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Mari 2.0v1 User Guide

1. Circle painted front on with Rotated you can see the mask edge mask prevented falloff Generally you wouldnt want such a sharp edge to the paintable area so Mari lets you specify falloff start and end points to make it fuzzy unlike the illustration above where the start and end points are the same The falloff Start is where the masking begins a proportion of where the projection deviates from directly facing the view From there the projection fades out Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 73 About Masking as the mask blends to the falloff end at which point the projection ends completely is completely masked till it hits 90 degrees from facing You can control how fast the masking falls off To see how this works the following illustrations show the result of painting a Stripe on the model like this If we bake it and then rotate to see how much smeared into the falloff area you can see the results of using masks at falloff end start points of 1 00 0 00 and 0 75 0 25 No mask Mask Falloff Mask Falloff End1 00 Start 0 00 End 0 75 Start 0 25 The Foundry Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 74 About Masking TIP If you want to you can set the end to a higher value than the start This reverses the masking the facing surfaces are masked and the oblique surfaces are paintable Channel masks You can use a Channel mask to manually def
2. Steps for Editing To paint a layer in Mari follow these steps Paint on Layers 1 Blur Paint on a Layer Blur Paint ona Start Mari and open your project Layer Select a layer with some paint on it Select the Blur tool ry Click and drag to blur your paint AA WwW N EXPERIMENT Experiment with different brush settings to see how this amp affects the final result Particularly try changing the brush e size e shape e opacity affects the strength of the blur The Foundry Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 12 VECTOR BRUSH The Vector Paint brush is useful for editing vector maps and painting directional information onto your models With the vector specific paint blends paint is converted to tangent space The vectors are then represented as diffuse RGB values This results in specifically colored paint strokes that represent color encoded vectors In addition to using the Vector Paint brush the basic Paint brush can be used together with vector specific paint blending modes to achieve different effects Viewing vectors is especially important for the creation of flow maps and normal maps Flow maps can assist in creating realistic textures or materials that simulate direction specific patterns such as feathers scales fur hair and water flow to name a few These have a pattern that tends toward a particular direction or lie against another object in a particular manner your textures should refle
3. Tip Noise is very hard to explain in words Developers understand it in mathematical equations Your best bet is to experiment with the settings to get the right spikiness for your pur poses The Foundry Mari 2 0v1 Steps for Configuring Brushes The Foundry CONFIGURING BRUSHES Steps for Configuring Brushes Opacity from the center to the edge hard and soft brush tip profiles of a brush determines whether it is hard more opaque throughout or soft fuzzier at the edges whether pressure when painting on your graphics tablet increases the radius flow or opacity as calibrated for your tablet To configure your brushes in Mari follow these steps nU fF WN Open the Brush Editor Review the Preset Brushes That Come with Mari Review Properties You Can Change Customize a Brush Export and Import Brushes Change Brush Properties on the Fly Mari 2 0v1 36 Open the Brush Editor The Foundry CONFIGURING BRUSHES 37 Open the Brush Editor Start Mari and either create a new project or open an existing one Open the Brush Editor palette e from the View menu select Palettes gt Brush Editor or e right click in the toolbar area and select Brush Editor from the drop down menu The Brush Editor palette displays The Brush Editor has three tabs e Properties configurable properties of the selected brush e Shelves the same shelves that display in your Shelf p
4. 0 ce cee ee ee eee eens 80 Phase iP ONE emt ata ee eae ee aon AOE hee Pea ames ue bie 85 Mask What You Can Paint On 0 ce ee ee ee eens 86 Edge MaSKING 625 15 nue ue Hoe oh oe de Remade Ge eo ens 87 Channel Masking iaiiieietaria oe wee daere AS a e SS 88 Ambient Occlusion Masking 2 cece eee eee eee ees 89 Depth MASKING 64 4 i 20 tee sese OA A EECA AAA ESS OS aS S 90 Backiace Masking 2552 tesesen tsetse eee hhh eee eee bees 90 Fractal Noise Masking 0 eee eee ee ee eee ees 91 Set the Paint Blending Mode cece cee ee eee eee ence 91 Paint Blending MOGCS lt 4 424548 oe eee wees ee E 92 Paint Butler SYMMeLLY none saris o eee a woe a ene stakes 8 ees 102 Transforming the Paint Buffer 0 cece cee ee eee 105 Warping Within the Paint Buffer eee ee ee eee 106 Pulling Paint Around with Slerp cece eee eee teens 106 Mari 2 0v1 TOWING PAINT AROUND COPYING AND PASTING PAINT EDITING PAINT ON LAYERS VECTOR BRUSH EXPORTING AND IMPORTING TEXTURES The Foundry Pinning and Pulling with Pinup ce ee eee ee ee eee 107 Steps for Transforming and Warping Paint 005 108 Move or Transform Paint cece ee ee eee eens 108 Warp Paint Using a Grid ec ee ee ne eens 109 Pull Smudge Grow and Shrink Paint 2 0 eee eee 113 Distort the Paint with PINS 4 8 s4 0444444 be t
5. As with channels you set up shaders individually for Multiple Objects Shaders and In Mari shaders and lights are related they both control how your project Lights appears on screen but neither affects the actual data in the channels e Shaders do include some basic lighting information but mostly they Specify what to show on the surface of the model For example shaders may include specular information which describes how the surface interacts with the lights in your project e Lights provide control on how your project is lit on the canvas You can set up four individual lights each with its own color intensity and direction by adjusting the settings in the Lights palette Default Shaders In any project Mari has four default shaders that you start with before adding any custom shaders These default shaders are e Current Channel displays the paint in your selected channel e Current Layer and Below displays the paint in your selected sub stack such as a mask or adjustment stack up to the selected layer If you don t have a sub stack selected it shows the parent stack up to the selected layer e Current Layer displays the paintable paint and masks in your selected layer e Current Paint Target displays the paint in your selected layer including any mask or mask stack adjustment filter or groups associated with the layer These shaders are also found on the Default Shaders toolbar and allow you to switch
6. Range 1 00 to 1 00 Reset 0 00 Horizontal Shear How much to distort the brush tip diagonally right to left as if pulling opposite corners right and left Range 1 00 to 1 00 Reset 0 00 Vertical Scale How much to distort the brush tip vertically Range 0 00 to 2 00 Reset to 50 Horizontal Scale How much to distort the brush tip horizontally Range 0 00 to 2 00 Reset to 50 NOISE Noise is very hard to explain in words Developers understand it in mathematical equa tions Your best bet is to experiment with the settings to get the right spikiness for your purposes Octaves number of applications of noise Range 1 to 8 Reset 4 Frequency how many spikes per octave Range 0 00 to 100 00 reset to 1 00 Scale how big the spikes are as a proportion of the radius 1 00 twice as big as the radius Range 0 00 to 1 00 Reset 0 00 Segments lines making up the brush outline to which noise is applied 4 square 360 circle Range 4 to 360 Reset 360 PROFILE Profile For rendered brushes see Type above alpha profile of the brush tip from center to edge determines how hard or soft it is Bit Depth Byte 8 bit Half 16 bit or Float 32 bit It is generally a good idea to use a brush with the same bit depth as the texture youre painting to avoid stepping Note that if you use an 8 bit bitmap it still paints in 8 bit even if you set the bit depth to Half 2 Study the descriptions above
7. TIP To make things easier later on you should use the same naming convention for the camera and texture files when you create them 1 Start Mari and import your model file 2 In the Projectors palette either e right click and select Load Projector or e click i The Load Projector dialog box displays 3 Locate the fbx file associated with your model and click Open The Select Entity dialog box displays 4 Click Select All to highlight all the cameras then click Import Mari imports the camera data from the fbx file and creates a corre sponding number of projectors in the Projectors palette The Foundry Mari 2 0v1 PROJECTORS 328 Project onto a Model Using fbx Files staticLam Input File Path Output File Path Unprojection Clamp You can click on the individual projectors in the Projectors palette to view the camera angles that you imported 5 Select a projector in the Projectors palette and either e enter the location of the associated texture file in the Path gt Input File Path field or e click D to browse for the file location 6 Select the required file and click Open The Foundry Mari 2 0v1 PROJECTORS 329 Project onto a Model Using fbx Files i You can set the other Projector attributes in the same way as described in Create the Projector on page 320 7 In Projectors gt Action select either e Import to load the texture from the projector in
8. MARI USER GUIDE VERSION 2 0v1 VISUAL EFFECTS SOFTWARE Mari User Guide Copyright 2013 The Foundry Visionmongers Ltd All Rights Reserved Use of this User Guide and the Mari software is subject to an End User License Agreement the EULA the terms of which are incorporated herein by reference This User Guide and the Mari software may be used or copied only in accordance with the terms of the EULA This User Guide the Mari software and all intellectual property rights relating thereto are and shall remain the sole property of The Foundry Visionmongers Ltd The Foundry and or The Foundry s licensors The EULA can be read in the Mari User Guide Appendices The Foundry assumes no responsibility or liability for any errors or inaccuracies that may appear in this User Guide and this User Guide is subject to change without notice The content of this User Guide is furnished for informational use only Except as permitted by the EULA no part of this User Guide may be reproduced stored in a retrieval system or transmitted in any form or by any means electronic mechanical recording or otherwise without the prior written permission of The Foundry To the extent that the EULA authorizes the making of copies of this User Guide such copies shall be reproduced with all copyright trademark and other proprietary rights notices included herein The EULA expressly prohibits any action that could adversely affect the property rights of T
9. Select the file to add and click OK Mari adds the new object to your project Your new object has a single channel Diffuse to hold the diffuse color You probably want to add additional channels see Create and Delete Individual Channels You can add a file that already exists in your project In this case the new object is added as a second instance of the same file and is initially on top of the first instance To move it see Moving Viewing and Lock ing Objects To remove an existing object select it in the list and click the 6 button Mari asks you to confirm the deletion Click Yes to remove the object You can remove any object from a project as long as there is at least one object remaining afterwards Mari 2 0v1 338 MULTIPLE OBJECTS 339 Moving Viewing and Locking Objects Moving Viewing You can move objects around on your Mari canvas For example you might and Lockin have added an object which has appeared on top of an existing object g where the objects appear depends on the configuration of the model file Objects 1 To move an object select the Pan Object ga tool 2 Click and drag to move the object It s that simple Initial state Apron moved to the left Clicking on an object selects it You can then configure and edit it for example to change to paint on a different channel 3 The Objects palette lets you show hide and lock unlock the object blacksmith_body b
10. appropriate directory or use the Ey button to display an Open dialog to find the right directory 3 If you want to import existing textures into the channels as you create them select whether to import All Patches or only the Selected Patches 4 If you want to import existing textures select in Resize how Mari should deal with patch image size mismatches for example when trying to import a 2048x2048 image into a 1024x1024 patch This can be either e Patches to fit images for example Mari would automatically resize a 1024x1024 patch to 2048x2048 to fit the image e Images to fit patches for example Mari would automatically resize a 2048x2048 image to 1024x1024 before importing it onto the patch 5 Enter in a Prefix to assign a designation to the channels This allows you to organize them according to categories in your list 6 Choose the channels to create and import from the list by clicking in the boxes You can either click to check the boxes individually or right click the list and choose to Add Custom Create All Create None Import Existing or Import None 7 You can change any selected channels Size Type Fill Depth or Files If you want to import textures listed for the channel check that Mari has found them as indicated by a green bar or a number listing the number of textures found for the model If Mari hasn t found them as indicated by a red bar i you can click a to open an Open dialog b
11. image used on the how the Flow proce model for flow dural handles the Repeat sets the alpha component repetition value of the tiled image affects the speed of flow Blends seamless 3D You can control the Oil procedural Oil procedural over layer noise in an oil pat look of the oil pattern tern with the shaded by adjusting the Size Surface using the and the Organicness specified Blend or Roughness quali Mode ties Color A and Color B allows you to set the oil pattern colors used on the model The Foundry Mari 2 0v1 Procedural Layers Noise Cellular The Foundry Blends seamless 3D noise in a cellular pattern with the shaded surface using the specified Blend Mode Blends seamless 3D noise in a perlin pat tern with the shaded Surface using the specified Blend Mode Blends seamless 3D noise in a squiggle pattern with the shaded surface using the specified Blend Mode You can control the look of the cellular pattern by adjusting the Size and Type of cells to use Addition ally you can specify the Distance method used to achieve a spe cific look Color A and Color B allows you to set the cellular pattern colors used on the model You can control the look of the perlin pat tern by adjusting the Size and color Color A and Color B allows you to set the perlin pat tern colors used on the model You can control the look of the squiggle pattern by adjusting the Size and co
12. 6 7 8 Click on the fields to set the color If you want to display a reference grid in a 3D view set the details under the Grid section The Visible switch turns the onscreen grid on and off while the other fields let you set the Color and Size of the grid displayed To show the wireframes on the model turn the Visible option on under Wireframe You can set the wireframe color in the Color field TIP You can turn the wireframe display on off using the aia button on the Canvas toolbar or using the keyboard shortcut Shift W TIP If the WireframeColor has a high alpha value it may be hard to see onscreen If you have the wireframe turned on but cannot see it on your model check that the WireframeColor isnt too transparent If you want to adjust the Camera Mask Opacity use the entry box or the Slider to choose a value between O and 1 To select the color that you want shown when selecting Linked Patches click on the color swatch to choose from the color picker You can also choose the Linked Patch color from within the Patches palette Under the Rendering section you can control which additional parts of the scene display onscreen e Checker Color A changes color A of the transparency checkerboard to the selected swatch color Mari 2 0v1 CUSTOMIZING THE VIEW 19 Set the Main View Options e Checker Color B changes color B of the transparency checkerboard to the selected swatch color e Checke
13. Channel e with the channel selected click Eo or e from the Channels menu select Remove Channel If you have other objects in the project that have a channel with the same name you have the option of removing the channels from only the selected object or all objects in the project The Foundry Mari 2 0v1 CHANNELS 2 70 Flatten Channels EXPERIMENT With a sample project loaded try this amp e Create a channel called TEST with features RGBA bit and color e Then change its color e Duplicate it e Then delete both new channels Flatten Channels To flatten the selected channel right click in the Channels palette and select Flatten or from the Channels menu select Flatten A progress bar displays showing the time left until the channel has finished being flattened Create Multiple 1 To create multiple channels from presets Channels from e right click in the Channels palette and select Channel Presets or Presets e from the Channels menu select Channel Presets The Channel Presets dialog opens sUDIM tif TY dirt SUDIM tif l dirtMask SUDIM tt NTITY_dispBroad_SUDIM tif NTT Y disoFine SUDIM ti spechough SUDIM thft 2 The Root Path is the base directory for your Mari project Mari looks here for textures to import when creating the channels If the textures The Foundry Mari 2 0v1 CHANNELS 271 Navigate Between Channels are in a different directory change the Root Path to point to the
14. Enter a fixed size for the crop box in pixels and drag it to the area you want to crop e Aspect Enter a fixed aspect ratio for the crop box in pixels and drag it over the area you want to crop 3 Now click and drag to select the area to crop choose the Output Size and click tl cp TIP Mari saves a cropped image as part of the project not as a separate file on disk unless you specifically save it with a new filename 4 To apply a filter to an image click to select it in the Image Manager and from the Filters menu select the filter to apply The Foundry Mari 2 0v1 MANAGING IMAGES IN MARI 209 Run Scripts on Images The Apply dialog box displays Selected Images None 5 Make sure that Apply To is set to Selected Images TIP For details of the filters available and how to apply them see Available Filters 6 Set filter options and click Apply Mari applies the filter to the image in the Image Manager 800px Wellingtoi Untitled UntiLuminosityl cp TIP You can filter multiple images at once Mari applies the same filter to all the selected images Filtering an image in the Image Manager breaks the connection between the image and the original file If you want a copy of your updated image on disk save it with a new filename Run Scripts on The Image Manager has a right click option to run scripts on images This lets you run custom scripts for example a Nuke or ImageMagick transform Imag
15. Exporting Animated Textures Exporting Animated Textures When you export an animated texture Mari exports a separate file for each patch for each keyframe For example a model with 20 patches painted as an animation with 3 keyframes gives 60 files when you export it To export an animated texture 1 Open the Export dialog box as normal from the Layers menu select Export Set the export details as normal except e Include the FRAME keyword in your Template Mari replaces this with the frame number of the keyframe for the exported textures padded out to five digits For example if you are exporting a layer called color with keyframes at 9 and 6 then using an export Template of FRAME_ LAYER UDIM tif gives the following files for patch 0001 00001 color 0001 tif OO009 color 0001 tif and 00016 color 00001 tif e If you want to export only the textures for a particular frame range which can include multiple keyframes enter the range in the Frame Range field at the bottom of the Export Layer dialog box Click All or Modified Only as usual to start the export Mari exports the files creating a file for each patch keyframe combina tion The Foundry Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 29 EXTENDING MARI You can add your own custom attributes to objects in Mari as well as edit configuration files In particular you can specify sets of e keyboard shortcuts Using a shortcut configur
16. HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY WHETHER IN CONTRACT STRICT LIABILITY OR TORT INCLUDING NEGLIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFT WARE EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE This is the Modified BSD License Mari 2 0v1 OpenSSL 1 0 0a The Foundry A toolkit implementing the Secure Sockets Layer SSL v2 v3 and Transport Layer Secu rity TLS v1 protocols as well as a full Strength general pur pose cryptography library APPENDIX C THIRD PARTY LICENSES 395 Third Party Licenses The OpenSSL toolkit stays under a dual license i e both the conditions of the OpenSSL License and the original SSLeay license apply to the toolkit See below for the actual license texts Actually both licenses are BSD style Open Source licenses In case of any license issues related to OpenSSL please contact openssl core openssl org OpenSSL License Copyright c 1998 2008 The OpenSSL Project All rights reserved Redistribution and use in source and binary forms with or without modification are permitted provided that the following conditions are met 1 Redistributions of source code must retain the above copyright notice this list of conditions and the following disclaimer 2 Redistributions in binary form must reproduce the above copyright notice this list of conditions and the following disclaimer in the documentation and or other materi also provided with the distrib
17. Import Shelf Delete Item yave Item Load Item Assign Shortcut Toggle Icon Size TIP Some of the customization features are not available for some of the preset brushes shelves their name and contents cannot be changed 1 To rename a shelf right click anywhere in the shelf and select Rename Shelf The Rename Shelf dialog box displays The Foundry Mari 2 0v1 The Foundry 2 STORING RESOURCES USING SHELVES 162 Modify Custom Shelves and Their Contents Type the new name and click OK Mari renames the shelf To delete an item from a shelf right click it and select Delete Item Mari removes that item from the shelf To assign a shortcut key to an item in a shelf right click it and select Assign Shortcut The Assign Keyboard Shortcut dialog box displays TIP Resize columns and the dialog box to better view shelf names and the Shortcut column 5 6 Double click in the Shortcut column for the selected item type a shortcut key and click OK You can now use that shortcut to select that item To delete a shelf open it and click at right Mari asks you to confirm deleting the shelf and all its contents Click OK Mari deletes the shelf EXPERIMENT As a learning exercise try this create a custom shelf rename it add an item to it rename the item delete the item then delete the shelf Mari 2 0v1 Import and Export Shelves and Items The Foundry STORING RESOURC
18. Save Your layout 6 Understanding the Status Bar To select and position palettes 1 To choose which palettes to display e from the View menu select Palettes and then a palette from the sub menu or e right click an empty spot on the toolbar area and select a palette from the dropdown menu The dropdown menu lists palettes at top and toolbars below TIP When you open a palette it displays where it was the last time it closed 2 You can do the following to position a palette e move click in the title bar and drag e undock click in the title bar and drag to the middle of the canvas or outside the main Mari window e dock drag to an edge of the canvas left right top or bottom The side of the canvas expands to grab the palette e dock beside another palette drag onto the side of another undocked palette between docked palettes or between a docked palette and an edge of the canvas Palette s shuffle over to make room for the new palette if there is enough room otherwise they stack see below e dock on top stack drag on top of a docked palette Palette s shuffle up slightly to display tabs below for selecting which palette displays on top Mari 2 0v1 CONFIGURING THE USER INTERFACE 196 Choose and Organize Toolbars TIP If you dock two floating palettes together they appear as a separate palette window You can also use the standard controls at the t
19. Shaders also serve the vital purpose of giving you a quick way of comparing VISUAL EFFECTS SOFTWARE Getting Started with Layers The Foundry LAYERS 224 Getting Started with Layers your texture under different conditions Switching between the pre existing shaders gives you a fast way of viewing your textures within the lighting shader you ve set up or simply viewing the current channel or layer stack Layers Channels Shaders For combining layers of paint A channel contains a stack 3D lighting and other effects on 3D surfaces of layers These serve as which generally use a small inputs to shaders number of channels as inputs Fancier Beckman Diffuse spec and Environment Co dependence of channels layers and shaders For more information about shaders please see Shaders on page 281 You can find most of the new features regarding layers and masks within the Layers palette or the Layers menu The Layers palette is divided into two panes The top pane displays all the layers for that channel and the bottom pane provides information and controls to adjust the selected layer when applicable All the controls for adding editing or deleting layers can be found on the right click menu or the buttons on the palette Adding layers and masks immediately adds the selected component whereas adding adjustments and procedurals opens a dropdown menu for further selections Blend modes are also found on the Layers palett
20. The Colors palette displays cp TIP The default layout in Mari has the Colors palette already open 2 Click the shelf in the Shelf palette you want to copy the color to Personal Project or Create a Custom Shelf 3 When the color you want to copy is in the Foreground or Background color swatch drag and drop it from the Colors palette to the shelf where you want to store it TIP The swatch on the shelf only holds the color values not the alpha Swatches on shelves always have an alpha of 1 0 You can also drag and drop color swatches from anywhere else they appear in Mari such as the Properties palette or Select Color dialog box You can display a large array of color swatches in a shelf by minimizing the icon size right click anywhere in the shelf and select Toggle Icon Size from the dropdown menu Icons switch from large to small or vice versa Add an Image to To add an image to a shelf for example for painting through or clone stampingj a Shelf Ping 1 If the Image Manager palette is not already open e from the View menu select Palettes gt Image Manager or The Foundry Mari 2 0v1 STORING RESOURCES USING SHELVES 159 Add an Image to a Shelf e right click in the toolbar area and select Image Manager from the dropdown menu The Image Manager palette displays TIP The default layout in Mari has the Image Manager palette already open Click to give it focus See Managing Images in Mari for
21. To use and customize Mari keyboard shortcuts and mouse gestures follow these steps View the Default Shortcuts and Gestures Try the Mouse Gestures Customize General Keyboard Shortcuts Set Keyboard Shortcuts for Project Items Use the Pie Selection Control Am fF WN Unassign Shortcuts The list of shortcuts and mouse gestures is in Appendix A Shortcuts The appendix is formatted so you can print out the pages and use them as a reference card All the default shortcuts in the Manage Keyboard Shortcuts dialog box are listed in the appendix For the keyboard shortcuts a plus sign means to hold down two keys at the same time For example Ctrl C means press Ctrl and keep holding it down while you then press C For the mouse gestures press and hold down the backslash key while drawing the shape illustrated in the direction indicated from the ball start point to the arrow TIP The shortcuts for the Color Picker and Select tools work differently from the other tools By default the keyboard shortcuts for these tools only switch to the tool while you hold down the key and then switch back to the original tool when you release the key This is to make it easier to quickly pick a color or select a patch while painting with another tool If you would prefer you can set Mari so that quickly tapping the shortcut key for these tools switches permanently to the tool while holding down the s
22. You can C change both of these after creation If channels are resized after creation to Create Mari automatically resizes all the layers in the channel s layer stack Channels Channels are either color or scalar Channels can be created e using the settings for existing or recently created channels as a template e in bulk using Maris inbuilt presets optionally importing textures into the channel at the same time e from a preset size color depth and type e entirely custom and ad hoc e by copying a layer to a new channel see Layers on page 223 for details e by sharing a layer as a new channel see Layers on page 223 for details Presets and Mari includes channel presets These are sets of the standard channels required to paint various types of assets for example the channels Templates equi aj quired for a vehicle or a digital double You can use these presets to create a group of channels at once If you already have some existing textures for the new channels you can choose to automatically load these into the new channels as they are created TIP You can customize the channel presets functions by writing your own a channel preset and channel template files to create custom presets and templates For more information refer to Create Multiple Channels from Presets on page 270 and the chapter on Extending Mari on page 350 VISUAL EFFECTS SOFTWARE Flatten a Channel s Layer Stack HDR Channels Sna
23. adjusts the space between the directional markers e Line length adjusts the length of the directional markers e Line width adjusts the width thickness of the directional markers e Start Color changes the color at the base of the directional marker e End Color changes the color at the tip of the directional marker e Vector Space sets whether the vector space is converted to either ScreenSpace TangentSpace no change or WorldSpace Screen space is the most useful option for painting flow and normal maps In addition to the options on the toolbar the following options are listed on the Tool Properties palette when the Vector Inspector tool is active e Rotation lets you adjust the rotation of the inspector buffer by either entering a value in the entry box or adjusting the slider e Translation adjusts the translation position of the inspector buffer NOTE The Rotation and Translation options are both available in the Tool Help shortcuts whenever the Vector Inspector tool is active Mari 2 0v1 Adding Vector Shaders The Foundry amp VECTOR BRUSH 135 Adding Vector Shaders To create vector brush default shaders follow these steps 1 2 Open the Shaders palette to manage newly created shaders Create a default vector shader by either e clicking the icon on the Vector Painting toolbar or e navigating to Python Examples gt Setup Vector Brush Clicking the icon or script automatically
24. but does not reflect other options such as jitter or opacity TIP To a delete a custom brush select the brush and click Oox EXPERIMENT Try creating three custom brushes you might actually use amp and test them out on a model If it doesn t turn out as you expected try customizing it and re saving it to your Personal shelf Export and You can also export and import your brushes This is useful for example if Import Brushes you want to share brushes with other users p 1 To export a custom brush right click it and select Save Item The Save Item dialog box prompts you to save the brush as an msi file cp TIP The first time you save or open items in Mari it defaults to your home directory Thereafter Mari remembers the last folder you navigated to in that dialog box 2 Type a filename and click Save The Foundry Mari 2 0v1 CONFIGURING BRUSHES 45 Export and Import Brushes Mari exports the brush 3 To import a brush right click in the Personal Project or custom shelf and select Load Item The Import Item dialog box prompts you to select an msi file 4 Navigate to and select the msi file for the brush you want to import and click Open Mari imports the brush cp TIP You can also import and export entire shelves see Storing Resources Using Shelves EXPERIMENT Try creating a custom brush exporting it then deleting it amp from the shelf and finally re importing it Import a custom Ph
25. color gt Paint Head gt Basic Skin Diffuse gt color Group gt color gt Paint Head gt All Old Channels gt dispFine gt Paint Head gt Basic Skin Bump gt dispFine Group gt dispFine Invert gt dispFine Mari 2 0v1 CLONE STAMPING 55 Clone stamp The list includes all channels in your project plus Painting clone from the unbaked paint and Image clone from an external image The default value for Source is Current Paint Target TIP If you cant see the Tool Properties toolbar open it by right clicking in the toolbar space at the top of the window and selecting Tool Properties from the bottom of the dropdown list 3 Select Current Paint Target select the layer you want as a source then hold down Ctrl and click on the model s surface to set the source point Mari highlights the source point with a cross 4 Paint normally As you paint Mari copies the texture from around your source point in the source channel e The white circle is your brush e The black circle is the source area as you move your brush this cir cle shows you the texture youll be cloning from You can select any preset brush to use with the clone stamp tool or edit the brush as normal see Configuring Brushes To clone from the paint buffer 1 To set the clone source in the unbaked paint that is the contents of the paint buffer from the Tool Properties toolbar at the top of the screen select Paintin
26. e Mask Amount the amount that the mask affects the paint buffer 1 0 means that the mask absolutely controls where you can paint the effects of the mask decrease as the value gets lower e Mask Curve controls how the fractal noise relates to the degree of masking based on the above fields This allows you to fine tune the contrast and pattern appearance of the fractal noise mask e Invert if this is selected the mask data is black on white rather than white on black When enabled the e icon displays in the status bar Clicking this icon as well as the checkbox in the palette disables the fractal noise mask Set the Paint 1 In the Projection palette scroll to the Painting section Blendi ng Mode Mari displays the details of the current paint blending mode The Foundry Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 92 Paint Blending Modes Painting Painting Mode Normal Painting Opacity You can also set this in the Tool Properties toolbar 2 Paint a stroke or two on your model so you can see the effects of changing the settings 3 Select a paint blending mode from the Painting Mode dropdown The paint blending modes available are similar to many other paint pack ages If you arent familiar with the various modes see Paint Blending Modes for descriptions and examples As you change modes the paint in the buffer updates to show the effect EXPERIMENT Play around with the b
27. e flick speed e friction e rolling e orbiting See Appendix A Shortcuts for model rotation shortcuts To set the view in Mari follow these steps 1 Set the Main View Options 2 Configure the Lighting 3 Set the Perspective Camera Details Mari 2 0v1 CUSTOMIZING THE VIEW 16 Set the Main View Options 4 Configure Navigation Set the Main You can set the view options separately for the UV and 3D views View Options 1 Switch to the view you want to set the view options for Either e right click on the canvas and select Display Properties from the drop down menu or e from the View menu select Display Properties The Display Properties dialog displays The Foundry Mari 2 0v1 CUSTOMIZING THE VIEW 17 Set the Main View Options 3 To turn the onscreen display of the project information Current Tool Tool Help Current Channel and so on off uncheck the HUD box The Foundry Mari 2 0v1 The Foundry CUSTOMIZING THE VIEW 18 Set the Main View Options 4 Under the Background section set the window background enter the path to the image in the Image field Use the button next to the field to open a dialog to find your image a single color set the Bottom and Top fields to the same color Click on the fields to set the color a gradient between two colors set the Bottom field to the color for the bot tom of the window and the Top field to the color for the top of the window 5
28. e keyboard shortcuts pressing one or more keys e mouse shortcuts a so called gestures holding a key and moving the mouse in a particular way As well as the default shortcuts that come with Mari you can customize your own keyboard shortcuts for any Mari function Plus for each project you can create custom shortcuts for the items and sets within that project or assign multiple shortcuts for the same action cp TIP You can also change shortcuts through custom configuration files See the Extending Mari chapter for details on how to do this Canceling Some actions can also be canceled once they have been started To cancel Actions an action press Escape or click the x button on the status bar Canceling actions is not immediate and depends on the complexity of the action Canceling is limited to e applying filters e ambient occlusion e autosave e projecting e from the paint buffer e through projectors e turntable rendering e paint projection Shortcuts for Mari includes a configurable on screen pie control menu that allows you 2 to select common brush tips or color settings You can add up to seven Settings VISUAL EFFECTS SOFTWARE Steps for Using Shortcuts and Gestures View the Default Shortcuts and Gestures The Foundry USING SHORTCUTS 27 Steps for Using Shortcuts and Gestures brush tips or colors to the pie control as well as being able to quickly switch between the paint and eraser tools
29. e right click on the layer and select Layer Mask gt Disable Mask from the dropdown menu Once you want to re enable the mask visibility again use the same methods above to navigate to Layer Mask gt Enable Mask To remove the adjustment stack from an existing layer e with the layer selected from the Layers menu select Adjustment Stack gt Remove Adjustment Stack or e right click on the layer and select Adjustment Stack gt Remove Adjust ment Stack from the dropdown menu Mari 2 0v1 Add or Flatten Groups The Foundry LAYERS Add or Flatten Groups 5 To only disable the adjustment stack so you can compare the results in the layer without the stack in place e with the layer selected from the Layers menu select Adjustment Stack gt Disable Adjustment Stack or e right click on the layer and select Adjustment Stack gt Disable Adjust ment Stack from the dropdown menu Once you want to re enable the adjustment stack visibility again use the Same methods above to navigate to Adjustment Stack gt Enable Adjustment Stack To add an empty layer group either e from the Layers menu select Add Empty Layer Group e right click any layer in the Layers palette and select Add Empty Layer Group from the dropdown menu or e in the Layers palette click A 2 To create a group from existing layers e with layers selected from the Layers menu select Group Layers or e right click the selected layers and
30. minimum face texture size that Mari can restrict sizing operations to Geometry versions from obj files can be added to a Ptex project provided all the versions are topologically equivalent that is they have the same number of faces with the same shape so that the model does not change This preserves the paint that has already been applied to the existing version Mari 2 0v1 PTEX 295 Steps for Using Ptex Steps for Using To use Ptex in Mari follow these steps Ptex Create a New Project Set the Ptex face Texture Options Manage Ptex Faces Export a Ptex Channel or Layer Import a Ptex Channel or Layer Paint Preservation with Multiple Ptex Geometries Aum fbf WN Create a New Multiple files can be used to create a project in the Ptex workflow If this is Project the case it is recorded in the dialog s history as a set of files instead of rojec only one file To create a new project using either one file or a set of files follow the steps below 1 Start Mari and select File gt New The New Project dialog box displays 2 Enter a name for your project and the location of the geometry you want to work on 3 You have the option to load either ptx files or obj files If you choose to load an obj file the Mesh Options panel displays with options for setting the Mapping Scheme for the project using Selection Sets and working with Multiple Geometries Per Object e Mapping Scheme If there is a UV map avai
31. of the different brush properties 3 Note the following types of controls used to specify brush properties e Entry boxes to type an entry usually a number Mari 2 0v1 CONFIGURING BRUSHES 42 Review Properties You Can Change e Sliders to slide between the minimum and maximum allowable entries e Reset button to return to the default setting Often entry boxes sliders and reset buttons are combined Vertical Scale e Checkboxes to select or deselect a property e Dropdown menus to Select from available options BitDepth Byte Byte i Od t e Spline Editors to move values along a Curve you can drag any of the points on the curve in any direction and see the effects in the preview bar below the curve Click to add a new point and right click to invert select presets and export and import settings To remove a point click on it while holding Ctrl Profile 4 Try changing some brush properties and note the change in the squiggle in the scratch pad it updates dynamically You can also try painting in the scratch pad or painting on the canvas and then undo ing to see the effect of your changes The Foundry Mari 2 0v1 CONFIGURING BRUSHES 43 Customize a Brush TIP When you hover the mouse over a brush tooltips display key properties Radius 158 px Inner Radius 152px Flow 96 Flow 100 Depth Float H EXPERIMENT Select one of the preset brushes
32. once per channel Generating turntables for a large number of channels takes a while Mari shows the progress in the status bar at the bottom right Rendering Turnti Save Load and 1 To save a projector to disk in the Projectors palette either Delete e right click on an existing projector and select Save Projector from the dropdown menu or Projectors e click on the ea button Mari displays a Save dialog box for you to choose a location on disk and set the projectors name 2 To save all the projectors in the project as a single file right click in the Projectors palette and select Save All Projectors Mari displays a Save dialog box for you to choose a location on disk and set the file name 3 To load a saved projector file in the Projectors palette either e right click and select Load Projector from the dropdown menu or e click on the er button Mari displays an Open dialog box for you to find the projector file This can be for a single or multiple projectors 4 To delete a projector either e in the Projectors palette right click on the projector and select Remove Projector from the dropdown menu or e click on the eed button Mari removes the selected projector The Foundry Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 27 MULTIPLE OBJECTS Mari allows you to load multiple objects into a scene and paint them at the same time This lets you paint objects in context for example you can pai
33. patch is given the same paint as the patch it is linked to if the linked patch is painted after they have been linked This function can be found within the Patches palette It is best to view the model in UV view when attempting to link or unlink patches The linked patches feature works best when the underlying UV maps are identical If they are not then the differing UV maps result in different edge bleeds which could manifest as bleeding artifacts on linked patches If you need to avoid edge bleeding artifacts you can use the Whole Patch Projection option in the UV view The Foundry Mari 2 0v1 Steps for Working with Patches View and Resize Patches The Foundry WORKING WITH PATCHES 187 Steps for Working with Patches LOOT TOFT Y 1024 1004 1024 x 1024 NOTE Please be aware that if painting on more than one linked patch any overlap of paint can cause baking artifacts If you have trouble painting on linked patches because of these overlaps you can lock the patches you don t want to paint on directly To manage the patches in your Mari project follow these steps OW WAN HUY HPWN View and Resize Patches Using UDIM Values Copy and Paste Patches Extract Patches to the Image Manager Fill Patches with Color Flip and Rotate Painting Mirror Painting Save Images of the UV Masks Bleeding Across Patch Edges Link or Unlink Patches 1 Start Mari and open your project To open the UV view
34. 157 pdd a Color to aShell ees e535 sos Are ea a aaa ss Ges 158 Add lt an Image to a ohelf lt lt lt tant sancdeeies eo 6 en dudad aoe eee ees 158 Create a CuSlom shell g lt 06 cues coe Scan Sew duc ATEEN 468s 160 Modify Custom Shelves and Their Contents 02 161 Import and Export Shelves and Items 0 2 e eee ceee 163 Create a New Shelf Palette 0 ce eee ee ee ee eee 164 Add Any Mari Function to a Shelf 0 0 ce ec ee ee es 165 SPIGCHION TOOls 26 cress ead anak can SUN eee ae e ee aa aed oe has 166 SelICCTION MOdGS 23555 eei4etse24se cokes eased hte keene 167 Smart SClACHON 6 4264 5b ew sree nares ae Swe aes Rk ea ow 168 Visibility and Locking ce eee ee ee te ee eens 168 Selection and Painting 0c064 hese aaieeeakebadacenaas 168 Saving Selected Areas soto ticle hws bee eateder eas eaters wee 169 Marquee Select TOON retre tne mentee tadebe cae teeeaamew eae ee 170 Steps for Making Selections cee eee eee eee eee eens 171 Selecting Objects Patches or Faces cece eee ee eee 171 mangand LOCKING 3 25 4 5 395 00 eae eee MENS ES arenas 174 Saving Selections on the Model ec eee ce eee eee 176 Selecting Areas ONSCIEGN ocad oiee ose eee ee ea btaw toad een ees 178 Moving and Distorting Marquee Selections 181 Patch RESOMLIOM o 0450 lt 44 48 sd MAG eee EEE RIA CECE a Read 182 Changing Patches as a
35. 226 Layer Blend MOGCS lt lt 5 24 oc Raa Oe Ae a EGR OO ow ENERE EREK 226 Layer MASK Senna te se ad cad 9h ee ode Se de ee eae te et ea nae oe 227 Alphiavand MASKS 4 4 Se ser na aa NA seeews 227 Layer GroOUD Sreser etere oie yo te a ooo eB E EEA iia 228 Mask GhOUDS 4 054430 See sce Hise eee tee eeee ee bes eS 228 AESI 2 2 once pees aoe baila oscars E EEEN 228 Merge UAV CES 2 008 2s wy ehets heen bd ale hee ee ee Ba Aa aa da 229 Adjustment Layers sees bebe SSMS dash See SESE ASS SEO RSS 229 Secondary Adjustments cece ce ee eee ee eee eee 229 Procedural Layer Speero Yet a ee ee Oe ob kG eee 229 Cube Mapping eera cot oc see eee Sew a ERORA eee ene ee 230 Projection SNAUEIS esre 24 644 02s oe hoe eS RRS SERA O ROSS 230 Vector BRUSHING 35 cto6 6608 Si add5646 365 ek Sees eee ewes 230 Mipmap BEMAVION ins ara02 6 t5 dh cachne aoe A Sees meee Behe eRe Oe eee a 231 Laver Caching eesriie seu wis sews eee wae Saket 6 wees 231 AY Cle SAN e EEEE ors ace Bu ates ce ne ee a E oe eee wo EN 232 Dragging Layers for Moving Copying and Sharing 232 Export and IMDOM sere sesend see Ss eho eee SO Oe eee 233 Steps for Working with Layers ccc eee cee eee ees 233 Open the Layers Palette s oc sae cee cesen numa dates oe ees 233 Add Layers and Masks 0 ccc ee ee ee eee eee eens 234 Add Adjustments and Procedurals 0 cece eee eee eee 235 Remove and Disable Layers 0 cece
36. 512 This patch is stored as an output file 512 pixels wide by 512 pixels high Higher resolutions take more memory and require more storage but provide more detail Resolutions available in Mari range from 256 x 256 to 32k x 32k 32768 x 32768 Resolutions in Mari are always square with the width equal to the height You set the resolution for a channel when you create it You can however change the resolution later for example downsizing if you find the file s getting really big and you dont need so much detail or upsizing if the shot focuses on something that you find needs more detail You can either e change the resolution of the entire channel at once that is all patches in the channel or e resize specific patches within the channel Changing the resolution of a patch in one channel does not affect the resolution of the same patch in another channel For example a particular patch could be at 512 x 512 in the bump channel and 2k x 2k in the diffuse channel All layers in a channel or patch are resized when the channel or patch is resized but you cannot resize individual layers TIP For more details on working with channels see Channels Changing Mari lets you change patches as a whole You can Patches asa Whole e copy textures from one patch to another e fill patches with a single color e rotate or flip the paint on a patch VISUAL EFFECTS SOFTWARE WORKING WITH PATCHES 183 Changing Patches as a W
37. AUD 440 0053 354 5555 h acd dOt SO bSe884 ou de gaan s 200 Save VOU layo k errr 4 ad Oe tee CREE YS FE eed RADARS 200 Understanding the Status Bar cece ee ee eee 201 status BIr CONS berur Pee Sl eRe ot ee oa EAEE A R his 201 Steps for Managing Images cece cee ee eee eee 204 Open the Image Manager Palette 0 cece ee eee 205 Load and Select Images cece cee ee ee eee ee ee eee 205 Crop and Piller iMaGes lt a ots bsaweanhaha wh anse eww teen oes 208 R n Scripts On Images i lt s lt 50 lt lt de Sad ibanse ue es iaaa ARETE EEA 209 About the ColorSpace Toolbar eee eee ee eee eens 212 Steps for Managing Colors cee ec ec ee eee ee eens 212 Pick Colors from Paint on the Model 0 0 eee ee eee 212 Select Colors from a Picker or Image cece ee ee ee 213 Set How Colors Are Displayed Onscreen 0 ee ee eee 217 Before Conversion os2i44 cease eee Iaa ATTN EREN 221 Upgrade Your PrOjGCl lt lt ccc rs dere es BRE OA EP DOEA ACH OEEEAE bs 221 LaVerne Gratin o400244 raana aaa a D 223 Shader Dependence cece cee eee eee ee eee eee ees 223 Getting Started with Layers ce eee ee eee eee 224 Mari 2 0v1 CHANNELS The Foundry Ordering Layers 44 444 24 Use ek eC he eet eRe ae ES 225 Filter and Search for Lavers csesies ok este te tae eee SS Be 226 Locked and Hidden Layers 0 cee eee ee ee eee
38. Click OK Mari generates a series of images for the turntable Generating a 1 Right click on the projector and select Diagnostic Turntable from the Diagnostic Turntable dropdown menu The Diagnostic Turntable dialog box displays The Foundry Mari 2 0v1 The Foundry PROJECTORS 333 Generate a Turntable from a Projector In the Channel section of the dialog box click to uncheck any channels you do not want to generate turntables for If you are using animated models or textures and want to render the turntable with the animation check Play Animation This disables the Frames control above because the frame range is taken from the Play Controls palette Set the other details for the turntable s to generate The properties for diagnostic turntables are the same as for Generating a Render Turntable except e You cannot set an offset e You cannot set the shader or lighting to use all images use the default shader and flat lighting In addition you should ensure that the Template includes e The FRAME FRAME on Windows variable so Mari assigns the frame numbers correctly to the files e The CHANNEL CHANNEL on Windows variable so Mari includes the channel in the filename If this is not present and you export multiple channels the later channels overwrite the earlier ones Click OK Mari 2 0v1 PROJECTORS 334 Save Load and Delete Projectors Mari generates a series of images for the turntable
39. Layers to export all layers in the layer stack 2 To flatten the layers before exporting them e from the Layers menu select Export Flattened gt Export Selected Lay ers Flattened to flatten and export the currently selected layers or e from the Layers menu select Export Flattened gt Export All Layers Flattened to flatten and export all layers in the layer stack The Export dialog displays The Foundry Mari 2 0v1 EXPORTING AND IMPORTING TEXTURES 152 Importing and Exporting Ptex Files H 3 Now you can choose to Export Individual Files or Export a Sequence of Files from this chapter NOTE Since exporting all the layers in a layer stack would be the LA equivalent of exporting an entire channel the Export All Layers and Export All Layers Flattened options in the Layers menu exports the same result as the Export Current Channel and Export Current Channel Flattened options in the Channels menu cp TIP The export flattened menu options are also available from the right click dropdown menu on the main canvas and in the Layers palette Importing and As Mari supports ptx files it is also possible to import and export Ptex files in Mari This can only be done for a Ptex project However unlike the Exporting Ptex steps described in this chapter importing and exporting Ptex files behaves Files a little differently For more information on how to import and export Ptex files see Export a Ptex Channel or Layer
40. License go to http www gnu org licenses or Media Help CopyrightNotices in the Mari application directory QuaZip Qt zip wrapper Copyright C 2005 Sergey A Tachenov Released under the GNU Lesser General Public License Qwt Qt widgets for techni Mari is based in part on the work of the Qwt project http qwt sf net cal applications The Foundry Mari 2 0v1 APPENDIX C THIRD PARTY LICENSES 401 Third Party Licenses SGI virtual track Virtual trackball for c Copyright 1993 1994 Silicon Graphics Inc ball interacting with 3D ALL RIGHTS RESERVED objects Permission to use copy modify and distribute this software for any purpose and without fee is hereby granted provided that the above copyright notice appear in all copies and that both the copyright notice and this permission notice appear in sup porting documentation and that the name of Silicon Graphics Inc not be used in advertising or publicity pertaining to distribution of the software without specific written prior permission THE MATERIAL EMBODIED ON THIS SOFTWARE IS PROVIDED TO YOU AS IS AND WITHOUT WARRANTY OF ANY KIND EXPRESS IMPLIED OR OTHERWISE INCLUDING WITHOUT LIMITATION ANY WARRANTY OF MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE IN NO EVENT SHALL SILICON GRAPHICS INC BE LIABLE TO YOU OR ANYONE ELSE FOR ANY DIRECT SPECIAL INCIDENTAL INDIRECT OR CON SEQUENTIAL DAMAGES OF ANY KIND OR ANY DAMAGES WHATSOEVER INCLUDING WITHOUT LIMI
41. Licensee agrees to indemnify hold harmless and defend The Foundry the Third Party Licensors and The Foundrys and each Third Party Licensor s respective affiliates officers directors shareholders employees authorized resellers agents and other representatives collectively the Released Parties from all claims defense costs including but not limited to attorneys fees judgments settlements and other expenses arising from or connected with the operation of Licensees business or Licensees possession or use of the Software or Documentation SECTION 12 LIMITED LIABILITY In no event shall the Released Parties cumulative liability to Licensee or any other party for any loss or damages resulting from any claims demands or actions arising out of or relating to this Agreement or the Software or Documentation contemplated herein exceed the License Fee paid to The Foundry or its authorized reseller for use of the Software Furthermore INNO EVENT SHALL THE RELEASED PARTIES BE LIABLE TO LICENSEE UNDER ANY THEORY FOR ANY INDIRECT SPECIAL INCIDENTAL PUNITIVE EXEMPLARY OR CONSEQUENTIAL DAMAGES INCLUDING DAMAGES FOR LOSS OF BUSINESS OR LOSS OF PROFITS OR THE COST OF PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES REGARDLESS OF WHETHER THE RELEASED PARTIES KNOW OR HAVE REASON TO KNOW OF THE POSSIBILITY OF SUCH DAMAGES AND REGARDLESS OF WHETHER ANY REMEDY SET FORTH HEREIN FAILS OF ITS ESSENTIAL PURPOSE No action arising out of or related to this
42. Mari 2 0v1 Cube Mapping Projection Shaders Vector Brushing The Foundry LAYERS 230 Cube Mapping Cube maps provide a context for reflecting images of surrounding environments on the model similar to the Sphere Map procedural layer The difference is that the environment is modelled by six textures mapped ona cube surrounding the object as opposed to a single texture mapped ona sphere surrounding the object Cube mapping uses the dds file format to load files into the Cube Map procedural layer As with the sphere map the cube allows you to modify the falloff starting and ending points to create the exact level of reflection you want on your model Cubic and spherical projection procedural layers allow you to import a texture into the scene and project it onto the geometry Using multiple Cube Map Projector or Sphere Map Projector procedurals enables you to get the best possible projection from the different camera locations in a scene Using multiple camera locations allows you to account for occlusion and perspective when projecting textures onto the geometry There are three projection procedurals e Cube Map Projector e Sphere Map Projector and e Triplanar Projection You can also use masks with the projection procedurals to mask out parts of the projection This is helpful in eliminating unwanted artifacts for example where the projection overlaps with other projections in the scene Each projection procedural all
43. Shadows enabled still don t appear to be casting shadows Shadows can be toggled on or off in the display by selecting the Shadows button in the Lighting toolbar Mari 2 0v1 Steps for Working with Multiple Objects Adding and Removing Objects The Foundry MULTIPLE OBJECTS 337 Steps for Working with Multiple Objects If Depth Projections have been enabled in the Preferences there are two related options that can be set to customize the shadow settings Depth Projection Resolution and Depth Projection texture Array Size control the texture resolution and shadow coverage Both these options are dependent on the graphics card Mari automatically attempts to set this option at the resolution that works best for your setup If there aren t sufficient graphics memory resources Mari degrades the quality of the shadows so as to use fewer resources until shadows can be rendered Working with multiple objects involves 1 Adding and Removing Objects Moving Viewing and Locking Objects Adding and Removing Object Versions WW N 4 Calculating Ambient Occlusion 5 Shadow Settings 1 Start Mari and open your project 2 Open the Objects palette This displays all the objects in your project Mari 2 0v1 The Foundry MULTIPLE OBJECTS Adding and Removing Objects blacksmith eyes To add a new object click the a button The Add Objects dialog box displays allowing you to select the new object file to add
44. Target Color Deptn Size 4 The settings in the Unprojection section control how the projector takes screen snapshots e If Clamp is checked Mari restricts the range of the image to values between 0 and 1 e The Shader Used defaults to Current Paint Target but you can change this to determine which shader you want to unproject e The Lighting Mode defaults to Flat but you can change this e You can set the Color Depth and the image Size these default to the settings of your paint buffer when you create the projector The Foundry Mari 2 0v1 PROJECTORS 322 Create the Projector 5 Set the Output File Path to specify where the projector saves the image You can either e type this directly or e click the a button The Save File dialog box opens allowing you to set the location for the saved files 6 Navigate to where you want to save the projector type in the filename and click Save TIP If you want to take shots of multiple channels using this projector include CHANNEL in the filename When Mari saves the files the projector produces it replaces this variable with the channel name for each Mari sets the file type from the listed possibilities by the file extension you include 7 Set the Input File Path to specify where the projector looks for updated images to load As with the output file path you can type this directly or click a to select from the Pick Path dialog box You can al
45. User Attributes e Adjacency 7 Set the Use Template For field to determine if the template above is used for Only this layer or Everything 8 Click Export Mari exports your textures to disk in ptx format Import a Ptex 1 To import a ptx file to a channel select Channel or Layer e Channels gt Import gt Import into Layer Stack or e right click on a channel and select Import gt Import into Layer Stack e NOTE If you want to import into a new channel instead of the current layer stack select Import gt Import into New Channel from the Channels menu or right click menu 2 To import a ptx layer select layers to import into and navigate to e Layers gt Import gt Import into Layer or e right click on a layer and choose Import gt Import into Layer Ka NOTE If you want to import into the layer stack as a new layer select Import gt Import into Layer Stack from the Layers menu or right click menu r NOTE Ensure that you don t import textures into a layer you want to preserve current textures on as importing into a layer updated the previous paint The Import dialog displays The Foundry Mari 2 0v1 The Foundry PTEX 302 Import a Ptex Channel or Layer Enter the Ptex import path in the Path field or manually browse to the location You can manually select the Ptex files to import or you can set the Ptex File Template to automatically search for Ptex files that match the object channel or geom
46. Whole 0 ee ce ee ee ene 182 Saving Images of UV Masks ona Patch ee ee ee eee 184 Bleeding Patch Edges 0 ce cc ce ee te eee eens 185 LINKEd Patches os00 wonere e cakes DAda edd eee eee eee eA 186 Mari 2 0v1 CONFIGURING THE USER INTERFACE MANAGING IMAGES IN MARI MANAGING COLORS IN MARI PROJECT CONVERSION LAYERS The Foundry Steps for Working with Patches 0 cece ce ee ee eee 187 View and Resize Patches ccc ec ee ee ee ee te eens 187 RESIZ PALCNGS 4 oti eet ewe se at eee male eee ea oad BERS 188 Using UDIM Values 0s68 co eeendanet KEER E eee eeaeew ees 189 Copy and Paste Patches 64 5405 s0eav svcd davinteeenenbbedueeeess 189 Extract Patches to the Image Manager 00eeeeeeee 190 PillPatcnes With COO ereas rers Se ese e SOA aw ee Se SGA ees 190 Flip and Rotate Painting lt 6 6 05 0s ee Kees ee ewe 4 NaNO hee es 190 Mirror Paint sesine a oh a ae a eG 6s Wee Aa eae ee 190 Save Images of the UV MASKS 4 20 2055 ba ewe daa ceadauied sees 191 BIGECING Across PAlCECGES 424 euieeees daaa E ewe aed4 191 LINK OF GOMNK PatCNES susse 65 sai ase hee EMA Se wm ee ee aes 192 Steps for Customizing Your Workspace 2 cece eee eee 195 Choose and Organize Palettes 0 cee ee ce eee 195 Choose and Organize Toolbars 0 eee ee ee eee 196 Create Custom Toolbars ic ccetesandac ad Kadina ee eens sew eres 198 COnTiGure the
47. a project or all layers in a layer stack Mari supports standard image formats for export and import such as tif exr psd png jpg tga and dds You can find a full list of supported file formats in the import and export dialogs When you create a set of new channels either when creating your project or when using the Channel Presets button you can import a set of existing textures See Channels on page 264 for more information To import and export textures in Mari follow the instructions below Import Existing Textures to Channels Import Existing Textures to Layers Export Textures from Channels Export Texture from Layers Importing and Exporting Ptex Files Export to Maya Am f WN VISUAL EFFECTS SOFTWARE Import Existing Textures to Channels The Foundry LA EXPORTING AND IMPORTING TEXTURES 141 Import Existing Textures to Channels Start Mari and open your project To import select a channel from the Channels palette and do one of the following e from the Channels menu select Import gt Import into Layer Stack to import textures into the current layer stack of the selected channel or e from the Channels menu select Import gt Import into New Channel from the Channels menu to import textures into a newly created chan nel f you select Import into Layer Stack the Import dialog displays f you select Import in New Channel the Add Channel dialog displays first allowing you
48. and play around with the amp Radius Opacity Profile and Jitter settings Notice how each affects your brush strokes on the canvas or in the Brush Editor scratch pad Customize a Having looked at the available preset brushes and different properties you B h can change let s finally try customizing a brush This involves three steps rus selecting a preset changing its properties and saving it to a shelf 1 First select a preset to modify click the Presets tab then click a tab for a category of preset brushes and click to select a brush 2 Review Properties You Can Change click the Properties tab and change the brush properties 3 Finally save it to a shelf click the Shelf tab click to select the Personal shelf Project shelf or any other custom shelf you may have created and click the IM button The modified brush displays in the selected shelf By default it is named Brush and then Brush 1 Brush 2 etc incremented for every tool you add The Foundry Mari 2 0v1 CONFIGURING BRUSHES 44 Export and Import Brushes Brush Brush_1 4 To rename the brush double click its name type over a new name and press Enter e NOTE Any brush tip that you select is shown as an outline for the brush LA Cursor design with any tool that allows you to apply paint to the model for example Paint Paint Through and Clone Stamp among others This Cursor Outline scales according to the radius of the brush tip
