The word "render" isn't unique to the vocabulary of computer graphics. We can talk about a "watercolor rendering," a "musical rendering" or a "poetic rendering." In each of these, there is a transformation from one domain to another: from the landscape before the painter to color on paper, from musical notation to sound, from the associations in a poet's mind to a book of poetry. Figure 1.1: Czar's Waiting Room, Main Railway Station, Helsinki, Eliel Saarinen, 1910, watercolor. But the type of rendering that may come closest to what we mean when we talk about rendering in computer graphics is in architecture. Geometric blueprints and technical specifications of building materials are transformed in the architectural rendering into a picture of the building 1 Introduction as it will appear when construction is complete. In addition to the designs of the building's geometry and its visual characteristics, the artist chooses a point of view to depict the scene in perspective. This is a transformation of a description of imagined space into a picture of that space. In a watercolor by architect Eliel Saarinen (Figure 1.1), the effect of light on marble is demonstrated in a way that would be lost in even a careful reading of blueprints and descriptions of materials. A mere brushstroke of a particular color in a particular place paradoxically transforms the dull matte appearance of watercolor into the sheen of polished stone.

Synopsis

The current documentation of mental ray in Rendering with mental ray and Programming mental ray is uniquely thorough in its description of mental ray's features and programmable extensibility. However, with the increasing use of mental ray by artists and programmers in visual effects and broadcast production, a different description of mental ray's extensibility is required, an approach that takes the aesthetics or rendering into account. "Writing mental ray shaders" describes the varieties of shader programming from the point of view of increasing perceptual complexity: from color, to the effects of light, to the manipulation of shape, to the output of the final image. This is not a documentation organized around the structure of software, but rather based on our perception of the visual world. Other features of the book are also designed for programmers in production. Many intermediate programmers work from examples they use as templates for their own programs. This book includes many example shaders, including the simplest shader possible in each category that can serve as a starting point for further customization.

These examples will also provide a basis for training artists interested in extending their technical skills by learning how the write shaders for mental ray.

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