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Class 12 Media and Entertainment Chapter 1 3D Animation
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3D Animation
Chapter: 1
| SESSION 1: MASTERING THE ESSENTIAL SKILLS TUTORIAL WINDOW IN MAYA |
| Check Your Progress |
A. Multiple Choice Questions:
1. What is the primary function of 3D animation in films, television, and games?
(a) To create two-dimensional characters.
(b) To bring characters and objects to life through motion.
(c) To design still images for web design.
(d) To enhance sound effects in digital media.
Ans: (b) To bring characters and objects to life through motion.
2. Which of the following software is used to create lifelike animations as seen in films like Avatar and Jurassic Park?
(a) Blender.
(b) Adobe Illustrator.
(c) Autodesk Maya.
(d) SketchUp.
Ans: (c) Autodesk Maya.
3. What is the purpose of the Maya user interface?
(a) To import 3D models.
(b) To access features and operate tools to create, animate, and render objects.
(c) To control lighting conditions in the scene.
(d) To manage hardware resources during rendering.
Ans: (b) To access features and operate tools to create, animate, and render objects.
4. What are textures in 3D animation primarily responsible for?
(a) Providing colour and making models more visually appealing.
(b) Controlling the animation of objects.
(c) Determining the shape and size of the 3D objects.
(d) Handling the lighting and shadows in a scene.
Ans: (a) Providing colour and making models more visually appealing.
5. What is a UV Map in 3D modelling?
(a) A 2D representation of a 3D model’s geometry for texturing.
(b) A map used to determine the lighting in a scene.
(c) A diagram showing the camera angles in a scene.
(d) A visual representation of the object’s physical properties.
Ans: (a) A 2D representation of a 3D model’s geometry for texturing.
6. Which term describes using an image texture to control surface height and reflectiveness?
(a) UV Mapping.
(b) Bitmap texturing.
(c) Bump and Displacement Mapping.
(d) Layered texturing.
Ans: (c) Bump and Displacement Mapping.
7. What feature in Maya allows you to generate shadows and lighting effects as a texture to reduce real-time rendering overhead?
(a) UV unwrapping.
(b) Bump Mapping.
(c) Baking lights.
(d) Image textures.
Ans: (c) Baking lights.
8. How can you reopen the Essential Skills Movie Window in Maya after closing it?
(a) Click ‘Window > Animation Movies’.
(b) Select ‘Help > Learning Movies’.
(c) Reinstall the software.
(d) Restart the software with the default settings.
Ans: (b) Select ‘Help > Learning Movies’.
| SESSION 2: INTRODUCTION TO 3D MODELLING |
| Check Your Progress |
A. Multiple Choice Questions:
1. What is the primary benefit of using polygon surfaces in Maya?
(a) Can produce smooth organic forms.
(b) Can be rendered quickly due to minimal data.
(c) Preferred for industrial design.
(d) Allows for easy stitching of surfaces.
Ans: (b) Can be rendered quickly due to minimal data.
2. In which industry are NURBS surfaces most commonly used?
(a) Video game development.
(b) Web development application.
(c) Industrial and automotive design.
(d) Animation for movies
Ans: (c) Industrial and automotive design.
3. What is the main advantage of subdivision surfaces over polygons and NURBS?
(a) Minimal data for fast rendering.
(b) Capable of smooth organic forms with extrudable areas.
(c) Requires multiple NURBS curves for complex shapes.
(d) Best suited for creating flat surfaces.
Ans: (b) Capable of smooth organic forms with extrudable areas.
4. Why are polygonal surfaces preferred in video games?
(a) They offer smooth organic forms.
(b) They require fewer vertex points.
(c) They can be rendered quickly and are lightweight.
(d) They offer high detail at different levels.
Ans: (c) They can be rendered quickly and are lightweight.
5. Which file formats are typically used in compositing for background transparency?
(a) .MOV, .AVI
(b) .TGA, .TIF
(c) .MP4, .AVI
(d) .JPEG, .PNG .
Ans: (b) .TGA, .TIF
6. Which of the following is NOT a responsibility of a Texture Artist?
(a) Collaborating with the CG Supervisor and Lead Texture Artist.
