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Advanced Texturing and Lighting Second Edition... Dear Reader,Thank you for choosing Advanced Maya Texturing and Lighting, Second Edition.. 234 Chapter Tutorial: Creating Eye Glow with

Wiley Publishing, inc.

Advanced

Texturing and Lighting

Second Edition

L e e L a n i e r

Advanced

Texturing and Lighting

Second Edition

Wiley Publishing, inc.

Advanced

Texturing and Lighting

Second Edition

L e e L a n i e r

Acquisitions Editor: Mariann Barsolo

Development Editor: Susan Herman

Technical Editors: Keith Reicher, Eric Keller

Production Editor: Laurel Ibey

Copy Editor: Liz Welch

Production Manager: Tim Tate

Vice President and Executive Group Publisher: Richard Swadley

Vice President and Executive Publisher: Joseph B Wikert

Vice President and Publisher: Neil Edde

Project Manager: Laura Moss-Hollister

Assistant Producer: Kit Malone

Book Designer: Franz Baumhackl, Lori Barra

Compositor: Kate Kaminski, Happenstance Type-O-Rama

Proofreader: Ian Golder, Word One

Indexer: Nancy Guenther

Cover Designer: Ryan Sneed

Cover Image: Lee Lanier

Copyright © 2008 by Wiley Publishing, Inc., Indianapolis, Indiana

Published simultaneously in Canada

ISBN: 978-0-470-29273-0

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10 9 8 7 6 5 4 3 2 1

Dear Reader,

Thank you for choosing Advanced Maya Texturing and Lighting, Second Edition This book is part

of a family of premium quality Sybex books, all written by outstanding authors who combine practical

experience with a gift for teaching

Sybex was founded in 1976 More than thirty years later, we’re still committed to producing consistently exceptional books With each of our graphics titles we’re working hard to set a new stan-

dard for the industry From the writers and artists we work with to the paper we print on, our goal is

to bring you the best graphics books available

I hope you see all that reflected in these pages I’d be very interested to hear your comments and get your feedback on how we’re doing Feel free to let me know what you think about this or any other

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Neil EddeVice President and PublisherSybex, an Imprint of Wiley

To all the dreamers and artists out there

My thanks to the excellent editorial, production, and compositing staff at Sybex and Wiley & Sons, including Acquisitions Editor Mariann Barsolo, Development Editor Susan Herman, Production Editor Laurel Ibey, Technical Editors Keith Reicher and Eric Keller, Copy Editor Liz Welch, and Proofreader Ian Golder

Special thanks to the faculty, staff, and students at the Art Institute of Las Vegas and Westwood College Online for inspiring me to perfect my craft Special thanks also

to my family and friends who supported my wild ambitions And the biggest thanks to

my beautiful wife, Anita, who encouraged me all the way, despite all those late, late 3D nights

Several of the photos in this book were provided by the photographers of Stock XCHNG (www.sxc.hu) This is a wonderful site that provides royalty-free, restriction-free material simply out of love of the medium Additional models were purchased from Turbo Squid (www.turbosquid.com), another excellent service

About the Author

played in more than 200 film festivals, museums, and galleries worldwide Before directing the shorts “Millennium Bug,” “Mirror,” “Day Off the Dead,” “Weapons of Mass Destruction,” and “13 Ways to Die at Home,” Lee served as a senior animator in

the Lighting and Modeling Departments of Pacific Data Images on Shrek and Antz He

got his start in 3D at Buena Vista Visual Effects at Walt Disney Studios, where he

cre-ated digital special effects for such films as Mortal Kombat Lee currently lives in Boulder

City, Nevada, where he serves as manager of BeezleBug Bit, LLC (www.BeezleBugBit.com) and director of the Dam Short Film Festival (www.DamShortFilm.org)

Understanding the Art of Lighting 2

Understanding Color and Composition 22

Step-by-Step: 3D Lighting Examples 32

Maya Light Types 38

Linking and Unlinking Lights 53Using Light Fog and Light Glow 54

A Note on Environment and Volume Fog 57

Chapter Tutorial: Lighting an Interior .62

Rendering Depth Maps 70

Raytracing Shadows 87Linking and Unlinking Shadows 88Creating Effects Shadows 88

Shadowing with Maya Fur 92

Chapter Tutorial: Lighting a Flickering Fire Pit with Shadows 99

Reviewing Shading Models and Materials .104

Reviewing 2D Textures 117

Mastering Extra Map Options 122

Stacking Materials and Textures 126Mastering the Blinn Material 129

Applying Environment Textures 1552D Texture Projection Options 158

Chapter Tutorial: Creating Skin with Procedural Textures 165

Mastering the Hypershade Window 170

Chapter Tutorial: Creating a Custom Paint Material .196

Employing Samplers 202

Tying into Nonmaterial Nodes 218

Connecting Multiple Materials in One Network 224Using the Studio Clear Coat Utility 225Chapter Tutorial: Building a Custom Cartoon Shading Network 227

Math Utilities 234

Chapter Tutorial: Creating Eye Glow with Advanced Math Utilities 260

Light Linker

Default Render Utility List Default Light Set

Render Partition

Chapter 9 Improving Textures through Custom UVs, Maps, and Sliders 265

Preparing UV Texture Space 266

Using the 3D Paint Tool 284

PSD Support 287Bump and Displacement Mapping .289

Custom Sliders .295Chapter Tutorial: Preparing the UVs of a Polygon Model 296

Determining Critical Project Settings 302

Mastering the Render Settings Window 311

Rendering with the Command Line 318Organizing the Render 319

Selecting Image Formats and Render Resolutions 321

Creating Depth of Field 325Applying Motion Blur 328Industry Examples: Splitting Up a Render .331

