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

By Lee Lanier

Produce awesome visible results with Autodesk Maya. achieve the sensible abilities and data you want to recreate phenomena serious to visible results paintings, together with fireplace, 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 most recent studio ideas with multi-chapter, hands-on initiatives and professionally-vetted workflows to strengthen your CG toolkit. attractive, full-color tutorials conceal: 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 boxes growing harm with results presets, deformers, and lively textures Matchmoving and movement monitoring with Maya and MatchMover developing advanced destruction by means of combining inflexible our bodies, nParticles, nCloth, and Fluid results establishing, rendering, and compositing psychological ray render passes with Autodesk Composite, Adobe After results, and The Foundry Nuke

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Extra info for Creating Visual Effects in Maya: Fire, Water, Debris, and Destruction

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For example, if you want the fractal pattern to move along the stroke, keyframe Offset U over time. 26, Offset U is animated over the first 24 frames of the timeline. On frame 1, Offset U is set to 0. 003. Determining appropriate values requires test rendering the scene (see the next VFX Notes box concerning real-world reference). When creating a batch render for a test, you can lower the resolution and rendering quality to speed up the testing process. As previously mentioned, the Persp camera is set up for the final render; hence, you should use the Persp camera for test renders.

As an alternative to painting additional maps, you can employ the various noise functions available to the color and growth attributes of the fur description. You can find these in the Details section. They are listed at the top of each attribute subsection. 15). 15 The Noise Amplitude and Noise Frequency values assigned to Base Color. 1. Raising Noise Amplitude above 0 multiplies the current Base Color values by a grayscale fractal noise pattern laid across the surface. This causes some hairs to become brighter while others to become darker.

Test render. The fur takes on the color variations found in the maps. At the same time, the fur becomes brighter due to the Tip Color map. You can insert additional color variation into the map by adjusting the Noise Amplitude and Noise Frequency attributes in each Maps subsection. 1. 7). If areas of the fur remain too bright, darken the Specular Color and increase the Specular Sharpness. 35 in HSV and Specular Sharpness is set to 100. In addition to specular adjustment, you can employ self-shadowing, which is described in the next section.

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