IntroductionWelcome | 00:03 | Hi. I am George Maestri, and welcome to
Maya Essentials 4: Creating Textures and Materials.
| | 00:10 | In this course, we're going to go
over the basics of creating materials and
| | 00:15 | applying textures in Maya.
| | 00:18 | We're going to go through some tools
such as the Hypershade window and IPR which
| | 00:24 | will let you render interactively.
| | 00:26 | Then we're going to go
through and refine materials.
| | 00:29 | We're going to understand how to use
bitmaps as textures, we're going to
| | 00:32 | understand some of the features of
each material such as transparency,
| | 00:37 | specularity, and reflections.
| | 00:40 | And finally, we're going to
apply textures to surfaces.
| | 00:43 | We're going to do some simple
projections, and then we're going to do some
| | 00:47 | sophisticated UV mapping.
| | 00:50 | Let's go ahead and get started with
Maya Essentials 4: Creating Textures and Materials.
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| Using the exercise files| 00:00 | If you're a lynda.com Premium Subscriber,
or you get the course on DVD, you'll
| | 00:05 | have the exercise files used in this course.
| | 00:08 | Now, if you want to follow along, go
ahead and drag your exercise files to your
| | 00:13 | desktop as I have here.
| | 00:15 | Now, this exercise files folder basically
has one folder for each chapter in the course.
| | 00:23 | In each one of these folders is a Maya project.
| | 00:26 | So, at the beginning of each chapter, I
want you to go into File > Set Project and
| | 00:32 | make sure you set the appropriate
folder for the project that you're using.
| | 00:38 | So the first one we're going to be using
is Create_Materials so go ahead and set
| | 00:42 | that, and you should be
ready for the first chapter.
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| Choosing a renderer | 00:00 | This course will use both the
mental ray and the Maya Software Renderer.
| | 00:06 | So, let me show you quickly
how to switch between them.
| | 00:11 | If you want to use mental ray,
you do need to turn on the plug-in.
| | 00:15 | This may not be turned on By default.
| | 00:18 | So, we want to go into Window > Settings/
Preferences > Plug-in Manager, and then
| | 00:25 | scroll down until you find Mayatomr.mll.
| | 00:31 | You want to make sure that Loaded is checked.
| | 00:33 | Now, I check Auto load just to make
sure that it loads every time I load Maya,
| | 00:41 | and I would suggest you do that as
Well, if you're using mental ray a lot.
| | 00:45 | Now, once you've made sure that you
have the mental ray plug-in enabled, you can
| | 00:49 | go into the Render Settings window by
clicking on this icon here, and then we
| | 00:56 | can choose between any number of renderers.
| | 00:58 | Now, By default, Maya uses
the Maya Software Renderer.
| | 01:03 | We have a number of other Maya
Renderers, and then we also have mental ray.
| | 01:08 | Now, if you've selected mental ray,
you will render in mental ray, and if you
| | 01:13 | select the Maya Software
Render, you render in that.
| | 01:17 | Now, you may have additional renderers
installed in your version of Maya, but
| | 01:22 | these are the two that
we'll be using in this course.
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1. Creating MaterialsUnderstanding the basic materials | 00:00 | Let's take a look at the basic
materials that we have available in Maya.
| | 00:05 | In order to apply a material to an
object, well, we first need an object.
| | 00:09 | So let's go ahead and
just create a simple surface.
| | 00:12 | I'm going to create a NURBS sphere, and
I'm just going to go ahead and drag on
| | 00:17 | the grid and hit 5 to shade it.
| | 00:20 | Let's go ahead and move that above the
grid so we don't have the grid through it.
| | 00:25 | Now if I select this object,
I can apply a material.
| | 00:28 | A material really is just a way
to shape and render the surface.
| | 00:33 | By default, we have what's
called a Lambert shader applied.
| | 00:37 | If I hit the Render button here,
that's just a very dull matte material.
| | 00:44 | Now if I want, I can apply any
number of other types of materials.
| | 00:49 | So if I want to, I can go into my
Rendering menu and under Lighting/Shading, I
| | 00:55 | have a number of different options here.
| | 00:57 | I have the attributes for the
existing material, I can also assign a new
| | 01:01 | material, assign a new material from a
list of favorites which are basically our
| | 01:07 | standard types of materials, or
we can assign an existing material.
| | 01:11 | So if I've already created a wood texture
or something like that, I can apply that.
| | 01:17 | Now another way to apply these materials
is to go to the Rendering tab, and then
| | 01:22 | we have all of these right here.
| | 01:25 | So if we want, we can assign them
either from the menu or from the shelf.
| | 01:30 | Let's go ahead and assign one from the menu.
| | 01:32 | So I'm going under Lighting/
Shading > Assign Favorite Material.
| | 01:36 | Now I'm just going to assign the one
here at the top, and it's called Blinn.
| | 01:40 | Now notice how, when I assign it,
the sphere gets a little bit shiny.
| | 01:46 | So before it was kind of flat and dull,
and now it has a little bit of what
| | 01:51 | we call specularity.
| | 01:53 | Now if we want to, we can adjust the
basic material attributes by going into the
| | 02:00 | Attribute Editor and finding the rightmost tab.
| | 02:03 | In this case, it's blnn1.
| | 02:05 | We assigned a Blinn material, and
that's now attached to my object.
| | 02:11 | I'm going to go ahead and pull this down
here so we can see a little bit more of
| | 02:16 | the attributes here.
| | 02:17 | Each material has a number of
attributes and those attributes will change
| | 02:22 | depending upon the type of material.
| | 02:24 | Now you can also change
the type of material here.
| | 02:28 | So we picked Blinn but we don't have to
use Blinn, we can use any one of these.
| | 02:34 | And these are part of the
basic materials plus a few others.
| | 02:38 | So I'm going to keep this on Blinn here.
| | 02:40 | Now each of these materials have
common attributes such as the Color.
| | 02:45 | So if I click on this Color box
here, I can select any color I want.
| | 02:50 | I can dial up or down Transparency,
I can select an Ambient Color.
| | 02:56 | Notice how this changes here on the
sample it may not change in the viewport.
| | 03:01 | Sometimes if you change it say to
maybe a different renderer in the viewport
| | 03:05 | such as render 2.0, you may be able to see it.
| | 03:08 | So let's go ahead and turn render 2.0
on so we can this a little bit better.
| | 03:12 | We also have IncandEscapeence, Bump Mapping.
| | 03:17 | We also have a Diffuse which is
basically the underlying color.
| | 03:21 | We have Translucence, and so on.
| | 03:24 | So each one of these is
common to the basic shaders.
| | 03:29 | Now the differences in the different types
of shaders is how it creates specular shading.
| | 03:35 | Now specularity really is the way
that you see highlights on the object.
| | 03:40 | So in this case, I have the Blinn shader,
and I can change my Eccentricity, in
| | 03:47 | other words, how sharp or broad is that spot.
| | 03:52 | What's my Roll Off, in other words
is it fading off or is it sharp edge.
| | 03:56 | The color of the specularity, we do
not have to have it as white or gray.
| | 04:01 | We can have it really any color we want.
| | 04:04 | And then in addition to that we have
Reflectivity which we'll get into in
| | 04:08 | a little bit later.
| | 04:09 | Now each one of these is a way to
change the way the material looks.
| | 04:13 | If we want to, we can also
change the type of material.
| | 04:16 | So right here we have Blinn.
| | 04:19 | If we go and change it to Lambert,
what happens as it keeps the diffuse color
| | 04:25 | but we don't have any specularity, and
that's really the definition of a Lambert
| | 04:29 | shader is that it has no
specularity, it's not shiny.
| | 04:33 | It's just a flat surface.
| | 04:35 | So if we change this again, we have a
number of other ones here, I'm going to go
| | 04:39 | up to the top here to Anisotropic.
| | 04:41 | And this type of shader
actually has non-round highlight.
| | 04:45 | So we can see it here in the material's sample.
| | 04:47 | We can change the Spread in X and Y, we
can change how the highlight shows up.
| | 04:53 | Now it's not showing up in our
viewport, but if we do a quick render, you
| | 04:57 | can see that it does.
| | 04:59 | So not all of these will show up in
the viewport, it's best to look at
| | 05:02 | the material's sample.
Now there's a couple of other standard ones.
| | 05:06 | We have Phong which is basically very
similar to Blinn in that it has basic
| | 05:12 | specularity here, and then we have
what's called Cosine Power, and again, the
| | 05:17 | Specular Color and Reflectivity.
| | 05:20 | We have another one called Phong E
which I find is really good for glass.
| | 05:25 | And again, the Specular Shading, we can
actually add Roughness to the Specular
| | 05:29 | Shading, we can also add
a number of other things.
| | 05:32 | Now once you've created a shader,
notice how we've actually created a bunch of
| | 05:36 | different ones, and when we change
this to Phong E, it creates a phongE1.
| | 05:40 | Now if I want, I can
rename this by giving it a name.
| | 05:45 | We could call it Blue.
Now we have a material that's called Blue.
| | 05:51 | So if I wanted to, I could create
another object, so let's go-ahead and say
| | 05:55 | create a polygonal cube.
| | 05:58 | And if I want to, I could apply
that blue material that I created here.
| | 06:03 | Now all I have to do to do that is just
right-click over the object, and we have
| | 06:08 | our Material Attributes windows here.
| | 06:11 | So this is exactly the same as we
have under this Lighting/Shading.
| | 06:15 | So these four menu options are
actually under your right mouse button.
| | 06:19 | So if I right-click over this you see I
can assign a new material, I can assign
| | 06:24 | a favorite material, so any one of these
such as Blinn, Lambert, Phong, or Phong
| | 06:29 | E, or I can assign an existing material.
| | 06:32 | So in this case, I have Blue which is
the one I just created, and so I can
| | 06:36 | assign that as well.
| | 06:38 | As you can see, there's a lot
of options for these materials.
| | 06:42 | So we'll start to go through these to
start customizing our materials even more
| | 06:47 | in the next few lessons.
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| Creating and applying maps | 00:00 | Now as you start getting deeper into materials,
you'll want to go beyond just solid colors.
| | 00:05 | You'll want to add
texture maps to your materials.
| | 00:08 | So let's go over some of the
basics of how to apply texture maps.
| | 00:13 | Just start with a simple object.
| | 00:14 | We're going to go with our
good friend, the sphere here.
| | 00:17 | I'm going to go ahead and lift
that above the grid so we can see it.
| | 00:23 | Let's do ahead and apply a material to it.
| | 00:25 | So I'm actually going to go into my
rendering shelf here and just apply a
| | 00:30 | simple Blinn material.
| | 00:33 | Now once I do that, I can select the object,
go into the Attribute Editor and select blnn1.
| | 00:40 | If we wanted to, we could
change the color like we did before.
| | 00:44 | So I can basically just dial in a
color on the color wheel that I like.
| | 00:48 | But this is just a solid color.
| | 00:51 | Now if I wanted to make this more of a
texture map, I can go over here to this
| | 00:56 | little checkerboard on the
right-hand side of this attribute.
| | 01:01 | Now if we notice we've got checkerboard
on all of these, and if I click on this
| | 01:06 | it brings up a special menu
called Create Render Node.
| | 01:10 | And if we take a look at this we
have all sorts of different textures.
| | 01:14 | Notice how it automatically
highlights the ones that are textures.
| | 01:18 | We can also create other types of
render nodes such as Surfaces or Lights or
| | 01:24 | other types of things.
| | 01:26 | But this is really just all the different
textures that we have available for this material.
| | 01:31 | So if we want, we can add any of these
procedural textures such as Bulge or Checker.
| | 01:36 | We could also add Files.
| | 01:38 | We could also add other procedural such
as Mountains, we could add Movie files.
| | 01:43 | So if you want to have something that changes
over time, we can do that. We can add noise.
| | 01:49 | I'm not going to go through all of these.
| | 01:51 | In fact, let's go through
some of the simplest ones here.
| | 01:54 | Let's just go ahead and apply Checker.
| | 01:56 | And, as you can see,
we've got a checkerboard here.
| | 02:00 | Now what this does is it brings
us into an Attribute Editor for the
| | 02:05 | Checker procedural texture.
| | 02:07 | And so if we want, we
could change the color of this.
| | 02:11 | So if we want black and green
instead of black and white, we can do that.
| | 02:15 | Now we're not seeing this on this
sphere, and that's because we don't have
| | 02:19 | hardware texturing turned on.
| | 02:21 | So let's go ahead and go into Shading,
turn on Hardware Texturing, and you can
| | 02:25 | see now I've got that available.
| | 02:27 | When I'm in this texture node, I don't
see all of the other nodes for the object.
| | 02:34 | This is basically just for this texture.
| | 02:37 | If I want to, I can either reselect
the object, or I can hit this little Up
| | 02:43 | Arrow here, and this goes my output connection.
| | 02:46 | And basically what it does is it goes
back up to my shader, which is my Blinn
| | 02:51 | shader, and it allows me to
see all of my other parameters.
| | 02:54 | So, as you can see, I've got Color, and
now instead of this green, it's actually
| | 03:00 | coming from this checker pattern.
| | 03:02 | So I don't have to have a green, and I
can have a blue and black or whatever.
| | 03:07 | Now when you have a texture, we
also have another node here which is
| | 03:11 | called place2dTexture.
| | 03:13 | And this determines how this 2D image is
placed within the map, and then the map
| | 03:21 | is applied to the object.
| | 03:23 | So, for example, if I wanted to, I
could rotate how this is applied so I
| | 03:29 | can just dial this in.
| | 03:30 | I can change my Coverage, I
can make it bigger or smaller.
| | 03:34 | So actually what I'm doing is
changing the size of the map.
| | 03:38 | If I change it from 2 to 2, it grows
the map and applies it differently.
| | 03:43 | Now we have mapping in our object here.
