Finalize samples and Ray Depth for production rendering.
- [Instructor] Now we're ready to fine-tune our rendering. Let's go back to the Arnold Render View. Give focus to the camera viewport, and open up Arnold > Render. We've got a pretty decent quality rendering here but it's a bit overexposed, especially in the tablecloth. Select the spotlight and open up the attributes, control A. And in the Arnold section, just bring the exposure down to 13. And now that's not overexposed any longer.
In fact, it's a little underexposed, but we'll help that a little bit by adjusting the ray depth in the render settings. Let's open up the render settings, and that's done from the status line. We've got the little clapboard with a gear. Render Settings. Go to the Arnold Renderer tab, and as we saw in the chapter on concepts, we can go into the ray depth section, and increase the number of diffuse bounces.
I previously set this to a value of three, so that we would have some diffuse reflections. The default is actually one. Let's bring this up to ten. And having done that, we should also bring up the total number of rays to 30, and the specular number of rays, which would apply to the glass and water here, let's set specular to four. And now we won't get black spots in the water here.
So that's now given us a lot brighter rendering. We can also increase the quality of course, and that's done from the sampling section. Set the diffuse sampling to a value of five, and that's really going to increase the render times. Specular and transmission should have values of three, at least. Those are pretty good settings for a production-quality rendering. The only thing we're missing now is some kind of image out the window. I've got a matte painting already set up for that.
Let's take a look at it. In the Display layers at the bottom of the channel box, I've got a layer labeled mattePaintingLayer, and on the left is the visibility. Click that, and you might need to actually click it a couple few times because this is a little bit buggy in fact. And if you look in the front viewport, you can see now that you've got a matte painting. Let's take it out of reference mode. Click on the R, and now we're not in referenced or template mode, and we can select the members of that layer.
Select the poly-plane, which has the matte painting, and in its attributes, go over to the far right and you'll see mattePainting_aiFlat. This is the material or shader that I've applied onto the geometry. The AI flat shader works the same as a Maya surface shader. It just passes the pixel values from the texture onto the final rendering. And the shader is not affected by lighting. In order to ensure that the matte painting does not otherwise interact with the lighting in the shot, we can adjust the geometry's shape node attributes and there's an Arnold section in there.
So let's go to mattePaintingShape. Select that tab, open up the Arnold section for this mesh node, and here we've got Visibility. Those are the Arnold visibility attributes that determine whether that shape node is visible, whether it casts shadows or participates in GI, or whether it's visible through transmissive or refractive materials and so on. We don't want to cast shadows. We also don't want any bounce light from this matte painting or image plane.
Turn off Diffuse Reflection. And finally, it doesn't really apply that much in this case because it's flat plane but we should also turn off Self Shadows. And that's how we set up a matte painting or image plane. I'll close the attribute editor, and then back in the matte painting layer here, we can make it a reference layer once again. Here's the final rendering of our triangle lighting setup, and that's how to use studio lighting techniques to achieve a natural daylight effect that can be art-directed.
- Arnold rendering concepts
- Lighting with Maya and Arnold lights
- Controlling exposure
- Filtering light with Gobo
- Light attenuation with Decay
- Image-based lighting with Skydome
- Exterior daylight with Physical Sky
- Arnold Standard Surface material attributes
- Mapping material attributes
- Rendering refractions
- Mesh subdivision and displacement at render time
- Shading effects such as ambient occlusion and vertex color
- Camera effects such as fisheye and depth of field
- Animation image sequence rendering