Maya Tutorials: Game Props Modeling
Maya render farm
Fox Renderfarm, a leading cloud rendering service provider in the CG industry, will share with you the game props model produced by Maya. In this Maya tutorial, we will introduce how to create a game-style 3D model based on conceptual design drawings, from ZBrush carving to high poly and low poly UV texture production.
The following is a brief description of the process of making 3D models of games. I hope that you can have some understanding of the models used in games.
Before making a model, there are usually some conceptual drawings as reference for making. In this case, you can directly put the reference drawing in the production software Maya as a reference.
Before importing into ZBrush for sculpting, you can first do some preparation work in Maya. If the model is relatively simple, such as stone, tree trunk, floor tiles, etc., they are relatively simple. You can use ZBrush to sculpt High Poly directly without making a Low Poly model. If the model is more complex, such as a biological model (animal or the like), you can make a Low Poly export OBJ file in Maya and sculpt it in ZBrush.
Import the low poly model into ZBrush for sculpting. From Blocking, make sure that the scale is appropriate. The most important thing is that the model does not deviate from the conceptual diagram. It is necessary to determine the overall ratio first, and then it is the part of some accessories, and finally the detail part. This process only uses the basic brush.
The number of model faces sculpted by ZBrush is very high, which may be as high as hundreds of thousands of faces, or even millions. Such models cannot be used in-game engines. Therefore, the high poly model sculpted by ZBrush needs to be topologically a low poly before it can be used in the game engine. The topology process uses a topology software TopoGun, TopoGun can help the model Resurfacing and Maps baking, and the details of the model will not be lost. If you are making a single static map, then the model does not need to rig bones, it is not necessary to make low-poly and Normal map.
After the topology is completed, it is the job of the UV. Normal maps can be baked after the UV is split. The UV can be organized using some plug-ins included in Maya, or can be produced using other software. You just need to expand them and adjust as needed. Try to be as reasonable as possible.
Schematic diagram of UV deployment and placement
Before bringing the model to Substance Painter, you need to bake the details of high poly onto the developed UV to make the texture. Baking and texture can be made using Substance Painter or Toolbag, especially Substance Painter has many tools and functions, which is very suitable for realistic and cartoon-like texture production.
These textures represent different information such as Normal map, Specula, Hight, and Gloss. The higher the accuracy of the texture, the better the final display effect of the model.
Import the baked texture into the most commonly used Substance Painter software to create PBR textures. Some parts can be adjusted using some preset textures, and then output different textures according to different needs.
3ds Max Tutorials: Semi-realistic 3D Game Scene Interior Production Sharing(1)
3ds Max Render Farm
Fox Renderfarm, as the best 3ds Max render farm in the CG industry, the tutorial we shared for you this time is from the 3D artist Thepoly, on how to use 3ds Max and Maya and other software to make a semi-realistic 3D game scene interior production process.
This project uses the standard PBR process, using 3ds Max to complete the basic model building, and determine the object scale. Complete high poly carving in ZBrush, topology in Maya, baking in Marmoset Toolbag 3, Substance Painter to complete the production of PBR materials, and finally use Marmoset Toolbag 3 for rendering.
The production is divided into three parts:
- Material production
Before production, determine what materials, what objects are in the scene, and the overall ratio, and then determine the production order according to the ratio. Most of the scenes are walls and stones and wooden furniture, so they are the key part of the production.
Quickly build up their approximate proportions in 3ds Max.
Complete the medium polygon model
After establishing the proportion of large objects, continue to build down the remaining objects in the scene. And further, enrich the details of the model. There are a lot of repetitive objects, just make a few different shapes. This does not seem to be too repetitive.
Taking the above book as an example, many different types have been produced, which can reduce visual duplication.
There are two fabrics in the scene, here is a pillow as an example，
This product uses the cloth calculation that comes with 3ds Max. The specific process is as follows，
Create blocking objects，
Create a pillow basic model (the higher the number of segments, the better the simulation effect, but it also stuck).
Squash and find the fabric in the modifier,
Finally, get a simple pillow model. (The folds of the fabric should be sorted out, the above is a simple demonstration. The curtains are the same, MD may have better results)
Next, import the model into ZBrush for sculpting.
Carving High Poly
Take the wall and stone of the house as an example:
After importing the medium-surface model into ZBrush, it is because of the irregular shape of the stone. You can use Dynamesh in geometry editing to edit the model.
