Compositing Basics - MAYA to After Effects - The RGB Matte Passes

RENDERING it OUT:

1.Set up a new render layer in Maya where the objects in the scene are present (no need for lights) and set up 4 surface shaders.
One for each color (diffuse is fully red, fully blue or fully green) and black (which will be used as blank). First assign the black to everything in the layer.

2.Assign colors to the objects you want to separate out... Up to 3 regions per render corresponding to each color.

NOTE: you'd have to give the material displacement if needed
(this is in the shader group of the surface shader, not the material itself. See the node by viewing the in-and-out connections in the hypershade, then connect the file node of the displacement map into the displacement channel.)

3.If you have more than 3 areas you want to separate out to do individual adjustments, make another render layer and assign the red blue green shaders accordingly.
NOTE that if, for example, your red shader was used on an object with displacement, you'll have to make a new red if you want another object in another layer to not carry over that displacement.

4.RENDER it out


Note that I made 2 render layers because I had more than 3 separate objects I wished to control in post.

After Effects:
-Note that this does not have to be only for the Beauty Pass-
1. Take your beauty pass and your desired rgbmatte pass and put them into the same sequence. The matte layer should be underneath and therefore, hidden behind .

2. With the beauty pass selected, go to Effects -> Channel -> Set Matte
The new effect should let you choose to use the rgbmatte pass, and also the color channel you want to turn into a 'clipping' mask like in Photoshop. (choose the red channel, for example, and for this beauty pass layer, only the object that has the pure red in the rgbmatte pass will be visible)

3. Now you can adjust only one object's levels/saturation/colors etc without affecting the rest of the image

4. Make a copy of the beauty pass as another layer and do another Matte if needed. Keep going until you have the control that you want.



In this example, I used the red channel of the first matte pass to isolate the house and then perform some hue shifting to it.

Setting up AO Materials for a Render Layer in MAYA: Mental Ray

This is all using Mental Ray's mib_amb_occlusion node.

It should also work with V-Ray's Vray Dirt node if you're using it.

First Method - Surface Shader

Simply make a surface shader (under 2D textures) and connect the occlusion node into its Out Color.

Second Method - Mib_lambert_illum

Use the mib_lambert_illum material (under mental ray textures). Set the ambience (top) and diffuse (bottom) slots to full white, and the 'ambient' slot (the middle one) to plug your mib_amb_occlusion node into.
(When baking out an AO map to multiply over your diffuse layer in photoshop, using this method seemed to work more often for me than the surface shader method. I think I gave it 128 or 64 samples for a 1K map).

Third Method - Lambert -

Use a normal lambert (the MAYA texture one) and set all of the slots to be black. Plug the mib_amb_occlusion node into the incandescence slot.

Fourth Method - Mia_material

Full White Diffuse color. Black for Reflection. In the Ambient Occlusion section in the attribute editor, Ambient Shadow color is black, Ambient Light color is white (default is the other way around if you want the material to have ambient occlusion without interfering with its diffuse and etc because the Ambient Light will wash out diffuse if it's not set to black)

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Also important that there's no lights in the render layer (hide them if there are any). Unless you are using the surface shader method because surface shaders ignore lights anyway.

Also note that if the result is going too much into middle gray (where even the lightest parts are grey) you can pump the value of the Light color in the ambient occlusion up. (or lower the occlusion distance if it's shadowing too much all over)

- when choosing the color and setting it to white, you can change the way to set the color at the bottom right. There's a dropdown from setting the color by "RGB 0 to 1.0" and change that to "HSV".

With HSV on, now you can pump the value of white past 1 and the lighter areas'll whiten right up. The last project I did had to have my ambient occlusion pumped to about 3 ish to make it white enough for my liking.

Be careful with Black going into negative values, though. It might burn the look, so it may be better to just adjust the image sequence in after affects (or photoshop for the baked out map) with a quick levels adjustment. The key in Maya is getting the right kind of shadow falloff.

Tribute to Betteo's berry.rainbow

One of my favorite illustrators is from Mexico.
Patricio Betteo has a way with mixing forms and texture into abstract shapes while giving just the right amount of closure to play with our perception.

Betteo's Blog

I don't think my tribute can compare at all, but I really wanted to give that atmosphere a try.
(and just a few days ago I realized that I missed the fact that there's a street light in front of the house in the actual painting :[ )


Here's the final



I still have tons to learn.


exciting

A return to an old problem

I revisited that testing I did before regarding glass and caustics on the older blog. Found out that the pic in there isn't even using caustics. Those were just raytraced shadows. No wonder the specular wasn't going through.

I dunno if it's just me doing something wrong or if caustics simply don't work for nurbs. I converted the surface to be polygons and it worked fine afterward.

Here's a new render: