Podcasts about mental ray

This universal law stresses the importance of mastering and integrating the Seven Great Rays of GOD. Each person was created by God under the auspices of one of these Seven Rays! Said in another way, their monad, or their Mighty I Am Presence is under the auspices of one of these Rays. This Monadic Ray does not change! Each incarnation, the Soul Ray, Personality Ray, Mental Ray, Emotional Ray, and Physical Body Ray do change, to help the incarnating Soul develop new and different aspects of self! These Rays have an enormous influence on the incarnating Soul, even more than any Astrological influence. So, our Ray readout tells us how GOD created us and what we came into this lifetime with. The goal is to integrate and master all of them. People who have not started on the Spiritual Path are dominated by the Rays of their Physical, Emotional, and Mental Bodies. As the person develops a more self-actualized personality, then the Personality Ray becomes dominant and the three Body Rays (Physical, Emotional and Mental) become subordinated to it. As we continue to evolve, the Personality Ray becomes subordinated to the Soul Ray which in return will become subordinated to the Monadic Ray. This process continues throughout the steps of Initiation, with each successively higher Ray becoming dominant over the previous one. This hierarchical order proceeds step by step to the Godhead - this is what we explore in this episode.For more data see https://www.patreon.com/IAMCademy

This bi-monthly LIVE radio show on Radio Free Brooklyn hosted by NYC's Killy "Mock$tar" Dwyer is a tasty treat for your ear holes. Mock-U-Mental is served up with a healthy dose of live jams and interviews, topped with listener questions, comments, requests and prank calls, paired with a feel good, mock bottom drinking game. Come play along with Killy, her enigmatic husband Craig Schober, her dog Monkey, and featuring Daniel Saftler and Ray Brown of the NYC Anti-Folk scene! Listen here to the LIVE show every other Friday http://radiofreebrooklyn.com/show/moc... AND CALL IN AT 718-928-9RFB (9732) any time during the show to ask a question or make a comment!

This movie shows you how to realistically light a pair of scenes in Maya using mental ray's Indirect Lighting features.

In this movie, you turn an empty building lot into a park and then place and animate a camera to get an interesting shot at your newly-built city.

In this movie, you use a free script to animate the "growth" of a building, and watch it get created from the grounds up.

In this movie, you place and randomly rotate nine city grids by 90 degree-increments to create an irregular pattern. In the process, you learn to write a simple script that creates a "Randomize" button to automate the task.

In this movie, you use the Populate tool to add animated pedestrians to your city scene.

In the third and final installment of this series, you learn to create low-polygon buildings using a variety of methods. This first movie concentrates on creating a texture library, or build upon the one already provided with this tutorial.

Here, you learn to create low-poly building geometry by extruding simple 2D shapes to create building blocks. Later, you will learn to automate the workflow using macro scripts.

In this movie, you make use of the macroscripts you created that automate repetitive tasks to complete the first low-poly building you started earlier. You will be able to witness how macroscripts can cut down your production time extensively.

In this movie, you use Building Maker, a tool that helps you automate many of the steps required to create low-polygon buildings, using an intuitive and unified interface.

In this movie, you continue exploring Building Maker's capabilities by learning how to create buildings that have multiple footprints.

In this movie, you explore additional Building Maker functionality and learn to create multi-part parapets that are mapped differently. You also learn to copy levels to insert and edit building blocks after you have created the building hierarchy.

In this movie, you turn your buildings into simple editable polys to reduce calculating time. You can create in-project duplicates or you can export and store buildings as external files to use with other projects and other 3D applications.

In this movie, you use the Macro Recorder to record and reuse the repetitive tasks you needed to create a floor volume. You then create a new 3ds Max toolbar in which you add a button that invokes your custom scripts.

In the last movie, you learned how to turn mesh object into 3ds Max primitives using Primitive Maker by Garp; but the workflow you learned about is session-based. Here, you learn how to make those newly-defined primitives a permanent feature in 3ds Max.

In this movie, you finalize the duplication and placement of light poles around the city blocks using two different cloning methods: Array and Spacing Tool.

