
2019 | 3 views | 0 downloads | 30 Pages | 2.25 MB
got his start in 3D at Buena Vista Visual Effects at Walt Disney Studios, where he cre-ated digital special effects for such films as Mortal Kombat. Lee currently lives in Boulder City, Nevada, where he serves as manager of BeezleBug Bit, LLC (www.BeezleBugBit.com) and director of the Dam Short Film Festival (www.DamShortFilm.org).
92730ffirs indd 3 6 21 08 12 56 05 PMMaya Texturingand LightingSecond Edition92730ffirs indd 1 6 19 08 9 38 36 PM92730ffirs indd 2 6 19 08 1 23 24 AMMaya Texturingand LightingSecond EditionLee LanierWiley Publishing Inc92730ffirs indd 3 6 21 08 12 56 05 PMAcquisitions Editor Mariann BarsoloDevelopment Editor Susan HermanTechnical Editors Keith Reicher Eric KellerProduction Editor Laurel IbeyCopy Editor Liz WelchProduction Manager Tim TateVice President and Executive Group Publisher Richard SwadleyVice President and Executive Publisher Joseph B WikertVice President and Publisher Neil EddeProject Manager Laura Moss HollisterAssistant Producer Kit MaloneBook Designer Franz Baumhackl Lori BarraCompositor Kate Kaminski Happenstance Type O RamaProofreader Ian Golder Word OneIndexer Nancy GuentherCover Designer Ryan SneedCover Image Lee LanierCopyright 2008 by Wiley Publishing Inc Indianapolis IndianaPublished simultaneously in CanadaISBN 978 0 470 29273 0No part of this publication may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic mechanicalphotocopying recording scanning or otherwise except as permitted under Sections 107 or 108 of the 1976 United States Copyright Act without eitherthe prior written permission of the Publisher or authorization through payment of the appropriate per copy fee to the Copyright Clearance Center222 Rosewood Drive Danvers MA 01923 978 750 8400 fax 978 646 8600 Requests to the Publisher for permission should be addressed to theLegal Department Wiley Publishing Inc 10475 Crosspoint Blvd Indianapolis IN 46256 317 572 3447 fax 317 572 4355 or online at httpwww wiley com go permissionsLimit of Liability Disclaimer of Warranty The publisher and the author make no representations or warranties with respect to the accuracy or completeness of the contents of this work and specifically disclaim all warranties including without limitation warranties of fitness for a particular purpose Nowarranty may be created or extended by sales or promotional materials The advice and strategies contained herein may not be suitable for every situation This work is sold with the understanding that the publisher is not engaged in rendering legal accounting or other professional services If professional assistance is required the services of a competent professional person should be sought Neither the publisher nor the author shall be liable fordamages arising herefrom The fact that an organization or Website is referred to in this work as a citation and or a potential source of further information does not mean that the author or the publisher endorses the information the organization or Website may provide or recommendations it may makeFurther readers should be aware that Internet Websites listed in this work may have changed or disappeared between when this work was written andwhen it is readFor general information on our other products and services or to obtain technical support please contact our Customer Care Department within theU S at 800 762 2974 outside the U S at 317 572 3993 or fax 317 572 4002Wiley also publishes its books in a variety of electronic formats Some content that appears in print may not be available in electronic booksLibrary of Congress Cataloging in Publication DataLanier Lee 1966Advanced Maya texturing and lighting Lee Lanier 2nd edISBN 978 0 470 29273 0 pbk CD ROM1 Computer animation 2 Maya Computer file I TitleTR897 7L367 2008006 6 96 dc222008019683TRADEMARKS Wiley the Wiley logo and the Sybex logo are trademarks or registered trademarks of John Wiley Sons Inc and or its affiliates inthe United States and other countries and may not be used without written permission Maya is a registered trademark of Autodesk Inc All other trademarks are the property of their respective owners Wiley Publishing Inc is not associated with any product or vendor mentioned in this book10 9 8 7 6 5 4 3 2 192730ffirs indd 4 6 19 08 1 23 26 AMDear ReaderThank you for choosing Advanced Maya Texturing and Lighting Second Edition This book is partof a family of premium quality Sybex books all written by outstanding authors who combine practicalexperience with a gift for teachingSybex was founded in 1976 More than thirty years later we re still committed to producingconsistently exceptional books With each of our graphics titles we re working hard to set a new standard for the industry From the writers and artists we work with to the paper we print on our goal isto bring you the best graphics books