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3 D texturing
This document provides information about the course "AFT 227-3 D Texturing" including: 1. The course covers fundamental concepts of 3D texturing in Maya including techniques for creating shaders, textures, UV mapping, and building shading networks. 2. Students will learn how to execute texturing processes, work with Maya materials and texture mapping, and apply techniques to character and environment creation. 3. The course content includes topics like shading and texturing surfaces, Maya texturing tools, displacement mapping, and a case study in character/environment/prop texturing.
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Introduction to AFT227-3 D Texturing course, objectives, and foundational concepts in Maya.
Comprehensive overview of shading, texturing, mapping surfaces, and practical case studies.
Introduction to texturing structure, Hypershade for shader networking, and the impact of light on surfaces.
Discussion on surface texture concepts, shading methods including constant, interpolated, Gouraud, and Phong shading.
Rendering pipeline essentials, polygon mesh rendering, and approximating curved surfaces.
Exploration of illumination techniques, various light types, and their effects on surface appearance.
Introduction to texture mapping, filtering methods, mipmaps, and procedural textures.
Explanation of various shader types, their functionalities, and integration with tools like Photoshop.
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3 D texturing
- 1. AFT227-3 D TEXTURING COURSECOORDINATOR :- KRISHN VERMA -20194)
- 2. COURSE DESCRIPTION: L-0,T-0, P-6 AND C-3 (L-LECTURE ,P-PRACTICAL ,T-TUTORIALS, C- CREDITS) • “AFT 227- 3 D Texturing” is a basic foundation course about texturing in maya • These fundamental concepts provide a basis for information of texturing disciplines as they are applied by the students regardless of their major area of interest. • This course is foundational in content and provides the students of Design/art with methodologies for composition and quality performance in three-dimensional presentations.
- 3. COURSE OBJECTIVE • executeprocess and techniques to creating shaders, textures and to build shading trees • learn about techniques in UV texture mapping for both environments and character creation. • work with software, mental ray shaders input and output nodes. • work with 3D digital painting and texture tools on inorganic and organic forms.
- 4. COURSE CONTENT (ABOUT, HOW DO I ) PART-1 • About shading and texturing surfaces ( Surface shading , Surface texture , Shading networks , Maya materials , Surface, displacement, volumetric materials , Layered shaders ,Double-sided shaded surfaces) • MAYA TEXTURING(2D and 3D textures ,Procedural ,File Adobe Photoshop texture networks ,Texture filtering ) • Mapping and positioning textures (Texture mapping, Mapping methods , 2D and 3D texture positioning , Texture placement vs. label mapping , Object space, world space and tangent space ,Transfer Maps • Build shading networks (Overview of building shading networks , Open and customize Hypershade, Open and navigate Hypershade , Show top and bottom level tabs, Hide shape and transform nodes in Hypershade ,Create Hypershade tabs ,Hide, resize or customize the Create bar, Organize render nodes with Hypershade sorting bins , Change default connection line colors. ,Create a node,Delete a node and its network ,Import and export shading networks., Connect nodes ,Show node connections , Assemble nodes into logical groupings using container nodes in the Hypershade ,Connect render nodes using their default connections, Connect default output to a specific input attribute , Connect render nodes by dragging existing connection lines, Connect render nodes using the Connection Editor ,Change existing render node attribute connections , Delete a render node connection ,Adjust node attributes , Work with shader libraries,View the Shader Library Gallery, Assign a shading group from the Shader Library, Create and assign materials to surfaces)
- 5. COURSE CONTENT (ABOUT, HOW DO I, CASE STUDY) PART- 2 • Surface Relief (About surface relief ,Scattering ,Bump maps ,Displacement maps,Feature-based displacement.) (Connect a texture as a displacement map, Connect a displacement map ,Preview the displacement results ,Adjust displacement sampling rates ,Convert a displacement to polygons ,Change bounding box scale ,Work with Scattering ) CASE STUDY (Character texturing, Environment Texturing ,Prop model Texturing)
- 6. INTRODUCTION TO TEXTURINGSTRUCTURE IN MAYA • Visual: - relating to seeing or sight (Anything which is direct contact of light) • THE HYPERSHADE (SHADER NETWORKING) + UV TEXTURE EDITOR(UV MAPP) = VISUAL APPEARANCE OF TEXTURE (HUD, WORKING PLACE OF MODELING) • PUBLISH IN THE FORM OF RENDERING
- 7. THE HYPERSHADE The Hypershadeis the place where you create and edit shaders 7
- 8. • In thereal world, what an object is made of is one of two main factors that determine the appearance of its surface (the other is light). This is because when light hits the objects, some of the light is absorbed and some of it is reflected. The smoother the object, the shinier it is; the rougher the object, the more matte it is. • In Autodesk®Maya®, the appearance of a surface is defined by how it’s shaded. • Surface shading is a combination of the basic material of an object and any textures that are applied to it. • In Maya, materials (also called shaders) define an object’s substance. Some of the most basic attributes of materials include color, transparency, and shine.