(b) Ensuring quality control of Texture Maps.
(c) Creating the animation rig for characters.
(d) Sharing techniques and ideas with the team.
Ans: (c) Creating the animation rig for characters.
7. Which skill is most essential for a Texture Artist to succeed in their role?
(a) Ability to design photo-real assets.
(b) Proficiency in video editing software like Adobe Premiere.
(c) Understanding of modelling and texturing software.
(d) Strong programming skills for asset creation.
Ans: (c) Understanding of modelling and texturing software.
8. What is the final step in compositing after rendering scenes in 3D animation?
(a) Creating a mesh using polygon surfaces.
(b) Joining sequential still frames in a video editing software.
(c) Converting NURBS surfaces into polygon meshes.
(d) Extruding subdivision surfaces for higher detail.
Ans: (b) Joining sequential still frames in a video editing software.
| SESSION 3: TEXTURING USING SHADERS |
| Check Your Progress |
A. Multiple Choice Questions:
1. What is the primary purpose of applying textures to 3D models in Maya?
(a) To make the model lighter.
(b) To define the physical appearance and feel of a surface.
(c) To increase the rendering speed.
(d) To reduce the file size of the model.
Ans: (b) To define the physical appearance and feel of a surface.
2. Which type of texture allows you to apply multiple layers of textures to a material in Maya?
(a) 2D Texture.
(b) 3D Texture.
(c) Layered Texture.
(d) Environment Texture.
Ans: (c) Layered Texture.
3. In Maya, which of the following textures can be used to create realistic water effects?
(a) Noise Texture.
(b) Ocean Texture.
(c) Cloud Texture.
(d) Ramp Texture
Ans: (b) Ocean Texture.
4. What is the main characteristic of procedural textures in Maya?
(a) They are resolution-dependent.
(b) They require external image files.
(c) They are mathematically based and resolution-independent.
(d) They can only be used at a distance.
Ans: (c) They are mathematically based and resolution-independent.
5. Which shader would you use to create a glossy, reflective surface like water or polished metal?
(a) Diffuse Shader
(b) Specular Shader.
(c) Glossy Shader.
(d) Transparent Shader.
Ans: (c) Glossy Shader.
6. You need to apply a shader that results in a matte, non-reflective surface, such as concrete or wood. Which shader should you use?
(a) Phong Shader.
(b) Diffuse Shader.
(c) Glossy Shader.
(d) Reflective Shader.
Ans: (b) Diffuse Shader.
7. Which shader type is best suited for simulating materials like glass, which need to reflect and refract light?
(a) Emissive Shader.
(b) Refractive Shader.
(c) Transparent Shader.
(d) Diffuse Shader.
Ans: (b) Refractive Shader.
8. What effect does applying a Specular Shader to a surface have?
(a) Adds a glowing effect.
(b) Makes the surface highly reflective.
(c) Applies a transparent effect.
(d) Gives a matte finish.
Ans: (b) Makes the surface highly reflective.
9. Which shader would be appropriate to simulate a surface with both rough and smooth areas, such as rust on metal?
(a) Subsurface Scattering Shader.
(b) Bump Map Shader.
(c) Roughness Shade.
(d) Procedural Shader.
Ans: (b) Bump Map Shader.
10. If you want a material to have a high level of reflectivity but low diffuse properties, which shader would you choose?
(a) Lambert Shader.
(b) Glossy Shader.
(c) Phong Shader.
(d) Emissive Shader.
Ans: (b) Glossy Shader.
| SESSION 4: MAYA MATERIAL NODES |
| Check Your Progress |
A. Multiple Choice Questions:
1. Which material node is most suitable for creating a non-reflective, matte surface like fabric or chalk in Maya?
(a) Phong.
(b) Lambert.
(c) aiStandardSurface.
(d) Ocean Shader.
Ans: (b) Lambert.
2. For simulating a glossy, reflective surface like plastic or metal, which material node should be used?
(a) Phong.
(b) Lambert.
(c) aiStandardSurface.
(d) Subsurface Scattering.
