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Defining glossy and blurred reflections

From: Creating Textures and Shaders in Maya

Video: Defining glossy and blurred reflections

Glossy reflections occur on very smooth surfaces. So a glossy reflection you can think of as being almost mirror like, completely reflecting the environment. I have a scene here that shows three teapots. This scene demonstrates a range of glossy reflectivity. So let's do a render here and see what it looks like when we render. So I'm creating a render, so we can compare the three teapots. On the very left here, I have a very glossy reflective surface. It's perfectly reflecting the environment.

Defining glossy and blurred reflections

Glossy reflections occur on very smooth surfaces. So a glossy reflection you can think of as being almost mirror like, completely reflecting the environment. I have a scene here that shows three teapots. This scene demonstrates a range of glossy reflectivity. So let's do a render here and see what it looks like when we render. So I'm creating a render, so we can compare the three teapots. On the very left here, I have a very glossy reflective surface. It's perfectly reflecting the environment.

So it's reflecting the other teapots and the checkerboard. You can see the surface is very smooth. So the reflection is very nice and clean. If you look at the elements of reflection, you see right here is what's known as a specular highlight. So this is a reflection of the light source. In this case, the sunlight that's hitting the teapot. A lot of computer graphic shaders have a separate channel for reflecting the light source and reflecting the environment. This is usually referred to as the specular channel versus the reflectivity channel.

In real life, of course, there is no separation. Reflective surface is going to reflect both the environment and the light source. The reason that it is separated in computer graphics program is because virtual CG light is often an infinitely small point of light in space. So what they've done is by separating this, they give you a control to sort of fake the reflection of the light source. So when you look at the specular channel on a typical computer graphics shader, it's giving you a separate control to sort of fake the reflection of the light source. Let's take a look at these other two teapots.

This is going into sort of a range of roughness. As the surface becomes more rough, you can see that the reflections on the surface start to become blurrier. So this is a slightly blurry reflection on a slightly rough surface. This surface is a little bit more rough. The reflection itself is a little bit more blurred. As the surface becomes rougher and rougher, of course, you're going to start to move from a reflective surface to more of a diffuse type of reflection. Many shaders in mental ray have a control that allows you to simulate blurred reflections.

So you can have a range from very smooth and perfect reflections all the way up to very blurry reflections. When you're designing a shader for your surface, think about how rough the surface is, think about how much it's going to reflect the environment. If you think of a surface like a wet road, it's still going to reflect the environment. But the reflections are going to be very, very blurry as opposed to something like a chrome ball or a chrome bumper on a car.

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This video is part of

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Creating Textures and Shaders in Maya

37 video lessons · 8042 viewers

Eric Keller
Author

 
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  1. 2m 19s
    1. Welcome
      1m 6s
    2. Using the exercise files
      1m 13s
  2. 17m 49s
    1. Explaining diffuse reflections
      2m 39s
    2. Defining glossy and blurred reflections
      2m 32s
    3. Looking at refraction
      4m 20s
    4. Describing the Fresnel effect
      1m 56s
    5. Understanding anisotropy
      1m 10s
    6. Identifying ambient and reflection occlusion
      1m 49s
    7. Defining sub-surface scattering
      2m 4s
    8. Simulating translucency
      1m 19s
  3. 1h 8m
    1. Using Maya's standard shaders with mental ray
      7m 2s
    2. Comparing mental ray and Maya shader nodes
      9m 12s
    3. Creating mental ray shaders
      2m 32s
    4. Making sense of mental ray shaders
      10m 35s
    5. Introducing the mia_material
      9m 16s
    6. Creating a custom mia_material preset
      9m 17s
    7. Looking at car paint materials
      6m 43s
    8. Using subsurface scattering shaders
      13m 33s
  4. 1h 5m
    1. Understanding UV coordinates
      4m 26s
    2. Comparing NURBS and polygon UVs
      4m 48s
    3. Mapping polygon UV surfaces
      13m 1s
    4. Using texture maps for color and other shader channels
      8m 1s
    5. Applying and projecting 2D procedural texture nodes
      4m 0s
    6. Applying 3D procedural texture nodes
      7m 1s
    7. Using ramp textures
      8m 12s
    8. Setting up utility nodes
      6m 29s
    9. Using file texture nodes
      9m 41s
  5. 22m 36s
    1. Applying the turbulence texture
      9m 37s
    2. Considering the round corners texture
      4m 17s
    3. Improving skin detail with ambient occlusion
      4m 27s
    4. Applying reflection occlusion
      4m 15s
  6. 33m 6s
    1. Painting bump maps
      4m 14s
    2. Creating normal maps
      5m 24s
    3. Applying normal maps
      6m 17s
    4. Creating displacement maps
      9m 14s
    5. Troubleshooting displacement maps
      7m 57s
  7. 33s
    1. Goodbye
      33s

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