INTRODUCTION TO
HYPERSHADE
IT0077 – 3D Design 2: Module 1
The Hypershade provides a visual display of how nodes in a
Maya scene are connected.
The Hypershade is mostly concerned with shaders—nodes
used to define the color and material properties of renderable
objects in a scene.
To access the Hypershade.
Window > Rendering Editors > Hypershade OR
The Hypershade Editor is made up of several windows. The
Browser window contains a visual display of the nodes in the
scene. It is organized by tabs named Materials, Textures,
Utilities, Rendering, Lights, Cameras, Shading Groups, Bake
Sets, Projects, and Asset Nodes
The Create window which contains a list
and a visual menu of nodes that you can
create in the Hypershade.
Bins allow you to organize your shaders
into separate groups.
The Browser window automatically
updates based on the bin that you have
selected. The Master Bin displays all of
the shaders
The right side of the Hypershade
contains the Property Editor. The
Property Editor is similar to the
Attribute Editor, but it is optimized only
to show attributes that directly affect
the look of your shade.
This organizes render nodes
and offers a workspace for
constructing render node
networks.
All Maya scenes start with three materials already created:
lambert1, particleCloud1, and shad-erglow1.
The lambert1 material is the default material applied to all
newly created geometry, the particleCloud1 material is a
special material reserved for particle-cloud objects, and the
shader-glow1 node sets the glow options for all shaders in
the scene.
Subtopic 1
Hypershade: indepth
This toolbar helps you navigate through your existing
materials inside the node editor.
While selecting one or multiple materials, when one of these
functions were executed, they will display either:
A. Input Connections
B. Input and Output Connections
C. Output Connections
A B C
These tools will help you to organize your nodes.
A. Clear Graph
B. Add Selected Nodes to Graph A B D
C E
C. Remove Selected Nodes from Graph
D. Rearrange Graph
E. Graph Materials in Selected Object
In the Node Editor, click on the icon on the top right hand
corner of each node to expand it to its full mode.
Middle-mouse or left-mouse drag to create connection lines
between your output and input attributes.
Subtopic 2
Working with Materials
Type – the material’s basic type (Blinn, Lambert, Phong / E)
Color – default material color
Transparency - if the Transparency Value is 0 (black), the surface is totally
opaque; if the Transparency value is 1 (white), the surface is totally
transparent.
Ambient Color – As it becomes lighter/whiter, it affects the material’s Color
by lightening it and blending the two colors. If there are ambient lights in the
scene, the color and brightness of those lights is used to control how much
the ambient color contributes to the final color of the material. .
Incandescence - The color and brightness of light that a material appears to
be emitting. (Incandescent objects do not illuminate other objects.)
Bump Mapping - Makes the surface appear rough or bumpy by altering
surface normals (during rendering) according to the intensity of the pixels in
the bump map texture.
Diffuse - Gives the material the ability to reflect light in all directions
Translucence - Gives the material the ability to transmit and diffuse light.
Light falling on a translucent surface is first absorbed beneath the surface,
and then diffused in all directions.
Translucence Depth - Simulates the way light diffusely penetrates through
translucent objects. For example, when light shines on one side of the
object, the other side is partially illuminated.
Translucence Focus - The Translucence Focus value controls how much
translucent light is scattered depending on the direction of the light.
Reflection - When a surface is perfectly smooth, light rays bounce off the
surface and back into the environment. The angle at which they bounce off
the surface is equivalent to the angle at which they strike the surface—this is
the incidence angle.
Refraction - A transparent surface can change the direction of the light rays
as they pass through the surface. The bending of light rays can distort the
image of objects on the other side of the surface.
When a spotlight is used to light an object with
a translucent material, the light does not
scatter past the light's cone of influence, even
if Translucence Focus is lowered.
Use a low focus value for thicker objects, such
as wax. To compensate for the added light
and avoid a washed-out result, lower the
diffuse value, or lower the overall color
Lower the color value for very shiny objects that have a bright specular
component.
Is a material that represents matte surfaces with no specular
highlights. Such as chalk, matte paint, unpolished surfaces.
The initial shading group uses a special Lambert surface
material. Do not modify it; instead, create and apply a new
Lambert material.
Shiny objects reflect light directly; matte objects diffuse light. Specular
highlights show the places on the object where the light sources are
reflected at consistent angles; reflections on an object show, among other
things, light bounced from surrounding objects.
Specular highlights depend directly on the view (camera), not the position of
the light, like diffuse shading does
.
Specular Color - The color of shiny highlights on the
surface. A black Specular Color produces no surface
highlights. The default color value is 0.5.
Reflectivity - Gives the surface the ability to reflect its
surroundings or the Reflected Color (similar to Specular
Roll Off).
Reflected Color - Represents the color of light reflected
from the material. When raytracing, Maya multiplies the
color with the light color reflected mirror-like from the
surface. This can be used to tint a reflection.
Is a material (shader) that represents surfaces with grooves, such as a CD,
feathers, or fabrics like velvet or satin. The appearance of specular highlights
on an Anisotropic material depends on the properties of these grooves and
their orientation. The Specular shading attributes (shiny highlights)
determine the direction of the grooves as well as their properties.
Angle - Determines the orientation of the grooves. The range is 0.0 (default)
to 360.0. Use to determine the X and Y direction for non-uniform specular
highlight.
