376 3D Animation for the Raw Beginner Using Maya
FIGURE 15.8 AO with gray light.
FIGURE 15.9 Using a small Distance setting.
Advanced Light and Materials Properties and Effects 377
FIGURE 15.10 Using a larger Distance value.
FIGURE 15.11 Render of AO and checkerboard light.
378 3D Animation for the Raw Beginner Using Maya
areas. ese oen occur when one part of a model is casting a shadow on itself. By using
Final Gathering, we put some extra rays in those little spots.
We go to:
any Main Menu → Window → Rendering Editors → Render View
We select mental ray, and then go to the Indirect Lighting tab and choose Global
Illumination (see Figure15.12). We will also turn on Final Gathering, which does a similar
job but is less eective.
FIGURE 15.12 Global Illumination and Final Gathering.
Advanced Light and Materials Properties and Effects 379
Figure15.13 shows the scene without
Global Illumination and Final Gathering.
Notice the area around the brass bolt.
Look at the same area in Figure 15.14,
rendered with Global Illumination and
Final Gathering.
CAUSTICS
Caustics are used to create the harsh light
reections and refractions we oen get
when light hits a glass object. We will
manipulate both the lights in a scene and
the mental ray settings to create Caustics.
We have a NURBS curve that has been
revolved to make a dish. A mental ray
mia_material with a Glassin preset
has been created (see Figure 15.15) and
applied to the dish (see Figure 15.16).
e scene without Caustics is shown
in Figure15.17. Figure15.18 shows turn-
ing on Caustics in the mental ray Render
Settings. In Figure15.19, we turn on pho-
ton emitting in the attributes of the dom-
inant light in the scene, which happens to
be a spotlight with a wide cone. e other
light in the scene is also a spotlight with a
wide cone, but its intensity is much lower.
We render the scene again, and the result is shown in Figure15.20.
LIGHT EMITTING MATERIALS: IRRADIANCE
First, we choose a highly reective material from the mental ray list of materials (see
Figure15.21). We apply this material to the dish, as seen in Figure15.22.
Now, we turn down the Intensity attributes of our two spotlights and render. e result
is shown in Figure15.23. ere is very little light in the scene. Now, we turn up the irradi-
ance of the material, as shown in Figure15.24. e result can be seen in Figure15.25. We
have an otherworldly goblet.
COLORING MENTAL RAY’S GLASS MATERIAL
One way to color a surface with a transparent material on it is by adding color to the light
that refracts through that material. First, we go to:
any Main menu → Window → Rendering Editors → Hypershade
FIGURE 15.13 Render without GI and FG.
FIGURE 15.14 Render with GI and FG.
380 3D Animation for the Raw Beginner Using Maya
FIGURE 15.15 e glass mia_material.
FIGURE 15.16 Assigning glass material.

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