49. box with 64 control points You can then warp the paint buffer under the box by moving the control points around Initial transform box After some warping 16 control points e e The Slerp tool works like the Liquify tool in Photoshop It lets you pull ulling Paint p Around with the contents of the paint buffer around Slerp The Foundry Mari 2 0v1 TRANSFORMING AND WARPING PAINT 107 Pinning and Pulling with Pinup Initial contents of paint Body pushed in to Slerped using a big buffer give a narrow waist jbrush tip in an S motion Slerp uses a Standard Mari brush tip so you can fine tune how to push things around As well as pulling Slerp lets you grow shrink and rotate the paint You can also use it to selectively erase distortions youve already applied Pinning and The Pinup tool works like the Warp tool but lets you set your own control Pulling with points pins wherever you want Think of it as turning the paint buffer into a rubber sheet which you can pull around with the pins You can use pins Pinup either to pull the paint around or to hold it in place So if you get a distortion that youre happy with in part of the buffer you can set some pins around it and other distortions wont affect it You can move the pins around either one by one or in groups or rotate them around a central point You can also move the point of rotation S Initial contents of paint Pins on the legs The same pi
50. c 2003 Dr Brian Gladman Worcester UK All rights reserved LICENSE TERMS The free distribution and use of this software in both source and binary form is allowed with or without changes provided that 1 distributions of this source code include the above copyright notice this list of conditions and the following disclaimer 2 distributions in binary form include the above copyright notice this list of condi tions and the following disclaimer in the documentation and or other associated materials 3 the copyright holder s name is not used to endorse products built using this soft ware without specific written permission ALTERNATIVELY provided that this notice is retained in full this product may be distributed under the terms of the GNU General Public License GPL in which case the provisions of the GPL apply INSTEAD OF those given above DISCLAIMER This software is provided as is with no explicit or implied warranties in respect of its properties including but not limited to correctness and or fitness for purpose TinyXML TinyXML library This software is provided as is without any express or implied warranty In no event will the authors be held liable for any damages arising from the use of this software Permission is granted to anyone to use this software for any purpose including commercial applications and to alter it and redistribute it freely subject to the fol lowing restrictions 1 The or
51. ce ee ee ee eens 236 Add or FlattenGroups lt sx o soe eee ties Seed ita dae ick vee RK 23 7 Share LAVeNrs 66 ecw ou tdr EEEE OO SENS Oe SE SETAE EFS 239 Cache cand Uncache Layers 4 lt ccosesed MAb as Cee hen ee eee 240 Export and IMPONt LAaVers e 4 cnn de dawns deodeee a age meats 241 EXDOEE LAVelrs 4 624 biota ee ee WEEE SAR DEES 241 Export Flattened Layers ee ee ee eee eee ee ees 242 IMPOPE Laye S 0 4 34 ki wes oak Bie he erat eee eg Sed Salas 242 Convert MASKS 223 3455 404 8Re sc Ge se Seas See eee eee 243 Convert Alpha Values to a Mask 0 cece eee ee eee 243 Layer Types and Examples cece cee ee ee ee eens 244 Different Ways to Create Channels 0 cee ee ee eee 264 Presets and Templates 0 cc cece ee te eee eee eens 264 Flatten a Channel s Layer Stack 0 0 cece ee eee eee 265 Mari 2 0v1 SHADERS PTEX The Foundry HDR Channel Sisson eA a e EERE eee EROS SS 265 Snapshots hs wes ew sc eas Oe eS ee eae es ee ee wees 6S 4 aces 265 Export and MTV OT stk ocean anh oe ocd a SN I we ote ald OES laa Yel 4 265 Edit Paint on Your Channels 40 20400 4s4i0000 4 044000 65480044 266 Convert Channels and Shaders cece ee eee eee ee 266 Steps for Managing Channels cece cee ee ee eee eens 267 Create and Delete Individual Channels 0200 eee 267 Flatten GMANINGlS a atecstak 22 0 St hee aA Ae ela eee a ee ee eR eee
52. color values in the source image either all at once or by RGB channel e Alter the Contrast or Saturation e Use the value curve to apply a specific change to the colors Mari grades the colors by converting the input value on the x axis to the matching value on the y axis For example Default settings Blue component turned down The Foundry Mari 2 0v1 CLONE STAMPING 51 Steps for Clone Stamping Colors at default settings but contrast turned down Color and contrast at defaults but the fol lowing value curve applied Steps for Clone To paint using the clone tools follow these steps Stamping 1 Set the Clone Stamp Options 2 Clone stamp 3 Apply a Color Grade as You Clone Set the Clone 1 Start Mari and open your project stamp Options 2 Click to select the Clone Stamp tool 3 Open the Tool Properties palette The current properties of the selected tool display Scroll down to view them all The Foundry Mari 2 0v1 CLONE STAMPING 52 Set the Clone Stamp Options 4 To customize the brush you re using for your selected tool set the options under the Tip and Geometry sections These are the same options available for brushes in general see Con figuring Brushes 5 To set the brush strokes to start relative to the source point click the Relative checkbox under Texture gt Image If this is not selected the clone brush strokes always start from the source point see Setti
53. contours to paint To clone from an image 1 To clone from an external image drag the image from the Image Man ager or from a shelf onto the main canvas The image opens up in a separate window You can zoom the image in and out by holding down Ctrl Alt clicking and dragging This sets the clone source to Image automatically 2 Click in the separate image window to set the source point The white circle in this window shows where the current clone source is as you move the mouse The Foundry Mari 2 0v1 CLONE STAMPING 57 Clone stamp 3 Paint in the main Mari window as normal cp TIP If you paint off the edge of the image no clone data is available You lt can choose to tile the source image If this is on when you paint off the edge Mari repeats the image so you always have source data Use the semicolon key to toggle source image tiling on and off EXPERIMENT Experiment with the various options and modes of clone yas stamp Try using a custom brush with an unusual texture lower alpha and so on to find which settings work best for you The Foundry Mari 2 0v1 Apply a Color Grade as You Clone 9 gt The Foundry CLONE STAMPING 58 Apply a Color Grade as You Clone Open the Painting palette and scroll down to the Source Grade section This section lets you control the color grade for your source image Click to check the Enabled box You can use the controls to e Change the color v
54. creates two shaders in the Shaders palette three channels in the Channels palette and the neces sary layers for each channel in the Layers palette The default created shaders are Vector World Space and Vector Screen Space and each of these have the newly created channels set to the corresponding shader component inputs During shader setup the following three channels are created in the Channels palette Vector Paint e Vector World Space and e Vector Screen Space lle NOTE Running the script changes the Painting Mode to Paint Flow Vectors and switches the paint tool to Vector Painting if this is not already selected EXPERIMENT If you prefer you can create the shaders and channels manually To do this Create the channels you want to use for your vector painting and add the Vector Tangent To Screen or Tangent To World adjustments and procedurals in the Layers palette Create your shaders and assign your vector channels to the Diffuse Color and Vector shader inputs For example the default vector shaders assign the Vector Screen Space channel to the Diffuse Color input and the Vector paint channel to the Vector input Once you ve set up the shaders go back to the Vector Paint channel and begin painting your normal or flow maps in the Vector layer Mari 2 0v1 VECTOR BRUSH 136 Adding Vector Adjustments and Procedurals Adding Vector Select one of the following default channels created with th
55. details block per channel and a closing block Below are examples of each type of block with values you need to change bolded and explained in a table below Mari 2 0v1 The Foundry EXTENDING MARI Review the Custom Channel Preset File Format Header block This must be the first thing in the file lt DOCTYPE MariML gt lt Mari Version 2 gt lt MriSerializableObject Type MriSerializableObject gt lt objectName Type QString gt lt objectName gt lt selected Type bool gt false lt selected gt lt m Channels Size 1 Type MriChanneliInfo ContainerType QVector gt You must set the following values m_ Channels Size Number of channels in this preset file ee Details blocks You need one details block for each channel Separate the blocks with a blank line lt MriChanneliInfo Type MriChanneliInfo gt lt objectName Type QString gt lt objectName gt lt selected Type bool gt false lt selected gt lt channelName Type QString gt My Custom Channel lt channelName gt lt fileFormat Type QString gt lt fileFormat gt lt path Type QString gt lt path gt lt scalar Type bool gt false lt scalar gt lt width Type int gt 4096 lt width gt s lt height Type int gt 4096 lt height gt lt channels Type QString gt RGB lt channels gt lt depth Type QString gt Byte lt depth gt s color Type MriColor 0 5 0 5 0 5 1 lt colors lt category Type QS
56. ee 270 Create Multiple Channels from Presets 02 ee ee eeees 270 Navigate Between Channels 2 cece ec eee eect eeeee 271 Set and Change Channel Properties 2 cece eee ees 272 Take and Manage Channel Snapshots 0 eee ceeees 272 Snapshot Current Channel si on oa enew een ste ekua 272 Snapshot all ChannelSs s s i 04 0 544 00 6 6 soaed dase EENE 273 Use the Snapshots Palettes a sees oes a Soe a laia eae heed 273 PULOSNADSNOUS sasaaa he hale ees ewe e a S Abele hee 275 Snare Channels 34 54 6 626k SSO A danas ose As See ee OR OE 275 Lockand Unlock Channels 23145 cose ote nee REE ES Sees 276 Export and Import Channels cece ce eee eee eee eee 277 Export Channels lt o on s40swnt3b ow taaaa ahead bwin eaee waa 278 Export Flattened Channels cece ce ec eee eens 278 Import Channels 0 tees e ee en was cect eats eee obs haha 279 Shaders and Lights lt 6 666 bia deii rrtt EEEE EERE ORAS ESS 283 Default Shader S acces Kiera Shy ca ee ees RIE eee 283 Diffuse and Specular Settings cece eee ee eee eens 284 AmDIENt OCCWUSION 333 60 c 0 26 oec on he E E Renee 284 SAGE LIMULUS aid xgeeve tow ie a ewe en ae no woe Sloan Bone Ree ad 285 Shading and ChannelS cccc6 es id 43 54 EARS EAE ARS BAO EERE DS 285 Shaders on Multiple Channels 0 0 ec eee ce eee eens 285 Steps for Using Shaders 230404 case da waereaanaddccA asad es ses 286 O
57. effects on your display Mari 2 0v1 Set the Perspective Camera Details Configure Navigation The Foundry NJ _ CUSTOMIZING THE VIEW 24 Set the Perspective Camera Details Click on the Perspective tab to switch to the perspective camera If it s not already visible open the Canvas toolbar To open the toolbar right click in the toolbars area at the top of the screen and select Canvas from the dropdown menu Enter values for the Near and Far clipping planes Mari only displays parts of the scene that fall between these two planes Anything closer than the Near plane or further than the Far plane is not shown Set the value for the field of vision in the FoV field This controls how much Mari distorts the view when applying perspective At O the perspective camera gives exactly the same view as the ortho camera As the value increases the distortion increases TIP You can also change view mode by e clicking the Ortho a Perspective and UV PA buttons or pressing F10 F11 and F12 respectively To configure navigation settings go to Edit gt Preferences and select the Navigation tab 1 To set the controls select one of the options below from the Control Type dropdown menu e Houdini e Lightwave e Mari e Maya e Nuke These controls allow you to set what type of control options shortcuts and preferences you want to use To manually change how the model movement and navigati
58. et Sa aed re Sessa 356 Example DefaultShortcuts conf 0 cee ee ee ee eee 357 Define Custom SHORCULS 4 nono sooo chee fate eda eee eas 360 Review the Custom Channel Preset File Format 361 XML File Header Details Closing Blocks 361 Example DefaultChannels mtd 0 0 ce eee eee eee 363 Define Custom Channel Presets 0 0 ccc eee ee eens 367 Review the Custom Channel Template File Format 367 Text File lt name gt lt format gt 0 0 cee ee eee 367 Example File DefaultTemplates mtt 02 ee eee 368 Define Custom Channel Templates 0 2 cece ee ee eee 368 Choose an Environment Variable to Set 0 2 0 eee eee 369 Environment Variables That Mari Recognizes 2000 370 Image Importing vo 2 saree ie One Rie dee ee eee BARBS 372 Overriding Mari Configuration File 02 20 ee 372 Set the Environment Variable 0 cece eee ee eee ees 373 On Linx sostes erna aeea ARER ECELER ane eee eee eas 373 OM Wid OWS 4 ont Sunk wears eee eee wield EEA 374 Check That the Variable Now Exists 0 0 cece ee eee eee 374 OM EINU yaer Gace eee bo eee ai ai nh Bae a e A 374 On WINndGWS 4 4275 iibt owen e eed cee ee tee eaeewce be o AN 374 Mari 2 0v1 11 APPENDIX A SHORTCUTS APPENDIX B FREQUENTLY ASKED QUESTIONS APPENDIX C THIRD PARTY LICENSES APPENDIX D END US
59. file import path in the Path field or manually browse to the location The same ENTITY CHANNEL and GEO environment variables are dis played as described above and displays an Example Path below the dropdown menu 3 Click All The Ptex Texture Import Face Texture Resize Options dialog displays If the face dimensions of the incoming import match it displays the information but no further action is required If the face dimensions of the incoming import do not match a resize method dropdown menu is listed The options available are e Resize incoming faces to existing dimensions the imported texture sizes are changed to match those of the existing textures e Resize existing faces to incoming dimensions the existing textures are changed to match those of the incoming import e Largest dimensions available per face whichever texture is the larg est whether existing or incoming import this is the texture size used This is the default option when resizing is necessary Ese ptex_2 default C ptexyptex 2 Mo E 0007 8125 Largest dimensions available p Largest dirnensions available 4 Click Ok The Foundry Mari 2 0v1 PTEX 304 Paint Preservation with Multiple Ptex Geometries Mari imports the textures and loads them into the selected channel LA NOTE The resize options are applied per face of the geometry The Ptex Texture Import Face Texture Resize Options dialog is also displayed when import
60. from a source point on the model s surface bear in mind that the shape of the model determines what gets cloned For example if your source point is on a part that sticks out from the model the space between that part and the rest of the model does not provide a source texture when painting The original model with clone See how the cloned texture point set in the paint comes directly from the on the arm Surface as seen in the view Setting a Start You can set the start point for each stroke This can be either Point e Relative to the source point Your first brush stroke starts from the source point but for later strokes the cloned texture starts from a position relative to the source point For example if your second brush stroke starts from 2 cm below the first the texture cloned there is the texture 2 cm below the source point in the original image This is the default setting e From the source point All brush strokes take their cloned texture Starting from the source point As you finish each stroke you can see the source area preview Snap back to the original source point The Foundry Mari 2 0v1 CLONE STAMPING 49 Image Options This example shows the difference between the two modes Source texture for Texture cloned relative Texture cloned not cloning to source point relative to source point Image Options When you are painting using an external image you can choose to have Mari display a preview of the
61. image floating over the canvas This makes it easier to see exactly which parts of the source image Mari is cloning when you paint This is very similar to using the Paint Through tool see Painting Through an Image or Gradient Mari can either scale the external image as you zoom in or out on the model while painting or keep it at the same size You control this with the Scale Lock setting if on Mari locks the image size relative to the model at the Current zoom level As you zoom in or out the image that youre cloning from zooms in or out too so the cloned texture always stays at the same scale relative to the surface youre painting on If Scale Lock is off the image scale does not change when you zoom in or out TIP Mari copies textures you clone from an external image at the ap resolution of the source Mari then paints these into the paint buffer at the buffer s resolution For example a 4k image provides 4k source texture for cloning which Mari can then paint into the paint buffer at a maximum of 16k the maximum size of the paint buffer See Controlling the Way Mari Applies Paint to Your Model for details on paint buffer resolution Color Grading the You can apply a color grade to your source image as you paint You can Image apply the color grade to any clone operation whether from an external image or from a channel s surface You can The Foundry Mari 2 0v1 CLONE STAMPING 50 Image Options e Change the
62. in the Brush Editor palette e Brush Flow has been set to O in the Brush Editor palette e The paint buffer has been moved off the screen To reset the buffer to its defaults click Reset under Paint Buffer in the Painting palette My object has disappeared from the canvas The object may have been moved off the screen Try pressing A or F to bring it back Mari s bake behavior seems strange In the Projection palette you can set whether Mari bakes automatically when you change the view and whether the buffer clears automatically once you bake Set Bake Behavior to e AutoBakeAndClear Mari automatically bakes and clears the buffer when you move the model e Manual You have to bake manually and when you do the paint stays in the paint buffer until you manually clear it e ClearOnly You have to bake manually and when you do the paint buffer clears automatically Mari seems slow when using the Clone Stamp tool When cloning from a particular channel the Clone Stamp tool takes a snapshot of that channel as it appears on the screen and uses that as the source As a result the resolution of the cloned texture can VISUAL EFFECTS SOFTWARE APPENDIX B FREQUENTLY ASKED QUESTIONS 380 Frequently Asked Questions depend on the current display resolution within Mari Higher display resolutions produce better cloning results but can dramatically slow Maris performance Increasing the Paint Buffer Size or Virtual Textur
63. into the dark areas the cracks in the texture This only unmasks the light est that is the highest points in the map You can also set the contrast for the mask Mari applies this contrast to the mask channel when producing the final mask cp TIP Mari expects masks to be black on white That is colors are less masked as they approach 0 more masked as they approach 1 However if you prefer to paint your masks white on black you can invert the mask input The Foundry Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 77 About Masking Ambient Occlusion The ambient occlusion mask lets you mask out the parts on your model that Mask are covered by the ambient occlusion Ambient occlusion is a way of mimicking the soft shadows produced by natural ambient light The ambient occlusion mask lets you mask out the areas that are shadowed according to this calculation Shader showing the ambient Ambient occlusion mask the occlusion on this part of the darker the area on the original model the more its masked If required you can invert the mask so as to mask out all the areas not covered by the ambient occlusion The Foundry Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 78 About Masking Depth Mask The depth mask masks out areas on the model depending on how deep they are in the scene that is how far from the render camera This lets you set Start and end values and
64. is that where Painting Mode applies to the paint strokes that are baked down onto the model the blend modes on the Layers palette apply to paint in the entire layer not just what is baked r g NOTE If the blend mode applied to the layer affects the appearance of the overall stack ensure that the layer is placed in the ideal order in the layer stack If necessary the layer can be moved after the blend mode has been set The Foundry Mari 2 0v1 Layer Masks Alpha and Masks The Foundry LAYERS Layer Masks Layer masks allow you to mask out the paint you ve already created in that layer The mask uses a simple black and white map which is visible by clicking on Current Paint Target in the Shaders palette The mask uses black to completely mask out the texture whereas white completely unmasks the texture Creating a mask on a layer painted in black and white and deriving alpha values from the mask where the alpha on a pixel is controlled by the shade on the original mask combines the alpha values with the diffuse color from the layer to create results as shown below Initial B W mask shown Diffuse layer Result of creating in Current Paint Target a layer mask Any other color used only partially masks out the texture with the intensity of the mask depending on the amount of black or white in the color NOTE It s not necessary to switch to Current Paint Target in the Shaders palette when painting a layer mask Yo
65. lighting displacement and bump among other features NOTE The paint texture that is the actual pixel data has not changed The difference is in the appearance of the shaders VISUAL EFFECTS SOFTWARE The Foundry PROJECT CONVERSION 222 Upgrade Your Project Old paint on the model is now contained in a channel labeled All Old Channels in the Channels palette Your layer setup may require some editing to give the project the same look it had before the conversion Shaders as they were known by and used in pre 2 0v1 releases are also converted to use the adjustment or procedural layers that match in the converted project For more information on the way channels layers and shaders are used together in a project please refer to the section on Layer Integration on page 223 in the Layers chapter Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 21 LAYERS Layers are the primary system for painting in Mari At its most basic the layer system can be used to set up simple stacks for ordering different sets of paint and to combine effects in a non destructive manner However the real strength of the layer system lies in the way layers integrate with shaders and channels Layer Mari s layer system does not function in isolation instead it works together with shaders and channels to create a cohesive structure for Integration painting Layers are entirely dependent on channels and need to have diffuse specular or bump chann
66. lights currently in use have a lit bulb icon TIP Mari has four customizable lights You cannot add or delete lights If you dont want a particular light turn it off 4 To turn individual lights on and off click on the light bulb icon next to the light 5 To change a light first select it In the bottom half of the palette set the light s e Color you can set separate values for the Specular shiny highlights of the light and Diffuse the color the light shines on surfaces The Foundry Mari 2 0v1 CUSTOMIZING THE VIEW 22 Configure the Lighting e Fixed to location whether the camera is fixed relative to the Scene or the Camera The light always shines on the same If you only have one light on pointing part of the model no matter how at the left side of the model the right you move the view side is always in darkness no matter how you move the view The light always shines from the If you only have one light on pointing same direction relative to the cam from the left of the camera it illumi era view This means that it illumi nates whatever part of the model s is nates different parts of the model visible on the left side of the current depending on how the model view appears in the camera 6 To move a light around either click on the light and drag it The Pan Object tool around the canvas The sphere control in the Lights palette click and pull the sphere around to move the li
67. ll see the File Example update with the name of an example file in the sequence e Click on an existing set of images in the main list The Template auto matically populates with the corresponding values If you edit the line manually you can use any of the following variables which Mari replaces with the appropriate values when it imports the images e ENTITY the name of the object e CHANNEL the name of the channel e SLAYER the name of the layer e UDIM the UDIM patch value e FRAME the animation frame number e SNUMBER the number of the file within the batch for example S NUMBER of COUNT gives strings like 22 of 28 e COUNT the total number of files in the channel e METADATA VALUE any user defined variables for example if a patch has a user attribute called PROJECT with a value of Project 1 Mari replaces the variable PROJECT with Project 1 Mari 2 0v1 NO N Import Existing Textures to Layers The Foundry N EXPORTING AND IMPORTING TEXTURES 145 Import Existing Textures to Layers NOTE For more information on how the UDIM patch values are allocated please see the section on Using UDIM Values on page 189 NOTE If you choose to import a layered psd file layers are imported directly into the selected channel If attempting to import layers with the Same name Mari asks whether to update the layers or create new ones You can now set resize detai
68. model around and make another set of frames for another axis Mari 2 0v1 PROJECTORS 332 Generate a Turntable from a Projector 5 By default the turntable images use the Example LUT and any other visual filters you have applied to the view If you want to create the images without a LUT set the Filters to Off 6 Pick the Lighting for the turntable images You can pick Flat Basic or Full lighting 7 You can also include reference images and text in the turntable images If you want to include any other information in the turntable files enter the details e You can set a Comment and change the Text Size Mari includes this at the bottom of the turntable e You can also choose up to two Reference images Mari includes these to the left of your model Specify the colorspace for each image SRGB or Linear 8 Set the Path where Mari should create the images and set the Template for the filenames This must include the FRAME variable so Mari assigns the frame num bers correctly to the files Mari can export turntables as either tif png jpg or tga files change the file extension in the Template to set the file type 9 Finally you can enter any shell Command that you want Mari to run on the files once it finishes creating them 10 If you want to check the placement of your reference images and comment text click Preview This generates the first image of the turntable so you can check the appearance 11
69. occlusion e Mask Contrast controls how sharply defined the mask is At 1 0 the mask is precisely the same as the ambient occlusion Higher values mask the occluded areas more lower values mask them less e Mask Curve controls how the ambient occlusion pixel values relate to the degree of masking The horizontal axis is the darkness of the occluded pixels black to the left white to the right the vertical axis is the degree of visibility By default this is a direct line where white pixels are totally masked black pixels are totally unmasked and 50 grey is 50 masked e Invert if this is selected the mask data is black on white rather than white on black When enabled the icon displays in the status bar Clicking this icon as well as the checkbox in the palette disables the ambient occlusion mask The Foundry Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 90 Mask What You Can Paint On Depth Masking To turn the depth masking on set the options under Depth Mask Depth Mask General Start 0 000 End 1 000 Falloff 0 200 e Start is how far through the scene the masking begins This is a proportion of the entire scene in the project including all objects lights and so on e End is how far through the scene the painting is completely masked e Falloff sets how quickly the masking falls off between the start and end points The interaction between the three settings can be s
70. of Mari functions Shortcuts 2 Click to expand a category Entries display in columns for the Name Description and Shortcut key for each function in that category cp TIP Drag the edges of column headings to make them wider so you can see the full contents of the Description column for example Similarly drag the edges of the entire dialog box to re size it as necessary 3 To add or change a shortcut key double click in the Shortcut column and type over the new key Before you click OK click somewhere to take the focus outside the Shortcut column you re editing lf the new key you entered is already used a warning icon displays In this case the newly entered key doesnt work This includes parts of any other Shortcut that conflicts with a previously set shortcut For example a new shortcut Ctrl R left click cant be set if a shortcut already exists with the definition Ctrl R The Foundry Mari 2 0v1 USING SHORTCUTS 30 Set Keyboard Shortcuts for Project Items 4 f there are no conflicts press OK otherwise select a different key EXPERIMENT Expand and browse through the different categories of amp Mari functions and their shortcut keys Try adding shortcuts for functions that don t yet have a key assigned and then try the shortcut key you ve added Set Keyboard To set shortcuts for a project item Shortcuts for 1 In the palette showing the item right click on the item and select Assign
71. of files in the channel e METADATA VALUE any user defined variables for example if a patch has a user attribute called PROJECT with a value of Project 1 Mari replaces the variable PROJECT with Project 1 Mari 2 0v1 EXPORTING AND IMPORTING TEXTURES 150 Export Textures from Channels 6 Set the Use Template For field to determine if the template above is used for Only this layer the selected layer in the channel s layer stack or Everything to include all layers in the stack 7 You can now Set Small Texture Preferences and Export the textures Exporting toa If you want to export the channels in your project to a layered psd file Layered psd File simply change the file extension to psd in the Export dialog Set Small Texture 1 Preferences and Export The Foundry NOTE When exporting multiple channels to a layered psd file all channels must have the same resolution and bit depth The CHANNEL Template environment variable does not work when exporting multiple channels to a layered psd file You can now Set Small Texture Preferences and Export the textures EXPERIMENT Experiment with the different Template variables and see how the File Example changes to show how Mari generates exported filenames Select whether to enable Small Textures With the small textures dropdown set to enabled Mari exports any patches filled with a constant color as 8x8 pixel textures no matter
72. on a side or corner of without preserving scale the buffer and drag it Rotate the buffer Either e click outside the buffer and drag or e hold down Ctrl click inside the buffer and drag TIP You can also make these transformations by manually editing the p values under Transform in the Paint Buffer section of the Painting palette For example editing the Translation values moves the buffer around on screen changing the Scale resizes the buffer and the Rotation control sets the rotation to specific degrees EXPERIMENT Experiment with the various transformations you can make amp to the paint buffer Try stretching rotating and moving the buffer then baking the paint onto the surface of your model Use both the Transform Paint tool and the controls under Paint Buffer in the Painting palette Warp Paint Using a 1 If necessary paint another couple of strokes on the model to experi Grid ment with The Foundry Mari 2 0v1 TRANSFORMING AND WARPING PAINT 1 1 0 Move or Transform Paint 2 Click to select the Warp tool ssa 3 Click and drag to create a rectangle to warp The warp rectangle displays with nine control points and a central rotation pivot the large point in the center TIP After you draw a warp box to replace it with another warp box hold down Shift click and drag The Foundry Mari 2 0v1 TRANSFORMING AND WARPING PAINT 1 1 1 Move or Transform Paint 4 To warp your selection
73. opposite in the color chart For example replaces a color with a float value of 0 3 witha color with float value 0 7 Outputs just the luminosity value of each pixel in the selection That is it outputs a greyscale image based on the brightness of each of the pix els in the original image FILTERING IMAGES AND PAINT Available Filters Mari 2 0v1 310 Applies a standard blur to the selection Soften Blur Applies a subtle softening blur This is a quick predefined blur filter If you need more control over the degree or type of blurring use either the stan dard Blur or Gaussian Blur fil ters Gaussian Blur Applies a Gaussian blur Com pared to the standard Blur fil ter this gives you much finer control over the degree of blurring and the option of using much higher blur values Changes the gamma levels in the selection The Foundry You can select the blur radius the number of pixels Mari uses when calculating the blur value for each pixel The higher the radius the more blurred the results If you use a larger blur radius you may get Slight lines on the boundaries between patches This is an artifact of the way that Mari handles the edges of patches You can set both the Radius and the Amount The higher the radius the more blurred the results Amount defines how much to mix the blurred result with the orig inal If you use a larger blur radius you may get slight lines on the bo
74. or for profit purposes b if the Licensee is not an individual it is an organisation that will use it only for the purpose of training and instruction and for no other purpose c Licensee will at all times comply with the Educational Policy as such policy may be amended from time to time Finally if the Software is a Personal Learning Edition PLE Licensee may use it only for the purpose of personal or internal training and instruction and for no other purpose PLE versions of the Software may not be used for commercial professional or for profit purposes including for the avoidance of doubt the purpose of providing training or instruction to third parties SECTION 3 SOURCE CODE Notwithstanding that Section 1 defines Software as an object code version and that Section 2 provides that Licensee may use the Software in object code form only 1 The Foundry may also agree to license to Licensee including by way of upgrades updates or enhancements source code or elements of the source code of the Software the intellectual property rights in which belong either to The Foundry or to a Third Party Licensor Source Code If The Foundry does so Licensee shall be licensed to use the Source Code as Software on the terms of this Agreement and a notwithstanding Section 2 c Licensee may use the Source Code at its own risk in any reasonable way for the limited purpose of enhancing its use of the Software solely for i
75. painted on It s the electronic equivalent of putting masking tape over something you dont want to paint when youre repainting a wall Mari includes the following mask types e ambient occlusion mask e depth mask e backface mask e fractal noise mask e aconfigurable edge mask which masks the areas on the model that are oblique to the current view and e a channel mask where you create a channel for masking paint in it and use it to control where you can paint on another channel Mari 2 0v1 Edge Masks The Foundry CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 72 About Masking Mari projects paint directly onto the surface of your model based on your view In other words it applies paint to what you can see from the angle you see it If you paint something you can see but youre not facing it directly there might be falloff where what youve painted has smeared For example the images below show a spot painted onto a surface of an anvil From the angle it was painted it looks like a circle But if you rotate it you can See that it stretched over the edge Circle painted front on Rotated you can see the falloff To prevent this from happening you can configure an edge mask which masks the falloff area so you can t paint on it or so that you can but the falloff is minimized The following illustration shows the edge mask tinged in red and the result of the painting again baked and rotated
76. performance reasons Mari divides large patches into smaller more manageable 256x256 tiles When baking paint into a channel Mari always performs an individual edge bleed for every tile affected by the paint The bleed operation fills the tile but does not affect surrounding tiles When bleeding is done per tile some exceptional conditions may occur depending on how the tile lines up with the geometry shell e As bleed width is extended from the shell to the tile boundary it may vary depending how close the shell boundary is to the tile boundary e Resizing a patch changes the tile grid causing it to line up differently with the geometry shell which can affect bleed results e Tile corners that just touch the outer shell of the geometry can result in unexpected bleed behavior Edge bleeding per patch is different because it renders the entire patch first and then performs a full bleed on it This avoids the conditions mentioned previously but requires much more memory and processor time especially when bleeding large patches The per tile method is the default behavior and ensures that normal paint bake operations are performed quickly Full patch bleeding should only be used in situations where exported tile bled patches are causing problems in third party applications Linked Patches Mari has the ability to link patches together to provide a way of sharing the Same underlying image data between multiple patches quickly and easily A
77. posi tion of the line above that point Edit the curve by e pulling the anchor points e clicking between anchor points to add a new anchor point e right clicking to select from a set of pre set values Mari 2 0v1 314 FILTERING IMAGES AND PAINT 31 5 Available Filters Color Switches Turns individual color chan Use the checkboxes to select which color nels on or off channels display When Mari applies the fil ter it removes any unchecked color channels from the painting Tone Mapping Varies the exposure of the You can set the painting e White Point the upper limit of displayed color intensity any colors of greater intensity map to white Exposure lower exposures give darker images higher exposures give lighter ones Copy Channel Copies the value from one RGB Select the source channel from the list color channel to the other two When you apply the filter Mari copies the The result is a greyscale image selected channel over the other two chan with the intensity values from nels the selected channel The Foundry Mari 2 0v1 FILTERING IMAGES AND PAINT 31 6 Available Filters Premultiply Alpha Either pre or post multiplies If the Postmultiply box is checked this acts the alpha in the selected in reverse that is removes pre multiplied image If you are painting alpha using an image without pre multiplied alpha onto one with it use this filter to perform the pre multiplic
78. project try creating a projector amp unprojecting editing the unprojected file in an external program in some obvious way and then projecting it back onto your model Use the Quick The Quick Project functions provide a fast and simple way to project and Project unproject from the current view without having to create a projector first Functions TIP When using quick unproject and quick project be careful not to change your view If you need to change your view create a projector as normal so you can go back to the view and project correctly 1 To unproject from the current view that is the current camera settings and visible shader from the Camera menu select Quick Unproject The Quick Projection dialog box displays allowing you to set a resolu tion and file path for the unprojected image Quick Projection _ etl Resolution 2048 x 2048 Color Depth bit Byte Clamp v Path Lighting 2 Set the details e Path sets the filename and type You set the image type by typing the image extension for example tif exr psd png tga and so on The Foundry Mari 2 0v1 Project ontoa Model Using fbx Files The Foundry PROJECTORS Project onto a Model Using fbx Files e Lighting sets whether the lighting information is output along with the paint when you unproject If it is whether it s stored as a Separate File or in the case of psd files an individual Layer If you h
79. re applying the filter to the Current Paint Target you can use the any channel in the project as a mask e If you re applying the filter to the Current Painting you can use the Marquee Selection tool to draw an area that you want to mask This area should be drawn before selecting the filter Alternatively you can use an image from the Image Manager e If you re applying the filter to Selected Images you can use any image in the Image Manager as a mask NOTE If you choose to use a channel or an image from the Image Manager as a mask an Invert checkbox and a Mask Curve editor displays For more information on using these see the next section on Available Filters 10 Toggle the Preview switch to see the filters effects before applying them TIP Click on the control to toggle the filter on off while you watch the effects The preview always displays on the whole model even if you have the filter set to apply to the Current Painting or Selected Images Mari 2 0v1 FILTERING IMAGES AND PAINT 309 Available Filters 11 Click Apply r a NOTE If you want a filter to apply only to a specific layer or layers of a LA channel consider using the adjustment filters in the Layers palette For more information on adjustment filters and how these work on individual layers see Layer Types and Examples on page 244 EXPERIMENT The best way to get a feel for what the individual filters do PAN is to play around with the option
80. select Group Layers from the drop down menu 3 To flatten a layer group into a single layer e with the group selected from the Layers menu select Flatten Layer Group or e right click on the group and select Flatten Layer Group from the drop down menu 4 To add a mask group to a layer the layer must first have a mask attached to it To create a mask group from a mask e with the layer selected from the Layers menu select Layer Mask gt Make Mask Group or e right click on the layer and select Layer Mask gt Make Mask Group from the dropdown menu Mari 2 0v1 237 The Foundry LAYERS 238 Add or Flatten Groups The mask group Ba icon takes the place of the mask icon in the layer list Click on the icon to open the mask group palette To flatten a mask group into a single mask e with the layer selected from the Layers menu select Layer Mask gt Flattened Mask Group or e right click on the layer with the mask group and select Layer Mask gt Flatten Mask Group from the dropdown menu The mask group icon reverts back to the normal mask icon and the mask group is now only a single mask To duplicate layers in the Layers palette click A The layer is duplicated as a copy To merge layers right click on the selected layers and select Merge Layers The selected layers are merged into a new layer Mari 2 0v1 Share Layers 1 LAYERS 239 Share Layers To share a layer in the same layer st
81. short example of what you may find the Mari configuration file HUD Canvas fps hudVisibility 2 Canvas triangleCount hudVisibility 2 Project currentObjectName_ hudVisibility 2 Project currentChannelName_hudVisibility 2 Application ThreadCount 5 To override a setting in the Mari configuration file you need to set an environment variable of the format MARI_ lt Group gt _ lt Name gt So for example if you wanted to override the application thread count setting in the above example file and set it to two rather than five you could set MARI_APPLICATION THREADCOUNT to 2 1 The procedure for setting an environment variable depends on what your default shell is To get the name of the shell you are using launch a shell and enter echo SHELL This returns the type of shell you are using 2 Depending on the output of the previous step do one of the following e If your shell is a csh or tcsh shell add the following command to the cshrc or tcshrc file in your home directory setenv VARIABLE value Replace VARIABLE with the name of the environment variable and value with the value you want to give it for example setenv MARI_CACHE User Temp Mari e If your shell is a bash or ksh shell add the following command to the bashrc or kshrc file in your home directory export VARIABLE value Replace VARIABLE with the name of the environment variable and value with the value you want to give it for example export MARI_CACHE Us
82. survive any termination or expiration of this Agreement SECTION 19 IMPORT EXPORT CONTROLS To the extent that any Software made available hereunder is subject to restrictions upon export and or reexport from the United States Licensee agrees to comply with and not act or fail to act in any way that would violate the applicable international national state regional and local laws and regulations including without limitation the United States Foreign Corrupt Practices Act the Export Administration Act and the Export Administration Regulations as amended or otherwise modified from time to time and neither The Foundry nor Licensee shall be required under this Agreement to act or fail to act in any way which it believes in good faith will violate any such laws or regulations SECTION 20 MISCELLANEOUS This Agreement is the exclusive agreement between the parties concerning the subject matter hereof and Supersedes any and all prior oral or written agreements negotiations or other dealings between the parties concerning such subject This Agreement may be modified only by a written instrument signed by both parties If any action is brought by either party to this Agreement against the other party regarding the subject matter hereof the prevailing party shall be entitled to recover in addition to any other relief granted reasonable attorneys fees and expenses of litigation Should any term of this Agreement be declared void or unenforceabl
83. taking the existing textures next to the patch on the model into account This may take a few seconds Mari 2 0v1 WORKING WITH PATCHES 1 92 Link or Unlink Patches Link or Unlink To link together two or more patches Patches 1 Within the Patches palette select the patches you want to link together You can select the patches by clicking on them in either the palette channel or on the canvas This is best done in UV view for easier selection visibility 2 Click the Link Selected Patch Images icon to link the selected patches In the UV view a colored background displays behind the selected patches to denote which patches have been linked LOOT head x 1024 To unlink patches 1 Within the Patches palette select the patch or patches that you want to unlink from the linked selections 2 Click the Unlink Selected Patch Images icon to unlink the selected patch from any other patches In UV view the colored background no longer shows behind the unlinked patch Any other linked patches still show the colored background behind them 3 If you want to unlink all patches in the project right click the Patches palette and select Unlink All Linked Patch Images or right click on the canvas and select Patches gt Link Unlink All Linked Patch Images 4 If you want to specify that a particular patch be used as a master patch from which the other linked patches can be initially copied you can do this by first selecting the des
84. the Paint Through tool to CON an rin drag a picture over the model then stamp it down with the apostro Paint phe key 2 Click to select the Slerp tool 2l 3 If it s not visible show the Tool Properties toolbar You can select the tool mode from the Mode field The Foundry Mari 2 0v1 The Foundry 4 Select from the Slerp mode selector to use Slerp as follows pull paint around make the paint ina specific area larger make the paint ina specific area smaller TRANSFORMING AND WARPING PAINT Pull Smudge Grow and Shrink Paint select the default Pull mode click and drag select the Grow mode click and drag select the Shrink mode click and drag Mari 2 0v1 114 TRANSFORMING AND WARPING PAINT 115 Distort the Paint with Pins rotate your paint select the Rotate mode around click and drag undo the distortion ina select the Erase mode click n a specific area of the painting undo all the distortions press apostrophe n a youve applied apply your changes to press semicolon the paint buffer that is make them so you can t erase the distor tions 5 To complete the distortion do one of the following e press semicolon e change to another tool or e bake the paint TIP As with the Warp tool you cannot undo individual stages of a Slerp You can only undo the Slerp as a whole Until you have completed the Slerp using Undo actually undoes the last compl
85. to 1 in xyz space For more information on using the shaders channels and layers together with the Vector Painting Brush refer to the Vector Brush chapter in the Mari User Guide Additionally you can opt to add a Flow procedural which allows you to see the effects of your vector paint over time The Time Offset slider represents the flow of time while the Speed slider represents the sensitivity of Time Offset Adjusting the sliders allows you to see the effects your vectors play on the flow map though animating this also displays the effect continuously For more information on the vector adjustments and procedurals as well as their layer property fields refer to the section on Layer Types and Examples on page 244 For the Cube Map procedural dds files with missing mipmaps or partial mipchains continue to load but the behavior for these chains is slightly different Mari disregards all other mipmaps in the chain instead it regenerates the chain from the top level mip In this way Mari continues to load partial mipmap chains in a workable manner for dds files Layers can be cached in order to prevent Mari from slowing down A large number of layers or computationally expensive layers can lower performance Fortunately caching layers can mitigate this Each layer displays a colored bar to the right of the layer This tells you how expensive the layer is and its cached state Inexpensive layers and cached layers are green
86. to de select patches and faces e Select Invert to select the inverse of the selected area e Select Visible to select the visible area of a patch face or object The smart selection mode of the Select tool lets you create selections based on the surface of the model Similar to how Photoshop s magic wand tool lets you select areas of similar color this lets you select areas that face in the same direction You can base your smart selection on e Connectedness e Edge Angles e Orientation You can show or hide things based on whether they are selected For example you can select a patch or area on an item and then hide everything not selected Similarly you can lock objects and areas based on whether they are selected or not You can use the selection to control where paint can bake onto the surface of your model If Project On on the Projection palette is set to Selected then Mari only bakes paint onto selected areas Mari 2 0v1 168 Saving Selected Areas The Foundry SELECTING ITEMS 1 69 Selection Tool Mari lets you save selections and come back to them later Once you ve made a selection in any mode objects patches or faces you can create a selection group Clicking on a selection group selects the items in that group Example of a selection group containing patches Mari 2 0v1 SELECTING ITEMS 170 Marquee Select Tool Example of a selection group containing faces You can use thi
87. to rotate clockwise or counterclockwise 3 To change the OPACITY of your brush press and hold O and move the mouse right or left to increase or decrease the opacity The alpha slider in the Colors Palette moves along with your mouse 4 To change the SQUASH of your brush press Q and move the mouse right or left to squish the brush tip more or less TIP To save any changes you make on the fly see the procedure to Customize a Brush EXPERIMENT Play around with the R O W and Q keyboard mouse amp shortcuts for changing your brush tip on the fly The Foundry Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 5 CLONE STAMPING The clone tools let you copy paint from one image or part of a channel to the surface of your model This is a standard feature in painting packages such as Adobe Photoshop GIMP and so on You start clone stamping by setting a source point This is the point from around which Mari takes the cloned texture As you paint Mari duplicates the area around the origin point youve set Maris Clone Stamp tool lets you clone from e the model s surface baked paint in the active channel or in a different channel e the current unbaked paint in the paint buffer e an external image selected from the Image Manager optionally zoomed in or out When cloning from the baked paint on a channel you can select to clone directly from the surface In this mode the tool clones the paint from the channel su
88. to set the options for the new channel before opening the Import dialog EB mie yy 3 Now you can choose to Import Individual Files or Import a Sequence of Files NOTE For more information on setting the options for a newly created channel please see Create and Delete Individual Channels on page 26 7 TIP The import menu options are also available from the right click dropdown menu on the main canvas and in the Channels palette Mari 2 0v1 EXPORTING AND IMPORTING TEXTURES 142 Import Existing Textures to Channels Import Individual If the object has less than 20 UV patches the Import dialog box has a Files Named Files tab This lets you individually pick which files to load for each patch 1 Click on the Named Files tab The tab shows all the patches on the object 2 For each patch set the file you wish to import You can either e type the file path and name directly or e use the open button to open a navigation window to find the file You can now set resize details and import the textures cp TIP By default if your model has more than 20 patches the Named Files tab does not display To change this set the Patch Cutoff preference to a number greater than the number of patches in the file Alternatively you can use the MARI _ NAMEDFILEIMPORT_ SEQUENCELIMIT environment variable to override the preference setting Please see the section on Environment Variables That Mari Recognize
89. unique icon It also dis this icon disables fractal noise masking plays to indicate that edge masking More information on fractal noise masking and this icon can be found under 1S enabled Fractal Noise Masking on page 91 Notifies you that you currently have the global mask preview enabled Clicking this icon disables the global mask preview More information on the mask preview and this icon can be found under Mask What You Can Paint On on page 86 The Foundry Mari 2 0v1 The Foundry CONFIGURING THE USER INTERFACE 203 Status Bar Icons Warns you that a low memory status has been detected Low memory affects This is not a unique icon It also dis Maris performance and may make it unstable Try freeing memory or closing plays to warn you that the cache and restarting Mari to clear this issue disk is critically full Notifies you that there are warning messages present Clicking on this icon displays these warnings Warns you that the cache disk is critically full If you don t free space data loss This is not a unique icon It also dis may occur To free space try plays to warn you that a low memory e closing and reopening the project Bia NUS Tidoee ei Geteered e freeing up space on the disk e placing your cache on a file system with more free space This is not a unique icon It also dis plays to indicate a higher bit depth than what is configured Attempting to click on the icon for the Over
90. what resolution the patches are in Mari e Enabling Small Textures saves disk space if youre exporting a channel that hasn t been fully painted e Disabling Small Textures lets Mari always export patches at their full size even if they haven t been painted Select whether to Keep or Remove alpha channels when exporting textures This can help decrease the resulting file size when exporting images that don t need Alpha Channels Click Export All Patches to export the textures Mari exports your textures to disk in the background To check the progress of the export click the pJ icon at the bottom right of the main window Mari shows the export progress Mari 2 0v1 EXPORTING AND IMPORTING TEXTURES 151 Export Texture from Layers Exporting C Users erica mari TneFoundry Blacksmith blacksmithGoggles flattened ptx Exporting C Users erica Desktop biacksmith fattened ptx OK Export Texture Instead of exporting work on whole channels you may wish to export only a from Layers selection of layers by choosing them from the list in the Layers palette As with channels you can export multiple layers as they are in your layer stack or flattened into a single file From the Layers menu select Export or Export Flattened 1 To export layers without flattening them e from the Layers menu select Export gt Export Selected Layers to export the currently selected layers or e from the Layers menu select Export gt Export All
91. when you start up a new project The Foundry Mari 2 0v1 CHANNELS 268 Create and Delete Individual Channels 3 To add a single channel e right click in the Channels palette and select Add Channel e click the Ed button or e from the Channels menu select Add Channel The Add Channel dialog box displays mg a S d rl i T T Ta et Pee Thies bump bump 4096 x 4096 or Space olor 4 The dropdown list at the top shows the names of channels that you ve created recently Select one from the list The Name Size Depth and Color Space populate automatically TIP If you have never created a project or channel the dropdown is empty In this case give the channel the name Diffuse and leave all the other values at their defaults 5 As needed you can change e Name the name to identify the channel which you can change later e Size the patch size for the new channel e Depth the color depth 8 16 or 32 bit e ColorSpace color or scalar TIP Scalar channels store absolute color values for example for painting masks These channels do not have a color space LUT applied when displayed in Mari However this setting does not affect exporting Mari always exports the colors precisely as painted regardless of whether the channel is set to Color or Scalar The Foundry Mari 2 0v1 CHANNELS 2 69 Create and Delete Individual Channels 6 If you intend on cloning from or pai
92. you must use a double backslash to make it clear that you are actually assigning the key rather than indicating a directory The default shortcuts file DefaultShortcuts conf is included in the following subdirectory of the Mari application directory e Media Settings on Linux or e Bundle Media Settings on Windows We recommend you create your custom shortcuts by copying this file and editing it rather than starting from scratch Shortcuts Mari Tools General Select S Mari 2 0v1 357 The Foundry EXTENDING MARI Using Modifier Keys Mari Tools General Scrub Shift Mari Tools General Mouse 20Gestures Mari Tools General Hide 20Widgets Mari Tools General Transform 20Paint M Mari Tools Default 20Brushes Paint P Mari Tools Default 20Brushes Paint 20Through U Mari Tools Default 20Brushes Eraser E Mari Tools Image Marquee M Mari Canvas Bake B Mari Tools Camera Rotate Alt Mari Tools Camera Zoom Alt Ctrl Mari Tools Camera Pan Alt Shiftt Mari Tools Camera Spin Ctr1 R Mari Canvas Camera Focus F Mari Tools Color Eye 20Dropper C Mari Tools Color Color 20Popup j Mari Tools General Shelf 20Popup k Mari Tools General Image 20Popup 1 Mari Tools General Pie 20Selector F9 Mari Animation Start 20 20Stop 20Animation Space Mari Animation Step 20Forwards Ctrl Right Mari Animation Step 20backwards Ctrl Left Mari Animation Add 20Keyframe Ctr1l K Mari Animation Rewind 20Animation Ctrl Down Mari Animation Fastforward 20
93. 0 degree change of facing e For Orientation this sets how far from the facing of your original selection the selection goes to For example if the angle is set to 30 this selects areas up to 30 degrees away from the facing of your orig inal selection 4 Click and drag to make the selection Mari creates a selection around the area you drag Alternatively you can use the buttons on the Tool Properties toolbar to The Foundry Mari 2 0v1 SELECTING ITEMS 174 Selecting Objects Patches or Faces quickly choose patches To do this 1 In Patch Selection mode click any of the selection modes in the Tool Properties toolbar Rectangle Lasso Smart 2 To quickly select all patches click the button on the Tool Properties toolbar All patches on your current object are selected 3 To quickly clear your selection so that none of your patches are highlighted click on the button on the Tool Properties toolbar Any patches you have selected are unselected Hiding and Locking 1 In either the Patch or Face selection modes select an area on your model 2 From the Selection menu select Hide Unselected Mari hides everything except your selection You can Clear the selection and the other areas remain hidden The Foundry Mari 2 0v1 SELECTING ITEMS 175 Selecting Objects Patches or Faces 3 Conversely from the Selection menu select Hide Selected Mari hides only the selected areas To show the hid
94. 0 range is converted into 0 0 to 1 0 and the specific RGB values that indicate vector directions are adapted to reflect this Thus 1 0 becomes O 0 0 becomes 0 5 and 1 0 Stays as it is The colors are converted to the corresponding number on the O to 1 scale to keep all the vector data the same In the Channels and Image Manager palettes File Space fields allow you to set whether the channel or image should be exported as a Normal file in the way Mari stores them as a Vector file 1 0 to 1 0 range or as a Vector flipped Y file which is the same as the Vector file in terms of range but inverts the vectors in the Y direction This allows you to easily export inverted vectors for use in other parts of your pipeline Channel or image files exported in the Vector file space format can later be re imported and changed back to the Normal file space format if desired NOTE For Vector flipped Y this only inverts the vectors in the Y direction The vectors in the X or Z direction are not changed To use vector brushing in your Mari project follow these steps Painting Vectors Modifying Vectors with Paint Blending Modes Inspecting Your Vector Work Adding Vector Shaders Adding Vector Adjustments and Procedurals Changing the File Space Creating Flow Maps on Multiple Objects NOM fF WN gt Begin by starting Mari and opening your project 1 Make sure you have a paintable layer selected then select the Vector Paint E too
95. 048x2048 paint buffer appears onscreen as half the size of the paint buffer To set whether Mari preserves transformations when you switch source images change the Auto Reset setting under Texture gt Transform e DoNotReset Preserves any transformations such as moving resiz ing or rotating you have made to the source image that you re clon ing if you switch to using another source image This is the default e Reset Resets the image to the default size location and rotation each time you switch to another source image For example if youre using a 2k paint buffer and a 4k image the image always appears to be twice the size as the paint buffer onscreen TIP Use DoNotReset if you want to clone several images of the same size This is specifically useful if you want to switch between using multiple 4k textures as it Saves you having to resize the source image preview from the huge default every time you switch Now that you ve set up how the clone tool works you can get on and start painting To clone from an existing current layer 1 2 Normal Eyes If you havent already select the Clone Stamp tool In the Tool Properties toolbar at the top of the screen select the clone source from the Source dropdown Current Paint Target Painting Image gt All Old Channels gt Diffuse gt Paint Eyes gt Basic Eyes Diffuse gt Diffuse Group gt Diffuse gt Faint Head gt All Old Channels gt
96. 3D space is not necessarily maintained in the Ptex texture storage As a result of this implementation when GPU operations require sampling across faces and adjacent faces reside in texture memory preview artifacts may be observed For example shaders that use a relatively large sample kernel may encounter some preview rendering artifacts when unexpected face textures are sampled Artifacts may also be observed when navigating a scene due to the blending of face textures in generated mip mapped textures that are used to improve GPU performance This may be more apparent when lots of small face textures are used NOTE These artifacts only affect GPU accelerated previews and do not appear in exported texture data files Mari supports both quad and triangular face textures which are exposed by the Ptex file format All meshes use quad face textures including mixed meshes while wholly triangular meshes use triangular face textures Quad textures are natively supported in graphics hardware However triangular textures are not supported in the current generation of graphics hardware Mari 2 0v1 Minimum Face Size Paint Preservation The Foundry PTEX 294 Minimum Face Size Maris canvas preview of triangular textures uses the system described for GL displays at http ptex us tritex html Though Mari supports both types of face textures Ptex dictates that the dimensions of a triangular face must be equal Due to this rest
