{"title":"使用Maya和Photorealistic Renderman在UV空间中控制纹理推动和交叉接缝","authors":"B. Andersen, Kevin Noone","doi":"10.1080/10867651.2004.10504902","DOIUrl":null,"url":null,"abstract":"Abstract This paper explores the methods used to warp the skin around the transition from the shape-shifting character in X-Men 2, Mystique, using Photorealistic Renderman. We begin by extrapolating a two-channel vector map from the single-channel texture map that was used to drive Mystique's transition. We show how to use the vector maps to warp the texture across borders in separate UV spaces. Finally, we show how to solve the problem of antialiasing across the separate UV spaces.","PeriodicalId":318334,"journal":{"name":"Journal of Graphics Tools","volume":"15 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2004-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"4","resultStr":"{\"title\":\"Controlled Texture Pushing and Crossing Seams in UV Space Using Maya and Photorealistic Renderman\",\"authors\":\"B. Andersen, Kevin Noone\",\"doi\":\"10.1080/10867651.2004.10504902\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract This paper explores the methods used to warp the skin around the transition from the shape-shifting character in X-Men 2, Mystique, using Photorealistic Renderman. We begin by extrapolating a two-channel vector map from the single-channel texture map that was used to drive Mystique's transition. We show how to use the vector maps to warp the texture across borders in separate UV spaces. Finally, we show how to solve the problem of antialiasing across the separate UV spaces.\",\"PeriodicalId\":318334,\"journal\":{\"name\":\"Journal of Graphics Tools\",\"volume\":\"15 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2004-01-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"4\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Journal of Graphics Tools\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/10867651.2004.10504902\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Journal of Graphics Tools","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/10867651.2004.10504902","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Controlled Texture Pushing and Crossing Seams in UV Space Using Maya and Photorealistic Renderman
Abstract This paper explores the methods used to warp the skin around the transition from the shape-shifting character in X-Men 2, Mystique, using Photorealistic Renderman. We begin by extrapolating a two-channel vector map from the single-channel texture map that was used to drive Mystique's transition. We show how to use the vector maps to warp the texture across borders in separate UV spaces. Finally, we show how to solve the problem of antialiasing across the separate UV spaces.
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