Tutorials. Hair & Fur Advances in Special Effects | Animation Mentor Blog. Click the image to see the high-resolution version Creating realistic hair and fur has been one of the major special effects challenges in top blockbuster films like Brave, The Hobbit, and games like Tomb Raider. Take a look at some of the innovations to see how far the technology has come in just 12 short years. Want to share these awesome rendering stats with your friends and followers? Feel free to embed the image on your social platform of choice: <p><strong>Please include attribution to Animation Mentor with this graphic.
Rigging Wires using Maya. Specialized passes: Material ID, Object ID and UV Pass – Tutorial | PixelCG Tips & Tricks. When outputting to composite rendered passes, it can be very useful to have the ability to select your render components by types. In this example, we are going to explore how to output render passes per material and per object. Material ID The term “Material ID” is commonly used when the render passes output the render per material. For example, in this scene we are using 5 shaders. The objective is to have 5 different color variables for easy selection/isolation in the compositing phase. Maya 2009 comes with a built-in ability to do so in the form of render pass. This pass is called “Diffuse Material Color”. Open the Hypershade and create multiple “writeToColorBuffer” nodes that match the same number of shaders you have in the scene.
In the Hypershade, middle-mouse drag the shader on top of the writeToColorBuffer node and choose “Evaluation Pass Through”. Repeat the above step for each shader. This is the result: Object ID The same concept applies to the object ID (aka label ID). Render Passes & Compositing - CGSource.net - Ole Kristian's Website and Creative Journal. Animation Tutorials. 3ds Max Tutorials, Maya Tutorials, Lightwave 3D Tutorials, Cinema 4D Tutorials, Softimage Tutorials, Bryce Tutorials. Www.christopherwhitelaw.us. L-system Maya Python Script. Mental ray rendering fur with passes. Whatewer you use- maya fur, or shave and haircut - rules and workflow will be the same. 1) NEVER USE RAYTRACE WITH FUR!
Any rule you can violate, if you understand them clearly. This is not exclusion-if you need to render fury sphere with 10 000 hairs- no problem: turn on FG, soft raytrace shadows, use occlusion and nothing terrible happend. But when you will have deal with real fury character, grass or any other scene with a lot of fur- raytrace can cause more headache then bennefit. So one more time:NEVER, NEVER USE RAYTRACE WITH FUR! 2) Render fur as hair primitives.At first test you may deside that volume fur looks better and render faster. Belive me, when you switch from tests to real project volume fur cause a lot of unpredictable results. 3) Render with RASTERIZER. 4) Render with puppet shaders pack. I will not explain how to archieve desired appearence of fur.
Now set render type of your fur to hair primitives. Now shading of fur defined by shave an fur inside engines. Scene. Animation Tips & Tricks. Visualizing L-Systems. I previously wrote a little uninspiring post about L-systems and how to generate one in Python. To illustrate their use, I took an existing system from Wikipedia and used that to develop and verify that my visualizations would work correctly. So, here is an image that is done based on the post I made earlier and new code that takes the output of the L-system generator and creates curves to render it our on Maya.
And here’s the code, but please note that the blog may do horrible things to it. One could do additional tricks to create leaves by other L-systems, for example. Particle Texture Emission in Maya. This tutorial is about how to utilize the texture emission available with particles in Maya and make an object dissolve. In order to keep this as short as possible I left out all the little tweaks to make this pretty but to keep the focus on the essentials. Building the basic setup create a plane (NURBS or poly) and scale it to xyz 160, 1, 90select the plane, go to Particles/Emit from Object (options), reset the settings and set the emitter type to surface and the rate to 100.000 particles/sec To create a softer effect some interpolation can be used but this makes the ramp animation a little bit more messy.
For simplicity I set the interpolation to none which might not be the choice for real production. The UV repeat and offset values are for creating a clean start and end for the ramp animation. It is used to extend the ramp a little to prior the start and past the end because the regular texture repeat would cause the distorted ramp to “bleed” into the opposite end of the ramp. Super Awesome Ultimate Sprite Rig | MikeRhone.com. By Mike Rhone This tutorial has been written so that the novice artist can create a working particle rig. It is assumed you are comfortable with the basic concepts of 3d and Maya. Before I made the career move to effects, I was a character rigger.
I have found that many of the skills I learned in the rigging department have helped me to make fast, re-useable particle rigs that are easy to animate. This tutorial will prepare you to approach an effects setup like a rigger would. Not only does this make the animation process much simpler, it allows the effects to be done by animators without having to train them in the deeper parts of Maya dynamics. Set the project Set up a new project, and name it ‘explosion_rig’. Setting up your preferences to work with particles When working with particles, you need to set your preferences to ‘play every frame’.
You should never rely on Maya when it comes to timing out animations. Emission surface Dust Puff emission Play the scene. What is age? Press play.