Lighting La Salle 第一节: 日出/日落

Lighting La Salle Chapter 1: Sunset/Sunrise
Lighting La Salle 第一节: 日出/日落
By Jamie Cardoso
作者：Jamie Cardoso
Software used使用软件:
3ds Max, mental ray
翻译by:yipinsucai.com
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Tutorial/教程
Some distinct characteristics of a "Sunset” condition are the very long and soft shadows, with burnt yellow colors on directly lit areas.
“日落”效果有着一些截然不同的特征，非常长非常软的阴影,被阳光照射到的地方非常的黄。
Most objects affected by the sun rays at this time of the day appear to have a "rim” of burnt yellow color that propagates towards brighter hues of yellow.
大多数物体每天这个时候受太阳的照射，形成一种所有物体的亮部都被镀上一种亮黄色的效果。
Also, due to its low intensity, the overall environment is somewhat darker.
同时,由于它的低强度，整体环境有点暗。
This phenomenon occurs mainly due to the earth's position at that particular time of the day.
这种现象主要发生在一天中地球旋转到特定角度的那段时间。
Mental ray is equipped with all the necessary tools to emulate the above mentioned effects.
Mental ray 拥有实现以上效果的所有工具。
Let's start by opening the Max file.
让我们先打开MAX文件。
Next, open the "render setup” dialog box (press F10).
然后，打开"render setup”对话框（按F10）
In the "common "parameters rollout, pan down to the "assign renderer” rollout and click on the "production” toggle to load the "mental ray renderer”. Choose it and close the dialog box. (Fig.01)
在"common "卷展栏里，向下拉动工具条到"assign renderer” ，在"production” 选择框里选择"mental ray renderer”。
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Fig. 01
Note that the system's unit setup is already set to meters, and the rendering output size to 500x234 pixels. With the image and pixel aspect locked.
注意,系统的单位设置已经设置为米,渲染输出大小设置为500x234。图像的像素比已锁定。
The camera position is also set and locked.
相机位置设置好并锁定。
Next, we are going to create the daylight system, to set the shadow directions.
下面我们设置日光系统，设置阴影的方向。
Make sure you have all four of the viewports available so you can have full control of the daylight system creation.
确保你四个视窗都可见，你可以完全控制日光系统的创建。
Create the daylight system by first clicking on the "create” main tool bar.
点击主工具栏的 "create”按钮。
On the dropdown list, choose lights, followed by daylight system.
在下拉菜单选择灯光，继续选择 daylight系统。
The daylight system creation dialog box should be prompted. Accept it, followed by left clicking and dragging the cursor to start the creation.
将会出现日光系统创建提示窗，选择接受，左键点击并拖动就可以创建日光系统。
On releasing the mouse to complete the compass creation, the mental ray sky dialog should be prompted. Accept it to continue the creation.
释放鼠标来完成创建,mental ray天光对话框应该会出现，选择确定继续创建。
Continue the creation by moving the cursor up or down to set the distance of the daylight object from the compass helper.
向上或向下移动光标设定日光对象的距离。
Once satisfied, simply left click to finish the creation. Click the "select and move” tool from the toolbar to complete and exit the creation. (Fig.02a and Fig.02b)
一旦确定,只需点击左键完成创建。点击“选择并移动”工具完成并退出创建。(Fig.02a和Fig.02b)

