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Hair and fur are vital details for realistic 3D models, and their texture can vary wildly—whether soft, prickly, tousled, matted, frizzy, spiky, or straight. This course, with animator Aaron F. Ross, shows you how to create, render, and customize all different types of fur in Maya. Fur starts in Maya with the Fur node, where you attach a fur description and define essential properties. Then you'll learn to map fur to your models with texture and style it with the Paint Fur Attributes tool. Plus, discover how to control shading and shadowing, render out your model in Maya or mental ray, and animate dynamic hair with the nHair system. In the end, you'll have textures you can use to create luxuriant heads of hair, fur of many stripes, and even other materials like grass.
With the fur and the hair created, connected with the curve retractors node and all the relevant attributes set. Now we're ready to create some animation. Now there are multiple ways that we could do this. For example, if you select the hair system and go into that hair system node, you will see that there's a turbulence section. And this is a way of adding chaos to the hair system. Alternately you can go into the nucleus note, which is the master solver which controls the hair system and you'll see that under gravity and winds you've got wind speed and wind noise.
However either one of those methods. Would be kind of limited. You wouldn't really be able to get a good looking wind that blows the grass. To do that, we can use a turbulence field. I want to select that hair system, and go into the end dynamics menu set and choose fields, turbulence. It's created at the origin. I just want to move it over to the sides, so that it's not underneath everything else and we can get at it easily if we need it. We want to adjust some of its attributes.
So with that turbulence field selected I'll go to the attributes editor, and most importantly we need to reduce the extenuation down to 0. Extenuation is the diminishment of the field intensity over distance, and with an extenuation of 1, we're going to get a fall off effect. You want to set that to 0, and that means that the turbulence will be equal across the entire world. We've also got the magnitude, which of course is the strength of the turbulence. Increasing that magnitude will increase the deviation of the hair system and will also increase the speed of the movement.
Set that to 100. Then we have the frequency. And the frequency of course, is the scale of the turbulence noise. And lower frequency will give us a larger wavelength. And we'll get some sweeping effects here. So let's set that frequency down to a value of 0.01. And, let's trying playing this now. Go ahead and press play. And we see a little bit of movement. It's not very dramatic. And also, if you look closely, there's kind of a strange effect where there's a sharp transition between areas.
On the grass, and what we want to do to kind of smooth that out is to set interpolation type to quadratic, which means that it's going to be a much softer effect. There won't be sudden changes in the wind, okay? Rewind that and play it. And so you see, having set the interpolation type to quadratic, now it's a lot softer. However we're not getting the effect that we want. What's happening here is the turbulence is a static field, it's not changing shape, it's just trying to draw these hair follicles to a certain location.
We want to animate that, and that's controlled those these phase attributes. We could put key frames on these, but it's better to write an expression because then we won't be locked down to certain key frames and we won't have to worry about interpolations between keys. We'll be able to render out any length of animation we want. In the next movie, we'll create some expressions for this phase on this turbulence field.
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