Ans: (a) Phong.
3. When rendering a character’s skin with realistic translucency and light scattering, which shader is the best choice in Maya?
(a) aiStandardSurface.
(b) Subsurface Scattering (SSS).
(c) Blinn.
(d) aiStandard Hair.
Ans: (b) Subsurface Scattering (SSS).
4. To simulate an ocean’s surface with dynamic wave behavior and reflective properties, which shader should be applied?
(a) PhongE.
(b) Ocean Shader.
(c) aiStandardSurface.
(d) ShaderFX.
Ans: (b) Ocean Shader.
5. Which material node would you use for creating realistic car paint with complex layers like clear coat and metallic flakes?
(a) aiStandardHair.
(b) Car Paint.
(c) Phong.
(d) Surface Shader.
Ans: (b) Car Paint.
6. For applying complex, custom shader effects in a real-time game engine, which node-based tool in Maya would be most useful?
(a) aiStandardVolume.
(b) ShaderFX.
(c) Lambert 2.
(d) Use Background.
Ans: (b) ShaderFX.
7. To render materials that scatter light through a surface, such as skin, wax, or marble, which material node should be used?
(a) aiStandardSurface.
(b) Subsurface Scattering (SSS).
(c) Blinn.
(d) Phong.
Ans: (b) Subsurface Scattering (SSS).
8. Which material node is best for creating a highly reflective surface that can simulate brushed metal or satin?
(a) Lambert.
(b) Anisotropic.
(c) Surface Shader.
(d) PhongE.
Ans: (b) Anisotropic.
9. When creating a simple, flat surface without any shading complexity, which shader would be most suitable?
(a) aiStandardSurface.
(b) Surface Shader.
(c) aiStandardVolume.
(d) Lambert.
Ans: (b) Surface Shader.
10. For creating volumetric effects like smoke or fog that scatter light, which material node should be used?
(a) aiStandardVolume.
(b) aiStandardSurface.
(c) Subsurface Scattering.
(d) Ocean Shader.
Ans: (a) aiStandardVolume.
| SESSION 5: REAL LIFE 3D MODEL |
| Check Your Progress |
A. Multiple Choice Questions:
1. Which of the following attributes would you adjust to control how a 3D object reflects ambient light in Maya?
(a) Incandescence.
(b) Diffuse.
(c) Ambient Colour.
(d) Bump Mapping.
Ans: (c) Ambient Colour.
2. What is the primary purpose of Bump Mapping in Maya’s surface material settings?
(a) To adjust the transparency.
(b) To give the appearance of a bumpy or rough surface.
(c) To change the colour of the object.
(d) To control ambient lighting.
Ans: (b) To give the appearance of a bumpy or rough surface.
3. In Maya, what happens to the background of the material’s Hypershade swatch when Transparency is increased from its default setting?
(a) It turns red.
(b) It becomes a checkered pattern.
(c) It becomes fully opaque.
(d) It shows a gradient pattern.
Ans: (b) It becomes a checkered pattern.
4. If you want to make a 3D object appear to emit light without actually illuminating other objects, which attribute should be used?
(a) Translucence.
(b) Transparency.
(c) Incandescence.
(d) Diffuse.
Ans: (c) Incandescence.
5. To create a glowing effect on a backlit leaf without it appearing washed out when front-lit, which translucence property should be adjusted?
(a) Translucence Focus.
(b) Diffuse.
(c) Bump Mapping.
(d) Incandescence.
Ans: (a) Translucence Focus.
6. What effect does increasing the translucence depth attribute have on a translucent object?
(a) Allows light to penetrate deeper.
(b) Increases object’s opacity.
(c) Controls the object’s reflection.
(d) Changes the object’s colour.
Ans: (b) Increases object’s opacity.
7. Which material attribute would you adjust to simulate a frosted glass effect by diffusing light across a surface?
(a) Translucence.
(b) Ambient Colour.
(c) Incandescence.
(d) Transparency.
Ans: (a) Translucence.
8. If you want a 3D object to look like wax with light shining through it, what combination of settings is recommended?
(a) Low transparency and high incandescence.
