Resolution Gate indicates the outer edge of the render.
Materials or shaders are small programs that determine the surface qualities of the geometry they are assigned to.
Ambient Colour represents diffuse reflections from other surfaces in the scene and can affect the contrast of the shader.
Translucence simulated the diffuse penetration of light into a solid surface such as leaves.
Bump Maps, Normal Maps and Displacements Maps are three ways to add surface detail to a model using textures.
Bump and Normal Maps alters the surface normal of an object to give the impression of surface details. They used the colour information that is stored in a 2D texture map. The lighting that hits the geometries surface normals tells the render to alter the surface normal and it is the light that then creates highlighting, shading or shadowing. It does not change the surface’s silhouette edge. Middle-grey values have no effect, higher values cause peaks and lower values cause valleys.
Displacement Maps are essentially textures that deform geometry.
ACCURATE DISPLACEMENT WORKFLOW
This tutorial attempts to cover and clarify the process of generating and applying accurate displacement maps from either ZBrush or Mudbox, to V-Ray for Maya, V-Ray for 3ds Max, V-Ray for Cinema 4D, or Arnold for Maya (MtoA). Akin Bilgic.
There’s often a lot of confusion and misinformation surrounding displacement maps and how they’re supposed to work. You’ll sometimes see artists load a displacement map onto their low resolution geometry and play with intensity and depth values until it looks somewhat similar to their high resolution geometry and assume that’s it’s as close as they can get. But with a correct workflow you don’t have to fiddle with settings or settle for ‘close enough’ – it’ll just work correctly from the start to match your high resolution geometry as accurately as possible.
We’ll first cover some of the underlying concepts behind how a floating-point displacement map works and how to recognize if you’re getting correct results. Then we’ll cover some of the common pitfalls that artists frequently encounter and how to avoid them. And finally I’ll provide the step-by-step procedures to make displacement mapping work accurately in your software of choice.
COLOUR and MATERIALS
Primary, Secondary, Tertiary, Triad, Complementary, Split Complementary, Analogous Colours, Double-Complement Colours, Tetrad Colours, Alternate Complementary Colours.
Trichromatic and Opponent colour Theory
Hue or chroma, proper name for a colour, the wavelength of light.
Saturation depending on its mixture with grey, ranging from grey to pure colour, the vividness or dullness of a hue, perceived intensity. Saturated colours have no white.
Brightness is the apparent intensity of light that ranges from a totally dark black or luminous white, described by its value and a perceptual evaluation that indicates whether an object appears to emit mor or less light.
Value is the deviation of a hue from white or black, how light or dar an object is, the shad of an object, the light reflection off it, lightness or the nonlinear response to luminance.
For pigment mixture colours we use:
Tint, the addition of white to a pure hue, the consequence of adding white to a pure colour is deceased saturation.
Shade, the opposite of init, with the introduction of black to a pure hue, decreasing the objects’s lightness
Tone results from the addition of black and white to a pure colour being hue plus grey.
Colour Mixing can be additive or subtractive. RGB, CMY, CMYK, HSV, HLS, HVC.
Colour symbolism and emotions
Colour Weight or perceived density changing the virtual perception of the objects apparent size.
Colour Consistency, what is white inside may not look the same white outside, our perception under different lighting conditions.
The line between a flat, unconvincing texture and one that fools the viewer into thinking they’re looking at a real world object can be a fine one. Ultimately, the real secret to success lies both in working with good source materials and taking the time to modify and augment them with all the necessary associated maps that will determine how the textures behave as viewpoint, lighting conditions, reflections and so on all change. “When it comes to creating realistic materials you want to be able to keep your workflow flexible for iterations and also make sure you’re using the best quality references for the surface, whether they’re photographic or surface scans,” explains Chris Nichols. “This will go a long way to quickly setting up a texture workflow for testing quick iterations of a shader and then building on that in a modular fashion.”
Struggling to achieve convincing results when working on textures for organic and hard surface models? Chris Nichols – Lead Texture Painter for Avengers: Infinity War at Digital Domain in Vancouver and the instructor for CGMA’s Texturing For Films/Cinematics class – offers some words of wisdom.