In this movie, you merge a traffic light assembly that includes a traffic light, a light post and a trash can. You then duplicate and place this assembly around the major intersections using simple Transform tools.

In this movie, you add urban design components to make the city block look more believable. Some of the components you add include traffic lights, fire hydrants and mailboxes, among others.

In this movie, you turn urban design components into 3ds Max primitive using a free script called Primitive Maker by Garp. This way, you will be able to duplicate and place components in your cityscape in a very flexible and intuitive approach.

In this movie, you create the roads that connect the intersections together. You will explore a couple of different approaches and settle on one that yields an easier mapping workflow.

In this movie, you use the Daylight System to light the scene. The Daylight System has been shown in many a tutorial on this channel, so the explanation will be brief. You will however replace the background gradient with a custom bitmap to simulate clouds

In this movie, you lay the foundation for the first city block. This includes working with reference images, deciding on the project scale and setting up 3ds Max accordingly.

In this movie, you work on the roads that make up your first city block. You learn how to subdivide the roads to ensure you are using different road markings that include lane dividers and pedestrian crossings.

In this movie, you work on road intersections.You start with the cross intersection at the center of the city block, and then you use that intersection as a template to create others.

In this movie, you use the cross intersections you created in the last movie to extract T and L junctions. Doing that, you also learn to edit the new intersections and add to the material created earlier to accommodate more street markings.

In this movie, you use the geometry you have already created to extract the intersections for the inner roads. You also add materials to the existing material definition and clean up the connections between existing and new roads.

In this movie, you finalize the road works by connecting the inner intersections. In so, you will use the same techniques you learned about earlier, using the sweep modifier to create the two-lane roads.

In this movie, you create variations for the inner roads. In order to tile the city blocks, you need the perimeter and the center cross roads to remain constant, but you can have variations with the smaller inner roads.

In this movie, you extract spline paths using the existing infrastructure to add sidewalks to the road works. To do so, you use the Sweep modifier to block out the sidewalks. You then work at an editable poly level to fine-tune the results.

In this movie, you use the sidewalks you created in the last movie to extract surfaces for building lots. You will also treat the building lots so that they have different textures to introduce more variety.

This tutorial series shows you how to build tileable city blocks that include road works, street elements and low-poly buildings to create cityscapes. The tutorial is divided in three sections: Roads, Urban Design Components and Low-Poly Buildings.

In this movie, you add lights to improve the final render. You will use simple mr lights as they are easy to set up and to work with in many non-physically accurate circumstances.

This last movie is an addendum, and shows that the flex modifier used in the trailer can be used equally well to create other interesting effects. Here, you will use flex to create wake effects like those created by boats or other marine vehicles.

In this movie, you add materials to the various objects to bring the scene to life. You mostly make use of mental ray material as this is what works best with the mental ray rendering engine, especially when it comes to reflections and refractions.

In this movie, you create the ripple effect using the Flex modifier. The Flex modifier uses a dynamic simulation to create the effect, which is easier than manually animating ripples using other options like the Ripple modifier.

In this movie, you create the arrow that travels and deforms along a the path. With the help of a simple sphere, you get the illusion that the arrow bounces are causing the water ripples.

This tutorial shows how the trailer that precedes every movie on this channel was done. In this first movie, you set the basis for the bouncing arrow. Later, you fine-tune the animation and the look by adding ripples, materials and proper scene lighting.

In this movie, you animate the lines that connect the rings together. There are different ways you can go about that, some more complex than others, but you will use a simple approach as it works well enough in this scene.

In this movie, you animate rings to appear under the ripples. You will synchronize the animation to coincide with each arrow bounce. In a later movie, you'll also need to animate "connectors" going from one ring to another.

In this movie, you finalize the material work and render the solution prior to populating the scene with animated pedestrians.

In this movie, you finalize the material work and render the solution prior to populating the scene with animated pedestrians.

In this movie, you learn to dissociate the image rendered in the background from one that is used for reflections.

With the mental ray-based lighting in place, you now turn your attention to materials. To make the most of the mental ray engine, you will use mr materials accordingly.