| | 03:46 | So what I'm doing is I'm just
making this particular texture bigger.
| | 03:51 | If I wanted to, I could bring it back
down to 1, either 1 and 2 or 1 and 1 or
| | 03:57 | really any value that I want.
| | 03:59 | And then we also have a Repeat value, and
so this is how many times does this repeat.
| | 04:05 | So if I want four checkers per
repetition, then I can do that.
| | 04:10 | If I want to have even more checkers,
I can go from 4 to 8 or really any
| | 04:15 | number that I want.
| | 04:16 | And again, with this if I want go back
up to my checkerboard pattern, I can do
| | 04:21 | that and notice how this is changed.
| | 04:23 | And this is the map that
we're applying to the object.
| | 04:27 | And then if I want to, I can go back up to
the original material, and then go from there.
| | 04:33 | Now one more thing I want to show you is
that we can actually go deeper than this.
| | 04:38 | So if I go into my checker pattern
either by clicking here or here, you see here
| | 04:45 | under Color, we have a color picker,
but again, off to the right, we have
| | 04:50 | another Map button here.
| | 04:52 | So if I want to, I could actually
change this from a color to another map.
| | 04:59 | So if I click here, I again get
this menu, Create Render Node.
| | 05:04 | So I can put anything I want into this.
| | 05:07 | So let's say for the sake of argument,
let's just go ahead and put in some noise.
| | 05:12 | So now I have noise where black used to be,
and then in the other one, I have blue.
| | 05:19 | So notice how I have another noise texture
and another place2D texture for that noise.
| | 05:26 | I can adjust all the parameters
to create whatever noise I want.
| | 05:30 | I'll go back up to the
checker which contains this noise.
| | 05:35 | And then if I go back up again, I go
back to the Blinn which contains the
| | 05:39 | checker, and again, you can see how
we can start embedding textures within
| | 05:44 | textures, and you can see there's a
lot of different possibilities with that.
| | 05:48 | So those are some of the
basics of how to apply maps.
| | 05:51 | Now remember, each attribute in a
material has the ability to accept a map and
| | 05:58 | each map can also contain multiple maps.
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| Using the ramp material| 00:00 | In addition to the standard materials, Maya
also has additional materials that it can use.
| | 00:07 | So let me show you one of these
which can be very, very useful.
| | 00:10 | And it's called the Ramp material.
| | 00:13 | Now let's take a look at how this
material works on a simple surface.
| | 00:16 | I'm going to go into Surfaces here,
and let's go ahead and just select a
| | 00:20 | NURBS Torus, and I'm just going to go
ahead and drag this out and shade it,
| | 00:25 | so that way we can see it.
| | 00:28 | We can apply the Ramp material here by
using this icon or if we want, we can go
| | 00:33 | to Lighting/Shading > Assign
Favorite Material > Ramp Shader.
| | 00:37 | It just brings up the Attribute Editor,
and we can go ahead and click on the
| | 00:41 | rampShader Tab to get to
everything that we need here.
| | 00:45 | By default, it just comes up
as this kind of gray shader.
| | 00:49 | If I hit the Render button here,
you can see it's a very simple shader.
| | 00:55 | But we've got a lot of control over this.
| | 00:57 | So if we go to Color, you'll see that
the color picker is way different than it
| | 01:04 | is on a lot of the other shaders.
We actually can put in what's called a Ramp.
| | 01:09 | So what we can do is we can actually
have it fade from one color to another
| | 01:15 | depending upon criteria that we select.
| | 01:18 | I'm going to go to Selected Color
here and just click on that, and let's go
| | 01:23 | ahead and just select a red.
Now the whole object is red.
| | 01:26 | But what we want to do is we want to
fade this from red to another color.
| | 01:32 | In order to do this all we have to do is
just click towards the right of this ramp.
| | 01:37 | In fact, if you notice you can click
and drag, but I'm going to go ahead and
| | 01:40 | put this all the way to the right here, and
you'll see that well, it's still red here.
| | 01:45 | But as long as I have this selected,
and it's highlighted in white, I can click
| | 01:49 | on this color here, and
we can pick another color.
| | 01:52 | So I'm going to go ahead and pick blue,
so we're going to go from red to blue.
| | 01:57 | The object in the viewport turns purple.
| | 01:59 | But what we really need to be
looking at is the sample here.
| | 02:04 | So how this is determined is
by this Color Input selection.
| | 02:08 | And so the color that it reflects is
going to be based on the Light Angle.
| | 02:14 | So let's do a quick render
here and see what we get.
| | 02:18 | The angle of the light determines the color.
| | 02:21 | So, as you can see, when the light is
straight on, it's blue, and as it starts
| | 02:26 | to fade away to shadow, it turns red.
| | 02:30 | So it just basically allows
you to create colored shadows.
| | 02:35 | Let's go ahead from a dark blue say to a
light blue here, and let's go ahead and
| | 02:41 | do this one more time, let's go ahead
and do quick render here, and you can see
| | 02:45 | how it's now going from light
blue towards kind of a reddish color.
| | 02:49 | But probably the best thing to do is
to change this to other options here.
| | 02:53 | So if we go Facing Angle, what it
does is basically those polygons that are
| | 02:58 | facing the camera will have the blue color.
| | 03:02 | Those that are facing
away will have the red color.
| | 03:05 | So, as you can see, that as the
surface bends away from the camera, it starts
| | 03:11 | to change color, and this can be
really great for things like silk and
| | 03:14 | iridescent types of things.
| | 03:16 | As you can see, it's a very,
very rich type of effect.
| | 03:19 | Now we don't have to do this with
these completely opposite colors either.
| | 03:25 | I can go from light blue to dark blue,
and you can get something that's a little
| | 03:30 | bit more saturated, a little bit more realistic.
| | 03:33 | The shadows don't just go to just a
darker color, it goes to a different color.
| | 03:39 | So let's go head and change it to
Brightness, as you can see, or we can also do
| | 03:44 | what's called Normalized Brightness, so
let's go ahead and render that as well.
| | 03:48 | Again, you're getting a different effect.
Now this works for not just color.
| | 03:53 | It works for all sorts of
things such as transparency.
| | 03:57 | Now this could be really great for glass.
| | 03:59 | So as the surface bends away, it gets
a little bit less transparent because
| | 04:04 | you're looking through
the thickness of the glass.
| | 04:07 | You can also do it for Incandescence.
| | 04:09 | In addition, we have all sorts of
other attributes that don't take ramps but
| | 04:14 | just take regular maps.
| | 04:16 | So, for example, we have Specular
Shading, so if you want, you can make this
| | 04:19 | more specular or less.
| | 04:22 | And if we go up here and turn this
Normalized Brightness to say Facing Angle and
| | 04:27 | do a quick render, you can see
we have a nice specularity here.
| | 04:33 | As you can see, the Ramp shader has a lot more
flexibility in terms of how it applies color.
| | 04:39 | So this can be useful for a number
things, from transparent glass to silk or
| | 04:45 | other sorts of iridescent objects.
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| Working with the Hypershade window | 00:00 | There are times when you want to
go beyond the Attribute Editor in
| | 00:03 | modifying your materials.
| | 00:05 | In this case, we can use what's
called the Hypershade window, and this is a
| | 00:10 | better interface into material authoring.
| | 00:13 | So let's go ahead and just create a
simple sphere here, and we're going to go
| | 00:18 | ahead and just apply some
materials and a few maps.
| | 00:21 | So I'm going to shade this here,
and let's go ahead and turn on Hardware Texturing.
| | 00:27 | So I'm just going to go ahead and right-
click over this object and go Assign
| | 00:32 | Favorite Material, and let's
go ahead and assign a Phong E.
| | 00:36 | And then let's go ahead
over to the Phong E attributes.
| | 00:39 | So as we've seen before, if I want, I
can attach a map to this so let's go ahead
| | 00:44 | into the Color channel
here, and let's add a map.
| | 00:47 | Let's add a Cloth map to it.
| | 00:49 | And if we want, we can change the
color of it, and we can do a lot of
| | 00:53 | different things with it.
| | 00:55 | But let's say we wanted to
change the V Color here to a map.
| | 00:59 | Let's go ahead and change
it to something like a Ramp.
| | 01:02 | So, as you can see, we've got a Ramp here,
and, as you can see, it's changing color.
| | 01:07 | So we're not going to modify this Ramp, I
just wanted to have multiple things in here.
| | 01:13 | Now if we wanted to, we could go back
up, and we can start hitting these Up
| | 01:16 | Arrows here and going through our
material by stepping through it.
| | 01:21 | As your materials get more and more complex,
this is going to get a little bewildering.
| | 01:25 | It'd be like wandering in maze and
not knowing where you're going to be.
| | 01:29 | So if we want to see this in a more global
sense, we can go into our Hypershade window.
| | 01:34 | So we go into Window > Rendering
Editors > Hypershade. I'll open this up.
| | 01:41 | You can see all the
materials that are in the scene.
| | 01:45 | So in this case, I have four materials.
| | 01:48 | I have my original lambert, I have what's
called the particle cloud which is just a default.
| | 01:52 | But the one I'm looking
for here is called phongE.
| | 01:55 | Now notice how when I click on these, my
Attribute Editor changes to reflect the
| | 02:02 | one that I've selected.
| | 02:03 | Now you can apply the same
material to multiple object.
| | 02:08 | The object and the material
are not necessarily connected.
| | 02:12 | I know a lot of times you can get to
the material by clicking on the object and
| | 02:17 | going off to the right side of the attributes.
But we can also select the material itself.
| | 02:24 | Now once we select it, we can
actually go into our Attribute Editor and
| | 02:28 | start editing things.
| | 02:30 | Well, probably a better way to do
it is to right-click on this and just
| | 02:34 | select Graph Network.
| | 02:37 | What we have here now is a visual
representation of how this particular
| | 02:42 | material is constructed.
| | 02:44 | So we've got basically these nodes here,
so I have place2dTexture which places
| | 02:50 | the texture into this cloth material here.
| | 02:54 | I also have that ramp which I
put into the V Channel here.
| | 02:58 | So if I select my ramp, I can get to that here.
| | 03:02 | I can also get to the
place2dTexture for that ramp.
| | 03:05 | So if you we can see here, I've got
this ramp, and then how is that ramp placed
| | 03:10 | within the material.
| | 03:11 | Then I've got this map here which is my
cloth which is attached to the phongE material.
| | 03:17 | So, as you can see, I've got this
all mapped out here, and I've got all
| | 03:22 | the nodes available.
| | 03:23 | All I have to do is click on any one of
these, and I can get to the attributes
| | 03:28 | for that particular node.
| | 03:29 | Now in addition to this we have our
library of materials, but we also have
| | 03:36 | a library of texture.
| | 03:37 | So in this case, I have a cloth and a
ramp texture, and again, I can just select
| | 03:43 | either one of these.
| | 03:45 | Now beyond this we have a number of
different ways we can use the Hypershade window.
| | 03:50 | We also have a tab for the Utilities
which is how we place the textures.
| | 03:55 | We also have Rendering nodes.
| | 03:56 | We have Lights if there's any
lights or cameras in the scene.
| | 04:01 | We also have what we called Shading
Groups and a bunch of other types of nodes
| | 04:07 | which we're not going to get
into in this particular course.
| | 04:10 | Now off to the right here, we also
have all sorts of ways to create nodes.
| | 04:16 | Now if I wanted to, I could
create a Blinn material here.
| | 04:20 | And if I click on that, you see I get a
new blinn material that's not attached
| | 04:26 | to any object, it's just a blinn.
| | 04:28 | So if I click on this you can see I've
got my blinn material here, and I can
| | 04:32 | change the color, so I can
make it say a purple blinn.
| | 04:35 | And if I close this you can see I've
got well, that's applied to my object,
| | 04:40 | but if I right-click over this Assign
Existing Material, you can see I can
| | 04:44 | pull up that blinn.
| | 04:46 | So again, I can create whole new
materials in the Hypershade window.
| | 04:52 | I can also edit existing materials,
and I have a much better visual
| | 04:57 | representation because I
can graph my material network.
| | 05:01 | So as you start to get into more and
more complex materials, the Hypershade
| | 05:05 | window will become more
and more valuable to you.
| | Collapse this transcript |
| Using the Interactive Photorealistic Renderer (IPR)| 00:00 | One way to be more productive in
authoring materials is to use what's called
| | 00:05 | IPR, which stands for the
Interactive Photorealistic Renderer.
| | 00:10 | An IPR is basically just an
interactive renderer that allows us to change
| | 00:14 | parameters and see them rendered in real times.
| | 00:17 | So it's really just one step better
than what we see in the viewports.
| | 00:22 | So let's go ahead and just creates a
simple NURBs Sphere and shade it, and I'm
| | 00:27 | going to apply a Material, let's
go ahead and apply a Phong Material.
| | 00:33 | So I can see that over here under
phong1, and we can start to change it.
| | 00:38 | So if we want we can change Color, or
we can change Transparency that sort of
| | 00:45 | stuff, but if we want to we can
also change it while we render it.
| | 00:49 | So there are some things that we can't see in
the viewport that we can see in the renderer.
| | 00:56 | So if we want we can just click on this
IPR button here and what this will do is
| | 01:01 | it will render my view.
| | 01:03 | And notice here how it says,
select a region to begin tuning.
| | 01:08 | So if I want I can just draw a box around the part
of the image that I want to interactively render.
| | 01:16 | And when I let go notice how it renders that.
| | 01:18 | So if I change the Color of this
notice how as I change the color it
| | 01:25 | interactively starts to
render that in real time.
| | 01:31 | If I start dialing up Transparency you can
see how that changes, again in real time.
| | 01:36 | If I scroll down and change say the Cosine
Power of my render you can also change it.
| | 01:45 | So this is actually pretty cool, because
what it does is it allows you to change
| | 01:51 | your parameters and change your
attributes of your materials, and see exactly
| | 01:56 | how they'll look in the scene.
| | 01:58 | Now this works not just for materials,
but it also works for other things such
| | 02:03 | as the lighting, shadows and a
lot of different rendering effects.
| | 02:07 | It will also work for both the
Maya and the mental ray renderer.
| | 02:12 | So as you start to render your scenes
and even just develop Materials, take a
| | 02:18 | look at the Interactive Photorealistic Renderer or I
PR as a way to speed up your workflow.
| | Collapse this transcript |
| Exploring mental ray materials| 00:00 | Maya has a number of standard materials
that will work with either the Maya or
| | 00:05 | the mental ray renderer.
| | 00:07 | And those are basically the
materials we find under our Assign Favorite
| | 00:11 | Material. So this will be
like Blinn, Lambert, and so on.
| | 00:15 | But if you're using mental ray, Maya
offers a number of additional shaders and
| | 00:21 | materials that you can use only with mental ray.
