digital processes

AUGUST

The adventure of texturing a pear.

Screen shot 2013-08-24 at 3.56.33 PM

DIGITAL PROCESSES REPORT

JUNE

Lighting

Screen shot 2013-06-10 at 8.16.31 PMScreen shot 2013-06-10 at 8.21.07 PMThe phong shader I chose for the walls, when I added lights gave an unnatural reflection. Changing the shader to a Lambert in the Attribute Editor solved this problem.  I did not realise how different the shader textures would look with the test render for a frame.

Screen shot 2013-06-09 at 9.16.56 PMWith the spot light as the key light and no adjustments the scene was looking very flat. Screen shot 2013-06-09 at 10.23.22 PMWorking on the cone angle helped give a feeling of depth in the room though also making the front look very blown out, the back dark and under-lit or when too wide  looking very flat. Changing the decay rate to quadratic, adjust the intensity and bringing the light closer helped when combined with adjusting the light’s cone attributes.   The Screen shot 2013-06-09 at 9.22.04 PMpenumbra angle and drop off attribute helped softened the light edges, giving more feeling to the room atmosphere.  I needing to add other lights and consider shadows. Turning on raytracing created very strong shadows and the fill light started to balance this out.

Screen shot 2013-06-10 at 1.59.42 PMShadows, not much of an idea about this and was not able to turn on both depth mapScreen shot 2013-06-10 at 1.57.53 PM shadows and ray trace shadows, so back to the drawing board. Working on raytrace shadows with the key and fill light I am starting to get some idea of what they do and how they work together. Again realising how much I needed to test render frames to see how they were looking. I started working more with the placement of Screen shot 2013-06-09 at 10.33.06 PMthe lights in relationships to the distance between them and the objects, how they were pointed, the intensity and noticing the influence this had on how the scene was lit. The third light the back light reduced some of the shadows and also flattened the lights again. I’m now considering if I want some mood with the lights or an industrial feel of flat lights.

Screen shot 2013-06-10 at 9.35.49 PMScreen shot 2013-06-10 at 9.40.23 PMLooking at light linking to focus more on the arm, seeing how it works and maybe take some of the light away from the walls and behind the object. One of the shots shows the area light on the whole scene and the other shot shows how when the light is linked to the object and placed across the base the line only goes across the object and not the whole floor.

 What is happening with the specularity of the Blinn shader on the mechanical arm? I like the reflection of the wall texture in the arm and the base circle.

MAY

Apple, Orange and procedural textures, watch this space as something unfolds.

APRIL

HYPERSHADE and LIGHTS

Questions – straight edge on ramp when interpolation is none, when creating a hole and joining the edges does this impact on the ramp lines for colour

– can there be a u and v ramp on the same object

scene has 3 default shaders loaded,  textures and shaders to give objects their visual appearance, shader networks are made Screen shot 2013-04-24 at 11.29.16 PMup of render nodes, node attributes in the AE, shaders dealing with specular and diffused Screen shot 2013-04-24 at 11.07.43 PMparameters together with lighting

– lambert evenly diffuses and scatters light evenly for dull or matte surfaces eg paper

– phong specular highlights and reflectivity creating sharp hot spots that drop off sharply eg plastics, glass, most metals

– blinn accurate specular lighting that reflects light and diffuses more gradually than a phong eg shiny and metallic surfaces

Screen shot 2013-04-28 at 9.01.34 PM– phong E more control over the specular highlight to adjust the glossiness of the surface. The specular drops off more gradually and yet remains sharper than a -Blinn giving more options for metallic reflections

– anisotropic reflects lift unevenly creating irregular-shaped specular highlights deformed surfacesScreen shot 2013-04-28 at 9.02.54 PM eg foil or plastic wrap, directional grooves

– layered stacking of complex effects, use transparency maps to define areas eg labels, dirt to aged surfaces

– ramp smooth transitions between colours and to control paths with ramp texture nodes attached to the attributes colour, transparency, incandescence, special curve ramp

– lights, the light coming from the lamp was a challenge, not sure about the white on the wheels and the highlights and shadows could be more subtle.

