There are many kinds of surface shaders, from those that affect basic surface color, to ones that apply bitmap textures and displacement.
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1 mental ray Overview Mental ray is a powerful renderer which is based on a scene description language. You can use it as a standalone renderer, or even better, integrated with 3D applications. In 3D applications, a more sophisticated user interface can be used to create the scene, manage the scene elements, and set the huge number of parameters that are needed. This way, users enjoy the power of mental ray without the need to learn the complexity of the description language. They can instead concentrate on more artistic tasks. Once a scene has been built and a rendering has been requested, mental ray rebuilds the scene getting all the information from the 3D application. The data is transferred either through an intermediate file using the description language, or, more efficiently, through direct communication with the application. Once the geometry and all other elements have been read, materials can be applied. Mental ray uses shaders to control surface properties, but as you will see later, the term shader can have a more generic meaning. Iconic representation of a shader used throughout this training material. The black box represents the processing that the shader performs on the data which is input.
2 There are many kinds of surface shaders, from those that affect basic surface color, to ones that apply bitmap textures and displacement. Mental ray also supports point lights, spotlights, and infinite lights. There are lots of settings available to customize these lights and make them behave as desired, from basic to physically accurate lighting. Point, spot, and infinite lights There are also many types of shadows. You can use quick shadow maps, more sophisticated detail shadow maps, or accurate and realistic raytraced shadows, where transparency of objects and volumes are considered. Shadow maps, detail shadow maps, and raytraced shadows.
3 Global Illumination is the ability to consider all light effects in a scene, like bounced or diffuse light, color bleeding, and caustic effects of reflected and refracted light. All of these effects can be accurately simulated by mental ray and its powerful raytracing. Global illumination gives new levels of realism to any scene. Left: Only direct light used Right: Global Illumination used to add more realistic diffuse light effects. The volumetric effects, like mist, fog and smoke, are another powerful mental ray feature. You can have volumetric effects that can affect the whole scene, or that can be constrained within a specific volume. Mental ray can accurately calculate all of the interactions of light with volumes, if extreme realism is desired. Left: Example of volumetric effects impacting the entire scene, and impacting a defined part of the scene. Right: Example of interaction between lights and volumes. The scene is viewed through a camera, and many real life camera effects are available, like depth of field, distortions, and motion blur. Also, more extreme effects are available, like complete 360 degree panoramics.
4 Left: Example of motion blur. Right: Example of depth of field and barrel camera distortion. But creating realistic effects is not the only thing that mental ray can do. Using contours and the flexibility of shaders to represent unrealistic surfaces, can give you cartoon renderings, and many other effects and fancy looks. Example of non-photorealistic rendering using Contours. As was mentioned earlier, mental ray has its own scene description language, and 3D applications usually hide the language syntax and complexity behind the user interface. This DVD gives you details on mental ray features, which are based on the terminology from mental images, the creators of mental ray. Some applications may use different terminology, and may also hide or not implement some features. It s beyond the scope of this DVD to go deeper into the more technical aspects of mental ray. For more information, mental images provides additional documentation for advanced users and developers.
5 mental ray Components In this topic, we introduce some terminology and basics of the features, to simplify your understanding of the various lessons. In the lessons, the same concepts will be reiterated and analyzed in more detail. As a pure rendering engine, mental ray must rely on 3D applications to build the scenes and provide a user interface for its features. These applications give mental ray all the necessary data to perform the actual rendering. Mental ray can receive data through text files that contain a scene description language. These files have the MI extension. The complexity and size of these files is something which is impossible to manage by hand except for the most basic scenes. 3D applications using mental ray can translate their scene from their own internal format into these text files, or skip the file altogether if mental ray and the 3D application are running together. The first system is good if the rendering is performed separately, like at a different time or on a different computer. Also, it can be useful if the data in the file requires further processing before the actual rendering. This is common in complex and custom pipelines of big studios. The second system is more appropriate for individuals, where ease of use and a fully integrated solution in a single environment is preferred.
6 In this second case, the scene data is transferred to mental ray without passing through the text file. Instead there is direct communication between mental ray and the 3D application, since they both run on the same computer at the same time. Mental ray architecture is based on a core which manages geometry and resources, and coordinates the job of the shaders. The shaders are bricks that work together to compose most of the effects and features of mental ray. Shaders are involved in so many aspects of the rendering process, which is controlled by the core. For now shaders will be described as: little specialized bricks that can be used to build complex effects. There are many types of shaders, and you will discover them a bit at a time, over the various topics on this DVD. Mental ray has a powerful and fast raytracing renderer, but also a scanline renderer that is used for the first generation of rays cast into the scene. These rays are also known as Primary Camera rays.
7 Each of these renderers, raytrace and scanline, can be enabled or disabled. When both are enabled, the switch from scanline to raytrace is done automatically whenever raytracing is required. The best solution is to leave both enabled, so the faster scanline renderer can quickly render the parts of the image where raytracing is not required. Simple transparency, with no refraction, can be done by the scanline renderer. But as soon as a ray is deflected by refraction or reflection, raytracing takes over. The scanline renderer is always used for primary rays unless it s disabled. When disabled, even primary rays are raytraced. Adaptive sampling is used to perform antialising and assure quality for the minute details. Each pixel of the output image is the result of multiple samples. The results of all of the samples are then filtered into the final color for that pixel. In some cases, pixels can have only 1 or even no samples, if there are no details to actually render, like on flat colored surfaces. Samples used to determine the pixel color. This illustration is only meant to show the concept. See how samples are distributed in the Sampling and Image Quality topic.
8 Often you will hear the term samples, not pixels, because that s the basic unit of rendering. The pixel itself is not a concern for most of the features, and is just a starting point for the more important process of creating the actual pattern of samples that will be used for rendering. Rays are cast from the camera to the scene for each sample, not each pixel. The word sample, or sampling is also used to describe other techniques used while rendering the scene. For example, photon sampling and final gather sampling. These are separate and quite different processes. Both will be explained and the differences will become clear. Global illumination is achieved using a technique called Photon Mapping. The effect of diffuse and caustic lights in a scene is the result of flooding the scene with a statistically significant number of individual sampling particles, called Photons. Photon map concept illustrated as bright dots on the scene surfaces.
9 The Photon Map records the effect of the particles on the scene surfaces. Neighboring records are then averaged and the result smoothed out using another form of sampling. Final Gather is a process that analyzes the lighting of a scene in an alternative way, and can efficiently refine and improve the global illumination that is created by the photon s emission. Sampling is used to check the scene from the surfaces point of view. Final gather sends rays all around the scene from surface points to calculate diffuse light effects. Samples are also used when Depth of Field and Motion Blur are enabled. The out of focus and blur effects are created by sampling extra points over an area or over time. Motion blur sampling process
10 When you render with mental ray, the image is divided into small rectangular areas called Buckets. Buckets are rendered individually, which can reduce memory use and allow buckets to be distributed between processors on the same computer or on separate computers on the same network. Effectively this makes the rendering a parallel process.
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