Multi-pass rendering (MPR) is the secret workhorse of all 3D. It allows the artist to produce effects and a wide range of treatments that could not otherwise be created. More importantly, it gives the production team the power to save tremendous amounts of time, and money. Multi-pass techniques are so powerful that it is often said they are more important than the choice of 3D package. There is more than a little truth to that, however Maya adds many tools that make it uniquely suited for industrial strength MPR projects.

This MediaBook is perhaps the most comprehensive study available on this very important topic. In it, the reader will find an exhaustive study on the topic's wide range of applications:
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BONUS: Andrew Chapman and the RENDERPASS Plugin
Andrew Chapman (Senior Technical Director, Framestore CFC) is the creator of the acclaimed RenderPass plugin for Maya which offers the animator powerful multipass controls. The fully functional version of his plugin is included free with this product (Win/ OS X/Linux versions).

Andrew has created introductory and advanced video tutorials for the Software section of this MediaBook. He explains advanced use of his software in solving heavy production problems for film and commercial work.   

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BONUS: Oscar Nominee Tomek Baginski of Platige
Tomek Baginski is the genius animator/creator of last years hugely successful "The Cathedral" animation short which swept most of the wards shows including Best of Siggraph, and an Oscar Nomination. Tomek has contributed a segment discussing how he relied on MPR and compositing tricks and techniques to get The Cathedral done. He has also included the After Effects compositing files from the Cathedral's climactic scene. These are the actual files used to make the short film, in full 2k resolution.

Introductory discussions on the benefits of MPR, compositing and post production. Covers the strategic advantages of 2D when used in conjunction with 3D source material, and touches on what can and cannot be isolated for use in these projects.

Presented within the Maya interface for accelerated learning benefits, this section offers the reader a full breakdown of every tool in Maya which can be used to further an MPR project. Using video, animation and advanced sidebars, the material's level of sophistication increases as the reader progresses. One section builds upon the last, benefiting both newbies and the experienced professional.

Maya has a limited number of tools specifically designed for multi-pass rendering. They are very good, but can only take the animator to a certain point. The greatest benefits are realized when one understands how powerful more common controls can be for MPR when incorporated into the right workflows. Professional MPR workflows often include tools and toolsets that we do not associate with MPR, yet can be vital to its success.

The section starts off covering fundamental tools like Alpha channel controls, then moves onto discussing the full range of tools in relation to Visibility, Lights, and Maya's built-in MPR toolsets. It goes on to an in-depth exploration of the more advanced tools like all Matte Opacity modes, advanced Shader/Texture nodes like UseBackground, and Ramp. Special attention is given to the new Photoshop PSD node that offers the MPR artist and all Maya users extraordinary new workflows.

Section two also looks at exotic separation methods using depth of field, clipping planes, and texture based selection sets/MPR masking techniques using both 2D and 3D maps. Of particular interest is the explorations of ways to automatically animate the masking process to sync up to other actions in the scene.

After hours of study material and tutorials, this section finishes with a single comprehensive tutorial that breaks down a scene into all of its component parts. The reader learns how to manually extracted each layer of information from the scene, and then rebuild it all in the compositing application. Every animator will find the new level of control immediately addictive and forever change the way they work.

This tutorial's focus is on putting into practice many of the techniques discussed in the previous section. It takes a basic 3D scene that includes many typical attributes, and proceeds to explore and discuss the wide ranging ways we can extract all of the attributes into discrete and renderable layers.

Included is a fully working built-in compositor interface for learning and experimenting. This will allow the testing of the various layers extracted in this exercise, and offers real-time results for instant feedback.

Building upon the groundwork already covered, this part of the MediaBook dissects ways of implementing various attributes to best advantage. Some of the more exotic treatments include:

• Simulating 3D texture mapping in a 2D compositor application
• Ways to use duplicate passes of attributes to greater advantage
• Extensive coverage of Alpha channel and Transparency controls
• Techniques for manually creating shadows and baked textures
• Motion Blur and Depth-of-Field treatments
• How to create a functional 3D scene in a 2D application! [see sample]

Maya | Multi-Pass Rendering
Screenshots & Samples

Simulating 3D in 2D	Built-in Compositing Engine
Special Treatments	Real-Time Lighting Rig