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Open the Attribute Editor to view the attributes for the image-based lighting node You ll see an attribute called Image Name Click the File Browser button to browse to the DVD and open this HDR_samplehdr image: In the Render Settings window, find the Final Gather Rays attribute in the Final Gather section and set this to 200 This should provide you with a low-quality render that is reasonably fast You can adjust the brightness levels of the HDR image in the Attribute Editor by editing the Color Gain and Color Offset attributes You can make any adjustments to the object s materials to control how they interact with the Final Gather rendering by going into each material s attributes and adjusting the Irradiance Color in the Mental Ray section Once you are happy with the way the scene looks, increase the number of emitted rays in the Final Gather section of the Mental Ray Render Settings tab You might also try adjusting the Min and Max Radius values and see how far you can get with those before having to increase the number of emitted rays Render your final image
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In production situations, you might find that using both Global Illumination and Final Gather is the optimal way of working In a situation like this, go through the process of setting up each render type individually You will want to concentrate on using Global Illumination for the lights and shadow casting and using Final Gather to fill in the scene with even light across it By adjusting the Energy values of the light-emitting photons in the Global Illumination calculation and Irradiance Color attribute in each material s Attribute Editor, you can fine-tune the balance between the two effects Using both rendering algorithms together with midrange quality settings will produce great images with manageable render times
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Displacement mapping has become a very popular technique for adding fine surface details to a model While similar to bump maps, displacement maps actually offset the geometry instead of only affecting the surface normals The result is as if the vertices of the geometry were actually sculpted with this detail The difference is that the sculpting is done on a texture map and the resolution of the original geometry does not have to be very dense to achieve fine details
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There are two general processes that you need to follow in order to use displacement maps The first is creating them The second is setting up a shading network to handle the displacement maps Finally, Mental Ray s Approximation Editor must be configured to enable the model to subdivide when rendered so that it has enough geometry to form the details in the texture map
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Creating Displacement Maps
Although you may use one of Maya s procedural textures to displace geometry, you normally will be creating these texture maps in another application Photoshop is always a good candidate, but the problem is that you don t have any realtime feedback of what the displacement map will look like when rendered on the 3D model Currently, there are two applications on the market that are specifically designed for working with displacement maps Pixologic s ZBrush and Skymatter Ltd s Mudbox Both of these applications allow you to import your geometry from Maya and further refine it by subdividing the geometry and sculpting it using very intuitive brush-based tools These applications can handle several millions of polygons When you are finished sculpting, displacement maps are derived based on a comparison of the original, base geometry and the high-resolution sculpted model Figure 21-25 shows a displacement map that was created in ZBrush for a character s torso FIGURE 21-25 A displacement map is used to add details to the model (image courtesy of Roger Ridley)
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