The No.1, No. 2, and No.3 brushes are used for large-scale carving of stones. The No. 4 brush adjusts the shape to prevent insertion. Finally, the No.5 and No.6 brushes flatten some edges and corners to make the structure hard. Thus reflecting the texture of the stone.
The big idea of the wall is the same. Finally, use the noise in the surface, adjust the curve and noise ratio, etc. to simulate the graininess of the wall and the stone surface.
Finally, add some details such as cracks and bumps to enrich the picture. Use the No. 6 brush mentioned above and press it again to achieve better results. (This part of the production reference is very important)
Behind The Scenes: Sagittarius(2)
Maya render farm
Three main buildings were built according to the position in the original painting, and then the entire background was spliced out with these three buildings. This step is relatively simple.
Then put the objects made at this stage into the main scene, adjust a few materials, such as metal, leather, SSS materials, give the corresponding model, add an HDR skylight, and test the entire scene.
Now it's time to break the symmetry between the character's head and the monster's head model. This step needs to enrich the details on the skin, such as adding some wounds or something.
At this time, you need to split the head UV. Use ZBrush to export the displacement map to view the effect in Maya.
The ZBrush export displacement method is as shown above: first connect the displacement map exported by ZBrush in Maya. You need to open the subdivision level in the object properties. In this way, the object can restore the display effect in ZBrush.
When the model with refined objects is put into the scene, you can start to adjust the lights. Decrease the intensity of HDR light and use it as a secondary light source, with a film light source as the main light source, and adjust the effect of the light and dark boundary line in the sun with parallel light. The effects at this stage are as follows.
Use of character XYZ
Here you can start to try the smallest level of detail processing on all objects, such as the XYZ replacement texture of the skin, the metal texture and damage traces of the equipment itself, and the skin after the XYZ replacement, as shown below:
The effect of making detailed equipment:
The model is almost finished. Now it ’s time to split the UV. Here, UDIM is used to facilitate textures, a set of UDIM, a set of background, a set of skin, and then the cumbersome UV process.
SP texture production
After splitting the UV, the textures are created. All textures are made in the substance painter. A set of UDIM models are directly imported into the Substance Painter. As long as the options shown in the figure above are checked, they will be automatically recognized. When making textures, it is mainly due to color changes. The color changes should be rich but they cannot cover his original main color. Of course, the roughness changes are also very important. The following picture is the effect of Substance Painter.
The skin needs to be color maps, roughness maps, and rough range maps in the Substance Painter. The color maps are obtained by mapping the real face skin (the same method as XYZ). The roughness can be converted using the previous XYZ three-channel conversion then overlay some random ALPHA textures. The rough range is to control the position of the highlight, and it is hand-drawn. Generally, the forehead, the tip of the nose, and the highlights on the cheeks are more obvious.
Maya texture connection
After the three pictures are drawn, you can add the rough range in Maya, and paste the roughness below:
The color map is attached to the arrow in the figure below, and then radius gives a red color (light transmission effect).
We also need to apply the XYZ displacement and ZBrush-derived displacement that we created earlier to the displacement channel,
After the first pass of the texture, you can test the rendering, and then you need to adjust it according to the picture effect. Then the monster's head also needs to draw a map. Just like the human head, it needs three pictures of color, roughness and rough range.
The next step is to replace the wings. The method of wings uses patch stitching. First, make a single feather map in three or four different positions, and then stitch it. What it looks like at this stage,
Xgen hair production
Let's start adding hair, XGEN for hair, each part should be separated into different Maya files when making hair, and then integrated into the main scene. Mainly how to import into the main scene, first clean the Maya file of the Xgen hair that is made separately, leaving only the growth bodies and the grown hair, and then directly import the cleaned Maya hair file in the main scene, and the imported file will be prefixed with a name. The prefix cannot be deleted, otherwise an error will occur.
When rendering, you need to add AOV channel as a later auxiliary layer.
The entire scene is divided into the foreground and the background for rendering separately, and the later scenes are stacked together to facilitate the final effect adjustment. Finally, the final picture is rendered,
And the detail,
Behind The Scenes: Sagittarius(1)
Maya render farm
Fox Renderfarm, a powerful but affordable maya render farm, brings you a sharing of behind-the-scenes of Sagittarius made by Maya from 3D artist Zihao Zhou. This article introduces how to use the animation CG model production process to restore a 2D original painting Sagittarius, and tells the whole creative process, especially sharing some special places' processing methods and skills.
