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Lighting and Rendering with mental ray in Maya
Illustration by John Hersey

Tuning the Physical Sun and Sky settings


From:

Lighting and Rendering with mental ray in Maya

with Eric Keller

Video: Tuning the Physical Sun and Sky settings

Once you've added the Physical Sun and Sky network to a scene, there's a few settings you can use to change the way that the lighting looks. To change the time of day, all you need to do is rotate the light. So if it's pointing straight down, it's going to look like noon. If it's pointing more parallel to the horizon in your scene, it's going to look closer to early morning or late evening. If I want to change some of the other aspects of the lighting, what I can do is I can select the sunDirection node here in the outliner.
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  1. 3m 46s
    1. Welcome
      1m 32s
    2. Using the exercise files
      2m 14s
  2. 19m 8s
    1. What is a CG light?
      1m 22s
    2. Types of CG lights
      10m 55s
    3. Direct lighting
      4m 48s
    4. Indirect lighting
      2m 3s
  3. 53m 20s
    1. Decay rate
      6m 30s
    2. Previewing lighting and shadows
      2m 37s
    3. Creating depth map shadows
      1m 57s
    4. Troubleshooting depth map shadows
      2m 38s
    5. Shadow map overrides
      5m 30s
    6. Using the shadow map camera
      5m 31s
    7. Saving and reusing shadow maps
      2m 48s
    8. Creating raytraced shadows
      1m 56s
    9. Adding softness to raytraced shadows
      3m 42s
    10. Creating area light shadows
      5m 11s
    11. Sample: mental ray area light
      4m 23s
    12. Setting area light visibility
      8m 7s
    13. Creating soft shadows with spot lights
      2m 30s
  4. 43m 35s
    1. Setting global illumination for interiors
      2m 33s
    2. Tuning global illumination
      5m 56s
    3. Global illumination photons
      1m 12s
    4. Activating caustic light effects
      3m 28s
    5. Tuning caustic settings
      3m 35s
    6. Setting caustic light effects on metal
      2m 35s
    7. Using final gathering for indirect lighting
      2m 9s
    8. Tuning final gathering
      4m 2s
    9. Reusing final gathering maps
      3m 21s
    10. Adding light with shaders
      5m 27s
    11. Creating final gathering maps for animation
      4m 26s
    12. Combining final gathering with global illumination
      4m 51s
  5. 1h 2m
    1. Activating the Physical Sun and Sky network
      2m 33s
    2. Tuning the Physical Sun and Sky settings
      7m 18s
    3. Applying physical light shaders
      8m 54s
    4. Applying image-based lighting
      8m 57s
    5. Tone mapping
      6m 23s
    6. Applying portal light shaders
      7m 45s
    7. Creating light beams with participating media
      10m 9s
    8. Adding depth of field with the Bokeh lens shader
      10m 39s
  6. 48m 21s
    1. Introducing render layers
      6m 13s
    2. Creating render layers
      4m 28s
    3. Splitting a scene into render layers
      15m 36s
    4. Applying render layer presets
      7m 47s
    5. Setting render layer overrides
      7m 7s
    6. Creating render layer composites
      3m 52s
    7. Organizing renders with tokens
      3m 18s
  7. 42m 24s
    1. Introducing render passes
      2m 56s
    2. Comparing render passes and render layers
      6m 44s
    3. Editing render passes
      10m 41s
    4. Using appropriate materials
      5m 51s
    5. Batch-rendering passes
      5m 56s
    6. Compositing in After Effects
      6m 41s
    7. Rendering the EXR image format
      3m 35s
  8. 23m 3s
    1. Anti-Aliasing Quality
      6m 44s
    2. Setting color profiles
      2m 53s
    3. Diagnosing raytracing
      5m 7s
    4. Adjusting motion blur
      6m 57s
    5. Finding mental ray help
      1m 22s
  9. 21s
    1. Goodbye
      21s

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Lighting and Rendering with mental ray in Maya
4h 56m Intermediate Jul 22, 2010

Viewers: in countries Watching now:

Lighting and Rendering with mental ray in Maya with Eric Keller shows how to master practical mental ray techniques for rendering models created in Maya. This course walks through the most efficient and innovative mental ray techniques, including direct versus indirect lighting methods, creating different types of shadows, using the new ShadowMap camera, and reusing shadow and final gathering maps. A chapter on optimizing render times and enhancing render quality is also included. Exercise files are included with the course.

Topics include:
  • Understanding computer-generated lighting
  • Creating depth map and ray traced shadows
  • Softening and shaping shadows
  • Working with global illumination
  • Lighting with the caustic settings
  • Applying physical and portal shaders
  • Adding depth of field with the Bokeh shader
  • Splitting a scene into render layers
  • Comparing render passes and render layers
Subjects:
3D + Animation Rendering Photography Lighting
Software:
Maya
Author:
Eric Keller

Tuning the Physical Sun and Sky settings

Once you've added the Physical Sun and Sky network to a scene, there's a few settings you can use to change the way that the lighting looks. To change the time of day, all you need to do is rotate the light. So if it's pointing straight down, it's going to look like noon. If it's pointing more parallel to the horizon in your scene, it's going to look closer to early morning or late evening. If I want to change some of the other aspects of the lighting, what I can do is I can select the sunDirection node here in the outliner.