- 9. SURFACE TEXTURE • Invisual arts, a texture is any kind of surface detail, both visual and tactile. In Maya, we create surface detail with textures connected to the material of objects as texture maps (UV Mapping) • Before texturing we will understand about Polygon shading models • Most algorithms use the polygon or surface normal (vector that is perpendicular to the polygon) NL
- 10. CONSTANT SHADING • Alsoknown as Lambert, faceted and flat shading • Calculates a single intensity value for each polygon • Valid if following assumptions are true: • Light source is at infinity (i.e. angle between light and surface is constant) • Viewer is at infinity (i.e. angle between viewer and surface is constant) • Polygon is not an approximation of a curved surface
- 11. INTERPOLATED SHADING • Shadingis linearly interpolated across polygon • Faster than calculating each pixel, better than flat shading • Still assumes that polygon represents the true surface POLYGON MESH SHADING • Many sets of polygons actually are approximations to curved surfaces • Shading the polygons to realistically simulate the surface is therefore important • Several methods exist to achieve this, the most important of which are Gouraud and Phong shading.
- 12. GOURAUD SHADING • Thisis a form of intensity interpolation shading • Starts from knowing the normal of the surface at each vertex of the polygon • These may be stored with the mesh or may be averaged from the adjacent polygons • Next step is to calculate the vertex intensities • This will use the vertex normal and the illumination algorithm (Henri Gouraud, PhD 1971)
- 13. • The polygonis then shaded by: • Interpolating the intensities along each edge • Interpolating across the polygon between the edges along each scan line I1 I2 I3 IP
- 14. PHONG SHADING • Thisis a form of normal-vector interpolation shading • Starts from the normal vector at each vertex again, but interpolates the vector rather than the intensity (Bui-Tong Phong, PhD 1975)
- 15. PROBLEMS WITH INTERPOLATEDSHADING • Polygonal silhouette • Perspective distortion • Orientation dependence • Shared vertices • Unrepresentative vertex normals
- 16. POLYGONAL SILHOUETTE • Approximationis polygonal, so no matter how good the shading algorithm the silhouette will be faceted • Can be improved by increasing the polygon count at expense of processing time PERSPECTIVE DISTORTION • Because the interpolation is based on the scan lines, the number of interpolation increments per polygon depends on the angle of the polygon to the viewer • Steep angle = few increments Shallow angle = more increments
- 17. ORIENTATION DEPENDENCE • Becauseinterpolation occurs between vertices and along scan lines, result depends on orientation of polygon relative to scan lines SHARED VERTICES • Problems occur when adjacent polygons do not share vertices • This can lead to discontinuities in shading
- 18. RENDERING PIPELINE Hardware Modelling TransformVisibility Illumination + Shading Color Perception, Interaction Texture/ Realism
- 19. POLYGONS, MESHES &SCAN CONVERSION - IN SCAN LINE RENDERING (THE MOST COMMON): EACH POLYGON IS CALCULATED ALONG EACH SCAN LINE. FROM THE TOP SCAN LINE TO THE BOTTOM OF A FRAME IN THE 2D PROJECTION PLANE. V2 V3 Raster Scan line V1
- 20. APPROXIMATING CURVED SURFACESWITH FLAT POLYGONS Flat Shading – each polygon face has a normal that is used to perform lighting calculations.
- 21. GOURAUD SHADING • Computevertex normals by averaging face normals. • Compute intensity at each vertex. I1 I2 I1,2 I1,3 I3 I1,2,3,4 Raster Scan line
- 22. ILLUMINATION / SHADING •global illumination: • ray tracing + radiosity • mapping and other techniques • texture maps, bump maps, reflection maps, transparency, anti-aliasing, shadows ray tracing radiosity
- 23. LIGHTING TYPES • Ambient– basic, even illumination of all objects in a scene • Directional – all light rays are in parallel in 1 direction - like the sun • Point – all light rays emanate from a central point in all directions – like a light bulb • Spot – point light with a limited cone and a fall-off in intensity – like a flashlight Penumbra angle (light starts to drop off to zero here)
- 24. LIGHT EFFECTS • Usuallyonly considering reflected partLight absorbed transmitted reflected Light=refl.+absorbed+trans. Light ambient specular diffuse Light=ambient+diffuse+specular
- 25. AMBIENT LIGHT • isthe light in the environment evenly reaching all surfaces from all directions • light location doesn’t matter • eye position doesn’t matter aaIkI IA: ambient light ka: material’s ambient reflection coefficient
- 26.
