Join Andy Beane for an in-depth discussion in this video Define the problem: Grapes, part of Advanced Materials in Maya.
- In this chapter we're going to explore the Mental Ray MISS Fast Skin Maya Material. This material will allow you to recreate the effect we see in the real world of light going into the first few layers of an object and scattering around and having some of that light come back out. This effect is what makes our skin look alive. Objects that typically have the subsurface scattering look are skin, milk, marble, jade, leaves, and paper to name a few. Grapes are a great material challenge and a good place to start to learn the Mental Ray MISS Fast Skin Maya Material.
Grapes are not as difficult to create as human skin but they are more challenging than, let's say milk with it's light translucence. Let's dig in to the attributes that make a grape look like a grape. We have color, specular highlights, and light transmission or translucency. The skin attributes of a grape will start with white outer film or bloom, as you can see in this particular image. That bloom is actually created from the waxiness of the skin and is actually used as a protective layer.
We also have the red/purple skin or texture of the grape itself. The red/purple skin is also a part of the tanslucence or the sub surface scattering of the grape material. There is also a yellow and green pulp area within the grape as seen in this image of the grapes that are cut optn. That is going to play a part in what the overall grape look is going to have. There are also highlights that we need to take into account.
Grapes typically have two specular highlights, a sharp, shiny highlight and a lower, glossy, matte highlight. Let's jump into Maya and see how to make and control the MISS Fast Skin Maya Material to create a grape.
Andy Beane includes two methods for creating advanced Maya materials. He starts with smaller, easier materials that can be composited together. He then shows how to combine these same materials in an all-in-one-method for rendering, and evaluate the pros and cons of both techniques. Chapter 3 demonstrates the subsurface scattering (SSS) material in mental ray, which will strengthen your material toolbox, and shows how to composite the results in After Effects.
- Collecting and creating reference material
- Using simple materials vs. a large complex shader network
- Setting up the scene
- Creating alpha materials
- Compositing individual materials
- Putting it all together in one material
- Subsurface scattering with mental ray materials