97. 4 ce eee ee shee Ka ee beth ho ada Kes 51 Set the Clone Stamp Options cee eee ee eee eee 51 Cone SCN estates Ce Gc a eo Anis ee TE aaa he Guat ih 54 Apply a Color Grade as You Clone ee ee cee eee eee 58 About Using a Gradient 24 44 55 es essen eeeeu sas tatess see SiS 61 steps for Painting Througnes es lt lt essed anann e wi eee ew ta eee es 61 Set the Paint Through Options cee cece eee ee eens 62 Paint Through an External Image cee eee ee ee ee eee 64 Clone from a Floating Image ee eee ee ee eee nee 66 Using Tint and Stencil Options 0 cee eee ee ee ees 67 Paint Through a Gradient ec eee ee ee ee eee teens 68 About the Paint Buffer cee vets boy oine asa ed eee Rete 70 BOUNGANICS 4 0 6 44h a4 coals oon ae hie ee ae eS 70 Depth and Resolutions sss rereua 64 4 eee EES Ge ee eS OPER 71 ADOUE MASKING eerie o s aa a eed aid OW is ole a ede as eee eee 71 Edge MASKS 420175 ttc tk pha oh I a oA ae ad Se he 72 Channel Masks 22 05 os oe Go iad tesa wih ERE oes 74 Ambient Occlusion Mask ec eee eee cee eee eens 77 DEBE MASK oes Oo Va ss SEES eS AOE ON EO GA 78 Backiace MaSK cynar a eM Nac rea aa ee eal ES 78 Fractal NOISE MASK eseusd telnet eels ei Ae ee era gees ak ees 79 ADOUL Blend Mode Seaain ox oss Beet T hee me eee eee 79 Steps for Controlling How Paint Applies to the Model 80 Configure the Paint Buffer
98. AL EFFECTS SOFTWARE APPENDIX C THIRD PARTY LICENSES 384 Third Party Licenses Curl 7 21 1 URL transfer library Copyright c 1996 2010 Daniel Stenberg lt daniel haxx se gt All rights reserved Permission to use copy modify and distribute this software for any purpose with or without fee is hereby granted provided that the above copyright notice and this permission notice appear in all copies THE SOFTWARE IS PROVIDED AS IS WITHOUT WARRANTY OF ANY KIND EXPRESS OR IMPLIED INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANT ABILITY FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT OF THIRD PARTY RIGHTS INNO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM DAMAGES OR OTHER LIABILITY WHETHER IN AN ACTION OF CONTRACT TORT OR OTHERWISE ARISING FROM OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE Except as contained in this notice the name of a copyright holder shall not be used in advertising or otherwise to promote the sale use or other dealings in this Soft ware without prior written authorization of the copyright holder EdenCGL Object file loader Copyright c 2001 2008 Philip Lamb phil eden net nz Licensed under the Apache License Version 2 0 the License you may not use this file except in compliance with the License You may obtain a copy of the License at http www apache org licenses LICENSE 2 0 Unless required by applicab
99. ARE This END USER LICENSE AGREEMENT this Agreement is made by and between The Foundry Visionmongers Ltd a company registered in England and Wales The Foundry and you as either an individual or a single entity Licensee In consideration of the mutual covenants contained herein and for other good and valuable consideration the receipt and sufficiency of which is acknowledged by each party hereto the parties agree as follows SECTION 1 GRANT OF LICENSE Subject to the limitations of Section 2 The Foundry hereby grants to Licensee a limited non transferable and non exclusive license to install and use a machine readable object code version of this software program the Software and accompanying user guide and other documentation collectively the Documentation solely for Licensee s own internal business purposes collectively the License provided however Licensee s right to install and use the Software and the Documentation is limited to those rights expressly set out in this Agreement SECTION 2 RESTRICTIONS ON USE Licensee is authorized to use the Software in machine readable object code form only and Licensee shall not a assign sublicense sell distribute transfer pledge lease rent share or export the Software the Documentation or Licensee s rights hereunder b alter or circumvent the copy protection mechanisms in the Software or reverse engineer decompile disassemble or otherwise at
100. Agreement regardless of form may be brought by Licensee more than one 1 year after Licensee s initial receipt of the Software provided however to the extent such one 1 year limit may not be valid under applicable law then such period shall be limited to the shortest period allowed by law SECTION 13 TERM TERMINATION This Agreement is effective upon Licensee s acceptance of the terms hereof and Licensee s payment of the License Fee and the Agreement will remain in effect until termination If Licensee breaches this Agreement The Foundry may terminate the License granted hereunder by notice to Licensee In the event the License is terminated Licensee will either return to The Foundry all copies of the Software and Documentation in Licensee s possession or if The Foundry directs in writing destroy all such copies In the later case if requested by The Foundry Licensee shall provide The Foundry with a certificate signed by an officer of Licensee confirming that the foregoing destruction has been completed SECTION 14 CONFIDENTIALITY Licensee agrees that the Software including for the avoidance of doubt any Source Code that is licensed to Licensee and Documentation are proprietary and confidential information of The Foundry or as the case may be the Third Party Licensors and that all such information and any communications relating thereto collectively Confidential Information are confidential and a fundamental and impo
101. Animation Ctr1l Up Mari Canvas Camera Camera 20Left 1 Mari Canvas Camera Camera 20Right 2 Mari Canvas Camera Camera 20Top 3 Mari Canvas Camera Camera 20Bottom 4 Mari Canvas Camera Camera 20Front 5 Mari Canvas Camera Camera 20Rear 6 Mari Canvas Bake B Mari 2 0v1 358 The Foundry EXTENDING MARI 359 Using Modifier Keys Mari Onscreen 20Controls Adjust 20Radius R Mari Onscreen 20Controls Adjust 20Rotation W Mari Onscreen 20Controls Adjust 20Squish Q Mari Onscreen 20Controls Adjust 200pacity 0O Mari Actions Quit Ctrl Q Mari Actions Undo Ctrl1 Z Mari Actions Redo Ctrl yY Mari Actions Previous 20View Ctrl Mari Actions Next 20View Ctrl Mari Actions Hide 20Palettes Home Mari Project Open Ctr1 0O Mari Project Save 20As Ctrl Shift S Mari Project Save Ctrl1 S Mari Project New Ctr1 N Mari Project Close Ctr1 W Mari Project Lighting Flat F1 Mari Project Lighting Basic F2 Mari Project Lighting Full F3 Mari Palettes Colors F6 Mari Palettes Tools F7 Mari Palettes Brushes F8 Mari Canvas Camera View All A Mari Painter Swap 20foreground 20and 20background X Mari Project Project 20Explorer Quick 20Paste Ctr1l V Mari Project Project 20Explorer Quick 20Copy Ctr1l C Mari Project Project 20Explorer Select Invert Ctr1l I Mari Project Project 20Explorer Select All Ctrl A Mari Project Project 20Explorer Select None Ctrl1 E Mari Project Project 20Explorer Toggle 20Hidden Ctr1 H Mari Project Project 20Explorer Hide 20Selected H Mari Proje
102. As with channels there are default shaders but you must set up your custom shaders separately for each object If you want to copy shaders from the Shaders palette of another object use the Ctrl C and Ctrl V shortcuts to copy the shader and paste it into the Shaders palette for the current object Objects within your project are versioned If the source file for the model changes you can load a new version of the file Mari updates the model in your project and keeps all the textures youve painted on it When you add a new version of a model Mari assumes that the patch numbering hasnt changed and projects the existing textures over the updated geometry Whenever you add a new version of an object check any textures youve already painted especially if the patch numbering has changed Mari does not automatically calculate the ambient occlusion for objects This is because ambient occlusion can take a long time to calculate for complex objects and it is not required unless you are using ambient occlusion for masking or shading If you need ambient occlusion for an object you must calculate it separately for each object Each object in your scene casts shadows if depth projection is not disabled under Preferences To display shadows you must enable at least one light to cast shadows by checking the Render Shadows box in the Lights palette before adjusting the settings in the Objects palette If this is not selected objects with Cast
103. DEALINGS IN THE SOFTWARE The Foundry Mari 2 0v1 The Foundry Frame buffer object library APPENDIX C THIRD PARTY LICENSES Third Party Licenses Copyright c 2005 Aaron Lefohn lefohn cs ucdavis edu Adam Moerschell atmoerschell ucdavis edu All rights reserved This software is licensed under the BSD open source license See http www open source org licenses bsd license php for more detail Redistribution and use in source and binary forms with or without modification are permitted provided that the following conditions are met Redistributions of source code must retain the above copyright notice this list of conditions and the following disclaimer Redistributions in binary form must reproduce the above copyright notice this list of conditions and the following disclaimer in the documentation and or other materials provided with the distribution Neither the name of the University of Californa Davis nor the names of the contrib utors may be used to endorse or promote products derived from this software with out specific prior written permission THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS AS IS AND ANY EXPRESS OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTIC ULAR PURPOSE ARE DISCLAIMED IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEMPLARY OR CONSE
104. Displays a color Color Picker an EXTENDING MARI Using Modifier Keys in the default shortcuts configuration file Shortcuts Mari Tools Increase 20Radius Mari Tools Decrease 20Radius Mari Tools Increase 20Opacity Mari Tools Descrease 200Opacity Mari Tools Increase 20Rotation Mari Tools Decrease 20Rotation Mari Tools Increase 20Aspect 0 Mari Tools Decrease 20Aspect 9 Mari Tools Color Eye 20Dropper C Mari Tools Color Color 20Popup j Mari Tools Toggle 20Brushes N Mari Tools General Transform 20Paint M and Mari Tools General Transform 20Paint m have the same meaning If you want to set a shortcut key to only the uppercase version of a character include Shift in the key sequence For example Mari Tools General Transform 20Paint Shift M only invokes the Transform Paint tool when you hold down both Shift and M at the same time Some modifier keys can only be used as part of key combinations you Cannot assign a shortcut to the Ctrl key by itself for example This table lists the special keys available the text strings to use for them in Shortcuts conf and whether the key can be used on its own a C e a S Mari 2 0v1 356 Example DefaultShortcuts co nf The Foundry EXTENDING MARI Using Modifier Keys Mea er Wows mea NO a a a a www pooo e e a TIP You can use backslash as a shortcut but as it is used as a directory separator in the action part of the line
105. ER LICENSE AGREEMENT The Foundry Keyboard SNOLECULS 44 44444 ch bbe as oe eee ee Ra a SA 375 Mouse GEStURCS sai 0580 eo tar SEER SAME E b Sob eee es 378 Frequently Asked Questions 0 cee ee cee ee eee teens 379 Tand Party LICENSES 24 e set eee ones oh kee eee ee ees 383 End User Licencing Agreement EULA 0 00 c ce eee 404 Mari 2 0v1 12 MARI USER GUIDE THE FOUNDRY 1 PREFACE Mari is a creative texture painting tool that can handle extremely complex or texture heavy projects It was developed at Weta Digital and has been used on films such as The Adventures of Tintin The Secret of the Unicorn District 9 The Day the Earth Stood Still The Lovely Bones and Avatar The name Mari comes from the Swahili Maridadi meaning beautiful and Carrying connotations of usefulness About this Guide This guide provides you with the full details of running and using Mari You should read the Getting Started Guide first for installation and basic usage instructions The first part of the guide walks you through the various Mari functions The tutorials provide comprehensive walk throughs of all Maris functions complete with geometries and associated textures As you follow the steps in these tutorials youll gain a good feel for Maris user interface and workflow This in turn provides a good working knowledge for creating more complex production projects For more detailed information on Mari and it
106. ES USING SHELVES 163 Import and Export Shelves and Items You can import and export shelves and items in shelves for example to Share with other Mari users TIP You can Import or Load all items from an exported shelf into a selected shelf Import means to add the items youre importing to those already there and Load means to replace all items there with the ones you re loading 1 To export a shelf right click anywhere in the shelf and select Save Shelf The Save Shelf dialog box displays 2 Navigate to where you want to save the shelf give it a name and click Save Mari saves the shelf as an msh Mari shelf file 3 To import all items from a shelf that s been exported into the Personal Project or a custom shelf right click anywhere in that shelf and select Import Shelf The Import Shelf dialog box displays 4 Navigate to the folder that contains the msh file you want to import select it and click Open Mari adds that shelfs items to the selected shelf 5 To replace all items in the Personal Project or a custom shelf with items from a shelf that s been exported right click anywhere in that shelf and select Load Shelf Mari warns you that all items in the current shelf will be replaced 6 Click OK The Load Shelf dialog box displays 7 Navigate to the folder that contains the msh file you want to load select it and click Open Mari replaces all items in the selected shelf
107. IDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS AS IS AND ANY EXPRESS OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTIC ULAR PURPOSE ARE DISCLAIMED IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEMPLARY OR CONSEQUENTIAL DAMAGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES LOSS OF USE DATA OR PROFITS OR BUSINESS INTERRUPTION HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY WHETHER IN CONTRACT STRICT LIABILITY OR TORT INCLUDING NEGLIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFT WARE EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE GLib 2 24 0 Core application build GObject GLib Type Object Parameter and Signal Library ing blocks for applica Copyright C 2000 2001 Red Hat Inc tions written in C This library is free software you can redistribute it and or modify it under the terms used under LGPL v2 of the GNU Lesser General Public License as published by the Free Software Founda tion either version 2 of the License or at your option any later version This library is distributed in the hope that it will be useful but WITHOUT ANY WAR RANTY without even the implied warranty of MERCHANTABILITY or FITNESS FORA PARTICULAR PURPOSE See the GNU Lesser General Public License for more details You should have received a copy of
108. IM selector allows you to choose which UDIM you can paint on and masks out all others UDIM Mask procedural X UV procedural in UV view You can control the look of the cloud pat tern by adjusting the Size and Roughness of the pattern as well as the pattern offset for the X Y and Z values Color A and Color B allows you to set the cloud pattern colors used on the model Cloud procedural over layer Mari 2 0v1 LAYERS 259 Layer Types and Examples Turbulence Blends seamless 3D You can control the Turbulence procedural Turbulence procedural over layer noise in a turbulence look of the turbulence pattern with the pattern by adjusting Shaded surface the Size and Rough using the specified ness Color A and Blend Mode Color B allows you to set the turbulence pattern colors used on the model si etn Procedural Layers Misc Displays an image e Animated Enables In the example below the Flow procedural would animate the molten onto the model s or disables the ani liquid so that it appeared to moving across the surface of the tex Surface and uses mation ture vector data to ani mate it flowing Time Offset con trols the flow over Note if painting in time the Clear blending Speed controls the mone me speed sensitivity of Time attribute is removed Offset which in that area The vec tor inspector direc tional markers are still shown on the Tile Image the model This concerns
109. INCLUDING NEGLIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFT WARE EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE This product includes cryptographic software written by Eric Young eay crypt soft com This product includes software written by Tim Hudson tih cryptsoft com Mari 2 0v1 The Foundry APPENDIX C THIRD PARTY LICENSES 396 Third Party Licenses Original SSLeay License Copyright C 1995 1998 Eric Young eay cryptsoft com All rights reserved This package is an SSL implementation written by Eric Young eay cryptsoft com The implementation was written so as to conform with Netscapes SSL This library is free for commercial and non commercial use as long as the following conditions are aheared to The following conditions apply to all code found in this distribution be it the RC4 RSA Ihash DES etc code not just the SSL code The SSL documentation included with this distribution is covered by the same copyright terms except that the holder is Tim Hudson tjh cryptsoft com Copyright remains Eric Young s and as such any Copyright notices in the code are not to be removed If this package is used in a product Eric Young should be given attribution as the author of the parts of the library used This can be in the form of a textual message at program startup or in documentation online or textual provided with the package Redistribution and use in source and binary forms wit
110. K resolution Fill Patches with Color Flip and Rotate Painting Mirror Painting The Foundry To fill one or more patches with a color 1 Set either your foreground or background color to the color you want to Fill See Managing Colors in Mari for details on selecting colors 2 Select the patch es to fill From the Patches menu select either e Fill Foreground to fill the patches with the foreground color e Fill Background to fill the patches with the background color e Fill Transparent to make the patches transparent Mari fills the patches with the selected color or transparency Select one or more patches with baked paint See Selecting Items for details on selecting patches From the Patches gt Transform menu select the transformation e Flip Vertical to flip the selected patch es vertically e Flip Horizontal to flip the selected patch es horizontally e Rotate 90 CCW to rotate the selected patch es 90 degrees coun terclockwise e Rotate 90 CW to rotate the selected patch es 90 degrees clock wise e Rotate 180 to rotate the selected patch es 180 degrees Select a patch with baked paint See Selecting Items for details on selecting patches Mari 2 0v1 Save Images of the UV Masks Bleeding Across Patch Edges The Foundry WORKING WITH PATCHES Save Images of the UV Masks 2 From the Patches gt Mirror menu select the mirror operat
111. L THE AUTHOR BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEMPLARY OR CONSEQUENTIAL DAMAGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES LOSS OF USE DATA OR PROFITS OR BUSINESS INTERRUPTION HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY WHETHER IN CONTRACT STRICT LIABILITY OR TORT INCLUDING NEGLIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE The Foundry Mari 2 0v1 OpenColorlO The Foundry OpenColorlO library APPENDIX C THIRD PARTY LICENSES Third Party Licenses Copyright c 2003 2010 Sony Pictures Imageworks Inc et al All Rights Reserved Redistribution and use in source and binary forms with or without modification are permitted provided that the following conditions are met Redistributions of source code must retain the above copyright notice this list of conditions and the following disclaimer Redistributions in binary form must reproduce the above copyright notice this list of conditions and the following disclaimer in the documentation and or other materials provided with the distribution Neither the name of Sony Pictures Imageworks nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS AS IS AND ANY EXPRESS OR IMPLIED WAR
112. LAIMS ANY AND ALL IMPLIED WARRANTIES OR CONDITIONS INCLUDING WITHOUT LIMITATION ANY IMPLIED WARRANTY OF TITLE NON INFRINGEMENT MERCHANTABILITY OR FITNESS FOR A PARTICULAR PURPOSE REGARDLESS OF WHETHER The Foundry KNOWS OR HAS REASON TO KNOW OF LICENSEE S PARTICULAR NEEDS The Foundry does not warrant that the Software or Documentation will meet Licensees requirements or that Licensee s use of the Software will be uninterrupted or error free No employee or agent of The Foundry is authorized to modify this limited warranty nor to make additional warranties No action for any breach of the above limited warranty may be commenced more than one 1 year after Licensee s initial receipt of the Software To the extent any implied warranties may not be disclaimed under applicable law then ANY IMPLIED WARRANTIES ARE LIMITED IN DURATION TO NINETY 90 DAYS AFTER DELIVERY OF THE SOFTWARE TO LICENSEE SECTION 10 LIMITED REMEDY The exclusive remedy available to the Licensee in the event of a breach of the foregoing limited warranty TO THE EXCLUSION OF ALL OTHER REMEDIES is for Licensee to destroy all copies of the Software send The Foundry a written certification of such destruction and upon The Foundry s receipt of such certification The Foundry will make a replacement copy of the Software available to Licensee Mari 2 0v1 The Foundry APPENDIX D END USER LICENSE AGREEMENT End User Licencing Agreement EULA SECTION 11 INDEMNIFICATION
113. LITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED IN NO EVENT SHALL THE COPYRIGHT OWNER OR CON TRIBUTORS BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEM PLARY OR CONSEQUENTIAL DAMAGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES LOSS OF USE DATA OR PROFITS OR BUSINESS INTERRUPTION HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY WHETHER IN CONTRACT STRICT LIABILITY OR TORT INCLUDING NEGLIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFT WARE EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE This is the Modified BSD License Autodesk FBX File Format Support This software contains Autodesk FBX code developed by Autodesk Inc Copy right 2008 Autodesk Inc All rights reserved Such code is provided as is and Autodesk Inc disclaims any and all warranties whether express or implied including without limitation the implied warranties of merchantability fitness for a particular purpose or non infringement of third party rights In no event shall Autodesk Inc be liable for any direct indirect incidental special exemplary or consequential dam ages including but not limited to procurement of substitute goods or services loss of use data or profits or business interruption however caused and on any theory of liability whether in contract strict liability or tort including negligence or other wise arising in any way out of such code VISU
114. OFITS OR BUSINESS INTERRUPTION HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY WHETHER IN CONTRACT STRICT LIABILITY OR TORT INCLUDING NEGLIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFT WARE EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE The Foundry Mari 2 0v1 APPENDIX C THIRD PARTY LICENSES 390 Third Party Licenses MSIntTypes r20 C Standards compli ISO C9x compliant stdint h for Microsoft Visual Studio ant stdint h and Based on ISO IEC 9899 TC2 Committee draft May 6 2005 WG14 N1124 inttypes h for Micro core Visual Stadio Copyright c 2006 Alexander Chemeris Redistribution and use in source and binary forms with or without modification are permitted provided that the following conditions are met 1 Redistributions of source code must retain the above copyright notice this list of conditions and the following disclaimer 2 Redistributions in binary form must reproduce the above copyright notice this list of conditions and the following disclaimer in the documentation and or other materi als provided with the distribution 3 The name of the author may be used to endorse or promote products derived from this software without specific prior written permission THIS SOFTWARE IS PROVIDED BY THE AUTHOR AS IS AND ANY EXPRESS OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRAN TIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DIS CLAIMED IN NO EVENT SHAL
115. ON HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY WHETHER IN CONTRACT STRICT LIABILITY OR TORT INCLUDING NEGLIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE EVEN IF ADVISED OF THE POSSI BILITY OF SUCH DAMAGE Mari 2 0v1 APPENDIX C THIRD PARTY LICENSES 397 Third Party Licenses The licence and distribution terms for any publically available version or derivative of this code cannot be changed i e this code cannot simply be copied and put under another distribution licence including the GNU Public Licence PSD PSD file support Based PSD file support includes Disney technology licensed from Walt Disney Animation on Disney software Studios Ptex Ptex library Copyright 2009 Disney Enterprises Inc All rights reserved Redistribution and use in source and binary forms with or without modification are permitted provided that the following conditions are met Redistributions of source code must retain the above copyright notice this list of conditions and the following disclaimer Redistributions in binary form must reproduce the above copyright notice this list of conditions and the following disclaimer in the documentation and or other materials provided with the distribution The names Disney Walt Disney Pictures Walt Disney Animation Studios or the names of its contributors may NOT be used to endorse or promote products derived from this software without specific prior written permission
116. PAINT TO YOUR MODEL 94 Paint Blending Modes Burn Shadows Burns the layer based on the contents of the paint buffer with darker pixels being burned harder Clear Subtracts the opacity of the paint stroke from the current surface For example an 80 opaque stroke leaves a surface with 20 opacity Color Takes the luminance of the layer and the color and saturation of the paint buffer Color Burn Burns the layer using the contents of the paint buffer as input for the burn operation The Foundry Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 95 Paint Blending Modes Color Dodge Dodges the layer surface using the contents of the paint buffer to control the degree of dodging Contrast The destination color moves away from the painted color by contrasting around the painted color How much it contrasts depends on the alpha Darken Gives each pixel the darker of two pos sible values the current layer surface or the contents of the paint buffer whichever is darker Decontrast The destination color moves towards the painted color by decontrasting around the painted color How much is decontrasts depends on the alpha The Foundry Mari 2 0v1 The Foundry Difference Dodge Highlights Dodge Midrange Dodge Shadows CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 96 Paint Blending Modes Inverts the colors Mari subtracts the values in the paint buffer from those on the lay
117. QUENTIAL DAMAGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES LOSS OF USE DATA OR PROFITS OR BUSINESS INTERRUPTION HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY WHETHER IN CONTRACT STRICT LIABILITY OR TORT INCLUDING NEGLIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFT WARE EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE Portions of this software are copyright 2008 The FreeType Project www freetype org All rights reserved Mari 2 0v1 385 APPENDIX C THIRD PARTY LICENSES 386 Third Party Licenses GLEW OpenGL support The OpenGL Extension Wrangler Library Copyright 2002 2008 Milan Ikits lt milan ikits ieee org gt Copyright 2002 2008 Marcelo E Magallon lt mmagallo debian org gt Copyright 2002 Lev Povalahev All rights reserved Redistribution and use in source and binary forms with or without modification are permitted provided that the following conditions are met e Redistributions of source code must retain the above copyright notice this list of conditions and the following disclaimer Redistributions in binary form must reproduce the above copyright notice this list of conditions and the following disclaimer in the documentation and or other materials provided with the distribution The name of the author may be used to endorse or promote products derived from this software without specific prior written permission THIS SOFTWARE IS PROV
118. RANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTIC ULAR PURPOSE ARE DISCLAIMED IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEMPLARY OR CONSEQUENTIAL DAMAGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES LOSS OF USE DATA OR PROFITS OR BUSINESS INTERRUPTION HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY WHETHER IN CONTRACT STRICT LIABILITY OR TORT INCLUDING NEGLIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFT WARE EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE Mari 2 0v1 391 OpenCV 2 0 0 The Foundry Open Source Computer Vision library APPENDIX C THIRD PARTY LICENSES 392 Third Party Licenses IMPORTANT READ BEFORE DOWNLOADING COPYING INSTALLING OR USING By downloading copying installing or using the software you agree to this license If you do not agree to this license do not download install copy or use the soft ware License Agreement For Open Source Computer Vision Library Copyright C 2000 2008 Intel Corporation all rights reserved Copyright C 2008 2009 Willow Garage Inc all rights reserved Third party copyrights are property of their respective owners Redistribution and use in source and binary forms with or without modification are permitted provided that the following conditions are met e Redistribu
119. Shelf Palette e With the shelf selected click jj on the left Mari creates a new palette for that shelf cp TIP Mari adds spawned palettes to the View gt Palettes and the dropdown Palettes menus If you rename a palette Mari renames it in all places Shelf palette spawned palette and menus EXPERIMENT Spawn a couple of shelves and drag items between them Try adding an item to the spawned palette and see how this affects the Original shelf The Foundry Mari 2 0v1 STORING RESOURCES USING SHELVES 165 Add Any Mari Function to a Shelf Add Any Mari To add any Mari function to the Personal Project or a custom shelf Functiontoa 1 From the Edit menu select Shortcuts Shelf The Manage Keyboard Shortcuts dialog box displays TIP Resize columns and the dialog box to better view the names and descriptions of Mari functions 2 Click iB to expand the hierarchical list of Mari functions actions tools palettes and so on 3 Click to open the shelf you want to drag a function to Drag and drop the function from the Manage Keyboard Shortcuts dialog box to the shelf The Foundry Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 15 SELECTING ITEMS Mari has two selection tools e Select this lets you select areas on the model s in your project You can select whole objects patches or areas on the surface of the objects e Marquee Select this lets you select areas on the screen Selection Tool The se
120. Shortcut p roject Items The Assign Keyboard Shortcut dialog box displays with the item selected in the list Selection Obj Select MriGeoEntity1 Select MriGeoEntity1 Ctri Shift S This works exactly as described in Customize General Keyboard Short cuts Once you have set a shortcut for a project item it displays on palettes to the right of the item Default A i er a d L D j Shader O O O OOOO O E 2 To remove the shortcut from the item right click on it again and select Assign Shortcut from the dropdown menu The Assign Keyboard Shortcut dialog box opens again with focus on your item Double click on the shortcut key for the item and delete the Key The Foundry Mari 2 0v1 USING SHORTCUTS 3 1 Use the Pie Selection Control Use the Pie 1 With the mouse over the canvas press and hold F9 Selection The pie selection menu displays Control 2 To select a setting or tool from the menu move the mouse over your selection and let go of F9 You dont need to click Mari picks up what your mouse is hovering over To configure the pie selection control 1 Add your items colors and brushes to the Menu shelf 2 Rename them as 1 through 7 The Foundry Mari 2 0v1 USING SHORTCUTS 32 Unassign Shortcuts Mari ignores any other items on the Menu shelf and only displays the items named 1 7 TIP For details on how to add items to the Menu shelf see Storing Resources Using S
121. T OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE GLSL Perlin Noise Perlin noise library 2D 3D and 4D Perlin noise classic and simplex in a GLSL fragment shader Classic noise is implemented by the functions float noise vec2 P float noise vec3 P float noise vec4 P Simplex noise is implemented by the functions float snoise vec2 P float snoise vec3 P float snoise vec4 P Author Stefan Gustavson ITN LiTH stegu itn liu se 2004 12 05 You may use modify and redistribute this code free of charge provided that my name and this notice appears intact Triangulated surface This library is free software you can redistribute it and or modify it under the terms library of the GNU Lesser General Public License as published by the Free Software Founda tion either version 2 of the License or at your option any later version This library is distributed in the hope that it will be useful but WITHOUT ANY WAR RANTY without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE See the GNU Lesser General Public License for more details To see the GNU Lesser General Public License go to http www gnu org licenses or Media Help CopyrightNotices in the Mari application directory IJG JPEG File format support This software is based in part on the work of the Independent JPEG Group The Foundry Mari 2 0v1 APPENDIX C THIRD PARTY LICENSES 388 Third Party Licenses P
122. TATION LOSS OF PROFIT LOSS OF USE SAVINGS OR REVENUE OR THE CLAIMS OF THIRD PARTIES WHETHER OR NOT SILICON GRAPHICS INC HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH LOSS HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY ARISING OUT OF OR IN CONNECTION WITH THE POS SESSION USE OR PERFORMANCE OF THIS SOFTWARE US Government Users Restricted Rights Use duplication or disclosure by the Government is subject to restrictions set forth in FAR 52 227 19 c 2 or subparagraph c 1 ii of the Rights in Technical Data and Computer Software clause at DFARS 252 227 7013 and or in similar or successor clauses in the FAR or the DOD or NASA FAR Supplement Unpublished rights reserved under the copyright laws of the United States Contractor manufacturer is Silicon Graphics Inc 2011 N Shoreline Blvd Mountain View CA 94039 7311 OpenGL TM is a trademark of Silicon Graphics Inc Trackball code Implementation of a virtual trackball Implemented by Gavin Bell lots of ideas from Thant Tessman and the August 88 issue of Siggraphs Computer Graphics pp 121 129 Vector manip code Original code from David M Ciemiewicz Mark Grossman Henry Moreton and Paul Haeberli Much mucking with by Gavin Bell The Foundry Mari 2 0v1 APPENDIX C THIRD PARTY LICENSES 4Q2 Third Party Licenses Skein Hash Hashing library Source code author Doug Whiting 2008 This algorithm and source code is released to the public domain Copyright
123. To pick a single color from the paint already on the model select the Color Picker tool Pa and click on the model Mari sets the foreground color to the color at the point you Clicked TIP Mari sets the color to what s actually on the model s surface where you clicked This may not be exactly the color you see on screen For example if you use full lighting and the area is in shade it doesn t appear darker than it actually is 3 Open the Pixel Analyzer palette e right click on the toolbar and select Pixel Analyzer from the dropdown menu or e from the View menu select Palettes gt Pixel Analyzer The Pixel Analyzer palette displays details of the currently selected color Mari 2 0v1 Select Colors from a Picker or Image The Foundry MANAGING COLORS IN MARI 213 Select Colors from a Picker or Image The Values section displays the colors exact numeric value in the selected range Under Accumulate click the Enabled checkbox With this option enabled Mari keeps track of the colors you select As you click on the model the Colors fields update to display the Current color selected plus the Minimum Average and Maximum color values from the tracked series of clicks If you drag across the model Mari still accumulates colors as if it were a series of clicks You can then click on any of these swatches to set the foreground color to that value Click Reset to clear the buffer and start again Open the Col
124. ably want to move the image next to where youll be painting Ctrl click on the floating image to set the source point The clone source preview displays in a red circle while your brush is the White circle Paint normally Mari clones the texture as you paint taking the resolution for the Cloned texture from the source image For example a 4k image provides Cloned texture at 4k resolution Mari 2 0v1 Using Tint and Stencil Options The Foundry PAINTING THROUGH AN IMAGE OR GRADIENT 67 Using Tint and Stencil Options On the Paint Through toolbar there are additional buttons to the right of the main options These give you Stamp Repeat and Tint options for the Paint Through functionality No Stencil Stamp is a simple button that works the same as stamping down an image using a hotkey You can drag your image around the canvas resize it and rotate as usual before using Stamp to apply the image directly to the model in full To repeat the image you wish to apply to the model first press the Repeat button before painting on any part of the model The image repeats across the painted parts of your model To turn this off simply press the button again To apply a Tint press the Tint button and select your options from the following dropdown menu No Stencil Stencil Inverted Stencil Luminance Inverted Luminance This allows you to combine a color with the image to apply a tinted ver sion of the im
125. ace Allows the z value to face outward in 3D space so that vec tors can face out from the object s surface anywhere on the object Unlike Nudge Normal Vectors the Paint Nor mal Vectors mode blends between the vectors instead of adding them This mode is best for use with normal maps Pin Light For light areas in the paint buffer replaces pixels on the layers surface that are darker than the corresponding pixels in the paint buffer For dark areas in the paint buffer replaces pixels on the layer s surface that are lighter than the corresponding pixels in the paint buffer Otherwise leaves the layer surface unchanged The Foundry Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 101 Paint Blending Modes Takes the luminance and hue of the layer color with the saturation from the paint buffer Scale Vectors This is most useful with the basic Paint tool while preferably using grayscale paint Scale Vectors uses the intensity of color to control the length of the normal in 3D space Lightens the image Mari divides the color on the surface of the layer by the value of the paint This is the opposite of Multiply In dark areas on the layer burns the paint buffer onto the layer surface In lighter areas dodges it on The Foundry Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 102 Paint Buffer Symmetry Sponge Desaturate Uses the paint buffer as the input to desaturate t
126. ack e with the layer selected from the Layers menu select Sharing gt Share Layer or e right click on the layer and select Sharing gt Share Layer from the dropdown menu A new channel appears in the channels list Selecting the channel dis plays the shared layer in the layer stack To share a layer in a different layer stack e use Sharing gt Share Layer as outlined above to create a shared layer and then drag that to the stack where you need it or e use modifier keys and dragging as outlined in Dragging Layers for Moving Copying and Sharing on page 232 To share a layer as a new channel e with the layer selected from the Layers menu select Sharing gt Share As Channel or e right click on the layer and select Sharing gt Share As Channel from the dropdown menu NOTE For layers shared as new channels you can make the new channel your current channel by selecting Sharing gt Make Shared Channel Current from either of the menus above 4 To unshare a layer The Foundry e with the shared layer select from the Layers menu select Sharing gt Unshare Layer or e right click the shared layer and select Sharing gt Unshare Layer from the dropdown menu NOTE A shared layer is denoted by the link icon on the layer TIP With the possibility of multiple shared layers it can be difficult to keep track of them Ensure that you rename any relevant layers or channels in order to limit confusion Ma
127. ad ows and Midtones Color Lookup Changes the color of the paint on the Use the curves to set the individ model ual Red Green and Blue values Color Switch Turns individual color channels on or Use the checkboxes to select off as well as the alpha channel which color channels display When Mari applies the filter it removes any unchecked color channel or the alpha channel from the painting The Foundry Mari 2 0v1 245 Copy Channel The Foundry Changes the contrast levels on the model Copies the value from one RGB color channel to the other two The result is a grayscale image with the intensity val ues from the selected channel Changes the gamma levels on the model Changes the overall color grade of the black and white points and allows you to adjust the gain and gamma of the paint on the model Select the amount of Contrast and specify a Contrast Pivot point that you want to adjust values around Select the source channel from the list When you apply the fil ter Mari copies the selected channel over the other two chan nels Select a particular gamma level using either the entry box or the Sliders Invert reverses the gamma con version That is a higher setting for Gamma results in a more washed out looking image Adjust the Blackpoint to allow you to change the depth of the darkest point in the paint The Whitepoint allows you to increase the brightest point in the paint L
128. age e By default No Stencil is the chosen option which simply tints the image color and does not change any other aspect e Selecting Stencil allows you to paint through an image to create a design on the model Stencil ignores the color on the stencil and fol lows only the alpha value e Selecting Inverted Stencil allows you to color in all parts of the model where the stencil is transparent leaving the stencil as the model s Original color e Selecting Luminance allows you to paint through an image in much the Same way as you would with a stencil However by setting the option to Luminance this allows you to use an image s luminance as the alpha when painting This works especially well for dirt noise blemishes and other similar effects Mari 2 0v1 PAINTING THROUGH AN IMAGE OR GRADIENT 68 Paint Through a Gradient e Selecting Inverted Luminance allows you to create a similar effect as Luminance but uses the lighter parts of the image as alpha This can be used to pick up scratches and fine lines Paint Through a To paint through a color gradient instead of through an image Gradient 1 Click to select the Gradient al tool A gradient displays above the canvas 2 To configure the gradient change the settings on the Tool Properties toolbar at the top of the window You can Set e The two colors for the gradient click on the swatch to change the color e In Point select a proportion of the gradie
129. age tab and one Grey tab You can add additional color tabs e To open other tabs including Blend tabs click p3 e To open a tab as a floating window click al You can also pick colors from images by double clicking on them 4 To display the color picker menu when painting press and hold j The color picker menu displays under your mouse cursor The bar at right shows the selected color without a border so you can compare directly with what s already painted 5 To pick colors from an image directly from the Image Manager or a shelf double click on the image When the image window opens click within the image to set the foreground color TIP See also Storing Resources Using Shelves for instructions on making a custom shelf with small icons of selected color swatches EXPERIMENT Try the steps below to choose new colors amp e Pick a color from the Colors palette Notice as you drag the cursor across a field or slide a slider the Foreground swatch changes and the RGB values change e Load an image into the Image tab in the Colors palette and pick a color from it e Create a custom floating Blend window with different colors than the defaults The Foundry Mari 2 0v1 MANAGING COLORS IN MARI 217 Set How Colors Are Displayed Onscreen Set How Colors Mari sets how colors are displayed for each project separately You can set Are Displayed this using either the Color Manager or the ColorSpace
130. ainting palette under Painter gt Filter Your options are e Nearest preserves edge detail but gives quite blocky textures e Bilinear gives good results but can produce square artifacts at extreme zoom This is the default setting e Bicubic provides more rounded results slightly blurrier but without the square artifacts As with the Clone Stamp tool you can adjust the color grade of your source image as you paint TIP See Clone Stamping for details of the Clone Stamp tool and using color grades The Foundry Mari 2 0v1 PAINTING THROUGH AN IMAGE OR GRADIENT 61 About Using a Gradient About Using a You can also use the Gradient tool to paint through a linear or radial color e gradient instead of an image For example the following illustration shows a Gradient radial gradient being stamped onto the model Steps for To paint through an image or color gradient in Mari follow these steps Painting 1 Set the Paint Through Options Through 2 Paint Through an External Image 3 Clone from a Floating Image 4 Using Tint and Stencil Options 5 Paint Through a Gradient The Foundry Mari 2 0v1 PAINTING THROUGH AN IMAGE OR GRADIENT 62 Set the Paint Through Options Set the Paint 1 Start Mari and open your project Through Options 2 Click to select the Paint Through a tool 3 Open the Tool Properties palette The current properties for Paint Through display Scroll down to view them all 4 To cus
131. al axis e Falloff End where the projection completely fades and the painting is completely masked e Falloff Start is where the masking begins a proportion of where the projection deviates from directly facing the view at which point the projection starts gradually fading as the masks blends to the falloff end Enable the masking by turning on the toggle at the top of the section When enabled the icon displays in the status bar Clicking this icon as well as the checkbox in the palette disables the edge mask TIP You can use shortcut keys to enable disable the edge mask G and hide show the masking The Foundry Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 88 Mask What You Can Paint On Channel Masking To use Channel masks set the options under Channel Mask General Mask Channel Mask Amount 1 000 Mask Contrast 1 000 e Mask Channel lets you select a channel to use as a mask if you are using a channel mask youll want to create and paint a mask in a channel first e Mask Amount controls the strength of the masked texture coming through how much unmasked texture to apply For example at 0 5 Mari applies the unmasked paint with alpha of 0 5 e Mask Contrast controls the contrast used on the mask texture This controls how sharply defined the mask is at 1 0 this is just the original mask texture lower values are fuzzier and higher values are sharper
132. alette e Presets an array of predefined brushes that come with Mari The Brush Editor also includes a scratch pad at the bottom The scratch pad shows a squiggle painted with the selected brush You can also paint directly in the scratch pad the default squiggle disappears while you enter a stroke Mari 2 0v1 CONFIGURING BRUSHES 38 Review the Preset Brushes That Come with Mari Review the Mari comes with a set of preset brushes Preset Brushes 1 Click the Presets tab That Come with The preset brushes display and are collected into tabs Mari 2 Click through each tab and familiarize yourself with the different brushes that are available Try selecting some brushes and painting in the scratch pad with them Review For each brush Mari specifies several properties that you can view and e change Properties You a 1 To view the properties of the selected brush click the Properties tab Can Change The Foundry Mari 2 0v1 The Foundry CONFIGURING BRUSHES 39 Review Properties You Can Change The following properties display Below is an extract from the Mari Ref erence Guide explaining each property GENERAL How much noise to add to each splat to soften the appearance and reduce banding Lower values give a harder brush higher values a softer brush You can also add noise to the brush tip itself under the Noise section below Range 0 00 to 100 00 Reset O The space between splats as a p
133. alues in the source image either all at once using the Rgb slider or one by one e Alter the Contrast or the Saturation e Use the value curve to apply a specific change to the colors Mari grades the colors by converting the input value on the x axis to the matching value on the y axis Select the clone tool Paint some sample strokes experimenting with the settings in the Source Grade section EXPERIMENT Use the sliders to change the color balance in the red green and blue components Try altering the contrast Use the value curve control to change the color values in the source image Paint a number of sample strokes to see how the color grading works Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 6 PAINTING THROUGH AN IMAGE OR GRADIENT Paint Through is closely related to clone stamping The Paint Through tool lets you drag an image from the Image Manager and hover it over your model As you paint Mari applies the area of the image underneath your brush to the model It s like clone stamping except that you re always cloning directly from the preview onto the model below it Unpainted model Image overlaid painting The result through As you paint you can move the source image around rotate it and resize it TIP If you paint off the edge of the image no clone data is available You can choose to tile the source image If this is on when you paint off the edge Mari repeats the image so you always have so
134. annel and assign it a name Click OK The Import dialog displays Mari 2 0v1 CHANNELS 280 Export and Import Channels 3 Follow the steps in Import Existing Textures to Channels on page 141 before clicking Import All Patches Mari imports the textures as a new channel The Foundry Mari 2 0v1 MARI USER GUIDE THE Q FOUNDRY 23 SHADERS Shaders control how Mari displays the model under certain user specified lighting conditions Mari uses shaders to specify how different channels behave in the lighting module and how the paint on the model reacts to light Mari a ways uses a shader to generate the surface displayed on screen The shaders are also highly dependent on the channels and layers in a project and you can view current paint layers targets and channels specifically in the Shaders palette For more information on how shaders channels and layers integrate with one another please refer to the Layers Overview in this guide There is no default shader for new projects but adding a new shader is quick and simple and the default channel can be plugged into the shader immediately to set up your project Once you create channels and assign them to the fields in the shader components you can build up complex textures on your model Color channel plus displacement channel specular channel plus equals VISUAL EFFECTS SOFTWARE The Foundry SHADERS 282 this Here the shader is pulling in al
135. annel to use as an ambient occlusion map If you want to save the default ambient occlusion data for the project as a channel you can bake the ambient occlusion from the default shader You can then edit this baked channel as you want Note This overrides the ambient occlu sion shading Mari applies by default This means that if you just bake out the ambient occlusion and then use this as the input to this shader you see no difference you re applying the ambi ent occlusion that Mari would apply anyway Try chang ing the ambient occlusion value under the Lighting component of the shader or edit the ambient occlusion mask channel Mari 2 0v1 257 Displays the graphic representation of the surface positions XYZ as RGB Converts the pres ent surface normals to a Diffuse RGB color This is useful for baking out nor mal maps from the bump channel UDIM Mask Masks out all other UDIMs on a model except for the selected UIDIM UV Converts the UV toa color based on the UDIM values Useful for debugging UV layouts Procedural Layers Fractal Cloud Blends seamless 3D noise in a cloud pat tern with the shaded Surface using the specified Blend Mode The Foundry LAYERS Layer Types and Examples 258 Position procedural Normal blend Position procedural Normal blend Surface Normal procedural Normal blend Surface Normal procedural Normal blend The UD
136. ant to remove the attribute Click Remove Mari 2 0v1 Review the Custom Shortcut File Format Text File lt action gt lt key s gt The Foundry EXTENDING MARI 355 Review the Custom Shortcut File Format 1 Read through the following information about the required format of a Mari custom shortcuts file 2 Study the example default shortcuts file A default DefaultShortcuts conf or custom Shortcuts conf shortcuts configuration file is a text file that starts with Shortcuts and then lists Mari actions and their shortcut keys one per line The actions are the same as what you find in the Manage Keyboard Shortcuts dialog box in Mari with the hierarchies spelled out separated by a backslash and with 20 for spaces After each action is an equal sign and then the key or key combination For key combinations you use one or more modifier keys like Ctrl or Alt with a plus sign between each For example below are some shortcuts in the Manage Keyboard Shortcuts Mari 2 0v1 Using Modifier Keys The Foundry dialog box alongside their listings increase Radius Say a FECTEaSE Radius Ineresce inari Increase ped oCIty Descrease Opac Increase Rotation Decrement Brus Increment Brus 0 Eve Dropper TIP Case is not important The lines Increment Brus Decrement Brus Increment Brus Decrement Brus Increment Brus Decrement Brus
137. apshots Revert to or Delete snapshots To load an existing snapshot Select the snapshot and click Revert Mari loads the selected snapshot into the current channel To delete a snapshot 1 Select a snapshot and click The Delete Snapshot dialog displays asking you to confirm 2 Click OK Mari 2 0v1 Autosnapshots Share Channels The Foundry CHANNELS Share Channels The snapshot disappears from the Snapshots palette When saving a project Mari automatically takes a snapshot of all available channels and adds it to the Snapshots palette This feature is disabled by default but can be managed in the Mari Preferences dialog To manage autosnapshots 1 Click Edit gt Preferences The Mari Preferences dialog displays 2 From the dropdown menu under Data gt Channels gt Autosnapshot select whether autosnapshots are e Disabled e Enabled with Limit or e Enabled Unlimited 3 When Enabled with Limit is selected Mari limits the number of autosnapshots that are stored in the Snapshots palette to the number specified by the Autosnapshot Limit If the number of autosnapshots stored exceeds this limit the oldest autosnapshot is removed from the palette NOTE The Autosnapshot Limit does not affect the number of regular channel snapshots that can be stored in the Snapshots palette Unlike the layer sharing functionality in the Layers menu and palette channel sharing doesn t have a menu option in eit
138. arquee selections 2 Select the Marquee Select tool pq 3 In the Tool Properties select the tool type You can select a rectangle lasso ellipse or wand The Foundry Mari 2 0v1 The Foundry SELECTING ITEMS 179 Selecting Areas Onscreen Draw a rectangular selection Draw the outline of your selected area You can draw any shape you want Draw an elliptical selection Select by color When you click Mari creates a selection around the point you clicked The selection is based on color areas with a similar color to the original point are selected You can change the color threshold for the selection 4 Click and drag to create your initial selection Initial buffer with Marquee select only the paint unbaked paint within the selection is visible Mari 2 0v1 The Foundry SELECTING ITEMS 180 Selecting Areas Onscreen 5 To edit the shape of the selection change the Mode in the Tool Properties You can set this to the new selection replaces the In Replace mode the default you can existing selection e hold down Shift click and drag to add to the current selection or e hold down Ctrl click and drag to remove from the current selection Transform lets you move your selection In Transform mode you can 6 area aroung move rotate or hold down Shift click and drag to scale the selection move the current selection e hold down Ctrl click and drag to rotate the curren
139. ation data This allows you to create a project based on an animated object so you can check how your textures work as the model moves This support for animation lets you e Paint models in context you can check how the textures look through the full range of motion e Paint specific textures tied into frame ranges Imagine that in frame 37 of a sequence a bullet ricochets off your giant robot Mari lets you open the model move to frame 37 and edit the relevant texture layers to show the chipped paint and the displacement from the impact You can adjust and export texture layers frame by frame Keyframes Keyframes define when the texture changes within a sequence When you create a keyframe Mari remembers what textures you ve got on your model Then e Any textures you add earlier in the sequence disappear when Mari reaches the keyframe e Any textures you add after the keyframe appear once Mari reaches the keyframe e When you export your textures you can export a separate version of each patch for each keyframe Keyframes divide the sequence into parts You can paint in any frame within a part and that paint appears from the previous keyframe until the next keyframe The first frame of animation is always treated as a keyframe VISUAL EFFECTS SOFTWARE PAINTING ANIMATED OBJECTS 343 Keyframes Example For example we re painting an object with a 12 frame animation We have some existing paint Here the existing pa
140. ation so the images match and you avoid lines around the outside of the patch Post multiply works the same but in reverse removes pre multiplication to match images that do not have pre multiplied alpha Edge Detect Finds edges transitions between colors in the image and heightens them Applies an emboss effect so that textures look raised on the surface The Foundry Mari 2 0v1 Color Correction Add Noise The Foundry FILTERING IMAGES AND PAINT Available Filters Removes fuzziness and clari fies detail in the image You can set the amount of sharpening Higher values mean more sharpening while a value of 0 00 is the picture without the filter applied Removes low frequency infor You can set the kernel size the amount of mation from the image while _ filtering by adjusting the Radius maintaining higher frequency If you use a large radius you may get slight detail lines on the boundaries between patches This can be useful for quickly This is an artifact of the way that Mari han creating specular maps where dles patch edges only the higher frequency image highlights are main tained This filter is not supported with Ptex chan nels Applies a colorspace correc You have the option to use Mari s default tion to the current channel or Configuration File or a custom one painting Set the colorspace of the current channel or painting i
141. ation file has the same effect as changing each shortcut individually in the Manage Keyboard Shortcuts dialog box but lets you change all of them as a single consistent set You can then also share a set of shortcuts with other users e channel presets Using a channel preset configuration file you can specify categories of preset channels for example for different types of assets to display in the Add Multiple Channels dialog box when you create channels for a project in bulk e channel templates Using a channel template configuration file you can specify the filename formats to use in the Add Multiple Channels dialog box These control the filenames that Mari looks for when importing textures into new channels You can also configure Mari using environment variables About Cu stom You can attach custom attributes to most objects in Mari such as channels Attributes models projectors and lights Rather than information that Mari needs this is information that can be useful for yourself or other users of the project to know For example you can add the assigned owner of the model as a custom attribute attached to the model You can choose to add custom attributes for the current session only or Save them as part of the project so that they persist when you quit and relaunch Mari About Custom Three types of keyboard shortcuts are available in Mari Shortcuts e The default set of shortcuts that come with the app
142. ave already set the quick projection details Mari just unprojects and updates the file on disk 3 You can now edit the unprojected image as normal see Edit the File s Externally NOTE Due to the nature of psd files the lighting displayed in your external image editor is an approximation of what you see in Mari TIP When unprojecting a separate lighting layer it appears brighter but when this is multiplied over an unlit pass in an external application such as Nuke the lighting appears as expected When projecting you can either e project the image only onto the front patches visible in the current view or e project through all patches in the current view 1 To project onto the front of the patches from the Camera menu select Quick Project Front onto the front of the patches Quick Project Front through all the patches Quick Project Through Mari loads the updated image from the location set in the Quick Projec tion dialog box and projects it back onto the model 2 If you want to change the quick projection settings you can open the Quick Projection dialog box from the Camera menu select Quick Projection Settings To project onto a model using an fbx file you need the following files created using a 3rd party application e a 3D model obj format e a camera file fbx format e texture files jpg format for example Mari 2 0v1 326 PROJECTORS 327 Project onto a Model Using fbx Files
143. ayer stacks of different channels by using modifier keys when dragging e Ctrl Shift drag to share layers e Alt drag or Ctrl Alt drag to copy layers e Drag without any modifiers to move layers Note that the modifier keys need to be held down until the layers are dropped otherwise they have no effect To drag layers between the layer stacks of different channels you need to open those stacks in their own layer stack palettes in advance Remember to pin the layer stack palettes using the button in the top left corner so that they do not automatically disappear Alternatively you can drag and hover over the relevant channel in the Channels palette to activate its layer Mari 2 0v1 Export and Import Steps for Working with Layers Open the Layers Palette The Foundry LAYERS 233 Export and Import stack in the Layers palette and then continue dragging and drop the layers there Substacks such as adjustment stacks or mask groups automatically pop up additional dialogs if you drag your layers over their icons so you dont need to open these pop ups in advance Exporting layers to work on in another application is possible on both an individual and collective layer basis Importing channels also allows you to import textures that have already been worked on or that come from another source To use layers in your Mari project follow these steps 1 Open the Layers Palette 2 Add Layers and Masks 3 Add Adj
144. between each shader with a single click If you want to see how your paint looks for a single layer then compare it when added to the rest of the layer stack switching between the Current Layer and Current Layer and Below views can assist you The Foundry Mari 2 0v1 Diffuse and Specular Settings Ambient Occlusion The Foundry SHADERS 284 Diffuse and Specular Settings Shaders are comprised of two categories Diffuse and Specular With the exception of Flat and Standard Lighting all shaders consist of components from both these categories When creating a custom shader the Diffuse options are e Lambertian and e Minnaert When creating a custom shader the Specular options are e Phong e Cook Torrance e Beckman and e Blinn These options determine the type of diffuse and specular lighting used for the shader as well as which set of shader inputs are available to you NOTE By default the Phong Cook Torrance Beckman and Blinn shaders listed in the Add New Shader dropdown menu use the Lambertian diffuse option To add a shader with the Minnaert diffuse option select Choose Diffuse and Specular from the dropdown menu Once you have set up the shader you can still opt to change the lighting on the model by changing the lights in the Lighting toolbar in the Lights palette or in the Shading menu Ambient occlusion can be set as a shader component input for all of the custom created shaders Using a compo