- ORGANIC VS. HARD SURFACE: TEXTURING HOW-TO’S FROM MILEN PISKULIYSKI
- IMPROVE YOUR ORGANIC TEXTURES WITH A CAVITY MAP
- MATERIAL MEN Exploring the Changing World of Allegorithmic – Part 1
The pro guide to creating 3D textures:
By Winners of Allegorithmic’s Procedural Material Contest share their tips for creating a variety of amazing textures.
OGNYAN ZAHARIEVPRO is a Senior Lighting Artist at Ubisoft from Sofia, Bulgaria. In this post you will see Tutorial – Modeling and texturing a current gen prop by Ognyan Zahariev. A breakdown of modeling and texturing Dumbledore’s desk.
Sells 3D surface scans for digital artists in the Visual Effects and Video Game industries. Our surface scans are high resolution displacement, normal, and color diffuse .psd images.
6 TIPS TO IMPROVE YOUR UV MAPPING WORKFLOW – paul h paulino
In this article, I’m going to share with you a few UV’s tips and tricks that I’ve learned in the past two years that I hope can help you get ready for the VFX industry. If you have missed my latest articles and tutorials, check out this page! I hope you enjoy the reading.
If you use the standard method of selecting the objects and going to Mesh -> Transfer Attributes, then the result is a matching set of uv’s which are tied to the source object, and will be applied after deformation and skinning, meaning they will slide when deformed. There is, however a solution, which is to add them to the Original mesh node which, by default, is hidden. Once this has been achieved, you can safely delete the history on the Original node thereby severing its dependency on the source object, and applying the uv’s before any deformation thereby preventing sliding.
Working in Zbrush, these high quality alphas will be a great tool to help bring your creatures and environment to life and speed up your concept or work. 05 alphas – Human Skin, black and white .psd files, specifically created and collected with creating realistic and interesting skins.
An online library of over 2,000 varied PBR materials. Since its launch in 2016, Substance Source has grown to a library of over 2,000 PBR-ready procedural materials in Allegorithmic’s Substance format. The collection, which includes fabric and organic materials as well as more conventional categories like wood, metal and stone, can be used in any application that supports the .sbsar format.
THE WIKIHUMAN PROJECT
The Wikihuman project is a collaborative by the members of the Digital Human League to advance the study of digital humans. For more information on the Wikihuman project, please visit their blog at wikihuman.org
Digital Tutors, Pluralsight – Easily learn Maya Toon and achieve the look of traditional 2D cartoons and comic books with over 3.5 hours of project-driven training. Ideal for beginner to intermediate users. Popular highlights include: Custom Toon Shaders; Shader Network Creation; Toon Outlines; Toon Outline Attributes; Paint Effects; Converting Toon to Polygons; Crosshatching and Stippling; Particle Dynamics; Profile Lines; Border Lines; Creases; Intersection Lines.
Autodesk – One can construct crosshatch shaders in Maya without needing any special plugins. The key trick is to use a shader in a shading network as if it were a texture. One can use the outColor of a shader(not assigned to any object) to control the linewidth or other attributes of a procedural texture that is in turn assigned to an objects shader. The attached scenefiles demonstrate some hatching techniques and can be loaded into Maya8.5 or later versions.
Hatching Shader – Non Photorealistic Rendering
Allegorithmic develops Substance, the reference suite for 3D texturing. The Substance suite includes the software tools Substance Painter for 3D painting, Substance Designer for material authoring and Substance B2M for image-to-material generation, as well as the ever-growing physically based material library Substance Source and the artist-to-artist exchange platform Substance Share. With a fast-growing community, Substance has become a standard in the game industry and is rapidly expanding to the industries of Animation/VFX, Architecture, and Industrial Design.
Allegorithmic has been reimagining the process of texture creation since 2003. Today, over 85% of AAA game studios use Substance in their production pipelines, making Substance the industry standard for PBR material authoring. Substance is quickly spreading to the fields of VFX and animation, design and architecture, allowing a growing number of artists and designers to harness the power of rapid, efficient texturing and material authoring.
m50 assult rifle step by step in substance painter
Official Extended E3 2015 Gameplay Demo – Uncharted 4: A Thief’s End
Maya 2015 – Multi Tile UV Workflow
Interview with Fashion Historian Ivan Sayers
Invoking Venus – Animal Magnetism: attraction through fashion – Ivan Sayers