Design Graphics

Creating Visual Effects in Maya: Fire, Water, Debris, and by Lee Lanier

By Lee Lanier

Produce astounding visible results with Autodesk Maya. achieve the sensible abilities and data you must recreate phenomena severe to visible results paintings, together with hearth, water, smoke, explosions, and destruction, in addition to their integration with real-world movie and video. In developing visible results in Maya, Maya grasp Lee Lanier has mixed the newest studio recommendations with multi-chapter, hands-on tasks and professionally-vetted workflows to strengthen your CG toolkit. enticing, full-color tutorials hide: growing foliage, hearth, and smoke with Paint results growing to be Maya Fur and nHair on garments, characters, and units Replicating water, smoke, sparks, swarms, bubbles, and particles with nParticles and nCloth Controlling scenes and simulations with expressions and MEL, Python, and PyMEL scripting including airborne dirt and dust, fog, smoke, rippling water, and fireballs with Fluid results packing containers growing harm with results presets, deformers, and lively textures Matchmoving and movement monitoring with Maya and MatchMover growing complicated destruction via combining inflexible our bodies, nParticles, nCloth, and Fluid results constructing, rendering, and compositing psychological ray render passes with Autodesk Composite, Adobe After results, and The Foundry Nuke

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Additional resources for Creating Visual Effects in Maya: Fire, Water, Debris, and Destruction

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Casting Paint Effects Shadows By default, Paint Effects brushes do not cast shadows. 14). If you select the Cast Shadows attribute, the Paint Effects tubes and meshes will appear as part of any cast depth map shadows when rendering with Maya Software. 14 The Shadows Effects section of a brush node. Cast Shadows is selected. 14 Adding Foliage, Fire, and Smoke You can also simulate cast shadows by switching the Fake Shadow attribute to 3D Cast. In this case, a shadow is cast below the stroke on a virtual plane.

Growing Fur Part 4 of Project 1 starts with the addition of fur to the woman’s primitive garment. This will allow us to explore the basics of the Maya Fur system, including the attachment of fur descriptions, review of fur nodes, mapping of attributes, mental ray rendering, and the custom painting of fur maps. Working with Render Layers You can grow Maya Fur over a polygon, NURBS, or subdivision surface so long as it has a valid UV layout. By default, the fur is grown over the entire surface. Before adding fur to Project 1, however, we can simplify our work flow by adding render layers to the scene.

Choose Fur > Fur Render Settings. Expand the mental ray section near the bottom of the Attribute Editor. Note that the Fur Shader attribute is set to Hair Primitive by default. This causes mental ray to substitute primitive geometry for each hair. This allows the fur to be rendered with raytracing. However, you can set Fur Shader to Volume, in which case the fur is rendered with a volume shader. A volume shader is potentially more efficient; however, it requires a scanline renderer, does not support raytracing, and requires higher mental ray light samples.

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