Maya Software vs mental ray 338Raytracing with Maya Software 338

Setting Up a Raytrace 342

Raytracing with mental ray 349

Reproducing Water 359

Reproducing Glass .366

Chapter Tutorial: Texturing and Rendering an Ice Cube .371

Chapter 12 Working with Global Illumination, Final Gather, and mental ray Shaders 375

Understanding Indirect Illumination 376

Applying Caustics 385Applying mental ray Shaders 389

Using Final Gather 400

Fine-Tuning mental ray Renders 405

Chapter Tutorial: Creating Caustics with Final Gather .411

Adding Realism with HDRI 416

An Introduction to RenderMan For Maya 431

Creating Textures with the Transfer Maps Tool 433

Managing Renders with the Render Layer Editor 438

Step-by-Step: Creating the Cover Illustration 445

What You’ll Find on the CD 454

System Requirements .454Using the CD 455Troubleshooting .455

I should stress that I am self-taught In 1994, I sat down at a spare seat of Alias PowerAnimator 5.1 and started hacking away After several years and various trials by fire, 3d became a livelihood, a love, and an obsession Along the way, I was fortunate enough to work with many talented artists at Buena Vista Visual Effects and Pacific data Images In 2000, I switched from PowerAnimator to Maya and have since logged tens of thousands of hours with the subject of this book.

due to the unusual combination of an informal and professional background, I

do not profess to know everything there is to know about Maya In fact, you may find

a better, quicker, more efficient way to achieve some of the texturing and lighting niques described in this book that’s the beauty of Maya there are probably a dozen ways to tackle every problem or challenge If anything, I hope this book provides you with the theory, the background, and the basic approach you need to come up with

tech-your own creative solutions.

Second Edition

the first edition of Advanced Maya Texturing and Lighting was written with Maya 7.0

and published in 2006 this edition represents a major revision, with every chapter updated for the most recent Maya release and the latest trends and techniques in the animation industry In addition, material covering fundamental theory that underpins computer animation and the natural world it tries to re-create has been expanded

Who Should Read This Book

Advanced Maya Texturing and Lighting, Second Edition, is designed for anyone with

a working knowledge of Maya Specifically, this book was written with the following people in mind:

also assumes that you have a basic knowledge of such image manipulation programs

as Adobe Photoshop and compositing programs as After Effects

How to Use This Book

Advanced Maya Texturing and Lighting, Second Edition, is divided into 14 chapters

Thirteen of these chapters are in the book one of the chapters is provided as a bonus

PdF file on the companion cd

chapter 1 discusses lighting history, technique, and application, as well as basic color and composition theory naturalistic, stylistic, 1-point, 2-point, and 3-point

lighting are covered in detail If you are new to lighting, this is the best place to start

chapters 2 and 3 detail Maya lights and shadows and how to properly apply them Specialized effects, such as Environment Fog, Light Fog, the Toon renderer,

Maya Fur, Maya Hair, and ncloth, are also covered

chapters 4 through 8 delve deeply into Maya materials and utilities Most Maya books barely scratch the surface in this area If you’ve ever wondered what each

Maya node actually does, check out these chapters custom networks are also

dis-cussed at length numerous examples are provided with clearly labeled illustrations,

and you’ll find that the examples are easy to follow (as much as such a complex subject

allows)

chapter 9 takes a detour and discusses uV texture space uV preparation is

a critical component of texturing, but it is often ignored by texturing and lighting

cover illustration is also provided

If you’re fairly new to Maya or 3d in general, I suggest starting with chapter 1, then working your way through the book If you’re experienced with Maya, I recom-

mend hitting the chapters that contain information that’s poorly documented by other

sources In this case, chapters 6, 7, and 8 should prove the most interesting If you’d

like to take your Maya knowledge even further, an Additional_Techniques.pdf file is

included on the companion cd The file includes extra sections that cover shading

net-works, nurBS preparation, and advanced rendering techniques

Each chapter of Advanced Maya Texturing and Lighting, Second Edition,

contains either a tutorial or examples of industry work The tutorials are in-depth

methods of practicing advanced techniques Each tutorial is accompanied by ample

illustrations and completed Maya scene files The industry examples, on the other

hand, present renders from completed animations and explain the process of their

creation These sections often include “quick and dirty” techniques that were born in

the face of production deadlines

The cd included in the back of the book is an important part of learning

with Advanced Maya Texturing and Lighting, Second Edition A bonus

chap-ter, sample scenes, shading networks, QuickTime movies, and texture bitmaps are included to help you perfect your knowledge The included materials match many of the illustrations in this book; check the illustration captions for file-names

As for Maya file locations, the following directory structure is used on the cd:

Project_Files\chapter_1\scenes scene files and shading networks

Project_Files\chapter_1\images background and HDR images Project_Files\chapter_1\textures texture bitmaps

Project_Files\chapter_1\movies sample QuickTime movies

Maya Versions

The scene files included on the cd are saved in the Maya 8.5 .ma format The files have been tested with versions 8.5 and 2008 All the techniques dis-cussed in the book have been tested with versions 8.5 and 2008; any signifi-cant differences between the two versions have been noted in the text

Shading Network Figures

A number of figures in this book illustrate custom shading networks The nections are labeled with the output and input channels As such, the output channel name is indicated by its placement on top of the connection line (closer

to the top of the node icon) The input channel name is placed below the nection line (see Figure I.1) details concerning attributes, channels, custom connections, nodes, and shading networks are provided

con-Input Output

Figure I.1 An example shading network