Fig. 02a

Fig. 02b
Note that, the” mr exposure” and "mr sky” dialogs will not appear if both of these toggles are not empty.
提示：” mr exposure” 和 "mr sky”对话框将不会自动出现如果他们的选项栏不是空着的。
Now we have the daylight system created we can begin setting the shadow directions.
现在日光系统就创建好了，我们可以继续设置阴影方向。
Prior to that, we are going to disable the final gather, for quick rendering results, and enable the hardware shadings function.
在此之前,我们要禁用最终聚集,为了快速的渲染结果,并启用硬件阴影函数。
Convert the camera viewport from box visual style to smooth + highlights mode.
把相机视图从 box visual style 改成 smooth + highlights模式。
Click on its icon; on the dropdown list, choose the "lighting and shadows” function, followed by "enable hardware shading”. (Fig.03)
点击这个图标，在下拉菜单选择 "lighting and shadows”参数栏，接着选择 "enable hardware shading”. (Fig.03)
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Fig. 03
Next, select the daylight system object and open the "modify” command parameters.
下面，选择日光系统，打开 "modify”工具栏。
By default its position is set to "date, time and location”. Change it to "manual”, and begin moving around the daylight system object.
默认情况下它的位置设置为“日期、时间和地点”。将其更改为“手动”,并开始四处移动日光系统对象。
The sun shadows should be considerably long and of "burnt yellow” colour, to resemble a sunset. (Fig.04a and Fig.04b)
太阳阴影应该相当长,“烧黄”的色彩,才像一个日落的效果。(Fig.04a和Fig.04b)
If you are experiencing difficulties with your graphics card, simply disable the hardware shadings function, and click render (Shift + Q), to see the results.
如果你的图形卡不好,只需禁用硬件阴影函数,然后单击渲染(Shift + Q),以查看结果。
The shadow position seems ok now. The next step is to use a basic material override color to further tweak the daylight system's color and intensity.
影子位置看起来好了。下一步是使用一个基本的材质覆盖整个场景来进一步调整日光系统的颜色和强度。

Fig. 04a

Fig. 04b
Enable the final gather and open the material editor (M).
开启final gather，打开材质编辑器(M)。
Select the basic "wall (pearl finish)” material slot, from the "material editor”.
在材质编辑器的材质预设里选择wall (pearl finish)材质。
This shader has the "ambient/reflective occlusion (3dsmax)” applied to its diffuse toggle.
这个材质有“环境/反射闭塞”应用于其diffuse。
On the "render setup” dialog, open the "processing” rollout and enable the "material override” function.
渲染设置选项里，打开"processing”面板开启 "material override”选项。
Back on the "material editor”, drag and drop the "wall (pearl finish)” onto the "material override toggle. Choose the "instance” copy method, on the "instance (copy) material” dialog. (Fig.05)
回到材质编辑器，拖动 "wall (pearl finish)”材质到 "material override“按钮，选择关联。(Fig.05)
Click render (Shift + Q) to assess the changes.
点击 (Shift + Q)查看效果
Accept to "continue” in the "missing map coordinates” dialog.
如果有提示丢失贴图的对话框就点击继续。
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Fig. 05
The render seems a bit dark still. In the "indirect illumination” rollout; Increase the Final Gather "diffuse bounces” to 1.0.
渲染的场景有一点暗，在"indirect illumination” 面板里，提高最终聚集的"diffuse bounces”到1
Open the "environment and effects” dialog (8), choose the "physically based lighting, indoor daylight” preset, from the "mr photographic exposure control” list.
打开"environment and effects” 面板（8），选择 "physically based lighting, indoor daylight”预设，它在 "mr photographic exposure control”列表里。
Enable the "photographic exposure” function, and set the "shutter speed” to about 90.0.
开启 "photographic exposure”曝光模式，设置快门速度大概到90.
Increase the "shadows” function to about 1.0. This will invigorate the shadows.
提高”阴影“参数到1，这个会提亮阴影。
In the "image control” group, increase the "whitepoint” value to about 9500.0. Note that this value worked best to capture the white points in the scene.
在 "image control”参数里，提高白平衡的值到9500，这个参数可以调节场景的白平衡效果。
In the Physical scale group, enable the "unitless” function, and set it to about 120000.0. Values between 90000.0 and 120000.0 work best.
在物理缩放选项板里，开启 "unitless” 选项，设置大概为120000到90000.
While the daylight object is still selected, open the "modifier” command and increase the "mr sun basic parameter” "multiplier” to about 4.0.
选中日光，打开修改面板，提高"mr sun basic parameter”的值为4.0
The sun's color at sunset is yellowish; to emulate this, disable the "inherit from mr sky” function first.
太阳的颜色设置成淡黄色，为了达到这个，先关闭"inherit from mr sky”选项。
In the "nonphysical tuning” group, increase the "red/blue tint” value to 0.4(equal to a yellowish/reddish colour). Also Increase its "saturation”. To about 1.5 then test render it. (Fig.06)
在 "nonphysical tuning”面板，提高"red/blue tint”的值到0.4（达到一个偏红/黄）的效果，同时提高"saturation”饱和度，大概到1.5，然后渲染。