LIGHTING

5 ignore lights, 6 textures, 7 lights

Lighting is important for highlights, diffused light, shadows, light and dark to create an interesting image and scene, create a sense of detail from blacks to whites.

Three point lighting

– primary or key light : is the principal light giving primary shadows and placed off centre

– fill : softer light to fill the scene, is diffused light that softens shadows and illuminates the dark areas, placed opposite side to key light

– back light : to give depth, bring the subject out from the background it can highlight the edges and is not a background light

– practical:  lighting such as from a desk lamp

Lights

Screen shot 2013-04-10 at 3.34.30 PM

green directional light

– directional : evenly across the scene, sunlight or general indoor, give an accurate sense of direction without emanating from a specific source, no scattering of light or scale, parallel rays even over distance, no decay rate

– spot : can be used for keys, fills rims and cast light in specific areas, emit from a specific point and radiate out of a cone shape, spread rays, can create a circular focus of light such as flashlight, directionals spread the light evenly. Consider decay rate, cone angle, penumbra angle (intensity at the edges of the cone, negative – softens the light into the width of the cone, decreasing the size of the focus, positive – softens away from the cone), drop off

– point : spot lights, single specific point, spread evenly, omni directional, decay rate, adjust intensity, decay rate, candlelight, setting a mood

– area : array, collection of spot lights, criss-crossing rays, most realistic, scaleable and affects intensity, default decay rate, creates shadows, larger the light the brighter eg through a window, specific area of an object

not

–  ambient : even light across entire scene can be flat adjust ambient shader slider, no decay rate, rgb manipulator, no good in mental ray ramps colour up in not a dynamic way

– volume :  render cannot handle it, only lights within its volume

Attributes

– colour : the darker the colour the dimmer the light

– intensity : how much light is cast the higher the intensity the brighter the illumination

– illuminates : by default is related to light linking of specific objects, usually keep checked

– emit diffuse and emit specular : not for ambient light, ability to cast diffuse lighting

or specular highlights on an object eg turn off to reduce shininess and reduce glare

Decay rate – adjust intensity level exponentially

– none :

– linear : decreases in direct proportion to distance travelled

– quadratic :

– cubic :

MARCH

Screen shot 2013-03-31 at 4.39.18 PM – ramp and ramp shader I discovered are not the same thing

– with the colour shader selected in AE, clicking the map button the book asked that the Normal is checked – where and what is that?

– still getting my heard around projects, scenes, new and set when setting up and working in Screen shot 2013-03-31 at 4.44.30 PMscenes and projects

– 3 hours to do the wheels on the wagon from the book, the hypergraph and AE, it is becoming more familiar in my brain

Screen shot 2013-04-01 at 12.28.35 AM– doing the wagon strips with the UV texture editor and photoshop is a totally new experience, going slowly and taking time over a couple of days to read through it

– do not understand how the selected to laid out in the UVTE. I was not able to work out the stripes and logo for the side of the wagon

– Photoshop, now to remember and learn more, do not understand what setting to use

Texturing, from the book using a photo converted to iff in photoshop and creating a photoshop file from texturing>create psd network.Screen shot 2013-03-24 at 9.53.48 PM

The first box is a polygon, second is a nurb, third is using projection, next one I was attempting to access the Place2dTesture node and did not work it out and the last one is the photoshop file form create psd network and did not work out about the transparency or bump nodes.

Texturing with layered shaders, from the book – 2 hours

Screen shot 2013-03-23 at 8.54.30 PMI was introduced to the ‘Fit to bBox’ and placement nodes for the wooden handle, then the layered shader for the metal spike. I’m still working out what nodes do what, how and why they are ordered as they are, how I access and order them in the hypershade and the basics of what they do in the attribute editor. Not clear on the order and process of the layered shader. Could not work out the baking a texture, kept coming up with ‘wood2 is connected to more than one shading group’.

 

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