Below are images of renders containing the use of RenderMan's SSS attribute with default values when comparing these renders with initial Since I am already satisfied with the look of my models, I did not use this technique in the final render as it is not necessary to theįinal output. Mask is requried for the scattering map, one would have to create this mask in a graphics software and apply them in order for the scatter of light to be With this information, I attempted applying SSS via selecting the respective shaders and adding them as an "Extra Attribute" of RenderMan. Sub-Surface Scattering Renders Through self-research, I came across a pdf detailing the use of RenderMan's sub-surface scattering (SSS) extra attributes. HDR image of a warm building interior used as environment imageĬlose to final reflection pass of glass with applied ground texture to fit HDR image of a forest scene used as environment image Initial blocking shader to serve as temporary glassĪpplied glass shader created in Slim shader (no environment image) The final glass reflection pass is reached. Below are images for the IBL and glass shader renders showing the stages of renders before Throughout this phase, the glass shader has alsoīeen developed in both the Hypershade and Pixar's Slim shader - comparing the results of both in order to determine the mostĭifferent HDR images and glass shaders were used during the experimentation process beforeĪgreeing to the final output. To the environment sphere in order to use image-based lighting (IBL) for the glass. Image-Based Lighting & Glass Renders In addition to using ray-traced lighting and RenderMan's environment light, I've attached an HDR image Shadows created from RenderMan's environment lightĬombined shadows from both raytracing and RenderMan with Shadows created from standard raytracing with 3-point spotlight lighting as I have done with the lighting of the scene, using the light-linking relationship editor to control the shadows.īelow are images from the shadow renders showing the stages of shadows before the final shadow pass is reached. Hence, instead of solely using either ray-traced shadows or deep shadows, I proceeded to combine both techniques together Unfortunately, some of the objects in the scene were not lit properly which affected the output of the shadows rendered Shadow Renders Upon lighting the scene, both ray-traced and depth map shadows from Pixar's RenderMan were used. Pass activated - no other amendments or additional spot lights were added to the scene during this phase.īelow are images from the occlusion renders using just the render radiosity function of RenderMan's environment lighting. Occlusion Renders Still with partially resolved models, lighting from RenderMan's environment sphere was used with the "Render Radiosity" Ultimately, as the shadows appeared incorrectly when only one lighting system was used,Ī hybrid of both ray-traced lighting and RenderMan environment lighting (with an attached high dynamic-range imaging) was used.īelow are images from the preliminary renders using just ray-traced lighting. In the lighting quality and choose which one fit best for this particular project. Ray traced Renders After the models have been partially resolved, ray-traced lighting was used in comparison with lighting from RenderMan's environment sphere in order to view the difference With Pixar's RenderMan Studio with a detailed breakdown of the process from lookĭevelopment to modelling, render tests and a display of different render passes. This web page displays a model of a snow globe rendered
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