第一课:入门,讲解了材质,brdf,还有为什么要在色彩空间中保持线性,还有一个针对灯光师的NUKE介绍,我们会经常的用到它,所以你需要了解它的主要功能。
第二课:看看我们对场景中的照明有多少理解,创建与校准高动态范围环境/greyball/光源,让场景看起来有所改进。
第三课:主要是讲解greyball,当然还会讲解一些第二周没有讲到的东西。
第四课:Convolutions与ARBs,还有它们能让我们做什么。
第五课:对高动态范围图片进行调整,即使这个过程会对我们造成一些问题,
第六课:Referencing与一些流程上的自动化,它是如何出错的,为什么会出错,还有如何解决这些问题。
第七课:反射规则与材质。
第八课:通过金属匹配与调整环境来处理降噪验证各种可能性,从而完成材质的制作。
第九课:渲染。我们的建模师Oliver为我们制作了一个大型的机器,我们要将它渲染出来,或者至少是个开始。我们将经历参考过程来帮助我们管理文件尺寸,并且开始我们的双光源设置过程。
第十课:我们将在这里完成所有部分的制作。涉及到照明策略的选择及其原因,重建地板,还有投射运动阴影的方法,还有进行何种贴图,渲染层,管理passes,将所有的部分合成到一起。
Class 1: Introduction: Week one's video is all about getting up to speed, so we're covering the shaders, a quick brdf tour, projections and why we're going linear with our colourspace. There's also a lighter's tour of Nuke, as we'll be using it quite heavily and its important you know its main functionality.
Class 2: What we know from the set's lighting, and creating/calibrating the HDRI environment/grey-ball/lights, giving us our look-development scene.
Class 3: The grey ball, basically. Week three is mainly covering what wasn't in week two, with week three's original content moved back (it'll be fine). This week it's our approach to the greyball (and the effect of "Canon's look" on our reference photography), plus replacing parts of an HDRI image with CG lights to deal with those sampling issues we're getting when combining really bright HDRIs with finalgather. It will also come to light how handy a spreadsheet is versus a calculator, and how much this course relies on them to solve problems.
Class 4: Convolutions and ARBs, and what they let us do. Week four is all about trying to see how we would finish our look dev scene. We cleanup the hanger HDRI in Nuke, allowing us to make a nice diffuse convolution of the room, and then set up our environment, seeing how we would arrange two spatially aware HDRIs, one for lighting and one for reflections. After that we define the principles of our ARBs based workflow and cover how we would set that up in Nuke.
Class 5: Grading our HDRI, even when we make it difficult for ourselves. This week we've received the plates from Comp for each shot, and we've now got to grade our HDRIs to match them. We're going to work through one particular process to get there, and work around one particular oversight we had on set - a good test for us. We're also going to be working through replicating the lighting size/positions on set, and sticking it all together with our test object & reference shot.
Class 6: Referencing and some minor pipeline automation Week six's big thing is working with Maya's referencing, how it goes wrong, why it goes wrong, and how we fix it. Due to the realities of our model we're going to want to use referencing, so its good to get to grips with how it likes to work. We're also going to be changing our ARBs as Comp has decided it should be done differently, so we're going to look at how we can automate that to make our lives a bit easier. On top of that, there will also be a look at what's coming up in week seven's shaders. This week's file upload is 18 CR2 files covering one angle from the main hanger fisheye, so you can try out other routes/software to making those HDRIs.
Class 7: Reflection rules and shaders: Week seven sees us start to lookdev our shaders, but also gets us up to speed on how real life material reflection values relate to what we can achieve in mental ray, how they are portrayed in optics and what we can do to mimic that (and also what we can't).
Class 8: We finish off our materials development phase by examining the difference between the possibilities we have for matching metals, and adapt our environment to deal with the noise. Its all about getting ready for the final assault on the machine model.
Class 9: Render time… Our modeller, Oliver Kane, has given us our giant machine, so this week we're going to render it - or at least start. We go through our referencing process to help manage file sizes and start our two lighting setups, all of which leads to the week ten finale…
Class 10: The End. Week ten finishes off everything. We cover the lighting decisions and why they've been chosen, reconstruction of the floor, a method for projecting her moving shadow, what texturing we need to do, render layers, utility passes and some quick comps to make sure everything's working. It’s a long one.
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