Fig. 06
The next step is to decrease the sky horizon height and change its color to a stronger blue (next to the windows).
下一步是减少天空在地平线的高度并改变它的颜色到一个更强的蓝色。
Pan down to the "mr sky advanced parameters” rollout; and bring down the horizon line by decreasing its "height” to -1.5.
在修改面板找到 "mr sky advanced parameters”参数栏，改变"height”到1.5这样就降低了天空的水平高度。
To change the sky's colour to a stronger blue, in the "non-physical tuning” group, decrease its "red/blue tint” value to -0.32. Then test render it again. (Fig.07)
下面改变天空的颜色为很强的蓝色，在"non-physical tuning”面板，降低 "red/blue tint”的值到-0.32，再测试渲染。
The next stage is to add portal lights and a "fill” light in the foreground, to help improve further the overall illumination in the scene.
下一步是增加入口光，让前景明亮起来。

Fig. 07
Select the top viewport. On the create command, open the "photometric light” set.
选择顶视图，在创建面板打开 "photometric light”
Click and drag the target light from the object type group to the front viewport, to create it. (Fig.08)
选择并在前视图拖拽target light，就创建好了一个target light。
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Fig. 08
The principle is to create a nice diffused light to emulate light bounces around the designated area.
这个是为了创建一个漂亮的漫射光来模拟光线在指定区域。
The first step is to change some of its default settings.
第一步是改变它的一些默认设置。
Now that the light direction is set, disable the "targeted” function, in the "general” parameters.
现在,光线方向确定了,关闭“目标点”功能,在 "general”参数栏。
This will provide more flexibility when moving/ placing lights in the scene.
这样当你移动放置灯光的时候会更灵活。
Change the "shadows” type to "ray traced shadows”, in the "shadows” group dropdown list.
把阴影类型改成光线跟踪
Ray traced shadows work best with mental ray.
光线跟踪在mentalray的效果是最好的。
In the "light distribution” type group, change it from "spotlight” to "uniform spherical”; to spread out the distribution of light.
在 "light distribution”选项板里，把"spotlight” 改成 "uniform spherical”，为了能让灯光发散传播。
In the "intensity” type, change it to dimming. This function will help control the light intensity.
在 "intensity”类型里，改成dimming，这个有助于控制灯光强度。
Select and move up the light, near the camera's height (i.e. 1.186m).
选择并移动灯光，放到和相机差不多的高度。
Also, open the "mental ray message window”, to monitor the rendering process.
同样，打开 "mental ray message window”，可以监视渲染进程。
Finally, change the "emit light from” function from "point” to "rectangle” type. Rectangle type is highly recommended to control the softness of the shadows (i.e. higher values of length/width= softer shadows). Test render. (Fig.09 and Fig.10)
最后，改变"emit light from”参数，把 "point”改成"rectangle”，rectangle矩形灯非常好用，可以灵活控制灯光的软阴影，（矩形的长宽控制软阴影的强度），测试渲染。(Fig.09 和Fig.10)