(b) High translucence depth and low focus.
(c) High specular and low Bump Mapping.
(d) Low translucence focus and high diffuse.
Ans: (b) High translucence depth and low focus.
B. Subjective Questions:
1. Explain the advantages of using Subdivision Surfaces in Maya for modelling organic forms like a shark. How do they differ from traditional polygon and NURBS surfaces?
Ans: Subdivision surfaces enable smooth, flowing shapes with minimal control vertices, ideal for organic forms like animals. They offer polygon-like detail control, allowing intricate refinements by extruding specific areas and adjusting detail levels as needed. This multi-level control makes it easy to switch between different detail levels on the same surface. Additionally, Maya allows seamless conversion between NURBS, polygons, and subdivision surfaces, enhancing modelling flexibility.
2. Describe the process of setting up reference images in Maya for modelling. Why is it important to align these images accurately during the modelling process?
Ans: To accurately shape the shark, start with polygon modelling and later convert to a Subdivision Surface to leverage its controls. Use reference images for guidance in achieving realistic proportions.
Steps for Setting Up Reference Images:
(i) Open the View menu in the panel menu bar.
(ii) Select Import Image under the Image Plane submenu to load the side, top, and front views of the shark as background images.
(iii) By positioning these references in your viewport, one can begin shaping the shark using polygonal geometry.
In the Image Plane Attribute settings, use the Centre X, Y, Z and Width values as needed to match the images.
3. Detail the steps involved in creating the initial shape of the shark’s body using a cylinder poly primitive. What are the key modifications you must make to the cylinder to match the reference images?
Ans: Now to begin the modelling process, create a Cylinder poly primitive in the Front view.
With the polyCylinder selected, press Control + A to open its Channels Settings attributes. Go to the INPUTS tab and keep the Sub Divisions Axis value at 8, and the Subdivisions Height value at 4.
Then press the F9 key to jump into Vertex selection mode, and arrange the vertex according to the Front and Side reference images.
Arrange the vertex according to the Top reference image also.
Now in the Perspective view and with the polyCylinder mesh still selected, press F11 to jump into Face selection mode, and select the front and the back cap faces. Then press the Delete key to delete the selected faces.
Next, jump into the Front view and select half of the polyCylinder mesh, and press the Delete key to delete the selected faces.
After deleting half of the side faces, select the remaining half and press F8 to jump into Object selection mode. Then go to the Edit menu and click on the Duplicate Special options box.
In the Duplicate Special Options, turn on the Instance radio button and keep the Scale value for the X Axis at −1.00, and then click on the Duplicate Special button.
In this step, an instanced copy of the mesh has been created along the −X axis. This means that any adjustments made to the original mesh will be mirrored on the instanced copy in real time.
Instancing is particularly useful for symmetrical modelling tasks, like creating characters or objects with bilateral symmetry, as it allows you to focus on modelling one half while the mirrored side updates automatically.
This approach is both efficient and ensures that any modifications maintain symmetry across the −X axis.
4. Discuss the significance of using vertex and face selection modes in Maya while modelling. How does switching between these modes facilitate the shaping of complex forms like a shark?
Ans: In Maya, vertex and face selection modes are essential tools for precise 3D modelling.
(i) Vertex Selection Mode allows the modeller to move, scale, or rotate individual vertices (points). This is crucial for defining smooth and organic shapes, such as the curves of a shark’s body or fins. Adjusting vertices provides fine control over surface flow and topology.
(ii) Face Selection Mode enables manipulation of polygonal faces, helping in broad shape adjustments. It’s useful for extruding fins, mouth areas, or gills, and for shaping the general form quickly.
Switching between vertex mode and face mode helps the modeller work in two ways:
(i) Vertex mode: lets you adjust small details and fine shapes.
(ii) Face mode: lets you change the big outer parts and overall form.
5. After modelling half of the shark’s body, you use the Duplicate Special function. Explain the process and reasoning behind using the Instance option and setting the Scale value for the X Axis to -1.00. What is the outcome of this operation?
Ans: After completing half of the shark’s body, the Duplicate Special command is used to create the other half by mirroring the geometry.
