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
How to green screen: create great video effects | Video production Green screens have become an essential tool for film makers, and how to green screen is one of the first things people working in video will tackle. They can transport a subject anywhere, limited only by the imagination. But if you thought that this movie-making technique was reserved just for the big shots in Hollywood, then think again. Also read: Create movie-style horror effects Setting up your green screen A common question is ‘does the screen have to be green?’ Green and blue can both be used as they differ the most in hue from human skin colour; this enables the filmmaker to easily differentiate between the background and the subject of the film. Once you have your green screen, you need to think about lighting. Five top tips for lighting Use softbox lights as they cover the green screen really evenly. Editing your green screen video What is the best software for a beginner to use for editing their green screen video? Three top tips for editing 1. 2. 3. Words: From our friends at Vimeo
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.
Ami Vitale | Photography Lighting Basics Series I: Where to place your KEY LIGHT We got wonderful feedback from our survey and wanted to write a post based on your wishes ASAP. One of the most popular requests was for lighting instruction. In the HD world and film, lighting is king. Knowing how to light and not just rely on available light is what being a cinematographer is all about. I thought I would do a series of posts that will address the basics in lighting and use my film “The Greatest Game Ever Played” as an example for all of them. The key light is the most important light you can place. Once you block the scene with the actors, it’s time to think about the best way to light the scene, and where the key light should come from. I look at the actors blocking and how best to let them move within a space when deciding where that key light should go. Marking actors is a great idea to get them in the ball park for camera line ups but after that, I try to lose them so that they feel natural and organic in a space and not worry about the marks.
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:
Cada día un fotógrafo / Fotógrafos en la red Lighting Basics: Going With What is Available The exciting thing about the Arri Alexa, F-3 and the new wave of DSLRs is their high ISO range to minimum noise ratio. This has opened up a whole new way to light as a cinematographer. Whether it be daylight interior or exterior, dawn, dusk, night exterior or interiors the option now exist to use available light in new ways, as well as working with less. On the films that I shot prior to Act of Valor, our lighting package fit into a 48’ semi truck along with multiple 10-ton truck drop loads to expose film. Here is a perfect example. The building on the left that has a coolish tone was smoking hot. Here are the units that lit the Plaza: My lighting package now is pretty much everything you can either purchase from Home Depot or out of a Grainger catalog. 4-Single bulb shop fluorescents w/ cool white tubes, with daylight & tungsten bulbs. 4-Dbl Bulb shop fluorescents w/ cool white tubes, with daylight & tungsten bulbs. 6-MR-16 50 Watt Flood screw in household socket 4-50’ 12 Gauge Stingers
The Best Way to Render Wireframe in Maya | Ayan Ray Posted: January 25th, 2010 | Author: Ayan | Filed under: 3D | Tags: 3D, Maya | 61 Comments » A quick google for render wireframe in Maya will get you some sound results. Unfortunately, I tried them and they didn’t consistently produce the results I needed. Method 1: “The Best Way” – Mental Ray Contours Why is it the best? Rendering Wireframe with Mental Ray The Worse Ways For full disclosure, here are some other not so good ways to render wireframe. Method 2: UV Snapshot I don’t feel like doing the process for this one. Method 3: Maya Vector Rendering in Maya Vector is fairly painless to test. Wireframe render using Maya Vector. Method 4: Hardware Buffer Hardware buffer is another painless way to render out in wire frame. Method 5: Toon Shader The second best method to render wireframes in maya is to use the toon shader. Share and Enjoy No related posts.
Un Universo de fotografías Obture gives you a whole Universe of photographers and their images, so you can find what is going on further than your network. Here is it, now you decide where to start browsing it. 1. The best in Obture This is the best picture of this moment at Obture. 2. 4. No photos geotagged recently! City Region Country 5. 1 photographers, 3 works