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Shading with RIS in RenderMan (c) FxpHD
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We dive into all the goodies Pixar RenderMan's RIS package has to
offer: the new layered LM Shading system, new Pattern nodes including
procedural texturing, scripting with SE Expressions, OSL, custom
presets, and much more! WeÆll be focusing our work in
Maya/RenderManStudio as well as touching on more advanced topics with
RenderMan ProServer.
Christos Obretenov has worked in a variety of roles, designing and
developing shading software for Walt Disney's The Wild feature film,
followed by shading and lighting for Superman Returns, Spider-Man 3,
Beowulf, Christmas Carol, and Mars Needs Moms feature films.
course syllabus
Class 1
Overview of course. We cover background as well as overview for the
course to get a big-picture understanding of where we will be going
with Shading in RIS: the new LM Shader System, Pattern nodes, SE
Expressions, and much more!
Class 2
LM Shader System: Part1. A conceptual explanation of the way this new
layering & shading system works in RIS mode, as well as our 1st simple
example with PxrLMMixer & PxrLMLayer in a RenderMan Studio session.
Class 3
In Part2 of our look at LM Shading, we jump into the functionality and
differences of the "Clearcoat" lobe in the LMLayer node. The Clearcoat
supports a really useful "thickness" functionality, that works in
conjunction with Transmission color, as well as Specular color. We look
at this concept and its application and how those 3 parameters work
together, as well as comparing the Clearcoat lobe to the Specular lobe
in LMLayer.
Class 4
In Part3 of our look at LM Shading, we take a look at the new LMGlass
material in RIS, and its functionality in doing accurate colored glass
shadowing. Having some photo reference images of our goal, we start off
with a backgrounder in colored glass shadowing and examine the
techniques available to us in Reyes mode with RMSGlass, the very
different results we get there and the pros & cons. We then use the
same scene on RIS PxrGlass and LMGlass, and see how the "thin" shadow
feature in LMGlass can be very useful, and compare it to the PathTracer
"Allow Caustics" rendering mode with our colored glass as well as the
bi-directional VCM. We then change up the light source from an HDR
Lightmap to an arealight to show how the colored glass shadows behave
differently in different lighting environments, and having all these
tools at our disposal allows the artist flexibility and creativity in
the render result depending on their specific lighting scenario and
shadowing methods.
Class 5
Patterns: Part1. We start off with patterns by exploring the geometry
node "PxrTangentField". This is a very useful Pattern node for creating
anisotropic materials when plugged into the Shading Tangent (Tn) in the
Advanced Specular or Advanced Clearcoat of our LMLayer, or in the
Shading Tangent of the LMMetal material. There are a number of ways to
input a pattern into the PxrTangent Field, including a small tile-able
vector map, procedural noise, or blended ramps: we explore all these
methods in 3 different scene files and unique applications of
PxrTangentField.
Class 6
We move onto a very powerful Pattern node: PxrSeExpr. SE Expressions
are a scriptable pattern generator, a scripting language created by
Disney and made Open Source. It's great to have this node inside of
RenderMan and we start off with some basic expressions of colored
voronoi noise, see how we can visualize it quickly, and connect it into
a bump normal slot on our LMMetal material, demonstrating the
flexibility of this powerful tool. We'll build on this further with SE
Expressions, getting more complex expressions and layering them into
our shading network.
Class 7
More SE Expressions, branching out into some vector dot products using
functions such as dotprod(), smoothstep(), abs(), clamp() in a useful
utility that is great for rendering cloth, as well as two-tone car
paint! We step through each line of our SE Expression to get a firm
understanding, while applying it to a few different scene files under
different rendering contexts.
Class 8
Continuing on Se Expressions, we bring up our voronoi fractal example
and show how animating it has the objects "swimming" through the noise,
as mentioned in a previous class: we solve this by transforming our
seed point for the pattern into object space, and showing how it
"sticks" nicely in the animation. We then move onto combining these
handy fractal patterns with textures, to see the real power of Se
Expressions in procedurally exposing texture patterns based on a
fractal: the best of both worlds!
Class 9
We go behind the scenes and show how to save our presets from our SE
Expressions code, so we don't have to cut/paste from an external text
editor all the time, and more importantly so we can share entire
libraries of presets with others. This gives us easy access right in
the material node to access all our saved SE Expressions with one
click, as well as any other preset settings such as an entire
physically based materials library all in the PxrDisney material. We
show where RenderMan looks for these preset folders for each material
inside our Maya preferences directory. Finally we write a really handy
python script that loops through every node of a certain type in our
scene, and writes out individual preset .mel files for each one: this
is a handy automation tool and then you can easily install & share your
preset library.
Class 10
We go back into the LM shading system by creating a substrate material
(Subsurface, or diffuse/glass/metal) and building on top of it via
LMLayer and LMMixer nodes: we touched on this earlier with some issues
and there have been updates in RenderMan to make this functionality
work properly, and we demonstrate this now functioning layered shading
network. Once we've built up this layered network, we bring in another
layer of complexity and creativity by adding our SE Expr procedural &
texture noise patterns to drive the Layer Mask of each layer: this is
bringing together a number of different topics we covered throughout
the course! With this knowledge and toolkit at our disposal, the artist
can now get very creative with complex shading networks to create
materials such as rust on metal, paint on glass, dirt and scratches on
any base substrate à the creativity is limitless!
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Genre ... : Bookware
Disks ... : 76
URL ..... : https://www.fxphd.com
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