This artwork contains many elements in the early stage, so it is necessary to consider clearly in the planning of the early stage of production, otherwise it will affect the later model production. Zhou divides the whole work into several parts,
- Character skin: human head, body, horse and monster head.
- Equipment: protagonist equipment, wings and soldier equipment.
Construct the entire scene with simple geometric objects, and make some adjustments after determining the position of the camera lens, and try to place all the objects as well as possible. The location of the light can also be tested to find the most suitable place. It is necessary to make some model objects in ZBrush and put them into the scene as soon as possible to enrich the scene. Don't pay too much attention to the lights and details.
When everything is there, you can start making more accurate models to replace things in the scene. During the construction process, gradually adjust the shape or the position of the wrong part. In the production of this scene, I used to separate the equipment into separate Maya and ZBrush for production. There are two main reasons for this.
- There are many symmetrical objects in the equipment (although it will definitely break the symmetry later), but the previous symmetry can be improved efficiency (making high-precision models directly in the scene will be inconvenient) .
Do it separately in each Maya file. It can save some time for testing the material effect later, you can put the main scene lights into a single Maya equipment in the file, you can increase the speed of rendering. Of course, in the end, the scene effect in the lens shall prevail.
In this step, you can sculpt the protagonist's face, muscles and monster head (except for the symmetrical sculpture of muscle, human face and monster face, which is convenient for making the overall effect, and then break the symmetry later), the muscle part uses an existing body. Use the mask and move tool in ZBrush to adjust the desired appearance, and put it in the scene to match the position of the body. The head of the protagonist and the head of the monster are also placed in the placeholder model before the scene is replaced. The horse's body also needs to be sculpted with muscles, but it will be covered with a large area of hair in the later period, so the sculpting need not be too detailed.
Equipment is produced separately. When this large piece of equipment is determined, the next important thing is the pattern on the body, and there have been many versions of this pattern. In the production process, depends on the topology pattern of the equipment. Here I use Maya's own topology tool to first select the model to be adsorbed, click the magnetite, and then click quad draw to draw on the model.
Then add a line in the middle of the drawn shape, and put the added line in the direction of the normal (to turn off the suction command) so that the pattern is there, then only need to extrude the thickness, pay attention to the corners wiring.
In addition to a larger pattern, some small patterns attached to the surface of the equipment are needed to enrich it. This level is actually to find some suitable black and white pictures of the pattern on the Internet for stitching to make a continuous square picture, and then expand the equipment. UV, stick the pattern to the position corresponding to UV.
Then paste the black and white pattern into the ZBrush replacement channel (need to flip the V direction), adjust the extrusion height, and take a look at the effect. Of course, the patterns on the equipment can be stitched using some online pattern materials.
The production of the armor part is more troublesome, because the shoulder armor looks like a broken metal effect, so first make the shoulder armor large, and then use the ZBrush grouping to divide the shoulder armor into multiple groups, and rewire the regrouped part. The effect of broken metal can appear. Of course, it is still necessary to manually adjust the gap between each piece of metal. By default, the gap size is the same, which is not good-looking.
Wings can first find a wing and place it to see the effect, and then replace it with your own wings.
How to Set Up a Maya Render Farm
Maya render farm
Maya is an excellent 3D production software owned by Autodesk. It is very famous in the animation design industry and belongs to the top design and production software. Especially in animation production, game characters, film special effects. For example, Blue Sky's animated movie Spies in Disguise in 2019 and Netflix's science fiction series Lost in Space. The issue of rendering is inevitably involved in animated film production. I believe that many people are worried about the rendering time is too long and the delivery time is too tight, but using the render farm is a good choice, so how to set up a Maya render farm?
Spies in Disguise
Lost in Space
How to build a Maya render farm? First of all, there are many issues to consider when setting up a render farm, such as the number of machines, the configuration of the machines, the network, labor, software, purchase of Maya's license, time cost, security, and your budget. You can refer to the following article: Is Building Your Own Render Farm The Best Option?