availableI hope you see all that reflected in these pages I d be very interested to hear your comments andget your feedback on how we re doing Feel free to let me know what you think about this or any otherSybex book by sending me an email at nedde wiley com or if you think you ve found an error in this bookplease visit http wiley custhelp com Customer feedback is critical to our efforts at SybexBest regardsVice President and PublisherSybex an Imprint of Wiley92730ffirs indd 5 6 19 08 1 23 27 AMTo all the dreamers and artists out there92730ffirs indd 6 6 19 08 1 23 27 AMAcknowledgmentsMy thanks to the excellent editorial production and compositing staff at Sybex andWiley Sons including Acquisitions Editor Mariann Barsolo Development EditorSusan Herman Production Editor Laurel Ibey Technical Editors Keith Reicher and EricKeller Copy Editor Liz Welch and Proofreader Ian GolderSpecial thanks to the faculty staff and students at the Art Institute of Las Vegasand Westwood College Online for inspiring me to perfect my craft Special thanks alsoto my family and friends who supported my wild ambitions And the biggest thanks tomy beautiful wife Anita who encouraged me all the way despite all those late lateSeveral of the photos in this book were provided by the photographers of StockXCHNG www sxc hu This is a wonderful site that provides royalty free restriction freematerial simply out of love of the medium Additional models were purchased fromTurbo Squid www turbosquid com another excellent service92730ffirs indd 7 6 19 08 1 23 29 AMAbout the AuthorLee Lanier is an award winning 3D animator and director His films haveplayed in more than 200 film festivals museums and galleries worldwide Beforedirecting the shorts Millennium Bug Mirror Day Off the Dead Weapons ofMass Destruction and 13 Ways to Die at Home Lee served as a senior animator inthe Lighting and Modeling Departments of Pacific Data Images on Shrek and Antz Hegot his start in 3D at Buena Vista Visual Effects at Walt Disney Studios where he created digital special effects for such films as Mortal Kombat Lee currently lives in BoulderCity Nevada where he serves as manager of BeezleBug Bit LLC www BeezleBugBit comand director of the Dam Short Film Festival www DamShortFilm org92730ffirs indd 8 6 19 08 1 23 30 AMIntroduction xviChapter 1 Understanding Lighting Color and Composition 1Understanding the Art of Lighting 2Using 1 Point Lighting 2Using 2 Point Lighting 8Using 3 Point Lighting 11Using Naturalistic Lighting 16Using Stylized Lighting 21Understanding Color and Composition 22Color Theory Overview 23Checking Color Calibration 26A Note on Color Temperature 27Setting a White Point 28Applying the Golden Mean 29Rule of Thirds 31Step by Step 3D Lighting Examples 32Chapter 2 Applying the Correct Maya Light Type 37Maya Light Types 38Common Light Attributes 38Using Spot Lights 41Using Directional Lights 46Using Ambient Lights 47Using Point Lights 49Using Area Lights 49Using Volume Lights 51Linking and Unlinking Lights 53Using Light Fog and Light Glow 54Creating Light Fog 55A Note on Environment and Volume Fog 57Light Glow 60Chapter Tutorial Lighting an Interior 62Chapter 3 Creating High Quality Shadows 69Rendering Depth Maps 70Understanding Depth Maps 70Refining Depth Maps 77Solving Light Gap Errors 82Comparing Shadows 85Raytracing Shadows 87Linking and Unlinking Shadows 88Creating Effects Shadows 88Shadowing with Light Fog 89Shadowing with Paint Effects 8992730ftoc indd 9 6 19 08 9 55 02 PMShadowing with Maya Fur 92Shadowing with Maya Hair 95Shadowing with nCloth 96Shadowing with the Toon System 97Chapter Tutorial Lighting a Flickering Fire Pit with Shadows 99Chapter 4 Applying the Correct Material and 2D Texture 103Reviewing Shading Models and Materials 104Shading with Lambert 104Shading with Phong 106Shading with Blinn 108Shading with Phong E 109Shading with the Anisotropic Material 111Shading with a Shading Map 113Shading with a Surface Shader 114Shading with Use Background 115Reviewing 2D Textures 117Applying Cloth 117Applying Water 118Applying Perlin Noise 119Applying Ramps Bitmaps and Square Textures 121Mastering Extra Map Options 122Setting the Filter Type 122Shifting Color with Invert and Color Remap 126Stacking Materials and Textures 126Mastering the Blinn Material 129Re Creating Wood 130Re Creating Metal 131Re Creating Plastic 132Chapter Tutorial Re Creating Copper with BasicTexturing Techniques 133Chapter 5 Applying 3D Textures and Projections 137Exploring 3D Textures 138Applying Random Textures 139Applying Natural Textures 147Applying Granular Textures 151Applying Abstract Textures 153Applying Environment Textures 1552D Texture Projection Options 158Placing Placement Boxes and Projection Icons 162Applying the Convert To File Texture Tool 163Chapter Tutorial Creating Skin with Procedural Textures 165Chapter 6 Creating Custom