Join Christos Obretenov for an in-depth discussion in this video First look at the still-life scene, part of Pixar's RenderMan Essential Training.
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- So in this movie we're going to jump into our stillLife scene. We've shown some pretty cool renders of this scene throughout some of the slides. And now we want to jump in, and start playing around with it. First we're going to do, sort of a lay of the land, because it's got a lot of stuff in the scene, so we just want to show you around. And we won't be jumping into the materials, in this particular movie, but we'll touch on where everything is in the scene, and then we'll go into different areas as we go forward. So first, let's take a look at the render.
And here we have a final render of the scene. These are the final quality settings here. So we've got really nice stuff going on with the glass. We also have a physical camera, which is creating this aberration on the edges, so you can almost see a candle doubling up. And it's used the denoiser. I've turned it off for this scene, just because we'll get nice clearer renders without that physical camera, but we can turn it on after. And then, in these renders also, we're removed this really cool fur rug, from Monster's University.
But we're going to remove that, because it takes a long time to render. It's got a lot of hair and curves, and we won't be covering hair in this course. And it's just a lot faster rendering without it, so it's cool that it's in there, but we're just going to remove it, and just focus on the stuff in the foreground here. So back to our Maya scene now, the first thing to keep in mind is that this file, this project, has a lot of files associated with it. There's textures on the barrel, we'll go back to the render, there's textures on the barrel. There's a really cool Imgur shader that gives it this kind of color correction.
That's part of the project, and as well all the other textures. And we need to make sure that we set our Maya project accordingly, so that's really important when you're switching between projects. So we touched on setting our Maya project before, but let's look at it again, because we never really needed to use it. So I'm going to go set project, then I'm going to do still_life_for_renderman_project, and set. And when we do that, let's take a look in Finder. We've set it here, so now not only do our scenes go in there. That's fine for any projects. But the shader, this Imgur shader that creates that nice color correction sits in here, and that gets referred to in that scene file and it needs to be off the shader's directory from the project.
And also the source images. So this is a lot of cool textures for the barrel: bump, diffuse, displace, mask. There's some baked in occlusion. Really cool flower patterns, you get the idea. All these textures in there, we need that for this project. So make sure you set your Maya project up to here. And then we can use all relative paths in here, inside the scene file. So here we go. And we can see that there's a lot more stuff going on in here. So if I look at the outliner, I've got a lot of different lights.
I've got KeyLights. I've got a lot of area lights coming in. You can see this one here is pointing right at the wine glass. There's your classic fill. And then there's a mesh light on the candle that's giving off light source. And we know all about mesh lights because we did it a few movies back. With our cool old house scene, with our lamp. So we know how those work. And then it's got the geometry, all grouped nicely for you. And then there's also sets, and those are just regular Maya sets.
Down here in the hypershade, we can expand that out, just to see it a little bit bigger. We've got a lot of materials assigned here, and if we want to see the existing materials in our scene, and this is a great example for passing along a more complicated scene, we're going to go up and do window in the hypershade, and browser. We can dock it in there if we want, if we're going to go full screen so we have all the windows in here. And this has all our materials in the scene. For example, the wick for the candle.
The barrel, which has all the textures plugged into it. Now if we click on the top level of these materials, how do we know which one it is? It's PxrLMSubsurface. And it's got a lot of stuff connected in here, so if we want to click on the input and output connections. And we can do this also in our known editor window here. And expand it. We can see, now we've got a lot more complicated material network. And this is going to be really cool to go through, when we talk about materials. I'm going to expand those to see the connections.
So you can see there's a lot of stuff connected in here. And this is just the barrel. So it's got a lot of stuff upstream. We just want to give a quick tour of it in this movie. We won't dive in, until we do our materials. So there's a lot of cool materials in this scene. This is for the hair, for that rug in the background. Obviously we have our glass for the wine bottles, and the wine glasses and the wine here. Then there's metallic for the ring. We can see an LM metal. So lots of fun stuff to take a look at. And besides having a lot of materials, we mentioned that there's a lot of lights in the outliner, so just a quick tour of the lights, remember that lighting panel that we used? So we're going to go RenderMan, Lighting.
We're going to bring that up. And I mentioned in our previous movie, where we only had two lights, I thought lighting panel was useful. But look how useful it is in this scene, when we got a ton of different lights. So let's kick off a render. I'm going to do an IPR render. And here it is. So those are the settings that we have in the IPR mode. So we can see through the glass, so we know all about our max path length. So just have a quick tour of all the different lights and what they do. Let's park this right over here.
Let's move our lighting panel here. And a great way to see what does what, we can just solo it. So if I go through and I solo specific lights, we can see this area light in the foreground just gives a little extra kick on that teapot. This one down here gives a little extra backgrounder on those candles. And so on and so forth. So you can go through, and when you get a complicated scene like this it's great to just see what lights do what. There's a lot of lights in this scene. This is like a nice fill.
So some of them are quite subtle. Here's a nice big fill. And then you've got your key lights. So this is driving the main, main light here. And you can see all the exposures and the colors here. And the candlelight shape. So we've soloed all those lights, now if I just unclick that we're back to our beauty. And that gives us a great idea of how many lights there are in the scene and what they're doing. So we're going to close that, we're going to go back here. And that'll concluce our overview of bringing up the stillLife scene, setting the project.
And a grand tour of where everything sits in the scene. In the next movie, we're going to go a little deeper and play with that max path length.
- Generating your first render in RenderMan
- Using interactive progressive rendering (IPR)
- Working with AOVs
- Rendering with different integrators, including the path tracer and bidirectional VCM
- Setting up a scene with mesh lights
- Adjusting Max Path Length and other render settings
- Rendering materials
- Lighting in RenderMan