If the project budget is tight, and you don't want to spend too much time on setting up and managing the render farm, you can consider using a commercial Maya render farm. After all, it can be used anytime, anywhere, and there is no project or the project has not reached the rendering progress when you don’t need to vacate your resources or ask someone to maintain it. Especially in the process of using your local render farm, if you encounter unexpected problems, you can also get the assistance of professional technicians. You don't have to spend time researching the problem yourself until you find a solution. During this period, if you are in a commercial Maya render farm, Some projects are estimated that you have finished rendering. The Top Benefits of Online Render Farms
Of course, choosing a commercial render farm also requires choosing a large and well-known professional online render farm, which guarantees safety. In addition to security, the number of machines and the quality of service can be provided very well. For example, the TPN-Accredited cloud render farm, Fox Renderfarm, in addition to providing massive rendering nodes, 24/7 services, there are professional TD personnel to solve technical problems for you at any time. At the same time, Fox Renderfarm is the rare render farm in the CG industry that supports both CPU and GPU rendering. Various mainstream software, renderers, and plug-ins are supported, as well as personalized customization services. Fox Renderfarm provides multiple submission methods for users to choose from. In addition to web page upload, rendering, monitor, and download, offline software applications can also be used for asset uploading, rendering, monitoring, and downloading. It's very easy to use and it only takes a few steps.
If you are still hesitating to build local Maya render farm or use a commercial render farm, why not directly get a free trial of $25 on Fox Renderfarm, which can be used as a real experience reference.
Behind the Scenes: Old House Impressions
Maya Cloud Rendering
Hello there! My name is Huangsong Zhang, I really like things with Chinese style. This creation refers to many pictures and restores an old house that has gone through vicissitudes. The software used is Maya, PS, Nuke.
I have always used 3ds Max software. Later, because I needed to switch to Maya for my work, I also tried to make creative works while learning, so the models in this work were completed with Maya software. It is not difficult to create a model, no special modeling skills are used, as long as the overall wiring is reasonable.
The created model is placed, but the screen feels a bit empty.
So a lot of small things were added beside it, such as screwdrivers, cigarettes, sticks, stones, etc. to enrich the picture.
UV is made with the UVLayout plugin. UVLayout is really easy to use in making UVs. Here, as long as UV production is focused on the classification of materials, similar materials are classified under the same UV, and 4 sets of UVs are divided.
The drawing of the texture is all done in PS. First, the basic texture is roughly drawn according to the output UV. Then slowly add details on the basis, and add some feeling of wear and age, and add some effects of falling gray.
An AO layer was superimposed on the material.
The last is the processing of highlights and bump mapping.
The hot water bottle placed in the scene is a kind of plastic with a light transmission effect, and the material is VRayFastSSS2.
The wood texture material has been processed by PS before each texture, so it is relatively simple. The intrinsic color map links the diffuse color channel and the highlight map link reflection color channel. Using the layered texture material node of the Maya and the highlight map, the gloss map is simply created and link to reflection glossiness channel, bump map to Bump mapping channel. Other materials are also adjusted similar to the above, and so on.
In this scene, I want to create an atmosphere of dusk. Therefore, a spotlight is used as the main light source, and then a surface light source is used to supplement the light to avoid dead corners and darkness.
Or use the Color channel of the spotlight and the black and white map of the tree branch to simulate the effect of sunlight coming in from the window through the shade of the tree. Then enter the color gain under the color balance of the texture channel and adjust it to warm yellow to look closer to dusk. Light effects. Finally, I added some small fill lights, in order to add some texture, make the details richer, and the dark parts more brilliant.
Final render and synthesis
For the convenience of adjusting the post-production, layered rendering is used. There are a total of 15 layers including diffuse reflection layer, GI layer, lighting layer, highlight layer, reflection layer, normal layer, AO layer, etc..
This project uses PS composition. And for compositing, layered rendering was performed in the early stage. Now you can grade all individual layers, which can enhance GI, enhance reflection and highlight effects. PS layer overlay method I basically use color filter, in Nuke is the plus overlay method under the merge node.
The left image is directly rendered, and the right image is the effect of layer synthesis, is it a big difference?
Thank you for reading.
Behind the Scenes: Demon Warrior Character
V-Ray for Maya
Hey, I’m Dong Chao. I used to work at the Industrial Light & Magic (ILM), Lucasfilm's VFX and animation studio in Singapore. Now I am a professional freelance artist and have long been involved in role-related work. This time I want to share some of the production process and experience of a 3D CG character produced in the project. I hope to help everyone. The software and plugins used in the production are Maya, ZBrush, Mari, UVLayout, Photoshop, shave and hair cut.