Connections and Applying Color Utilities 169Mastering the Hypershade Window 170Reviewing the Basics 170Creating Custom Connections 171Cleaning Up 17692730ftoc indd 10 6 19 08 9 55 06 PMShifting Colors 180Converting RGB to HSV 180Converting RGB to Luminance 182Blending Colors 183Remapping Color 184Remapping HSV 187Remapping Value 188Smearing Colors 189Correcting Gamma 190Adjusting Contrast 192A Note on Sliders and Super White 192Clamping Values 194Reading Surface Luminance 194Chapter Tutorial Creating a Custom Paint Material 196Chapter 7 Automating a Scene with Sampler Nodes 201Employing Samplers 202A Review of the Ramp Shader Material 202Coordinate Space Refresher 203Using the Sampler Info Utility 204Using the Light Info Utility 207Using the Particle Sampler Utility 213Using the Distance Between Utility 218Tying into Nonmaterial Nodes 218Creating Simulated Propeller Spin 219Reproducing the Hitchcock Zoom Dolly 221Tapping into Construction History Nodes 222Redirecting the Initial Shading Group Node 224Connecting Multiple Materials in One Network 224Using the Studio Clear Coat Utility 225Chapter Tutorial Building a Custom Cartoon Shading Network 227Default Light SetLight Linker Chapter 8 Harnessing the Power of Math Utilities 233Math Utilities 234Render Partition Reversing Input 234Multiplying and Dividing 234Default Render Utility ListAdding Subtracting and Averaging Values 236Using Expressions 238Changing the Range of a Value 239Mapping Per Particle Attributes 242Working with Vectors and Matrices 247Testing a Condition 251Switching Outputs 252Using Esoteric Utilities and Scene Nodes 255Stenciling Color 256Applying Optical FX 257Converting Units 258Understanding Scene Nodes 259Chapter Tutorial Creating Eye Glow with Advanced Math Utilities 26092730ftoc indd 11 6 19 08 9 55 14 PMChapter 9 Improving Textures through Custom UVs Maps and Sliders 265Preparing UV Texture Space 266Prepping NURBS Surfaces 266Preparing Polygons 272Using the 3D Paint Tool 284The Basic Workflow 284Roughing in a Texture 286PSD Support 287Bump and Displacement Mapping 289Bump Mapping 289Displacement Mapping 291The Height Field Utility 293Custom Sliders 295Chapter Tutorial Preparing the UVs of a Polygon Model 296Chapter 10 Prepping for Successful Renders 301Determining Critical Project Settings 302Deciphering Aspect Ratios 302Switching between Square and Nonsquare Pixels 304Selecting a Film Back 305Displaying Gates 307Selecting a Focal Length 308Selecting Frame Rates and Interlacing 309A Note on Frame Rate Conversion 310Mastering the Render Settings Window 311Prepping Maya Software Renders 313Prepping Maya Hardware Renders 315Prepping Maya Vector Renders 317Rendering with the Command Line 318Organizing the Render 319Cleaning Up 319Recovering Lost Bitmaps 320Selecting Image Formats and Render Resolutions 321Differentiating Image Formats 322A Note on 16 Bit Color Space 323Changing Compression Settings 324Oversized Rendering 325Creating Depth of Field 325Applying Motion Blur 328Industry Examples Splitting Up a Render 331Chapter 11 Raytracing with Maya Software and mental ray 337Maya Software vs mental ray 338Raytracing with Maya Software 338Comparing the Scanline and Raytracing Processes 33992730ftoc indd 12 6 19 08 9 55 18 PMSetting Up a Raytrace 342Creating Reflections 344Managing Refractions and Aberrations 345Raytracing with mental ray 349Mastering mental ray Quality Settings 349Using mental ray Motion Blur 352Controlling mental ray Shadows 355Creating Reflections and Refractions with mental ray 357Reproducing Water 359Water as a Liquid 359Water as a Solid 364Reproducing Glass 366Creating Glass with Maya Software 368Chapter Tutorial Texturing and Rendering an Ice Cube 371Chapter 12 Working with Global Illumination Final Gather and mental ray Shaders 375Understanding Indirect Illumination 376Tracing Photons 377Rendering Global Illumination with mental ray 379Adjusting Global Illumination Attributes 380Reviewing Photon Hits 383Applying Caustics 385Applying mental ray Shaders 389Using Dgs material 389Using Dielectric material 390Using Mib Shaders 392Using Misss Shaders 393Using Lens Shaders 395Using Environment Shaders 396Using Mib volume and Parti volume 398Preparing mental ray Shaders for Global Illumination 399Using Final Gather 400Adjusting Final Gather Attributes 402Using Irradiance 404Fine Tuning mental ray Renders 405Rendering the Cornell Box 405Rendering the Cornell Box with Maya Software 410Chapter Tutorial Creating Caustics with Final Gather 411Chapter 13 Texturing and Lighting with Advanced Techniques 415Adding Realism with HDRI 416Comparing LDR and HDR Images 416An Overview of Supported HDR Formats 419Displaying HDR Images 419Texturing with HDR Images 421Tone Mapping with mental ray Lens Shaders 423Lighting with HDR and LDR Images 424An Introduction to RenderMan For Maya 43192730ftoc indd 13 6 19 08 9 55 20 PM