In this movie, you use the Mental Ray renderer to render the same scene you used previously. Mental Ray is the renderer of choice for many 3D artists and you will set it up to use the same Daylight System you used earlier.

In this movie, you add a lighting scenario that works with the Scanline Renderer.

In this tutorial, you learn to integrate 3D objects into real-world imagery. You learn to match the perspective of your 3D camera to that of the background picture used as an environment map.

Render passes were first introduced in Maya 2009. The terms Render Layers and Render Passes are sometimes used interchangeably. However, this is inaccurate. In this tutorial we will explore how to extract the render passes out of Maya and going through all the available options.

In the second part will look into separating the scene elements in spate passes and incorporating render layers in our work-flow.

Hey Everyone,As the title points out here is Part 8 of the ongoing quest to create a quick Roughcast and Pebbledash surface using 3ds Max and Mental Ray. (Remember though that the techniques will work with ANY of 3ds Max Plugin Render Engines.As always watch the Youtube Version here (or on Youtube) or alternatively use the link to grab the Hirez .MOV file from the MBM Website. DOWNLOAD HERE! Enjoy.

In this session we will have a closer look at the mia_photometric_light. This node is not only allowing you to achieve more realistic lighting , but it will also make your GI solution much easier and faster to work with.

Hey Everyone,2 reasons for todays Blog entry! FIRSTLY we are going to give you another little chunk of info regarding the upgrade to MBM’s Training offerings. A SECOND reason for our post is that we want (as you can see below) to bring you Part 2 of our FREE RoughCast & Pebbledash creation module, All using standard 3ds Max tools. We do use Mental Ray as the renderer in this module but it could just as easily have been Vray, Brazil or indeed any plugin render engine for 3ds Max. Hope you enjoy.RoughCast & Pebbledash Creation Part 2 - YouTube Versionif you prefer to watch this with a Higher Quality picture, Go to MBM's YouTube Channel: www.youtube.com/mentalboutmaxRoughCast & Pebbledash Creation Part 2 - Hi Rez QuickTimeOkay, onto our MBM upgrade info. Plenty more to tell yet. For instance a BIG PLUS to users will be the massive speed up regarding getting MBM training into the hands of users once they have purchased it. This will be accomplished by our making use of a FULL E Commerce shopping system that will automate the receipt of your download links so that getting your hands on your MBM training purchase should become pretty much instantaneous. (depending of course on the quality and speed of your Internet Connection!). There are other benefits that come to MBM customers as a result of using an E Commerce system…but we think we will save them for future posts. :)BriMBM Development Team

In this session we will have a closer look at how to use the mip Shaders, in particular the mip_rayswitch and mip_rayswitch_advanced. This Shader will act as a gateway for the outgoing rays that are bouncing of an object or an environment. For example you can change the color of the reflection of any giving object in the scene. It can also be used to alter environments.

In this session we will have a closer look at how to use the mip Shaders, in particular the mip_grayball. This is a simple Shader that can be utilized to shade an object via a texture file, very similar to the behavior of Mudbox lit Sphere material. With this workflow you can achieve the same look that you have in any 3D package, just by using a simple rendered sphere.

In this session we will have a closer look at how to use the mip Shaders, in particular the mip_gamma_gain. This is a simple Shader that can be utilized to allow a linear workflow. It can be used either on a texture or on the entire render.

In this session we will have a closer look at how to use the mip Shaders, in particular the mip_render_subset. This lens Shader will allow us to re-render an element of your scene without the need to render the entire file. Elements can be defined by an object name or a single material Shader.

In this session we will have a closer look at how to use the mip Shaders, in particular the mip_rayswitch_environment, the mip_cameramap, and the mip_mirrorball to composite 3d elements onto a live action background.

In this session we will have a closer look at the mip_binaryproxy and how to use it as an object holder for a complex geometry that will only appear at render time

In this session we will have a closer look at the mip_motion_vector and how to use it in post to get fast render of our motion blur.

In this session we will have a closer look at the mip_motionblur and how to use it to speed up our render time when using motion blur.

The production Shader library contains a set of Shaders aimed at production users of mental ray. They are hidden by default. In this episode we will explore how to expose these shades in Autodesk Maya.