The Usage of Maya 2018 Attribute Spread Sheet
For example, I want to make a layer selection of the object's Primary Visibility property. Step 1: Select the object you want to make the layer selection and open Maya's Attribute Spread Sheet tool. Step 2: Select the Primary Visibility property in the Attribute Spread Sheet. Step 3: Click Layer - Create Override for Selected in the upper menu bar. Step 4: Change on to 0 (off). Step 5: Check the Primary Visibility under the Object Properties and you will find that it made the layer selection automatically. However, cloud rendering want to note that, in fact, the previous version of this feature is also available, but the Maya automatically created the layer selection in the previous version, and now you need to manually click it.)
How Maya Adds Sequence Maps
How **Maya** adds sequence maps, when the camera is projected, the projected video is converted to a sequence map. Next, I will talk about how **Maya** adds sequence maps and their points of attention.
- Identify the texture map
Go to the Material Editor and give a texture file "masterLayer.0001.exr" file on the Color.
Here, why not identify the sequence map.
(Note: The Property Editor window in the Maya Hypershade is incomplete.)
The first method: display the property editor, check Use Image Sequence. Identify the sequence map.
The second method: in the Direct Property Editor window, change "masterLayer.0001.exr" to "masterLayer.<f>.exr" (in English input mode)
Note: If your sequence format is:
"masterLayer.1.exr;masterLayer.2.exr;......;masterLayer.10.exr;" This mode, you can use the second method directly. Checking the “Use Image Sequence” option is still not recognized.
- Window display mode
After the map is identified, pressing the 6 buttons in the window still does not display.
Because Maya displays the window, they clicked on the Maya default material display. (use default material)
Solution: Remove the default material display mode and press the 6 key.
How To Quickly Create An Object Id For Arnold For Maya
To create Arnold's object ID in **Maya**, you need to assign the material ball separately. If you consider the Displacement, we need to manually connect the displacement to the SG node of the ID’s material ball. Here's how to quickly assign an object ID. 1. Switch the Arnold Translator property under the Arnold menu in the Object Attribute to Mesh Light. 2.Change color in R, G, B value you need. Exposure changed to 20, considering the brightness of self-illumination, you can increase it. Check Light Visible Remove the Cast Shadows’ hook (do not let it produce shadow) Change the parameters such as Diffuse, Specular, sss, Indirect, and Volume to 0. Everyone knows that this is the self-illuminating property of the object, so first we have to let the object show its intrinsic color, all need to check Light Visible. Secondly, since it is self-illuminating, it will definitely affect the surrounding environment, so we need to turn off the self-illuminating Diffuse, Specular, sss, Indirect, Volume and other attributes, while not letting it produce shadows, remove the Cast Shadows hook. And this method also fully considers the displacement, Normal and Bump. (This method may not be used in the new version of Arnold and layering with Render Setup. The new version of Aronld has a crypto method for distinguishing IDs.)
To Rebuild Avatar With Arnold For Maya
Arnold for Maya
In 2009, a sci-fi film Avatar swept the world. This film won a lot of honors, but as a CG enthusiast, the greater fun is still exploring the production process of this film.
In Avatar, many characters and scenes are made using Maya. Today we will introduce the Avatar as a case by Arnold and Maya to introduce the software. 1. Collection of materials Material collection is an important step, and the more time you spend collecting material, the less late errors will be. When making the Avatar model, I used the web to collect a lot of real material and video reference. You can add some of your own understanding during the production process. You can also try different brush strokes when post-production in ZBrush, and finally unify the whole character. Here are some of the materials I collected.
2.Maya basic model Use Maya's own box as the basic model, first adjust the general proportion, and then start from the large-sized model parts, so that you can grasp the overall feeling of the character in a relatively short time, and easily modify the scale. As far as possible, the wiring should be as clean as possible. It is not necessary to describe too much detail. In particular, pay attention to the structural turning of the head to facilitate engraving later.
Step 1: This role, gives me the feeling is a combination of feline and human face, the upper part of the face is a lion, the lower part is a human. I decided to put more effort into her lower half of the face and tried to understand the upper half of the cat's face. After analyzing these things, we can grab some of her characteristics to start modeling. I made a simple model, this time there are very few lines, it is very convenient for you to adjust the feeling. At this time, the proportion and position of the character's lower jaw and facial features were fixed.
Step 2: Add one line while adjusting and perform local detail processing.
Eye, eyebrow and cheekbones, here are the low mold and final wiring diagram.
Adding ZBrush details According to the previous reference to determine some of the details of the role structure, subdivision in ZBrush, improve the number of faces of the model to add some details to the model. For example, pores, texture of the lips, etc. Step 1: First perform Maya's cleanup to check if there are more than four sides. Export the obj model without problems.
Step 2: Import ZBrush to add details. Use a few skin brushes. Detail breakdown and detail addition.
- Mapping the texture Because there is already a film and television as a reference, the texture is closer to the content of the film. Here are some of the material I collected.
You need to make sure the uv is correct before drawing the texture. I am using the UVLayout plugin to split the model UV. Pay attention to the position of the tangent at the time of splitting, try to put it in the place where it can't be seen, so as to avoid the seam problem. The mapping of the texture here is made by combining Mari and ps. In order to quickly grasp the process of drawing textures using mudbox here.
These are the uv splits using plugins. It's worth noting that sometimes splitting out is not ideal and needs to be re-edited in the Mayauv editor.
The overlapping parts in the red part of the figure can be adjusted in the uv editor. The final result is as follows.
After the UV editing is done, it is necessary to draw the texture and draw it here using the mudbox. Firstly, subdivide the model and then export obj. The second is to open the mudbox and import the model. Select a brush.
The shader looks at your personal habits and can switch between viewing highlights and non-highlights. Select the brush and click New Layer on the model to select the map size and format as needed. I am here to choose 4096*4096 size for clarity. And named as the background color, in order to put the background color on the model, to prevent the back when painting the map. The new layer adds the pattern, which can be adjusted in conjunction with the layer blending mode. To achieve the right results.
Generate textures and export them after making multiple adjustments. And add textures in ps. And the root layer is created to generate the corresponding 3s highlights and bumps.
- Rendering Light setting: The first step, we basically use the most basic three-point lighting principle to first adjust the intensity of light to achieve the required intensity. Note that this is the arnold renderer that is utilized, so the default light is attenuated with light. The lighting test of the advanced model (the model without the map) pays attention to the contrast of the cool and warm of the light.
The three-point lighting is generally the primary light source auxiliary light and contour light, pay attention to the contrast between the main light source and the contour light. There is also an application with skydemo light to simulate the surrounding environment. Setting of the shader ball: In order to better express its texture and skin characteristics, we will use the corresponding skin material.
The first step: Since the texture has been drawn before, the respective skin layers whose inherent color is blue are also adjusted according to the inherent color. Connect all the textures to the corresponding properties of the shader and adjust the parameters.
Here, five textures are connected to the skin's three-layer highlight and normal map. Then adjust and test the lights. Render channel output: Render the corresponding channel, which is more convenient to adjust later. They are id, normal, highlight, ao, sss, etc.
Channel synthesis: The rendered layer is synthesized in ps, the ao channel is synthesized by the method of the film stacking, and the highlight channel is synthesized by the screen method. The normal channel can be synthesized in nuke to re-adjust the light. It is possible to directly adjust the eyelashes and adjust the background lighting effects and color in the ps. Adjust the desired effect with the final adjustment.
Author: Xiao Zhen Xing