Fig. 09

Fig. 10
The scene is still a bit dark; increase its "dimming resulting intensity” values to about 1700.0. Then test render.
场景渲染起来看起来有点暗，提高"dimming resulting intensity”值到大概1700，然后渲染。
The scene now looks much brighter and balanced. Also, the burnt yellow rims around the sunlight's highlights are more apparent now. This phenomenon occurs mainly when the sunlight position is very low.
现在场景看起来亮多了，对比度也好多了。阳光附近也出现了黄色的高光，这种现象一般发生在阳光角度非常低的情况下。
If desired, one can Increase the photometric light's length/width rectangle values, to diffuse the shadows further.
如果需要，可以进一步增加阳光的强度，增加矩形灯的长宽，达到柔化阴影的目的。
The next phase is to add portal lights close to the windows, to emulate diffused shadows from the skylight.
下一步就是要添加靠近窗户的灯,模拟天光的光感。
Select the front viewport. On the create command, open the photometric light set.
选择前视图，打开创建面板的光度学灯卷展栏。
Click and drag the "mr sky portal” from the object type group to the front viewport, to create it. (Fig.11)
点击并拖拽 "mr sky portal”在前视图里来创建它。
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Fig. 11
The next step is to place this "mr sky portal” light close to one of the windows (move+ rotate)and change some of its core parameters.
下面通过移动旋转缩放放置 "mr sky portal”在窗口附近。
Prior to start selecting and moving lights, it's worth enabling the lights "selection filter” from the main toolbar, to facilitate light selections.
选择和移动这些入口灯光，为了方便操作，可以把他们放在选择集里面，选择集在主工具栏上。
Move/rotate and place the "mr sky portal” close to the left window.
移动旋转"mr sky portal”放置在左边窗口附近。
Increase its width/length dimensions to fit the window's size.
修改长宽参数来匹配窗口尺寸。
Since this "mr sky portal” is being created mainly to emulate the diffused shadows, decrease its multiplier value to about 0.5.
到现在为止 "mr sky portal”大致就创建好了，降低它的倍数调节到大概0.5。
Also, change its filter color to match the skylight.
同样把过滤色调节得接近天光。
Enable the "use existing skylight” function to closely match the skylight color.
开启"use existing skylight”以尽量模拟天光的颜色。
Change the shadow samples to 32, to reduce the noise/speckles caused by its shadows in the scene (note that the value of 32 will increase the rendering time slightly however, since the sky portal multiplier value is low, it may balance things).
把阴影采样调到32，用来使阴影更加平滑，注意，32的数值会稍微影响渲染速度，应为入口天光的数值比较低，所以也不会太慢。
"Copy instance” the "mr sky portal” from the left window, to the right window.
关联复制” the "mr sky portal”，从左边的窗口复制到右边的窗口。
Finally, just copy and move the third and last "mr sky portal”. Place it behind the front window and match its dimensions. The renders should now look much better. (Fig.12a and Fig.12b)
最后再复制第三个也是最后一个” the "mr sky portal”放在前面的窗口后面，并且调整尺寸。现在渲染看起来更好了。(Fig.12a 和 Fig.12b)

Fig. 12a

Fig. 12b
With most lights added it is now the appropriate time to add a nice environment image to the background.
灯光加的差不多了现在是时候加一个漂亮的环境/背景贴图了。
A bitmap will be used in conjunction with the current environment's "mr physical sky” shader.
现在环境里是一个"mr physical sky”材质，我们将在里面使用一张位图。
This shader is very good in capturing the true essence of the daylight position.
这个shader在获取真实的天空信息方面很好用。
For example, if the daylight position is low, the "mr physical sky” will add the burnt yellow rim light around the bitmap pixels...which is a very distinctive of the sunset lighting condition.
举个例子，如果日光的位置很低， "mr physical sky”就会自动调节加入的位图的像素变黄，达到夕阳的特殊效果。
Open the "material editor "(M) and the "environment and effects” dialog(8).
打开材质编辑器（M）和环境和特效面板。
Drag and drop the "mr physical sky” toggle onto a slot in the "material editor” dialog.
拖拽 "mr physical sky” 到材质面板里。
Accept the "instance copy” method. (Fig.13)
选择关联复制(Fig.13)
Its parameters should load up.
它的参数就被加载了。
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Fig. 13
Next, we are going to insert a bitmap in its "haze” toggle.
下面，我们在"haze”雾的参数栏插入一张图片。
Disable the "inherit from mr sky” function. It's enabled by default, to link its parameters with "mr sky object” in the scene. Disabling it will break this connection.
关闭 "inherit from mr sky”参数，默认是开启的。它和场景里的"mr sky object”是链接在一起的，禁止这个参数就能断开连接。
To add a bitmap to the sky click on the "haze” toggle.
在 "haze”选项里加入一张图片
In the "material/map browser” dialog choose the "bitmap” option from the list, and "ok” to close it.
在 "material/map browser”里选择位图，然后按确定关闭。
Pick the "outside Big_brighter”.jpeg bitmap.(Fig.14a and Fig.14b)
拾取"outside Big_brighter”.jpeg。(Fig.14a 和Fig.14b)