In the Duplicate Special Options window, choose the Instance option instead of “Copy.”
The Instance option ensures that both halves remain connected — any change made to one half automatically updates the other, maintaining perfect symmetry.
Set the Scale value for the X Axis to –1.00. This inverts or mirrors the model along the X-axis, effectively creating a flipped duplicate on the opposite side.
This process creates a symmetrical shark model where both sides look the same. When you change one side, the other side changes automatically. It saves time, keeps the model even and balanced, and is very useful for making symmetrical shapes like a shark’s body.
| SESSION 6: PROPERTIES OF SURFACE MATERIALS |
| Check Your Progress |
A. Multiple Choice Questions:
1. What does the Transparency attribute of a material control in Maya?
(a) The material’s ability to reflect light.
(b) The opacity level of the material.
(c) The colour of the material.
(d) The shininess of the material.
Ans: (b) The opacity level of the material.
2. Which material type is the default in Maya when an object is created?
(a) Phong.
(b) Lambert.
(c) Blinn.
(d) Plastic.
Ans: (b) Lambert.
3. What does the Incandescence property of a material represent?
(a) The material’s reflectivity.
(b) The colour and brightness of light that the material appears to emit.
(c) The smoothness of the surface.
(d) The material’s transparency.
Ans: (b) The colour and brightness of light that the material appears to emit.
4. Which attribute is responsible for how light reflects in all directions from a material’s surface?
(a) Diffuse.
(b) Transparency.
(c) Specularity.
(d) Bump Mapping.
Ans: (a) Diffuse.
5. What is the function of Bump Mapping in Maya?
(a) It changes the surface material’s reflectivity.
(b) It simulates bumps and wrinkles on the surface without altering the actual surface.
(c) It alters the shape of the object.
(d) It affects the transparency of the material.
Ans: (b) It simulates bumps and wrinkles on the surface without altering the actual surface.
6. How does the Ambient Colour of a material affect its appearance?
(a) It determines how much the material absorbs light.
(b) It changes the material’s reflectivity in response to ambient light.
(c) It creates the illusion of glowing light.
(d) It makes the material appear transparent.
Ans: (b) It changes the material’s reflectivity in response to ambient light.
7. What does the Translucence Depth attribute simulate?
(a) The way light scatters on a material’s surface.
(b) The way light penetrates and diffuses through translucent objects.
(c) The brightness of the material’s reflection.
(d) The transparency of the material at a distance.
Ans: (b) The way light penetrates and diffuses through translucent objects.
8. What effect does setting the Translucence Focus value to a high number have?
(a) It increases the amount of light that passes through the material.
(b) It causes light to scatter over a small angle, making thin materials appear brighter when backlit.
(c) It makes thick materials like wax more opaque.
(d) It reduces the brightness of the material when backlit.
Ans: (b) It causes light to scatter over a small angle, making thin materials appear brighter when backlit.
9. Which of the following materials would benefit from using a high value for Translucence Focus?
(a) Wax paper.
(b) Steel.
(c) Marble.
(d) Water.
Ans: (a) Wax paper.
10. In Maya, how does changing the Transparency value from 0 (black) to 1 (white) affect the object?
(a) The object becomes more reflective.
(b) The object becomes completely transparent.
(c) The object appears more opaque.
(d) The object will have a shinier surface.
Ans: (b) The object becomes completely transparent.
B. Subjective Type Questions:
1. What is Translucence Depth and translucence focus?
Ans: 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. This can be used for effects such as clouds, fur, hair, marble, jade, wax, paper, leaves, and so on.
Translucence depth is based on world space. If it is set to 0 (the default), no light shows through the object. If set to 10, light penetrates through the surface, 10 units past the point where the object is in shadow.
To see the effects of translucence depth, set the transparency to a non-zero value. If the surface is supposed to be opaque, set the transparency to a very small value, such as 0.0001.
Translucence Focus: The Translucence Focus value controls how much translucent light is scattered depending on the direction of the light.