Spread X/Spread Y - Determines how much the grooves spread out in the X
and Y directions. The X direction is the U direction rotated counter-clock-
wise by the specified Angle degrees. The Y direction is perpendicular to the
X direction in UV space.
Roughness - Determines the overall roughness of the surface. The range is
0.01 to 1.0. The default is 0.7. Smaller values correspond to smoother
surfaces and the specular highlights are more concentrated.
Fresnel Index - A fresnel is a flat lens consisting of a number of concentric
rings that reduces spherical abnormalities. The Fresnel Index value
computes the fresnel factor that connects the reflected light wave to the
incoming light wave. For instance, the Fresnel Index for water is 1.33. Values
range from 1.0 to 20.0.
Fresnel Index - The glancing angle is the angle at which you view a surface. If you are standing in front of a wall, the wall is
perpendicular to your viewing angle, and thus the glancing angle is 0. If you are on the beach looking out across the ocean, the
glancing angle of the surface of the water is very high.
Anisotropic Reflectivity - If on, Maya automatically
calculates Reflectivity as a fraction of Roughness.
Reflectivity is on by default.
If off, Maya uses the specified Reflectivity value for
the environment map (mapped on the Reflected Color
attribute), similar on how the Phong and Blinn
materials work.
In the following, Anisotropic Reflectivity is on, an
environment is mapped on the Reflected Color, and
the Roughness is set to 0.01, 0.05, 0.1, and 1.0
Is a material that is particularly effective at simulating metallic
surfaces which typically have soft specular highlights.
The soft highlights on Blinn surfaces are less likely to exhibit
artifacts or flickering for thin highlights than the harder
highlights on Phong surfaces.
Eccentricity - Controls the size of shiny highlights on the
surface. The valid range is 0 to 0.999. A value of 0.1
produces a small highlight.
Specular Roll Off - Gives the surface the ability to reflect its
surroundings (the environment, other surfaces) or the
Reflected Color, when viewed at oblique angles. The slider
range is 0 to 1. The default value is 0.7.
Eccentricity - Controls the size of shiny highlights on the
surface. The valid range is 0 to 0.999. A value of 0.1
produces a small highlight.
Specular Roll Off - Gives the surface the ability to reflect its
surroundings (the environment, other surfaces) or the
Reflected Color, when viewed at oblique angles. The slider
range is 0 to 1. The default value is 0.7.
Is a material (shader) that represents glassy or glossy
surfaces (such as car moldings, telephones, bathroom
fittings) with a hard-specular highlight.
Cosine Power - Controls the size of shiny highlights on the
surface. The valid range is 2 to infinity. The slider range is 2
(broad highlight, not very shiny surface) to 100 (small
highlight, very shiny surface), though you can type in a higher
value.
Is a material (shader) that is a simpler version of the Phong
material. The specular highlights on Phong E surfaces are
softer than those on Phong surfaces, and Phong E surfaces
render faster.
Is a material (shader) that is a simpler version of the Phong
material. The specular highlights on Phong E surfaces are
softer than those on Phong surfaces, and Phong E surfaces
render faster.
1. Create a Lambert Material under the Create Window by
clicking Surface (Under Maya) > Lambert. This will
automatically show in the Node Editor.
1. SG means Shading Group, this node is important/required because it defines
how the shader is applied to a surface.
2. You can assign material on the Hypershade to an object by:
1. MMB-drag a material under the browser to an Object.
2. Select the object and right-click a material then choose Assign Material to Selection
3. Select the object and open the markup menu (Right click on the viewport) and Assign the
Existing material you wish to choose.
2. Always rename your Materials. (Not just Materials but also your
Meshes, Rigs, Groups, etc.)
3. Click the Checkered box of the Color property of the lambert2
4. Inside the 2D Textures click the Grid material.
5. And tweak some properties to create a Tablecloth Texture.
6. Click the place2dTexture1 Node and change the X coverage by
0.5
(Cont.):
1. Select grid1 open the Color Balance Dropdown(rollout) and
click the color swatch next to Default Color. Set the color to Red.
2. Inside the Surface, MMB-drag the Ramp Shader to the Filler
color of the grid1 under the Property Editor.
3. You can Change the color of the by clicking the circle above
the gradient color slider. Change it to blue.
Extras (cont.):
1. NURBS surfaces have their U and V texture coordinates based
on the parameterization of the surface, unlike polygon meshes,
which require defined UV coordinates. You can use the attributes
in the place2dtexture1 node to position textures on NURBS
surfaces
Basic Render Channels
Each pixel in a bitmap image contains three color channels, each
of which represent the amount of red, green, or blue in the image.
Each pixel might also have an alpha (mask) channel to achieve
transparency and a depth channel that represents the distance
from the camera. Some image formats cannot include embedded
mask or depth channels; in these cases, Maya can generate a
separate mask or depth file.
A mask channel (or alpha channel) defines where an image is
opaque or transparent. Opaque regions of the objects are white,
semi-transparent regions are gray, and transparent regions are
black.
Use a mask channel to layer images for compositing software.
For instance, you can use the mask channel of an image as a
matte to composite an object (without its background) with
another image.
A depth channel (or Z depth or Z buffer channel) provides 3D
information about an image. It represents the distance of objects
from the camera.
Depth channels are used by compositing software. For instance,
you can use the depth channel to correctly composite several
layers while respecting the proper occlusions.
Maya stores depth values as -1/z. These represent the near and
far clipping values.
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