So let's go ahead and take a look at those.
| | 00:27 | In order to use mental ray obviously we
need to make sure it's turned on, so I'm
| | 00:31 | going to do a quick check here.
| | 00:31 | I am going to into Window > Settings/
Preferences and just go into my Plug-in
| | 00:36 | Manager and make sure
that Mayatomr is turned on.
| | 00:41 | And then in my Render Settings window
here, I'm going to make sure that my Renderer
| | 00:48 | is set to mental ray.
| | 00:51 | Now that I have that set up, let's
go ahead and take a look at how to use
| | 00:55 | mental ray materials.
| | 00:57 | I'm going to create my favorite Sphere
here, and let's go ahead and just apply a
| | 01:02 | mental ray material.
| | 01:04 | So under Lighting/Shading, well, we can
assign the Favorite Materials which are
| | 01:09 | common, but that's not what we
want, we want a metal ray material.
| | 01:14 | We can get to those by using this menu
option here, which is called Assign New Material.
| | 01:21 | We can also find that under that
right-click menu that we've used before.
| | 01:24 | Now when we do this it brings up this
window here, and it allows us to select
| | 01:31 | any number of different materials.
Now these are all of the materials that we have.
| | 01:37 | Now if we want we can click on any
one of these entries to restrict this.
| | 01:41 | So if I go to my Favorites, these are
all my just standard materials, these are
| | 01:46 | the standard Maya Surface Materials,
Volumetric Materials which we have gotten
| | 01:52 | into, but we have one here
from mental ray materials.
| | 01:56 | Now if you have additional renderers
installed you may have some more entries
| | 02:01 | here, but the one we're
looking for is mental ray materials.
| | 02:05 | And if you'll notice that we've got all
sorts of different types of materials,
| | 02:10 | different ways to shade an object.
| | 02:13 | Now some of these are ways to create glass or metals,
different types of reflections, refractions.
| | 02:20 | One of the most common
ones is the car_paint shaders.
| | 02:23 | So we have here called mi_car_paint_phen,
so I'm going to go ahead and click on
| | 02:29 | that, and when I do it
applies that as a material.
| | 02:32 | And, as you can see, we've got the car
paint phenomenon, phen is for phenomenon,
| | 02:37 | and we have all sorts of different options here.
So actually let's take a look at this in IPR.
| | 02:45 | So I'm going to go ahead and do an IPR
render here, and I want to make sure it
| | 02:50 | says, Select a region to begin tuning.
| | 02:52 | So I am going to go ahead and select
that, and, as you can see, it renders it.
| | 02:56 | It looks a little bit like car
paint, it's kind of like a metal
| | 03:00 | flake multicoated paint.
| | 03:02 | So we can change any one of these, we
can change our Base Color, for example,
| | 03:06 | or we can change what's called the
Lit Color which is basically this color
| | 03:12 | here, so if I don't want it to be red I can make
it blue and again you can see how that changes.
| | 03:18 | We can change all sorts of
different parameters here.
| | 03:21 | I am not going to get too deep into it, we
have our Specularity Color, we also have Flakes.
| | 03:28 | So if we want we can have
different color metal flakes to this.
| | 03:31 | So if I wanted I could have a yellow
metal flake, or I can have different
| | 03:36 | sized metal flakes.
| | 03:37 | So if I wanted the different Weight of
my flake, let's say I wanted this to be
| | 03:40 | little bit smaller, I could type in
and say 0.5 five, and that would create a
| | 03:45 | smaller metal flake.
| | 03:47 | We also have different
parameters for Reflections, and so on.
| | 03:51 | We also have parameters for Dirt, so
if I wanted to I could bring up the
| | 03:55 | Dirt Weight say 0.4, and you can see
it's kind of musty, because it's got a
| | 03:59 | film over, it's dirty.
| | 04:01 | So, as you can see, this has a lot of
different options, and it's a great way to
| | 04:06 | very easily create a complex sort of shader.
| | 04:10 | Now this is just one of many, many
materials that we have available for mental
| | 04:15 | rays, so if you do want to render in
mental ray just remember you have a lot
| | 04:20 | more materials available to you.
| | Collapse this transcript |
|
|
2. Refining MaterialsUsing bitmaps as textures| 00:00 | Now that we understand the basics of
materials, let's go ahead and refine them further.
| | 00:04 | We are going to start by
adding a bitmap as a color texture.
| | 00:09 | Now this is a very
common way to create textures.
| | 00:13 | You can photograph an image or create
something in Photoshop from scratch.
| | 00:18 | However, you want to create a bitmap
you can do that, and then apply that as a
| | 00:22 | texture within Maya.
| | 00:24 | So let's go ahead and start off
by creating a very simple texture.
| | 00:27 | I am going to do a Create > NURBS
Primitives, and we are going to create a
| | 00:31 | simple NURBS Plane.
| | 00:32 | I am going to go ahead and drag that
on the grid, and I want to make sure
| | 00:38 | that this is square.
| | 00:39 | So under the Channel Box in makeNurbPlane I
want to make sure that my Length Ratio is 1.
| | 00:47 | So now that I have that let's
go ahead and hit 5 to shade.
| | 00:51 | Let me go ahead and move this above the
grid so that we can see it a little bit
| | 00:55 | better and also let's make sure
that we turn on Hardware Texturing.
| | 01:00 | So now that we have this done let's go ahead
and create a material that has a bitmap in it.
| | 01:05 | So we need to create just a
basic slot for a material.
| | 01:09 | We have to decide what type of material
we are going to use, and in this case we
| | 01:13 | are going to use a Lambert.
| | 01:15 | So I am just going to go ahead and
right-click over this Assign Favorite
| | 01:18 | Material > Lambert, and this brings up my
Attribute Editor, and I should get a lambert2.
| | 01:25 | When I do that you can see that,
well, I've got all my Common Material
| | 01:28 | Attributes here, and I want to
change the color to a bitmap.
| | 01:33 | So I am going to go ahead and click on
this little checkerboard right here and
| | 01:37 | find the File entry in
the Create Render Node menu.
| | 01:42 | So once I click on that it
brings up the entry for that file.
| | 01:47 | Now I don't have anything in there yet,
go it's going to show up as white.
| | 01:51 | So in order to find it I have to
scroll up here to File Attributes, and then
| | 01:55 | under Image Name I should in my source
images for this particular project find
| | 02:01 | an image called Smiley.jpg, and, as you
can see, it's just a simple smiley face.
| | 02:06 | So let's go ahead and open that, and, as you
can see, it just maps directly to the image.
| | 02:12 | Now because we use the NURBS Plane it
is mapping one to one, corner to corner
| | 02:18 | on that NURBS plane.
| | 02:20 | Now let's take a look at
how to change this bitmap.
| | 02:24 | So if we scroll down you can see
we've got the image name, and if we scroll
| | 02:28 | further you'll see we have a
number of different rollouts here.
| | 02:32 | We have one for High Dynamic Range.
| | 02:35 | This is HDRI, if you're using that you can
determine how you preview that in your viewport.
| | 02:41 | But probably the more
important one is Color Balance.
| | 02:44 | So if you want, you can actually fine-tune
and tweak the color a little bit on this.
| | 02:49 | So if we want we can select Color Gain
so this is kind of a brightness control
| | 02:54 | so you can actually turn down the brightness.
| | 02:57 | You can also click on this and
select the color, and you can tint it.
| | 03:02 | So I am going to actually
turn this back to white here.
| | 03:06 | We can do the same on the other side.
| | 03:08 | We can do Color Offset, and
this raises the black level.
| | 03:11 | So this turns blacks to grays.
| | 03:14 | We can also do again on the Alpha
Channels if you have that in your image.
| | 03:19 | We also what's called Effects, and
these are basically Filter effects.
| | 03:26 | So in other words how is this going to
be filtered so that way you don't get
| | 03:29 | jaggy so that way it looks good when it renders.
But probably the most important one is Invert.
| | 03:35 | If you want you can invert a map
just by clicking on this button here.
| | 03:39 | We also have what's called a
Color Remap which is a little bit more
| | 03:43 | sophisticated way to change the color.
| | 03:46 | Now if we go a little bit further down
we have what's called UV Coordinates.
| | 03:50 | Now this is how the image is
mapped within the material.
| | 03:55 | It's not how the image is mapped on
an object by object basis, it's how the
| | 03:59 | images mapped within that material.
| | 04:03 | So we have what's called a UV
Coordinates which is basically the same as an
| | 04:07 | X and a Y coordinate.
| | 04:09 | Now notice how we have this little
arrow here which basically tells us it's
| | 04:13 | connected to something else and
actually it's connected to this tab here
| | 04:16 | called place2dTexture1.
| | 04:19 | So I can either click on this tab or click on
this button, and I get to the same tab here.
| | 04:24 | Now this is actually a very important tab.
| | 04:27 | This determines how the image
is mapped within the material.
| | 04:32 | So we have a number of options here.
| | 04:33 | We have what's called Coverage,
which is how much of the image is mapped.
| | 04:38 | In other words, it's a multiplier.
| | 04:40 | So if I multiply this by two in each
direction you'll see that the image is
| | 04:45 | twice as big within the material.
I am going to go ahead and put that back to 1.
| | 04:51 | Now if we want we can go smaller.
We can make the Coverage 0.5.
| | 04:56 | So, as you can see, it's only
mapping a portion of this and it's leaving
| | 04:59 | the rest of this blank, and this
color here is determined by the color of
| | 05:02 | the original material.
| | 05:04 | So again this just determines how much
of this is mapped and again I am going to
| | 05:08 | go ahead and put this back to 1.
| | 05:13 | Now we also have Translation, how is
this positioned within the material?
| | 05:18 | So if we want we can type in a number here.
1 is the exact length of it.
| | 05:22 | So if I type in something like 0.2 that
will go over to 2/10 of the size of the
| | 05:27 | image and again I am going to
go ahead and set these back to 0.
| | 05:32 | We also have a Rotate.
| | 05:33 | So you can actually rotate this
frame, and this is actually a slider.
| | 05:37 | So this is action pretty easy.
And if we want, we can Mirror this.
| | 05:41 | We also have a Repeat.
| | 05:42 | Now Repeat is a little
bit different than Coverage.
| | 05:45 | Coverage is just a one time thing.
| | 05:47 | Repeat tells you how many times does this
texture repeats within the material.
| | 05:53 | So if I type 2 into this
one it repeats it two times.
| | 05:57 | So in other words, it works almost
the opposite of the Coverage value.
| | 06:02 | So if I wanted to I could
repeat it multiple times.
| | 06:05 | I can also do an Offset of that repeat.
| | 06:08 | So if I typed in say 0.5
it'll offset it half of an image.
| | 06:13 | I can also again do another rotation,
but again this rotates around the corner
| | 06:18 | rather than around the center.
So you have to be aware of that.
| | 06:22 | And then we can also put in Noise.
| | 06:26 | So Noise is basically
just jitter in how it maps.
| | 06:29 | So if I put in say a large number,
let's say, I put in noise of 1.
| | 06:35 | Now you're not actually going
to see this in the viewport.
| | 06:38 | So I have to go up here to my Render
option here just click on this and you can
| | 06:43 | see how it will render.
| | 06:44 | And, as you can see, that it adds all
whole lot of noise to the image, and
| | 06:49 | this maybe something you will want to do,
or you may want to have a more subtle effect.
| | 06:53 | So if you actually put in a fairly
small value say 0.02 or 0.05 something in
| | 06:59 | that range here, it'll
just give a smaller effect.
| | 07:02 | So let's go ahead and render this again,
and, as you can see, it just gives a
| | 07:06 | little bit of waviness to this.
| | 07:08 | Now this maybe good if you're
wanting to add a little bit more of an
| | 07:12 | organic quality to a map.
| | 07:14 | You can add just a little touch of
noise, and that might help to sell the
| | 07:18 | mapping of the object.