For example, use a high value for very thin materials, such as wax paper or steam, where most of the light is scattered over a small angle relative to the light’s direction. The object looks brightest with the light source directly behind it.
Use a mid-range focus value for items such as leaves. The leaves glow when backlit, but do not wash out when lit from the front.
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 colour (which also affects ambient lighting).
2. What are common properties of the surface materials?
Ans: The colour, shininess and reflectivity attributes of a 3D object are controlled by its surface material (also called as a shader, or shading material). Material Attributes refer to how the object is created by simulating light that naturally exists using Maya Software’s 3D Digital Environment. Maya assigns a default shading material called “Lambert” to all objects when they are first created. This section is focused on how to assign a new material to objects.
The following properties are common to most of the surface materials:
(i) Type: The material’s basic type (such as Phong). When you change a material’s type, only those attributes common to both types retain their previous values or settings.
(ii) Colour: The default material colour.
(iii) Transparency: A material’s colour and level of transparency are defined in the following ways:
• If the Transparency Value is 0 (black), the surface is totally opaque and if the Transparency value is 1 (white), the surface is totally transparent.
• To make an object semi-transparent, one can set the Transparency Colour to a shade of grey or to the same Colour as the material Colour. The default value is 0 (black).
• If you change Transparency from the default black (0), the background of the material’s Hypershade swatch becomes a checkered pattern. This is a visual aid and is not rendered.
3. Explain Ambient Colour, Incandescence, Bump Mapping, Diffuse and Translucence.
Ans: Ambient Colour: The ambient colour of a material determines how it will reflect various wavelengths of ambient light. Ambient colour is generally set to be the same as the diffuse colour. Set to black by default, which means it does not affect the material’s colour. As the ambient colour becomes lighter, it affects the material’s colour by lightening it and blending the two colours. If there are ambient lights in the scene, the colour and brightness of those lights are used to control how much the ambient colour contributes to the final colour of the material.
Incandescence:
(i) The colour and brightness of light that material appears to be emitting.
(ii) The incandescent objects do not illuminate other objects.
(iii) To create a lava, use a bright red incandescence. The default colour value is 0 (black).
(iv) Although incandescence makes a surface appear to glow, it does not actually act as a source of light in the scene.
(v) One can use a little incandescence for vegetation to make it look organic.
Bump Mapping: Bump Mapping is a texture mapping technique in computer graphics for simulating bumps and wrinkles on the surface of an object. This makes the surface appear rough or bumpy by changing the surface normal during rendering according to the intensity of the pixels in the bump map texture. A bump map does not alter the surface in reality but just gives it a look (texture). A silhouette of the surface appears smooth.
Diffuse: This option gives the material the ability to reflect light in all directions. The diffuse value acts like a scaling factor applied to the colour setting —the higher the diffuse value, the closer the actual surface colour is to the colour setting. The valid range is 0 to infinity. The slider range is 0 (no light is reflected in all directions) to 1, but you can type in a higher value. The default colour value is 0.8.
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. If set to 0 (the default), no light shows through the object. If set to 1, all the light shows through. The default value is 0. Use translucence to simulate clouds, fur, hair, marble, jade, wax, paper, leaves, flower petals, or frosted light bulbs.
| SESSION 7: EFFECT OF LIGHTING CONDITIONS ON SURFACES |
| Check Your Progress |
A. Multiple Choice Questions:
1. What is the effect of “Hide Source” in the Special Effects attributes?
(a) Makes the surface visible in render.
(b) Makes the surface invisible when rendered, showing only the glow effect.
(c) Increases the glow intensity.
(d) Reduces the glow intensity.
Ans: (b) Makes the surface invisible when rendered, showing only the glow effect.
2. What does the “Glow Intensity” slider control?
(a) The opacity of the surface.
(b) The brightness of the surface glow effect.
(c) The colour of the glow.
(d) The transparency of the glow.
Ans: (b) The brightness of the surface glow effect.
3. Which material types have available “Matte Opacity” attributes?
(a) Only Blinn.
(b) Only Phong.
(c) Anisotropic, Blinn, Lambert, Phong, PhongE, Shading Map, and Use Background.