145. blending modes are not for exclusive use with the Vector Paint tool but can also be used with the basic Paint tool These are available in the paint blending mode dropdown menu in both the Paint and Vector Paint toolbars and the other paint tools such as Clone Stamp and Paint Through The Paint Flow Vectors and Paint Normal Vectors modes are an alpha blend between the vectors The Nudge Flow Vectors and Nudge Normal Vectors modes add the vectors together to get the blend result The paint flow and paint normal modes convert the painted vectors into the texture s tangent Space before creating the associated blend This conversion takes into account the orientation of the texture on the model s surface NOTE Due to the fact that surface orientation plays such an important role vectors baked down on a model may not be exactly the same as vectors painted For example a paint stroke from left to right on a model with a very high curvature may produce quite large changes in color when baked However the Scale Vectors mode works differently to the above four modes This mode uses the intensity of the color to control the length of the vector and works best when painting in gray scale with black representing short vectors white representing long vectors and gray being between the two Paint Scale Vectors with the basic Paint tool The flow and normal vector modes refer to how the vectors are allowed to act in xyz space Flow modes keep the ve
146. c To use custom attributes in Mari follow these steps 1 Add Custom Attributes to Objects 2 Remove Custom Attributes from Objects Mari 2 0v1 EXTENDING MARI 353 Steps for Customizing Mari Steps for To customize your installation of Mari follow these steps Customizing Review the Custom Shortcut File Format Mari Define Custom Shortcuts Review the Custom Channel Preset File Format Define Custom Channel Presets Review the Custom Channel Template File Format Aum fp WN Define Custom Channel Templates Steps for Setting You can set all the environment variables mentioned in this chapter in the i same manner To do so follow these steps Environment Variabl 1 Choose an Environment Variable to Set arlables 2 Set the Environment Variable 3 Check That the Variable Now Exists Add Custom 1 Start Mari and open your project Attributes to 2 Open a palette where you want to add custom attributes for example the Channels Objects or Projectors palette Objects 3 Select the object you want to add custom attributes to and click the button You may need to scroll right in the palette to see this button The Add User Attribute dialog displays 4 Set the following The Foundry Mari 2 0v1 A Remove Custom Attributes from Objects The Foundry J 6 N EXTENDING MARI 354 Remove Custom Attributes from Objects e Type whether the attribute s value is an on off setting Boolea
147. ces 135 Adding Vector Adjustments and Procedurals 2000 136 Changing the File Space lt ea soci lt tur reiken aad eee eee ees 137 Creating Flow Maps on Multiple Objects 0 0 eee 137 Importing Textures When Creating Channels 08 140 Steps for Importing and Exporting Textures 0 008 140 Import Existing Textures to Channels 0 eee eee ee 141 Import Individual Files 0 cee ee cc ee ee ee ee eee 142 Mari 2 0v1 STORING RESOURCES USING SHELVES SELECTING ITEMS WORKING WITH PATCHES The Foundry Import a Sequence of Files ee ee ee ee ee ees 143 Import Existing Textures to Layers eee ee eee ee eens 145 Export Textures from Channels cece cee cece eee eeee 146 EXport Individual PUGS i lt eucekeobet sign ba Reo ee ca ea ae 147 Export a Sequence of Files eee ee ee ee ee es 148 Exporting to a Layered psd File 0 eee eee eee 150 Set Small Texture Preferences and Export 2 150 Export Texture from Layers cee cee cee eee eee ee eens 151 Importing and Exporting Ptex Files eee ee eee eee 152 EXDOFE LO MAV asa coe cat lad bt ts eet dade a Ghat oer HEX Ns 153 Steps for Using Shelves 25 6 0e00 bu ddwwduseoedumededwosee ss 155 Open SHEIVES ss ti ed eeu tee Eee Se eee ee as 156 Add a Brush to a Shelf 22444 s 28ae8 Mena Ws SN ee awe ba Ob FES
148. chan nel you want to lock The current channel is locked The channels listing in the Channels palette changes to show the Closed lock icon E Kal NOTE If you attempt to paint on the canvas when a channel is locked the paint shows up in the paint buffer When you attempt to bake the paint buffer is cleared without baking the paint down into the locked channel If you didn t want the paint buffer to be cleared simply undo the bake 2 To lock all channels e from the Channels menu select Lock All Channels or The Foundry Mari 2 0v1 Export and Import Channels The Foundry CHANNELS 277 Export and Import Channels e from the Channels palette right click on the channel and select Lock All Channels from the dropdown menu All channels in the Channels palette are locked To unlock the current channel e from the Channels menu select Unlock Channel e from the Channels palette right click on the channel and select Unlock Channel from the dropdown menu or e from the Channels palette click on the lock icon B next to the chan nel you want to unlock Mari unlocks the current channel and changes its listing in the Channels palette back to the open lock icon To unlock all channels e from the Channels menu select Unlock All Channels or e from the Channels menu select Unlock All Channels All channels in the Channels palette are unlocked NOTE Please be aware that if you have used the Lock All
149. channelName gt lt fileFormat Type QString gt lt fileFormat gt lt path Type QString gt lt path gt scalar Type bool strue lt scalar gt lt width Type int gt 4096 lt width gt lt height Type int gt 4096 lt height gt lt channels Type QString gt RGB lt channels gt lt depth Type QString gt Byte lt depths Mari 2 0v1 Define Custom Channel Presets Review the Custom Channel Template File Format Text File lt name gt lt format gt The Foundry EXTENDING MARI 367 Define Custom Channel Presets lt Color Type as MriColor 215 71 11 lt colors lt category Type QString gt lt category gt lt MriChannelInfo gt lt m Channels gt lt MriSerializableObject gt lt Mari gt To create a Mari custom channel presets file 1 Copy the Mari default channel presets file DefaultChannels mtd from the following subdirectory of the Mari application directory e Media Settings on Linux or e Bundle Media Settings on Windows Rename the file to something descriptive but keep the mtd extension Edit the file replacing the key values Save the file in the following subdirectory of your home directory e config TheFoundry on Linux or e mari TheFoundry on Windows This is also the directory specified on the Channels tab of the Mari Pref erences dialog box Read through the following information about the required format of a Mari custom pres
150. click either the UV or Ortho UV tab at the top of the canvas The UV view displays all individual patches on the model and labels the patches with the size format in an abbreviated mode such as 4K instead of 4096x4096 The label also lists all active patch sizes in a comma separated list Mari 2 0v1 WORKING WITH PATCHES 1 88 View and Resize Patches 3 Zoom in to view the details of a specific patch more easily Once you zoom in enough Mari displays the patch details such as reso lution and color depth Resize Patches 1 Select the patch es to resize TIP You can select the patches in any view you dont have to be in the UV view to do this 2 From the Patches menu or the right click dropdown menu on the canvas select Resize Selected and then a resize option You can select a specific resolution from the list up to the maximum resolution for the channel or choose to halve or double the resolution f you try to double the size of a selection already at the channels max imum resolution or halve the size of one at 256 x 256 nothing happens The Foundry Mari 2 0v1 Using UDIM Values Copy and Paste Patches The Foundry WORKING WITH PATCHES 189 Using UDIM Values NOTE If attempting to resize patches in a channel that contains layers shared from other sources the shared layers are not resized all other layers in the channel are resized Each patch represents one square unit in UV space for i
151. configuration For example the Edge Detect filter has no user configurable settings Other filters provide a wide range of configuration options including the ability to create manage and load preset filters For example the Color Curves filter gives you very fine control over the contents of the RGB color components As well as using Maris pre defined filters to edit the paint on a the paint target or in the paint buffer you can use them as part of a custom color profile These filters only affect how the colors display on screen rather than actually changing the painting itself See Managing Colors in Mari for details on setting up custom color profiles VISUAL EFFECTS SOFTWARE FILTERING IMAGES AND PAINT 307 Steps for Using Filters To make it easier Mari provides an interactive preview of each filter As you change the settings for the filter the main canvas updates to show a preview of how the filter looks TIP Filter previews are not available for scalar channels Steps for Using To use filters in Mari follow this step Filters 1 Select and Apply Your Filter This tutorial also includes a reference table of Available Filters Select and Apply 1 Start Mari and open your project Your Filter 2 For best results from the filter preview set the lighting to flat so the effects from the filter arent lost in the effects of the lighting 3 If you plan to apply a filter to the contents of a specific channel make Sur
152. couple of black stripes on the face and then select patch 1002 VISUAL EFFECTS SOFTWARE COPYING AND PASTING PAINT 123 Steps for Copying and Pasting Paint Black stripes painted Patch 1002 selected If we copy patch 1002 back onto the same channel with an offset of 20 the paint copies to patch 1022 the corresponding patch on the other side of the model s face Mari reverses the texture as it pastes Steps for To tow paint around on the surface follow these steps Copying and 1 Copying and Pasting Single Patches Pasting Paint 2 Copying and Pasting Multiple Patches Copying and 1 Select your source patch Pasting Si ngle Ti hed only works with single patches You cannot copy multiple patches at once Patches 2 From the Patches menu select Quick Copy The Foundry Mari 2 0v1 Copying and Pasting Multiple Patches The Foundry COPYING AND PASTING PAINT 124 Copying and Pasting Multiple Patches 3 Select your destination patch es 1 2 Set the details of where to take the textures from This can be on the same layer or a different layer on the same object From the Patches menu select Quick Paste If you selected multiple patches you may see a warning If you choose to go ahead the source patch is pasted across each of the target patches Mari pastes a copy of the source patch onto the destination Depending on how different the shapes of the two patches are you can probably expect to se
153. ct Project 20Explorer Hide 20Unselected Shift H Mari Project Project 20Explorer Show 20A11 Ctr1l Shift H Mari 2 0v1 Define Custom Shortcuts The Foundry EXTENDING MARI 360 Define Custom Shortcuts Mari Painter Paint 20Mask 0 Mari Painter Toggle 20Edge 20Mask G Mari Painter Toggle 20Show 20Painting Mari Painter Show 20Paintable Mari Projection Toggle 20Mask 20Preview 20Enabled Mari Painter Invert Shift I Mari Channels Toggle 20Channels T Mari Channels Next 20Channel PgDown Mari Channels Previous 20Channel PgUp Mari Tools Toggle 20Brushes N Mari Tools Decrease 20Aspect 9 Mari Tools Decrease 20Radius Mari Tools Decrease 20Rotation Mari Tools Descrease 200pacity Mari Tools Increase 20Aspect 0 Mari Tools Increase 200pacity Mari Tools Increase 20Radius Mari Tools Increase 20Rotation Mari Project Project 20Explorer Shader 201 Ctrl 1 Mari Project Project 20Explorer Shader 202 Ctrl1 2 Mari Project Project 20Explorer Shader 203 Ctrl1 3 Mari Project Project 20Explorer Shader 204 Ctrl1 4 Mari Painter Set 20Colors 20to 20Black 20And 20White D To create a Mari shortcut customization file 1 Copy the Mari default shortcuts file DefaultShortcuts conf from the following subdirectory of the Mari application directory e Media Settings on Linux or e Bundle Media Settings on Windows 2 Rename the file as a custom shortcuts file Shortcuts conf 3 Edit the file replacing the defaults with your custom sh
154. ct this Once you have identified how you want the effect to appear on your model you can create flow maps that provide this information Figure 12 1 Arrows indicate the Figure 12 2 Arrows show the direction of the feathers on the direction of painted vectors swan s body which vectors should which indicate the flow mimic of vectors VISUAL EFFECTS SOFTWARE VECTOR BRUSH 129 Vector Inspector For example in Figure 12 1 the feathers on the swan are determined to be following the curve of the neck This impacts the feather pattern so that the vectors in the texture curves around to display the natural flow pattern In Figure 12 2 the vectors have been painted on the image to show how this flow pattern might appear Vector Inspector The Vector Inspector tool allows you to see directional markers representing the vectors you are brushing onto the model These markers ensure that you can see the effects of the vector brush or paint blending modes to achieve the effect you want Vector lines can be turned on or off at any time as well as adjusted to change the properties such as spacing Like the paint buffer the Vector Inspector can be moved around the canvas or rotated using keyboard shortcuts The Foundry Mari 2 0v1 Vector related Paint Blending Modes The Foundry VECTOR BRUSH Vector related Paint Blending Modes Five unique paint blending modes allow you to specify how the vectors are baked onto a model These paint
155. cting other objects Mari 2 0v1 The Foundry VECTOR BRUSH 139 Creating Flow Maps on Multiple Objects 8 If you don t already have them activated turn on the vector painting directional markers by clicking on the RS icon in the Vector Painting toolbar before painting your flow maps If you paint on the model now paint is applied to all unlocked objects However only objects with the Vector Paint channel listed in the shader s Vector shader component field show the vector inspector markers NOTE For more information on shaders and shader components please see the chapter on Shaders on page 281 Mari 2 0v1 MARI USER GUIDE THE Q FOUNDRY 13 EXPORTING AND IMPORTING TEXTURES Importing Textures When Creating Channels Steps for Importing and Exporting Textures Importing is how you can pick up an existing set of textures to work on Similarly exporting is how your work moves on into the next step in the pipeline e Importing loads images into the current channel or layer or as new channels and layers on your model e Exporting saves out the paint on your model as a set of image files one file per UV patch Exporting and importing can be done for both a single channel or layer as well as multiple channels layers even objects in a project In essence you can e export or import the entire channel including all layers e export or import selected layers and e export all channels or objects in
156. ctor Y Flip from the dropdown menu It may often be necessary to create flow maps for different objects in a project effectively separating the vector data into more than one channel Following the steps below prevents the vector markers from appearing on multiple objects when attempting to focus on creating flow maps on only a single object 1 To set up a basic channel on objects that do not need flow maps in the Channels palette either e right click on the palette and select Add Channel from the dropdown menu or e click on the add channel Eg button Mari displays an Add Channel dialog box NOTE Ensure that you have the correct object s selected before you begin to avoid creating any unnecessary Channels on the wrong object Mari 2 0v1 The Foundry VECTOR BRUSH 138 Creating Flow Maps on Multiple Objects 2 Create a channel called gray or similar and set the Color to mid gray RGB 0 5 0 5 0 5 with a Scalar Color Space Create the channel for only the selected object for this example called Object A Using the gray Quick Channel can simplify the process but if you have multiple quick channels in the Channels palette make sure you rename it to avoid any confusion when setting up the shader in the instructions below TIP Create the channel or quick channel with a 256x256 Size to avoid taking up unnecessary space Set up vector default shaders by navigating to Python gt Examples gt Setup Vector Brus
157. ctors flat against the surface of the model Normal modes allow the vectors to protrude outwards from the model in tangent z space The type of vectors you want to paint may influence which paint blending modes you use For example flow modes are most often going to be used for flow maps while you may prefer using normal modes for creating normal maps For more information on how to use these paint blending modes see Paint Blending Modes on page 92 in the chapter on Controlling the Way Mari Applies Paint to Your Model Mari 2 0v1 Vector Adjustments and Procedurals Vector Shaders The Foundry VECTOR BRUSH Vector Adjustments and Procedurals There are two adjustments and two procedurals in the Layers palette that allow you to set up your project for vector painting The adjustments are Tangent To Screen and Tangent to World These adjustments are where you can paint flow and normal maps within a set channel for your vector painting There are also two procedurals Vector and Flow These procedurals allow you to specify the properties for your vector visualization Vector allows you to specify another color using the sliders in the layer properties The Flow procedural acts as an adjustment would and allows you to use your vector paint as surface flow over time Input an image preferably a tileable one into the Tile Image field to apply a texture to your model for viewing flow maps The Time Offset slider represents the fl
158. d features that can be toggled All icons display tooltips when the cursor hovers over the icon Some can be clicked to toggle the displayed functionality Though most icons are unique to a single error warning or feature there are a few noted in the list below that are not Status Bar Icons Udim Displays the UDIM number of the patch you have selected If nothing is selected then there is nothing listed after Udim Notifies you that there is unbaked paint in the paint buffer Clicking on this icon This icon only displays in the status bakes the current painting bar if there is paint in the paint buf fer Notifies you that background jobs are currently running Clicking on this icon displays a dialog for the progress bar The Foundry Mari 2 0v1 201 CONFIGURING THE USER INTERFACE 202 Status Bar Icons Notifies you that the project has changed and allows you to click on the icon to Save changes Notifies you that color management is active More information on color management can be found under Set how colors are displayed using the Color Manager on page 217 Notifies you that you are currently projecting on the front of objects Clicking on this icon toggles to Project Through Objects Clicking on this icon toggles between projecting through objects and projecting on the front of objects The EJ icon takes the default icon s place when switching to project through More information for projecti
159. d region with another part of the surface That is it clones the texture under your mouse over the selected area Move Feature swaps the contents of the selected region with another area on the surface Click and drag on your model to select the area to tow You can drag any When you release the mouse shaped area the selection area completes 6 Click on the selection area and drag it around As you tow the selection the edges blend in with the surrounding tex ture You can adjust the settings for the Towbrush You can set the e Falloff controls how the texture blends in from the edges of the patch Higher values have sharper transition to the surrounding tex Mari 2 0v1 The Foundry gt TOWING PAINT AROUND 121 Select and Tow Paint ture lower values blend in more smoothly Use and to lower and raise the falloff e Value how much of the color of the original patch to preserve Higher values keep more of the original color lower values blend the whole patch in with the background as you move it Use and to lower and raise the value To fix any mistakes e If you want to clear your current selection press apostrophe e If you want to undo a clone move just clear the paint buffer Bake your changes If you want to paint multiple strokes with the Towbrush tool you must bake between each move EXPERIMENT As the Towbrush blends its edges dynamically it s hard to see unle
160. den patches again from the Selection menu select Show Selected Show All or Show Entire Object to restore visibility of faces To lock the selection so that you cant paint on the locked areas from the Selection menu select Lock Selected Mari locks the selection Try painting a few strokes over the model the paint does not stick to the locked areas As with hiding you can also lock the inverse of your selection by choosing Lock Unselected from the Selection menu or if you want to lock the whole model in order to work on something else you can Lock All To unlock the selection from the Selection menu select Unlock Selected or unlock the whole geometry by selecting Unlock All Mari 2 0v1 SELECTING ITEMS 176 Saving Selections on the Model 8 If you ve locked multiple patches faces and even objects and want to quickly unlock everything in your project select Unlock Entire Object from the Selection menu TIP You can also show hide and lock selections from the right click menu on the canvas Saving 1 With the Select tool create your selection Selections on You can select in any mode object patch or face the Model 2 Right click on the selection From the dropdown menu pick Create Selection Group Import Create Patch Selection Set Create Selection Group Patches 3 Open the Selection Groups palette The Foundry Mari 2 0v1 SELECTING ITEMS 177 Saving Selections on the Model This d
161. dges where the projected image wraps around the surface The original view in Mari We edit the whole Projected back onto the as the projector grabs it snapshot even though model and rotated to we only want to change show the blurring where one small section the projected image wraps around the surface at the nose and cheek To avoid this e Set your projectors up so they face straight onto the area you re working on e When editing the projected image work on a different layer only using the areas on the snapshot that you want to change f j This time we ve created Now were happy with Now when we project it a new layer in the our changes we remove back onto the model snapshot Were only the background layer and Mari only adds the making changes on the save the file changes layer There new layer are no artifacts and it all looks good The Foundry Mari 2 0v1 324 PROJECTORS 325 Project the File s Back onto the Model Project the Back in Mari click either File s Back onto e Import to load the image from the projector file and put it into the paint buffer or the Model e Project to load the image and bake it onto the surface Mari loads the updated image from the location set in the Input File Path and projects it back onto the model If you have not specified an input file path the Pick Path dialog displays so you can select the file EXPERIMENT Using a sample
162. differ is in how they change the paint on the model Patches are very specific and only transform paint on the selected UV patch Channels on the other hand can include paint across many patches and faces in their layer stacks In this way transforming a channel can affect a larger amount of paint across a greater part of a model depending on how extensive the paint in the selected channel is For more information on the conversion functionality in the Channels palette and menu please refer to the Converting Projects chapter Mari 2 0v1 CHANNELS 267 Steps for Managing Channels Steps for To manage the channels in your Mari project follow these steps Managing Create and Delete Individual Channels Channels Flatten Channels Create Multiple Channels from Presets Navigate Between Channels Set and Change Channel Properties Take and Manage Channel Snapshots Share Channels Lock and Unlock Channels Export and Import Channels lO AON OU HKWN Create and 1 Start Mari and open your project Delete Individual To open the Channels palette e right click on the toolbar and select Channels from the dropdown Channels erik ae NJ e from the View menu select Palettes gt Channels The Channels palette displays showing the channels in the current proj ect a quick channel creation bar and channel attributes in the bottom pane NOTE By default a channel named diffuse is created in the Channels palette
163. displays 2 Follow the steps in Export Textures from Channels on page 146 before clicking Export All Patches Mari exports your flattened textures for all channels in the Channels palette To export all the channels from all the objects in your project with flattened layers 1 From the Channels menu select Export Flattened gt Export Everything Flattened or right click in the Channels palette and select Export Flat tened gt Export Everything Flattened from the dropdown menu The Export dialog displays 2 Follow the steps in Export Textures from Channels on page 146 before clicking Export All Patches Mari exports your flattened textures for all objects To import textures into the layer stack of the currently selected channel 1 From the Channels menu select Import gt Import into Layer Stack or right click channel in the Channels palette and select Import gt Import into Layer Stack from the dropdown menu The Import dialog displays 2 Follow the steps in Import Existing Textures to Channels on page 141 before clicking Import All Patches Mari imports the textures into the layer stack of your currently selected channel To import textures into a new channel 1 From the Channels menu select Import gt Import into New Channel or right click in the Channels palette and select Import gt Import into New Channel from the dropdown menu The Add Channel dialog displays 2 Set the options for your new ch
164. dow that opens enter echo VARIABLE Replace VARIABLE with the name of the environment variable you set earlier For example to check if MARI_CACHE is set enter echo MARI_CACHE If the variable is set its value is displayed in the command window Mari 2 0v1 MARI USER GUIDE THE FOUNDRY APPENDIX A SHORTCUTS Keyboard Shortcuts a a a a a e re ing tol a e ee Sf ri a a Sen CD e a a e ee a a e a a e S a e a a a a a eer Pa ote eens rents nese aT e se SL a a e a a Genres nose assess a VISUAL EFFECTS SOFTWARE APPENDIX A SHORTCUTS Keyboard Shortcuts Tools Transform Mouse Gestures oe Toggle Vector Inspector Shift a TT ernie Ras w a Toggle Brushes PN Color Picker and Pixel Analyzer Me E a TON TRL GTA a a a a Stow Cos AEP Animation a Sa e a The Foundry Mari 2 0v1 376 APPENDIX A SHORTCUTS Keyboard Shortcuts Seven we Channels Geet e ee a a Tears ome e Toul a a a a Flat Swap Foreground and Background Alt Shift Left button Rotate 90 degrees counter or Alt Middle button clockwise Ctrl R Left button Rotate 180 degrees counter clockwise Alt Ctrl Left button Rotate 270 degrees counter or Alt Right button clockwise The Foundry Mari 2 0v1 377 APPENDIX A SHORTCUTS Mouse Gestures Mouse Gestures Hold down and draw Redo Bake Clear Painting Previous Channel Next Channel Toggle Last 2 Channels Paint Too
165. e as well as advanced blending options Unlike the Paint Mode found on the Paint toolbar these blend options don t affect the whole model but only the selected layer s Mari 2 0v1 Ordering Layers The Foundry LAYERS 225 Getting Started with Layers Mari applies the layers in the order they appear in the palette from the bottom of the list up as in Photoshop You can drag and drop them around in the palette to change the order Every channel that you ve created automatically has a base layer in the layer stack This is the foundation all other layers are built on If the base layer is deleted the object displays the transparency checkerboard wherever paint from the above layers doesn t cover the model The following table illustrates a basic layer stack with two layers in a diffuse channel One layer shows a red Stripe the other shows a blue stripe The order of the two layers determines which texture appears on top The table shows the results of swapping the order of the layers The diffuse texture Base is on the bottom then the Red then the Blue The diffuse texture is on the bottom but this time the Red is on top of the Blue Mari 2 0v1 LAYERS 226 Layer Blend Modes If you like the look of a layer and want to replicate it elsewhere in your project you can copy and paste the layer into the layer stack or another stack In addition layers can also be duplicated within the stack r NOTE F
166. e Mask Curve controls how the input pixel values relate to the degree of masking The horizontal axis is the darkness of the input pixel black to the left white to the right the vertical axis is the degree of visibility By default this is a direct line where white pixels are totally masked black pixels are totally unmasked and 50 grey is 50 masked e Invert applies the mask in reverse Mari expects masks to be black on white where the white areas are masked and black is unmasked However if you prefer to paint white on black you can invert the mask input When enabled the icon displays in the status bar Clicking this icon as well as the checkbox in the palette disables the channel mask TIP If you want to turn channel masking off just select the blank entry from the Mask Channel list The Foundry Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 89 Mask What You Can Paint On Ambient Occlusion Before you use an Ambient Occlusion Mask you must calculate the ambient Masking occlusion for the object See Calculating Ambient Occlusion for more details To use an ambient occlusion mask set the options under Ambient Occlusion Mask Mask Amount iJ aT rae Mask Contrast e Mask Amount is the amount of masking to apply This is from O to 1 higher values mask the areas that are covered by ambient occlusion while lower values mask everything except the areas that are covered by the
167. e Size can affect Mari s performance Increasing the Buffer Size or the Virtual Texture Size even when your graphics card supports large textures can slow Mari s performance Adjust the Buffer Size under Paint Buffer in the Painting palette and the Virtual Texture Size in the Mari Preferences dialog under Data gt Graphics Card Displacement preview performance seems slow If you have allocated a channel to be used in a Displacement shader component the Virtual Texture Type under Edit gt Preferences gt GPU gt Virtual Texture should be set to at least Half for more precise displacement In addition the channel containing the displacement map should be set to at least 16 bit Please note that using values higher than these may reduce preview performance Mari keeps highlighting anything I ve selected with a selection color How can I turn this off You can configure the way Mari highlights selected areas Right click on the canvas and select Display Properties Under Selection adjust Fill Render and Outline Render can t find a Save As option Mari currently has no Save As functionality You can however duplicate your project by right clicking on it in the Projects view and selecting Copy If you want to pass your project on to another user you can also select the project in the Projects view and click Archive This creates an archive a mra file that contains your project and all the textures and models associated with
168. e Tool bars dialog box and an empty toolbar displays for it on the main screen Canvas artara TAAl _ Custom loo Example The Foundry Mari 2 0v1 CONFIGURING THE USER INTERFACE 1 99 Create Custom Toolbars TIP If the empty toolbar does not display make sure that the Visible checkbox in the Manage Toolbars dialog box is ticked Also note that the new toolbar may display at far right and you may have to drag its handle to the left to resize it to make room for new icons B 4 Add functions to your toolbar by dragging from the list on the left in the Manage Toolbars dialog box onto the empty toolbar on the main screen TIP Click to expand the nodes in the list to see the functions available At the moment items cannot be removed from custom toolbars 5 Click OK to close the Manage Toolbars dialog box when you re happy with your new toolbar EXPERIMENT Try this to acquaint yourself with managing toolbars amp e create a new toolbar e add a few items to it e resize it e undock it move it and re dock it somewhere else e hide it from the display then e remove it The Foundry Mari 2 0v1 CONFIGURING THE USER INTERFACE 200 Configure the HUD Configure the To configure the heads up display HUD HUD 1 From the Edit menu select HUD Manager The HUD Manager dialog box opens The information youre most likely to want to display is under Tool Manager and the current project in the illustra
169. e VIOW 2 267 ts Gis Gate ei Oa 6 Os oa tee eae 6G eS 320 Create the ProjeCtOMr lt 9 cd440 ea RG Rasen coannewne sen dekesd 320 Unproject from Your Projector 0 cece ee ee eens 323 Edit the File s Externally 0 00 cece eee cee ee eee ees 324 Project the File s Back onto the Model 00 00 ec ee eee 325 Use the Quick Project Functions 0 ce eee ec ee eee 325 Project onto a Model Using fbx Files 0 0 eee ee ee 326 Generate a Turntable from a Projector 0c eee eee eee 330 Generating a Render Turntable 0 0 0 eee ee eee 330 Generating a Diagnostic Turntable 0 0000 eee 332 Save Load and Delete Projectors 0 cece cece eee eeee 334 Channels and Shaders cece cece ee eee eee eee ees 336 NW ORSIOMING opie ater eee ea eect te dues ah iar le Ge Ge SO ee 336 AmDIGCHE OCEIUSION x 20 a socs d 4 SERS OSA 62m wee eee oe ORS 336 Object ShadOws ceritera Er ke he a oes oe Sai sees 336 Steps for Working with Multiple Objects 0 0 cee eee 337 Adding and Removing Objects cece cee ee ee eee 337 Moving Viewing and Locking Objects cece eee eee 339 Adding and Removing Object Versions 2 00 cee eens 339 Calculating Ambient Occlusion 0 cc cee cece eee 340 Shadow SENOS 3s takin 5 tno 6 bo wea MO aioe ae Se EO Ae awiales 340 REV IAIN Sis eee re dette tea tek ch A ae
170. e by any court of competent jurisdiction such declaration shall have no effect on the remaining terms of this Agreement The failure of either party to enforce any rights granted hereunder or to take action against the other party in the event of any breach hereunder shall not be deemed a waiver by that party as to subsequent enforcement of rights or subsequent actions in the event of future breaches This Agreement shall be governed by and construed in accordance with English Law The Foundry and Licensee intend that each Third Party Licensor may enforce against Licensee under the Contracts Rights of Third Parties Act 1999 the Act any obligation owed by Licensee to The Foundry under this Agreement that is capable of application to any proprietary or other right of that Third Party Licensor in or in relation to the Software The Foundry and Licensee reserve the right under section 2 3 a of the Act to rescind terminate or vary this Agreement without the consent of any Third Party Licensor Copyright 2013 The Foundry Visionmongers Ltd All Rights Reserved Do not duplicate Mari 2 0v1 The Foundry
171. e duplicated The Foundry Mari 2 0v1 The Foundry SHADERS 288 Create a Custom Shader To duplicate or copy a shader either e right click on the shader and select Duplicate Shader from the drop down menu e select Duplicate Shader from the Shading menu e click the ky icon in the Shaders palette or e select the shader and use the Ctrl C shortcut to copy and Ctrl V shortcut to paste A copy of the shader appears with the same name as the original but also a number to differentiate between original and copy You can give the shader a new name by double clicking it in the list and typing the new name TIP You can set a keyboard shortcut for the shader by right clicking it and selecting Assign Shortcut from the dropdown menu See the chapter on Using Shortcuts on page 26 for details TIP You can right click any of the shaders or within the shader dialog to access the dropdown menu for more shader options Right clicking an existing shader also selects it Mari 2 0v1 SHADERS 289 Set Shader Details Set Shader 1 Select the shader you want to customize from the list at the top of the Shaders palette Details j The bottom of the palette displays that shader s details 2 You can build up your shader by assigning channels to the various shader component inputs in the bottom pane of the palette To assign a channel to an input click on the dropdown menu and choose a channel from the list 3 If you
172. e ieee eos 115 Steps for Towing Paint 0 ccc ec ec ee eee eee eee eee eee 119 Selec ana TOW Pants s246s Moose ee Read se eee ee eeu 120 Copying a Single Patches rres taran aes een ck S6E ER AAO Gee 122 Copy Textures Between Channels and Objects 122 USING OfSEUS 2 04 Gti wee ear Shue ee oe Aad eee 122 Steps for Copying and Pasting Paint 0 0 cece ee eee 123 Copying and Pasting Single Patches ce ec ee eee eee 123 Copying and Pasting Multiple Patches 0 ee ee eee 124 VIN eresia ee RE teer aeae A ace hee CRS ee we eee EAR GAS 126 Pulling Paint into the Buffer 0 0 cece ee ee ene 126 Steps for Editing Paint on Layers cece eee ee ee eee 127 Biur Pant Ona layer x2 cen wea Reg oe 6 he Ue oe eee es 127 Vector INSDOCtOl saaara ee nee ee aw ow ase OTER esate ee ee ea 129 Vector related Paint Blending Modes 2 eee eeees 130 Vector Adjustments and Procedurals e eee eeceeees 131 Vector shaders unsrer totus be BERR bes se eee GR eRe ee 131 VECO FG SP ae eka ao oe ha aS ean gS al tuiet ee A Er 132 Steps for Working with Vector Brushing 0 e eee eee 132 Panting VECLORS o 0 4 208 EENE ATE EEE neha vad cee seer eee s 132 Modifying Vectors with Paint Blending Modes 133 Inspecting Your Vector Work 0 cee cece ee ee ee ee eens 134 Adding Vector Shaders lt lt 24 arrire edes ar tar e eee he Sed
173. e it is selected in the Channels palette and that you select the Current Paint Target option 4 If you plan to apply a filter to an image open it from the Image Manager by double clicking on the image before selecting the filter from the Filters menu NOTE A preview window for the image opens when you double click it in the Image Manager 5 If you plan to mask an area of the Current Paint Target using the Marquee Select tool draw the area you want to mask Ea NOTE Using a Marquee Selection as a mask is only possible when applying a filter to the Current Paint Target 6 Select the filter you want from the Filters menu see the table of Available Filters on page 309 The dialog box for your selected filter displays The Foundry Mari 2 0v1 The Foundry FILTERING IMAGES AND PAINT 308 Select and Apply Your Filter Each filter has a different dialog box with applicable Options Select Options for the filter If you ve already created a preset select it from the dropdown menu to load it If you want to save your current options as a preset click JM to enter a preset name You can always delete this by selecting Ei Select whether the filter should be applied to e everything on the Current Paint Target not including any unbaked paint in the buffer e only the Current Painting that is the unbaked paint in the buffer or e the Selected Images in the Image Manager Select whether to use a Mask e If you
174. e keys as a global shortcut Depending on your window manager you may be able to block the global shortcut or at least choose which of the three keys is used as the global shortcut For example if the Mari Shortcuts you often use require you to press the Alt key you can set the global shortcut be the meta key instead This way the Mari shortcuts that dont work are limited to those that require the meta key To block the global shortcut on a per application basis that is for Mari only on KDE 4 for example you can 1 Right click on the Mari title bar and select Advanced gt Special Window Settings This may open an information dialog where you need to click OK Go to the Window tab Click the Detect Window Properties button and then click on the Mari window Make sure that Use whole window class and Match also window title are checked and click OK Go to the Workarounds tab Check Block global shortcuts select Force from the dropdown menu and enable the checkbox on the right Click OK Nu RAUN To choose which key is used as the global shortcut again on KDE 4 you can 1 Go to Settings gt System Settings gt Window Behavior gt Window Actions 2 Under Inner Window set Modifier to the shortcut key you need the least in Mari or other applications you use for example the meta key This allows you to use the other two keys in this case Ctrl and Alt in Mari On Windows pressing the Windows shortcut key should open t
175. e layer stack 1 From the Layers menu select Import gt Import into Layer Stack or right click in the Layers palette and select Import gt Import into Layer Stack from the dropdown menu The Import dialog displays 2 Follow the steps in Import Existing Textures to Channels on page 141 before clicking Import All Patches Mari imports the textures into the layer stack as a new layer that appears at the top of the stack NOTE Importing a PSD file into a layer stack potentially may display a dialog regarding layers of the same name If layers within the psd have the same name as layers within the layer stack Mari asks if you want to Update Skip or Create New These options allow you to either overwrite the named layer skip over the layer during import or create a new layer for example New diffuse if the original layer name was diffuse Convert Masks Convert Alpha 1 Select the layer on which you want to create a mask Values to a Mask 2 Either e right click on a layer in the Layers palette and select Layer Mask gt Add Mask gt From Alpha or e with the layer selected from the Layers menu select Layer Mask gt Add Mask gt From Alpha Mari adds a mask to the layer The mask is black and white with the color at each pixel taken from the alpha value of the corresponding pixel in the original layer regardless of the actual color of the original pixel TIP To really see the effects of this your channel s
176. e setup vector brush script described in the Adding Vector Shaders instructions Adjustments and p d e Vector Paint rocecurals e Vector World Space e Vector Screen Space Notice that the layers created by the setup vector brush script already show Vector Vector Tangent To World Space or Vector Tangent To Screen Space layers in the Layers palette If you aren t using the setup vector brush script and want to add new adjustments or procedurals follow the steps below To add vector adjustments to your project follow these steps 1 Select the channel from the Channels palette that you are using in the shader component inputs described in Adding Vector Shaders and open the Layers palette 2 To add an adjustment e from the Layers menu navigate to Add Adjustment Layer e right click any layer in the Layers palette navigate to Add Adjustment Layer or e in the Layers palette click the adjustment icon and select either Tangent To Screen or Tangent To World from the dropdown list 3 Adjust the properties in the layer attributes pane of the Layers palette To add vector procedurals to your project follow these steps 1 Select the channel from the Channels palette that you are using in the shader component inputs described in Adding Vector Shaders and open the Layers palette 2 To add a procedural e from the Layers menu navigate to Add Procedural Layer e right click any layer in the Layers palette navi
177. e some blank areas or artifacts at the edges of the patch From the Patches menu select Copy Textures The Copy Multiple Textures dialog box displays _ Copy Multiple Textures 4 a i Multi Copy Options E ai rea Pee oe gt 0UTTE ADJECT j 5 Ol j m ee i gt po L i Fels ck A SAU TIP You can also find these options on the right click dropdown menu on the canvas Onaineis gt All Old Channels gt color Mari 2 0v1 The Foundry COPYING AND PASTING PAINT Copying and Pasting Multiple Patches e Source Object and Source Layer set the location of the source patches e Set the Select By field to the patch numbering scheme you want to use to select the patches to copy e In the Source Range field enter the numbers for the patches to copy You can separate patch numbers with commas or use a hyphen to indicate a range For example this 1001 1003 1005 1007 selects patches 1001 1003 1005 1006 and 1007 Set the details of where to copy the textures to in the Target Object and Target Layer fields Both these fields can be the same as the source versions If required set an Offset This is added to the patch numbers when copying them For example e With an offset of 0 patch 1001 is copied to patch 1001 in the target layer e With an offset of 20 patch 1001 is copied to patch 1021 in the tar get layer which can be the same as the source layer Click OK to copy the texture
178. e sons odewds sc torbesdeateestans cece ses 26 Steps for Using Shortcuts and Gestures 2 eee ee ee ceee 27 View the Default Shortcuts and Gestures of4 shee ae 27 Try the Mouse GeSCUIES lt lt 44 444 4544 oe ee eee 445649456046 o 8 28 Customize General Keyboard Shortcuts eeu sncee Set Keyboard Shortcuts for Project Items 0 0200 eee 30 Use the Pie Selection Control ce cee eee ee eee eee ee al Unassign SNOPICUIS lt o lt sue ds deaneedeee ec deen de Ge eraacaree aes 32 Steps for Configuring Brushes Siete Pee ae awe aes 36 Open the Brush Editor cece ec ee ee ee eee neces 37 Review the Preset Brushes That Come with Mari 38 Review Properties You Can Change cece eee cee eee 38 CUSLOMIZEG a BrUSh ss ns00esecuduns 6 oe oedbadaceeeeereneess 43 Export and Import Brushes eee eee ee eee ee teens 44 Change Brush Properties on the Fly 0 0 00 e eee 46 Choosing a Source Point ec ec ee ee ee eee eee eee 47 Setting a Start POINL 2 s 00sxancweee wes Heeen se EENE einnar 48 image ODUONSiine20436see ieee ketea aaa aaa a 49 Color Grading the Image ce eee ee ee ee ees 49 PAINTING THROUGH AN IMAGE OR GRADIENT CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL TRANSFORMING AND WARPING PAINT The Foundry Steps for Clone Stamping 44 6
179. e specified for the Radius and Inner Radius How few pixels the radius of a splat can be if Jitter Radius and or Radius Pressure are enabled Range 1 to 1200 Reset 1 How many pixels at most the radius of splat can be if Jitter Radius and or Radius Pressure are enabled Range 1 to 1200 Reset 100 Whether the brush tip rotates along with the direction youre painting With calligraphy for example the tip does vot align Jitter Rotation Max How many degrees at most to randomly vary the rotation if Jitter Jitter Rotation Rotation BITMAP Rotation is enabled Range 1 to 360 Reset 360 Whether to randomly vary the rotation The degree to which the brush rotates to match the direction youre painting if Align to Stroke is enabled Range 0 00 to 360 00 Reset 0 00 Click to use the painting in the paint buffer as a brush tip Mari prompts you to save it either as an exr or a tif file which file format is used depends on the support in your graphics card Note that exr files are 16 bit most other bitmaps are 8 bit Type the path or click the button to select an existing bitmap to use as the brush tip Note that to use an image as the brush tip you need to set Type to Bitmap Mari 2 0v1 The Foundry CONFIGURING BRUSHES 41 Review Properties You Can Change GEOMETRY Vertical Shear How much to distort the brush tip diagonally top to bottom as if pull ing opposite corners up and down
180. e start and end radial distance from the camera From 0 100 where 100 represents Straight on projec tion Distance Falloff Curve allows you to adjust the other wise linear shape of the falloff to your desired shape LAYERS Layer Types and Examples Mari 2 0v1 254 Sphere Map Uses a spherical The Foundry image of any file type as a texture to proj ect onto the model This layer cannot be cached or baked and is for display pur poses only Cull Backfaces when the checkbox is ticked it ensures that projection does not affect areas facing away from the camera Spherical Image the filepath to the spherical image to use for projection Offset X Y and Z the offset of the projection image on the X Y and Z axes Rotation X Y and Z the rotation of the projection image on the X Y and Z axes Edge Falloff Start and End modifies how far away the falloff starts or ends Edge Falloff Curve allows you to adjust the otherwise linear shape of the falloff to your desired shape Distance Falloff Start and End adjust the start and end radial distance from the camera From 0 100 where 100 represents Straight on projec tion Distance Falloff Curve allows you to adjust the other wise linear shape of the falloff to your desired shape LAYERS Layer Types and Examples Mari 2 0v1 255 Triplanar Projection The Foundry Uses three di
181. e under the LGPL Nokia Qt LGPL Exception version 1 0 As a special exception to the GNU Lesser General Public License version 2 1 the object code form of a work that uses the Library may incorporate material from a header file that is part of the Library You may distribute such object code under terms of your choice provided that the incorporated material i does not exceed more than 5 of the total size of the Library and ii is limited to numerical parame ters data structure layouts accessors macros inline functions and templates To see the GNU Lesser General Public License go to http www gnu org licenses or Media Help CopyrightNotices in the Mari application directory Mari 2 0v1 APPENDIX C THIRD PARTY LICENSES 400 Third Party Licenses QtSingleApplica A QtSolutions archive Copyright c 2009 Nokia Corporation and or its subsidiary ies tion component which pro vides support for appli cations that can be only started once per This file is part of a Qt Solutions component user used under LGPL All rights reserved Contact Nokia Corporation qt info nokia com Commercial Usage Licensees holding valid Qt Commercial licenses may use this file in accordance with the Qt Solutions Commercial License Agreement provided with the Software or alternatively in accordance with the terms contained in a written agreement between you and Nokia GNU Lesser General Public License Usage Alternatively thi
182. e versions must be plainly marked as such and must not be misrepre sented as being the original software This notice may not be removed or altered from any source distribution L Peter Deutsch ghost aladdin com Mouse Gesture Mouse Gesture Recog Copyright C 2006 Johan Thelin lt e8johan gmail com gt Package nition Package All rights reserved Redistribution and use in source and binary forms with or without modification are permitted provided that the following conditions are met e Redistributions of source code must retain the above copyright notice this list of conditions and the following disclaimer Redistributions in binary form must reproduce the above copyright notice this list of conditions and the following disclaimer in the documentation and or other materials provided with the distribution The names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS AS IS AND ANY EXPRESS OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTIC ULAR PURPOSE ARE DISCLAIMED IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEMPLARY OR CONSEQUENTIAL DAMAGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES LOSS OF USE DATA OR PR
183. el presets directory on the Paths tab of the Mari Preferences dialog box TIP If you use a customized channel preset file Mari ignores its default channel presets Only the channels in your custom preset file are available When youre adding channels in bulk through the Add Multiple Channels dialog box you can select to import existing textures into the channels as Mari creates them Mari looks for existing textures on disk If it finds these textures you can import them as the channels are created The channel template controls the format of the filenames that Mari looks for For example one channel template is PATH SHOT color SHOT_color UDIM tif Mari comes with several default channel templates If you want you can add your own channel template files Channel template files are straight text files with an mtt extension Mari looks for them in the same directories as channel preset files Environment variables are named variables used to store a value such as a specific file path They are used to dynamically configure Maris behavior when Mari is launched For example Mari uses the information stored in them to define where to place certain files You can e Set environment variables that Mari recognizes e Create your own environment variables that Mari looks for when importing images e Use environment variables to override any entry in the Mari conf file This file contains all user settings that are not project specifi
184. els already set up in order to be created As in previous versions of Mari channels are created with the choice of channel type size and depth however instead of painting directly into the channel as before channels now allow the use of separate layers within them to create your texture This gives you more control over how you paint and gives you the option of creating non destructive textures that can be integrated into the rest of your project Channels are your foundation for working with layers but what are these layers capable of and what are your options Layers can be divided into a few categories paint layers layer masks adjustments and procedurals In turn these layers can be ordered into groups as well as shared merged or exported to name only a few features Layers can even be converted into new channels with existing paint in the base layer Experiment with them more to discover what you can do For more information about channels please see Channels on page 264 Shader Shaders are also important in the use of channels and layers but they have received a makeover compared to their use in previous versions of Mari Dependence are ke Shaders now allow you to set up lighting and specify which channels should be used for each channel type in the shader system Depending on the lighting system used you can also control elements that affect your channels such as bump weight reflectiveness and ambient occlusion
185. emit Copyright c 2008 Jesse Beder ter for C Permission is hereby granted free of charge to any person obtaining a copy of this software and associated documentation files the Software to deal in the Soft ware without restriction including without limitation the rights to use copy modify merge publish distribute sublicense and or sell copies of the Software and to per mit persons to whom the Software is furnished to do so subject to the following conditions The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software THE SOFTWARE IS PROVIDED AS IS WITHOUT WARRANTY OF ANY KIND EXPRESS OR IMPLIED INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANT ABILITY FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM DAMAGES OR OTHER LIABILITY WHETHER IN AN ACTION OF CONTRACT TORT OR OTHERWISE ARISING FROM OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE The Foundry Mari 2 0v1 MARI USER GUIDE THE FOUNDRY APPENDIX D END USER LICENSE AGREEMENT End User Licencing Agreement EULA IMPORTANT BY INSTALLING THIS SOFTWARE YOU ACKNOWLEDGE THAT YOU HAVE READ THIS AGREEMENT UNDERSTAND IT AND AGREE TO BE BOUND BY ITS TERMS AND CONDITIONS IF YOU DO NOT AGREE TO THE TERMS OF THIS AGREEMENT DO NOT INSTALL COPY OR USE THE SOFTW
186. ensed to Licensee and Documentation and all intellectual property rights and other proprietary rights relating thereto are and shall remain the sole property of The Foundry and the Third Party Licensors Licensee shall not remove or allow the removal of any copyright or other proprietary rights notice included in and on the Software or Documentation or take any other action that could adversely affect the property rights of The Foundry or any Third Party Licensor To the extent that Licensee is authorized to make copies of the Software or Documentation under this Agreement Licensee shall reproduce in and on all such copies any copyright and or other proprietary rights notices provided in and on the materials supplied by The Foundry hereunder Nothing in this Agreement shall be deemed to give Licensee any rights in the trademarks service marks patents trade secrets confidential information copyrights or other intellectual property rights of The Foundry or any Third Party Licensor and Licensee shall be strictly prohibited from using the name trademarks or service marks of The Foundry or any Third Party Licensor in Licensees promotion or publicity without The Foundry ss express written approval Mari 2 0v1 The Foundry 406 APPENDIX D END USER LICENSE AGREEMENT 407 End User Licencing Agreement EULA SECTION 6 LICENSE FEE Licensee understands that the benefits granted to Licensee hereunder are contingent upon Licensees payment in full o
187. er Temp Mari For a list of the environment variables that Mari understands see Envi ronment Variables That Mari Recognizes Mari 2 0v1 On Windows Check That the Variable Now Exists On Linux On Windows The Foundry EXTENDING MARI 3 74 Check That the Variable Now Exists Right click on My Computer and select Properties In the System window click on Advanced system settings in the left pane Go to the Advanced tab Click the Environment Variables button The Environment Variables dialog opens Click the New button under either User variables or System variables depending on whether you want to set the variable for the current user or all users To set environment variables for all users you need to have administrator privileges In the Variable name field enter the name of the environment variable you want to set For a list of the environment variables Mari understands see Environment Variables That Mari Recognizes In the Variable value field enter the value for the variable The value can be a directory path for example Click OK Launch a shell if you dont have one open already Enter echo VARIABLE Replace VARIABLE with the name of the environment variable you set earlier For example to check if MARI_CACHE is set enter echo MARI_CACHE If the variable is set its value is displayed in the shell window 1 Select Start gt All Programs gt Accessories gt Command Prompt In the command win
188. er adjusts the the image data intensity of the colors in the image data Select a multiplier from O to 10 where 1 00 is the Original saturation value Directly modifies the overall scale of the Adjusting the sliders for R G B color values for each channel individu and A allows you to specify the ally exact level of scale for each channel between O and 2 Set Value Changes the values of specific RGBA Choosing Red Green Blue or channels Alpha from the Channel drop down menu allows you to adjust the slider from 0 1 to change the value of the specific color channel The Foundry Mari 2 0v1 250 LAYERS Layer Types and Examples Shuffle Shuffles the RGBA channels so that any Change the channels of R G B of them can be replaced by another or A to affect the overall color of color channel the paint on the model Tangent To Screen Sets up a Tangent To Screen adjustment Suppress the blue value from the to be used for Vector Brushing This color encoded vectors in screen adjustment is automatically created space by ticking the Suppress when creating default vector shaders Blue checkbox Tangent To World Sets up a Tangent to World adjustment Suppress the blue value from the to be used for Vector Brushing This color encoded vectors in the adjustment is automatically created world space by ticking the Sup when creating default vector shaders pressBlue checkbox sRGB 2Linear Appli
189. er surface Dodges the layer based on the high lights in the paint buffer Dodges the layer based on the middle range that is not the lightest or dark est pixels of the paint buffer Dodges the layer based on the con tents of the paint buffer with darker pixels being dodged harder Mari 2 0v1 The Foundry CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 97 Paint Blending Modes Inverts the colors but with a lowered contrast Hard Light Mimics a harsh spotlight Makes light areas lighter using a screen effect and dark areas darker using a multiply effect Takes the luminance and saturation from the layer pixels with the hue from the paint buffer First performs a vivid blend then thresholds the colors to their extreme values The result is that the pixels can be one of eight colors black white red green blue cyan magenta or yel low Mari 2 0v1 The Foundry CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 98 Paint Blending Modes Inverse Difference Subtracts the colors in the paint buffer from the layer surface and then inverts the result Invert Uses the paint buffer as the input to invert the pixels on the base layer Lighten Gives each pixel the lighter of two pos sible values the current layer surface or the contents of the paint buffer whichever is lighter Luminance Takes the hue and saturation of the layer color and the luminance of the paint buffer Th
190. er to quickly project and unproject there are Quick modes for both These project and unproject from the current view without you having to create a specific projector There is also Support for unprojecting to a layered psd file As with the Standard project and unproject features you can quickly unproject to a layered psd file without having to create a projector In addition you can also project on to models using fbx files created by 3rd party software such as Maya Importing the model cameras and textures enables you to quickly create textured models using Mari projectors TIP If you only require a single camera view point use the Camera gt Load Camera option from the Mari menubar Projectors also allow you to export a turntable view of your model The turntable takes the model as you can see it through the current shader and creates a series of images showing the model rotating through an axis You can include custom text or thumbnails of reference images in the turntable You can create e Render turntables this exports a single channel and lets you pick the Shader and lighting to use e Diagnostic turntables these export a set of channels using the default shader and flat lighting to help you check the current look The Projectors palette shows the projectors currently defined for the project To use projectors in Mari follow these steps Set the View Create the Projector Unproject from Your Projecto
191. erlin noise library Copyright C 2003 2004 Jason Bevins This library is free software you can redistribute it and or modify it under the terms of the GNU Lesser General Public License as published by the Free Software Founda tion either version 2 1 of the License or at your option any later version This library is distributed in the hope that it will be useful but WITHOUT ANY WAR RANTY without even the implied warranty of MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE See the GNU Lesser General Public License COPYING txt for more details You should have received a copy of the GNU Lesser General Public License along with this library if not write to the Free Software Foundation Inc 59 Temple Place Suite 330 Boston MA 02111 1307 USA The developer s email is jlbezigvins gmzigail com for great email take off every zig To see the GNU Lesser General Public License go to http www gnu org licenses or Media Help CopyrightNotices in the Mari application directory Little CMS Color Management Sys Copyright c 1998 2010 Marti Maria Saguer tem Permission is hereby granted free of charge to any person obtaining a copy of this software and associated documentation files the Software to deal in the Soft ware without restriction including without limitation the rights to use copy modify merge publish distribute sublicense and or sell copies of the Software and to per mit persons to whom the So
192. es on the images To run a script on an image 1 Right click on the image and select Run Script from the dropdown menu The Run Image Script dialog box displays The Foundry Mari 2 0v1 MANAGING IMAGES IN MARI 210 Run Scripts on Images 2 Type in the script command to run or select from the dropdown list The list holds the last 10 scripts run Use the FILENAME variable for the name of the image file TIP Mari runs the script command and then loads the FILENAME file So all commands must run in place on FILENAME Mari runs the script then loads the resulting image into the Image Man ager Initially the previous version of the image also appears in the Image Manager qt_ternpPK2027 qt_tempPK2027 Initial image to the left modified image to the right TIP You can run scripts on multiple images at once Ctrl click or click and drag to select multiple images e EXPERIMENT Run some basic scripts on your images For example try amp e usr bin convert FILENAME flop FILENAME to flip the image hor izontally e usr bin convert FILENAME blur 10 FILENAME to apply a slight blur The Foundry Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 19 MANAGING COLORS IN MARI Mari lets you control both how colors display and how you select them For color not scalar channels you can use the color management functionality provided by the Color Manager or the ColorSpace toolbar to apply va