If I open up the tab in the Attribute Editor, for the actual sunShape and start to adjust these settings, such as the Color and the Intensity and even the Shadows, you won't notice any change in the render whatsoever. These settings are actually not controlling the light. The only thing that controls the light is the rotation controls the time of day. If I want to change the color of the light or the intensity or the way that the sun looks like when it's rendered in the background, I need to go to the mia_physical1 tab, and this should be in the Attribute Editor, connected when you select the sunDirection node.

So I'll switch over here, and I'm going to find a number of settings that I can use to control the way the render looks. I like to create a quick test render using the default settings, and I've just rotated this, so that we can see it in the scene, and I'll do a test render, and we can see the sun is very bright light right here. So I'm going to store this image and minimize this, and the first thing I'll do is if I change the Multiplier, it's going to change the overall brightness of the effect.

So if I put this to 0.5, it will cut it in half. So if I compare this, you can see how bright this is, and now this has been cut down in half. Now I can see the sun a little bit easier. So I'll store that. If I change the Haze, I can add some haze to the horizon back there. I'm going to set this to 0.5 and do a quick test render, and compare this with the previous one.

I can see I'm gradually adding. This is the original, with the default settings. That's with the Multiplier set to 0.5, and now I've added some haze there, and it's looking a little bit more like Los Angeles in the background there. I'll minimize that. The Red/Blue Shift will change the lighting either to warmer or cooler colors. Positive values make a warmer look. So if I set this to 0.5, it will start to look like warmer colors overall. Then we get sort of a desert kind of look to that.

And if I set this to a negative number, -0.5, we'll see cooler colors. So I'm going to open up my Render view, make sure I've stored this, and do another render. You can see that now it's definitely shifting over to blue, which is great for alien environments and that kind of thing. I'm going to set that back to 0. Take a look at that Horizon Height. That is the height of this line in the background. If I want to get rid of this, so that I just see the sky, and I don't see the horizon, I can just set this to a negative value.

So I'll put this down to -5. So now we don't see the horizon in the background at all; we just see the sky. Couple of other settings that I would like to point out are the Sun Disk Intensity, Sun Disk Scale, and Glow Intensity all control the way the sun looks in the render. If I want to make it smaller, I could put this down to 1. Maybe change the Intensity, so it's not quite so bright, to 0.5, and I'll lower the Glow Intensity.

We should see a more well-defined-looking sun. And so we can see it's a much smaller area here in the background. The other thing I would like to point out is the background sky that you're seeing here in the render is not included in the alpha channel. So in the Render view window, I'm going to click on this icon right here which displays the alpha, and we're just going to see the alpha for the toy and the ground, the polygon plane that I've added, but we don't see any of that color in the background.

So if you save this image to disk and you bring it into a compositing program, such as Photoshop or Adobe After Effects, you should be aware that what you're seeing in the background won't show up as long as you have alpha activated for the image. If you bring this into After Effects, turn the alpha off in After Effects, and you'll see the background. So when you're using the Physical Sky network, you can restrict all the changes that you're making to the look of the sun and the background to the settings here in this tab, the mia_physicalsky1 tab. These are the only settings that you should really need to play with.

You may encounter problem when you add a camera to the scene. So I'm going to add a new camera, and look through the camera. So I'll just do Perspective, camera1, and position it here, so I have a new camera in the scene. And now I'll create a render. So I'll store this one, and I'll render using camera1. And you're going to notice that things look very different. I don't have my background. Just nothing looks right.

The colors are off. The reason for this is that when you create the Physical Sun and Sky network - I'm going to select the Perspective camera, so I'm going to open up its Attribute Editor, so we have perspectiveShape here - you'll notice that one of the things that mental ray has done is it has automatically added two lens shaders to all the cameras that currently exist in the scene - so the perspective and the other cameras, and these are the mia_physicalsky1 Lens Environment Shader and the mia_exposure_simple1 Shader. So these have been added automatically, and these help to correct for problems that can be encountered when simulating the physical properties of light in a Maya render.

You'll notice when I select camera1 and go to the cameraShape1 tab, I don't have these shaders here. They haven't been applied. And this is because I added camera1 after creating the network. Fixing this is very simple. All I need to do is I'll select my sunDirection node again and switch back to mia_physicalsky1, and scroll to the very bottom, and I can just say Update Camera Connections. If I click in this button and then select camera1 again, you'll see that now these have been connected.

So if I go back into the Render view, I'll store the image and render again from camera1, you'll see that everything has been fixed automatically. So that's a very easy problem to fix, but it's something that can throw you off when you're adding cameras to a scene and rendering.

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