I can think of more ways to do that - they get more complex but require even less tweaking and attribute adding - all of the above so far would require some scripting to lessen the manual work. This way you end up with each object having it's individual ID and the objects' materials having the same ID for whatever groups you want to group them in. I've added an example scene for this too - multi_level_matte_mltID.zip add extra vray attributes to your materials > material ID and add the same ID (labeled "multiMatte ID") to all materials you want to group. you can add multiMatte render elements with "use material ID" enabled - IDs deriving from material nodes will be used - this is now the tricky part.ģ. you can add multiMatte render elements (with the default mode "use material ID" being disabled, meaning IDs deriving from meshes will be used). In case you can't use the cryptomatte (if your compositing is outside nuke or fusion), you can combine this with multimattes only by (ab)using the source of the objectIDs (material vs. cryptomatte in "attribute" mode for the group level and multimatte(s) for the individual masks. You can combine this with the multimatte render element, e.g. It is a complex material with four layers: a base diffuse layer, a base glossy layer, metallic flakes layer, and clear coat layer. I've attached an example scene -> multi_level_matte.zip The VRa圜arPaintMtl material is a material that simulates a metallic car paint. This will create two sets of masks - one individual and one per group. Then add the attributeName in the cryptomatte in mode "attribute". Then group your objects into maya groups and add v-ray extra attributes > "user attributes" to the group node itself and add a custom attribute =. For example with Cryptomatte - you can add two cryptomatte render elements - one in "node name" mode (which is the derfault - for the individual masks) and one in "V-Ray user attribute mode" (for the per-group masks). We’ll be doing this simple shot below from start to finish, it is quite simple and graphic I know, but to get there I’m going to explain to you many things that you are going to be using quite a lot in visual effects shots, more than we actually end up using in the shot.It won't work in that way, since having multiple ID assignments on different hierarchy levels means one will override the other, like you've already noticed. Let me explain to you what is all of this about. We are going to be able to cover more features of the render engine and also discover more broad techniques that hopefully you will find interesting. The next couple of videos about this series are going to be dedicated to doing from scratch to finish a little project using Redshift. This should give you a pretty good base to start your projects in Houdini and Redshift, or whatever 3D app you want to use with Redshift. In the third episode we talked about camera mapping, surface shaders, texturing, displacement maps from Mari and Zbrush, how to ingest Substance Painter textures and did a few surfacing exercises. BUT All exports as single material, but I want export fbx with multi-material. We also talked about Redshift lighting tools, built-in atmospheric effects, and cameras. Hi I have my Surface Node->Uv Flatten->Color and it looks perfect. I shared with you my own “cheat sheets” to deal with GI and sampling. We have already discussed in depth the most basics features like global illumination and sampling. Procedural instancing enables artists to generate, animate and render vast amounts of geometry more efficiently. Below, the Digital Domain character developer provides 10 production-proven tips for using Maya’s XGen instancing framework to create better fur, hair and vegetation. My Patreon series “Introduction to Redshift for VFX” is coming to an end. Stefano Giorgetti’s 2013 character FX reel.
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