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With the reflections covered, the last thing we need to do is add the shadow Until this point in this book, we have been using only the depth map shadows Raytraced shadows are much more accurate than depth map shadows While we are going to practice turning them on here, their usefulness will become more evident when we make the teapot transparent later in the chapter
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FIGURE 21-8 The scene is rendered again with an environment map connected to the Reflected Color attribute of the teapot material
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Select the directionalLight1 node from the Outliner or the Hypershade window In the light s Attribute Editor, find the Shadows folder; then find the Raytrace Shadow attributes Check the Use Raytrace Shadows check box Render the image to see the effect This produces a sharp shadow on the floor and red wall Figure 21-9 shows the scene rendered with raytraced shadows
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FIGURE 21-9 The scene has been rendered with raytraced shadows
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To soften the shadow edges a bit, increase the Light Radius attribute in the light s Attribute Editor under the Raytrace Shadow attributes This simulates a larger light source, which produces softer edges on the shadows The default setting of 0 is producing laser-perfect edges, which are not really desirable for most scenes If you increase this value to 20 and render again, you ll see a more diffused shadow around the inner, sharper one However, this diffused shadow is very grainy To soften the grain, we ll increase the Shadow Rays value Try a value of 10
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As the Light Angle and Shadow Rays attribute values are increased, the rendering time starts to become pretty lengthy too long for use in many production environments In situations like
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Maya 8
The Complete Reference
these, it is best to use the depth map shadows because they are much faster As you study transparent objects next, it will become more obvious when raytraced shadows are necessary As light passes through a transparent surface, the light rays are bent Consider a glass window the thicker the glass, the larger the angle that the light rays are bent This effect is known as refraction Because raytraced rendering methods use a ray-emitting method, it is easy for them to calculate refractions as well as reflections accurately We will use an object that s similar to our existing teapot with a few differences For one, the teapot will be mostly transparent, as if it were made out of glass The walls will use a checker texture, because the effects of the reflection will be more obvious with a pattern behind the teapot
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Find the scene called teapot_RaytraceRefractionsmb on the DVD and open it in Maya Render the scene with the default settings In this case, raytracing has not been turned on in the Render Settings window The result is a transparent teapot without any reflections or refractions, as shown in the Figure 21-10a
FIGURE 21-10 (a) Close-up of the teapot without raytracing and then (b) with a value of 2, (c) with a value of 4, and (d) with a value of 6 refractions
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Rendering
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Select the teapot material and turn on Refractions under the Raytrace Options folder in the material s Attribute Editor Then turn on Raytracing in the Render Settings window To evaluate the refractions, turn off all reflections by setting the Reflection attribute to 0 When using refractions, it is a good idea to find out exactly how many refractions you will need The default is 6, which is the minimum number you need to refract all of the overlapping surfaces in the teapot at this angle Just to see what happens when there are not enough refractions, turn down the Refraction setting to 2 in the Render Settings window and do a test render The teapot renders in black (see Figure 21-10b), which tells us that not enough refractions are used in the calculation to render all of these overlapping transparent surfaces A value of 4 (see Figure 21-10c) is enough to refract the main areas around the pot, because the light needs to pass through only four of the surfaces, but the areas where we can see the handle through the teapot and some of the edges at the top are still problematic, as more overlapping surfaces are in these areas With that understood, set the Refractions value back to 6 and render it (see Figure 21-10d) Now we know we have enough refractions, but we aren t seeing any of the distortion effects of the background caused by the bending of light rays through the transparent surface This is determined by the Refractive Index attribute in the material attributes A value of 1 is the default and simulates the refractive index of air The refractive index for glass is about 16 Set this value for the refractive index on the teapot material and render the scene to see the effect Now for the shadow Because refractions cast their own shadows, we don t need to turn on raytraced shadows for the light Instead, turn up the Shadows attribute, found in the Raytracing Quality section of the Render Settings window, to 2 (the default) Render the image again You can see that the shadow has more transparent areas where the light is passing through less dense areas of the teapot The overall lightness of this shadow can be attenuated with the Shadow Attenuation attribute in the Raytrace Options section of the teapot s material node A higher value will create a denser, darker shadow To finalize this scene, turn up the raytraced reflections and use our environment map to reflect areas not covered by geometry in the scene The final raytraced scene with refractions is shown in Figure 21-11 To achieve even a higher degree of realism, you can add the Fresnel
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