Previously Fur shader style
Table of contents
- Style breakdown
- Attribute Breakdown
- Ambient Occlusion
- Atmospheric Effects
- Pigment Density
- Paper Granulation
- Edge Darkening
- Post Processing
The fray shader style, similar to the warp shader style, emulates the broken edges commonly found in paintings, in 3D. It also provides other painterly effects often found using traditional painting media such as pigment turbulence, edge darkening, canvas textures and more.
The broken edges from the fray style are generated by displacing pixels iteratively, one pixel at a time, in a direction defined by the feature noise of the material. This noise is fractalized so that the broken edges retain the same pixel size, no matter how close/far the object is from the camera. To avoid frayed edges to occur on top of pixels that are in front, the depth is also displaced and taken into account.
This shader style depends on the Flair material, which can be assigned onto any mesh object. The material embeds painterly reflectance models and supports the art-direction framework of Flair. The material also contains a
Deformed setting attribute, which allows to attach the broken edges to animated objects.
TAA is be required to average out sub-pixel flickering at high frequencies. Also keep in mind that longer frayed edges are much more prone to flickering than shorter ones.
The fray shader style may not have all features that you need. So please let us know if we can help polish the look exactly to your requirements and pipeline.
In this page, we only document global attributes specific to the fray shader style. To learn more about other global attributes, please see the globals node documentation.
A series of frayed attributes are provided within the globals node to control and refine the style.
Ambient Occlusion (AO) darkens the image in areas that are hard to reach for the ambient light due to the local shape of the geometry (e.g. concavities, crevices, holes). Note that this effect depends only on the geometry (and the viewpoint, to a lesser extent), and not on the lights present in the scene.
Flair currently uses a screen-space implementation of ambient occlusion based on the Ground-Truth Ambient Occlusion algorithm (GTAO).
Defines how the computed ambient occlusion is applied on the final image.
- None: AO is not applied.
- Multiply: the AO is multiplied over the image.
- Color Burn: same as above, except that the AO is blended over the image using the Color Burn blending mode.
- Style-specific: AO is applied by the current style, so the effect depends on the style implementation. (default)
- With styles other than the Graph styles, the AO modulates the pigment density, resulting in darker colors in occluded areas.
The radius used by the ambient occlusion filter: larger radius results in larger darkened areas.
The strength of ambient occlusion: higher values make the ambient occlusion darker.
Atmospheric effects are useful to add atmospheric depth to bigger scenes by changing the color within a specific range.
Defines a custom atmospheric perspective color, making things at distance tint towards the specified color.
Defines the range at which the atmospheric tint will start and end. Set these values high to not have the atmosphere range affecting your scene.
If you wish to exclude an object from the atmosphere tint affect (e.g., a background plane), enable the Color Plane attribute in the Flair shader material assigned to that object.
The range is set for Maya units multiplied by the World Scale, consider this when setting up this attribute.
The Fray attributes allow to control globally how the frayed distortion should behave.
The frayed type dictates where the frayed distortion should happen.
- Everything - applied everywhere
- Geometry - applied around depth differences
- Edges - applied around any recognized edge (color, normals, depth)
The amount of frayed distortion.
Defines the maximum amount that the frayed distortion can grow iteratively, even with art-direction.
Longer frayed edges are much more prone to flicker than shorter ones.
Fades the frayed distortion towards the tips of the distortion.
Defines the base frequency of the feature noise controlling the frayed distortion. A higher frequency will make the frayed distortion finer, whereas a lower frequency make the frayed distortion coarser.
A high frequency can cause flickering as the feature noise enters sub-pixel dimensions.
Shifts the base feature noise value around, creating new distortions at different values.
Accumulates the color along the feature noise, generating frayed grain.
The concentration of pigments, giving the render either a diluted or a more saturated and darker look.
The accumulation of pigments on the valleys of the paper (canvas). Concentrates the pigments on the valleys and creates a more saturated and darker look.
Edge darkening accumulates the pigments (color) gradually towards the edges, generating darker edges.
Strength of the edge darkening effect. A higher intensity will concentrate more color on the edges.
Width for the edge darkening effect.
Note: A wider edge darkening will require an increase in intensity, as well.
Sharpness of the drybrush application. Using a dry brush will only apply pigments to the peaks of the canvas, leaving the canvas color appear at the valleys of its profile.
Color of the drybrush application.
Post Processing attributes contain simple but useful self-explanatory post-processing filters
This group is closed by default, but can be opened by clicking on it.
Deformed attribute within the materials to bake the frayed distortion position onto animated objects.
Nurbs surfaces can’t save any data in vertex colors, so warped distortions won’t stick onto the objects and it won’t be possible to use VertexFX on them.