I'll go ahead and turn those to 0 again.
| | 07:23 | Now in addition of this we also have
what's called an Interactive Placement.
| | 07:26 | So if I click on this it brings up a
window, and this window basically shows me
| | 07:33 | where the image is and, as
you can see, we've offset this.
| | 07:37 | So if I turn my Offset to 0 here you
can see that this little frame slides, and
| | 07:43 | if I want to I can grab these corners
by middle-clicking, and I can drag them.
| | 07:49 | So middle-click on the corner rotates it,
middle- click in the middle sizes it.
| | 07:56 | So if I want to I can resize it and middle-
click in the very center allows you to place it.
| | 08:02 | So again on the edge is scale, so up
and down here in the middle of that edge.
| | 08:09 | At the very corner is rotate and at
the very, very center is translate.
| | 08:15 | So this is just another way to
place your texture within the material.
| | 08:20 | Now these placements options
work really for any texture.
| | 08:23 | We are using this with a bitmap,
but you can use it with any sort of
| | 08:27 | procedural texture as well.
| | 08:29 | So one more thing to remember about
this is that again we are just mapping
| | 08:34 | this within the material.
| | 08:35 | So wherever you apply the material, it
will use this as the default, and then
| | 08:40 | take on the mapping of the object itself,
and we'll get into mapping in the next chapter.
| | 08:47 | So just remember that when you
start working with these controls.
| | Collapse this transcript |
| Working with ramp textures| 00:00 | Now let's take a look at another common
map type, and that's the Ramp, and this
| | 00:05 | is something that you'll
probably be using a lot.
| | 00:07 | So let's go ahead and go through this.
| | 00:10 | Let's go ahead and do the
same thing we did before.
| | 00:11 | We're going to just create a simple
NURBS plane, so I'm going to go ahead and
| | 00:15 | drag this on the grid.
| | 00:17 | And again, I'm going to go over to my
NURBS Plane shape under makeNurbPlane,
| | 00:20 | and let's go ahead and just make the Length
Ratio 1, so that way it's perfectly square.
| | 00:27 | And I'm going to go ahead and shade it
and move it up so that we can see it, and
| | 00:32 | let's turn on Hardware Texturing.
| | 00:35 | Okay, so let's go ahead and
start playing with the ramp.
| | 00:38 | I'm going to add a Lambert shader
to this so I'm going to go ahead and
| | 00:43 | right-click over my object,
Assign Favorite Material > Lambert.
| | 00:48 | And then in the Color channel of
this Lambert, I'm going to go ahead and
| | 00:52 | select this and we're going to find
the one that says Ramp, which is right
| | 00:57 | here, and click on that.
| | 01:00 | And, as you can see, we've
got what's called a Ramp.
| | 01:02 | Now this is basically a gradient that
allows me to change my color however I want.
| | 01:08 | Now I'm on a fairly tight screen here,
so, as you can see, I have to just kind
| | 01:13 | of scroll up and down, so
just bear with me on this.
| | 01:16 | But let's take a look at how this works.
First off, we have different types of ramps.
| | 01:23 | So on a material, we have
what's called a U and a V direction.
| | 01:27 | It's very similar to the X and Y direction.
| | 01:31 | And so what this tells me is that this
ramp is going in the V direction, so it's
| | 01:36 | going from this to this.
| | 01:37 | If I want, I can change this
to any sort of type of ramp.
| | 01:42 | So if I want, I can go to a U
Ramp which goes the other way.
| | 01:45 | I can do what's called a Diagonal Ramp,
a Radial Ramp, in other words, it spins
| | 01:52 | it around, a Circular Ramp, a Box Ramp,
couple others, UV, okay, Four Corner, so
| | 02:03 | each corner is a different portion of
the ramp, and what's called a Tartan Ramp.
| | 02:09 | So we've got a number of different ways
to use these, and you can use these for
| | 02:14 | a lot of different things.
| | 02:15 | So, for example, if you wanted to use a
Circular Ramp, you might be able to use
| | 02:17 | that to create what's called
a bump or something like that.
| | 02:21 | Let's say we're doing bump mapping, and
you can use that to create kind of like
| | 02:24 | a bulge in an object or something like that.
| | 02:26 | Or another way to use it is to create
something like the iris of an eye or
| | 02:30 | something like that.
| | 02:31 | So let's take a look at how to
actually manipulate some of these parameters.
| | 02:37 | So if you look here, we've got this ramp here,
and it goes basically from red to green to blue.
| | 02:43 | And so each one of these
has a little dot and a box.
| | 02:48 | So the dot is the selection and the
little box here has an X in it, and that
| | 02:53 | allows us to delete it.
| | 02:55 | So, for example, if I selected this
green one here, I can select the handle, and
| | 03:02 | I can move the position of
that green channel up and down.
| | 03:06 | If I don't want green, I can go ahead
and just hit this box, and it goes away,
| | 03:11 | and so now I'm just going from red to blue.
| | 03:14 | Now again, I can select
these and just move them around.
| | 03:17 | So if I wanted it to be more
red, I can do it like that.
| | 03:23 | Now once I have this handle
selected, I can change the color.
| | 03:27 | So all I have to do is click on that color,
and I can change it to any color I want.
| | 03:33 | I can also change the Position.
| | 03:38 | Okay, and again, what that does is it
just basically is the same as moving
| | 03:43 | this little handle here.
So, as you can see, as I move this, this changes.
| | 03:49 | We also have what's called a Wave.
| | 03:51 | So if you want you can do what's
called a U or a V Wave, and you can probably
| | 03:56 | see this a little bit more clearly
if I turn this back into a V Ramp.
| | 04:00 | So I'm going to go up here, select V
Ramp, and, as you can see, the Wave
| | 04:05 | basically works in one direction.
| | 04:08 | So if I'm doing a V Wave, that's in the
V direction, and a U Wave, because this
| | 04:15 | is a V Ramp, you're not going to see
it, so you have to see it in something
| | 04:19 | that's a little bit more UV-like,
which would be a Circular Ramp.
| | 04:22 | So I'm going to go ahead and switch it
back to Circular Ramp, and, as you can
| | 04:26 | see, each one of these
can change it a little bit.
| | 04:29 | So that is a great way to get
some psychedelic type effects.
| | 04:32 | We can also add Noise.
So if you want you can add noise to the ramp.
| | 04:37 | And if you add noise, you can also add
a Frequency to the noise, how big do you
| | 04:41 | want that noise to be.
| | 04:44 | So I'm going to go ahead
and turn all these down.
| | 04:46 | Now if we want, we can also add
what's called Hue and Saturation Noise.
| | 04:52 | So this is just noise just to
specific parts of, or specific channels.
| | 04:57 | So if you were to have a color
picker with HSV, in other words, Hue,
| | 05:01 | Saturation and Value, so you can change each
one of these just by dialing up the Noise value.
| | 05:08 | And again, each one of these has a Frequency.
| | 05:11 | Now just like with any other map, we
have Color Balance, Effects, and UV
| | 05:17 | Coordinates, and these are exactly the
same that we would have in the bitmap.
| | 05:22 | So, as you can see, this is a great
way to create different types of effects.
| | 05:27 | So let's go ahead and use this to
create something as fairly simple.
| | 05:30 | Let's go ahead and create the pupil of an eye.
| | 05:33 | So I'm just going to start with a
cartoon eye pupil, so I'm going to go ahead
| | 05:37 | and click on this top one here, and let's go
ahead and turn that selected color to white.
| | 05:45 | And then for this bottom one here, I'm
going to turn the selected color to black.
| | 05:49 | So let's go ahead and just
get a dot in the middle here.
| | 05:52 | So if I want, I can create another
handle here and all I have to do is just
| | 05:58 | click a little bit off of here.
| | 06:00 | And if you want, as you can see,
as I click on the gradient, I can
| | 06:04 | create another handle.
| | 06:06 | So, as you can see, I can dial this down.
| | 06:11 | I can create a very sharp edge, so if
I wanted to, I'm creating basically a
| | 06:15 | circle within a field of light.
| | 06:18 | And you can use this, for example, for an
eye, on a character, or something like that.
| | 06:21 | But let's say you wanted an eye that
was a little less cartoony and little
| | 06:25 | bit more realistic.
| | 06:26 | Well, what you could do, again is just
click in here and create another ramp or
| | 06:31 | two and change the color of the eye.
| | 06:33 | So let's say I wanted the center of
the eye, in other words, the pupil of the
| | 06:37 | eye, to be black, but I want
the iris to be a different color.
| | 06:41 | So now I've got basically a whole
bunch of handles here, but I'm going to go
| | 06:45 | ahead and select this one, and let's go
ahead and just make it up a dark blue.
| | 06:49 | And, as you can see, we're
already getting that effect.
| | 06:52 | I'm going to go ahead and select this one here,
and I'm going to make it even a darker blue. Okay?
| | 06:58 | So, as you can see, we've already
got this almost like a pupil of an eye.
| | 07:03 | And this is really just
using the ramp by itself.
| | 07:07 | So when I do a quick render of
this you can see I've got a pretty
| | 07:11 | good-looking eyeball there.
| | 07:12 | So, as you can see, this can be a very,
very versatile tool, and so that's one
| | 07:16 | reason why I really wanted to show it to you.
| | 07:19 | So go ahead and experiment with it
and get familiar with it because I know
| | 07:22 | you'll find use for it as you
start to author your materials.
| | Collapse this transcript |
| Creating transparency| 00:00 | There are many times when you'll need to
add Transparency to a material, not all
| | 00:05 | objects in the world are opaque, there
is a lot of transparency, so let's take a
| | 00:10 | look at some ways to add that to your materials.
Now I have a very simple scene here.
| | 00:16 | I have a plane that's
colored and a simple sphere.
| | 00:22 | Now the reason I have the plane here
is so that way you can see through the
| | 00:25 | sphere to see the transparency.
| | 00:27 | So let's go ahead and select
the sphere and apply Material.
| | 00:30 | I am going to go up here to my
Rendering Shelf and just click on Blinn, and it
| | 00:35 | should create a blinn1 material.
| | 00:39 | And so in this we have our Common Material
Attributes and under that we have Transparency.
| | 00:46 | So if I want, I can dial
my Transparency up or down.
| | 00:50 | So first thing I want you to notice
is that when Transparency is black,
| | 00:54 | the object is opaque, when Transparency is
white, the object is completely transparent.
| | 01:01 | So white is transparent black is opaque,
and anything in between is semi transparent.
| | 01:09 | So if I were to dial this somewhere in
the middle and hit Render, you can see
| | 01:13 | that I have a semi transparent object.
| | 01:16 | Now this may not be exactly what you
want, it's just basically a Transparency
| | 01:22 | effect and objects will change their
transparency depending upon their surface.
| | 01:27 | So there are some ways that we
can change the transparency as well.
| | 01:31 | Let me go ahead and turn this all the
way down, and let's go head and start by
| | 01:35 | adding a map to the Transparency channel.
| | 01:38 | I am going to go ahead and click on
this checkerboard, and let's go ahead and
| | 01:42 | just select the Checker
Map as our Transparency map.
| | 01:45 | Now when I do this we are
not seeing it in the Viewport.
| | 01:50 | Well, the way that we can turn this
on is to make sure we have Hardware
| | 01:54 | Texturing turned on, and we need to
turn on Viewport 2.0, and when I do that I
| | 02:00 | can actually see my
transparency in the Viewport.
| | 02:02 | And, as you can see, we've got a
checkerboard map, and that map is determining
| | 02:07 | the transparency of the object.
| | 02:10 | And if we do a quick Render you
can see how that works just fine.
| | 02:15 | Now By default, the Checker Attributes
have white and black, so we have either
| | 02:20 | transparent or opaque.
| | 02:23 | If I click on the white channel and
dial it down, you can see how I can make a
| | 02:28 | semitransparent and opaque as well.
| | 02:32 | Now if we want we can also
create other types of transparency.
| | 02:37 | Now one of the materials that I really like to
work with for Transparency is the Ramp Shader.
| | 02:44 | So I am going to go ahead and select
the Sphere, and we're going to go ahead
| | 02:49 | right-click over that and under Assign
Favorite Material I want to go into the Ramp Shader.
| | 02:55 | Now this assigns a completely new
Shader, so it obliterates the Blinn and
| | 03:00 | replaces it with this Ramp Shader.
| | 03:03 | Now we've used this a little bit before,
and that we can actually change your
| | 03:08 | color of this depending
upon the direction you look.
| | 03:12 | Now this is actually really
important for transparency as well.
| | 03:15 | As you can see, we can add a ramp to
transparency to change the color of the
| | 03:21 | transparency depending upon
how the surfaces facing you.
| | 03:25 | And this is really important for things
like glass, because let's say a piece of
| | 03:29 | glass is curving away from you, as it
curves away from you the thickness of the
| | 03:33 | glass obscures more light.
| | 03:35 | So when you'll look flat and directly
through the glass, it's transparent but as
| | 03:40 | you turn the glass it becomes more and
more reflective and more and more opaque.
| | 03:46 | So with that giant description
behind me let's go ahead and just click
| | 03:50 | in this Transparency right up here,
and I'm going to just go ahead and
| | 03:54 | create another handle.
| | 03:57 | And so in the Selected Color
I am just going to add white.
| | 04:01 | Now you can see this in the Viewport
here, and if you want we can actually see
| | 04:06 | this even little bit better if we did IPR.
| | 04:08 | So I am going to select IPR Render, and,
as you can see, as the object fades
| | 04:15 | away it gets more and more opaque.
| | 04:18 | So I am going to go ahead and just
draw a box around this so that way it will
| | 04:22 | automatically render, and let's
take a look at how this works.
| | 04:26 | So the first thing is we need to
understand the Color Input. The Color Input here
| | 04:31 | is actually in the Color Channel, so
we can change this from Light Angle to
| | 04:36 | Facing Angle to Brightness
or Normalized Brightness.
| | 04:41 | But if we're doing Transparency
based on how you look at it we have to
| | 04:45 | choose Facing Angle.
| | 04:47 | So this is basically the angle that
you're looking at it through the camera.
| | 04:52 | So as we do this then we can just start
to change how that Transparency works.
| | 04:57 | So if I grab this white handle and
move it, you can see how the Transparency
| | 05:03 | tends to fill up more of this sphere.
| | 05:06 | Now if I were to change that Selected
Color, and let's say make it a little bit
| | 05:11 | more gray, you can see I can make it
semi transparent but going towards opaque.
| | 05:16 | Or we can do it in the other way.
| | 05:18 | If I select this handle and bring it
above black, then you can see how well,
| | 05:24 | it's semi transparent, but again it just
getting a little bit darker as it goes to the edge.
| | 05:31 | And this adds a little bit
more realism to your effect.