193. es to export the files for f Ch i example for use in the next stage of the pipeline select the channel s you rom annels want to export From the Channels menu select Export or Export Flattened 1 To export the channels without flattening them do one of the following e from the Channels menu select Export gt Export Current Channel to export the currently selected channel or e from the Channels menu select Export gt Export All Channels to export all channels in the Channels palette or e from the Channels menu select Export gt Export Everything to export all channels for all objects in the project 2 To flatten the channels before exporting them do one of the following e from the Channels menu select Export Flattened gt Export Current Channel Flattened to flatten and export the currently selected channel or e from the Channels menu select Export Flattened gt Export All Channels Flattened to flatten and export all channels in the Channels palette or e from the Channels menu select Export Flattened gt Export Everything Flattened to flatten and export all channels for all objects in the proj ect The Export dialog displays The Foundry Mari 2 0v1 EXPORTING AND IMPORTING TEXTURES 147 Export Textures from Channels TTT Tis 3 Now you can choose to or TIP The export menu options are also available from the right click dropdown menu on the main canvas and in the Channels palette Expor
194. es an sRGB to linear colorspace Checking Invert applies a linear conversion to sRGB colorspace conversion The Foundry Mari 2 0v1 251 LAYERS 252 Layer Types and Examples Below are descriptions and examples of the different procedurals available in the Layers palette Examples of each of the procedurals are applied to the following image for illustrative purposes Procedural Layers Basic Applies the selected Changing the Blend Procedural color set to burgundy Color procedural Screen blend color to the rest of Mode and Amount the paint on the allows you to adjust model how the color is applied and how strongly to the model Color allows you to select the color from the HSV swatch pal ette Constant Generates a constant Increasing the Con level of grayscale stant emphasizes the color to be applied to white points of the the model paint and lightens the texture Applies RGBA values Vector procedural Multiply to a vector XYZW map to produce a G B and A respec specific diffuse color tively to give a specific that represents a vector in a diffuse vector field image The Foundry Mari 2 0v1 Procedural Layers Environment Cube Map Simulates a shiny reflective surface using a cubic envi ronment map as the input This layer can not be cached or baked and is for dis play purposes only Sphere Map Simulates a shiny reflective surface using a spherical environment map as the i
195. estore ee a ol arate RN ae che 342 Example sereen e cure eee ENN eet e ee SEE SS 343 Steps for Working with Animated Objects 0 002 eee 346 Mari 2 0v1 10 EXTENDING MARI The Foundry Loading Animated Objects cece ec ec ee ne eens 346 Paymo ANIMAL ON Gots icc ac aia sale Be esa oe Awa eis he Ga Res 346 Painting Animated TextureS 0 cece ee ee ee eens 348 Setting KEViraMeGs riscon ar ECEE ELELE EREET EE EE ea 348 Pating the TEXTUS geurean anrea a acta aa S 348 Exporting Animated TextureS cece cece eee eee eee eee 349 About Custom Attributes ce cc cc ce ee eee eee 350 ABOUT CUSTOM SNOMCUtS lt 2432 02 bo vee Sate ee Ga wb SOG ERE Ss 350 About Custom Channel Presets cee cee ee eee eens 351 About Custom Channel Templates 0 cee ec ee ee eee 352 About Environment Variables 0 cece ce ee eens 352 Steps for Using Custom Attributes cee cee ee eee 352 Steps for Customizing Mari cece cee ee ee ee eee ees 353 Steps for Setting Environment Variables 0 00 ee eee 353 Add Custom Attributes to Objects 0 cee eee ee ee 353 Remove Custom Attributes from Objects 0 0 cee eee ee 354 Review the Custom Shortcut File Format 02 2002 eee 355 Text File lt action gt lt key s gt 1 0 00 0 eee ee eee eee 355 Using Modiher REVS lt 2 lt 6 lt w 4 vote ered ah Ses wie
196. eted action EXPERIMENT Try using Slerp s various modes Each mode has radius and JAN opacity options that you can change Try adjusting these to see how dramatically that mode can change the texture Distort the Paint The Pinup tool lets you create your own control points to distort the paint with Pin buffer You can use pins to pull the paint around like a rubber sheet or to ins hold areas of the buffer steady while you distort other parts The Foundry Mari 2 0v1 TRANSFORMING AND WARPING PAINT 11 6 Distort the Paint with Pins 1 Clear the paint buffer and use the Paint Through tool to stamp another example texture onto your model 2 Select the Pinup tool t 3 Use the Pinup tool as follows add or remove a pin Shift click Ers AN select multiple pins click and drag around the pins move pins around dis click on one of the selected torting the paint pins and drag The Foundry Mari 2 0v1 The Foundry TRANSFORMING AND WARPING PAINT Distort the Paint with Pins rotate pins around the click on one of the selected central point of rotation pins hold down Windows meta and drag gt P s move the central point click on the point of rota n a of rotation tion big dot and drag it change the strength of a click on the pin to select it n a i then press the Up or Down arrow keys As you increase the strength of a pin the preview circle around the pin gets bigger or smaller as you lowe
197. etry variables You can edit this line manually As you edit you ll see the Example Path update with an example ptx filename You can use any combination of the following variables e SENTITY imports a ptx file where the object name is part of the file name e SCHANNEL imports a ptx file where the channel name is part of the filename e GEO imports ptx files where the individual geometry names are part of the filename e SLAYER imports ptx files where the layer name is part of the file name In the Ptex Metadata field you can set whether Mari should e Ignore the geometry metadata or e Import as New Version Click Import Mari imports the images NOTE If you are attempting to import geometry with degenerate faces into a Ptex project Mari removes these faces on import A warning dialog displays notifying you of this occurrence NOTE For more information on importing or exporting channels or layers refer to the chapters on Channels on page 264 and Layers on page 223 Mari 2 0v1 PTEX 303 Import a Ptex Channel or Layer To import a texture to a channel from multiple ptx files where multiple geometries are in an object follow the steps below 1 Select e Channels gt Import gt Import into Layer Stack e Channels gt Import gt Import into New Channel or e Right click on a layer in the Layers palette and select Import gt Import into Layer The Import dialog displays 2 Enter the ptx
198. ets file Study the example default channel template file A default DefaultTemplates mtt or custom lt filename gt mtt channel templates file is a text file that starts with Templates and then lists channel templates and their file formats Each line is a channel template The name is listed on the left and the format in quotes on the right The format can include the following Mari 2 0v1 Example File DefaultTemplates mt t Define Custom Channel Templates EXTENDING MARI Define Custom Channel Templates variables and on Linux they are preceded with the dollar sign while on Windows they re preceded with the percent sign Any of the users envi These are taken from the shell from which the user opened Mari ronment variables Note that PATH here has a specific meaning it is not the user s except PATH Standard PATH PATH The project s root path as set in the Root Path field of the Add Multiple Channels dialog box This overrides the normal PATH variable from the user s original shell PREFIX The filename prefix as set in the Prefix field of the Add Multiple Channels dialog box CHANNEL Name of the individual channel UDIM Udim number for each individual patch On Linux Templates Default STEXTURE HERO DIR tif SSHOT SCHANNEL SSHOT SCHANNEL SUDIM tif On Windows Templates Default TEXTURE HERO DIR tif SHOT CHANNEL sSHOT SCHANNEL amp UDIM tif To create a Mari custo
199. ets the buffer to its defaults after baking If enabled the default any transformations you ve made to the paint buffer revert to the defaults That is after baking you get a new paint buffer once again slightly larger than the visible screen If you want to preserve your transformations after baking change this to disabled The Foundry Mari 2 0v1 The Foundry CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL Configure the Paint Buffer TIP You should always try to set the color depth and if possible buffer size to at least as high as the highest values for the patches on your model Mari supports a maximum Buffer Size of 16384 x 16384 However this setting is not available for all graphics cards The availability of this setting is determined by the maximum texture size supported by your graphics card Please note that increasing the Buffer Size even when your graphics card supports large textures can slow Mari s performance If you are using patch resolutions higher than 4K we recommend that you zoom in to the surface when painting to keep the resolution sharp 4 Open the Projection palette This controls how Mari projects paint onto the model when you bake the paint and mask settings 5 Try changing the value for Painting Opacity This controls how opaque your paint is in the buffer At 1 0 you see the paint exactly as you painted it At 0 5 the paint is half transparent and at 0 its completely t
200. f predefined basic brushes e Hard Surface Brushes a set of predefined hard surface brushes e Organic Brushes a set of predefined organic brushes e Project items just for the current project You can also create any number of customized shelves Your shelves display in both the Shelf palette and on the Shelves tab in the Brush Editor see Configuring Brushes on page 33 You can also make any shelf into a separate custom palette Mari also lets you export and import entire shelves and items within shelves for example to share with other users amp TIP For details on using the pie selection control menu see Using Shortcuts Steps for Using To use shelves within Mari follow these steps Shelves 1 Open Shelves Add a Brush to a Shelf Add a Color to a Shelf Add an Image to a Shelf Create a Custom Shelf Modify Custom Shelves and Their Contents Import and Export Shelves and Items Create a New Shelf Palette Add Any Mari Function to a Shelf lO CON DMN HK WN VISUAL EFFECTS SOFTWARE STORING RESOURCES USING SHELVES 156 Open Shelves Open Shelves 1 Start Mari and open your project If the Shelf palette is not already open from the View menu select Palettes gt Shelf or right click in the toolbar area and select Shelf from the dropdown menu The Shelf palette displays N TIP The default layout in Mari has the Shelf palette already open As described above the Shelf starts with six de
201. f the license fee payable in connection herewith the License Fee SECTION 7 UPGRADES ENHANCEMENTS The Licensee s access to support upgrades and updates is subject to the terms and conditions of the Annual Upgrade and Support Programme available on The Foundrys website The Foundry may from time to time and at its sole discretion vary the terms and conditions of the Annual Upgrade and Support Programme SECTION 8 TAXES AND DUTIES Licensee agrees to pay and indemnify The Foundry from claims for any local state or national tax exclusive of taxes based on net income duty tariff or other impost related to or arising from the transaction contemplated by this Agreement SECTION 9 LIMITED WARRANTY The Foundry warrants that for a period of ninety 90 days after delivery of the Software a the machine readable electronic files constituting the Software and Documentation shall be free from errors that may arise from the electronic file transfer from The Foundry and or its authorized reseller to Licensee and b to the best of The Foundry s knowledge Licensee s use of the Software in accordance with the Documentation will not in and of itself infringe any third party s copyright patent or other intellectual property rights Except as warranted the Software and Documentation is being provided as is THE FOREGOING LIMITED WARRANTY IS IN LIEU OF ALL OTHER WARRANTIES OR CONDITIONS EXPRESS OR IMPLIED AND The Foundry DISC
202. f your changes in the canvas When you do the equivalent projection mask properties in the Projection palette are also updated Similarly you can adjust other global properties such as the Painting Mode or Projection behavior in the Projectors palette If you do click Update Global Settings From Projector to update the equivalent global properties including masks in the Projection palette Unproject from 1 To save a copy of the model as it appears onscreen either Your Projector e right click the projector in the Projectors palette and select Unpro ject or e click the Unproject button in the projector details or e click the button to the right of the projector The snapshot saves to the filename specified as the Output File Path f you have not specified an output file path the Pick Path dialog displays so you can set where the file should go 2 Mari projects your image in the background You cannot edit the files until the projection is complete While the projection is still taking place Mari shows a running man Ea icon at the bottom right of the main window Click this icon to see a progress box The Foundry Mari 2 0v1 PROJECTORS Edit the File s Externally Edit the File s In your preferred editor open the file and edit it as required Externa Ily If you edit the whole snapshot and then project it all back onto your model in Mari you may get some artifacts Typically you may see a black line at the e
203. fault shelves Menu Personal Basic Brushes Hard Surface Brushes Organic Brushes and Project The Menu and Personal shelves are empty when you first start Mari The Project shelf only displays when you have a project open and is empty when you start a new project The Foundry Mari 2 0v1 STORING RESOURCES USING SHELVES 157 Add a Brush to a Shelf Add a Brush to a To add a brush to a shelf Shelf 1 Open the Brush Editor palette e from the View menu select Palettes gt Brush Editor or e right click in the toolbar area and select Brush Editor from the drop down menu The Brush Editor palette displays 2 On the Presets tab click to display the tab in the Brush Editor with the brush you want to copy 3 Click the shelf in the Shelf palette you want to copy the brush to Personal Project or Create a Custom Shelf 4 Drag and drop the brush from the Brush Editor to the Shelf palette You now have easy access to that brush whenever you want to use it TIP You can also change the properties of a preset brush and then save it to your Personal shelf using the Brush Editor see Configuring Brushes The Foundry Mari 2 0v1 STORING RESOURCES USING SHELVES 1 58 Add a Color to a Shelf Adda Color to a To add a color to a shelf Shelf 1 If the Colors palette is not already open e from the View menu select Palettes gt Colors or e right click in the toolbar area and select Colors from the dropdown menu
204. fferent images to project onto the surface of your model from three different direc tions Top Front and Right Each of the parame ters listed other than World Scale are for each of these three directions World Scale over all scale control for the image projec tion Image the images you want to project onto each of the three directions Repeat frequency that the image is repeated across your model Angle the rotation angle of the image on your model U Offset how much the image on the model is offset by on the U axis V Offset how much the image on the model is offset by on the V axis U Scale how much the image on the model is stretched or contracted on the U axis V Scale how much the image on the model is stretched or contracted on the V axis Falloff Start con trols where the image projection starts on the model Falloff End con trols where the image projection ends on the model Falloff controls the falloff of the image projection between the start and end values LAYERS Layer Types and Examples Mari 2 0v1 256 LAYERS Layer Types and Examples Procedural Layers Geometry Ambient Occlusion procedural Ambient Occlusion The Foundry Applies an ambient occlusion shading to the surface This overrides Maris default ambient occlusion shader allowing you to change the details For example you can edit the ch
205. filtered image Higher values show the entire black output lower val ues show decreasing amounts e White the upper limit of dis played color intensity Areas with a value higher than this are mapped to 1 white e Mid the middle point between white and black Mari remaps the values so that this is the middle of the range between the white point and black point Moving this pushes the values towards that end of the Spectrum Black the lower limit of dis played color intensity Areas with a value lower than this are mapped to O black Luminosity Outputs just the luminosity value of each pixel That is it outputs a gray scale image based on the brightness of each of the pixels in the original image The Foundry Mari 2 0v1 249 LAYERS Layer Types and Examples Premultiply Alpha Either pre or post multiplies the alpha in the selected image If you are painting using an image without pre multiplied alpha onto one with it use this filter to perform the pre multiplication so the images match and you avoid lines around the outside of the patch Post multiply works the same but in reverse it removes pre multiplication to match images that do not have pre multiplied alpha If the Unpremultiply box is checked this acts in reverse that is removes pre multiplied alpha Changes the intensity of the colors in The Saturation slid
206. for your caching you can only right click on the top layer in the cached stack to uncache This layer is indicated by a blue cache bar Alternatively you can uncache and unlock a layer by clicking on the padlock icon E This uncaches and unlocks all the cached layers locked by Cache Up To Here Mari 2 0v1 Export and Import Layers Export Layers The Foundry LAYERS Export and Import Layers EXPERIMENT If you want to try caching and uncaching layers while using amp both the Cache Layer and Cache Up To Here options try the following e Cache Up To Here in your layer stack when for instance you need to increase the frame rate while working on a large layer stack e If you want to make changes to a layer under the Cache Up to Here layer but want to keep your frame rate low Cache Layer on any com putationally expensive layers around the layer you want to edit e Uncache Up To Here on your original top layer in the cached layer stack You can now edit just that one layer while still having some of the expensive layers around it cached to prevent your performance suffering You can choose to either export layers normally or export them in a flattened state If you choose to export layers normally Mari exports the selected layer s to an external location as one of the supported file formats If you choose to export layers flattened Mari flattens the selected layers into a single layer and exports this to an exte
207. formation Using too many custom shaders can make it hard to remember which channels are being used in which shader inputs Mari has a few default Shaders that show the contents of the current channel layer or paint target you can always switch back to these to check your work in isolation TIP A useful way to keep track of which shader youre editing is to add it to the Heads Up Display From the Edit menu select HUD Manager Under Project put a check in the box next to Current Shader Mari now shows the name of the shader you are currently painting as part of the background information on the canvas For more information see the Configuring the User Interface chapter If you want to copy a shader you ve created for one object in your project to use on another object you can use the keyboard shortcuts or the options in the context menu to cut copy and paste shaders between objects Shaders are exclusive to each object as are channels and layers The only way to duplicate a shader for use on another object is to cut or copy and paste it into the Shaders palette for each object in your project Mari 2 0v1 SHADERS 286 Steps for Using Shaders Steps for Using To manage the shaders in your Mari project follow these steps Shaders I 2 3 4 Open the Shaders Palette 2 The Foundry Open the Shaders Palette Create a Custom Shader Set Shader Details Remove a Shader Start Mari and open your project Open the S
208. from Walt Disney Pic tures Disclaimer THIS SOFTWARE IS PROVIDED BY WALT DISNEY PICTURES AND CON TRIBUTORS AS IS AND ANY EXPRESS OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY FITNESS FOR A PARTICULAR PURPOSE NONINFRINGEMENT AND TITLE ARE DISCLAIMED IN NO EVENT SHALL WALT DISNEY PICTURES THE COPYRIGHT HOLDER OR CONTRIBU TORS BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEMPLARY OR CONSEQUENTIAL DAMAGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES LOSS OF USE DATA OR PROFITS OR BUSINESS INTERRUPTION HOWEVER CAUSED AND BASED ON ANY THEORY OF LIABILITY WHETHER IN CONTRACT STRICT LIABILITY OR TORT INCLUDING NEGLIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGES Python 2 6 5 Source code language Copyright c 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 Python Software Foundation All Rights Reserved The Foundry Mari 2 0v1 PythonQt Pystring The Foundry Python Qt bindings Pystring library APPENDIX C THIRD PARTY LICENSES Third Party Licenses Copyright C 2010 MeVis Medical Solutions AG All Rights Reserved This library is free software you can redistribute it and or modify it under the terms of the GNU Lesser General Public License as published by the Free Software Founda tion either version 2 1 of the License or at your opt
209. ftware is furnished to do so subject to the following conditions The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software THE SOFTWARE IS PROVIDED AS IS WITHOUT WARRANTY OF ANY KIND EXPRESS OR IMPLIED INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANT ABILITY FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM DAMAGES OR OTHER LIABILITY WHETHER IN AN ACTION OF CONTRACT TORT OR OTHERWISE ARISING FROM OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE The Foundry Mari 2 0v1 APPENDIX C THIRD PARTY LICENSES 389 Third Party Licenses MD5 MD5 Algorithm Copyright C 1999 2002 Aladdin Enterprises All rights reserved This software is provided as is without any express or implied warranty In no event will the authors be held liable for any damages arising from the use of this software Permission is granted to anyone to use this software for any purpose including commercial applications and to alter it and redistribute it freely subject to the fol lowing restrictions The origin of this software must not be misrepresented you must not claim that you wrote the original software If you use this software in a product an acknowledg ment in the product documentation would be appreciated but is not required Altered sourc
210. g from the Source dropdown 2 Ctri click to set the source point Paint normally e As above the white circle is your brush e The black circle is the current source area The Foundry Mari 2 0v1 CLONE STAMPING 56 Clone stamp TIP Bear in mind that if a particular area doesnt have any unbaked paint on it that is there is no data in the paint buffer for that area no clone data is available from the area It s as if youre trying to paint from an area that doesnt have anything on it If youre trying to clone and getting nothing check that there actually is unbaked paint on the area youre cloning from To clone from surface directly into the buffer To clone from the surface straight up into the paint buffer directly over the clone point select the layer to clone from as normal When you set the source point hold down Ctrl Meta the Windows key and click on the model Paint normally As you paint Mari copies the area you paint from the layer surface into the paint buffer If you are cloning from the current channel and layer you won t see any visible effects as Mari is just copying the paint right on top of itself but you can then switch tools and edit the paint and then re bake This lets you make fine adjustments to the paint already baked into a layer or to clone sections of paint from one layer to another for example to clone from a displacement channel into the diffuse channel to get the basic details of the surface
211. gate to Add Procedural Layer or e in the Layers palette click the A procedural icon and select either Basic gt Vector or Procedural gt Misc gt Flow from the dropdown list The Foundry Mari 2 0v1 A Changing the File Space Creating Flow Maps on Multiple Objects The Foundry VECTOR BRUSH 137 Changing the File Space 3 Adjust the properties in the layer attributes pane of the Layers palette NOTE For a full description of the layer properties for both adjustments and procedurals see the Layer Types and Examples section in the chapter on Layers on page 223 Changing the file space before exporting can be done on channels images and paintable layers This converts the file space range from O to 1 the Mari convention to 1 0 to 1 0 Vector convention or 1 0 to 1 0 with inverted Y vectors Vector inverted convention To change the file space on channels follow these steps 1 Open the Channels palette and select the channel you want to change 2 Under Channel gt Format File Space click the dropdown menu and select either Normal Vector or Vector flipped Y The file space is changed in all paintable layers in the channel except for shared layers To change the file space on images follow these steps 1 Open the Image Manager palette and select the image you want to change 2 Under Image Info gt Mrilmage gt Info File Space click the field and select either Normal Vector or Ve
212. gate to Export Flattened in the Layers menu or right click to find the same two options for flattened layers The Export dialog displays The Foundry Mari 2 0v1 PTEX 300 Export a Ptex Channel or Layer Exporting Layer 3 Enter the Ptex export path in the Path field or manually browse to the location 4 Set the Ptex File Template for Mari to use when generating the Ptex filename You can edit this line manually As you edit youll see the Example Path update with an example ptx filename You can use any combination of the following variables which Mari replaces with the appropriate values when it exports the files e SENTITY exports a single ptx file where the object name is part of the filename e CHANNEL exports a single ptx file where the channel name is part of the filename e GEO exports multiple ptx files where the individual geometry names is part of the filename e SLAYER exports multiple ptx files where the layer name is part of the filename EXPERIMENT Experiment with the different Ptex File Template variables amp and see how the Example Path changes to show how Mari generates exported filenames 5 In the Ptex Options panel set whether Mari includes or excludes Face Mipmaps The Foundry Mari 2 0v1 PTEX 301 Import a Ptex Channel or Layer 6 In the Ptex Metadata panel set whether Mari includes or excludes the following information with the file when exporting e Geometry e
213. ght the light is repositioned to your Current camera posi tion The Move to Camera Position icon ed You may need to zoom out from your object in order to see the lights Ka NOTE The Move to Camera Position icon can be used in both perspective and orthographic view however be aware that this feature does not account for zooming of the camera in the ortho view 7 To choose whether or not you want to cast shadows from the selected light click on the checkbox to toggle shadows on or off This does not impact the light itself but the model casts shadows depending on the light s position 8 More options for shadows and depth projection settings are located in the Preferences under Data gt Graphics Card The settings in the The Foundry Mari 2 0v1 The Foundry CUSTOMIZING THE VIEW 23 Configure the Lighting Preferences allows you to trade off the quality of the rendered shadows and the amount of GPU memory and processing required Increasing the resources available for shadow rendering decreases the resources available for other operations which may decrease Mari performance TIP Mari saves custom lights with the project If you need the same lights in another project youll need to set them up separately EXPERIMENT Switch between the different lighting modes Then try customizing a preset light Play with its color settings and orientation Try using the position sphere to control the light position Notice the
214. h or by clicking the R9 icon in the Vector Painting toolbar The script creates two default shaders and associated channels and layers in each of the Shaders Channels and Layers palettes These allow you to quickly set up the shaders for vector painting and flow maps With Object A still selected in the Shaders palette select the Vector World Space shader that was created by the vector default shader script The Diffuse Color shader component should already be filled in Click on the dropdown menu for the Vector shader component and choose the gray channel you created in the Channels palette The Vector shader component when set up this way blocks out the vec tor inspector markers on objects you don t want to create a flow map for Lock Object A by clicking on the padlock icon lt in the Objects palette Due to the fact that vector paint can still be applied to the object even if vector inspector directional markers aren t shown this ensures you dont paint over your textures Select a second object for which you want to create a flow map For this example the second object is called Object B Create default vector Shaders channels and layers using the script in step three above The Vector Paint channel is already set to the Vector shader compo nent in the Vector World Space and Vector Screen Space shaders This allows you to see the flow map channel where the vector markers are present without affe
215. h or without modification are permitted provided that the following conditions are met 1 Redistributions of source code must retain the copyright notice this list of condi tions and the following disclaimer 2 Redistributions in binary form must reproduce the above copyright notice this list of conditions and the following disclaimer in the documentation and or other materi als provided with the distribution 3 All advertising materials mentioning features or use of this software must display the following acknowledgement This product includes cryptographic software written by Eric Young eay crypt soft com The word cryptographic can be left out if the routines from the library being used are not cryptographic related 4 If you include any Windows specific code or a derivative thereof from the apps directory application code you must include an acknowledgement This product includes software written by Tim Hudson tjh cryptsoft com THIS SOFTWARE IS PROVIDED BY ERIC YOUNG AS IS AND ANY EXPRESS OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRAN TIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DIS CLAIMED IN NO EVENT SHALL THE AUTHOR OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEMPLARY OR CONSEQUENTIAL DAM AGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES LOSS OF USE DATA OR PROFITS OR BUSINESS INTERRUPTI
216. haders palette e right click on the toolbar and select Shaders from the dropdown menu or e from the View menu select Palettes gt Shaders The Shaders palette displays showing the default shaders and any shaders you ve already set up for your current project Current Channel Current Lay er Current Paint Tai get Basic Skin FA rai j irreanmnt TT fa h mA UTEN Layer a DEO The default shaders in the list are e Current Channel e Current Layer and Below e Current Layer and e Current Paint Target When you select a shader the bottom of the palette shows the details as shown in the example image below Mari 2 0v1 SHADERS 287 Create a Custom Shader Current Channel Basic Skin Current Layer amp Belov 4 The shader components that are shown in the bottom pane of the palette differ depending on what shader is selected Create a Custom 1 To add a new shader either Shader e right click on an empty space in the Shaders palette e select Add New Shader from the Shading menu or e click the icon in the Shaders palette 2 Choose from the shaders listed in the dropdown menu or select Choose Diffuse and Specular to manually set the diffuse and specular options for your shader The new shader appears in the list TIP You can also duplicate an existing shader by selecting Duplicate Shader from the Shading menu or the right click menu in the Shaders palette The default shaders cannot b
217. hat ships with Mari to familiarize yourself with the recent changes This gives you the chance to play around with a project you won t be worried about experimenting on Before Once you are ready to convert your project ensure that you archive your Conversion pre 2 0v1 version To do this right click the project in the Projects tab and select Archive from the dropdown menu This archives the project as a mra file in the location specified in the Archive dialog Converting a project to be compatible with Mari version 2 0v1 or later cannot be undone You must have an archived version of the project in order to roll back any changes made to the project during conversion A WARNING If you convert a project without archiving the pre 2 0v1 version you cannot undo the conversion at any time In this instance once a project has been converted the changes are permanent Upgrade Your Projects created in previous versions of Mari must be upgraded if they are Project to be edited within Mari 2 0v1 or later Mari does this automatically when rojec you load the project and confirm that you have archived it or not as you see fit All the information such as shader and texture data that the previous version of the project contained is upgraded to fit in with Maris manner of using channels layers and shaders Textures should be relatively similar to the previous version of the project but some small differences may occur in how Mari displays
218. haven t created a channel for a designated input yet you can create channels from the Shaders palette To create a new channel click the Ed icon next to the input for which you want to use the channel The Foundry Mari 2 0v1 SHADERS 290 Set Shader Details The Add Channel dialog box displays 256 x 256 Sbit Byte Color Space Color File Space Normal i ra Of Head Only 4 Enter a Name for the channel recent names are available in the dropdown list Choose the size depth color space and file space settings for your channel and click OK Mari adds the channel to your shader and automatically makes it the active Channel for the designated input TIP To learn more about each of the settings in the Add Channel dialog refer to the Add Channel Dialog Box chapter in the Mari Reference Guide 5 Once you ve set up the inputs of each of the shader components you want to use you can fine tune these settings using the sliders in the bottom pane of the palette If you prefer you can fine tune the slider settings using the entry box instead The Foundry Mari 2 0v1 SHADERS 2 91 Remove a Shader EXPERIMENT Since the shaders dont affect the content of the channels you can Safely play around without worrying about overwriting anything Try building the example below Download the blacksmith sample project from the Mari web site if you havent already Try 9 gt e Creating a new shader e Setting
219. he Foundry and or The Foundry s licensors including but not limited to the removal of the following or any other copyright trademark or other proprietary rights notice included herein Mari software 2013 The Foundry Visionmongers Ltd All Rights Reserved Mari is a trademark of The Foundry Visionmongers Ltd Weta Digital is a trademark of Weta Digital Ltd In addition to those names set forth on this page the names of other actual companies and products mentioned in this User Guide including but not the to those set forth below may be the trademarks or service marks or registered trademarks or service marks of their respective owners in the United States and or other countries No association with any company or product is intended or inferred by the mention of its name in this User Guide Linux is a registered trademark of Linus Torvalds Windows is the registered trademark of Microsoft Corporation Adobe and Photoshop Q are either registered trademarks or trademarks of Adobe Systems Incorporated in the United States and or other countries Maya is a registered trademark of Autodesk Inc in the USA and other countries Mari software engineering Jack Greasley Kiyoyuki Nakagaki Marcus Shoo Kevin Atkinson Tim Ebling Jed Soane Daniel Lond Robert Fanner Duncan Hopkins Mark Final Chris Bevan Carl Rand Phil Hunter and Tim Smith Product testing Michael Zannetou Mark Titchener Robert Elphick An
220. he Start menu This doesn t happen when Mari has focus Why is that This is because the Windows key is a shortcut key in Mari Whenever Mari has focus the Windows key is reserved for Mari so that you can use all the Mari shortcuts If you need to access the Start menu you can either click it manually or move focus to another application and then press the Windows key The Foundry Mari 2 0v1 APPENDIX B FREQUENTLY ASKED QUESTIONS Frequently Asked Questions Pressing the Alt Gr key does not trigger the same shortcuts as the Alt key Why is that The Alt Gr key is defined differently on the Windows and Linux operating systems Due to this Mari cannot determine what the Alt Gr key is intended to be linked to If a shortcut lists the Alt key as part of the controls this does not include Alt Gr as an alternative For this reason it is advisable to avoid using the Alt Gr key in your custom shortcuts On Windows I ve removed a drive from Mari s file browser bookmarks How do get it back Is it possible to delete a drive from the bookmarks permanently All logical drives that Windows can see are automatically added to Maris file browser bookmarks when you start Mari You can remove these while Mari is running but the only way to get them to reappear is to relaunch Mari At present you can t delete a drive from the bookmarks permanently it always reappears when you relaunch Mari Mari also automatically adds mapped network drives to
221. he pixels on the base layer Vivid Light In dark areas on the layer adds the paint buffer with more contrast In light areas adds it with less contrast Paint Buffer You can mirror paint strokes in the paint buffer On the Paint Buffer Symmetry toolbar four options control whether you want your paint symmetry strokes to be mirrored on the paint buffer axis and if so how the paint strokes should be mirrored The toolbar shown below appears in Mari alongside other toolbars such as Lighting and Navigation The four options on the toolbar are included below with example paint The Foundry Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 103 Paint Buffer Symmetry strokes illustrating the symmetry for each option Mari s default paint buffer setting is to have paint buffer symmetry disabled Mirroring left and right divides the paint buffer vertically Paint strokes created on either side of the buffer mir rors the same strokes on the other side The Foundry Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL Paint Buffer Symmetry Mirroring top and bottom divides the paint buffer hori zontally Paint strokes created on either side of the buffer mirrors the same strokes on the other side Mirroring four ways divides the paint buffer into quad rants Paint strokes created in any of the four quadrants mir rors in the other three Painting in the paint buffer with symme
222. heck any existing paint on the object as it may have been distorted by the move to the new mesh Calculating To calculate the ambient occlusion for an object Ambient 1 Select the object in the Objects palette m 2 Either Occlusion n e from the Objects menu select Ambient Occlusion or e right click on the object in the Objects palette and select Ambient Occlusion from the dropdown menu Mari calculates the ambient occlusion for the object s in the current project Depending on the size and complexity of your model this may be a good time to take a break Shadow Settings To allow your model to cast shadows 1 Select the object in the Objects palette 2 Under Rendering enable Cast Shadows Each object in your scene has the setting Cast Shadows Selecting this checkbox casts shadows from your models onto other objects in the scene based on your current lighting setup The Foundry Mari 2 0v1 MULTIPLE OBJECTS 341 Shadow Settings 3 If you want to turn off shadows toggle the Shadows button in the Lighting toolbar NOTE Using variance maps allow the shadow edges to be smoothed out but may sometimes cause rendering artifacts To prevent these artifacts from occurring disable the Variance Maths checkbox under Preferences gt Data gt Graphics Card The Foundry Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 28 PAINTING ANIMATED OBJECTS As well as static model files Mari can import models that include anim
223. helves Unassign You can unassign previously configured shortcuts at any time by following these steps Shortcuts 1 Go to Edit gt Shortcuts 2 Double click on the shortcut you want to unassign and press Backspace to unassign a single command or 3 Press Delete to unassign all commands for that shortcut The Foundry Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 4 CONFIGURING BRUSHES The Mari Brush Editor palette lets you select and customize a wide array of preset brushes with a wide variety of brush properties you can edit You can then drag modified brushes to a shelf for your ongoing personal use or for a particular project only You can also export and import brushes to Share with other Mari users and you can use keyboard and mouse shortcuts to modify your brush tips on the fly Brush properties generally apply to a splat also sometimes called a stamp one application of the brush tip onto the canvas A stroke is one continuous application of splats For some properties you can specify jitter a random variation to approximate how an actual as opposed to digital paintbrush might work Below are brief explanations and examples of some of the properties Mari lets you modify the distance between splats ina a stroke from the same brush with stroke as a proportion of splat size spacing set to 02 25 50 and 1 0 an eae Seen Tae nas teas GOS862060006 eeeee how dark a stroke ca
224. her the context menu or Channels menu Sharing channels is different from sharing layers in that the functionality is much more limited Channels can be however be shared into the layer stack of other layers Follow the steps below to share channels into layers To share a channel into the layer stack of another channel in the Channels palette 1 Select the channel channel A press Ctrl Shift and drag the channel you want to share over another channel in the Channels palette channel B Channel B becomes highlighted to show that it is now the current selected channel 2 Don t drop channel A on top of channel B Once channel B becomes highlighted drag channel A into the layer stack in the Layers palette Mari 2 0v1 CHANNELS 2 76 Lock and Unlock Channels Channel A is now shared and appears in channel B s layer stack as a layer of the same name Both the shared channel and layer display linked icons P in the palette TIP It is much easier to share channels into a layer stack if both the Channels and Layers palettes are open not only simultaneously but side by side or near each other in your palette configuration Lock and Unlock 1 To lock the current channel Channels e with the channel selected from the Channels menu select Lock Chan nel e from the Channels palette right click on the channel and select Lock Channel from the dropdown menu or e from the Channels palette click on the lock icon ee next to the
225. hole e mirror paint from one side of a patch to the other e link patches together Heres an example The original patch Flipped horizontally or rotated 90 degrees counter clockwise TIP Edits to patches only apply to baked paint Unbaked paint in the paint buffer is not affected When you are copying patches onto other patches unless your patches are identically shaped you can See e blank areas at the edges where the texture from the source patch runs out due to the change of shape and e traces of the overpaint around the edges of the patch You can also see these when transforming paint on patches unless your patches are square The overpaint is used to ensure that the patches fit together without visible gaps You can view the overpaint for patches in the UV view Turn the UV paint display on in the Display Properties dialog box right click on the canvas select Display Properties from the dropdown menu and turn on Render UV Image The Foundry Mari 2 0v1 WORKING WITH PATCHES 184 Saving Images of UV Masks on a Patch Note the blank patches and bleed from the overpaint areas The original patch Rotated 90 degrees Paint transforms only apply within each patch If you have more than one patch selected each patch transforms independently For example if you flip two side by side patches horizontally each patch flips separately Two patches selected Flipped horizontally Saving Images
226. hortcut key switches it temporarily until you let go of the key To set this navigate to the Mari Preferences dialog box from the Edit menu select Preferences and on the Misc tab turn off Tool On Key Held Mari 2 0v1 USING SHORTCUTS 28 Try the Mouse Gestures EXPERIMENT Before looking at the mouse gestures try several of the amp keyboard shortcuts You can look up which controls have assigned shortcuts by searching in the Manage Keyboard Shortcuts dialog or referring to Appendix A Try the Mouse To use a mouse gesture Gestures Press and hold the backslash key then click and hold the left mouse button and move the mouse in the direction indicated A red line traces your mouse movement on the canvas Current Tool Mouse Gestures Tool Help When you release the mouse button the tracing disappears and Mari performs the function you selected in the illustration tracing an E to select the Erase tool EXPERIMENT Try several of the mouse gestures You may have to paint amp something before you can try some of them The mouse gesture shortcuts are not shown in the Manage Keyboard Shortcuts dialog but can be located in Appendix A The Foundry Mari 2 0v1 USING SHORTCUTS 29 Customize General Keyboard Shortcuts Customize To add and change the general keyboard shortcuts General 1 From the Edit menu select Shortcuts Ke y board The Manage Keyboard Shortcuts dialog box displays many categories
227. hould have some transparent areas If your channel is completely painted the resulting mask is just white If necessary use the Paint tool in Clear mode to erase some of the paint off your channel The Foundry Mari 2 0v1 LAYERS 244 Layer Types and Examples Layer Types and Below are descriptions and examples of the different adjustments available in the Layers palette Examples Examples of each of the filters are applied to the following image for illustrative purposes Adjustment Layers Filters Changes the brightness of the paint on Adjust the Brightness using the the model You can also change the con entry box or slider trast at the same time Brightness Lookup Changes the brightness of the paint on Use the Map curve to adjust the the model You can adjust the bright specific level of brightness ness using the curve to get a specific brightness value The Foundry Mari 2 0v1 LAYERS Layer Types and Examples Set the Min value and Max value by using the entry box or adjust ing the sliders Clamp Clamps color values to lie within the specified upper and lower values Select the individual color com ponent to clamp in the R G B and A checkboxes Color Balance Adjusts the intensities of the colors on Set whether to Preserve Lumi your model in the highlights midtones nosity then adjust the Cyan Red and shadows Magenta Green and Yellow Blue values in the Highlights Sh
228. ht click on the toolbar area and choose Selection from the dropdown menu 4 Set the selection mode click on an object to select it click on a patch to select it or click and drag a selection to select all the patches under that selection a click and drag to make the selection 5 On the Tool Properties toolbar set the selection details e Facing whether to only select the visible front of the model or to select through the model including the back side e The selection tool shape either EH a square selection box F a lasso selection allowing you to draw any shape of selection or K smart selection letting you select areas based on the shape of the model Smart selection only works in Face selection mode Click and drag to make your selection 7 You can use modifier keys to add to remove from or invert the selection Add to the selection Areas that were unselected become selected areas that were already selected stay selected Remove from the selection Areas that were selected become unselected areas that were already unselected stay unselected Meta Windows Intersect the selection Areas that overlap with the current selec tion become unselected areas that were unselected become selected Mari 2 0v1 SELECTING ITEMS 173 Selecting Objects Patches or Faces 8 You can select all none or invert the current selection Use the buttons on the Tool Properties t
229. icensee Please note that in order to guard against unlicensed use of the Software a licence key is required to access and enable the Software The issuing of replacement or substituted licence keys if the Software is moved from one computer to another is subject to and strictly in accordance with The Foundry Licence Transfer Policy which is available on The Foundry s website and which requires a fee to be paid in certain circumstances The Foundry may from time to time and at its sole discretion vary the terms and conditions of the Licence Transfer Policy Furthermore if the Software can be licensed on an interactive or non interactive basis licensee shall be authorized to use a non interactive version of the Software for rendering purposes only i e on a CPU without a user in a non interactive Capacity and shall not use such Software on workstations or otherwise in a user interactive capacity Licensee shall be authorized to use an interactive version of the Software for both interactive and non interactive rendering purposes if available If Licensee has purchased the Software on the discount terms offered by The Foundry s Educational Policy published on its website the Educational Policy Licensee warrants and represents to The Foundry as a condition of this Agreement that a if Licensee is an individual he or she is a part time or full time student at the time of purchase and will not use the Software for commercial professional
230. icensee it Shall be treated as such by The Foundry To the extent that any Information constitutes personal data for the purposes of the Data Protection Act 1998 it shall be processed by The Foundry in accordance with that Act and with The Foundry s privacy policy see http www thefoundry co uk privacy SECTION 16 NONSOLICITATION Licensee agrees not to solicit for employment or retention any of The Foundry s current or future employees who were or are involved in the development and or creation of the Software SECTION 17 U S GOVERNMENT LICENSE RIGHTS The Software Documentation and or data delivered hereunder are subject to the terms of this Agreement and in no event shall the U S Government acquire greater than RESTRICTED LIMITED RIGHTS At a minimum use duplication or disclosure by the U S Government is subject to the applicable restrictions of i FAR 52 227 14 ALTS Il and III une 1987 ii FAR 52 227 19 June 1987 iii FAR 12 211 and 12 212 and or iv DFARS 227 7202 1 a and DFARS 227 7202 3 The Software is the subject of the following notices Copyright 2013 The Foundry Visionmongers Ltd All Rights Reserved Unpublished rights reserved under the Copyright Laws of the United Kingdom Mari 2 0v1 The Foundry 409 APPENDIX D END USER LICENSE AGREEMENT End User Licencing Agreement EULA SECTION 18 SURVIVAL Sections 2 3 5 6 8 9 10 11 12 13 14 15 16 17 18 19 and 20 shall
231. ift Gain Multiply and Gamma all modify the specified aspects of the paint to change the overall texture while Offset changes the black and white points as one LAYERS Layer Types and Examples Mari 2 0v1 246 LAYERS 247 Layer Types and Examples HSL Changes the hue saturation and light ness of the colors on the model Change the hue of the colors by setting the value for Hue Adjust ing the slider moves the colors around the color wheel The rota tion value is the degree around the color wheel that each color shifts between O and 360 adjusts the slider between 180 and 180 The Saturation slider adjusts the intensity of the colors in the image data Select a multiplier from O to 1 where 50 is the Original saturation value You can also set the Lightness value the same way HSV Changes the hue saturation and value Change the hue of the colors by of the colors on the model setting the value for Hue Adjust ing the slider moves the colors around the color wheel The rota tion value is the degree around the color wheel that each color shifts adjusts the slider between 0 and 1 The Saturation slider adjusts the intensity of the colors in the image data Select a multiplier from O to 10 where 1 00 is the Original saturation value You can also set the Value the same way Height As Normal Interprets the texture as height data Bump Weight adjusts how
232. igin of this software must not be misrepresented you must not claim that you wrote the original software If you use this software in a product an acknowl edgment in the product documentation would be appreciated but is not required 2 Altered source versions must be plainly marked as such and must not be misrep resented as being the original software 3 This notice may not be removed or altered from any source distribution The Foundry Mari 2 0v1 APPENDIX C THIRD PARTY LICENSES 403 Third Party Licenses Tri Stripper Geometry optimisation Copyright C 2004 Tanguy Fautrv This software is provided as is without any express or implied warranty In no event will the authors be held liable for any damages arising from the use of this software Permission is granted to anyone to use this software for any purpose including commercial applications and to alter it and redistribute it freely subject to the fol lowing restrictions 1 The origin of this software must not be misrepresented you must not claim that you wrote the original software If you use this software in a product an acknowl edgment in the product documentation would be appreciated but is not required 2 Altered source versions must be plainly marked as such and must not be misrep resented as being the original software 3 This notice may not be removed or altered from any source distribution Tanguy Fautrv softdev telenet be YAML parser and
233. images in your current Mari project 6 To view a larger version of an image click e The larger preview opens in a separate window You can change the size of this preview by changing the size of the window You can also crop the image from this window see the next section 7 To save an image under a new filename click Bl The Save an Image dialog box displays 8 Enter a new name for the image and click Save Mari saves the image From now on Mari loads the image from the new filename when you open this project TIP You can also Open Save Save As or Close images by right clicking on the Image Manager and selecting from the dropdown menu There is an extra shortcut to open new images as well double clicking on an empty part of the Image Manager And you can do all of these on multiple images at once Ctrl click or click and drag to select multiple images You can even drag and drop images into the Image Manager from your web browser The Foundry Mari 2 0v1 MANAGING IMAGES IN MARI 208 Crop and Filter Images Crop and Filter 1 To create a new image by cropping an image from the Image Manager Images click fe to open the image preview window TIP Clicking on the image in this window sets the foreground color to the color at the spot you clicked 2 Choose the crop mode that you want to use You can select from the following options e Arbitrary Click and drag on an arbitrary area of the image e Fixed
234. imer Redistributions in binary form must repro duce the above copyright notice this list of conditions and the following disclaimer in the documentation and or other materials provided with the distribution Neither the name of the organization Sony Pictures Imageworks nor the names of its con tributors may be used to endorse or promote products derived from this software without specific prior written permission THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS AS IS AND ANY EXPRESS OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEMPLARY OR CONSEQUENTIAL DAM AGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES LOSS OF USE DATA OR PROFITS OR BUSINESS INTERRUPTION HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY WHETHER IN CONTRACT STRICT LIABILITY OR TORT INCLUDING NEGLIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFTWARE EVEN IF ADVISED OF THE POSSI BILITY OF SUCH DAMAGE Mari 2 0v1 398 The Foundry Application and UI framework APPENDIX C THIRD PARTY LICENSES 399 Third Party Licenses The Qt GUI Toolkit is Copyright C 2009 Nokia Corporation and or its subsidiary ies Contact Qt Software Information qt info nokia com Qt is availabl
235. ine your own painting mask You do this by painting into a channel and then using it to control where paint applies to the surface Channel mask Paint buffer without channel mask Paint buffer with channel mask see the red masked area where the white is on the mask Mari applies the channel mask based on color values on the surface of the channel This is set up through a curve control The Foundry Mari 2 0v1 The Foundry CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 75 About Masking Mask Curve By default e White pixels value of 1 1 1 are completely masked totally unpaintable e Black pixels value of 0 0 0 are completely unmasked totally paintable e Other pixels are less masked as their color values approach O more masked as they approach 1 For example 50 grey 0 5 0 5 0 5 creates a mask with 50 opacity Mask channel including colored The resulting paint mask mask data By altering the curve control you can set how Mari masks different color values For example if you use a displacement map channel as your mask source you can adjust the mask value to mask out everything except the darkest areas This gives you a mask that covers everything except the cracks in your mask texture For example heres the result of different settings using this displacement map as a Channel mask Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 76 About Masking This paints
236. ing more than one Ptex file this option allows you to specify whether you prefer for each separate file to constitute a sepa rate object or separate geometries within a single object NOTE Even if you choose to Create Separate Geometries Ptex Only Mari only displays a single object on the canvas However when you export a channel you have the option to export individual ptx files for each geometry For Ptex projects the channel setup and texture import section of the New Project dialog can be ignored A single channel named Ptex is created by default you can create additional channels once the project has loaded 5 Click OK If you use an obj file to create a new project and the file does not have a UV map assigned or you selected Force Ptex as the Mapping Scheme the Ptex Import or Creation dialog box displays once the project is created Mari 2 0v1 PTEX 297 Set the Ptex face Texture Options You can also manage Ptex face textures by accessing the Preferences menu Import Ptex options If you have a topologically matching ptx file for the obj you can import it using the Import Ptex options field However if you don t have matching texture sizes it can be resized upon import from the Ptex Texture Import dialog Create Ptex options If you don t have a matching Ptex file for the obj 1 Under Create Ptex options you can select constant colored textures for each face whose resolutions are based on eithe
237. ing new geometry versions from ptx files Paint Though obj files can be added to Ptex projects with topologically equivalent p ti versions that is to say versions that have the same number of faces with peset Ye nen the same shapes there are caveats to the functionality with Multiple e If the obj file contains multiple geometry groups within it and the proj Ptex Geometries ect has been created to treat these as separate geometries within a file the obj file can still be used as a version with fewer groups These are matched and the paint preserved e f more than one geometry is topologically equivalent then a match for their obj file group names are used to attempt to distinguish between them e If an obj file with a previously unknown group is used as a version a new Ptex texture space is allocated to these new geometries e If there are fewer geometry groups in the new version than in the existing geometry the extra geometries are hidden Any topological changes to geometries added as a version such as a Change to the model shape or size do not transfer existing paint If a ptx file is imported as an object version over obj geometry any paint that has been applied is overwritten by the incoming version A warning message on the Ptex Texture Import Face Texture Resize Options dialog alerts you to the risk of losing existing paint on topologically equivalent versions as shown in the example below The Foundry Ma
238. instructions on loading images into the Image Manager 2 Click the shelf in the Shelf palette you want to copy the color to Personal Project or Create a Custom Shelf The Foundry Mari 2 0v1 STORING RESOURCES USING SHELVES 1 60 Create a Custom Shelf 3 Drag and drop an image from the Image Manager to the shelf where you want to store it cp TIP You cannot copy temporary cropped images from the Image Manager to a shelf unless you save them first Below is an example of a color brush and image copied to the Personal shelf TIP You can rename an item in a shelf by double clicking its name and typing over You can also drag any item from any shelf to the Personal Project or custom shelves Create a Custom To create custom shelves for example particular sets of color swatches images or brushes Shelf 1 In the Shelf palette click at top left The Create New Shelf dialog box displays The Foundry Mari 2 0v1 STORING RESOURCES USING SHELVES 161 Modify Custom Shelves and Their Contents 2 Type a name for the shelf and click OK The new shelf displays at right in the Shelf palette Modify Custom The Shelf palette includes a right click dropdown menu with options to Shel d rename delete items from and assign shortcut keys to items in the e NSS an Personal Project or custom shelves It also includes features to Import and Their Contents Export Shelves and Items Save Shelf Load Shelf
239. int shows throughout the entire animation sequence Bee OCE The Foundry Mari 2 0v1 The Foundry PAINTING ANIMATED OBJECTS 344 Keyframes Now we Set a keyframe at frame 4 and paint on frame 3 and frame 6 In this case e The paint on frame 3 appears from frames 1 3 e The paint on frame 6 appears from frames 4 12 1 KEYFRAME 4 KEYFRAME ESSA EESA Mari 2 0v1 The Foundry PAINTING ANIMATED OBJECTS 345 Keyframes If we add another keyframe at frame 9 and paint on frame 10 e The existing paint between frames 4 and 12 continues to display in that frame range as it was in place before we added the new keyframe e The paint on frame 10 appears from frame 9 to 12 1 KEYFRAME 4 KEYFRAME ESSA ESS When we export the layer each patch has three versions one per keyframe 1 KEYFRAME 4 KEYFRAME 9 KEYFRAME Mari 2 0v1 PAINTING ANIMATED OBJECTS 346 Steps for Working with Animated Objects Steps for To use animated objects in your Mari project follow these steps Working with e Loading Animated Objects e e Playing Animation Animated e Painting Animated Textures Objects e Exporting Animated Textures Loading To load your animated object Animated 1 Select an animated obj file sequence and either Objects e create a new project with the file or e add the object to an existing project 2 On the Mesh Options tab a new section displays letting you set which frames to impo
240. ion e Mirror Left to Right to mirror the selected patch from left to right e Mirror Right to Left to mirror the selected patch from right to left e Mirror Top to Bottom to mirror the selected patch from top to bot tom e Mirror Bottom to Top to mirror the selected patch from bottom to top NOTE The transform and mirroring functions in the Patches menu are applied to selected patches for the current and selected layers If you don t select a patch or a layer Mari asks if you want to apply the transform to all patches or layers before continuing EXPERIMENT Experiment with flipping rotating and mirroring patches Apply paint first to see what happens to the paint when the patch is changed 1 Select one or more patches See Selecting Items for details on selecting patches 2 From the Patches menu select UV mask to Image Manager Mari takes a snapshot of the UV outlines on the selected patches and puts it into the Image Manager It creates a separate image for each patch selected You can now use the images or save them to disk See Managing Images in Mari for details on using the Image Manager palette If you are seeing seaming artifacts at the edge of your patches try doing a full bleed across the affected patches 1 Select the patches to bleed See Selecting Items for details on selecting patches 2 From the Patches menu select Bleed Patch Edges Mari calculates a full bleed for the selected patches
