Filters specific to the

spotlight.

Lighting and Rendering Pt2: Light Filters in Maya.

For the following tutorials I looked different lighting effects in

Maya. To start with I looked at the Gobo filter, which allows you
to input different black and white images to the slide map
node.
inputting black and white image to the slide map node
to create textured shadows.
I then played around with some of the filter modes - blend and mix - and the density of the filter.
Further more I then looked at other filters that can be applied over the spotlight through the file
node. With this I then looked at applying a grid to the spotlight.
I then increased the grid segments through upping the repeat UV and then altered the U and V
width in the grid attributes menu.
I then rotated the
grid and looked at
adding in another
filter – barn doors
which sit at the end
of studio lights to
help block and
direct the light.
Setting up the barn
doors to block and
direct the light to
focus on the
character.

Then added in the

light decay filter to
soften the light drop
off on the character.
 I then inverted the grid effect and altered the
filter offset to 0.010.

Here I also went back and soften the edges on the

barn doors to 0.01 so that the shadow didn’t
appear so crisp.
I then removed the
effects and tested out
the light blocker effect
and looked at playing
around with the
different settings and
its dimensions with
the use of the
transform1 node in
the outliner; which
enables light to be
block in the scene in
certain areas.
 Stylised Interiors.

Added in a point light at placed in scene. I also then upped the exposure, samples and then the radius.
I the removed anything in the light setting to lower render times – cast volume shadow, SSS and Volume.
Then added in a secondary point light to go in the corridor of the set.
 I then created an off camera/bounce light in the scene using a area light positioned where the camera is facing into the scene.
Then added in the first directional light to come in through the window and looked at at upping the samples, exposure and angle of the light.
Added in secondary directional light
through duplicating the first and the
changed the background clout in the
render view.

Before lighting adjustments – some

shadows appear to dark and whites too
bright.
Lowered exposure and show density as well as adding a
light decay filter to manage the main light in the scene.
Repeated lowering show density as well as adding a light decay filter to
manage exposure in the scene.
Adjusted render settings
to reduce noise in the
scene, then fully
rendered the scene and
saved the render image
out as a Multi-Layer EXR.
 Before.

Then brought EXR into Photoshop to adjust colours of image.

Then converted file size
from 32 bit to a 8bit file,
making sure to change
the method option to
ensure continuity of
colour within the shot.
Final Outcomes.
Surface Shaders in Maya.

Took an initial render of the scene

and then proceeded to place a Ai
standard surface shader to the
cube.

I then brought the specular

weight down to zero
Basic base shader.
Creating a metal surface using Metalness and Specular.
Using specular to vary the highlight on a surface.
Using transmission and Specular to help create a
transparent object.
 Turned off opaque in the
Arnold tab on the shapes
geometry. This informs the
Arnold renders to convert
object to a transparent
object when rendered.

In the Surface shader geometry tab the

opacity is then is then turned off
 Allows the colour of the shape to reflect off
a surface due to the indirect light within the
scene which allows the light to bounce off a
suface/object.

Coat allows the object to have a glossy effect and have a sort of two tones outcome. Essentially the coat is
another layer of specular that mixes with the base colour of the object and specular to give a mixed colour
outcome
Subsurface is two layers of colour that interact with one another through allowing light to pass through the
surface of the shape (like blending two shades together). Typically used for skin tones.

Creating a film/glass effect using transmission and geometry. that could either refract a shape or allow a the
object to be seen without much distortion. (as seen on car windows or if there was liquid in a glass.)
Experimented with some
surface pre-sets.

Combines the velvet present

with a 10% brushed metal
pre-set