Shrub Area & Groundcover Calculation: Area vs.Excluding Interior Objects ("Multiple" Option).Selecting an Existing Polyline Boundary.Keyboard Commands for Placing Trees and Shrubs.I used Redshift's rsBokeh and rsPhotographicExposure nodes on the render camera. Volume rays on a screen layer above the foreground (top-right), and background (bottom-left) renders. In the right image the property is enabled, and you can see all the rays.īelow: The composite of all the layers used in the scene. When you composite this image over your (in this case gray) image layer, the lights only appear in areas where there are objects/assets. Compare to the above image.Ībove: In the left image the property is disabled.
In order to get these lights on a separate layer (for later compositing) it is very important to have the "Environment Alpha Replace" property enabled on the rsVolumeScattering node!Ībove: If the property is disabled, the volumetric rays will only appear in the white regions of the frame (where there are objects/assets). The parts of the frame that render black are excluded from the alpha channel (because there is nothing behind the tree and hill/ground).īelow: The same frame rendered with the property enabled.
To render these lights I put all assets into a group and applied to it Redshift's rsMatte node.īelow are my setting for this node it is enabled, and Alpha is set to 1. Also, I have a dome light (bottom-center) with an hdri map of a blue sky with some white clouds, for reflectivity and additional tone control.įor volumetric lights I used a spotlight, with a very small scale (.001, I enlarged it in the pic below for clarity), along with Redshift's Environmet Fog node. One light is pure white (and serves to emphasize the specularity of the grass) while the other is more warm (a sunrise hue aesthetic). I added 2 Physical lights (pictured left and right) with low intensity. The sun is not causing the volumetric lights, however, I have a separate light for that (more on that light later). To light the scene I used Redshift's Physical Sun & Sky node, where the main source of light, the sun (pic below, top-center), acts like a backlight (to emphasize leaf translucency where possible). The original geometry that was instanced was zero'd out in translation and rotation, placed at the center of the scene, below the floor of the shot, where it's hidden from the camera (pictured below). This way, the same instance of a chunk of grass appears diferent because it is viewed from a different angle than the other copies. To populate the scene, I used the spPaint3d tool to instance assets in non-homogenous ways.įor each instanced asset across the ground plane, I would set the rotaion property so that each instance is rotated by a random value of 0 - 360. This way every blade is not identical, sinceit has one of the 9 textures. Here is how.īelow: for the grass texture, I used the djPFXUVs tool to split a single UV square into a 3x3 space. Some of these leaf shaders were made using the rsSprite shader in Redshift. I took the leaves from outside, scanned them, and used Photoshop to create the texture files below. really short grass), and the caches slow down the scene.Īn early test render of the grass texture, testig the translucency and bump maps in Redshift.īelow are the other assets used for the scene. This is because not all grass moves (e.g.
Like almost all the other assets, I made multiple (7) versions, for variety, before converting them to polygons.įor each of the 7 chunks of grass I had a version with an animation cache, and one without. Above: a render without diffuse textures.īelow: The grass was made in Maya's Paint FX (google "paint fx tutorial" to learn how).
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