Maya阿诺德渲染器灯光渲染教程 FXPHD – MYA312 – Advanced Lighting Practices for Maya & Arnold

2021-8-31 11:41 AM 上传

时长 6h 20m 包含项目文件 MP4

标题： FXPHD – MYA312 – Maya 和 Arnold 的高级照明实践
信息：
本课程是关于探索制作级的镜头照明技术，以创造美丽、逼真和忠实的照明。有一些基础技术可以提供帮助，讲师 Philip Maddock 演示了如何创造性地应用这些技术，提升您的照明和渲染图像的质量。

Maddock 展示了如何从现实世界中捕获信息并将这些数据输入到 3D 过程中，可以让您在创建非常逼真的 CGI 方面走得更远。输入真实数据，得出真实结果。照明也不例外，事实上，将此逻辑应用于基于物理的渲染引擎可以很快产生出色的结果。这个想法是抛弃 Maya 和 Arnold 中的默认设置，以获得真正的艺术控制。

该课程分为三个项目，十个班级：

CG 生物肖像照明与真正燃烧的蜡烛。真人光照贴图，巴里林登风格。

CG 产品拍摄的美容照明。使用真实世界的光源实现真实感。

动作镜头的环境照明。配对和投影 HDR 经纬度以实现逼真的交互。

菲利普·马多克 (Philip Maddock) 在电影、广告和音乐视频的视觉特效方面工作了十多年。在过去的七年里，他一直在 The Mill London 工作，目前担任首席 CG 艺术家和拍摄监督。他专注于电视广告，并领导了大品牌项目的工作，如 Playstation、耐克、三星、奥迪、梅赛德斯、BBC 和 Direct Line。他以通过使用专业摄影技术和 VFX 真人拍摄技术将他的 CG 工作置于现实世界而闻名。

第 1 类：设置和真实世界照明
为课程设置颜色处理。探索捕捉真实文字照明的原理并将其应用于 CG，包括图像括号和 HDR 灯。
第 2 类：生物肖像照明，第 1 部分
分解场景并讨论将采用的方法。在查看经纬度图像之前，设置相机取景和动画以赋予镜头一种动态的感觉。探索一些参考资料并讨论烛光的特性。
第 3 类：生物肖像照明，第 2 部分
讨论用于在 Arnold 中拍摄具有足够动态范围的蜡烛火焰实景拍摄的设备。从一组图像创建折衷灯泡的 HDR。
第 4 类：生物肖像照明，第 3 部分
使用我们的烛光实景镜头和我们的其他 HDR 资源来制作场景中的照明。在 Nuke 中进行渲染和调整。这部分包括三部电影。
第 5 类：用于 CG 产品拍摄的美容照明，第 1 部分
检查镜头并讨论使用灯光装置来帮助将光照限制在现实世界中。为我们的柔光箱生成 HDR 图像并演示一种在 Nuke 中测试这些图像中的值的方法。看看我们的环境经纬度 HDR。
第 6 类：CG 产品拍摄的美容照明，第 2 部分
校准我们的光源并使用技术板，包括铬/灰球和颜色图表。将相机投影与阴影着色器相结合，有助于将我们的 CG 集成到场景中。
第 7 类：CG 产品拍摄的美容照明，第 3 部分
在我们的产品镜头中制作灯光。设置渲染层和渲染，然后将渲染放入 Nuke 以添加销售图形并完成拍摄。
第 8 类：动作镜头的环境照明，第 1 部分
与动画卡车一起检查 3D 场景。更深入地了解使用镀铬/灰色球板并使用颜色图表校准多个 HDRI 经纬度。探索如何从 HDRI 图像中移除灯光并生成 LDR 代理图像以加快 Maya 中的工作流程。
第 9 类：动作镜头的环境照明，第 2 部分
使用 360 度投影将上一课准备的图像应用于 Maya 中的场景。向场景中添加更多几何体以提供更多的投影覆盖范围。
第 10 类：动作镜头的环境照明，第 3 部分
烘焙 360 度投影以创建停车场的纹理贴图。添加灯光，使用我们的灰色/镀铬板检查灯光，并准备渲染场景。使用 Nuke 中的最终图像探索合成并讨论结果。

Duration 6h 20m Project Files Included MP4

Title: FXPHD – MYA312 – Advanced Lighting Practices for Maya & Arnold
Info:
This course is all about exploring production-level shot lighting techniques to create beautiful, realistic and faithful lighting. There are some some fundamentals techniques that can help and instructor Philip Maddock demonstrates how to apply these techniques creatively, elevating your lighting and the quality of your rendered images.