241. ion any later version This library is distributed in the hope that it will be useful but WITHOUT ANY WAR RANTY without even the implied warranty of MERCHANTABILITY or FITNESS FORA PARTICULAR PURPOSE See the GNU Lesser General Public License for more details Further this software is distributed without any warranty that it is free of the right ful claim of any third person regarding infringement or the like Any license provided herein whether implied or otherwise applies only to this software file Patent licenses if any provided herein do not apply to combinations of this program with other software or any other product whatsoever You should have received a copy of the GNU Lesser General Public License along with this library if not write to the Free Software Foundation Inc 59 Temple Place Suite 330 Boston MA 02111 1307 USA Contact information MeVis Medical Solutions AG Universitaetsallee 29 28359 Bre men Germany or http www mevis de To see the GNU Lesser General Public License go to http www gnu org licenses or Media Help CopyrightNotices in the Mari application directory Copyright c 2008 2010 Sony Pictures Imageworks Inc All rights reserved Redistribution and use in source and binary forms with or without modification are permitted provided that the following conditions are met Redistributions of source code must retain the above copyright notice this list of conditions and the following discla
242. ired master patch on its own and linking it using the Link Selected Patch Images button You can then The Foundry Mari 2 0v1 The Foundry WORKING WITH PATCHES 1 93 Link or Unlink Patches select the master patch and the rest of the patches to re link them using the Link Selected Patch Images button again NOTE When linking patches if any patches have been previously linked Mari determines which set of linked patches has the most patches in the selection set and retains those links while re linking the other selected patches TIP You can also find all of the options discussed in this chapter in the right click dropdown menu on the canvas Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 1 7 CONFIGURING THE USER INTERFACE Mari provides a fully customizable GUI You can set it up to suit your working style and preferences The main GUI elements that you can customize are e palettes areas that contain controls and information for example to view and configure tool properties colors or project elements You can choose which palettes to display and where to put them e toolbars panels that contain Mari tools and common functions for example to paint erase open or close a project Toolbars contain icons you click to quickly access common tools and functions You can create new toolbars with shortcut buttons to your favorite functions e HUD the heads up display HUD displays information about the Current t
243. is is the opposite of the Color blend mode Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 99 Paint Blending Modes Darkens the color Mari multiplies the layer color by the color in the paint buffer Replace values on the layer s surface with those from the paint buffer Mari s default mode Nudge Flow Vec Changes the paint buffer to tangent tors vector space Keeps the vectors flat to the object s surface in 2D space The Nudge Flow Vectors mode adds the vectors together to get the blend result and is best for use with flow maps Nudge Normal Changes the paint buffer to tangent Vectors vector space Allows the z value to face outward in 3D space so that vec tors face out from the object s surface anywhere on the model The Nudge Normal Vectors mode adds the vectors together to get the blend result and is best for use with normal maps The Foundry Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 100 Paint Blending Modes Uses the patterns and colors from the paint buffer but keeps the highlights and shadows from the layer Paint Flow Vectors Changes the paint buffer to tangent vector space Keeps the vectors flat to the object s surface in 2D space Unlike Nudge Flow Vectors the Paint Flow Vectors mode blends between the vec tors instead of adding them This mode is best for use with flow maps Paint Normal Vec Changes the paint buffer to tangent tors vector sp
244. isible from the paint buffer and saves it asa file e Project reads a file and projects it back onto the model Unprojecting takes the surface currently visible in Mari and exports it to a file This includes everything on the surface just as it appears onscreen its like taking a snapshot of the model as you can see it right now Soa particular unprojected file could include parts of several meshes Once you have unprojected to a file you can edit the file in your paint editor of choice When you re happy with the file you can then flip back to Mari and project it back onto the view By restoring the original projector you can be sure that youre looking at the exact same view as the snapshot was originally taken from When you select the projector and click Import to the buffer or Project import and bake Mari projects the file onto the model in the correct place So once youve set up a particular projector you can quickly flip between Mari and another editor You only need to set the target and source files for unproject project once and then it s just a click to move back and forth between Mari and your external editor To make it easier when youre working on projects with multiple channels there is also a batch mode for unproject This lets you unproject multiple channels at once VISUAL EFFECTS SOFTWARE Steps for Using Projectors The Foundry PROJECTORS 319 Steps for Using Projectors And to make it even easi
245. isplays all the selection groups for your project F 7 race Troup i Face Group Object Group 1 4 Click to select a selection group When you Click on the selection group Mari changes to show that selec tion You can switch between selection groups by clicking them in the list Object groups can be added to selection groups You can create up to 200 of these groups 5 If you have a selection group highlighted in the list but have used the Select tool to make another selection you can reload the selection group by clicking on the oh button The Foundry Mari 2 0v1 SELECTING ITEMS 178 Selecting Areas Onscreen 6 You can also lock and unlock selection groups as well as showing and hiding them lock the selection group unlock the selection group hide the selection group show the selection group cp TIP You can also create patch selection sets by right clicking on your selection and choosing Create Patch Selection Set This can also be done in the Patches palette by right clicking on your selection and choosing Create Set Selecting Areas Use the marquee select tool to select an area onscreen rather than on the model The marquee select tool lets you build up your selection adding and Onscreen removing to the selection as required then transform it moving it around rotating it or resizing it 1 Paint a few strokes onto your model so you can see the effects when you start drawing m
246. it If you use full stop to separate parts of the file name for example test file Mari does not add the file extension mra automatically This allows you to use a different extension if desired However in most cases you most likely want to add the mra extension to ensure the file is clear want to bake what I ve painted but can t find the bake button The bake button sits at the bottom right of the workspace It only appears when you have unbaked paint in the paint buffer You can also press B to bake Clicking on another application caused the floating palettes in Mari to disappear This is not a problem in Mari but caused by your Linux window behavior settings To fix this on KDE 4 for example you can 1 Go to Settings gt System Settings gt Window Behavior gt Advanced The Foundry Mari 2 0v1 APPENDIX B FREQUENTLY ASKED QUESTIONS 381 Frequently Asked Questions 2 Uncheck Hide utility windows for inactive applications lam having problems with my wacom tablet We have found that these links have been useful in solving the problems for some of our users https help ubuntu com community Wacom http linuxwacom sourceforge net On Linux pressing the Ctrl Alt or meta Windows shortcut key doesn t do what it should Instead it does something else like moves the entire Mari window This is usually not a problem in Mari but caused by your Linux window manager which is using one of thes
247. its bookmarks You should not disconnect a network drive while Mari is running and then attempt to reference files from that drive in Mari as that may result in undefined behavior The Foundry Mari 2 0v1 382 MARI USER GUIDE THE FOUNDRY APPENDIX C THIRD PARTY LICENSES Third Party Licenses This appendix lists third party libraries used in Mari along with their licenses argparse Parser for command Copyright 2008 Larry Gritz and the other authors and contributors All Rights line options argu Reserved Based on BSD licensed software Copyright 2004 NVIDIA Corp ments and sub com mands Redistribution and use in source and binary forms with or without modification are permitted provided that the following conditions are met Redistributions of source code must retain the above copyright notice this list of conditions and the following disclaimer Redistributions in binary form must reproduce the above copyright notice this list of conditions and the following disclaimer in the documentation and or other materials provided with the distribution Neither the name of the soft ware s Owners nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS AS IS AND ANY EXPRESS OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABI
248. k To flatten and export the currently selected layers 1 From the Layers menu select Export Flattened gt Export Selected Layers Flattened or right click the layer s in the Layers palette and select Export Flattened gt Export Selected Layers Flattened from the dropdown menu The Export dialog displays 2 Follow the steps in Export Textures from Channels on page 146 before clicking Export All Patches Mari exports your flattened selected layers To flatten and export all the layers in a layer stack 1 From the Layers menu select Export Flattened gt Export All Layers Flat tened or right click in the Layers palette and select Export Flattened gt Export All Layers Flattened from the dropdown menu The Export dialog displays 2 Follow the steps in Export Textures from Channels on page 146 before clicking Export All Patches Mari exports your flattened layer stack To import textures into the currently selected layer 1 From the Layers menu select Import gt Import into Layer or right click the selected layer in the Layers palette and select Import gt Import into Layer from the dropdown menu The Import dialog displays 2 Follow the steps in Import Existing Textures to Channels on page 141 before clicking Import All Patches Mari imports the textures into the currently selected layer overwriting any other textures in the layer Mari 2 0v1 LAYERS 243 Convert Masks To import textures into th
249. k into the layer To do this e with the layer selected from the Layers menu select Adjustment Stack gt Bake Adjustment Stack or The Foundry Mari 2 0v1 Remove and Disable Layers The Foundry LAYERS 236 Remove and Disable Layers e right click on the layer and select Adjustment Stack gt Bake Adjustment Stack from the dropdown menu To add a procedural layer either e from the Layers menu navigate to Add Procedural Layer and select a procedural from the dropdown menu e right click any layer in the Layers palette navigate to Add Procedural Layer and select a procedural from the dropdown menu or e in the Layers palette click A The procedural layer appears in the layer stack with the procedural icon where the paintable layer icon would normally reside Color To remove a layer e with the layer selected from the Layers menu select Remove Layers e right click on the layer and select Remove Layers e select the layer and press Delete on the keyboard or e in the Layers palette click To remove masks from existing layers e with the layer selected from the Layers menu select Layer Mask gt Remove Mask or e right click on the layer and select Layer Mask gt Remove Mask from the dropdown menu To only disable the mask on the layer so you can compare the results of the layer without the mask in place e with the layer selected from the Layers menu select Layer Mask gt Disable Mask or
250. l 2 In the Shaders palette ensure that the channel you are using for your vector paint is selected in the shaders Vector shader component 3 If you want to see the directional markers while you paint select the Vector Inspector icon ES in the Vector toolbar Mari 2 0v1 VECTOR BRUSH 133 Modifying Vectors with Paint Blending Modes 4 Select a brush from the Brush Editor palette Once you have set up the brush options paint in a direction across the surface of the model A specific color is chosen depending on the direction of your brush stroke e NOTE Think of the four main colors as being the four cardinal points ona compass These have specific colors to represent their directions Strokes between these points are blends of the two colors The four main colors are e Left to Right RGB 1 0 5 0 5 e Top to Bottom e Right to Left E RGB 0 0 5 0 5 RGB 0 5 1 0 5 e Bottom to Top i RGB 0 5 0 0 5 These colors may vary depending on the lighting model you are using and any adjustments that are selected for instance the Tangent to Screen adjustment You may find it useful to paint vectors while using a Flat lighting model to make accurate vector painting easier Modifying To adjust the paint blending mode follow these steps Vectors with 1 With unbaked paint on your model select one of the following modes from the Painting Mode dropdown menu Paint Blending Modes e Paint Flow Vec
251. l Setting Projection to Through Paint some strokes on your model and bake them Now rotate the model to see how the paint has pene trated it Set Project On to Selected Using the Selection tool select a patch on your model Paint a stroke that goes off the edge of the selected patch and bake it See how the paint that goes off the selection patch disappears when you bake Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 85 Erase Paint Erase Paint 1 To erase a section of paint click on the Eraser Ed tool 2 Click and drag to erase paint from the paint buffer This does not affect the underlying paint baked onto the model only the paint in the buffer TIP You can edit the brush details for the eraser brush shape size and so on the same as you would for any other brush 3 To clear the entire paint buffer click the Clear the Paint Buffer E button Mari clears the contents of the paint buffer Ea NOTE You can also clear the paint buffer by pressing Ctrl Shift C The Foundry Mari 2 0v1 Mask What You Can Paint On The Foundry 1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL Mask What You Can Paint On Scroll to the top of the Projection palette Masking options are under the Mask Preview Channel Mask Ambient Occlusion Mask Backface Mask Depth Mask and Edge Mask sections If you want to change how masking appears on screen change the Mask Preview setting
252. l vals Paint Through Tool Selection Tool th Erase Tool Show Palettes at Increase Brush Radius Decrease Brush Radius E Hide Selected Hide Unselected EA View All a Show All Toggle Brush Tip The Foundry Mari 2 0v1 378 MARI USER GUIDE THE FOUNDRY APPENDIX B FREQUENTLY ASKED QUESTIONS Frequently Asked Questions This appendix lists some of the most common questions about Mari If your question isnt answered here review the documentation and the release notes or contact The Foundry customer support for help can t see or bake what I ve painted There can be several reasons for this e Paint Opacity has been set to O in the Projection palette e A mask is preventing paint from appearing Check if any of the masks are enabled in the Projection palette e Project On has been set to SelectedOnly in the Projection palette but you havent selected any objects patches or faces Either select the areas where you want paint to appear or set Project On to All e The paint is on objects patches or faces that have been locked To unlock them click Selection gt Unlock Selected Unlock All or Unlock Entire Object e The paint blending mode Painting Mode in the Projection palette has been set to a mode that does nothing to your textures For example if your texture is white the paint is red and Painting Mode has been set to Hue the paint is not visible e Brush Opacity has been set to O
253. l three channels to make a surface that gives a preview of what the final render may look like This lets you for example build a shader so you can paint onto the displacement or specular channels while getting a real time view of how your changes affect the final render TIP Shaders on y control how Mari displays the model s surface They do not affect the contents of the channels in your project Shaders include e basic lighting details including ambient diffuse and specular light intensities e a method for quickly viewing paint in your current channel layer layer Stack or on your current paint target Mari generates the shaded surface by going through the components in the current shader Each component takes an input from a channel and is adjusted according to relevant component sliders These components are then added to the current surface The final shaded surface as you See it on screen is the final result of these components Mari 2 0v1 SHADERS 283 Shaders and Lights For example you could set up a shader with the following 1 Create the initial shaded surface from the diffuse channel and set this in your shader s Diffuse Color component 2 Display specular or displacement previews using designated channels as the inputs and adjust the sliders to give the shaded surface the desired look 3 Adjust ambient light or apply environment images to further build up the preview of your final rendered image
254. lable and you would like to use it select UV if available Ptex otherwise If you prefer to use Ptex select Force Ptex This option loads the selected geometry and replaces the existing UV map with a Ptex map e Selection Sets If you want to select a specific object group in the geometry while you work this option allows you to set up selection sets using Create From Face Groups during project creation e Multiple Geometries Per Object If your obj consists of multiple geom etries you have the option to Merge Geometries Into One which is the default behavior or Create Separate Geometries Ptex Only The Foundry Mari 2 0v1 Set the Ptex face Texture Options The Foundry PTEX 296 Set the Ptex face Texture Options If you choose to Merge Geometries Into One Mari combines the indi vidual geometries into a single geometry while choosing Create Sepa rate Geometries Ptex Only creates individual geometries 2 Testing Ma Pros Vile ta obec modelarii ody Ui 4 akalane Pies of er wee Create ron Face Groupe Thep Pa Gram tis Into Ore New Project dialog obj mesh options Zifen Mai Fromivete Tex blackemith_ptes materia _v i blscksmith blackemith pix Senarate Object New Project dialog ptx mesh options 4 If you choose to load a ptx file the Mesh Options only provide the option for selecting Separate Object or Separate geometry in one Object for the Process each geometry file field If you are import
255. lacksmith_eyes e To show or hide an object click D e To lock or unlock an object click a 4 If you move the object accidentally or want to reset the object back to its original position Shift click to reset the object or press the apostrophe key on the keyboard to reset all objects cp TIP You can also use the Pan Object tool to move lights around see Configure the Lighting Adding and All objects start with an initial version You can add and remove versions as Removing Object long as at least one version of the object remains Mari does not enforce Versions The Foundry Mari 2 0v1 MULTIPLE OBJECTS 340 Calculating Ambient Occlusion any other restrictions for example if an object has three versions you can delete any of the three versions cp TIP Mari does not restrict what you can add as a new version as we have no way of knowing what kinds of changes to the models you may need to make as you develop the asset As a result you can add any object file as a new version of an existing file so be careful that you don t add the wrong file by mistake To add a new version to an existing object 1 Right click on the object in the Objects palette and select Add Version from the dropdown menu The Add Version dialog box displays 2 Select the file for the updated object and click Open Mari adds the new version to the object s history and updates the dis play to show the new version TIP C
256. layers cached using Cache Up To Here are blue and as the Mari 2 0v1 Layer Sharing Dragging Layers for Moving Copying and Sharing The Foundry LAYERS 232 Layer Sharing layers become more complex or higher up in the layer stack they progress to yellow orange and red When a layer has been cached that layer is locked Any change you may wish to make requires you to unlock the layer For more information about locking other selected items see Visibility and Locking on page 168 If you want to duplicate a layer as a shared connected layer in your layer stack you can use the Share Layer option from the context menu This allows you to link the layers so that any changes made to the original layer are also produced on the shared layer Unlike simply duplicating a layer Sharing a layer lets you make changes to multiple copies by changing only a single linked layer If you want to duplicate a finished layer as a shared layer in a new channel you can select Share As Channel from the context menu As with the shared layer in a layer stack any change made to the original layer is also made to the shared layer in the new channel If you want to make changes to the original layer and don t want them to be copied over to a shared layer you can select Unshare Layer from the context menu to stop sharing the layer before continuing your work You can move copy and share layers between different layer stacks even between l
257. le law or agreed to in writing software distributed under the License is distributed on an AS IS BASIS WITHOUT WARRANTIES OR CONDI TIONS OF ANY KIND either express or implied See the License for the specific language governing permissions and limitations under the License XML parser Copyright 1998 1999 2000 Thai Open Source Software Center Ltd and Clark Cooper Copyright 2001 2002 2003 2004 2005 2006 Expat maintainers Permission is hereby granted free of charge to any person obtaining a copy of this software and associated documentation files the Software to deal in the Soft ware without restriction including without limitation the rights to use copy modify merge publish distribute sublicense and or sell copies of the Software and to per mit persons to whom the Software is furnished to do so subject to the following conditions Expat The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software THE SOFTWARE IS PROVIDED AS IS WITHOUT WARRANTY OF ANY KIND EXPRESS OR IMPLIED INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANT ABILITY FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM DAMAGES OR OTHER LIABILITY WHETHER IN AN ACTION OF CONTRACT TORT OR OTHERWISE ARISING FROM OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER
258. lection tool lets you select areas on the objects in your project Once you have made a Selection you can choose to show or hide the selected areas or to lock them for editing Area selected on the model VISUAL EFFECTS SOFTWARE Selection Modes The Foundry SELECTING ITEMS Selection Tool Mari has three selection modes These control how you select things in your project from whole objects to sections of surface lets you select whole objects at a time Clicking on an object selects the whole of that object every patch every point on it lets you select individual patches on an object Clicking on a patch selects only that patch and all points within the patch lets you select areas on the objects You can use standard mar quee and loop select tools to select parts of your objects In all three modes you can add to or remove from the current selection You also have the option of selecting all items or none or invert the current selection Mari 2 0v1 167 Smart Selection Visibility and Locking Selection and Painting The Foundry SELECTING ITEMS Selection Tool In Face selection mode you can grow or shrink the current selection Initial selection Selection grown Selection shrunk There are also quick menu items for selecting large areas on your model at once In the Selection menu you can opt to e Select All to select all of an object patch or face e Select None
259. lend modes As you change them see how the paint in your buffer changes Experiment with the results you can get with different blend modes how they work with different types of brush strokes paint alpha values and so on 9 gt Paint Blending Mari comes with several paint blending modes The chart below uses the following example surface and painting to illustrate the effect of applying Modes the different modes Unpainted surface Paint stroke in default blend mode There are a number of shortcuts that can help you switch between Previous Blend Last Blend or Next Blend modes among others as well as resetting the paint blend mode For a list of available shortcuts please refer to Keyboard Shortcuts on page 375 The Foundry Mari 2 0v1 The Foundry CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 93 Paint Blending Modes In the application these effects are grouped by functional area for example all the light modes hard light soft light and so on are grouped together This list is alphabetical to make it easier for you to find a description of a particular effect Adds the values of the colors in the paint buffer to the values on the layers surface Burn Highlights Burns the layer based on the highlights in the paint buffer Burn Midrange Burns the layer based on the middle range that is not the lightest or dark est pixels of the paint buffer Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES
260. lication as listed under Help gt Shortcuts e A custom set of shortcuts defined in a shortcut configuration file This is a text file called Shortcuts conf containing a list of one or more Mari actions and their shortcuts Mari looks for this file in the following subdirectory of your home directory e config TheFoundry on Linux or VISUAL EFFECTS SOFTWARE About Custom Channel Presets The Foundry EXTENDING MARI 3 51 About Custom Channel Presets e mari TheFoundry on Windows NOTE If there is no custom shortcut file Mari uses the defaults Configuration file shortcuts override default shortcuts e GUI shortcut defined within the GUI in the Manage Keyboard Shortcuts dialog box for specific actions or project items You do this by selecting Edit gt Keyboard Shortcuts or right clicking on a project item channels patches shaders lights projectors and things in shelves or sets of those items by selecting Assign Shortcut from the dropdown menu GU shortcuts override default and configuration file shortcuts So Mari accepts the default keyboard shortcuts for an action unless that action is also specified in a shortcut configuration file in which case Mari uses your custom shortcuts unless youve overridden any of them in the GUI with individual custom shortcuts TIP If you are distributing a custom shortcuts file to multiple users be aware that any individual custom shortcuts they apply ove
261. load warning displays noth e There are too many channels in the Channels palette ing further e The patch resolution is set too high on some patches Hovering the cursor over this icon displays the tooltip Channels are higher bit This is not a unique icon It also dis depth than what the virtual texture is configured for Clicking on the icon plays to indicate virtual texture increases the bit depth of the virtual texture to match that of the highest bit overload Hovering over the icon for depth and removes the status bar warning a tooltip indicates which warning it Notifies you that Mari is listening for commands on COMPUTER NAME port Clicking on this icon shows you what PORT NUMBER computer name and port number on which Mari is listening for com mands Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 18 MANAGING IMAGES IN MARI Mari lets you use external images as a source for e clone stamping e painting through e picking colors in the Color Manager Mari has a palette the Image Manager which stores images in use in the Current project This gives you quick access to the images and very basic editing For each image the Image Manager shows a small preview and information such as the location of the image on disk When you open a project the Image Manager loads its images from source files on the disk and keeps them in memory ready to use If any of those source files change after you open a project the changes on
262. lor Color A and Color B allows you to set the squiggle pattern col ors used on the model Cellular procedural Perlin procedural Squiggle procedural LAYERS 260 Layer Types and Examples Cellular procedural over layer Perlin procedural over layer Squiggle procedural over layer Mari 2 0v1 Procedural Layers Pattern Blends a seamless cubic pattern with the shaded surface using the specified Blend Mode Object Space A procedural version Linear Gradi of the Gradient tool ent This behaves the same as Gradient without painting the gradient onto the model Blends a seamless spherical pattern with the shaded sur face using the speci fied Blend Mode The Foundry You can control the look of the cubes by adjusting the Repeat pattern and Gap spac ing Falloff and Round ness give you even more aspects to fine tune the pattern Color A and Color B allows you to set the cube pattern colors used on the model Adjust the gradient Start and End points to determine where Color A and Color B are on the object Use the Map to fine tune the gradient as a color curve Rotation X Y and Z points adjust the gra dient along the X Y or Z axes You can control the look of the spheres by adjusting the Size and Falloff of the pattern Color A and Color B allows you to set the sphere pattern colors used on the model Cube procedural Object Space Linear Gradient proced
263. ls and import the textures Choose whether you want to Use Template For only a single layer when importing or for everything Click Import All Patches to import the textures Mari imports the images and loads them into the layer stack of the selected channel Start Mari and open your project To import select a layer from the Layers palette and do one of the following e from the Layers menu select Import gt Import into Layer to import tex tures into the currently selected layer or e from the Layers menu select Import gt Import into Layer Stack to import textures into the layer stack as a newly created layer The Import dialog displays HRIH t Sian BELLS DEES g de fF oir H EEn t gt ji E sla TAr Mari 2 0v1 EXPORTING AND IMPORTING TEXTURES 146 Export Textures from Channels 3 Now you can choose to Import Individual Files or Import a Sequence of Files following the steps described previously in this chapter NOTE The Import into Layer Stack option occurs in both the Channels and Layers menus and the right click menus in either palette The result of importing textures into the selected channel s layer stack occurs regardless of which menu option you use TIP The import menu options are also available from the right click dropdown menu on the main canvas and in the Layers palette Export Textures Once you ve finished working on your textur
264. lt path to load and save PATH Cameras and projectors MARI_USER_PATH Root of the default user path Mari on Linux or C Users username Docu ments Mari on Windows MARI_SCRIPT PATH A list of paths to run scripts from _ Mari Scripts on Linux or C Users username Docu ments Mari Scripts on Windows You can set environment variables that Mari looks for when importing images You can Call these variables anything and as long as you precede the variable name in the image import path with on Linux or on Windows Mari replaces that part of the path with the value of the environment variable For example On Linux if the import path is SHOW_BASE_DIR Images SHOT SHOW BASE DIR and SHOT is replaced by the values of the environment variables SHOW_BASE DIR and SHOT On Windows if the import path is SHOW_BASE_DIR Images SHOT SHOW_BASE DIR and SHOT is replaced by the values of the environment variables SHOW_BASE DIR and SHOT You can also use environment variables to override any setting in the Mari configuration file named Mari conf on Linux or Mari ini on Windows This file contains all user settings that are not project specific By default you can find it in the following subdirectory of your home directory e config TheFoundry on Linux or e mari TheFoundry on Windows Mari 2 0v1 Set the Environment Variable On Linux The Foundry EXTENDING MARI 373 Set the Environment Variable Heres a
265. ly appear in the Image Manager when you next open the project If Mari cant find a source file for an image in the Image Manager when you open a project it removes that image from the Image Manager You can also create new images in the Image Manager by e Cropping them from existing images e Running a script on an existing image or e Generating them via a custom Texture Generator Mari stores these with the project rather than loading them from a file on disk unless you specifically save them on disk TIP If you need to use a common set of images for multiple projects in Mari you can drag them to a personal shelf See Storing Resources Using Shelves for details Steps for To manage the images in use in your project follow these steps Managing 1 Open the Image Manager Palette Images 2 Load and Select Images 3 Crop and Filter Images 4 Run Scripts on Images VISUAL EFFECTS SOFTWARE MANAGING IMAGES IN MARI 205 Open the Image Manager Palette Open the Image 1 Start Mari and open your project Manager Palette 2 Open the Image Manager palette e right click on the toolbar and select Image Manager from the drop down menu or e from the View menu select Palettes gt Image Manager The Image Manager palette displays showing images currently in use in the project Load and Select 1 To load one or more images click Di Images The Open an Image dialog box displays 2 Select the image s you
266. m channel templates file 1 Copy the Mari default channel templates file DefaultTemplates mtt from the following subdirectory of the Mari application directory e Media Settings on Linux or e Bundle Media Settings on Windows 2 Rename the file to something descriptive but keep the mtt extension Edit the file replacing the key values 4 Save the file in the following subdirectory of your home directory e config TheFoundry on Linux or e mari TheFoundry on Windows The Foundry Mari 2 0v1 368 EXTENDING MARI 369 Choose an Environment Variable to Set This is also the directory specified on the Channels tab of the Mari Pref erences dialog box Choose an 1 Read through the following information on Mari environment variables Environment and how you can use them Variable to Set 2 Choose an environment variable you want to set The Foundry Mari 2 0v1 EXTENDING MARI 370 Environment Variables That Mari Recognizes Environment This table lists the environment variables Mari recognizes Variables That Mari Recognizes MARI_CACHE The location s of the Mari cache On Linux files This can be just one directory user MyPath Mari or several to make caching faster Cache You should separate multiple path entries by a colon on Linux or a On Windows semi colon on Windows C MyPath MariCache Cache directories must be permanent directories and not temporary loca tions as they contain imp
267. m the list or click New or Edit to create a new color profile or edit the current one The Edit dialog box displays the filters available for building up a color profile ai NOTE You can delete color profiles from the list by selecting a profile and clicking Delete You are restricted from modifying the ColorSpace profile however 4 Select filters to use from the Available Filters list and click the right arrow button to move them to the Selected Filters list Choose the order The Foundry Mari 2 0v1 The Foundry 5 MANAGING COLORS IN MARI 219 Set How Colors Are Displayed Onscreen in which to apply the filters in the Selected Filters list using the up and down arrow buttons Then click OK The Current Color Profile dialog box lists the selected filters To view and configure how Mari applies a selected filter click to expand it then set its properties cp TIP For more details on Mari s filters see Filtering Images and Paint Set how colors are displayed using the ColorSpace toolbar 1 Click A or select Enable Color Management in the Color Manager pal ette Select a custom OpenColorlO ocio configuration file by clicking es or use Mari s default configuration For more information on OpenColorlO including the OCIO file format please visit http opencolorio org Select the colorspace of the current scene using Input ColorSpace dropdown Set the display device used to view the scene u
268. mapping Ptex addresses various issues associated with traditional texture mapping by eliminating the need for artists to manually create UV maps With Ptex each face of a geometry has its own unique texture This allows for the possibility of dynamically changing the resolution of textures on individual groups of faces Ptex files contain the per face texture and face edge adjacency data along with the geometry metadata which can be useful for previewing textures and checking whether they are valid for a given geometry Ptex Support in UV patches are 2D textures mapped onto regions of 3D geometry according Mari to UV maps created by the artist In addition to working with traditional UV ari maps Mari also supports Ptex With Ptex UV patches are no longer a valid concept since there are no explicit UVs associated with the model As a result UV patches have been replaced with a UV atlas of Ptex faces When a new Mari project loads a UV less obj file or a ptx Ptex file containing geometry every face of the geometry has a texture assigned to it and in turn every texture is assigned to an unused region of a UV atlas The packing of these face textures occurs in order of descending size and because of this adjacent faces with differing texture resolutions may not be spatially coherent in the UV atlas Therefore painting in the UV view does not make logical sense Currently Ptex support in Mari includes e starting a new project
269. much then computes the normals from the bump is applied Lower values are height map and converts the normals to smaller higher values produce a Diffuse RGB color This is useful for larger and more obvious dis baking normal maps from height maps placement The Foundry Mari 2 0v1 LAYERS 248 Layer Types and Examples Hue Shift Changes the hue of the colors on the Select the overall hue The rota model Set the value for Hue by adjust tion value for the color wheel is ing the slider This moves the colors the degree around the color around the color wheel wheel that each color shifts between 180 and 180 Inverts the colors or the alpha in the Set whether to invert the R G B layers lower in the layer stack Invert or A channels individually replaces colors with their opposite in the color chart For example a color with a float value of 0 3 is replaced by a color with a float value 0 7 The Foundry Mari 2 0v1 LAYERS Layer Types and Examples Levels Changes the color levels in the paint Set the You can change the white midtone and black points for each color channel or all together e Color Component to adjust the specific color channel Red Green or Blue e WhiteQut how strongly to output the white in the filtered image Higher values show the entire white output lower val ues show decreasing amounts e BlackOut how strongly to output the black in the
270. n a date Date a floating point number Float an integer number Inte ger or a text string String e Name the name of the attribute Unless you uncheck Visible below this name appears under User Attributes in the palette in the below example the name is MyAttribute Note that the name should only include alphanumeric characters and cannot include spaces User Attributes MyAttribute 0 000 e Description an optional description of the attribute This appears in a tooltip if you hover the mouse over the attribute in the palette e Saved if this is on the attribute persists when you quit and relaunch Mari If this is off the attribute is only added to the current session of Mari e Read Only if this is on users cannot modify the attribute s value If this is off the value is shown in the palette where users can adjust it e Visible if this is on the attribute appears in the palette If this is off you cannot see the attribute NOTE The above settings cannot be edited later If you want to change them you need to remove the attribute and create a new one Click Add If necessary edit the attribute s value in the palette Start Mari and open your project Open a palette where you want to remove a custom attribute from for example the Channels Objects or Projectors palette To remove the attribute click the a button next to it in the palette Mari prompts you to confirm that you w
271. n be maximum a stroke from the same brush with alpha Opacity set to 1 00 and 0 50 with no jitter and 1 00 with maximum jitter VISUAL EFFECTS SOFTWARE CONFIGURING BRUSHES 34 how quickly paint flows out of the a completely hard brush tip full opac brush mimicked digitally by how dark lity with spacing of 0 15 and flow at a splat can be maximum opacity 1 00 and 0 30 e how big the brush tip is you can also a stroke with and without radius jit specify an inner radius and link pres ter where the jitter is equal to the sure to vary between the two and whole radius of the brush apply jitter to randomly vary between the two distortions rotation spinning it a splat squished rotated sheared to the shape and scaled of the brush tip shear pulling opposite corners vertically or horizontally scale sizing vertically or hori zontally squish like vertically scaling down but affects the radius rather than brush tip The Foundry Mari 2 0v1 CONFIGURING BRUSHES 35 how spikey the brush is as mea the same brush with the default and Sured in maximum noise e octaves 1 to 8 applications of noise frequency 0 to 100 how many Spikes per octave scale 0 00 to 1 00 how big the spikes are as a proportion of the radius 1 00 twice as big as the radius segments 4 a square to 360 a circle lines making up the brush outline to which noise is applied
272. n the Input ColorSpace dropdown Set the colorspace correction to apply to the current channel or painting in the Output ColorSpace dropdown Applies noise to the current Use the Amount slider to adjust how much channel or painting noise is applied and select the component you want to affect from the Color Compo nent dropdown For additive grayscale noise that modifies the intensity while retaining the original color check the Grayscale checkbox You can regenerate the noise using different random samples by dragging on the Seed Slider Adjust the size of the noise applied by drag ging on the Size slider Mari 2 0v1 317 MARI USER GUIDE THE FOUNDRY 26 PROJECTORS In Mari projectors store the specific camera details of a particular view the rotation zoom and orientation of the view plus the current paintable area the painting mode and mask settings Think of this as being like a bookmark for the exact view you currently have in Mari You can use a projector to take snapshots of your paint buffer work on them externally and then project the changes back onto your model For example you can use projectors to easily flip back and forth between Mari and Photoshop editing a texture in Photoshop then projecting it back onto your model and checking it in Mari Once you have created a projector you can use it to project and unproject on and off the image e Unproject takes everything v
273. nal size in screen pixels For example a 1024x1024 image takes up 1024x1024 pixels on screen This is the default e Relative ToPaintBuffer Displays and paints through the source image resized so that one pixel in the image matches one pixel in the paint buffer For example a 1024x1024 image in a 2k 2048x2048 paint buffer appears onscreen as half the size of the paint buffer Mari 2 0v1 Paint Throughan External Image The Foundry PAINTING THROUGH AN IMAGE OR GRADIENT 64 Paint Through an External Image 9 To set whether Mari preserves transformations when you switch source images change the Auto Reset setting under Texture gt Transform e DoNotReset Preserves any transformations such as moving resiz ing or rotating you have made to the source image that you re clon ing if you switch to using another source image This is the default e Reset Resets the image to the default size location and rotation each time you switch to another source image For example if youre using a 2k paint buffer maximum size and a 4k image the image always appears to be twice the size as the paint buffer onscreen TIP Use DoNotReset if you want to paint through several images of the same size This is specifically useful if you want to switch between using multiple 4k textures as it saves you having to resize the source image preview from the huge default every time you switch Now youve set up how the Paint Through tool
274. nent input for the ambient occlusion allows you to create your own occlusion map in a separate channel and plugging this channel into the shader input If you don t want to create a channel specifically for ambient occlusion you can opt to calculate the ambient occlusion for each individual object in your project For more information please refer to Ambient Occlusion on page 336 and Calculating Ambient Occlusion on page 340 Mari 2 0v1 Shader Limits Shading and Channels Shaders on Multiple Channels The Foundry SHADERS Shader Limits Most shaders do not require texture slots but if you exceed the amount of texture slots available you may encounter a rendering error If this occurs there are a number of causes that may have contributed to the error To free up texture slots try e turning off features that require extra texture units such as painting masks in the Projection palette e turning off any filter previews that may be active e flattening or caching layers in long or complex layer stacks e changing the inputs on the current shader to use fewer texture slots NOTE Even if there are remaining texture slots available active features such as depth projection paint masks and shadows may not respect the texture slot limit if more expensive shaders components are in use You can turn off these features to free up more texture slots See About Masking on page 71 and Object Shadows on page 336 for more in
275. ng a Start Point for examples 6 To turn the onscreen preview on when cloning from an external image under Texture gt Preview click to turn Onscreen Preview on Set the The Foundry Mari 2 0v1 CLONE STAMPING 53 Set the Clone Stamp Options Preview Alpha to your preferred value higher makes the preview clearer but makes it harder to see the current paint in the channel As you Click in the external window to change the source point the pre view moves around on the main Canvas 7 To set whether Mari zooms images relative to your view turn Scale Lock on or off under Texture gt Transform If this is on Mari locks the image size relative to the model at the cur rent zoom level If you zoom in or out Mari also zooms in or out the image that youre painting through If this option is off the image scale wont change when you zoom in or out 8 To set whether Mari resizes source images to fit the paint buffer change Reset Size setting under Texture gt Transform The Foundry Mari 2 0v1 Clone stamp The Foundry CLONE STAMPING 54 Clone stamp e ToOriginalSize Displays and clones the source image in its original size in screen pixels For example a 1024x1024 image takes up 1024x1024 pixels on screen This is the default e RelativeToPaintBuffer Displays and clones the source image resized so that one pixel in the image matches one pixel in the paint buffer For example a 1024x1024 image in a 2k 2
276. ng on or through objects can be found under the Projectors on page 318 chapter Notifies you that you currently have edge masking enabled Clicking on this icon This is not a unique icon It also dis disables edge masking plays to indicate that fractal noise masking is enabled If both masks are being used the icons appear separately on the status bar More information on edge masking and the edge masking icon can be found under Edge Masking on page 87 Notifies you that you currently have channel masking enabled Clicking on this icon disables channel masking More information on channel masking and this icon can be found under Channel Masking on page 88 Notifies you that you currently have ambient occlusion masking enabled Click ing on this icon disables ambient occlusion masking More information on ambient occlusion masking and this icon can be found under Ambient Occlusion Masking on page 89 Notifies you that you currently have depth masking enabled Clicking on this icon disables depth masking More information on depth masking and this icon can be found under Depth Masking on page 90 Notifies you that you currently have backface masking enabled Clicking on this icon disables backface masking More information on backface masking and this icon can be found under Back face Masking on page 90 Notifies you that you currently have fractal noise masking enabled Clicking on This is not a
277. nnel or e from the Snapshots palette with Channels set to Current click The Snapshot Channel dialog box displays The Foundry Mari 2 0v1 CHANNELS 273 Use the Snapshots Palette 2 Enter a name for the snapshot and click OK Snapshot all 1 To take a snapshot of all channels in the project either Channels e select Channels gt Snapshots gt Snapshot All Channels or e from the Snapshots palette with Channels set to All click The Snapshot All Channels dialog box displays 2 Enter a name for the snapshot and click OK NOTE Before a snapshot is taken you need to bake or clear the paint buffer If you have not done this already a dialog displays asking you to do so Use the Once taken snapshots are added to the Snapshots palette To open the Snapshots Snapshots palette p e right click on the toolbar and select Snapshots from the menu Palette e from the View menu select Palettes gt Snapshots or e from the Channels menus select Snapshots gt Manage Snapshots The Foundry Mari 2 0v1 The Foundry CHANNELS 274 Use the Snapshots Palette The Snapshots palette displays showing the existing snapshots for the current channel and for the entire project Information about the snapshot such as when it was taken and by which user along with a thumbnail preview is also displayed There are a number of options available for managing existing snapshots From the Snapshots palette you can create New sn
278. nput This layer cannot be cached or baked and is for dis play purposes only The Foundry Cubic Image the location of the cube blend map Falloff Start con trols where the cubic image starts Falloff End con trols where the cubic image ends Sphere Map the Sphere Map procedural location of the envi Luminance blend ronment map Falloff Start con trols where the spherical image Starts Falloff End con trols where the spherical image ends LAYERS 253 Layer Types and Examples Cube Map procedural Luminance Cube Map procedural Luminance Sphere Map procedural Luminance blend Mari 2 0v1 The Foundry Uses a cubic image in a dds file format as a texture to proj ect onto the model This layer cannot be cached or baked and is for display pur poses only Cubic Image the filepath to the cubic image to use for projection Cull Backfaces when the checkbox is ticked it ensures that projection does not affect areas facing away from the camera Offset X Y and Z the offset of the projection image on the X Y and Z axes Rotation X Y and Z the rotation of the projection image on the X Y and Z axes Edge Falloff Start and End modifies how far away the falloff starts or ends Edge Falloff Curve allows you to adjust the otherwise linear shape of the falloff to your desired shape Distance Falloff Start and End adjust th
279. nput value along the bottom of the graph the output value is set from the position of the line above that point Edit the curve by e pulling the anchor points e clicking between anchor points to add a new point e right clicking to select from a set of pre set values You can edit the Scale Offset and Value curve for the value of the colors in the same way The Foundry Mari 2 0v1 Brightness Changes the brightness of the paint on the model either overall or for specific channels You can also change the con trast at the same time Contrast Changes the contrast of the paint Clamps color values to lie within the specified upper and lower values The Foundry FILTERING IMAGES AND PAINT Available Filters You can either change the brightness of all color channels at once or one by one Changing the main Brightness control changes overwrites any changes you make to brightness values for individual color channels You can select the amount of contrast using the slider You can set the Upper Value and Lower Value by adjusting the sliders or entering values in the entry boxes Select the individual Color Component to clamp in the dropdown menu Mari 2 0v1 313 FILTERING IMAGES AND PAINT Available Filters Levels Color Curves The Foundry Changes the color levels in the As you change the settings the display at paint You can change the the top of the dialog box update
280. ns between 1x1 and 8kx8k while triangular faces are limited to resolutions between 2x2 and 8kx8k You may notice a slight pause after adjusting the resolution of a selected face This happens while Mari regenerates the texture s proxy on the CPU cp TIP These options are also available in the menu bar under Ptex The Foundry Mari 2 0v1 PTEX 299 Export a Ptex Channel or Layer Export a Ptex 1 To export a ptx channel select Channel or Layer e Channels gt Export gt Export Current Channel or e right click on a channel and select Export gt Export Current Channel NOTE If you want to export more than the current channel select Export gt Export All Channels or Export gt Export Everything from the Channels menu or right click menu Alternatively you can also export channels in a flattened format to save Space when exporting To export flattened channels navigate to Export Flattened in the Channels menu or right click to find the same three options for flattened channels 2 To export a ptx layer select layers and navigate to e Layers gt Export gt Export Selected Layers or e right click on a layer and choose Export gt Export Selected Layers e NOTE If you want to export more than the selected layers select Export gt Export All Layers from the Layers menu or right click menu Alternatively you can also export layers in a flattened format to save Space when exporting To export flattened layers navi
281. ns of a texture while trying out new ideas e Maintaining a development history between sessions and having the option to undo mistakes Once a snapshot is taken it is added to the Snapshots palette where you can see a list of existing snapshots and options for managing them Exporting channels to save work to an external source or to pass on to the next stage of your pipeline is possible on both an individual and collective channel basis Importing channels also allows you to import textures that have already been worked on or that come from another source For Mari 2 0v1 Edit Paint on Your Channels Convert Channels and Shaders The Foundry CHANNELS 2 66 Edit Paint on Your Channels channels with large layer stacks you can also opt to flatten layers before export to save space and organize finished work NOTE Exporting channels flattened does not flatten the layer stack in your Current project only the layer stack in the exported file For this reason you won t need to worry about changing the work in your current project but can save time and space when exporting files In Export and Import Channels below you can find steps on how to export or import channels and associated layers For more information on exporting and importing see the Exporting and Importing Textures chapter in the User Guide The paint in your channels can be edited or transformed much the same as with patches Where the transform functions
282. ns rotated to buffer with pins set moved to the right the right instead of Point of rotation is the distorting the buffer moved stretching the big white circle but not around the head buffer up You can also change the strength of each pin This sets how much the pin affects the texture around itself TIP The Transform tool works on the entire paint buffer at once while the Warp Slerp and Pinup tools let you select which area within the buffer to work on The Foundry Mari 2 0v1 TRANSFORMING AND WARPING PAINT 108 Steps for Transforming and Warping Paint Steps for To transform or warp paint in the buffer follow these steps Transforming 1 Move or Transform Paint and Warping 2 Warp Paint Using a Grid Paint 3 Pull Smudge Grow and Shrink Paint 4 Distort the Paint with Pins Move or 1 Start Mari and open your project Transform Paint 2 Paint a couple of example strokes onto your model so you can see the effects as you work 3 Click to select the Transform Paint tool wi 4 To transform the paint you can do the following Move the paint buffer around Click on the buffer and drag it Resize the paint buffer pre Hold down Ctrl Shift click serving the scale anywhere on the canvas and drag Dragging to the left makes the buffer smaller to the right makes it bigger The Foundry Mari 2 0v1 TRANSFORMING AND WARPING PAINT 1 09 Move or Transform Paint Stretch the buffer resize Click
283. nstance a square with dimensions 1x1 UDIM values are a way of representing the integer coordinates of that square from the coordinates of its bottom left corner in UV space Channels can contain up to ten patches across and any number of patches upwards This means that patches can have U indices between O and 9 inclusive and V indices can be zero or any positive integer With these values the UDIM for a patch can be calculated using the formula udim 1001 u 10 v i gt NOTE The U index limit of ten is currently hardwired The UDIM value of the bottom left patch which represents the UV space region 0 0 to 1 1 is 1001 The next patch to the right has a UDIM value of 1002 and the patch directly above the bottom left is 1011 For example the patch representing the UV space region 2 5 to 3 6 has a U index of 2 and a V of 5 so replacing the values in the formula we get udim 1001 2 10 5 1053 Li 0 1 a T 0 0 eafeay pp See Copying and Pasting Paint for details on how to copy and paste individual patches Mari 2 0v1 Extract Patches to the Image Manager WORKING WITH PATCHES 190 Extract Patches to the Image Manager To extract one or more patches to the Image Manager 1 2 Select the patches to extract From the Patches menu select Extract Selected Mari copies the patches to the Image Manager See Managing Images in Mari cp TIP You can only copy patches up to 8
284. nt left to right linear or in to out radial at which the starting color begins changing to the ending color at 0 00 the transition begins at the far left linear or dead center radial at 0 50 the transition begins halfway at 1 00 there is no transition it s all start color e Out Point select a proportion of the gradient left to right linear or in to out radial at which the starting color turns completely into the ending color at 0 00 there is no transition it s all end color at 0 50 the transition ends halfway at 1 00 the transition ends at far right linear or the outer circumference radial The Foundry Mari 2 0v1 PAINTING THROUGH AN IMAGE OR GRADIENT 69 Paint Through a Gradient e Type select from the dropdown menu whether the gradient is Linear from one side to the other or Radial from the center out As you change the properties the gradient shown onscreen updates 3 Size move and rotate the gradient in the same way as described in Set the Paint Through Options 4 Paint through the gradient in the same way as described in Paint Through an External Image The Foundry Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 7 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL When you paint Mari saves your painting in a buffer and then bakes it onto the surface of your model You can learn About the Paint Buffer and transform paint in the buffer before baking Mask What You Can Paint On and apply Pai
285. nt Blending Modes to control how paint in the buffer blends with what s on the surface when it bakes About the Paint As you paint Mari saves the painting since your last bake in the paint Buff buffer Then when you bake Mari saves the paint from the buffer adds it urrer to the surface underneath and clears the buffer ready for more paint While the paint is still in the buffer you can make changes to it If you don t like what you ve done you can erase sections using the Eraser tool or just blank the entire paint buffer Think of the buffer as floating above the canvas When you bake Mari adds the paint to the current layer but until then you can edit the buffer move the model around underneath it or switch to another layer and bake the paint there instead After baking you can set your preferences to keep the transformations for new paint you add to the buffer or automatically reset the buffer to the Mari defaults Boundaries Mari shows the boundaries of the current paint buffer as a white rectangle By default the paint buffer is sized slightly larger than the window that is it covers everything you can see so the boundaries are not visible As you resize it the boundaries and current details appear VISUAL EFFECTS SOFTWARE Depth and Resolution About Masking The Foundry CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 71 About Masking Paint buffer resized and rotated note that depth and resol
286. nt all the elements of a characters costume by loading them up onto the character You can show and hide objects so you can easily switch between working only viewing a single object and seeing how it fits with the other objects You can load multiple copies of a single object into the project This allows you to for example build up a road scene with twenty sections of pavement two lamp posts and a fire hydrant from three basic models pavement section lamp post and hydrant When you create a project you must load in an object Once you ve created the project you can add more objects to it Initial project with only the With other objects loaded blacksmith torso model If a project has two or more objects you can remove objects from it All projects must have at least one object Removing an object from a project has no effect on the source file for the object The objects within a project are listed in the Objects palette VISUAL EFFECTS SOFTWARE Channels and Shaders Versioning Ambient Occlusion Object Shadows The Foundry MULTIPLE OBJECTS 336 Channels and Shaders Each object in the project has its own set of channels When you add channels you have the option to apply the action to all objects in your project When you add a new object Mari creates a single channel diffuse to hold the diffuse color You can add more channels as you would normally Similarly each object has its own shaders
287. nting through either 16 bit or 32 bit images the Depth needs to be set to either 16bit Half or 32bit Float respectively In addition the color depth of the paint buffer needs to match the depth of the channel Furthermore if you do not want the range of 16 bit or 32 bit images clamped to values between 0 and 1 you need to uncheck the Clamp checkbox under the Paint Buffer settings in the Painting palette If you want to select the initial Color for the channel Click Ok to add the channel to the object If you have more than one object in the project you can choose to add the channel to the current object or all objects in the project Mari creates your new Channel and displays it in the Channels palette When first created channels are a flat color as selected in the Add Channel dialog TIP You can paint the channel a different flat color if you want With the patches and paintable layer selected click on the Fill Foreground Fill Background or Fill Transparent options in the Patches menu Click on the Color swatch to select a new fill color from the color picker 9 To create a copy of a channel either e with the channel selected click A or e from the Channels menu select Duplicate Channel Mari creates your new Channel as a copy of the original including the layers but not all the paint in those layers 10 To delete a channel e right click on the channel in the Channels palette and select Remove
288. of Mari has a function that allows you to save an image of the outline of a UV UV Masks ona mask You can then save these images for use as a mask in another program if required Patch Patches selected in UV view B W UV masks in the Image Manager The Foundry Mari 2 0v1 WORKING WITH PATCHES 185 Bleeding Patch Edges Bleeding Patch By default Mari creates an overspill area at the edge of UV patches to Ed prevent seaming In some cases the overspill may not be large enough to ges prevent seaming artifacts or you may get render artifacts if your renderer expects a larger bleed area For example from some angles Maris blacksmith demo asset shows a seaming artifact in the hair just above the left ear when viewed front on This is because the bleed for that edge of the UV patch is slightly too small From front on you can see a This is caused by a too small slight line at the patch edge overspill edge TIP You can view the overspill bleed by turning on Show UV Patches in the Display Properties dialog box If you are experiencing problems with seaming artifacts either within Mari or after rendering try conducting a full patch bleed This extends the bleed area across the entire UV patch UV patch after full bleed And the artifact is eliminated The Foundry Mari 2 0v1 WORKING WITH PATCHES 1 86 Linked Patches LA NOTE Mari does not do a full bleed by default because it takes much longer to calculate For