- 27. DIFFUSE LIGHT • Lightabsorbed by the surface and then reflected equally to all directions • Models dullness, roughness of a surface Light LNIk IkI dd dd cos N Lf Id: intensity of light source kd: material’s diffuse reflection coefficient N: normal vector (normalized) L: light source vector (normalized) Lambert’s Law: (perfectly diffuse surface)
- 28.
- 29. SPECULAR LIGHT • Lightthat is reflected from the surface unequally to all directions • Models reflections on shiny surfaces Light n dd n ss REIk IkI cos N Lf Eye R f Phong’s Law: R n=inf. R n=large R n=small
- 30.
- 31. SHADING A POLYHEDRA •Flat (facet) shading: • Works well for objects really made of flat faces. • Appearance depends on number of polygons for curved surface objects. • If polyhedral model is an approximation then need to smooth.
- 32. FLAT AND SMOOTHSHADING Getting smooth Curvature : interpolation Gouraud ShadingFlat Shading
- 33. FLAT SHADING • Polygonmeshes approximate smooth curved surfaces with planar facets. Using the previous methods does not generate an illusion of smooth curved surface. Reason: discontinuity of the normal vectors. N1 N2 GOURAUD SHADING • Assign vertex the normal of the smooth surface. Or • Average the normal of all neighboring polygons N1 N2 N Interpolate colors along edges and scan-lines
- 34.
- 35. Surface ImageTexture TEXTURES • Images(textures) applied to polygons (models) to enhance the visual effect of a scene
- 36. SURFACE TEXTURES • Addvisual detail to surfaces of 3D objects
- 37. PARAMETERIZATION geometry + = image texturemap • Q: How do we decide where on the geometry each color from the image should go?
- 38. OPTION: VARIETIES OFPROJECTIONS
- 39. TEXTURE MAPPING • Steps: •Define texture • Specify mapping from texture to surface • Lookup texture values during scan conversion Modeling Coordinate System Image Coordinate System Texture Coordinate System
- 40. Texture Filtering Size offilter depends on projective warp – Can prefiltering images Magnification Minification
- 41. MIP MAPS • Keeptextures prefiltered at multiple resolutions • For each pixel, linearly interpolate between two closest levels (e.g., trilinear filtering) • Fast, easy for hardware
- 42. What is Shading? •Assigning of a color to a pixel in the final image. • So, everything in shading is about how to select and combine colors to get the look you want. WHAT IMPACTS SHADING? • The lights in a scene. • The geometry of objects in a scene. • The normals of objects. • The shader properties of an object: • Color,transparency, emissivity, etc… • The rendering algorithm • Eg ray-tracing versus scan-line rendering.
- 43. SHADERS Lambert: No highlights Phong:Distinct specular highlights Phong E: Greater controls for softer highlights Blinn: Versatile and soft highlights Anisotropic: Directional highlights, such as hair or metal WHAT IS A TEXTURE? • MAP surface detail from a predefined easy table (“texture”) to a simple polygon • Color • Specular ‘color’ (environment map) • Normal vector deviation (bump map) • displacement mapping • transparency Textures are images that can be mapped to almost any surface material They can be bitmap images or can be created procedurally • Bitmap textures can be created in an external program, such as Photoshop, or inside Maya using 3D Paint • Procedural textures are created using mathematical formulae internal to Maya
- 44. PROCEDURAL TEXTURES 2D ProceduralTextures Bulge Checker Cloth Fractal Grid Noise Ramp 44
- 45. PROCEDURAL TEXTURES 3D ProceduralTextures Brownian Cloud Leather Granite Marble Rock Solid Fractal Wood 45
- 46. UVS AND TEXTUREPLACEMENT UV mapping overlays a texture onto a flattened model (done in the UV Texture Editor) 46 2D textures are mapped using a place2dTexture node 3D textures are mapped using a place3DTexture node
- 47. PHOTOSHOP INTEGRATION Maya supportsimporting and exporting the photoshop PSD format Both Maya and Photoshop can use layers to combine multiple bitmaps into a single file Shading networks are created in the Hypershade based on the layers of attributes in the PSD file 47
- 48. SHADERS Ramp: Control colorchanges across the shader Layered: Allows multiple layers to be stacked and combined COMMON ATTRIBUTES OF SHADERS Color Transparency Ambient Color Incandescence Bump Mapping Diffuse Translucence
- 49. BUMP MAPPING • Modifiesthe direction of the surface normal.
- 50. TEXTURE AND BUMPMAPPING • Diffuse and normal remapping
- 51. SURFACE LAYERS • Combinemultiple shaders for astonishing effects. • Build up shades like a painter.
- 52. RENDERMAN SHADERS • Rendermanis a procedural shader language with tremendous versatility. • All major feature animated feature films use Renderman as part of production. • Like programming in C code. • You write Shaders for Renderman like you would write C code for computers.