10 Classes Project Files Included MP4
Title: FXPHD – VRY302 Photorealism in VRAY for maya
This course focuses on using vray for maya to create a photo realistic scene from a-z. We start by covering set work, making sure our reference, hdri and other details are in perfect order, so we can create a perfect match in maya when we get back to the office. From here, it’s all about shading, lighting, details and more details, before moving into comping the shot, fixing the plate, shooting extra element plates on gopro cameras, and finally delivering the shot.
You will be guided through this by freelance vfx artist Peter Hartwig, who has worked on films, tv and commercials all over the world, at places such as Ghost, Framestore and MPC.
Intro: we have a look at what it is we will be doing. We have a look at the plates, the model and brief. The important part of the lesson is getting everything set up and ready for action, with a clear goal in mind.
On set work. What was covered when shooting. Calibrating the plates and putting together the hdri image that we will be using. We look at getting the environment standin built, and using the hdri to texture this. At the end of the lesson, we have an environment set up and ready to go.
First off there is a quick introduction to de-lensing the plates, and getting them tracked, including a workflow for re-applying the lens distortion. It’s then time to render a nice grey helicopter in the shot to see that all is working as we expect it to.
With all that in place, it’s time to start making the chopper look real! Step one is getting a decent metal material in there, and getting our bump and displacements working.
Next step in shading the helicopter is to get basic colors on there, as well working on speculars and reflections, which will really sell the shot. After this lesson, the helicopter should feel like it is actually in the shot!
Time for color. We start adding color and decals to the bird. This will involve going back to our spec and bump maps, making sure we can ‘feel’ the difference in surface qualities.
Dirty her up. We add weathering, wear and tear. This also includes scratches, exhaust burns, dust and other good forces of nature that has played a part in the helicopters life. We are now entering realism!
Peter was once told by a supervisor on a show he worked on: “now it looks real… go ahead and make it look good”. This is what we do now. Add kick lights, bounces, and everything else we can come up with.
We do a comp of the shot now, and figure out what plates we need to add in there to really sell it. We then shoot those in the studio and comp them in! This could also include rendering out particles for exhaust pipes and other details.
Finishing the shot! Get the last elements in there. Touch up the plate. Camera shake. Grain. etc… they are all our friends!
本课程主要讲述如何使用vray的玛雅人从a 到 z创建场景真实感的一个照片。我们开始通过覆盖的设置工作，确保我们的参考，hdri和其他细节的井井有条，这样我们就可以创建完美的搭配，在玛雅人当我们回到办公室。从这里，它是所有关于遮光、照明、和更多的细节，才能进入野营的一个镜头，固定板，射击的额外元素板gopro相机上和最后交付射击。
你将指导，通过这自由职业者的视觉特效艺术家彼得 ·哈特维希 ·，曾在电影、电视、广告世界各地，在鬼、Framestore和MPC等地方。