do this, we will add an Ai Gobo light filter to the spotlight.

Connect a file texture to the Slide Map attribute. We are going to use a texture map consisting of a caustic pattern.Share your knowledge with community.

Register now. Save this rendering as a picture for later use in Photoshop.

In a more complex scene, there are other types of lights used as well: Practical Lights, Bounce Lights, Kickers, and Specular Lights, which serve other visual functions. Flatten all the layers together, then create a Fig 23 copy of the Background layer and desaturate it Fig Lighting the Kitchen Step-by-Step Part 2 Keywords: sun beam, Light Angle for soft shadows from Directional Lights, bounce light from sunbeam, bounce lights, adding kicks and rims to highlight selected objects, aiming rim lights, approaches to create a translucent light bulb.

If you are trying to create believable lighting that fits with each unique situation, there's no shortcut to skip studying the motivations and qualities of real lights that would occur in a particular scene.