- Material collection:
Material collection is an important step. The more time you spend collecting material, the fewer mistakes you will make later. When creating the model of Demon Warrior, a large number of real materials and works references were collected using the Internet. In the design stage, I imagined that he was in ancient times, but did not have any obvious characteristics of the times, so I wanted to make some breakthroughs in the traditional dressing features of ancient China, and portray more mysterious patterns. I also tried brushes with different touches, and finally unified the whole character to make it feel complete. The following is part of the collected materials, put together for your reference.
- Basic model
The production of the model is based on a ready-made human basic model. After adjusting the proportion on it, the creation of all props and clothing is quickly performed. According to the size of the volume, start with the large-scale model parts first. The overall feeling of the character is shaped in the time, it is convenient to modify the proportion, and try to be as clean and even as possible on the wiring without having to portray too many details. But pay attention to the large turning and thickness of the armor, so that it is easy to sculpt later. If you need a large number of copies or later symmetrically sculpted objects, you can make them in the center first, and then copy and adjust the position to observe.
Regarding the cloth elements on the character, you can directly model and sculpt according to personal habits, and also use Maya's cloth system to solve. The benefits of the solution are more natural and achieve better folds with a lower number of faces. effect. The disadvantage is that it can't control the details of the folds more accurately than ZBrush. Because the character's cloth shape is relatively simple, the cloth solution method was chosen.
The hair of the character is made using Maya's nHair. In the early stage, the hair shape of the character needs to be built with polygons. The brush function built-in Maya can quickly convert the curve into the overall effect, and then copy the curve to create more rich changes. The second layer of thin curved surface will get more change and more natural hair effect in the later stage.
3.ZBrush high model production
ZBrush sculpting has always been my favorite link. Especially for this kind of project that needs to design a lot of details, I can boldly sculpt in ZBrush. The early materials have helped a lot at this time. When sculpting, generally according to the importance of the character, starting from the whole, first make some parts that account for the largest proportion of the character. Each part is a SubTool to facilitate later modification. Using different brush settings, you can sculpt the desired The detailed effect, whether it is a prop or a character, first make a large structure, and then refine it.
When creating some continuous sculpts in ZBrush, you can use Maya to make some elements first, and then convert them to alpha in ZBrush and map them directly to the model with UV. If the position is not perfect, you can import the model into Photoshop. Aligning alphas without sculpting one by one, it will take a lot of time.
ZBrush sculpting is the most detailed link in the entire model. People who have been using ZBrush for a long time suggest to establish their own familiar UI interface environment and their own custom brushes, which can greatly improve the production efficiency and effect during the production process. When sculpting a character, the collected alpha channel was used to portray the details.
- Model integration and UV
Export the lowest level of all models in ZBrush, and then use UVLayout to get a good UV splitting effect quickly. You only need to adjust patiently here, place the seams where you can't see as much as possible, and minimize the screen. UV stretching of the main part.
The model after splitting through UVLayout can be conveniently managed and laid out in Maya. All the models that need to be copied before sculpting and not sculpting are all arranged, because the number of final parts is relatively large, in order to bake the map faster For the convenience of drawing textures and adjusting materials, try to put objects of the same material in a UV unit.
Import all the determined UV models one by one into ZBrush in the order of SubTool. It should be noted that models exported from ZBrush can no longer be merged, split, or changed in topology. Otherwise, the models in ZBrush cannot be replaced.
Finally, you can set the baking texture in ZBrush. You can choose the texture you want to output. Here, only the displacement texture and the normal texture are baked. Because it is batch baking, the SubTool shows that you want to bake in one. Post the model on the map, ZBrush will automatically bake all and merge. The following are the parameter settings and the final results of the two posters for your reference.
- Map drawing
Next, start to create color maps for each part. First, a set of texture maps for men was selected for the body part. Using Mari's powerful texture mapping, a lot of details on the map are well retained.
Then import all the drawn layers into Photoshop to change the skin, draw some exaggerated details such as pores, dark spots, dust, etc. When drawing details, try to use high-resolution maps for drawing.
Finally, using some patterns made in PS, map Mari to the character's body according to his own design. In the end, it is still necessary to retain the transparent channel of this layer to facilitate later layer material adjustment.
The metal part is first imported into a material, and then the wear, scratches, smudges and other details are drawn in the Mari with a brush or material. Use Mari for hierarchical management. In the process of drawing, you can create a new mair shader. Simple Adjusting the material parameters for observation, you can also create a normal channel, import the previously baked normal maps and observe them to describe the details more conveniently, and then import the PSD into Photoshop for detailed description and color processing. Because our map is finally rendered in V-Ray, we need to set up a simple shader and light at the mapping stage, modify it after rendering and observation.
