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Understanding anisotropy

From: Creating Textures and Shaders in Maya

Video: Understanding anisotropy

Anisotropic reflections appear on surfaces that are made up of tiny grooves or microfacets. When you create a shader for material like this, the most noticeable attribute is that the specular highlight or the highlight of the light source is going to become spread out and have kind of directionality to it. So you can sort of see how this is the specular highlight, but you notice how it's sort of stretched out over the surface. So this is sort of creating kind of a brushed metal like effect and you can see that there are microfacets in the surface itself that are affecting the reflectivity of the surface.

Understanding anisotropy

Anisotropic reflections appear on surfaces that are made up of tiny grooves or microfacets. When you create a shader for material like this, the most noticeable attribute is that the specular highlight or the highlight of the light source is going to become spread out and have kind of directionality to it. So you can sort of see how this is the specular highlight, but you notice how it's sort of stretched out over the surface. So this is sort of creating kind of a brushed metal like effect and you can see that there are microfacets in the surface itself that are affecting the reflectivity of the surface.

Some surfaces that would exhibit anisotropic reflections include things like a CD or a DVD with tiny grooves on it or satin pillow or the shininess of very silky hair. There are anisotropic shaders within Maya and then some mental ray shaders also have anisotropic options which can be activated to simulate these types of surfaces. So as you're creating a surface, whether it's brushed metal or something like that, think about how the tiny grooves on the surface itself will affect the way the environment is reflected and also the way that the specular highlights are reflected on the surface.

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Creating Textures and Shaders in Maya

37 video lessons · 7837 viewers

Eric Keller
Author

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

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