Join Aaron F. Ross for an in-depth discussion in this video Adding a procedural 3D texture, part of Creating Product Shots in Maya.
Our lighting and camera are at a good place for us to finish up our materials, so let's lock the camera and lights back down once again. Select the camera, go back into the channel box, select the Translate and Rotate channels, go to Channels > Lock Selected, and then reference all the layers so that we can't accidentally select or move anything. Turn little R's on for everybody. Okay, cool. Now we're going to create a bump map for the chrome material. Let's take a look at the rendering we have so far.
It looks okay, but we can make it better by varying this reflection using a bump map on that material. Window > Rendering Editors > Hyper Shade, and then we want to graph the chromium material. Right click and graph that network. And in this case, we're going to use a 3D texture instead of a 2D texture because it's going to be a volumetric effect and it will not rely upon any UVs. We did not do any UV mapping on this model, so in order to apply a bump map, we should really use a 3D texture.
So select 3-D textures and let's use a solid fractal. Click that, and now we have two new nodes in here. We've got solid fractal one and place 3D texture one. We want to connect those to the bump channel for the mya material here. Select that material and use Control A to open the attribute editor. And you'll need to scroll down. You're looking for the bump section. Open that up, and curiously, you'll see two different bump channels. Standard bump is what we want in almost all cases.
Overall bump is for the Mia round corners map. So if you wanted to make all the corners of an object that are sharp into rounded corners, then you would use a round corners note and plug it into overall bump. For ordinary bumps, use the standard bump channel. Middle mouse drag that solid fractal note onto the standard bump channel and now its connected. And you'll see that it has created a bump 3D note as well, so you've got a texture and placement node, you've got the texture itself, then the bump node.
Cool, so let's see what we get in our view port. Minimize the hyper shade, and you'll see you have a box here. It's centered on the origin, and that's the place 3D texture node. You can select it and press the F key to frame that. Press the four key to see wires. This is the handle for the place 3D texture node, and you could use it to move, rotate, or scale the effect of that texture on the surface. It's actually fine the way it is, and we don't need to do anything to it. I'm just going to put in on a layer and then hide it.
With it selected, create a new layer, double-click that, and we'll call it textures layer, and Save. Let's render this, see what it looks like. Select the camera view and render. Here's the result of that solid fractal texture with default settings. And as you can see, it's really extreme. And we don't want anything like this. Although this is kind of interesting, this is not very realistic. Let's go back into the Hyper Shade and select that solid fractal node. Go to Control-A > Attributes. And we just want to reduce the depth.
This is the number of iterations of the algorithm. Basically, what you see here on a fractal is you have a wave of noise and then a smaller wave of noise inside that and then a smaller wave inside that. And it's doing that eight times. We don't need so many of these. Let's set the depth to only three., and you can see we have a lot less detail on this now. And with that adjustment having been made, let's do another rendering. Here's what we get with a fractal depth of three, and we're not getting quite so rough of a surface.
It's much smoother. And this is essentially what we want to achieve. We just want it to be less intense. We'll store that image. And then go back into the Hypershade and select the Bump 3D node. And you will see Bump Value and Bump Depth. Bump Value is the input from the map. Bump Depth is the intensity of the effect, and a value of 1.0 is way too strong. Let's bring this down to a value of 0.1. One tenth as strong, and do our final render.
Okay, I think we have the effect we are going for now. We'll store that image. Take a look at the different versions here. That's a bump depth of 0.1. That's a bump depth of one, and that's with no bump at all. So let's compare the final version and the version with no bump. So I'll delete this one. So here is the bump depth of 0.1, and there's no bump at all. And you can see that we've added enough variation so that it looks like a real object rather than a CG generated model.
Cool! We've created our procedural texture, and now we can go ahead and hide that layer. And reference it as well just to keep it out of harm's way.
Want to learn how to create the same effect with 3ds Max? Check out Creating Product Shots in 3ds Max.
- Understanding the scene layout, hierarchy, and display layers
- Working with mia_material_x
- Creating and optimizing mental ray area lights
- Generating reflections with self-illuminated white cards
- Providing indirect illumination with Final Gathering
- Image-based lighting with high dynamic range files
- Rendering to a 32-bit file format
- Saving material and lighting components to render passes
- Adding ambient occlusion
- Layering and color correction in After Effects