289. om the dropdown or e use the navigation controls to navigate to the directory The Foundry Mari 2 0v1 The Foundry EXPORTING AND IMPORTING TEXTURES 149 Export Textures from Channels BOA I Roe a sh arl nst cnhapnes Fa k 3 F G af y 7 i When you ve selected the path the file area shows all the existing image sequences under that path You can use the Filter field to narrow down the list of textures shown Enter filter text and the display updates to only show the textures with that text in their name Set a Template for Mari to use when generating the names of images in the selected sequence You can either e Edit this line manually As you edit you ll see the File Example update with the name of an example file in the sequence e Click on an existing set of images in the main list The Template auto matically populates with the corresponding values If you edit the line manually you can use any of the following variables which Mari replaces with the appropriate values when it exports the images e SENTITY the name of the object exported e S CHANNEL the name of the channel exported e SLAYER the name of the layer exported e UDIM the UDIM patch value e FRAME the animation frame number e SNUMBER the number of the file within the batch for example SNUMBER of COUNT gives strings like 22 of 28 e COUNT the total number
290. on page 299 or Import a Ptex Channel or Layer on page 301 in this guide The Foundry Mari 2 0v1 Export to Maya The Foundry EXPORTING AND IMPORTING TEXTURES 153 Export to Maya Mari can also export data for use in Maya It does this by exporting textures and creating a custom ma file that references them All exported files contain UDIM offsets so that Maya can import and read the UV patches correctly To create the ma file for use in Maya follow the steps below 1 Navigate to Menubar Python gt Examples gt Export for Maya The Mari To Maya Export dialog displays 2 In the Output Folder pane either enter the filepath or click Browse to find the location to which you would like the files to be exported 3 From the list in the left pane select which channels you want to export 4 Once you have selected the channel and the filepath click plus The selected channel and filepath are added to the For Export pane on the right 5 If you have added a channel by mistake or want to edit the filepath simply select the channel from the For Export pane and click minus 6 At the bottom of the dialog the 8 bit Files and 16 32 bit Files dropdown menus list all of the file formats in which you can export your channels for use in Maya Before you select OK make sure you set your desired file format If you have already exported these files to the same file location you can opt to select the Force Overwrite checkbox to ex
291. on works set the following e Momentum Enabled if this is enabled the model has momentum so when you let go of the mouse button the model slowly coasts to a Stop If this is off the model only moves when you are holding the mouse button down Mari 2 0v1 CUSTOMIZING THE VIEW 25 Configure Navigation e Minimum Flick Speed the minimum speed at which you can move your model around The lower this is set the more sensitive the move ment controls are e Friction affects the momentum of your model as you move it around the canvas Decreasing this value allows movement to retain its momentum for longer Increasing the value arrests momentum faster e Lock To World Up if this is enabled the navigation is locked with the y axis in place so that the world up view cannot be modified e Center Mode a dropdown menu that allows you to choose how the orbit view is centered Look At Objects Origin or Selection e Circular Motion Enabled if this is enabled you can roll by making a circular motion around the center of the viewport If disabled rolling is achieved by simply making a horizontal motion across the viewport The Foundry Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 3 USING SHORTCUTS To optimize your workflow you can set up shortcuts for common actions or settings in Mari Shortcuts for As youll realize by now there are usually two or three ways of performing x any Mari function These include Actions
292. onfigure the Paint Buffer The Foundry CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 80 Steps for Controlling How Paint Applies to the Model For example here s the same paint splash in different blend modes Default over mode Burn Midrange mode Screen mode Difference mode See Paint Blending Modes for details of all the blending modes available To control how your paint buffer works and how Mari bakes it to your model follow these steps 1 Configure the Paint Buffer Erase Paint Mask What You Can Paint On Set the Paint Blending Mode Paint Buffer Symmetry U A W N 1 Start Mari and open your project 2 Open the Painting palette scroll down and expand the Paint Buffer section Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 81 Configure the Paint Buffer Mari displays basic properties of the paint buffer 3 Set paint buffer properties e Color Depth controls how many colors the paint buffer can hold Uncheck this if you want to clone from or paint through a source that has values higher than this range e Buffer Size controls the resolution of the buffer itself e Clamp if checked Mari restricts the range of the paint buffer to val ues between 0 and 1 e Transform Translation Scale and Rotation used to Move or Transform Paint in the buffer But it s easier to use the Transform Paint tool e Reset on bake controls whether Mari res
293. ool and other Mari and project information at the top of the Canvas e status bar the status bar displays information about current processes as well as progress bars and error warnings Palettes and toolbars can be either docked fixed in one place or undocked floating above the canvas Palettes can be docked to e any side including top or bottom of the Mari window or e each other ina separate window Docked palettes can also be stacked in the space of a single palette with tabs to select which palette appears on top Similarly toolbars can be docked on the top left or right of the Mari window but not the bottom By default toolbars appear at the top but can be moved Once you have your workspace laid out properly you can save the layout for later use If you decide that you dont like your custom layout you can revert to the default layout You can choose between two sizes for the icons in toolbars and palettes The default size makes it easy to see at a glance where each function is while the small icons take up less space on screen VISUAL EFFECTS SOFTWARE Steps for Customizing Your Workspace Choose and Organize Palettes The Foundry CONFIGURING THE USER INTERFACE 195 Steps for Customizing Your Workspace To customize your workspace follow these steps Choose and Organize Palettes Choose and Organize Toolbars Create Custom Toolbars 1 2 3 4 Configure the HUD 5
294. oolbar the options in the Selection menu or the right click menu on the canvas 9 In the Face selection mode use the Grow and Shrink buttons to change the size of the current selection You can use the Grow Shrink by field to set how these work Edges grows along the edge of the current selection Vertices grows using the vertices as a guide TIP You can only grow the selection up to the edge of the patch es that your face selections cover The Smart Selection mode works slightly differently from the other two modes To use it 1 In Face Selection mode click EY 2 In the tool properties toolbar set the Smart SelType This sets how to create the selection area e Connectedness selects the areas on the model connected to the selected face When you look at the area in the UV view this selects the whole connected area within the current UV patch If the UV patch holds several different areas only those areas you click on are selected e Edge Angle selects based on the degree of change between neigh boring faces The selection goes until it hits an angle higher than the Smart SelAngle e Orientation selects the area that faces in the same direction as your initial selection 3 Set the Smart SelAngle this defines the maximum angle for the smart selection e For Edge Angles this sets the maximum angle between areas on the model surface For example if the angle is set to 30 this selects areas up to a 3
295. op right of the palette to minimize maximize switch between floating and docked and close the palette Mari also has a show hide palette function press the Home key or select from the View menu to toggle between showing and hiding the current palettes TIP Palette behavior is customizable Experiment with the palettes to see how they can be docked undocked moved and stacked Choose and To choose and position toolbars Organize 1 To choose which default toolbars to display right click an empty spot on the toolbar area and select from the dropdown menu as for opening Toolbars palettes above The Foundry Mari 2 0v1 The Foundry CONFIGURING THE USER INTERFACE 197 Choose and Organize Toolbars TIP The default toolbars are Ptex ptex settings changing face resolution texel density and so on Channels buttons to switch between the four default views for paint ing Channel Stack Layer and Paint Navigation buttons to set your navigation preferences while moving around the canvas Tool Properties lets you set the properties for the current tool Project common project functions New project Open Save and so on Lighting buttons to switch between the three lighting modes and to toggle shadows on or off Painting buttons to clear the paint buffer or open the Brush Editor Tools all the painting tools Selection buttons to switch between three selection modes objects pa
296. or Unlock All functions from the dropdown menu on the canvas this does not affect the lock state of the channels However Lock Everything and Unlock Entire Object applies to all objects patches and faces and channels You can export channels with all layers together in a single file either in a multi layered format such as PSD or PSB with each layer separate ina non layered format such as TIF or with the layers all flattened together You can also choose to export the current channel all channels or the channels for all objects in your project Mari 2 0v1 CHANNELS 278 Export and Import Channels Importing channels is done by importing the textures into the layer stack or into a new channel Export Channels To export the currently selected channel 1 From the Channels menu select Export gt Export Current Channel or right click the channel in the Channels palette and select Export gt Export Current Channel from the dropdown menu The Export dialog displays 2 Follow the steps in Export Textures from Channels on page 146 before clicking Export All Patches Mari exports your textures for the selected channel To export all the channels in the Channels palette 1 From the Channels menu select Export gt Export All Channels or right click in the Channels palette and select Export gt Export All Channels from the dropdown menu The Export dialog displays 2 Follow the steps in Export Textures from Channel
297. or for the middle of the selected areas e Outline Render when to show the highlighting around the outline of the selected area You can set this to Always Select or Never as for Fill Render above e Outline Color click the swatch to set the highlight color for the mid dle of the selected areas The Foundry Mari 2 0v1 CUSTOMIZING THE VIEW 20 Configure the Lighting 12 Click OK to save your settings 7 EXPERIMENT Try changing amp e the project background to a different color then a gradient then an image e whether wireframes display and their color and e the color of your outline highlights Configure the 1 To switch between flat basic and full lighting click the toolbar buttons Lighting e left to right flat basic full 2 To choose whether or not to display shadows toggle the Shadows icon in the toolbar e shadows off iO shadows on e NOTE If the Depth Projections option is turned off in the Preferences LA the Shadows icon cannot be toggled and is turned off in the Lighting toolbar 3 To set individual lighting directions make sure youre in full lighting mode If it s not already visible open the Lights palette by clicking View gt Palettes gt Lights The Foundry Mari 2 0v1 CUSTOMIZING THE VIEW 21 Configure the Lighting Lights Four Three Two The top half displays the lights available and the bottom shows the details of the selected light The
298. or reading The Foundry and writing images APPENDIX C THIRD PARTY LICENSES Third Party Licenses OpenlmagelO and all code documentation and other materials contained therein are Copyright 2008 Larry Gritz and the other authors and contributors All Rights Reserved Redistribution and use in source and binary forms with or without modification are permitted provided that the following conditions are met e Redistributions of source code must retain the above copyright notice this list of conditions and the following disclaimer Redistributions in binary form must reproduce the above copyright notice this list of conditions and the following disclaimer in the documentation and or other materials provided with the distribution Neither the name of the software s owners nor the names of its contributors may be used to endorse or promote products derived from this software without spe cific prior written permission THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS AS IS AND ANY EXPRESS OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTIC ULAR PURPOSE ARE DISCLAIMED IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEMPLARY OR CONSEQUENTIAL DAMAGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES LOSS OF USE DATA OR PROFITS OR BUSINESS INTERRUPTION
299. or those unfamiliar with layers the nearer the layer is to the bottom of the stack the further down it sits in the paint order Any overlapping paint on layers higher in the stack covers the original paint lower in the stack Filter and Search for In the Layers palette there are four methods for quickly finding individual Layers layers in a large layer stack Name Type Attribute and Color Tag You can choose to filter by name or to select a layer type or attribute such as only procedurals or layers that are visible Alternatively you can assign layers with one of eight color tags and filter according to color Locked and Hidden Layers can be locked to protect them from being mistakenly deleted or Layers edited If the layer being locked is part of a group only that layer is locked however if the layer being locked is the parent layer of the group then all the child layers are locked too Hiding layers on the other hand allows you to examine your work in isolation Hiding a layer non destructively removes the texture from the object so that you can see the results of the rest of the stack without it For more information about locking or hiding other selected items see Visibility and Locking on page 168 Layer Blend Near the top of the palette there are blend mode options in the dropdown Modes menu This mode can be set for each individual layer setting it apart from the Painting Mode in the Paint toolbar The key difference
300. ormat Type QString gt lt fileFormat gt lt path Type QString gt lt path gt escalar Type bo00l strue lt scalars lt width Type int gt 4096 lt width gt lt height Type int gt 4096 lt height gt Mari 2 0v1 The Foundry EXTENDING MARI 366 Review the Custom Channel Preset File Format lt channels Type QString gt RGB lt channels gt lt depth Type QString gt Byte lt depth gt lt c lor Type MriCo lor S005 40 0540 5451 lt 7 COLor gt lt category Type QString gt lt category gt lt MriChannelInfo gt lt MriChanneliInfo Type MriChanneliInfo gt lt objectName Type QString gt lt objectName gt lt selected Type bool sfalse lt selected gt lt channelName Type QString gt dirt lt channelName gt lt fileFormat Type QString gt lt fileFormat gt lt path Type QString gt lt path gt lt scalar Type bool gt false lt scalar gt lt width Type int gt 2048 lt width gt lt height Type int gt 2048 lt height gt lt channels Type QString gt RGB lt channels gt lt depth Type QString gt Byte lt depths solor Type Mri Color 0 5 055 0 54 lt 7 GoLor gt lt category Type Q0String gt lt category gt lt MriChannelInfo gt lt MriChanneliInfo Type MriChanneliInfo gt lt objectName Type QString gt lt objectName gt lt selected Type bool sfalse lt selected gt lt channelName Type QString gt dirtMask lt
301. ors palette e right click on the toolbar and select Colors from dropdown menu or e from the View menu select Palettes gt Colors The Colors palette displays colors and color pickers Mari 2 0v1 MANAGING COLORS IN MARI 214 Select Colors from a Picker or Image 2 Select a color e manually set the numeric values either type them into the entry boxes or move the sliders for the various color attributes red green blue alpha or hue saturation and value or e click a color field in the tabbed area The control dynamically updates as you change the settings 3 Click to navigate through the tabs available for the color pickers These include e HSV to select hue saturation and value settings The Foundry Mari 2 0v1 MANAGING COLORS IN MARI 215 Select Colors from a Picker or Image e Values to pick from Byte 8 Bit Half 16 Bit or Float 32 Bit color values e Image to pick a color from an image right click to load an image or drag an image from the Image Manager e Grey to select greyscale values including predefined grey settings at the bottom in steps from black to white e Blend to pick from a field blending four colors select which colors by clicking the swatches in the corners to open another color picker control The Foundry Mari 2 0v1 MANAGING COLORS IN MARI 216 Select Colors from a Picker or Image TIP By default Mari opens with one HSV tab one Im
302. ortant proj ect file information If this variable is not set Mari prompts you where to store the cache files when you first launch it Note that when you set this environ ment variable Mari takes its value and stores it in the CacheLoca tions ini file by default found in the config TheFoundry subdirectory of your home directory on Linux or the mari TheFoundry subdirectory on Windows be cautious of changing this The set of cache locations must not be changed after project cre ation doing so results in project cor ruption For more information please read the chapter on Installation and Launch in the Getting Started Guide MARI_LOG_FILE The name and location of the Mari On Linux log file user Mari MyLog txt If this variable is not set the log is On Windows saved to C TEMP MyLog txt e MariLog txt in the home User name Mari Logs directory on Linux or MariLog txt in the C Users User name Documents Mari Logs directory on Windows The Foundry Mari 2 0v1 The Foundry EXTENDING MARI Environment Variables That Mari Recognizes MARI_NAMEDFILEIMPORT The maximum number of patches _SEQUENCELIMIT objects are allowed to have for the Named Files tab to appear on the Import Channel and Export Channel dialogs By default the Named Files tab does not appear if you have more than 20 patches in your object but you can change this using the Patch Cutoff preference You can use the Named Files
303. ortcuts Save the file in the following subdirectory of your home directory Mari 2 0v1 Review the Custom Channel Preset File Format XML File Header Details Closing Blocks The Foundry EXTENDING MARI 36 1 Review the Custom Channel Preset File Format e config TheFoundry on Linux or e mari TheFoundry on Windows TIP If you set an illegal key combination in the Shortcuts conf file Mari ignores the line For example the following lines would be ignored Mari Tools General Select Tab you cannot use tab as part of a shortcut Mari Tools General Transform 20Paint Altw needs a between the two characters If the same function key is assigned to more than one function Mari ignores both settings and uses the defaults If a function is assigned to more than one key combination Mari uses the defaults 1 Read through the following information about the required format of a Mari custom presets file 2 Study the example default presets file Channel preset files are XML files with a mtd extension Each file can hold as many channels as you want divided into categories The files can have any name you want as long as they have the extension mtd Mari picks up the settings from all mtd files present so you can use multiple files For example you could use one local mtd file for the user s specific channel presets and one on a network drive for the groups presets Each file must have a header block one
304. otated so you can see that it s only appearing in the front of the Original view The Foundry Mari 2 0v1 The Foundry 9 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 84 Configure the Paint Buffer When projecting Through the paint stroke appears on the back as well as the front In the Project On settings select whether to project onto only the selected areas or all patches objects in the project For example if you set Project On to SelectedOnly you can only paint on the currently selected areas whether it s an area patch or object depending on your selection mode This is useful when for example painting a face so you dont have to worry about accidentally overpainting onto the eyes EXPERIMENT Paint a couple of example strokes onto your model so you JAN can see the effects as you work Try Setting Bake Behavior to Manual or ClearOnly and then moving the model around underneath the buffer The paint buffer floats above the model until you bake it on For example you could move it around to get a better angle on a particular surface that you re painting on or to paint on a different section of the model Using the Zoom Paint Buffer tool to zoom in on your model with the paint buffer locked and without baking the paint down Changing channels through the Channels menu or palette or using the PageUp and PageDown keys The paint buffer stays in front of the canvas on the new channe
305. otoshop brush Custom made Photoshop brushes can be imported into Mari and stored in a custom shelf These brushes are stamp brushes that do not take into consideration any variable size or spacing The shape or shapes of the brush are imported into a custom shelf where you can set the preferences for the brush manually To import custom brushes 1 Navigate to Menubar Tools gt Import Brushes This opens an Import Brushes dialog 2 Select the Photoshop brush abr format from the file location it was saved to and click Open A new shelf is created and populated with the brush or brush parts If there are multiple stamp images you may need to set the preferences for the brush NOTE Brushes imported from Photoshop must be custom made If you try to import Photoshop s default brushes or any invalid brush an error message displays and the brush fails to be imported The Foundry Mari 2 0v1 CONFIGURING BRUSHES 46 Change Brush Properties on the Fly Change Brush Mari also includes default keyboard and mouse shortcuts to change the Properties on relative Radius Rotation Opacity and Squash of the brush you re using 5 1 To change the RADIUS of your brush press and hold R and move the the Fly mouse right or left to increase or decrease the outer radius and up or down to increase or decrease the inner radius 2 To change the ROTATION of your brush press and hold W and move the mouse right or left
306. ow of time while the Speed slider represents the sensitivity of Time Offset Adjusting the scale and then dragging on the offset slider allows you to see the effects your vectors play on the flow map and you can enable the Animation attribute to see the flow over time For more information on what these shaders are and how to use them see Vector Brushing and Layer Types and Examples in the chapter on Layers on page 223 In addition to the adjustments and procedurals listed above there is also a method for quickly setting up default vector shaders and channels with vector layers in the Layers palette This method is accessible from two locations in the UI and is described fully in the Adding Vector Shaders section This shader setup creates two default shaders in the Shaders palette for creating flow maps and normal maps The Vector Screen Space shader is for viewing vector colors in tangent space while the Vector World Space shader is for viewing vector colors in world space These shaders come with channels already plugged into the shader component inputs by default to get you Started Mari 2 0v1 Vector File Space Steps for Working with Vector Brushing Painting Vectors The Foundry VECTOR BRUSH Vector File Space Though vectors are often measured in the range 1 0 to 1 0 to represent the vectors in xyz space Mari operates in the range 0 0 to 1 0 In order to accommodate vector brushing the 1 0 to 1
307. ows toggles whether shadows are displayed or not In Basic and Full modes you can set custom lights This lets you control the intensity of the lights from four directions right left front and top relative to the model Mari only stores custom light settings as part of the project they cannot be independently saved to a file Toggling Shadows does not enable or disable shadow processing It simply controls whether the shadows are displayed on the canvas To enable shadow processing enable Depth Projections in the Preferences For more information on shadows please refer to Object Shadows in the Multiple Objects chapter VISUAL EFFECTS SOFTWARE Perspective Camera Settings Configuring Navigation Steps for Customizing the View in Mari The Foundry CUSTOMIZING THE VIEW 15 Perspective Camera Settings For the perspective you can set the near and far clipping planes Anything closer than the near clipping plane or farther than the far plane is not displayed You can also set the field of view This controls the amount of distortion applied to generate the perspective Field of view set to 20 Field of view set to 120 TIP You can also have black bars appear in the Canvas to indicate the aspect ratio of the perspective camera Select View gt Display Properties and set Camera Mask Opacity to anything other than 0 The navigation has preferences that allow you to change among other aspects e momentum
308. ows you to control e texture offset and rotation e edge and distance falloff start and end points and e falloff curve shapes using the curve editors NOTE Adjusting options such as falloff and texture offset or rotation affects the whole scene A Python example script for setting up default vector shaders can be found under Python gt Examples gt Setup Vector Brush or by clicking the icon on the Vector Painting toolbar This script automatically creates two Vector shaders in the Shaders palette three channels in the Channels palette and layers to get you started in each of these channels For more information on Mari 2 0v1 Mipmap Behavior Layer Caching The Foundry LAYERS 231 Mipmap Behavior using the setup vector brush script and the default vector shaders refer to the section on Adding Vector Shaders on page 135 The two vector brush shaders are Vector World Space and Vector Screen Space The three channels are Vector Paint Vector World Space and Vector Screen Space and these are automatically assigned to the shader component inputs for the relevant shaders created by the script Each of the channels has layers in the layer stack to get you started These layers include Vector Vector Tangent To Screen Space and Vector Tangent To World Space These channels and layers assist in mapping textures according to direction by converting pixels on the object s surface to RGB values representing 1
309. ox and find the texture files 9 Once you are happy with the channels and textures selected click OK Mari creates the channels and imports any selected textures TIP Depending on the number of channels and the size of the textures the import could take a long time Consider taking a little break Navigate 1 To view a particular channel click on the channel in the Channels pal ette Between Channels The Foundry Mari 2 0v1 CHANNELS 272 Set and Change Channel Properties 2 To move to the next or previous channels from the Channels menu select Next Channel or Previous Channel cp TIP Mari has the following keyboard shortcuts to navigate between channels e Press Page Up to move to the next channel and Page Down to move to the previous e Press T to toggle between the last two channels viewed Set and Change 1 To change the color depth of an existing channel either Channel e right click in the Channels palette and select Convert Channel from the dropdown menu Properties e with the channel selected click ol or e from the Channels menu select Convert Channel The Convert Channel dialog box displays 2 Select the new Type color depth and click OK Take and Manage You can take snapshots of the current channel or all channels in a project Channel Snapshots Snapshot Current 1 To take a snapshot of the current channel either Channel e select Channels gt Snapshots gt Snapshot Current Cha
310. pen the Shaders Palette 62s 60 5 essaeud Ried ea EEEREN TEE 286 Create a Custom Shader ee cc ee ee ee eee ne 28 7 Set Shader Detalls 3 26 s40 ia Kee eRe s ease eee Re SEARO RS OS 289 REMOVE a Shader oho 2 45 6 ae ta ween ele Ae eee eee 855 8k 291 Ptex Support In Mari bresse 24 04 222 24 Ae ek OEE RESALE OR RADE 292 Limitations of Mari s GPU Previews with Ptex 293 Ptex Modelling Requirements in Mari 0 2 e cee ee cece 293 Minimum Faca SIZE eere ins oe a eet we a ca oes eae eee ue 294 Mari 2 0v1 FILTERING IMAGES AND PAINT PROJECTORS MULTIPLE OBJECTS PAINTING ANIMATED OBJECTS The Foundry Paint PreSCrValiON 2 0 04 dr b6o 4 ee eee SS SORE ee ee hoo SR SAAS 294 Steps Lor Using Plex ereen norae d eed ees ae Ate Se 6S 4 aes 295 Create a New ProjeGt ia oc cc5 454 sew OSs hee datsees Gaels 4 295 Set the Ptex face Texture Options 0 cece cee ee 296 Manage PLOX RACOS osc05 che we ook ee ew ea EREE seed 298 Export a Ptex Channel or Layer cece e eee eee tenes 299 Import a Ptex Channel or Layer cece cee eee ee ee eens 301 Paint Preservation with Multiple Ptex Geometries 304 Steps tor USinG FULOES oes ee ee ia es Se ea tee ee Wb ees 307 Select and Apply Your Filter 20 0 cece ce ee ee eee 307 Available s Fillers ci anede d Gates EREE keh eee eee cess 309 Steps for Using Projectors i i oon ous bidet eee eos 319 SOL Th
311. port over and replace them 7 Select OK Your channel is exported to the selected file location in your choice of file format The textures regardless of whether they are diffuse or dis placement are exported as UV patches Mari 2 0v1 The Foundry EXPORTING AND IMPORTING TEXTURES 154 Export to Maya Using your textures in Maya Once the ma file has been created you can load your textures into Maya Follow the simple steps below to set up your textures 1 In your Maya scene import the ma file that was created after export from Mari This can be found under the directory you saved the exported file to 2 Navigate to your Hypershade You should now see that for each channel you exported out of Mari a Lambert shader was created containing the channel 3 You can hook up the layered texture element to different parts of your other independent shader to achieve the desired look Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 14 STORING RESOURCES USING SHELVES You can store just about anything you can grab from within Mari in Shelves Most artists like to store their favorite brushes colors and images for clone stamping or painting through Power users can also add any preset Mari function to a shelf By default the Mari Shelf palette comes with six shelves e Menu items that you can select from the F9 pie selection control menu e Personal selected items you use regularly e Basic Brushes a set o
312. pshots Export and Import The Foundry CHANNELS 265 Flatten a Channel s Layer Stack Channels with large layer stacks or complex groups of layers adjustments and procedurals can be flattened into a single base layer to save space and simplify channel organization Flattening layers does not affect the final output as the texture from the accumulated layers is not changed only combined into a single layer If you are considering flattening the layer stack for a channel so that you Can save space when exporting the channel please bear in mind that it is possible to flatten channels on export Flattening a channel on export does not affect the layer stack in your project but combines the layers into a single base layer in the exported file The dynamic range of luminance in the real world is much greater than the range that is usually displayed on a screen Low dynamic range 8 bit color values can represent RGB levels only within the range of O black to 1 white In Mari using 16 bit or 32 bit color values you can clone from or paint through images outside of the O to 1 range For details on creating and working with channels that support HDR images see Create and Delete Individual Channels Mari lets you create incremental copies of your textures as you paint These copies or snapshots save the current state of either a single channel or all channels in a project Snapshots are useful for e Keeping multiple versio
313. quickly mask out the region between them Using depth mask to mask out the far part of the object Backface Mask Turning this on simply masks out the backfaces on your model so you Cant paint on them There are no other configuration options Backface mask off Backface mask on masking the inside of the lens The Foundry Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 79 About Blend Modes Fractal Noise Mask The fractal noise mask is a user controllable masking tool that uses generated noise to mask areas on the surface of an object while painting Using fractal noise mask to mask where paint is applied to the surface of the object About Blend When you bake the paint buffer Mari by default adds the contents of the Modes buffer to the surface of the layer below If you prefer you can set the buffer to use any one of a number of other blend modes These correspond to the layer blending modes used in 2D graphics programs such as Photoshop or GIMP The default is for Mari to add the contents of the buffer to the surface Other blend modes available include varieties of e painting the numeric difference between the buffer and the existing Surface e using the contents of the buffer as input for a dodge or burn on the Surface e using the contents of the buffer as input for a hard light application on the surface The Foundry Mari 2 0v1 Steps for Controlling How Paint Applies to the Model C
314. r e Uniform Face Size for face sizes that are equal and determined by the resolution set in the Per face texture size dropdown menu or e Worldspace Density for a given number of texels per unit of world Space where small faces have smaller textures and large faces have larger textures You can set the number of texels in the Worldspace Texels field NOTE Please note that texture quality may be affected when painting across adjacent faces if the faces are spatially different in size The Foundry Mari 2 0v1 PTEX 298 Manage Ptex Faces 2 Set the bit depth of the Ptex image data by clicking on the Format dropdown menu You can set this to Byte Half or Float 3 Click OK Manage Ptex Once you have created the project and set the face texture options a Faces toolbar displays with a number of options for managing Ptex faces within your project NOTE When managing Ptex faces please be aware that all image channels in your project share the same face texture resolutions With the Ptex toolbar you can e jj double the selected face resolution e Bj halve the selected face resolution H set the world space face resolution for the selected face E set the face resolution for the selected face fay fill the selected faces with the foreground color fy fill the selected faces with the background color NOTE When adjusting the resolution of Ptex models quad faces are LA limited to resolutio
315. r Edit the File s Externally Project the File s Back onto the Model Use the Quick Project Functions Project onto a Model Using fbx Files Generate a Turntable from a Projector Save Load and Delete Projectors Mari 2 0v1 PROJECTORS 320 Set the View Set the View 1 Start Mari and open your project 2 Adjust the view how youd like it The projector takes snapshots of the contents of the paint buffer exactly as they appear onscreen so e switch to your preferred camera view UV orthographic or perspec tive e rotate spin and zoom the model so you can see the area you need to work on e resize the paint buffer if necessary to focus in on the specific area you want to work on e set the paint blending mode you want e turn on any masking edge masking channel masking etc that you need POAR x 20H Dh Da Paintable Create the 1 In the Projectors palette either Projector e right click and select Create Projector from the dropdown menu or e click the button at the bottom of the projectors list The new projector displays The Foundry Mari 2 0v1 PROJECTORS 321 Create the Projector 2 To rename the projector double click on its name in the list and enter the new name 3 Click to select your new projector The bottom half of the Projectors palette displays details of the projec for Projector 1 Input File Path Output File Path Unprojecton if Current Paint
316. r the strength remove all the current press Ctrl apostrophe pins undo all the distortions press apostrophe n a you ve applied moving the pins back to their original positions apply your changes to press semicolon the paint buffer and remove all current pins 4 To complete the distortion do one of the following e press semicolon e change to another tool or e bake the paint TIP As with the Warp tool you cannot undo individual stages of a Pinup You can only undo the Pinup as a whole Until you have completed the Pinup using Undo actually undoes the last completed action Mari 2 0v1 117 The Foundry 9 gt TRANSFORMING AND WARPING PAINT 1 1 8 Distort the Paint with Pins EXPERIMENT Using pins is also hard to describe but quite easy to get the hang of Try doing the following Create some pins Drag one pin around Select multiple pins and drag them around Rotate pins Move the point of rotation and rotate pins around the new point of rotation Increase and decrease the strength of individual pins See how stronger pins affect the texture more Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 9 TOWING PAINT AROUND The Towbrush is similar to the Healing Brush and Patch tools in Photoshop It lets you select areas of paint and drag them around the surface of your model As you tow the paint around it blends the edges of your selection with the surrounding paint It
317. r Size changes the individual transparency checkerboard Squares to the selected size using either the entry box or the slider The default value is set to 10 e Render Camera shows the camera view onscreen e Render Light shows the lights as globes on the main canvas e Render UV Image if this is off the UV view shows the patches as they appear as part of the model If this is on the UV view shows the patches as they appear when exported that is as square images with overpaint areas around the corners of the patches TIP You can also turn Render UV Image on off using the fej button on the Canvas toolbar 10 If youre setting properties for the UV view under the UV Label section set the details for the text labels shown over the individual patches e Text Color click the swatch to set the color for the text on the labels e Visible uncheck this to stop showing the text labels in the UV view 1 If youre setting properties for 3D views under the Selection section set the details for highlighting shown on selected areas e Fill Render when to show the highlighting in the middle of the selected areas One of e Always Mari shows the highlighting the whole time the area is selected e Select Mari only shows the highlighting while you are actually selecting the area e Never Mari does not show the selection highlighting e Fill Color click the swatch to set the highlight col
318. ransparent 6 To set properties for baking the buffer scroll down and expand the Projection section The Projection Filter controls how Mari calculates the colors to apply to the surface when you bake the buffer down e Bilinear gives a smooth projection down onto the surface e Nearest gives a hard edged projection down onto the surface Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 83 Configure the Paint Buffer 7 The Bake Behavior setting controls whether Mari bakes automatically when you change the view and whether the buffer clears automatically once you bake The options are e AutoBakeAndClear Mari automatically bakes and clears the buffer when you move the model e Manual You have to bake manually and when you do the paint Stays in the paint buffer until you manually clear it e ClearOnly You have to bake manually and when you do the paint buffer clears automatically TIP With Manual or ClearOnly you can reposition the model underneath the buffer This is useful for example if you realize that you need to get a better angle on a particular surface on the model 8 The Projection setting lets you set whether Mari projects only onto the Front of the model as you re seeing it or whether paint goes straight Through the model appearing on the back as well as the front The paint stroke painted onto the left side of the face he result projecting on the Front r
319. reate your custom The Foundry Mari 2 0v1 The Foundry EXTENDING MARI 364 Review the Custom Channel Preset File Format channels file by copying this and editing it rather than starting from scratch lt DOCTYPE MariML gt lt Mari Version 2 gt lt MriSerializableObject Type MriSerializableObject gt lt objectName Type QString gt lt objectName gt lt selected Type bool sfalse lt selected gt lt m Channels Size 23 Type MriChannelInfo ContainerType QVector gt lt MriChannelInfo Type MriChannelInfo gt lt objectName Type QString gt lt objectName gt lt selected Type bool gt false lt selected gt lt channelName Type QString gt color lt channelName gt lt fileFormat Type QString gt lt fileFormat gt lt path Type QString gt lt path gt lt scalar Type bool gt false lt scalar gt lt width Type int gt 4096 lt width gt lt height Type int gt 4096 lt height gt lt channels Type QString gt RGB lt channels gt lt depth Type QString gt Byte lt depth gt Ccolor Type Mi1Color 0 5 0 5 0 5 1 lt Ccolors lt category Type QString gt lt category gt lt MriChanneliInfo gt lt MriChanneliInfo Type MriChanneliInfo gt lt objectName Type QString gt lt objectName gt lt selected Type bool sfalse lt selected gt lt channelName Type QString gt specRough lt channelName gt lt fileFormat Type QString gt lt fileFo
320. rface straight up into the paint buffer directly above that point This is basically a way of copying the model s surface into the paint buffer so you can edit it and then re bake the paint TIP When you clone from a source on the model any mode other than using an external image the source point you set is based on the view of the model not the model itself Moving the view moves the source point For instance you cannot set the source point on the front of the model move the view to the rear and paint the cloned texture from the front to the rear of the model The source point has moved to the same spot in the view but on the rear of the model Note however that you can use a split screen to select a source in one view and clone it to another In these modes think of the source point as being a position within the window As you zoom pan and rotate the model the source point remains in the same position in the window but not the same position on the model Choosing a When cloning from a particular channel the Clone Stamp tool takes a S r Point snapshot of that channel as it appears on screen and uses that as the ource FOI source As a result the resolution of the cloned texture can depend on the VISUAL EFFECTS SOFTWARE CLONE STAMPING 48 Setting a Start Point current display resolution within Mari Higher display resolutions give better cloning results but can dramatically slow Maris performance When cloning
321. rge a group with another layer or layers you need to first flatten the group Adjustment layers are filters that can be added to the layer stack to affect certain layers in the stack Adjustment layers are location dependent in the layer stack and affect only the layers below them In addition to adding adjustment layers to the layer stack adjustments can also be added to selected layers These adjustments are exclusive to the layer they were added to Whenever an adjustment is added to an existing layer it automatically creates an adjustment stack that can be opened ina separate palette An adjustment layer with a mask on the layer can have a secondary adjustment added to it to apply another adjustment to masked out areas Like layer specific adjustments these are applied directly to the selected adjustment layer and can be modified in the lower pane of the palette For a full list of adjustment layers and a more detailed description please refer to Layer Types and Examples on page 244 Procedural layers allow you to add texture patterns grid patterns environments and masks to the layer stack using a variety of parameter settings Procedural layers behave similarly to paint layers with the exception that their image content cannot be painted on it can only be modified by changing the parameters of the layer For a full list of procedural layers and a more detailed description please refer to Layer Types and Examples on page 244
322. ri 2 0v1 Cache and Uncache Layers The Foundry LAYERS 240 Cache and Uncache Layers To cache a layer e with the layer selected from the Layers menu select Caching gt Cache Layer or e right click on the layer and select Caching gt Cache Layer from the dropdown menu To cache all layers up to a point in the layer stack e with the layer selected from the Layers menu select Caching gt Cache Up To Here or e right click on the layer you want to cache up to and select Caching gt Cache Up To Here from the dropdown menu Like caching a single layer all layers cached using Cache Up To Here are locked and cannot be edited until uncached TIP You can also combine these two functions in order to work more quickly on your layer stack To uncache a layer e with the layer selected from the Layers menu select Caching gt Uncache Layer e right click on the layer and select Caching gt Uncache Layer from the dropdown menu or e click the locked padlock icon B The cached layer is unlocked and uncached To uncache all layers that had been locked with Cache Up To Here e with the layer selected from the Layers menu select Uncache Up To Here e right click on the layer you locked with Cache Up To Here and select Uncache Up To Here from the dropdown menu or e click the locked padlock icon ol The cached layer stack is unlocked and uncached NOTE If you have used the Cache Up To Here option
323. ri 2 0v1 PTEX 305 Paint Preservation with Multiple Ptex Geometries The Foundry Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 25 FILTERING IMAGES AND PAINT Mari includes a set of filters you can use to transform the paint on your model You can apply filters to e paint in the current channel e only the current unbaked paint the contents of the paint buffer or e an image within the Image Manager Unlike adjustment filters the Filters accessed from the menubar apply a transformation to the paint or image on the paint buffer the current paint target or selected patches on the paint target Though many of the filters available are the same or similar those in the Filters menu do not affect the layer stack beyond what you choose to apply the filter to In addition you Can preview your changes on the canvas before applying them There are many filters to choose from and a complete list is provided in Available Filters on page 309 but a brief example of the filters Mari can apply are e Blurs to the painting e Inverted colors e Changes to hue saturation or value e Removal of specific color channels e Application of color correction and e Added noise Every filter has the option to use a mask to control what part of the painting it affects Depending on what you are applying the filter to you can mask specific channels or apply an image from the Image Manager to create a mask Some filters do not require any
324. riction to triangular textures if they are applied to polygons with an aspect ratio significantly different to one the texture appears blurred or smeared When triangular textures are stored in packed format GPU renderers can only display half of the texels resulting in Mari filling in the other half of the texture with data that it is not representable in the display NOTE Some renderers such as RenderMan read all texels and thus can render triangular texels TIP For more information regarding packed format and triangular textures please refer to http ptex us tritex html For low frequency images the even and odd texels are very similar in color and the Ptex packing of triangular textures suggests that a simple mirror of texels can be used to fill the other half of the texture when exporting to Ptex Mari implements this mirroring For high frequency images however this mirroring is incorrect and visual artifacts appear in software renderers using the exported Ptex file With the restrictions of triangular textures we highly recommend not modelling with only triangular faces Quad face textures do not have the same triangular face equality restrictions and are a preferable option for use in Mari Within Preferences it is possible to set the Minimum Size for face textures via Ptex gt Face Textures Minimum Size The default quadrangular texture is 1 and the default triangular texture is 2 This represents the absolute
325. rious color profiles preset or custom LUTs look up tables or colorspace conversions to the painting displayed on the screen Mari comes with a selection of preset color profiles and you can configure your own too Mari also lets you choose a split point where to split the display between corrected and uncorrected colors You can also have Mari display an onscreen histogram showing the color distribution in your painting NOTE The color management functionality provided by the Color LA Manager and the ColorSpace toolbar is for display purposes only The color profiles LUTs and colorspace conversions applied here do not affect the paint on your model To apply filters to the paint on your model and bake the changes down please refer to the Filtering Images and Paint chapter Mari always has two colors selected foreground and background These display in the Tools toolbar and on the Colors palette By default painting tools use the foreground color For picking colors Mari provides e a standard eyedropper style Color Picker tool e the Pixel Analyzer palette which supplements the Color Picker with a range of colors youve selected showing their average minimum and maximum color values e the Colors palette which lets you choose colors interactively from a selection of pickers including HSV color values greyscale blends and from images or just by entering specific color values e the abili
326. rmat gt lt path Type QString gt lt path gt lt scalar Type bool gt strue lt scalar gt Mari 2 0v1 The Foundry EXTENDING MARI 365 Review the Custom Channel Preset File Format lt width Type int gt 4096 lt width gt lt height Type int gt 4096 lt height gt lt channels Type QString gt RGB lt channels gt lt depth Type QString gt Byte lt depths gt s 2COlor Type Mr1Colorn s 0 570 540 55 lt Colors lt category Type QString gt lt category gt lt MriChannelInfo gt lt MriChanneliInfo Type MriChanneliInfo gt lt objectName Type QString gt lt objectName gt lt selected Type bool gt false lt selecteds gt lt channelName Type QString gt dispFine lt channelName gt lt fileFormat Type QString gt lt fileFormat gt lt path Type QString s lt path gt lt scalar Type bool gt true lt scalar gt lt width Type int gt 4096 lt width gt lt height Type int gt 4096 lt height gt lt channels Type QString gt RGB lt channels gt lt depth Type QString gt Byte lt depths gt lt color Type MriColor 02540 5 0257 lt 7 Color lt category Type QString gt lt category gt lt MriChannelInfo gt lt MriChanneliInfo Type MriChanneliInfo gt lt objectName Type QString gt lt objectName gt lt selected Type bool gt sfalse lt selecteds gt lt channelName Type QString gt dispBroad lt channelName gt lt fileF
327. rnal location This does not affect the layers in your current project only the exported file Importing files into Mari to use in the Layers palette lets you import the file s into an existing layer This takes the saved texture and imports it Over any textures in the existing layer thus overwriting the pre existing textures Alternatively you can import the file s into the layer stack as a new layer This automatically adds the new layer to the top of the stack but you can move it to anywhere in the stack that you want To export the current selected layer 1 From the Layers menu select Export gt Export Selected Layers or right click the layer s in the Layers palette and select Export gt Export Selected Layers from the dropdown menu The Export dialog displays 2 Follow the steps in Export Textures from Channels on page 146 before clicking Export All Patches Mari exports your textures for the selected layer s Mari 2 0v1 241 Export Flattened Layers Import Layers The Foundry LAYERS Export and Import Layers To export all the layers in the Layers palette 1 From the Layers menu select Export gt Export All Layers or right click in the Layers palette and select Export gt Export All Layers from the drop down menu The Export dialog displays 2 Follow the steps in Export Textures from Channels on page 146 before clicking Export All Patches Mari exports your textures for the layer stac
328. roportion of the width of a splat 1 00 side by side so if the tip is a circle it would look like a string of beads 02 02 x the width of a splat Range 0 02 to 5 00 Reset 0 02 Jitter Opacity Max How much to randomly vary the opacity if Jitter Opacity is enabled Range 0 00 to 1 00 Reset 0 00 Jitter Opacity Whether to randomly vary the opacity to the degree specified in Jitter Opacity Max Opacity How dark a stroke can be maximum alpha Range 0 01 to 1 00 Reset 1 00 Mimics how quickly paint is applied by setting the maximum opacity in a splat Range 0 01 to 1 00 Reset 1 00 POSITION Jitter Position Max How many pixels at most to randomly vary displacement from the line of the brush stroke if Jitter Position is enabled Range 0 to 1000 Reset 20 Jitter Position Whether to randomly vary displacement from the line of the brush stroke to the degree specified in Jitter Position Max PRESSURE Whether pressure on the graphics tablet affects properties of a splat as calibrated for your tablet fete cnoeremen ere Mari 2 0v1 The Foundry RADIUS Squish Jitter Radius Inner Radius ROTATION Align to Stroke CONFIGURING BRUSHES 40 Review Properties You Can Change How much to flatten the radius If the brush tip is a circle 1 0 is a cir cle 5 is an oval half as tall as it is wide Range 0 05 to 1 00 Reset 1 00 Whether to randomly vary the radius to the degre
329. rride your shortcuts file The Shortcuts conf file does not have to list all possible Mari actions You can set up a shortcut for any Mari action but you can only assign shortcuts to project items channels patches shaders lights projectors and things in shelves or sets of those items from within the Mari GUI not from within a customization file You can add channels in bulk to a Mari project using the Channels gt Channel Presets option This opens a dialog box Add Multiple Channels where you can Select to create a set of channels in a project and optionally to also import existing textures In the Add Multiple Channels dialog box you can select a Category which represents a preset bundle of channels For example if you select the Vehicles category you get a list of standard channels for painting a vehicle Mari comes with several default categories stored in a channel preset file If you want you can replace the defaults with your own customized channel preset categories Mari custom channel presets files are XML files with an mtd extension Mari looks for them by default in the following subdirectory of your home directory e config TheFoundry on Linux or e mari TheFoundry on Windows Mari 2 0v1 About Custom Channel Templates About Environment Variables Steps for Using Custom Attributes The Foundry EXTENDING MARI 352 About Custom Channel Templates You can select a different chann
330. rt In addition to the three mesh options offered when opening a new proj ect you can Select e Start Frame the first frame of the range that you want to import e End Frame the last frame of the range that you want to import e Single Frame set the controls so as to only import the first frame in the animation e All Frames set the controls to import all the frames within the ani mation 3 Finish creating the project or adding the new object as normal Playing To play back animation Animation 1 If it s not displayed open the Play Controls palette The Foundry Mari 2 0v1 The Foundry PAINTING ANIMATED OBJECTS Playing Animation Set the desired frame range in the boxes at the top of the palette This lets you play only a subset of the animation To skip to a particular frame type the frame in the frame box Set the playback mode in the dropdown This can be e Loop keep looping through the animation start to finish e Bounce keep looping back and forth through the animation start to finish then backwards back to the start e Stop play the animation once and stop Use the play controls to play through the animation m Move back one frame Ctrl Left ul No button button Move to the last Move to the last frame CtrUp ao eo O e E Move forward one frame Ctrl Right You can also pull the timeline control back and forth to move through frames Dteubtirtitntei
331. rtant trade secret of The Foundry or the Third Party Licensors Licensee shall disclose Confidential Information only to Licensees employees who are working on an Authorized Project and have a need to know of such Confidential Information and shall advise any recipients of Confidential Information that it is to be used only as authorized in this Agreement Licensee shall not disclose Confidential Information or otherwise make any Confidential Information available to any other of the Licensees employees or to any third parties without the express written consent of The Foundry Licensee agrees to segregate to the extent it Mari 2 0v1 The Foundry APPENDIX D END USER LICENSE AGREEMENT End User Licencing Agreement EULA can be reasonably done the Confidential Information from the confidential information and materials of others in order to prevent commingling Licensee shall take reasonable security measures which such measures Shall be at least as great as the measures Licensee uses to keep Licensees own confidential information secure but in any case using no less than a reasonable degree of care to hold the Software Documentation and any other Confidential Information in strict confidence and safe custody The Foundry may request in which case Licensee agrees to comply with certain reasonable security measures as part of the use of the Software and Documentation Licensee acknowledges that monetary damages may not be a sufficient remed
332. s e You can temporarily set the Masking Disabled feature by selecting the check box or pressing Ctrl M The allows you to see the geometry without any of the current masking channels This overrides the Mask Preview Enabled feature even if it is already selected e You can set the Mask Preview Color click the swatch to select a color for the mask from a color picker The color includes an alpha value so you can have the mask displayed semi transparent e To display the masking click Mask Preview Enabled or press comma When this is on Mari shows all the masking you have turned on including channel edge depth and so on When the masking is visi ble the icon displays in the status bar Clicking this icon as well as the button in the palette hides the masking Other icons show which masking is in use They are B for edge masking B for channel masking E for ambient occlusion masking W for depth masking IB for backface masking EB for masking disabled Mari 2 0v1 86 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 87 Mask What You Can Paint On Edge Masking To use Edge Masks set the options under Edge Mask Falloff Curve ae Pr m t Fallot B EF Falloff Start e Falloff Curve use the curve control to set how the masking falls off between the Start and End points The start point is at the left of the curve the end is at the right and the degree of masking is on the vertic
333. s Mari copies the textures to the designated object layer and patches Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 11 EDITING PAINT ON LAYERS When you paint in Mari you paint into the paint buffer which floats above the surface of the model Only when you bake is the paint actually applied to the models surface Maris Blur tool lets you edit the baked surface of a layer while the Clone Stamp tool includes a mode to clone paint directly up off the surface of the layer into the paint buffer Blur The Blur tool lets you apply a blur effect directly to the surface of your channel You can use the Blur tool the same way as any other Mari brush to apply a normal blur effect to any part of the surface Texture before blurring After blurring TIP If you want to blur large areas of the surface you may want to use the blur filters instead These apply a controlled blur to entire patches Mari includes several blur filters including a controllable Gaussian blur For details see Filtering Images and Paint Pulling Paintinto The Clone Stamp tool has a mode that clones the surface of the current the Buff layer up into the paint buffer directly above the surface This lets you grab e Durrer the baked paint and make changes See Clone stamp for details on using the Clone Stamp tool to clone the layer VISUAL EFFECTS SOFTWARE EDITING PAINT ON LAYERS 127 Steps for Editing Paint on Layers surface into the paint buffer
334. s and Procedurals ai NOTE You can right click any of the layers in the Layers palette to access the dropdown menu for more layer options Right clicking an existing layer also selects it Add Adjustments 1 To add an adjustment layer to a layer stack either and Procedurals e from the Layers menu navigate to Add Adjustment Layer and select the filter from the dropdown menu e right click any layer in the Layers palette navigate to Add Adjustment Layer and select the adjustment filter from the dropdown menu or e in the Layers palette click A The adjustment layer appears in the layer stack with the adjustment icon where the paintable layer icon would normally reside Brightness 2 To add an adjustment layer to a single layer e with the layer selected from the Layers menu navigate to Adjustment Stack gt Add Adjustment Stack and select the filter from the dropdown menu or e right click the desired layer navigate to Adjustment Stack gt Add Adjustment Stack and select the filter from the dropdown menu The adjustment filter is added to the selected layer with the adjustment stack icon one space down from where the mask icon would appear r g NOTE Each filter has adjustment controls located in the bottom pane of the Layers palette Use these to modify how strongly the filter affects your texture 3 When an adjustment or adjustment stack has been added to an existing layer you can flatten the adjustment or stac
335. s file may be used under the terms of the GNU Lesser General Public License version 2 1 as published by the Free Software Foundation and appearing in the file LICENSE LGPL included in the packaging of this file Please review the follow ing information to ensure the GNU Lesser General Public License version 2 1 require ments will be met http www gnu org licenses old licenses Igpl 2 1 html In addition as a special exception Nokia gives you certain additional rights These rights are described in the Nokia Qt LGPL Exception version 1 1 included in the file LGPL EXCEPTION txt in this package GNU General Public License Usage Alternatively this file may be used under the terms of the GNU General Public License version 3 0 as published by the Free Software Foundation and appearing in the file LICENSE GPL included in the packaging of this file Please review the follow ing information to ensure the GNU General Public License version 3 0 requirements will be met http www gnu org copyleft gpl html Please note Third Party Software included with Qt Solutions may impose additional restrictions and it is the users responsibility to ensure that they have met the licensing requirements of the GPL LGPL or Qt Solutions Commercial license and the relevant license of the Third Party Software they are using If you are unsure which license is appropriate for your use please contact Nokia at qt info nokia com To see the GNU Lesser General Public
336. s functions see the accompanying Mari Reference Guide Contact Should questions arise that this manual fails to address you can contact Cust Customer Support directly via e mail at support thefoundry co uk or via ustomer telephone to our London office on 44 0 20 7968 6828 or to our Los Support Angeles office on 310 399 4555 during office hours VISUAL EFFECTS SOFTWARE MARI USER GUIDE THE FOUNDRY 2 CUSTOMIZING THE VIEW In the Getting Started Guide you learned how to control the view in Mari spinning panning rotating switching to preset views and so on You have a choice of how many of these controls work and how Mari displays the model on screen Display Options You can set e how the model rotation works the model movement speed friction and whether it uses momentum see Appendix A Shortcuts for model rotation shortcuts e the background displayed behind the model either a color a gradient or an image e the color for the paintable area when it displays e the quality settings for the display how much detail to show e whether to show the wireframe model and how to display it e in the UV view whether to show gridlines or labels Lighting Mari comes with three default modes for lighting the model and optional shadow control e Flat a flat uniform directionless light e Basic basic diffuse lighting without specular e Full full lighting with diffuse and specular lighting e Shad