| | 05:34 | Now if you want you can
add in a map to this as well.
| | 05:40 | So if I want to I can use this almost as I use
the other Blinn Shader and just add in a map.
| | 05:46 | So I am going to go ahead and select
this handle, and then click on this
| | 05:50 | checkerboard, and I can add in a map.
| | 05:52 | Let's go ahead and add in
our Standard Checker here.
| | 05:54 | And, as you can see, I'm adding
in a checker as my Facing Color.
| | 06:00 | Now in order to get back to my material
all I have to do is click on this little
| | 06:04 | button here that will
bring me back up to the top.
| | 06:07 | And, as you can see, now I've got a
map in this channel, but not in this one.
| | 06:12 | So if I change my Selected Color here
to black and may be start dialing it in,
| | 06:18 | you can see how I can start dialing
that in, so I've got a map on the facing
| | 06:24 | channel and the facing away channel
which is basically black creates my opacity.
| | 06:30 | So I can dial these however I want
to create a different type of effect.
| | 06:36 | Now this is just a simple, simple
example, but, as you can see, you can get
| | 06:40 | very, very complex with this very quickly.
| | 06:43 | I find that this is a great way to
create more realistic transparent effects,
| | 06:48 | and that's by using the Ramp Shader.
| | Collapse this transcript |
| Understanding specularity| 00:00 | When you start creating materials in Maya
you'll need to pay attention to Specularity.
| | 00:06 | Now Specularity is basically the
highlights of the surface or how the material
| | 00:09 | computes its highlights.
| | 00:11 | And the highlights of a surface really are
the guide to what this surface is made of.
| | 00:16 | Usually the human eye uses the
highlights on the surface to assume what the
| | 00:21 | surface is made off.
| | 00:23 | So, for example, rubber is not going to
reflect too much light, but glass or metal will.
| | 00:28 | And by that reflectivity it will determine
what the eye assumes the object is made out off.
| | 00:35 | So let's go ahead and
take a look at Specularity.
| | 00:38 | I am going to go into Surfaces and
just create a simple NURBS Sphere.
| | 00:42 | I am going to go ahead and shade it,
and let's go ahead and just position it.
| | 00:49 | So By default, any object that
you create in Maya will have the
| | 00:54 | lambert1 material applied.
| | 00:56 | Now Lambert is really the only
material that doesn't have Specularity.
| | 01:01 | So if I go here into Lambert you'll see
that the Material Sample has no highlights.
| | 01:06 | And if we go through Common
Material Attributes you'll see I have no
| | 01:09 | Specularity or Reflectivity.
| | 01:12 | So if I were to render this you basically
get a flat object that has no reflection.
| | 01:18 | And that's one type of surface.
| | 01:19 | See there are surfaces in this world
that don't really reflect light, that are
| | 01:23 | kind of matte in color.
| | 01:25 | But a lot of surfaces do reflect light
and so let's take a look at how to create
| | 01:29 | those sorts of materials.
| | 01:31 | So under Rendering, let's go into
our Rendering tab here, it's probably
| | 01:34 | easiest place to see it.
| | 01:36 | You'll see that we have a
lot of material samples here.
| | 01:39 | Now this one here is the Lambert
Material, and as you can see, it's the one
| | 01:43 | that really doesn't have the highlights.
| | 01:45 | We also have Anisotropic,
Blinn, Phong and Phong E.
| | 01:52 | Now each one of this four will reflect
light and the difference between each of
| | 01:56 | these is how it calculates its Specularity.
So let's take a look at this on a simple object.
| | 02:02 | We're going to go ahead and keep our
sphere selected and apply a Blinn Material.
| | 02:07 | Now as soon as we do that you can see
how the highlight actually shows up in the
| | 02:11 | Viewport, we can also see it in the Sample.
| | 02:14 | Now I am going to go ahead and change
my Color of this object here to kind of a
| | 02:19 | red or may be even a reddish orange here just
so we have a little bit more color to see here.
| | 02:25 | And let's go ahead and do a quick render.
| | 02:27 | Now, as you can see, the
highlights here are pretty well determined.
| | 02:30 | So I am going tog go ahead and close
this and let's go into our blinn1 material.
| | 02:36 | Now as we scroll down you'll see we have a
whole roll out here for Specular Shading.
| | 02:42 | So let's go head and render this object
in IPR so we can adjust these parameters
| | 02:46 | and see how they affect the object.
| | 02:48 | So I can make sure I get my object in my
Viewport here, and I'm going to hit IPR
| | 02:53 | Render, and then just
draw a box around the object.
| | 02:59 | Now By default, you'll see we get
this kind of neutral sort of highlight.
| | 03:03 | Now as we change the highlight you can see
how the character of the surface changes.
| | 03:10 | So we have two values here, we have
Eccentricity which is basically how big is
| | 03:15 | the highlight, and then we have Roll Off
which is how intense that highlight is.
| | 03:21 | So if I increase my Eccentricity you can
see how it actually makes it bigger, or
| | 03:27 | if I want to I can make it smaller.
| | 03:30 | Now when you have a smaller
highlight, the object looks shinier.
| | 03:36 | When you have a larger highlight the
object looks a little bit less shiny, a
| | 03:41 | little bit more matte in color.
| | 03:43 | Now the Specular Roll Off
determines how bright this is.
| | 03:47 | If I turn it all the way up you
get a very, very bright Specularity.
| | 03:52 | As I turn it down you can see I am
basically just fading out the Specularity.
| | 03:56 | If I bring it all the way down
to 0 it turns off, and it's almost
| | 04:00 | essentially like a Lambert.
| | 04:03 | So I am going to go ahead
and bring this up again.
| | 04:06 | Now we also have a Specular Color, so
again we can make this very, very white.
| | 04:12 | So the whiter it is again the shinier it looks.
| | 04:15 | We can also change the Color of this
so if we want I can make it say blue or
| | 04:21 | purple or really whatever color I want.
| | 04:24 | I'm going to go and turn it
back to a light gray here.
| | 04:27 | And then we also have Reflectivity
which we'll get to in little bit.
| | 04:32 | Now these options are the
one for the Blinn Material.
| | 04:35 | Now each material that has Specularity
has a different way of calculating it, so
| | 04:40 | these will be different.
| | 04:41 | So let's go up here and instead of a Blinn
let's go ahead and change this to a Phong.
| | 04:47 | Now as I do this notice how Specular
Shading it changes now to Cosine Power
| | 04:53 | and Specular Color.
| | 04:54 | Now the color is pretty much the same
that we had before, it was just basically
| | 04:59 | the color of that highlight.
| | 05:01 | But Cosine Power determines
how sharp or how broad that is.
| | 05:07 | Now Phong is probably better for doing
really shiny surfaces, because you don't
| | 05:12 | have the ability to do that you
Eccentricity, you just have this Cosine Power.
| | 05:16 | And so you don't have the ability to
really turn up or down the volume of the
| | 05:23 | highlight as you do in Blinn.
| | 05:26 | Now Phong E adds a little bit more to
that, so let's go into Phong E here and
| | 05:31 | so under Phong E we have what's called
Highlight Size, and that determines how
| | 05:36 | big that highlight is.
| | 05:38 | We have Whiteness, and
then we have Specular Color.
| | 05:42 | We also have a really nice
parameter here called Roughness.
| | 05:46 | That's almost like your volume control,
basically it's the sharpness of the edge.
| | 05:52 | So if we want to we can have a
very, very high highlight here.
| | 05:57 | Or as we turn it down we can, as you
can see, we can get almost like a pinpoint
| | 06:03 | sort of affect there.
| | 06:05 | And as you start to dial these you can
see we can get different types of effects.
| | 06:11 | Now the last one is the Anisotropic Shader.
| | 06:14 | Now this is typically used for
metals, it's also used for hair.
| | 06:18 | Now Anisotropic actually has None
Circular Highlights, so the Highlights are
| | 06:24 | basically aligned along an axis so
you can actually have elliptical or
| | 06:30 | non-circular highlights.
| | 06:31 | So under Specular Shading we have an Angle.
We have a Spread in X, a Spread in Y.
| | 06:39 | You can create circular highlights if X
and Y are equal, but they don't have to be.
| | 06:44 | And then we also have some similar
parameters to the Phong E which is your Roughness.
| | 06:51 | And then we have what's called a
Fresnel Index, and this will determine how it
| | 06:55 | reflects light depending on
the roughness of the surface.
| | 06:59 | So those are some of the
basics of how to use Specularity.
| | 07:03 | Now each type of object that you use
will demand a different type of Specularity.
| | 07:08 | So if you're not getting the specularity you
want with one type of shader, try another.
| | 07:13 | And after a while you'll start to get
the hang of which shaders work best for
| | 07:18 | which types of materials you'll want to use.
| | Collapse this transcript |
| Creating reflections| 00:00 | Reflections are an important effect that
you'll need to know how to create in Maya.
| | 00:05 | Now reflectivity is determined by
material, but the renderer that you
| | 00:10 | choose also has an effect.
| | 00:12 | Each renderer in Maya handles
reflections a little bit differently, it's pretty
| | 00:17 | much the same but there are some differences.
| | 00:19 | So if you're using the Maya
Software Renderer, it might be a little bit
| | 00:22 | different than mental ray.
| | 00:24 | But let me take you through the process
of creating reflections in both renderers.
| | 00:29 | So I have a very simple scene here, and, as
you can see, we've got a sphere on a plane.
| | 00:34 | Now I have my Maya Software
Renderer set as my default renderer.
| | 00:39 | I'm going to go to Render Settings
window and just open it up, and as you see
| | 00:44 | we've got Maya Software.
| | 00:45 | Now I have it set to the defaults,
this is basically just, as you open Maya
| | 00:50 | this is what you're going to see.
| | 00:52 | Now if I were to render this you'll see
that well, I have no reflections.
| | 00:58 | It's just a simple scene with
nothing reflecting in anything.
| | 01:02 | Well, one of the things you'll notice is
that, if I select on this sphere and go
| | 01:07 | to the Attribute Editor, you'll see
that it has a Blinn Shader applied.
| | 01:12 | So I'm going to go ahead and click on
Blinn, and if you scroll down here you'll
| | 01:16 | see under Specular Shading
there is a Reflectivity Value.
| | 01:22 | And it's already set to 0.5 by default,
and if I dial it up, well, nothing
| | 01:28 | happens, and this is a common, common thing.
| | 01:31 | What you have to do in order to make this
attribute work is you have to turn it on in Renderer.
| | 01:38 | Now this a little bit different.
| | 01:40 | So what we do is we go into our
Render Settings window, and under the Maya
| | 01:44 | Software tab we scroll
down to Raytracing Quality.
| | 01:49 | Right now, Raytracing is not turned
on, and this is how Maya calculates
| | 01:54 | reflections, it traces the rays
through the scene to get the reflectivity.
| | 01:58 | I'm going to go ahead and turn this on,
and as you'll see we've got a number of
| | 02:03 | Reflections, Refractions and Shadows.
| | 02:05 | And this just determines how many
times things are going to reflect.
| | 02:08 | Are you just going to get a reflection, or you
are going to get a reflection of the reflection.
| | 02:13 | So how many times you want this object
to reflect in the scene, I'm going to
| | 02:18 | leave it at the default.
| | 02:19 | Now all we did was turn on Ray Tracing,
and when I go ahead and just do a Quick
| | 02:22 | Render, you'll see that now I
get my reflections in my scene.
| | 02:28 | Now these other objects in this scene
are not reflecting, and that's because
| | 02:33 | they have Lambert Shaders applied.
| | 02:36 | So if I were to close this and select any one of
these, you'll see that it has a Lambert applied.
| | 02:43 | Now as I scroll through the attributes
for this you'll see that, well, there are
| | 02:47 | no reflection parameters for this.
| | 02:50 | So if I change it say from a Lambert
to a Blinn, a Phong, a Phong E or an
| | 02:59 | Anisotropic, all of those will have reflections.
So let's go ahead and change it to a Phong.
| | 03:03 | And when I change it to a Phong you'll see
that under Specular Shading it has Reflectivity.
| | 03:08 | So I'm going to go ahead and just
render this and now you can see that we now
| | 03:13 | have two reflective objects.
| | 03:15 | I could do it again one more time,
select the floor and again you'll see that
| | 03:20 | this has a Lambert applied.
| | 03:22 | But if I want to I could change it to
something else, let's go ahead and change
| | 03:25 | it to Phong E and again now I've got
just a cornucopia of reflections, and I've
| | 03:33 | got a lot of reflections in the scene.
| | 03:34 | And, as you can see, all you have to do
is apply the proper material that allows
| | 03:40 | you to do reflections.
| | 03:42 | Now up to this point we've been
working with the Maya Software Renderer.
| | 03:46 | Let's go ahead and switch over to mental ray.
| | 03:49 | Now in order to do that, we need to make
sure we have the mental ray plug-in turned on.
| | 03:53 | So I'm going to go into my Plug-in Manager and
make sure Mayatomr is loaded, and it is for me.
| | 04:02 | And then let's go into our Render
Settings window and make sure we have
| | 04:06 | mental ray turned on.
| | 04:07 | Now By default, mental
ray will turn on Raytracing.
| | 04:12 | So if all I do is turn on mental ray, and I
render, I will get those reflections. Okay?
| | 04:20 | Now we can change our
Raytracing options under Quality.
| | 04:25 | So under quality if you scroll down
here we have our Raytracing options.
| | 04:30 | And we have pretty much the same
options we have for the Software Renderer, and
| | 04:34 | that is the number of Reflections.
| | 04:35 | So if I want to I can dial this up or down
to allow things to reflect within themselves.
| | 04:40 | Now one more difference between the
Maya Software Renderer and the mental ray
| | 04:44 | Renderer is how it handles IPR.
| | 04:48 | So let's go ahead and change back to the
Maya Software Renderer, I'm going to go
| | 04:53 | ahead and close this.
| | 04:55 | And let's make sure that we have
Raytracing turned on, and now I am just
| | 05:03 | going to do an IPR.
| | 05:04 | So I'm going to do IPR Render of the
current frame with Maya Software turned on.
| | 05:08 | And, as you can see, IPR does not handle
reflections with the Maya Software Renderer.
| | 05:14 | So if I select a region, and it
renders it, I'm not getting reflections.
| | 05:19 | But if I change to mental ray and do an
IPR render, by clicking on this button
| | 05:25 | here, and I draw a box around it,
you'll see that I do get reflections.
| | 05:31 | Mental Ray and IPR work really well
with reflections, it doesn't work with
| | 05:36 | Maya Software Renderer.
