Complex Material Tutorial | Marmoset By Joe “EarthQuake” Wilson How do I make X material type in Toolbag? I decided to throw together an asset to help explain how the Marmoset Toolbag material system works and display the type of art content I create to mimic various real world material properties. Download the camera asset to follow along and view in full 3D glory inside of Toolbag, here: DOWNLOAD CAMERA ASSET Unzip the asset to your Toolbag directory: X:\Program Files(x86)\MarmosetToolbag .. Essential Terms: First things first, this tutorial is covering the Marmoset material system and how to achieve the most from your diffuse, normal, specular, and gloss maps while representing a variety of material types. Let’s start by explaining what each map does and how it will relate to the Marmoset material system. There are more advanced features of the Marmoset Toolbag rendering/shader system, but for the sake of simplicity we’re going to limit this tutorial to the four common texture maps in the default shader. Diffuse Map Normal Map
Guillaume Ménant | Photographe Amateur | Rennes 11 Frequently Asked Questions about After Effects People love After Effects and for the most part After Effects loves you back. But sometimes you just want to throw it out of the window because you can't understand why something is not working the way you were hoping. In this week's article, Topher attempts to answer some of the more frequent questions that appear in forums and comments. Hounding forums here and there, I find myself answering and reanswering the same questions over an over again. Things that are so basic, yet most people can't figure them out because they aren't obvious or the answer isn't spelled out for them. Previewing Audio In After EffectsThere are three ways to RAM Preview in After Effects.
Part 3: Multi-Tile Shader Setup/Rendering in Maya. – Brian Freisinger Part 3: Multi-Tile Shader Setup/Rendering in Maya. Brian Freisinger October 18, 2011 Update: June 10, 2012 – To skip directly to how to set up for displacement jump ahead to part 4 of this tutorial series. Also I’m no longer using the layered texture shader method and instead using the +/- Average node method as seen in Part 4. At the end of Part 2 you should have ended up with an object (Cube Primitive) laid out with multi-tile UV maps, and six texture maps you extracted from Mudbox. There are now two ways you can assign your textures in a shader. Again this applies to both texture and displacement mapping, but for this part of the tutorial we’ll just be looking at simple textures. Let’s start by reloading the original cube scene you should have saved and then exported to Mudbox. Simple Setup: The first way is the down and dirty face by face assignment. It’s pretty simple to set up. If we’ve got six tiles, and six textures, we simply create six shaders. Figure 19. Figure 20. Figure 22.
Stay in my brain - Strobist: Travaux & Références (11 votes, Moyenne: 4,64 sur 5, Prenez 2 secondes pour voter) Loading ... J’aime de temps en temps dénicher des jeunes talents dont le nom commence à bien circuler sur la toile. Direction Bordeaux (oui j’avoue que je ne vais pas trop loin cette fois-ci) où nous avons rencontré Félix Barjou (aka The Cat). Comme toujours, je donne les liens indispensables: son site officiel ainsi que sa page Facebook. Salut Félix! Bonjour je m’appelle Félix Barjou, j’ai 23ans et j’habite a Bordeaux. La Technique Strobist : Depuis quand ? Depuis plus ou moins le début. Quel matériel utilises-tu principalement? Je travaille avec un Nikon D300, un 18-70 transtandard (rarement) un 50mm f1.4, un 60mm f2.8 macro et un fisheye 8mm samyang. Quels logiciels utilises-tu pour retoucher tes photos ? Photoshop CS5 et aussi le très bon plugin Color Efex Pro Quel genre de photo aimes-tu faire en général ? J’aime beaucoup le style décalé, jouer sur la mise en scène, la lévitation, donner un sens a mon image. 1. 2. 3. 4. 5.
Type of Shots | Directing Movies Different Sizes of Shots- One of the major distinctions among types of shots is the shot size. The shot size identifies how large and area will be visible within the frame. Among the following common shot sizes the distance between the camera and subject varies. Types of Shots Extreme wide shot (EWS) shows a broad view of the surroundings around the character and coveys scale, distance, and geographic location.Wide shot (WS) shows an entire character from head to toe.Medium wide shot (MWS) shows a character usually cut off across the legs above or below the knees. Shots with different camera angles. Horizontal camera angles. Types of Horizontal Camera Angles Vertical camera angles Moving the camera around the subject vertically while aiming at the subject creats different camera angles Types of Vertical Camera Angles High angle The camera is placed above eye level, looking downward. POV Shots In a point of view (POV) shot, the camera is placed at the eye position of a character. Dolly vs.
Ami Vitale | Photography 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. 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). Once we render the result will be like this:
Strobist Cinematic techniques Basic definitions of terms Aerial shot: A shot taken from a plane, helicopter or a person on top of a building. Not necessarily a moving shot. Backlighting: The main source of light is behind the subject, silhouetting it, and directed toward the camera. Bridging shot: A shot used to cover a jump in time or place or other discontinuity. Camera angle: The angle at which the camera is pointed at the subject: Low High Tilt. Cut: The splicing of two shots together. Cross-cutting: Cutting between different sets of action that can be occurring simultaneously or at different times, (this term is used synonymously but somewhat incorrectly with parallel editing.) Continuity cuts: These are cuts that take us seamlessly and logically from one sequence or scene to another. Deep focus: A technique in which objects very near the camera as well as those far away are in focus at the same time. Dolly: A set of wheels and a platform upon which the camera can be mounted to give it mobility. Sound