337. s on page 146 before clicking Export All Patches Mari exports your textures for all channels in the Channels palette To export all the channels from all the objects of your project 1 From the Channels menu select Export gt Export Everything or right click in the Channels palette and select Export gt Export Everything from the dropdown menu The Export dialog displays 2 Follow the steps in Export Textures from Channels on page 146 before clicking Export All Patches Mari exports your textures for all objects Export Flattened To export the currently selected channel with flattened layers Channels 1 From the Channels menu select Export Flattened gt Export Current Channel Flattened or right click the channel in the Channels palette and select Export Flattened gt Export Current Channel Flattened from the dropdown menu The Export dialog displays 2 Follow the steps in Export Textures from Channels on page 146 before clicking Export All Patches The Foundry Mari 2 0v1 import Channels The Foundry CHANNELS 279 Export and Import Channels Mari exports your flattened textures for the selected channel To export all the channels in the Channels palette with flattened layers 1 From the Channels menu select Export Flattened gt Export All Channels Flattened or right click in the Channels palette and select Export Flat tened gt Export All Channels Flattened from the dropdown menu The Export dialog
338. s on page 3 0 for more information on environment variables The Foundry Mari 2 0v1 EXPORTING AND IMPORTING TEXTURES 143 Import Existing Textures to Channels Import a Sequence of If your patches have a consistent naming numbering system you can import Files them as a sequence 1 Click on the Sequence tab The tab shows all the patches on the object E ay 2 Enter the location of the files to import in the Path field NOTE This isn t the name of the files themselves It s the name of the directory in which the sequence of files exists You can either e enter the full path to the directory containing the files or pick from the dropdown or e use the navigation controls to navigate to the directory The Foundry Mari 2 0v1 The Foundry EXPORTING AND IMPORTING TEXTURES 144 Import Existing Textures to Channels al E m AA i color P E dispFine m Spec Ro ugh ipl owe lien ioe Se lees all ry a i By a a 2 r z s R When you ve selected the path the file area shows all the existing image sequences under that path You can use the Filter field to narrow down the list of textures shown Enter filter text and the display updates to only show the textures with that text in their name Set a Template for Mari to use when gathering the names of images in the selected sequence You can either e Edit this line manually As you edit you
339. s to set up face selections of specific areas on your model and then to reuse these selections This lets you define your own selection areas for relevant features that arent necessarily reflected in how the patches on the model are put together For example you could use this to create a selection for the blacksmiths deltoid muscle or his collarbones Marquee Select The Marquee Select tool lets you select an area onscreen to control where Tool you Can apply paint When youve made a selection with the Marquee Select tool paint only bakes down within the selected areas The Foundry Mari 2 0v1 SELECTING ITEMS 171 Steps for Making Selections Marquee Select paint only shows within the selection area TIP This works like the Select tool when Project On is set to Selected except that youre selecting areas on the screen rather than on your model You cant use the Marquee Select tool to select areas to show hide or to lock Steps for Making To make a selection within Mari follow these steps Selections 1 Selecting Objects Patches or Faces 2 Saving Selections on the Model 3 Selecting Areas Onscreen Selecting 1 Start Mari and open your project Objects 2 Choose the Select tool ci Patches Or 3 You can use the Selection toolbar to switch selection modes Faces The Foundry Mari 2 0v1 The Foundry SELECTING ITEMS 172 Selecting Objects Patches or Faces If you cant see the Selection toolbar rig
340. s to show white midtone and black the current white point midtone and black points for each color channel point or all together You can set the e Color Component whether this is affect ing the overall Value of the color or the specific color channel Red Green or Blue e White Point the upper limit of displayed color intensity Areas with a value higher than this are mapped to 1 white e Midtone the middle point between white and black Mari remaps the values so that this is the middle of the range between the white point and black point Moving this pushes the values towards that end of the spectrum e Black Point the lower limit of displayed color intensity Areas with a value lower than this are mapped to O black e White Output Level how strongly to out put the white in the filtered image Higher values show the entire white output lower values show decreasing amounts e Black Output Level how strongly to out put the black in the filtered image Higher values show the entire black output lower values show decreasing amounts Changes the color curve for You can also edit each color curve control each color channel RGB in the ling how each color channel appears on painting screen This controls how the filter trans lates current color values to new values For each input value along the bottom of the graph the output value is set from the
341. s with the filter preview on Take a few minutes to review details of the various Available Filters Try applying some of them to a channel You dont actually have to save the filtered effect turn the Preview option on see how it looks and then Cancel to reject the changes Available Filters We mentioned previously that an Invert checkbox and a Mask Curve editor displays in certain situations These options are universal to all filter Operations that use a channel or an image from the Image Manager as a mask The Invert checkbox decides whether Mari inverts the input from the mask If this is selected the mask data is black on white rather than white on black The Mask Curve editor sets how the channel masking works The x axis is the color of the source pixel black to the left and white to the right The y axis is how paintable the target pixel is By default the curve runs from the bottom left up to the top right This means that black pixels are totally masked white pixels are totally paintable and there s a constant curve between the two Use this if you want to change what pixel values are masked The following table describes and shows examples of each of the filters that come with Mari applied to the following image The Foundry Mari 2 0v1 Invert Luminosity The Foundry Inverts the colors in the selec You can set whether to invert the Alpha tion Replaces colors with their channel as well as the colors
342. sing the Display Device dropdown menu Select the colorspace transform to apply to the scene from the View Transform dropdown menu Mari 2 0v1 MANAGING COLORS IN MARI 220 Set How Colors Are Displayed Onscreen 6 Use the Component dropdown menu to see the individual color components in the scene 7 Use the Gain controls to set the amount of exposure adjustment applied before the display transform by either entering a multiplier exposure value dragging on the slider or adjusting the F Stop value 8 Finally set the amount of Gamma correction applied after the display transform by entering a gamma level or by dragging the gamma slider EXPERIMENT Try changing the color profile on a project First select a couple of the other predefined profiles then create one of your own Tweak the properties on the filters you added and notice what happens Then load a custom color configuration file via the ColorSpace toolbar tweak the properties again and notice how your changes affect the colors onscreen 9 gt The Foundry Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 20 PROJECT CONVERSION If you are an existing user of Mari and upgrading to Mari version 2 0v1 or later this chapter is designed to help you upgrade your previous projects for use in Mari It is highly recommended that before you convert any existing projects for use in Mari 2 0v1 you should take the opportunity to create a new project or use the example project t
343. sk attached to a layer to create a mask group but once you do you can open a separate Mask Group palette to see all the mask layers in the group Either for organizational or performance reasons you may decide you want to flatten a group into a single layer Layers that were part of a group appear as if they are a single layer once flattened Once a group has been flattened it can be added to other groups or used to create a new group as with any other layer Mask groups can also be flattened The only difference between flattening a layer group and flattening a mask group is when a mask group has been flattened the group icon disappears from the layer and is replaced with the mask icon again All the mask layers that were part of the mask group now exist in one single mask Mari 2 0v1 Merge Layers Adjustment Layers Secondary Adjustments Procedural Layers The Foundry LAYERS 229 Adjustment Layers Merging layers is similar to flattening layers but can be done with any type of layer Instead of flattening a group of layers into a single layer merging allows you to combine the textures from two or more layers into a single layer including any masks or adjustments that might have been applied to them However be aware that this is a destructive process and the results may not be the same as anticipated in the layer stack NOTE You cannot merge a layer with a layer group that has not been flattened If you want to me
344. so include CHANNEL in the input file path cp TIP Decide whether you want to use the same file for output and input or use separate files This depends on how you prefer to work For example you may prefer to export to tif edit the file and save the changes as a png for re import Or you may prefer to use the same tif file for both output and input TIP Don t change the settings for Transformation or Perspective These show the details of the paint buffer and perspective camera settings when the projector was created including for perspective cameras field of vision and clipping planes If absolutely necessary you can edit these but it s usually easier to just set the main view to your desired settings and create a new camera 8 To switch to the view from another projector either e right click on the projector in the Projectors palette and select Make Projector Current or e double click on the projector in the Projectors palette The view switches back to how it was when you created the projector including any masking you had set and the Painting Mode that was in The Foundry Mari 2 0v1 PROJECTORS 323 Unproject from Your Projector use The name of the projector in use appears on the current tab in the Canvas TIP You can also adjust projection mask properties in the Projectors palette Note that if you adjust these properties you need to click the Update Only Masks From Projector button to see the effect o
345. ss you actually have a go with it Experiment with the brush and see what results you can get on a variety of textures Mari 2 0v1 MARI USER GUIDE THE Q FOUNDRY 10 COPYING AND PASTING PAINT Copying a Single Patch Copy Textures Between Channels and Objects Using Offsets Mari lets you e copy and paste single patches quickly or e copy multiple patches at once In both cases you can copy between channels When copying multiple patches you can copy to other objects in your project Maris quick copy function lets you copy a single patch and then copy it back onto the same object on any channel You can paste the copied patch back onto multiple target patches Maris Copy Multiple Textures function lets you copy entire patches between places in your project You can copy patches e between objects e between layers on the same object or e between patches on the same layer You can only copy textures on a patch to patch basis you cannot copy one patch onto more than one other patch at once You can also use an offset This is added to the source patch number to determine where to paste the texture to For example if you copied the texture on patch 1001 with an offset of 20 the texture would copy to patch 1021 So for example if your model has a consistent numbering scheme you can use this to paste from one side of the model to another As you do this Mari reverses the textures Here we paint a
346. t painting the gradi ent onto the model Blends seamless 3D noise in a wood grain pattern with the shaded surface using the specified Blend Mode Adjust the gradient Start and End points to determine where Color A and Color B are on the object Use the Map to fine tune the gradient as a color curve Adjust the Angle of the gradient and how much you want the gradient to be allowed to Repeat Repeating the gradient does so by tiling You can control the look of the wood pat tern by adjusting the Size of the pattern and of the bands as well as the Roughness of the pattern The offset can be adjusted in X Y and Z space Additionally Color A and Color B allows you to set the wood pat tern colors used on the model LAYERS Layer Types and Examples UV Linear Gradient in the UV tab UV Linear Gradient in the UV tab with UV image rendering without UV image rendering Mari 2 0v1 263 MARI USER GUIDE THE FOUNDRY 22 CHANNELS Mari supports multiple channels New projects start with a single channel You can add as many additional channels as you need A single project can hold all the channel data required for the model diffuse dirt specular luminescence displacement and so on Each object in a Mari project has its own set of channels See Multiple Objects for details on working with multiple objects Different Ways When you create a channel you set the color depth and patch size
347. t Individual If the object has less than 20 UV patches the Export dialog box has a Files Named Files tab This lets you individually pick the patches to export and where to export them 1 Click on the Named Files tab The tab shows all the patches on the object The Foundry Mari 2 0v1 EXPORTING AND IMPORTING TEXTURES 148 Export Textures from Channels 2 For each patch set the file to export it to You can either e type the file path and name directly or e use the open button to open a navigation window to create a new file in a directory or select an existing one to overwrite You can now Set Small Texture Preferences and Export the textures TIP By default if your model has more than 20 patches the Named Files tab does not display To change this set the Patch Cutoff preference to a number greater than the number of patches in the file Alternatively you can use the MARI_NAMEDFILEIMPORT SEQUENCELIMIT environment variable to override the preference setting Please see the section on Environment Variables That Mari Recognizes on page 370 for more information on environment variables Export aSequenceof 1 Click on the Sequence tab Files Exporting Layer anvil diffuse a ita C _ F rt a m e ae a a gt 2 Enter the location to export the files to in the Path field You can either e enter the full path to the directory or pick fr
348. t selection or hold down Shift Ctrl click and drag to scale the current selection If you want to soften the edges of the selection turn up the Feathering Higher values give the selection a softer fuzzier edge At O the selection has a hard edge In Wand mode you can change the Color Threshold how close the colors need to be to be selected when you click At 0 only areas of the exact shade as the pixel you click on are be selected As the value increases more colors are selected when you click Mari 2 0v1 SELECTING ITEMS Selecting Areas Onscreen Moving and To move or distort the selection set the Mode to Transform Distorting Marquee Selections move the selec hold down Shift click and drag tion rotate the selec hold down Ctrl click on your tion desired point of rotation and drag scale the selec old down Shift Ctrl click and tion up or down drag The Foundry Mari 2 0v1 181 MARI USER GUIDE THE FOUNDRY 16 WORKING WITH PATCHES Models that you paint in Mari are divided into patches You can change the properties of the patches such as the patch resolution You can also edit patches as a whole by copying and pasting between patches filling patches with color or flipping the paint on them Patch Resolution Each patch ona channel is stored at a particular resolution Resolution is a determination of how many pixels are used for an item For example a patch may have a resolution of 512 x
349. tab to import or export individual files rather than a sequence of patches with the udim number 1001 1002 etc in the file names MARIWORKING DIR The location of temporary Mari files e MariLog txt in the such as crash logs home Username Mari Logs directory on Linux or If this variable is not set the files are saved to the same path as the log file MariLog txt in the C Users User name Docu ments Mari Logs directory on Windows XDG CONFIG HOME The location of the directory where On Linux the Mari configuration files are SharedDisk Mari stored If youre on Windows you cant change this directory and the Mari ini file can only be stored in the default location drive letter Users user mari TheFoundry MARIDEFAULT_IMAGE The default path to load and save PATH reference images MARI_DEFAULT_GEOMET The default path to load geometry RY PATH from MARIDEFAULT_ARCHIVE_ The default path to load and save PATH project archives MARIDEFAULT_SHELF_PA The default path to load and save TH Shelf files MARIDEFAULT_EXPORT_ The default path to export textures PATH to Mari 2 0v1 371 Image Importing Overriding Mari Configuration File The Foundry EXTENDING MARI 372 Environment Variables That Mari Recognizes MARI DEFAULT _IMPORT_ The default path to import textures PATH from MARIDEFAULT_RENDER_ The default path to save renders PATH such as turntables MARIDEFAULT_CAMERA_ The defau
350. tches and faces when using the Select tool Canvas view options for the UV and 3D views Mirroring buttons to switch between four paint mirroring settings Vector Painting enable the vector grid and quickly set up vector shaders Color Space lets you specify your color space and the settings asso ciated with your choice 2 To position a toolbar click the drag control at its left or top edge and e move drag to another position e undock drag to the middle of the canvas or outside the main Mari window e dock drag to an edge of the canvas left right or top not bot tom the side of the canvas expands to grab the toolbar e resize drag left or right or up or down TIP If the toolbar is too small to fit all of its items a double chevron appears at the end Click this to see all the tools in the bar or resize and position the toolbar to see all items Mari 2 0v1 CONFIGURING THE USER INTERFACE 1 98 Create Custom Toolbars Create Custom If you want quick access to functions not included on the default toolbars ou Can Create as many additional toolbars as you need To create a new Toolbar J J oolDalrs toolbar 1 From the Edit menu select Toolbars The Manage Toolbars dialog box opens 2 Click Add to create a new toolbar Mari prompts you to name the toolbar 3 Give your toolbar a name and click OK The new toolbar displays under Custom Toolbars in the Manag
351. ted through TIP Painting with the brush lets you more subtlety control how Mari applies the paint for example you can use a brush with a relatively low alpha and build up the paint on the model using multiple strokes You can apply a color grade to the source image as you paint through Set the color grade settings in the Source Grade area of the Painting palette See Clone Stamping for details of how the color grade settings work and the effects you can achieve EXPERIMENT Experiment with different brush settings and their effect on painting through Adjust details such as opacity alpha and noise to affect the way the texture is painted onto the model The Foundry Mari 2 0v1 Clone froma Floating Image The Foundry PAINTING THROUGH AN IMAGE OR GRADIENT 66 Clone from a Floating Image You can apply a Tint which allows you to combine a color with the image to apply a tinted version of the image using Paint Through You can also apply a Stencil The stencil allows you to paint through an image to create a design of the image on the model By default there is No Stencil applied to the model In the Tool Properties toolbar at the top of the screen select Image Clone from the Mode dropdown Painting Mode Normal Mode Image Clone Y Paint Through Make any other changes you want to the size rotation stretch or position of the source image This is exactly the same as in the normal mode Youll prob
352. tempt to discover the source code of the Software c modify adapt translate or create derivative works based on the Software or Documentation d use or allow the use of the Software or Documentation on any project other thana project produced by Licensee an Authorized Project e allow or permit anyone other than Licensee and Licensee s authorized employees to the extent they are working on an Authorized Project to use or have access to the Software or Documentation f copy or install the Software or Documentation other than as expressly provided for herein or g take any action or fail to take action that could adversely affect the trademarks service marks patents trade secrets copyrights or other intellectual property rights of The Foundry or any third party with intellectual property rights in the Software each a Third Party Licensor Furthermore for purposes of this Section 2 the term Software shall include any derivatives of the Software Licensee shall install and use only a single copy of the Software on one computer unless the Software is VISUAL EFFECTS SOFTWARE APPENDIX D END USER LICENSE AGREEMENT End User Licencing Agreement EULA installed in a floating license environment in which case Licensee may install the Software on more than one computer provided however Licensee shall not at any one time use more copies of the Software than the total number of valid Software licenses purchased by L
353. the Diffuse Color shader component to the Base Skin Diffuse channel and adjusting the Diffuse and Specular sliders e Creating another different shader and set the Diffuse Color shader component to Base Skin Diffuse again How does changing the Diffuse and Specular sliders affect the model on this shader type Remove a Shader 1 To remove a shader e right click on the shader and select Remove Shader from the dropdown menu e select Remove Shader from the Shading menu or e click the G icon in the Shaders palette The shader is removed from the Shaders palette gt NOTE The default shaders cannot be removed from the Shaders palette 2 You can temporarily see your model as it appears in other shaders by simply selecting one of the default shaders or custom created shaders Selecting the shader displays the model as it appears with that shader s specific settings 3 In all the custom shaders controls for Ambient light do not correspond to a particular channel input but to the entire model Ambient Occlusion can also be chosen from a channel or created based on ambient occlusion calculation For more information on these shader controls refer to the Shaders Pal ette chapter in the Mari Reference Guide The Foundry Mari 2 0v1 MARI USER GUIDE THE FOUNDRY 24 PTEX Ptex Per face Texturing is a texture mapping system developed by Walt Disney Animation Studios as an alternative to traditional methods of texture
354. the GNU Lesser General Public License along with this library if not write to the Free Software Foundation Inc 59 Temple Place Suite 330 Boston MA 02111 1307 USA To see the GNU Lesser General Public License go to http www gnu org licenses or Media Help CopyrightNotices in the Mari application directory The Foundry Mari 2 0v1 APPENDIX C THIRD PARTY LICENSES 387 Third Party Licenses GLSL Cellular 2D and 3D Cellular Copyright c 2011 by Stefan Gustavson lt stefan gustavson liu se gt Noise Noise Permission is hereby granted free of charge to any person obtaining a copy of this software and associated documentation files the Software to deal in the Soft ware without restriction including without limitation the rights to use copy modify merge publish distribute sublicense and or sell copies of the Software and to per mit persons to whom the Software is furnished to do so subject to the following conditions The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software THE SOFTWARE IS PROVIDED AS IS WITHOUT WARRANTY OF ANY KIND EXPRESS OR IMPLIED INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANT ABILITY FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM DAMAGES OR OTHER LIABILITY WHETHER IN AN ACTION OF CONTRACT TORT OR OTHERWISE ARISING FROM OU
355. tion Example Project TIP Many of the options in the HUD Manager are for debugging purposes only For an explanation of the different options see the Mari Reference Guide 2 Click the checkboxes for the options you want to include in the heads up display at the top of the canvas then close the HUD Manager dialog box Mari displays information in the HUD as you select it in the HUD Man ager Save Your layout A layout is a record of how your Mari workspace is set up Once you have your workspace set up you can save the layout so you can easily recall it later Alternatively you might want different layouts for painting different types of objects The Foundry Mari 2 0v1 CONFIGURING THE USER INTERFACE Understanding the Status Bar 1 From the View menu select Save Layout A standard Save dialog box opens Enter a filename and choose a location for your saved layout To reload the saved layout at any time from the View menu select Open Layout TIP To revert to the default layout from the View menu select Default Layout EXPERIMENT Try moving some palettes and toolbars around then saving yas the layout Revert to the default layout then re load your saved layout Understanding The status bar is a fixed panel of icons that appears in the bottom right the Status Bar corner of the Mari window It displays information about the project as icons including progress bars for current processes error warnings an
356. tion and use in source and binary forms with or without modification are permitted provided that the following conditions are met e Redistributions of source code must retain the above copyright notice this list of conditions and the following disclaimer Redistributions in binary form must reproduce the above copyright notice this list of conditions and the following disclaimer in the documentation and or other materials provided with the distribution Neither the name of Industrial Light amp Magic nor the names of its contributors may be used to endorse or promote products derived from this software without specific prior written permission THIS SOFTWARE IS PROVIDED BY THE COPYRIGHT HOLDERS AND CONTRIBUTORS AS IS AND ANY EXPRESS OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTIC ULAR PURPOSE ARE DISCLAIMED IN NO EVENT SHALL THE COPYRIGHT OWNER OR CONTRIBUTORS BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEMPLARY OR CONSEQUENTIAL DAMAGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES LOSS OF USE DATA OR PROFITS OR BUSINESS INTERRUPTION HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY WHETHER IN CONTRACT STRICT LIABILITY OR TORT INCLUDING NEGLIGENCE OR OTHERWISE ARISING IN ANY WAY OUT OF THE USE OF THIS SOFT WARE EVEN IF ADVISED OF THE POSSIBILITY OF SUCH DAMAGE Mari 2 0v1 OpenImagelO 0 9 A library f
357. tions of source code must retain the above copyright notice this list of conditions and the following disclaimer Redistributions in binary form must reproduce the above copyright notice this list of conditions and the following disclaimer in the documentation and or other materials provided with the distribution The name of the copyright holders may not be used to endorse or promote prod ucts derived from this software without specific prior written permission This software is provided by the copyright holders and contributors as is and any express or implied warranties including but not limited to the implied warranties of merchantability and fitness for a particular purpose are disclaimed In no event shall the Intel Corporation or contributors be liable for any direct indirect incidental special exemplary or consequential damages including but not limited to procure ment of substitute goods or services loss of use data or profits or business inter ruption however caused and on any theory of liability whether in contract strict liability or tort including negligence or otherwise arising in any way out of the use of this software even if advised of the possibility of such damage Mari 2 0v1 OpenEXR The Foundry File format support APPENDIX C THIRD PARTY LICENSES Third Party Licenses Copyright 2002 Industrial Light amp Magic a division of Lucas Digital Ltd LLC All rights reserved Redistribu
358. titttftinttitdttt ite Mari 2 0v1 347 PAINTING ANIMATED OBJECTS 348 Painting Animated Textures Painting Before you paint the animated textures make sure youve painted all the Ani ted non animated elements of your textures Any paint you add after youve nimate inserted a keyframe only appears in one part of the animation see the Textures example above Once you ve got your initial texture set you can set keyframes Setting Keyframes To set a keyframe 1 Move to the frame that you want to set as your keyframe 2 Click EF or press Ctrl K to set a keyframe The new keyframe displays as a square in the keyframe timeline 3 You can remove keyframes by selecting the keyframe in the timeline and clicking 2 Removing a keyframe also removes any paint for that keyframe Be care ful when removing keyframes if you ve done any painting Painting the To paint a texture within a section of animation Textures 1 Move to a frame somewhere within the section of animation you want to paint t doesnt matter which frame within the section you move to the paint displays until the next keyframe 2 Paint your textures as normal Bear in mind that e Any textures you paint within one section disappear when you reach the next keyframe e You can paint then add another keyframe to build up an animated texture see the Example above for an explanation The Foundry Mari 2 0v1 PAINTING ANIMATED OBJECTS 349
359. to the paint buffer or e Project to load the texture and bake it onto the surface Mari projects the texture onto the model as specified Once the texture is loaded you should be able to tell immediately if you ve loaded the wrong texture simply change the file location in Projectors gt Input File Path if this is the case 8 Repeat steps 5 and 6 for all the imported projectors to complete the process 9 Once you re happy with the results you can export your work as described in Export Textures from Channels Generate a Turntable from a Projector or Save Load and Delete Projectors in the same way as regular projectors Ka NOTE It s worth mentioning that projection using fbx files is not fool proof and some extra texturing inevitably is required You can reduce the extra work needed by using more camera angles when creating the fbx file The Foundry Mari 2 0v1 PROJECTORS 330 Generate a Turntable from a Projector EXPERIMENT Try amp e Loading some textures through the wrong projector Can you see that the image is incorrect e Loading textures in a different order Notice how the textures overlay each other Generate a Mari lets you generate two kinds of turntables Turntable from a Render turntables this exports the current channel using a selected shader Projector e Diagnostic turntables these export a set of channels with flat lighting for each one using Maris default shader cp TIP T
360. tomize the brush you re using for Paint Through set the options under the Tip and Geometry sections These are the same options available for brushes in general see Con figuring Brushes 5 To change the prominence of the onscreen image that you re painting through under Texture gt Preview set the Preview Alpha The Foundry Mari 2 0v1 The Foundry 6 PAINTING THROUGH AN IMAGE OR GRADIENT 63 Set the Paint Through Options Higher values make the preview clearer but make it harder to see the model underneath Preview alpha of 0 35 Preview alpha of 0 75 You can lock the source image proportions using the Image Scale button so that any changes to scale are applied proportionately to both axes If Image Scale is off you can alter the image by different amounts on the vertical and horizontal axes Set Mari to automatically pan or scale the source image using the Pan Lock and Scale Lock settings When the locks are enabled Mari locks the image position and size rela tive to the model If you pan or zoom the model in or out the image that youre painting through pans or zooms in or out too If Pan Lock and Scale Lock are disabled the image position and scale does not change when you change the view of the model To set whether Mari resizes source images to fit the paint buffer change Reset Size setting under Texture gt Transform e ToOriginalSize Displays and paints through the source image in its Origi
361. toni Kujawa and Chris Hiess Writing and layout design Jack Elder Jon Hertzig Eija Narvanen Charles Quinn and Erica Cargle Proof reading Jack Elder and Eija Narvanen Mari includes Disney technology licensed from Walt Disney Animation Studios The Foundry 6th Floor Communications Building 48 Leicester Square London WC2H 7LT Rev March 13 2013 The Foundry Mari 2 0v1 MARI USER GUIDE Contents PREFACE CUSTOMIZING THE VIEW USING SHORTCUTS CONFIGURING BRUSHES CLONE STAMPING VISUAL EFFECTS SOFTWARE THE Q FOUNDRY About Tals GUE 4444 444 amp sue Sew a oe eee are ew ood ees 13 Contact Customer Support ero Ge Vee se oes es awe eens eee Display OPUS ic ccc comer eed eee hes eee ekeaeennaweceus ace es 14 PIGHLMNG 4543690420560 E eee ee eee ee ee ee ee 14 Perspective Camera Settings cc ec eee ee eee eee eee 15 Configuring Navigation wee eeed eT ee EPESI E Steps for Customizing the View in Mari 0 000 ee eee eee 15 Set the Main View Options cece ec ee cee eee eee eee 16 Configure the Lighting ccc cee ee ee ee eee eee eee 20 Set the Perspective Camera Details 2 ce eee eee 24 Configure Navigation cece eee ee eee eee ence 24 Shortcuts for ACHONS lt 4 444 su44 eos BOR ee ener eee Hs Mewenees eee 26 Canceling ACUONS 5 25 4 lt lt 6 4 ww d 4 455440656664 6460 606804 b eee 26 Shortcuts TOP Settings 2 v
362. toolbar Onscreen Set how colors are displayed using the Color Manager 1 Open the Color Manager palette e right click on the toolbar and select Color Manager from the drop down menu or e from the View menu select Palettes gt Color Manager The Color Manager palette displays color display settings for the cur rent project a n CW amoeLut lut 2 Under Options select the main display options The Foundry Mari 2 0v1 MANAGING COLORS IN MARI 218 Set How Colors Are Displayed Onscreen e Enable Color Management when selected applies the color profile selected in the Current Color Profile section see below e Histogram when selected a histogram displays in the bottom left of the canvas showing details of the color balance in the current channel e Split Point where and whether to split the canvas between color corrected and uncorrected The default is with the slider at the far right at 1 00 showing the entire canvas with color correction Moving the slider changes the split For example moving it halfway along to 0 50 makes Mari display a split halfway across the screen with color corrected on the left and uncorrected on the right TIP Color correction only applies to color channels Scalar channels never use corrected colors Even if color correction is on scalar channels display the actual color values painted on the surface 3 Under Current Color Profile select a color profile fro
363. tors e Paint Normal Vectors e Nudge Flow Vectors e Nudge Normal Vectors and e Scale Vectors 2 Selecting a paint blending mode can be done in either the Paint or Vector Paint toolbars as the dropdown menu is in both Alternatively select them from the Painting Mode dropdown in the Projection palette LA NOTE As with other paint blending modes the vector modes apply to paint that has not been baked down yet The Foundry Mari 2 0v1 Inspecting Your Vector Work The Foundry VECTOR BRUSH 134 Inspecting Your Vector Work To inspect your vector brush work follow these steps 1 Select the Vector Inspector tool N The directional markers appear NOTE The Vector Inspector displays the channel that is selected in the Vector shader component of your current shader If there is nothing selected in the Vector shader component the shader displays the diffuse channel You can move the buffer around the canvas by simply dragging it around You can also use the Tool Help shortcuts to modify it The Vector Inspector toolbar includes the following options e Enable selecting this checkbox enables or disables the directional markers of the Vector Inspector Note that while in the Vector Inspec tor tool this is not the case The markers remain on until you change to a different tool If you don t have the tool active and want to enable markers quickly click the Ss icon on the Vector Painting toolbar e Line spacing
364. tring gt Custom lt category gt lt MriChannelInfo gt You must set the following values Name for the channel to create My Custom Channel 1 scalar Whether the channel is color or scalar This is a Boolean true means a scalar channel false means color Mari 2 0v1 362 EXTENDING MARI 363 Review the Custom Channel Preset File Format width Width of patches in the channel Must 4096 hatch the heightType height Height of patches in the channel Must 4096 match the widthType channels The color channels for the new channel Must be one of RGBA depth Color depth for the channel Must be one of Byte Half Float color Default color for the new channel This 0 5 0 5 0 5 1 is the color that Mari fills the channel with when created This must be entered as a floating value with values from O to 1 for the Red Green Blue and Alpha category The category for the channel When the Custom user selects this category in the Chan nel Presets dialog this channel appears in the list amp TIP If the width and height are greater than a projects maximum resolution Mari creates the channel at the projects maximum resolution Closing block This must be the last thing in the file lt m_Channels gt lt MriSerializableObject gt lt Mari gt Example The default channel presets file is included in Mari in the Media Settings DefaultChannels mtd directory DefaultChannels mtd We recommend you c
365. try enabled only applies to the actual paint strokes If mirroring is used while in Paint Through mode or while using the Clone Stamp tool only the paint strokes are mirrored not the texture being painted through or cloned Paint buffer symmetry also mirrors only the paint buffer it does not project paint onto the opposite side of the geometry The Foundry Mari 2 0v1 104 MARI USER GUIDE THE FOUNDRY 8 TRANSFORMING AND WARPING PAINT Mari lets you transform and distort paint within the buffer with these four tools TIP See Controlling the Way Mari Applies Paint to Your Model for details of how the paint buffer works Transforming You can use the Transform Paint tool to resize and stretch the paint buffer as a whole This lets you the Paint Buffer e resize the buffer either proportionally or stretched e rotate it e or just move it around As you transform the paint buffer its contents that is the paint as it appears on your model changes too For example you can paint a stroke then stretch it rotate it and position it exactly on your model before finally baking it onto the layer VISUAL EFFECTS SOFTWARE TRANSFORMING AND WARPING PAINT 106 Warping Within the Paint Buffer Warping Within The Warp tool lets you warp a selected area within your paint buffer You the Paint Buffer create a warp box a rectangle with between 4 and 64 control points Warp box with four control points Warp
366. ts of doing so provide Licensee with the source code of the LGPL Libraries the LGPL Source in order that Licensee may modify the LGPL Libraries in accordance with the LGPL together with certain object code of the Software necessary to enable Licensee to re link any modified LGPL Library to the Software the Object Notwithstanding any other term of this Agreement The Foundry shall have no obligation to provide Support maintenance upgrades or updates of or in respect of any of the Source Code the OSS Libraries including the LGPL Libraries the LGPL Source the Object or any Modification Licensee shall indemnify The Foundry against all liabilities and expenses including reasonable legal costs incurred by The Foundry in relation to any claim asserting that any Modification infringes the intellectual property rights of any third party SECTION 4 BACK UP COPY Notwithstanding Section 2 Licensee may store one copy of the Software and Documentation off line and off site in a secured location owned or leased by Licensee in order to provide a back up in the event of destruction by fire flood acts of war acts of nature vandalism or other incident In no event may Licensee use the back up copy of the Software or Documentation to circumvent the usage or other limitations set forth in this Agreement SECTION 5 OWNERSHIP Licensee acknowledges that the Software including for the avoidance of doubt any Source Code that is lic
367. ts own internal business purposes and in all respects in accordance with this Agreement b Licensee shall in respect of the Source Code comply Strictly with all other restrictions applying to its use of the Software under this Agreement as well as any other restriction or instruction that is communicated to it by The Foundry at any time during this Agreement whether imposed or requested by The Foundry or by any Third Party Licensor and Mari 2 0v1 The Foundry 405 APPENDIX D END USER LICENSE AGREEMENT End User Licencing Agreement EULA 2 To the extent that the Software links to any open source software libraries OSS Libraries that are provided to Licensee with the Software nothing in this Agreement shall affect Licensee s rights under the licenses on which the relevant Third Party Licensor has licensed the OSS Libraries as stated in the Software documentation To the extent that Third Party Licensors have licensed OSS Libraries on the terms of v2 1 of the Lesser General Public License issued by the Free Software Foundation see http www gnu org licenses Igpl 2 1 html the LGPL those OSS Libraries are licensed to Licensee on the terms of the LGPL and are referred to in this Section 3 2 as the LGPL Libraries The Foundry will at any time during the three year period starting on the date of this Agreement at the request of Licensee and subject to Licensee paying to The Foundry a charge that does not exceed The Foundry s cos
368. ty to select colors from images in the Image Manager or a shelf TIP You can also change the color depth of a channel if you need to See Channels for details VISUAL EFFECTS SOFTWARE About the ColorSpace Toolbar Steps for Managing Colors Pick Colors from Paint on the Model The Foundry MANAGING COLORS IN MARI About the ColorSpace Toolbar The ColorSpace toolbar is provided as an efficient way to apply colorspace conversions and LUTs to the painting displayed on your screen While this functionality is also available from within the Color Manager under the preset ColorSpace color profile the toolbar is conveniently placed to make quick adjustments while painting The ColorSpace toolbar utilizes the OpenColorlO standard originally developed by Sony Pictures Imageworks For a more comprehensive explanation of OpenColorlO including LUT generation and suggested workflow strategies please visit http opencolorio org You can quickly toggle overall color management on off via a button on the toolbar and conveniently load custom color configuration files and custom LUTs There are dropdown menus available for applying colorspace conversions and a number of other controls for finely tuning them To manage the colors you use in Mari follow these steps 1 Pick Colors from Paint on the Model 2 Select Colors from a Picker or Image 3 Set How Colors Are Displayed Onscreen 1 Start Mari and open your project 2
369. u can still paint in the layer as you would normally but Current Paint Target provides you with an easy way to examine your mask in isolation TIP We recommend that you create e mask channels with a white background so you can paint the mask data black e displacement channels with a 50 gray background this corre sponds to the default surface Mari treats darker colors as negative displacement going into the surface and lighter colors as positive dis placement coming out from the surface To make creating masks easier Mari has another function to easily convert between alpha and mask values Mari 2 0v1 227 Layer Groups Mask Groups Flatten Groups The Foundry LAYERS Layer Groups Creating a mask From Alpha does the opposite of a standard mask It converts a layer with alpha values to a black and white mask where the Shade on each pixel is controlled by the alpha on the original layer to give the results shown below Initial channel with Result of alpha values Alpha to Mask Multiple layers can be grouped together either by selecting the existing layers and creating a group with them or by creating a new group without any initial layers and moving layers into them later Layers can also be moved out of a layer group by simply dragging them back to the main layer stack or into another group You can also create mask groups by turning an existing mask into a mask group You must already have a ma
370. ubtle you may need to play around with different settings to get the effect you want When enabled the icon displays in the status bar Clicking this icon as well as the checkbox in the palette disables the depth mask cp TIP For details on creating new channels see Channels EXPERIMENT Experiment with the masking options Create a channel to paN use as a mask then use it to control where you can paint on the model Try setting the falloff options for the edge mask to minimum and maximum values Try setting the falloff options so that the forward facing areas are masked and the oblique areas are paintable Backface Masking To turn the Depth Mask on next to Backface Mask click to turn the toggle on When enabled the i icon displays in the status bar Clicking this icon as well as the checkbox in the palette disables the backface mask The Foundry Mari 2 0v1 CONTROLLING THE WAY MARI APPLIES PAINT TO YOUR MODEL 91 Set the Paint Blending Mode Fractal Noise To turn fractal noise masking on set the options under Fractal Noise Mask Masking 0 500 0 500 0 500 Mask Amount 1 000 e Seed changes the pattern of the fractal noise mask by moving the pattern in 3D space e Contrast controls the level of contrast applied to the fractal noise features to derive the mask e Roughness determines the roughness of the fractal noise features e Size Determines the size of the fractal noise features
371. undaries between patches This is an artifact of the way that Mari handles the edges of patches Do Inverse reverses the gamma conversion That is a higher setting for Gamma results in a more washed out looking image Selecting Use default gamma disables the other controls and uses your default setting for gamma as set in the Painting tab of the Mari Preferences dialog box accessible from the Edit menu Otherwise select a particu lar gamma level FILTERING IMAGES AND PAINT Available Filters FILTERING IMAGES AND PAINT 3 12 Available Filters sRGB To Linear Applies an sRGB to linear col orspace conversion Checking Invert applies a linear to sRGB col orspace conversion Changes the hue saturation To change the hue of the colors set the and value of the colors on the value for Hue This moves the colors around model the color wheel The rotation value is the degree around the color wheel that each color shifts between O and 360 which both correspond to the original colors The options to change the Saturation are e Saturation how large the saturation is Select a multiplier from O to 2 where 1 00 is the original saturation value e Offset an offset value to add to the ini tial saturation value before applying the scale You can also edit the Saturation curve This controls how the filter translates current saturation values to new values For each i
372. ural Sphere procedural LAYERS Layer Types and Examples 261 Cube procedural over layer Object Space Linear Gradient pro cedural over layer Sphere procedural over layer Mari 2 0v1 Tiled UV Grid The Foundry Lets you select an image to tile across the surface of your model This layer is disabled for Ptex channels Blends a seamless UV grid pattern with the shaded surface using the specified Blend Mode Tile Image the location of the image you want to tile across the sur face of your model Rotation Angle Degrees the angle in degrees that the image is rotated by U Offset how much the image is offset by on the U axis V Offset how much the image is offset by on the V axis U Repeat the fre quency at which the image is repeated on the U axis V Repeat the fre quency at which the image is repeated on the V axis Mirror U check to mirror the image on the U axis Mirror V check to mirror the image on the V axis You can control the look of the UV grid by adjusting the Color and Thickness of the pattern as well as the level of Repeat Tiled image UV Grid procedural LAYERS Layer Types and Examples Tiled Image over layer UV Grid procedural over layer Mari 2 0v1 262 UV Linear Gradient The Foundry A procedural version of the Gradient tool for use in UV space Behaves the same as Gradient withou
373. urce data Use the semicolon key to toggle source image tiling on and off Paint Through has two modes e Paint through you hover the image preview over the model and stamp it down onto the surface e Image clone you hover the image next to the model set a source point and clone from that point The Image clone mode is like the normal Clone Stamp tool but you have more control over the source image you can resize stretch and rotate it To lock the model and paint buffer to the source image so that Mari automatically pans or scales the model relative to the image check the Lock Object checkbox in the Paint Through toolbar You can also lock the source image proportions using the Image Scale E2 button so that any changes to scale are applied proportionately to both VISUAL EFFECTS SOFTWARE PAINTING THROUGH AN IMAGE OR GRADIENT 60 axes If Image Scale is off you can alter the image by different amounts on the vertical and horizontal axes As you paint through you can switch images By default when you switch to another source image Mari applies any transformations youve made to the last source image onto the new one For example if you have resized the source image onscreen moved it around or rotated it the next source image appears the same You can control this behavior through the Auto Reset option cp TIP You can change the algorithm Mari uses to clone from a resized texture Set this on the P
374. urntables always rotate around the center of your current view That is the axis for a turntable is a line straight up the middle of the screen in the current view This is in the center of the visible portion of the model You can zoom in on a particular part of a model and create a turntable that focuses on just that part of the model Generating a Render 1 Right click on the projector and select Render Turntable from the drop Turntable down menu The Render Turntable dialog box displays The Foundry Mari 2 0v1 The Foundry PROJECTORS 331 Generate a Turntable from a Projector Set the basic image details e size of the generated images e the amount to Antialias the images e background for the images either grey transparent or the current background in Mari e the number of Frames to generate that is how many images should be in the sequence If you are using animated models or textures and want to render the turntable with the animation check Play Animation This disables the Frames control above because the frame range is taken from the Play Controls palette If you are combining multiple turntables select an Offset This lets you chain together sequences by offsetting the image numbers For example with an offset of O the first image is MariTurntable_1 jpg With an offset of 360 the first image is MariTurntable 36 1 jpg You can use this to generate one sequence of frames for one axis then move your
375. ustments and Procedurals 4 Remove and Disable Layers 5 Add or Flatten Groups 6 7 8 9 Share Layers Cache and Uncache Layers Export and Import Layers Convert Masks This chapter also includes a reference table of Layer Types and Examples 1 Start Mari and open your project 2 Set up the shaders channels and layers as described in Layer Integration on page 223 3 Open the Layers palette e right click on the toolbar and select Layers from the dropdown menu e from the View menu select Palettes gt Layers Mari 2 0v1 LAYERS 234 Add Layers and Masks Add Layers and Masks The Layers palette displays with a default base layer in the layer stack To add a new layer either e from the Layers menu select Add New Layer e right click any layer in the Layers palette and select Add New Layer or e in the Layers palette click A The new layer appears in the layer stack with the paintable layer icon To add a layer mask either e from the Layers menu select Layer Mask gt Add Mask gt Reveal All or Layer Mask gt Add Mask gt From Alpha e right click the desired layer for the mask and select Layer Mask gt Add Mask gt Reveal All or Layer Mask gt Add Mask gt From Alpha or e in the Layers palette click E The layer mask is added to the selected layer with the mask icon next to the paintable icon The Foundry Mari 2 0v1 LAYERS 235 Add Adjustment
376. ution 3 All advertising materials mentioning features or use of this software must display the following acknowledgment This product includes software developed by the OpenSSL Project for use in the OpenSSL Toolkit http www openssl org 4 The names OpenSSL Toolkit and OpenSSL Project must not be used to endorse or promote products derived from this software without prior written permission For written permission please contact openssl core openssl org 5 Products derived from this software may not be called OpenSSL nor may OpenSSL appear in their names without prior written permission of the OpenSSL Project 6 Redistributions of any form whatsoever must retain the following acknowledg ment This product includes software developed by the OpenSSL Project for use in the OpenSSL Toolkit http www openssl org THIS SOFTWARE IS PROVIDED BY THE OpenSSL PROJECT AS IS AND ANY EXPRESSED OR IMPLIED WARRANTIES INCLUDING BUT NOT LIMITED TO THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE ARE DISCLAIMED IN NO EVENT SHALL THE OpenSSL PROJECT OR ITS CONTRIBUTORS BE LIABLE FOR ANY DIRECT INDIRECT INCIDENTAL SPECIAL EXEMPLARY OR CONSEQUENTIAL DAMAGES INCLUDING BUT NOT LIMITED TO PROCUREMENT OF SUBSTITUTE GOODS OR SERVICES LOSS OF USE DATA OR PROFITS OR BUSINESS INTERRUPTION HOWEVER CAUSED AND ON ANY THEORY OF LIABILITY WHETHER IN CONTRACT STRICT LIABILITY OR TORT
377. ution details display underneath The paint buffer has a specific color depth and resolution which controls the color and resolution of the paint as you apply it rather than that of the patches that you re painting onto For instance e If the paint buffer has a color depth of 8 bit 256 colors then that s the maximum number of colors that you can use when painting Even if youre painting onto a patch with a color depth of 16 or 32 bits 65 536 or 16 7 million colors the paint you re applying only has 256 colors e If the paint buffer has a resolution of 512x512 the total buffer as it appears on screen has that resolution Anything you paint in the buffer is at 512x512 Any patch with a higher resolution still only receives the paint at 512x512 On the other hand it s also true the other way around If you re painting onto a 512 x 512 patch with 8 bit color using a buffer at 1024x1024 and 16 bit color Mari still saves the patch at 512x512 8 bit The advantage to using a paint buffer with higher quality than the resulting patches is that you Can overpaint and use the higher quality texture and color depth to ensure good results You can use this to help smooth out transitions between colors preventing stepping or to ensure that your textures are sharp that is at the maximum resolution for the patch Within the buffer you can control the paintable area Mari lets you mask areas on the model Areas covered by the mask cant be
378. want to load The Foundry Mari 2 0v1 MANAGING IMAGES IN MARI 206 Load and Select Images The Image Manager shows a preview of the image s The actual image itself may be larger or smaller than the preview NOTE If you load a layered psd file into the Image Manager each layer is imported as a separate image 3 Under Advanced Options select whether you would like to apply a ColorSpace Conversion Linear to sRGB to the image before you import it and then click Open 4 Click on a preview to view information about that image Information displayed includes e Color Depth e Color Channels e ColorSpace which you can set to either COLOR or SCALAR The Foundry Mari 2 0v1 MANAGING IMAGES IN MARI 207 Load and Select Images e the image height and width in pixels e the path for the source file from which Mari loads the image when you open the project NOTE On Windows file paths have a limit of 32 767 characters in LA length If you load an image into the Image Manager that exceeds this length the message Invalid Image Path is displayed in the Path field This does not affect the image data or its properties and you may continue to use it as normal 5 To remove images from the Image Manager select the image Ctrl click or click and drag to select multiple images and click bl The image s disappear from the Image Manager This has no effect on the image source files it just means youre not using those
379. with either a UV less obj or a ptx file containing geometry metadata e optionally assigning each surface defined in the obj file its own Ptex layout e polygons of arbitrary size and shape in obj files e specifying uniform or worldspace texel density texture resolutions of faces e painting onto Ptex geometry in 3D views VISUAL EFFECTS SOFTWARE Limitations of Mari s GPU Previews with Ptex Ptex Modelling Requirements in Mari The Foundry PTEX 293 Ptex Modelling Requirements in Mari e resizing selected Ptex face textures from 1x1 2x2 for triangles all the way up to 8192x8192 e creating new channels that share Ptex face texture resolutions e exporting a channel to a ptx file with the option to include geometry metadata and face edge adjacency information e importing ptx files into channels that are topologically equivalent e preserving paint in multiple Ptex geometries when creating new geometry versions from obj files provided they are topologically equivalent e Python bindings for Ptex project creation per face operations and import export functionality Refer to the Python HTML documentation within Python gt API for further information e allowing face texture resizing and data format conversion on import Maris implementation of Ptex face texture storage is targeted at the flexibility of face resizing and the rendering preview performance of the GPU Unlike UV maps the locality of faces in
380. with those from the shelf you loaded 8 To export an item from a shelf right click it and select Save Item The Save Item dialog box displays 9 Navigate to the folder where you want to save the item give it a name and click Save Mari saves the item as an msi Mari shelf item file 10 To import an item that s been exported to the Personal Project or a custom shelf right click anywhere in that shelf and select Load Item The Import Shelf dialog box displays Mari 2 0v1 STORING RESOURCES USING SHELVES 1 64 Create a New Shelf Palette 11 Navigate to the folder that contains the msi file you want to import select it and click Open Mari adds that item to the selected shelf r p NOTE Importing custom Photoshop brushes automatically displays them in Mari in a custom shelf For details on importing custom brushes into a new shelf please refer to Import a custom Photoshop brush on page 45 EXPERIMENT Another learning exercise e create a custom shelf g gt e add an item to it e export the item e export the shelf e create another custom shelf e import the item you exported from the first shelf into the second shelf e import all items you exported from the first shelf into the second shelf import shelf e replace all items in the second shelf with the items you exported e from the first shelf load shelf and e delete both shelves Create a New To turn any shelf into a custom palette
381. works you can get on and Start painting 1 Drag your source image from the Image Manager or from a shelf onto the canvas The image floats above the canvas ready to paint through NOTE If you do not have the Paint Through tool active when trying to drag an image onto the canvas from the Image Manager Mari automatically switches you to the Paint Through tool to continue 2 Get the image how you want it Move the image around the canvas Hold down Shift click on the image and drag it Or click on the white square in the middle of the image and drag it Resize the image preserving the scale Hold down Ctrl Shift click anywhere on the canvas and drag Or hold down Shift click on a side of the image and drag it Resize the image in one direction Click on a side of the image and drag it Rotate the image Hold down Ctrl click anywhere on the canvas and drag Or click outside the image and drag Mari 2 0v1 PAINTING THROUGH AN IMAGE OR GRADIENT 65 Paint Through an External Image 3 If you just want to stamp the image straight onto the model press apostrophe Mari stamps down the image as it is currently floating over the model onto the surface Model before painting Texture stamped down 4 To paint using the brush just click and drag to paint normally As you paint your brush paints down the texture from the image at the point you re painting Model before painting Texture pain
382. works like the Clone tool but blends in the edges of the cloned selection Put simply it lets you grab paint and move it around on the surface automatically blending in the edges as you go Original surface Mole cloned and moved broken veins moved The Towbrush has three modes allowing you to e Clone clone from the selected region to another part of the surface e Heal overwrite the selected region with another part of the surface e Move Feature swap the contents of the selected region with another area on the surface There are limits to the amount of blending the Towbrush can do as with the Healing Brush in Photoshop it s not magic But it s very good at working with surfaces with regular textures such as skin rock stone and so on Steps for Towing To tow paint around on the surface follow these steps Paint 1 Select and Tow Paint VISUAL EFFECTS SOFTWARE Select and Tow Paint The Foundry TOWING PAINT AROUND 120 Select and Tow Paint Start Mari and open your project If you have any unbaked paint on your model either bake it or clear the buffer The Towbrush only works on baked paint Click to select the Towbrush Ey tool If it s not visible show the Tool Properties toolbar You can select the tool by clicking the icons Select the mode from Clone clones from the selected region to another part of the surface This is the default mode Heal overwrites the selecte
383. y for unauthorized disclosure of Confidential Information and that The Foundry shall be entitled without waiving any other rights or remedies to such injunctive or equitable relief as may be deemed proper by a court of competent jurisdiction SECTION 15 INSPECTION AND INFORMATION Licensee shall advise The Foundry on demand of all locations where the Software or Documentation is used or stored Licensee shall permit The Foundry or its authorized agents to inspect all such locations during normal business hours and on reasonable advance notice The Software may include mechanisms to collect limited information from Licensee s computer s and transmit it to The Foundry Such information the Information may include details of Licensee s hardware details of the operating system s in use on such hardware and the profile and extent of Licensee s use of the different elements of the Software The Foundry may use the Information to a model the profiles of usage hardware and operating systems in use collectively across its customer base in order to focus development and support b to provide targeted support to individual customers c to ensure that the usage of the Software by Licensee is in accordance with this Agreement and does not exceed any user number or other limits on its use and d to advise Licensee about service issues such as available upgrades and maintenance expiry dates To the extent that any Information is confidential to L
384. you can do the following Increase or decrease press the Up or Down the number of control arrow keys W points up to 64 Move a single control click and drag it point Move multiple control click and drag out a rect points angle covering the control points then click one of the points and drag it the other points follow The Foundry Mari 2 0v1 The Foundry Rotate around the hold down the Windows central pivot meta key then drag one Or more points Move the central pivot click and drag it Be careful to click on the pivot point the big circle rather than the central control point Remove the current press apostrophe warp TRANSFORMING AND WARPING PAINT Move or Transform Paint Mari 2 0v1 112 TRANSFORMING AND WARPING PAINT 113 Pull Smudge Grow and Shrink Paint 5 To complete the warp do one of the following e draw a new warp box remember to hold down Shift when dragging to create the new box e change to another tool or e bake the paint TIP You cannot undo individual stages of a warp You can only undo the warp as a whole EXPERIMENT Have a play with the warp tool yas Try e moving one point clicking and dragging to select two points then moving them together e using the Windows meta key to rotate points Pull Smudge 1 The effects of the Slerp tool can be quite subtle so we recommend you G d Shrink use a sample picture to see them clearly Use

Mari 2.0v1 User Guide

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