So I can select any one of my parameters here.
| | 05:41 | I have my floor selected, and, as you
can see, now I can start dialing up my
| | 05:46 | reflectivity or dialing it down just to
see how I can affect my parameters here.
| | 05:52 | So if I wanted to I could go over here,
select my sphere, go into the Blinn and
| | 05:57 | again just dial up and down my Reflectivity.
| | 06:00 | Now Reflectivity doesn't have to be a
standard value, you can add maps to it.
| | 06:06 | So if I want to I can go over here and add
a map, let's go ahead and add a Noise map.
| | 06:11 | And, as you can see, it now adds
noise to the reflection of that sphere.
| | 06:16 | So those are some of the basics
of how to add reflections in Maya.
| | 06:20 | Now remember, the Maya Software
Renderer is a little bit less intelligent, it
| | 06:26 | doesn't work with IPR, and you have to
consciously turn on Raytracing when you select it.
| | 06:33 | Mental ray is a lot more reflection friendly.
| | 06:37 | It automatically has Raytracing
turned on, and it will work with IPR.
| | 06:42 | So just keep that in mind as you
set up your materials for reflections.
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| Using bump mapping | 00:00 | Many surfaces that you encounter will
not be smooth, they'll have some sort of
| | 00:05 | texture or roughness to them.
| | 00:07 | Now, you can add a lot of roughness
just by getting the right type of color or
| | 00:12 | image map for your object.
| | 00:14 | But if you want something a little bit
more sophisticated, you'll have to use
| | 00:18 | what's called either bump
or displacement mapping.
| | 00:19 | Now, we're going to take a look
at bump mapping in this lesson.
| | 00:24 | Now, bump mapping really
is just a render effect.
| | 00:27 | It tricks the eye into
thinking that a surface is bumpy.
| | 00:31 | Let's take a look at how this works.
| | 00:32 | I'm going to go into Surfaces, and
let's create a simple NURBS surface, shade
| | 00:38 | it, and I'm going to go
ahead and move that into place.
| | 00:44 | Now, I want to take this surface and
open up my Rendering shelf, and let's just
| | 00:48 | go ahead and apply a Phong material.
| | 00:51 | Now, if I do a quick render, you'll see
that well, the material is pretty smooth.
| | 00:56 | So, let's add some bumps.
I'm going to go over to my phong1 tab here.
| | 01:01 | Let's go ahead and scroll down here
until we find Common Material Attributes.
| | 01:05 | Now, these attributes are the same
for most of the materials in Maya.
| | 01:10 | So you'll see this in the Blinn, the
Phong, the Anistropic shader,, and so on.
| | 01:16 | In here, we have what's
called a Bump Mapping attribute.
| | 01:19 | Now, notice the Bump Mapping
attribute doesn't have a slider or a color.
| | 01:25 | That's because if all you did was add
just one color or one slider value to it,
| | 01:30 | it would just make the object bigger
or smaller, it wouldn't add bumps, it
| | 01:34 | would just add size.
| | 01:35 | We want to add bump, so we
have to add a texture map.
| | 01:38 | So, when we do that, let's go ahead
and just click on this Texture Map button
| | 01:43 | here, and open up a Render node.
| | 01:45 | Now, when we do that, we can add
really any sort of node we want.
| | 01:49 | We can add an image map file or if
we want, we can add a procedural.
| | 01:53 | Let's go ahead and play with the Cloth map.
So I'm going to go ahead and click on that.
| | 01:58 | And as soon as I do, it brings up
what's called a Bump node, and it also brings
| | 02:03 | up the node for the texture itself.
So it actually creates two nodes.
| | 02:08 | So if I do a quick render, you'll see that it's
turned it from a flat object into a bumpy object.
| | 02:15 | In fact, we can see this
in the Viewport as well.
| | 02:19 | So if I turn on Shading > Hardware Texturing,
and make sure I have Viewport 2.0 on.
| | 02:24 | We can actually see how that works.
| | 02:27 | Now, I have this bump2d still up, and
we can change the bumpiness of the object
| | 02:33 | by changing the Bump Depth.
| | 02:36 | So, if I want, I can dial this up, add more.
| | 02:39 | I can dial it down, and now as I get to 0,
the object gets smooth, but as I go
| | 02:44 | into the negative, it creates
negative bumps, which is kind of cool.
| | 02:50 | Now, one of the things I want to show
you is that with this object, it doesn't
| | 02:55 | really create a real bump.
It's actually just a rendering effect.
| | 03:00 | Now, if I highlight this you can see by the
isoparms that the object is still just a sphere.
| | 03:05 | It really isn't extruding that
detail beyond what the surface allows for.
| | 03:12 | So, as I render this you'll see that
this outside edge will always remain
| | 03:18 | smooth, or basically the shape of the object.
| | 03:21 | This doesn't distort the
object, it doesn't displace it.
| | 03:24 | And that's what Displacement Maps
which we'll see in the next lesson.
| | 03:28 | Now, before I go here, let's go ahead
and click off of this and reselect this
| | 03:33 | and go into my phong1 tab here.
| | 03:36 | Notice how when I click on my Bump
Mapping here, it says it's for cloth1.
| | 03:41 | So I go here, it looks like I've lost
that Bump Map parameter, that node that
| | 03:47 | allows me to dial in the height of the bump.
| | 03:50 | Well, I can get out of that here by
clicking on this one here which brings me
| | 03:55 | back up to my bump2d.
Another way is to use the Hypershade window.
| | 04:00 | So, I'm going to go into Window >
Rendering Editors > Hypershade.
| | 04:05 | Now, if I find that Phong material, and
just right-click over it, and hit Graph
| | 04:09 | Network, and you'll see that
here is all the nodes that I need.
| | 04:13 | So if I click on this one, that's my
Phong, this is my Bump, this is my Cloth,
| | 04:18 | and this is how I'm placing my cloth.
| | 04:21 | So if I ever get lost, and can't find
this just go into your hypershade, and
| | 04:25 | select it, and then I'll have my Bump
node, where I can dial up or down the
| | 04:31 | depth of that bump map.
| | 04:33 | So these are some of the
basics of how to create bump maps.
| | 04:36 | Now, bump maps are probably best
for just general surface roughness.
| | 04:40 | If you really need to change the size
and shape of a surface, then you'll need
| | 04:44 | to use what are called Displacement Maps,
which we'll cover in the next lesson.
| | Collapse this transcript |
| Using displacement mapping | 00:00 | Bump Maps are really just a render effect.
| | 00:03 | They don't really change the character
or the actual geometry of the surface.
| | 00:07 | If you need to do that, you
have to use a Displacement Map.
| | 00:11 | Now, Displacement Maps
work best on NURBS surfaces.
| | 00:13 | So let's go ahead and use one of those.
| | 00:16 | I am going to go ahead into
Surfaces, create a NURBS sphere.
| | 00:20 | In fact, we're going to create the
same situation we did with the Bump Map in
| | 00:23 | the last lesson, but we're going
to do it with the Displacement Map.
| | 00:27 | So I am going to go ahead and shade
the sphere, go to my Rendering shelf, and
| | 00:31 | let's go ahead and add in a Phong material.
| | 00:34 | Now, if I click on this Phong material,
you'll see that, well, I don't have any
| | 00:40 | place here where I can
add in a Displacement Map.
| | 00:44 | That's because a Displacement Map is
actually in what's called a Shading Group.
| | 00:49 | Which actually supersedes
the Phong material itself.
| | 00:53 | So, if I click here to go up one level,
you'll see that I get this phong1SG.
| | 00:58 | So I have my phong, go up one, I get
phong1SG, and this is the trick where I can
| | 01:06 | put in my Displacement Map.
| | 01:09 | So, I have my Surface material which is Phong,
and I can go into that just by clicking here.
| | 01:15 | I have what's called a Volume material,
and that's really for special effects,
| | 01:18 | we're not going to get into that.
| | 01:20 | What we really are here
for is Displacement Material.
| | 01:24 | So, if I click on this I can add in
whatever map I want to create displacement.
| | 01:30 | So, let's do the same thing we did
with the Bump Map, and add in that cloth.
| | 01:34 | Now, as you can see, well, you're not
seeing any of this in the Viewport, In
| | 01:39 | fact, you won't. It is a render effect,
it actually recalculates the surface of
| | 01:43 | the object at render time.
| | 01:45 | So, if I do a quick render here, you
can see I am using the Maya Software
| | 01:50 | Renderer, and, as you can see, I'm
getting significant displacement.
| | 01:55 | You can actually see the object itself
is deforming to accommodate that map.
| | 02:01 | Now, if you want, you can change
the scale of that displacement.
| | 02:05 | So, if I stay in this Displacement
Shader, I have a Scale option here.
| | 02:10 | If I want to, I can dial it down.
| | 02:13 | Let's go ahead and just say 0.25
instead of 1 and just render.
| | 02:19 | And, as you can see, it's a little bit
smaller, or if we want, we can go higher.
| | 02:24 | Now, I'm just going to go ahead and
put this back to 1 and do a quick render.
| | 02:28 | When I render this you'll see I have a
lot of little breakups here, and I am
| | 02:34 | getting kind of some jaggy effects.
| | 02:36 | And part of that is because I'm using
the Maya Software Renderer which doesn't
| | 02:40 | compute displacement as
accurately as mental ray.
| | 02:43 | So, I am going to change my renderer here
to mental ray, and do another quick render.
| | 02:50 | Now, this will take a little bit of time,
because mental ray actually uses a lot
| | 02:55 | more computing power to compute a displacement.
| | 02:58 | But you'll notice that this
displacement is a lot smoother.
| | 03:03 | So, if you're using displacements, you
probably will want to use mental ray.
| | 03:08 | Now, let's take a look at this
object and how it looks in the Hypershade.
| | 03:11 | I am going to go into my Window
> Rendering Editors > Hypershade.
| | 03:17 | So, I am going to select that
Phong material and do Graph Network.
| | 03:23 | Now, if you notice here, we've
got place2d, cloth, and then that
| | 03:29 | Displacement Map is here.
| | 03:31 | So if I ever need to go back to it,
all I have to do is click here on this
| | 03:35 | displacement, and I should be able to
get to it, and then I can change whatever
| | 03:41 | parameter I want to change, and then render.
| | 03:44 | So those are some of the basics
of how to do Displacement Mapping.
| | 03:49 | Now, Displacement
Mapping is computing-intensive.
| | 03:51 | So, if you don't need it, don't use it,
and if you really, really need an object
| | 03:56 | to be a specific shape, you might want
to consider modeling it in that shape
| | 04:00 | again to keep your render times low.
| | Collapse this transcript |
|
|
3. Applying TexturesProjecting textures on surfaces| 00:00 | Now, as you start working with textures
and materials, you also need to be able
| | 00:05 | to apply those textures to objects.
| | 00:08 | So, the materials themselves have
mapping within the material, but we need to be
| | 00:14 | able to map the materials to the object.
| | 00:17 | So, let's take a look at
some methods for doing that.
| | 00:20 | The first method we're going to look
at is called Projections, and this just
| | 00:24 | allows you to project an image onto an object.
| | 00:29 | So, I have a simple submarine here,
and I've basically just mapped it, and
| | 00:34 | textured it with solid colors.
| | 00:36 | So if I do a quick render here,
you'll see it's just very solid here.
| | 00:40 | But let's say we wanted to put a Logo or a
Texture onto one of the parts of this submarine.
| | 00:45 | Let's say we wanted to add
it to this conning tower here.
| | 00:49 | Well, we can do that by adding
in a map to the Color Channel.
| | 00:54 | So if I go over to my Attribute Editor
here, you'll see that I have a material
| | 00:59 | called Body2, and under
that, we have a Color Map.
| | 01:03 | Now, I've created an actual map that we can use.