- Hair production
Use the previously made hair model, convert it into a NUBRS model, copy the spline curve above, and then use the nHair system to create new hair. It is recommended that you create different hairs according to different parts. This is convenient for adjusting different parameters. Try to use fewer hairs when testing hair. White hair has always been a headache, in order to get better highlights and later sub-channel rendering, I used V-Ray hair shaders on the hair system, and created 3 shaders according to different parts. This can achieve more variety of controls, you can hide other objects for quick testing.
The fuzz on the edge of the clothes is a stiff mane in my imagination, so I chose to create it with the Shave and Hair Cut plug-in. The comb function can quickly comb the approximate effect, and then test render.
7.Pose rendering composition
The character itself is a humanoid, so the HumanIK built-in skeletal system, HumanIK, was used to quickly create standard bones. Then, using HumanIK's automatic binding function, a set of bindings with simple functions can be obtained. The final pose can be placed according to the desired effects and props.
The rendering uses Maya's V-Ray for rendering. All the lights and shaders use V-Ray's shaders, which not only can get the desired effect faster, but also facilitate the subsequent sub-channel rendering. For lighting, one main light source, two backlights and one auxiliary light, and an additional sky light or metal reflected light can be added according to the effect.
The overall material is mainly metal, skin and leather. V-Ray's 3S texture ball is used for the skin. Simple settings can achieve good results. For leather, due to its characteristics, it is necessary to make a more precise highlight map at the mapping stage, so that the smooth and rough different areas on the leather can be better distinguished by the rendering of V-Ray, and the characteristics of smudges on leather are the only way to Distinguish from metal highlights.
In V-Ray, set all the channels needed to output the final composition.
The synthesis phase is relatively simple, mainly using channels to make fine adjustments. In addition, adjustments are made to layers such as fog, dust, flames, clouds, noise, edge light, and depth of field. The color must be adjusted to make it cooler and lower Saturation makes the picture present a relatively quiet and mysterious atmosphere.
How To Submit Maya In Using Vray Plugin Task On Cloud Rendering
Maya Cloud Rendering
This is a tutorial shows you how to submit Maya in using Vray plugin project on cloud rendering for rendering.
Steps1: Click the Register button:
After finishing the registration then Login your Fox account, and then start to upload your assets.
Press the Assets button on your left column and then press the upload button. Choose upload your assets folder or assets file.
Note: All file path on Foxrenderfarm storage will be the same as your local path, including drives.
Attention: Not support drive A, B, C, D, if you use absolute path on scene file.
Not support IP path of your files,such as \\192.168.0.2\..\\computer name\..
In these pics, I already upload my assets folder with E drive.
When you press the upload button, This file transfer MessageBox will automatically pop out, So please make sure you have installed our transfer plugin, If you already install it please make sure to initiating it.
Step2: Choose the Maya file you wanna upload. Then you'll see the transmission list and you could monitor the transmission speed.
Step3: When you finished the transmission, Please Press the New Job button to submit your Maya assets (That mean to create a new Render Task on our farm.)
Then Please select the asset directory and choose the render scene file you just uploaded, Press the Continue.
And add render software and plugin version (in this case you need to choose the Maya 2016 and the plugin is Vray for Maya 3.10.01.)
Then Save the config and press the Go Analysis button.
Step4: When you finish the Analysis phase you might wanna some changes on the common settings
You can modify all those common settings as you wish.
(We Highly suggest you turn on the Pre-test frames and After a test has done Pause the job. When you turn that on, will running the three pre-test frames first, and when this three-frame finished, the whole job will pause, Then you can check if the results are what you expected. If everything is alright then you can start the rest of the frame.)
When you finish all your settings, please click the Submit button to go the final render phase.
The Usage of Maya 2018 Attribute Spread Sheet
Prior to the Maya 2016, it is automatically created a layer selection (Create Layer Override) when opening or closing object properties in bulk. But since Maya added the Render Setup layering settings, the automatic creation of layer selection features has disappeared for the layered approach of older versions of Legacy Render Layers. This is confuse many people who don't know the existence of the Create Override for Selected feature.
Today, cloud rendering will tell you that if the automatic layer selection disappears, how to use the Attribute Spread Sheet tool.
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.)
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