Produce high-quality, production-ready bound characters in less time, with an innovative new skinning method. Supports rigid sets for increased scalability.Produce better collisions with concave shapes.Create compound collision shapes from multiple meshes.Take advantage of continuous 3D collision detection.Simulate both soft and rigid bodies in a single system.Control long hair by creating guide hairs.Ĭreate large-scale, highly realistic dynamic and kinematic simulations with the enhanced open-source Bullet plug-in delivered in conjunction with AMD.Control the appearance and behavior of primitives by setting attributes, painting maps, creating expressions, or using the included XGroom interactive grooming toolset.Preview the rendered effect interactively in Viewport 2.0.Handle large amounts of instanced data that would slow down a system if loaded in memory.Populate large landscapes with grass, foliage, trees, rocks, and debris trails.Create and groom hair, fur, and feathers on characters.Generate curves, spheres, and custom geometry on the surface of polygon meshes to create fur, feathers, foliage, and more. Export particles, voxels, and meshes to a native file format, as well as to selected industry-standard file formats.Choose whether to mesh liquids with a new particle surfacer, or render voxels directly.Preview results in the Viewport 2.0 hardware-accelerated display, and render them in the NVIDIA mental ray renderer.Developed from Naiad technology, fully integrated into Maya, and refined for ease-of-use.Note that too large of a displacement bound can cause an object to consume more memory than needed, so the tightest displacement bound possible is recommended.įor more information on displacements see: Bump and Displacement Shaders.Maya 2015 new features Dynamics & effects Bifrost procedural effects platformĬreate photorealistic, dynamic simulation and rendering of liquids. Generally, a good value to start with is the farthest distance an object may be displaced, as measured in default Maya units, and adjust from there. The correct setting will vary depending on the size of your object in world space. Open this tab and adjust the Displacement Bounds attribute. Now that you've added displacement attributes they will appear at the bottom of the shader under the Extra RenderMan Attributes tab. Open the displacement shader in the Attribute Editor.Īttributes-> RenderMan-> Add Displacement Attrs You can do this by following these steps: If you need to adjust displacement bounds, simply add the RenderMan displacement attributes to the shader. The solution in this case is to increase the bounding box. If a displacement shader pushes an object outside of its bounding box, you will see that part of the displacement is being clipped, like in this image: The bounding box determines when the object is loaded by RenderMan. ![]() Displacement bounds set up a bounding box around the object, for use when the object is rendered. The most important concept is displacement bounds. While RenderMan displacements are both detailed and fast, there are a couple of issues that you should be familiar with. For instance, in the image below an otherwise flat plane has been made more interesting by adding an animated wave displacement (and ray traced refractions): By pushing fine details into a displacement shader (using either procedural functions or texture maps), 3D objects can be modeled with less detail, which can be a big benefit when working with large datasets and complicated geometry. First, select the geometry, then, in the Attribute Editor, go to the Attributes menu and select RenderMan > Manage Attributes, select Trace Displacements from the left-hand column of the Add/Remove Attributes window, and click on the Add button.ĭisplacements can be used to create detail efficiently in a scene without adding modeling detail. In order for your displacements to be visible in reflections and/or refractions, you will need to add the Trace Displacements attributes to your shape. Now we've got a lot of displacement, as we see in the image below. When you've attached the displacement shader, render the scene again: Next attach the Maya Material, funky_displacement, to the ground. Notice the amount of detail that the displacement shader can quickly create on very basic geometry - even the shadow is displaced. Now you should get an image with some nice displacement, like this: Once you've attached the displacement shader, render the scene again: ![]() ![]() This Material network has already been constructed for you and can be found in the Maya HyperShade. ![]() Next attach the Maya Material, funky_displacement, to the teapot. You should get an image like the one below: Render the Maya scene, displacements.ma, with RenderMan: To get started, let's open the Maya scene, displacements.ma.
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