Let's go ahead and create a Render Node here.
| | 01:10 | I am going to click here on this
checkerboard here, and under File, I want to
| | 01:15 | basically add a file in.
| | 01:17 | But because we're going to do a projection,
we need to do this a little bit differently.
| | 01:21 | Now normally, we just left-click on this.
| | 01:24 | But in this case, we're going to right-
click on it, and we're going to select
| | 01:29 | Create as Projection.
| | 01:33 | And when we do that, you'll see that
Well, it goes black because it's waiting
| | 01:36 | for the texture, and it brings up an
option here with three separate tabs, we
| | 01:42 | have the projection, the
place3DTexture, and a file.
| | 01:48 | You'll see here, in the Projection,
we have a slot for the image file.
| | 01:53 | So let's go ahead here to that, and
let's go ahead and load the image.
| | 01:58 | In this case, we're going to load
an image called Pattern.jpg, and it's
| | 02:03 | basically just a little target pattern,
and we're going to go ahead and open that.
| | 02:07 | And, as you can see, well, it's mapping, but
it's not really mapping all that accurately.
| | 02:14 | In fact, if we want to see this a
little bit more accurately, we can change the
| | 02:18 | Renderer to High Quality Rendering,
and that will give us a much better
| | 02:24 | indication of how this is mapping.
| | 02:26 | But, as you can see, it's not
really mapping all that great.
| | 02:31 | Well, we can fix that by going
back up to that Projection Node.
| | 02:35 | So, up here in file, I'm going to hit
this up arrow here and go back up, and so
| | 02:41 | now we're in Projection.
| | 02:43 | What we can do here is we can
actually do interactive placement.
| | 02:48 | So when I do this when I hit
Interactive Placement, look what happens, a
| | 02:52 | little icon comes up.
| | 02:55 | I can move this icon, and I can grab
the corners, and start scaling this.
| | 03:02 | And if you'll see, this is actually an
object in the scene, and this allows us
| | 03:07 | to position this anywhere we want.
| | 03:11 | So, if we wanted to position it on
the front of the tower, we could just
| | 03:15 | position it this way.
| | 03:16 | Now, one of the things about this is that
it does not have to be a planar projection.
| | 03:22 | We can change the Projection Type here.
| | 03:25 | So let's say we wanted to do a Cylindrical
Projection, or a Spherical, we can do all of those.
| | 03:31 | But I am going to go back
to Planar Projection here.
| | 03:35 | Let's go ahead and just place this on the tower.
| | 03:39 | Now, once I have this scaled up, I can
actually click off this and grab this object.
| | 03:46 | It's actually a separate
object called place3DTexture.
| | 03:50 | If we go into our channel box, you'll
see that I have all sorts of options
| | 03:54 | here, I can scale it.
| | 03:56 | And this basically does the same thing
we can do in that Interactive Placement.
| | 04:02 | We can also rotate this.
So let's go ahead and rotate this around Y.
| | 04:08 | Let's go ahead and rotate it 90
degrees around Y because what that's going to
| | 04:13 | do is that's going to put it on the side of
the tower, and that's really what we want.
| | 04:17 | Then let's go ahead and position this
pretty much towards the center of that
| | 04:22 | tower, and then if we want, we can scale it.
| | 04:26 | So just by scaling and manipulating and
rotating this object, I can place this texture.
| | 04:37 | So now that I have this texture
placed, I can pretty much keep it there.
| | 04:43 | Now, one important thing to remember is
that this Texture Placer is a separate object.
| | 04:50 | So I can move it and animate it separately.
| | 04:53 | This can be advantageous if you want
to move a texture over something, but a
| | 04:57 | lot of times this becomes a problem because
you have to move this with your other objects.
| | 05:01 | So, if we go into the Outliner, and
make sure we do a Show All, then you'll see
| | 05:10 | that I've got this place3dTexture node here.
| | 05:13 | If I want, I can middle-click and say
drag that in the hierarchy of the body of
| | 05:19 | the object, and then when I
move this it all moves together.
| | 05:24 | Okay, so that's just one additional
thing that you have to be aware of.
| | 05:28 | But projections do have a lot of
flexibility, in that you can interactively
| | 05:33 | place textures, and you can animate
the placement of those textures as well.
| | Collapse this transcript |
| Texture-mapping polygonal surfaces | 00:00 | When you apply materials to polygonal
objects, you have some more options.
| | 00:05 | Polygonal objects can have multiple
materials and multiple maps applied to them.
| | 00:11 | This gives you a lot of versatility
because you can have one object and have
| | 00:15 | multiple surfaces on that object.
| | 00:17 | This is one of the
advantages of polygonal objects.
| | 00:20 | So let me show you a little bit of
theory, and then we'll go ahead and apply
| | 00:24 | multiple materials to this little fish here.
| | 00:27 | But before we do that, I'm just going
to go ahead over to my Channel Box here,
| | 00:31 | and turn off the Geometry layer, and let's
go ahead and just start with a simple sphere.
| | 00:38 | So, I'm going to do Create > Polygon
Primitives > Sphere, and just drag on the grid,
| | 00:45 | and let's go ahead and position the sphere.
Now, I can just apply one material to this.
| | 00:52 | So, if I select the sphere, and just go
over to my Rendering shelf here, I could
| | 00:56 | apply say, for example, a Phong material.
| | 01:00 | I can go over to my Phong material,
and say add a color to it, give it red or
| | 01:07 | reddish and basically just dial in
whatever parameters I want for this material.
| | 01:16 | Now, if I wanted multiple materials on
it, all I have to do is select the faces
| | 01:20 | I want, and then apply the material.
| | 01:23 | So, if I right-click over this and
select Face, then I can just go ahead and say
| | 01:30 | box-select the top of this sphere.
| | 01:34 | Then all I have to do is
just apply another material.
| | 01:38 | I can right-click over this and
say Assign a Favorite Material.
| | 01:42 | Let's go ahead and assign a Lambert,
and it brings up a lambert3 here.
| | 01:48 | And if I want, I can change it to
whatever color I want, or I can pretty much
| | 01:54 | do whatever I want.
| | 01:56 | Now, if you notice here, I've got this object,
it is textured in two separate materials.
| | 02:03 | In fact, if I render it, you
can see this pretty easily.
| | 02:06 | You'll see that the top-half is a matte
Lambert, and the bottom-half is a shiny Phong.
| | 02:12 | You can even see the specular
highlight kind of gets cut off as soon as it
| | 02:16 | does that transition.
Now, this also works for subdivision surfaces.
| | 02:22 | So, if I were to subdivide this it will
subdivide the divisions and textures as well.
| | 02:29 | I'm going to go ahead and right-click
over this go into Object mode, select the
| | 02:33 | sphere, and delete it.
| | 02:34 | Now, let's go back to our
Channel Box, and turn on our geometry.
| | 02:40 | So, let's go ahead and apply some
materials to this little fish here.
| | 02:44 | So, I'm going to go ahead and select
the mesh, and, as you can see, everything
| | 02:48 | is just one solid mesh.
| | 02:51 | So, let's go ahead and apply a material.
I'm going to apply a Blinn.
| | 02:55 | So, I'm just going to go to my Rendering
shelf here, and I just assign a Blinn material.
| | 03:01 | So, if we want to, we can
change him to whatever color we want.
| | 03:05 | So, let's go ahead and make him kind
of a bluish, purple something like that.
| | 03:10 | But when I change the material on it,
it changes material for everything which
| | 03:15 | is really what we've applied.
| | 03:17 | But I want the eyes on this fish to
be a slightly different texture or
| | 03:23 | a different material.
| | 03:24 | So, we can do that just by selecting
those faces that are in the eye, and
| | 03:29 | applying a new material.
| | 03:31 | I'm actually going to do
this in a Side Viewport.
| | 03:34 | So, I'm going to hop out here,
highlight my Side Viewport by hitting the
| | 03:38 | Spacebar, and I can see
I've got X-Ray turned on here.
| | 03:42 | But actually, let's go ahead and turn that
off and actually, let's go into Wireframe.
| | 03:47 | This will be easier to see.
| | 03:48 | And, as you can see, the eye really
is just a separate part of the mesh.
| | 03:53 | So, let's go ahead and right-
click over this and go into Face mode.
| | 03:57 | I want to select just the
eye but not the fish itself.
| | 04:01 | So, I'm going to just rectangular-
select the middle part of this eye.
| | 04:05 | So you can see I've got that.
| | 04:07 | I'm going to hold down the Shift key, and
hit the greater than sign on the keyboard.
| | 04:12 | And, as you can see, greater than and
less than just adds more to the selection.
| | 04:17 | And Then I just want to make sure I get
everything in the selection but not part of the fish.
| | 04:23 | Once I do that, you can see I've got
it pretty much selected here, and then I
| | 04:27 | can apply whatever I want.
| | 04:29 | So, I'm going to go ahead and
apply a Phong material to this.
| | 04:32 | As soon as we do that, you can see I've
got this Phong material, so I am going
| | 04:37 | to give him kind of a darker color eye.
| | 04:39 | Once we have that done, you can see how
now my fish is a little bit more distinct.
| | 04:44 | I've got the eyes as a separate
material from the body, and I can use this if I
| | 04:50 | want to further texture map the fish later.
| | Collapse this transcript |
| Exploring the basics of UV mapping | 00:00 | Now if you want more precise mapping on
a polygonal object you'll need to start
| | 00:05 | doing what's called UV Mapping.
| | 00:08 | Now this can get to be a very complex
task, but let me show you some of the
| | 00:14 | basics of how to apply Basic UV Maps.
| | 00:17 | Now before we get started let's go
ahead and make sure that we are in our
| | 00:21 | Polygons menu, and that will make sure
that all of the tools we need are in place.
| | 00:27 | We're going to start with a very simple
object, we're just going to start with a
| | 00:31 | polygonal cube, and I'm going
to make this rather cube like.
| | 00:35 | And I'm going to shade it and make
sure I have Hardware Texturing turned on.
| | 00:40 | And let's go ahead and apply Materials.
| | 00:42 | So I'm going to right-click over this
Assign Favorite Material, and we are going
| | 00:46 | to just assign a Lambert to that.
| | 00:49 | So I'm going to go into my lambert
tab here in my object, and let's add
| | 00:55 | something into the Color channel.
| | 00:57 | So I'm going to add a render node,
and let's go ahead and add a File.
| | 01:04 | And let's just go ahead and load from
our project, we have one here called
| | 01:08 | Pattern, which is what we used on the
submarine, and it's just really just
| | 01:12 | a little target here.
| | 01:14 | And, as you can see, this will map according
to what Maya thinks is the best way to map.
| | 01:20 | Now each polygonal object that Maya
creates does have what's called a default map.
| | 01:26 | So you will get kind of a basic mapping
coordinate even if you just create an object.
| | 01:33 | But if the mapping is not correct
as it is here, we can change it.
| | 01:38 | Now we can change it on a per face basis,
or we can change it a little bit more
| | 01:42 | globally by doing what's called Create UVs.
| | 01:46 | So I'm going to go ahead and tear
this off, and each one of these is just a
| | 01:53 | different type of mapping that we can
apply to the object or to the sub-object.
| | 01:58 | So I'm going to select the whole object,
make sure I'm in Object mode here, and let's just
| | 02:03 | click on Planar Mapping.
And, as you can see, things change.
| | 02:07 | Basically this map is now mapped to the object.
| | 02:13 | We also have this Interactive Texture
Placement tool which allows us to scale
| | 02:18 | and position this texture.
| | 02:20 | Now I'm now projecting on a
surface which creates a separate object.
| | 02:28 | This actually is just a node within the object.
| | 02:31 | So if I go back into Object mode and
select this cube, you'll see here I've got
| | 02:37 | a node here call Poly Planar Projection.
| | 02:41 | And this will actually give me all
of the options that I had with that
| | 02:45 | Interactive tool here.
| | 02:46 | So I can change the Width, the Height,
I can change the Rotation Angle, I can
| | 02:52 | change where the image is I can also rotate it.
| | 02:55 | So if I don't want it on this plane, I
can say rotate it over to another plane.
| | 03:02 | Now this is just one of
several ways to create UV.
| | 03:06 | So if I right-click over my object here,
I can also do Cylindrical Mapping which
| | 03:11 | creates basically a cylinder.
| | 03:14 | So it creates a cylinder that allows
me to project from a cylindrical shape.
| | 03:20 | We can also do Spherical Mapping.
We can also do what's called Automatic Mapping.
| | 03:26 | So when we select Automatic Mapping what
happens is it creates one plane per axis.
| | 03:34 | Now this is probably the best way to
texture objects, it just need to be kind of
| | 03:39 | generically texture, that have
just kind of generic texture on them.
| | 03:43 | It gives a good basic coverage of that texture.
| | 03:47 | We also have another one
called Create UVs based on Camera.
| | 03:51 | Now this is really important for
visual effects in that it will project
| | 03:55 | something based on the camera, so you
can actually project something like the
| | 03:59 | image that you're trying to match to,
and it can use that as a texture.
| | 04:04 | So if we do Create UVs Based On Camera,
it's basically we'll project it based on
| | 04:09 | how my camera is set.
| | 04:11 | Now if I want I can also
texture on a per face basis.
| | 04:17 | So if I right-click over this and select
Face and maybe select this one face, I
| | 04:23 | can Planar Map this one face.
| | 04:27 | And so I'm selecting my face here, and
as you see this is probably not what I
| | 04:32 | want here, I've got my Planar
Projection here, I'm going to go ahead and change
| | 04:37 | my Rotation to 0, and then let's go
ahead and try and dial this out here,
| | 04:50 | and get my Width, there we go.
Okay, so now I am going to, there we go, okay.
| | 04:58 | So now I've got my Width and my Height,
and this is just for this one plane, okay.
| | 05:04 | So this basically is
projecting on this one face.
| | 05:07 | So if I wanted to say map this face
I could do it again, or this face.
| | 05:12 | So let's go ahead and select this face
here, do a Planar Mapping and again I can
| | 05:19 | place this however I want.
So those are some options for Basic UV Mapping.
| | 05:25 | Now you can map the entire object using
any one of the Create UV tools, or you
| | 05:32 | can select a face or group of faces and
just map those individual faces, again
| | 05:38 | using any tool that you want.