(d) Lambert and Phong only.
Ans:(c) Anisotropic, Blinn, Lambert, Phong, PhongE, Shading Map, and Use Background.
4. What is the effect of the “Black Hole” Matte Opacity mode?
(a) It increases the opacity of the material.
(b) It creates a fully transparent matte channel, resulting in a “knocked out” effect.
(c) It reduces the transparency of the material.
(d) It makes the material fully visible.
Ans: (b) It creates a fully transparent matte channel, resulting in a “knocked out” effect.
5. What does the “Refraction Limit” control?
(a) The maximum number of times light can be reflected.
(b) The maximum number of times light can be refracted through an object.
(c) The amount of light that passes through the material.
(d) The angle at which light is refracted.
Ans: (b) The maximum number of times light can be refracted through an object.
6. What happens when the “Refraction Limit” is set to 10?
(a) It will stop refracting light after 10 times.
(b) It will allow light to be refracted up to 9 times.
(c) It has no effect on light refraction.
(d) It will refract all light without any limit.
Ans: (b) It will allow light to be refracted up to 9 times.
7. What is the default value of the “Refraction Limit”?
(a) 1
(b) 6
(c) 10
(d) 0
Ans: (b) 6
8. What is the “Reflection Specularity” attribute used for?
(a) To control the intensity of reflections in raytracing.
(b) To control the amount of absorption in transparent materials.
(c) To reduce light absorption in the material.
(d) To simulate thickness of transparent surfaces.
Ans: (a) To control the intensity of reflections in raytracing.
B. Subjective Questions:
1. Explain application of the various lighting conditions.
Ans: It depends upon the types of surfaces that react to varying lighting conditions to control the appearance of glows produced from light reflecting off surfaces, or from surface incandescence.Special Effects attributes are available for Anisotropic, Blinn, Lambert, Phong, and PhongE material types.
Hide Source: Makes the surface invisible when rendered (if the glow intensity value is non-zero) showing only the glow effect. Hide Source is off by default.
Glow Intensity:The brightness of the surface glow effect. The slider range is 0 to 1, but one can type in higher values to create a ‘blown out’ or ‘burn in’ effect. The default value is 0. Mapping a texture to the Glow Intensity can create very interesting effects. Turn on Hide Source to view the results.
2. What is Matte Opacity?
Ans: The mask value for individual objects can be controlled. Matte Opacity attributes are available for material types such as Anisotropic, Blinn, Lambert, Layered Shader, Phong, PhongE, Shading Map, and Use Background.
Matte Opacity Mode: It is a rendering technique used in 3D graphics to control the transparency or opacity of an object’s surface. It allows the background or other objects behind the surface to be visible through it, while the surface itself remains partially or fully transparent. Now select from the list of modes in the drop-down list. For best results when adjusting these attributes, select the Display Alpha Channel icon in the Render View to view the mask channels when re-rendering the scene.
Opacity Gain – This is the default Matte Opacity Mode. This mode produces both reflections and shadows. The matte channel is first calculated, and then multiplied by the specified Matte Opacity value. The Opacity Gain value is used as a multiplier on the matte value produced by this material.
Solid Matte – Solid Matte makes the value of the matte channel constant for the material. The value you specify in the Matte Opacity slider is used, instead of the default value. Use Solid Matte to adjust the overall density or visibility of the Use Background material.
Black Hole – When the Black Hole mode is selected, the matte channel for the material is set to 0 (fully transparent). This creates a black hole in the alpha output where the object-assigned shader renders the matte ‘knocked out’. In this mode, the Matte Opacity slider is disabled and its value ignored.
For the Opacity Gain and Solid Matte modes, if an object has non-zero Transparency, objects behind it make their usual contribution to the matte channel’s values. This is the difference between setting Matte Opacity to 0.0 in these modes, and choosing the Black Hole mode.
The Matte Opacity value depends on the Matte Opacity Mode selected (Opacity Gain or Solid Matte). For example, for Opacity Gain, the Matte Opacity value indicates the multiplier amount for the alpha channel. The default is 1, which means that any opaque material registers an unaffected alpha value.
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