Maddock shows how capturing information from the real world and feeding that data into the 3D process can get you a long way towards creating very realistic CGI. Put in real data, get out real results. Lighting is no exception and, in fact, applying this logic to physically-based render engines can produce wonderful results quite quickly. The idea is to throw out the defaults in Maya and Arnold to take real artistic control.

The course is broken down into three projects over ten classes:

CG creature portrait lighting with real burning wax candles. Live-action light maps, Barry Lyndon style.

Beauty lighting for CG product shots. Using real-world light sources for realism.

Environmental lighting for action shots. Paring and projecting HDR lat-longs to allow for realistic interaction.

Philip Maddock has worked in VFX for film, advertising and music videos for more than a decade. For the past seven years, he has been with The Mill London and currently operates as a lead CG artist and shoot supervisor. His focus is on TV advertising and has led work on projects for big brands, such as Playstation, Nike, Samsung, Audi, Mercedes, BBC and Direct Line. He is well known for grounding his CG work in the real world by utilising specialist photographic techniques and live-action shooting techniques for VFX.

CLASS 1: SETUP AND REAL WORLD LIGHTING
Setting up colour handling for the course. Exploring the principles of capturing real word lighting and applying that to CG, including image brackets and HDR lights.
CLASS 2: CREATURE PORTRAIT LIGHTING, PART 1
Breaking down the scene and discussing what the approach will be. Setting the camera framing and animation to give the shot a dynamic feel before looking into lat-long images. Exploring some references and discussing the properties of candlelight.
CLASS 3: CREATURE PORTRAIT LIGHTING, PART 2
Discussion of the equipment used to film live-action of a candle flame with enough dynamic range to light in Arnold. Creation of an HDR of an eclectic light bulb from a bracket of images.
CLASS 4: CREATURE PORTRAIT LIGHTING, PART 3
Using our live-action shot of the candlelight and our other HDR resources to craft the lighting in our scene. Rendering and tweaks in Nuke. Three movies are included in this part.
CLASS 5: BEAUTY LIGHTING FOR CG PRODUCT SHOTS, PART 1
Examination of the shot and discussion about using light rigs to help constrain lighting to the real world. Generating the HDR images for our soft boxes and demonstrating a way to test the values in those images in Nuke. A look at our lat-long HDR of the environment.
CLASS 6: BEAUTY LIGHTING FOR CG PRODUCT SHOTS, PART 2
Calibration of our light sources and working with technical plates including chrome/grey balls and colour charts. Combinging camera projections with shadow shaders to help integrate our CG into the scene.
CLASS 7: BEAUTY LIGHTING FOR CG PRODUCT SHOTS, PART 3
Crafting the lighting in our product shot. Setting up the render layers and rendering, then taking the renders into Nuke to add sales graphics and finish the shot.
CLASS 8: ENVIRONMENTAL LIGHTING FOR ACTION SHOTS, PART 1
Examining the 3D scene along with the animated truck. A deeper look into working with chrome/grey ball plates and using colour charts to calibrate multiple HDRI lat-longs. Exploring how to remove lights from HDRI images and generate LDR proxy images to speed up workflow in Maya.
CLASS 9: ENVIRONMENTAL LIGHTING FOR ACTION SHOTS, PART 2
Applying images prepared in the previous class to te scene in Maya using 360 projections. Adding more geometry to the scene to offer more coverage for the projections.
CLASS 10: ENVIRONMENTAL LIGHTING FOR ACTION SHOTS, PART 3

Baking the 360 projections to create a texture map for the parking lot. Adding lights, check the lights using our grey/chrome plate, and preparing the scene for rendering. Using the final images in Nuke to explore the comp and discuss the result.