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| Fine-tuning maps in the UV Texture Editor| 00:00 | The more complex your polygonal objects
become, the more precise you're going
| | 00:05 | to have to be with mapping.
| | 00:07 | Sometimes planar or
cylindrical mapping just won't cut it.
| | 00:12 | And in this case you'll have to unfold
your object and do what's called UV Mapping.
| | 00:18 | And we do this in what's
called the UV Texture Editor.
| | 00:22 | So let's go ahead and just do a real simple
case here, we're just going to do a simple box.
| | 00:27 | So I'm going to go my Polygon shelf
here and select a cube, and we are going to
| | 00:31 | draw a box that's about twice as tall
as it is wide, so something likes that.
| | 00:38 | And let's go ahead and shade it by
hitting 5, and let's apply a Material.
| | 00:45 | So I'm going to go to my Rendering shelf,
and let's just apply a simple Lambert Material.
| | 00:50 | So I'm going to find in my
Attribute Editor, find my lambert2 and under
| | 00:56 | Color we're going to add a in our
bitmap. So I'm going to click Create
| | 01:00 | Render Node, and then we are going to
hit File, and then let's just go ahead
| | 01:06 | and find our image.
| | 01:07 | So in this case we're going to do an
image called CardboardBox, and this is
| | 01:11 | basically just an unfolded cardboard box.
| | 01:14 | So I've got the slides here
and the top and the bottom.
| | 01:18 | It's basically if you were to break
apart the seams of the box and just fold it
| | 01:22 | flat that's basically what it is.
| | 01:23 | And that's essentially what we're going
to be doing in the UV Texture Editors.
| | 01:27 | So I'm going to go ahead and Open this,
and let's go ahead and turn on Hardware
| | 01:32 | Texturing so we can see this.
| | 01:33 | And, as you can see, it, well, it's
actually not bad, it's pretty close.
| | 01:38 | And what this shows you is that Maya
does kind of have its own default mapping.
| | 01:45 | And so sometimes the default mapping is
pretty close to what we're looking for,
| | 01:49 | a lot of times it's not, so don't
expect this to happen every single time.
| | 01:55 | So now that I have this I can start to
fine tune these textures, and we do that
| | 02:01 | using the UV Texture Editor.
| | 02:03 | So I'm going to go in to Window, select
UV Texture Editor, and, as you can see,
| | 02:09 | it's got a texture, it's
pretty close to being unfolded.
| | 02:17 | I am going to turn off my window here so you
can see this a little bit more clearly here.
| | 02:24 | So, as you can see, each face on this
box is mapped to this object and so all I
| | 02:32 | have to do now is just position things.
| | 02:34 | And so how I position it is by
using a special type of vertex.
| | 02:40 | So if I were to right-click over this
we've got regular vertices which are these.
| | 02:45 | But we also have what I
called the UV coordinates.
| | 02:50 | And those are pretty much the vertices
of the object but they are specific to
| | 02:55 | texturing, not shape.
| | 02:56 | This vertex here if move
it, it changes the shape.
| | 03:00 | This changes the placement of the texture.
| | 03:03 | So if I were to grab this you'll see
that a little green dot shows up here.
| | 03:09 | If I were to grab this a
green dot shows up here.
| | 03:14 | So each vertex of this
polygonal object shows up here.
| | 03:18 | And so what I can do is I can
start selecting parts of this and start
| | 03:23 | manipulating them just
using the standard move tools.
| | 03:26 | So let's say I want to box select these
two top corners, all I have to do is hit
| | 03:31 | W to start my move tool, and I
can just start adjusting these.
| | 03:36 | And, as you can see, here, here let's go
ahead and see this THIS SIDE UP selects.
| | 03:45 | And then if I want to I can select here,
I can just right-click over this is so
| | 03:51 | select UVs as well, and I can
select my UVs in this editor as well.
| | 03:56 | So I can select them either in the
Viewport or in the UV Texture Editor.
| | 04:01 | And then I can move those over, so I
can grab them here and move these over.
| | 04:08 | Or if I want I can grab them here.
So if I were to select these here.
| | 04:13 | Now what I'm doing here is I'm selecting these,
but I'm also selecting ones on the other side.
| | 04:18 | So actually I'm going to stick to this
UV Texture Editor here, and then just
| | 04:23 | kind of move this up.
And again, we can just start to affect this.
| | 04:30 | So a lot of this is going to happen
in the UV Texture Editor, but if you
| | 04:34 | don't know exactly where it is you can
always grab it here, and you say okay
| | 04:39 | that's this corner here.
| | 04:42 | And if I want to I can again
just adjust these however I want.
| | 04:48 | So, as you can see, it's a
fairly straightforward process.
| | 04:52 | Here let's go ahead and take
a look at this bottom here.
| | 04:54 | So as I adjust these, it basically just
adjusts all of these different ones to a single map.
| | 05:03 | Now this is probably a much more
efficient way of mapping, it gives you much
| | 05:09 | more precise control.
| | 05:11 | Now this is just some of the
basics, there is a ton of tools here.
| | 05:15 | We'll have a lot of tools allow us to
select anything that's connected, unconnected.
| | 05:20 | We can actually create different sets of things.
| | 05:24 | We can also create lattices, so if I
want to I can select multiple objects
| | 05:30 | there and actually use a lattice to select it,
so if you want to deform these just a little bit.
| | 05:36 | There is some number of
different tools that you can use here.
| | 05:39 | And I just wanted to give you a brief
overview of how it works, and then in the
| | 05:43 | next lesson we're going to do
something a little bit more complex and go
| | 05:47 | through some of the tools.
| | 05:48 | So just remember when you use the UV
Texture Editor, the vertices of your object
| | 05:53 | also are UV texture coordinates.
| | 05:56 | And by moving these you can adjust
how the object maps to the bitmap.
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| UV mapping a complex object| 00:00 | Now let's go a little bit deeper into
the UV Texture Editor, and we're going to
| | 00:05 | map a little bit more of a
complex object than just a box.
| | 00:08 | We're going to map this fish
that we've been working with.
| | 00:12 | Let's go ahead and take a look at the fish here.
| | 00:14 | It's basically just a single polygonal
object, and if we go into the Attribute
| | 00:18 | Editor, you'll see it has two materials applied.
| | 00:22 | A kind of purplish material for the
body, and then another one, a Phong
| | 00:28 | texture for the eyes.
| | 00:31 | So what we want to do is texture map the
body, so I'm going to select the blinn1
| | 00:37 | material and go into the Color
channel and select Create Render Node.
| | 00:42 | We're going to add in a file, so click
on File, and then under Image Name here,
| | 00:47 | we're going to click on the browser, and
we should be able to find the Fish_Map.
| | 00:52 | Now if we take a look at this you'll
see it's basically just a left-right map
| | 00:57 | for the left and right side, so maps
here for the fins, and then another one for
| | 01:02 | the eye which we won't use
because we applied a separate material.
| | 01:06 | So I'm going to go ahead and open this.
| | 01:09 | So, as you can see, it's really not mapping
properly, so we're going to need to control this.
| | 01:14 | So if we were to just select this
object here--and let's just take a look at it
| | 01:20 | in the UV Texture Editor--as you can see,
it's actually broken up into a number
| | 01:27 | of different little parts.
| | 01:29 | And this really isn't something that's
quite logical the way that we want it.
| | 01:34 | So let's go ahead and just create our own
basic mapping and just start from scratch here.
| | 01:41 | So the first thing I want to do is
I'm going to go ahead and open up this
| | 01:46 | window a little bit more.
| | 01:47 | Let's just go ahead and
just do a simple planar map.
| | 01:50 | So I'm going to do Create UVs > Planar
Mapping, and as you can see, we've got
| | 01:56 | a basic planar map.
| | 01:59 | And you can see also in the UV Texture
Editor how everything snapped together,
| | 02:03 | and now I've got one planar map for everything.
| | 02:08 | So what I'm going to do is as I adjust
this you can also see how it's adjusting
| | 02:14 | in the UV Texture Editor.
| | 02:15 | So what I'm going to do is adjust my
mapping here so that the fish is kind of over.
| | 02:25 | This doesn't have to be perfect but I'm
basically trying to get this fish to be
| | 02:29 | about the same size as the texture I
have already laid out here for the fish.
| | 02:36 | And you can see, well, I'm pretty close,
it's not exact, but it's close enough.
| | 02:41 | And once I do that, I've got, actually a
good deal of the mapping is pretty close.
| | 02:49 | So now we can go into the UV
Texture Editor and start refining things.
| | 02:54 | So I'm going to zoom in on this and
then just right-click here and start
| | 02:59 | going into UV mode.
| | 03:01 | Now if I want, I can select a bunch of
UVs here, and I can start moving them
| | 03:07 | just like I can in Maya or any other place.
| | 03:10 | And if I want, I can also, if I double-
click on this I can turn on Soft Select,
| | 03:17 | and I can dial this up or down, so
that way I get a soft motion of this.
| | 03:24 | And if I want, I can use scaling.
| | 03:27 | I can really use whatever tool I want to
position these UVs, and notice how when
| | 03:33 | I move them on the UV Texture Editor,
they match up in the actual viewport.
| | 03:43 | And I still have Soft Select turned
on which probably is going to be pretty
| | 03:47 | handy here, and again, I'm just
trying to position all of these so that
| | 03:56 | everything lines up here.
| | 03:58 | Now I've overbuilt this texture map here,
so I don't have to use everything that
| | 04:05 | I have on this image.
| | 04:08 | I'm just trying to make sure
that I've got a good coverage here.
| | 04:13 | So what I'm trying to do here is just
again get everything on the fish into
| | 04:20 | this texture map here.
| | 04:22 | So, as you can see, we've got a pretty
good coverage already, and we can just
| | 04:27 | keep going through this and just
fine-tuning it however we want.
| | 04:31 | Now we do have a special
case here, and that's the fins.
| | 04:35 | And, as you can see, these fins, well,
I've actually got separate little
| | 04:40 | textures here for those fins but I need
to disconnect this part of the mesh so I
| | 04:45 | can move it over here so
I can actually texture it.
| | 04:49 | We can do that by going into Face
mode here and just selecting the fin.
| | 04:54 | So I need to get this kind of
in a kind of a top-down mode.
| | 05:02 | It might be easier to go into a
top view here. Let's see, yeah.
| | 05:10 | So I'm in my top view here, and I'm
actually going to hit my 1 key so I can see
| | 05:15 | exactly what polygons I have.
| | 05:18 | And then I'm going to right-click and
go into Face mode and just select those
| | 05:22 | faces that are the fin.
| | 05:25 | So, as you can see, when I select these faces,
it does show up in the UV Texture Editor.
| | 05:33 | But I want to map these differently.
| | 05:35 | So I'm going to keep these selected
and just do Create UVs > Planar Mapping.
| | 05:42 | And what that does is again, it gives
me that Planar Mapping Gizmo here which I
| | 05:48 | can use to adjust it, and I'm basically
just going to scale this up so that this
| | 05:54 | is approximately the same
size as that little fin there.
| | 05:59 | And then go into my UV Texture Editor,
and then I can just use my Scale tool,
| | 06:05 | and then I can just right-click,
select UV here and start scaling it.
| | 06:11 | Now because I've disconnected
this I can select this whole object.
| | 06:17 | So if I want, I can do Select > Shell.
| | 06:22 | So I'm going to go ahead and turn
off Soft Select here, and I'm going to
| | 06:26 | select the whole shell.
| | 06:30 | So I'm going to go ahead and
select UV, and then do Select Shell, and
| | 06:34 | that selects everything.
And now I can move this and scale it.
| | 06:43 | And, as you can see, as I move it and
scale it, it starts to show up here on the fish.
| | 06:50 | And then I'm going to go into UV
here and just grab this one here and move
| | 06:57 | it in, and I just want to make sure that
the ends of these are in this blue area
| | 07:02 | which matches this blue area here.
| | 07:05 | And now once I've got all of
that, I've got a pretty good fin.
| | 07:11 | So let's go ahead and do this again
for the opposite side, and this will be a
| | 07:15 | little bit more clear here.
| | 07:17 | Again, I'm going to hold down my
Spacebar, go into a top view here, go over to
| | 07:24 | the other side, make sure I'm
in Face mode, select these faces.
| | 07:32 | Okay, I'm going to go into Perspective
view just to see what I've selected here.
| | 07:43 | I'm going to deselect that one
here and Shift+Deselect that one.
| | 07:50 | So I've got just these faces.
| | 07:53 | So now that I have those,
Create UVs > Planar Mapping.
| | 07:58 | That's what cuts them away and
creates what's called the shell.
| | 08:03 | And then I'm just going to go ahead
and scale these down, and now I can
| | 08:07 | start placing this.
| | 08:09 | Go ahead into UV, select this UV, go
Select > Shell which selects everything, and
| | 08:17 | now I can start to rotate this and move it.
| | 08:24 | Again, I'm just using Move tool, so
I'm just using, hitting E to rotate, W to
| | 08:30 | move just like we do in the viewports, R
to scale, and then again just get those
| | 08:36 | in the way that I want.
| | 08:37 | And then for this here, under
Lighting here, I'm just going to use Default
| | 08:44 | Lighting so I can see that a
little bit better. And there we go!
| | 08:55 | So again, I can fine-tune this to my
heart's content, but, as you can see, it's
| | 08:59 | a very, very simple way of doing this.
| | 09:02 | And then when I subdivide it,
you can see it pretty much works.
| | 09:07 | So let's do a quick, quick render
here and see what it looks like.
| | 09:12 | Okay, so I'm getting a little bit
of a scene here, but we can certainly
| | 09:17 | fine-tune that just by fine-tuning the map.
| | 09:20 | But, as you can see, the UV Texture Editor
is great for creating very precise mapping.
| | 09:27 | So the general workflow for this is
to select your object, apply the best
| | 09:33 | mapping for that object, which will
unwrap it, then adjust it in the UV Texture Editor.
| | 09:38 | Then take individual parts
of your object that need to be mapped
| | 09:43 | separately, apply another UV to them to
create UV, and then use that to create a
| | 09:49 | shell and adjust those shells as you see fit.
So it's really just a back and forth process.
| | 09:56 | You can get very, very detailed with this,
and that means you can also get very,
| | 10:01 | very good texture map placement.
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Conclusion Goodbye| 00:00 | Well, that's just about it for Maya
Essentials 4: Creating Textures and Materials.
| | 00:05 | I'm George Maestri, and I really hope
you enjoyed this course and can use the
| | 00:10 | tools that we've discussed in
your Maya projects for the future.
| | 00:15 | So have a great day and hope
to see you in the next course.
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