You’ll want to center your plant at origin. Save out different versions of each plant asset to have variety of models. Build up your shader for the components you want for each plant (color, spec, bump, translucency, etc). In Hypergraph create an MIA mental ray shader and assign it to geometry. Select the stroke and convert it to polygon geometry. You paint strokes for each plant you want to create. Select the Paint FX you want to use (I used plants and grass). Basically, you select paint FX thru Visor. Building a scene with Scene Assembly improves viewport interactivity and accelerates scene loading time, preventing some common issues when working on large data sets. Scene Assembly lets you create, edit, and view large or complex scenes without the typical overhead memory that can slow your workflow down. In addition since my scene file is getting much larger in terms of assets and file size I also began to use Maya’s Scene Assembly feature. I’ve begun using paint FX and Speed Tree to create various grass, plant and tree assets so I can then “eco-paint” on geometry in Maya with Mental Ray shaders and then render in Mental Ray (I will be trying V-ray shaders on my next project). Watching various tutorials, I’ve been trying to incorporate an E-on Vue type workflow in Maya. Now you select your Low Res object and under it’s Continue reading “Work in Progress, Part 6” Leave a comment Work in Progress, Part 6 Work in Progress, Part 5 I try to name it same as my original obj but as proxy. In the drop down select “Render Proxy (Assembly)”. Select the high res tree, and do a “File– Export Selection”. What I do first is make a simple bounding box shape of my tree. This allows me to interactively paint quicker instances and seems to have the individual scene files load quicker as well. Instead of eco-painting with my high res geo, I’ve created a low res/bounding box type of geo that I will paint with and see in my GUI but when I go to render it will be replaced the high resolution object and shader. What I did work with was something called Mental Ray Proxies for the first time. I’m able to make quick changes to each section then open the master scene and render all elements together. What’s great is the level of polys in my scene are extremely high, but since I’m using instanced geometry with the scene assembly I’m getting very good results. I am still tweaking them but the results I’m seeing are very positive. Each of the mesa mountains now has grass/plant populations on them. This week was mostly trying to add more elements using the scene assembly methodology, which worked really well. Under Shadows tab, Raytrace Shadow Attributes Make sure Continue reading “Work In Progress, Part 7” Leave a comment Work In Progress, Part 7 Work in Progress, Part 6 Turn off visibility on our old Physical sun or delete it. The new Directional Light is in the same position as our Physical Sun light. Select the SunDirection Light in the Outliner, set a key on it’s values, and then right click to “ copy selected” in the Channel Box those positional values.Ĭreate a new Direction Light, and in the Channel Box, “ paste selected” into the channels. Since we’ve spent time positioning it, we’ll want to copy it’s position to the new Direction Light we’ll now create. Now you’ll still have the sunDirection light from the Physical Sun node in Outliner. Select the Physical Sun and Sky node and delete it. Select your camera, then go Window-Hypergraph Connections. By switching to HDR Lighting, this will allow me greater control of my scene’s lighting.įirst, we’ll need to get rid of our Physical sun node. One being I can’t easily tweak the sky itself without affecting the sun, or another way to say I can’t easily adjust the sky fill in the shadows without affecting my key light. Up to this point I’ve been using the Physical Sky and Sun for rendering out my scene.
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