Fig. 14a

Fig. 14b
The bitmap and its parameters should load up. Its default parameters are set to "use real-world scale”. For better control of most parameters, one has to disable it, by first selecting the "texture” mapping type and disabling the "use real-world scale” function.
位图及其参数应该加载了。它的默认参数设置为“使用真实世界的缩放。为更好地控制大部分参数,必须禁用它,首先选择贴图面板，去掉里面的"use real-world scale”选项。
Next, change the mapping "environment” type. (Fig.15)
改成 "environment”贴图类型。
To quickly tile and centre the environment bitmap correctly behind the windows, we are going to first select and isolate parts of the window area in the scene.
为了快速地调整背景贴图的坐标系，我们单独选择窗户的模型并独立显示。
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Fig. 15
Select and isolate the selected areas around the window area then test render to assess the bitmaps position in the environment.
然后测试渲染，看背景贴图和窗户的关系。
The bitmap doesn't seem to be visible yet; also, the horizon line is not matching with the mr sky object (i.e. -1.5).
看起来看不到那张背景贴图，应该是位图的地平线和mr sky object不匹配。（比如-1.5）
In the material editor, pan down to the "output” rollout and increase the "RGB level” value to 10.0 then test render it again. One can also disable the FG process to speed up the rendering times, if desired. (Fig.16 and Fig.17)
在材质编辑器里，往下拉面板，提高"RGB level”的值到10，再渲染，我们这时候可以关掉FG来提高测试的速度(Fig.16 和 Fig.17)

Fig. 16

Fig. 17
To change the horizon line position; click on the "go to parent” button first, to go back to the main "mr sky” parameters.
下面改变水平纤位置，点击向上按钮回到 "mr sky”参数栏的主界面。
In the "mr sky” parameters, increase the "multiplier” value to about 1.5, to brighten up further the environment map.
在 "mr sky”参数栏，提高"multiplier”的值到大概1.5进一步提高环境贴图的亮度。
In the "horizon and ground” group, match the "horizon height” to mr sky object (i.e. -1.5). This function will subsequently reveal more areas of the bitmap.
在 "horizon and ground”参数里，匹配 "horizon height” 和mr sky object，这个参数将让位图显示更多的出来。
Finally, to add a bit of a yellowish/reddish tint to the sky, go to the "non-physical tuning group and increase the "red/blue tint” value to 0.3 then test render the results.
最后，添加一点黄色/红色调到天空,打开 "non-physical tuning group增加“红/蓝色值为0.3,然后测试渲染结果。
Back in the "haze” bitmap's "coordinates” rollout. Change the mapping from "spherical environment” to "screen” type.
回到 "haze” 参数栏。改变映射从“球面环境“改为“屏幕”类型。
Moreover, through quick test renderings increase the "V” "offset” value from 0 to 0.63; the "U” "tiling” to 2.0 and "V” to 0.3. The environment bitmap should be more visible and centralized now.
此外,通过快速测试渲染增加的“V”偏移值从0到0.63;" U "重复2.0和“V重复 0.3。环境图应该越来越明显,居中了。”
Next, we are going to fine-tune its appearance in the environment with the "ouput” curves. (Fig.18a and Fig.18b)
接下来,我们将调整环境的 "ouput” 曲线。(Fig.18a和Fig.18b)

Fig:18a

Fig, 18b
Pan down to the "output” rollout and check the "enable color map” function.
向下拉动面板到"output”卷展栏，勾选 "enable color map”选项。
Click on the "add point” point button, to add curve points. Tweak and add more points whilst test rendering, to assess the changes. (Fig.19)
点击“添加点“按钮,添加曲线点。修改和添加更多的点同时测试渲染,来评估更改。(图19)
Note how the areas of the environment bitmap close to the sun disk have a rim of reddish/yellowish color around its pixels. To help accentuate this effect, go back to the main "mr physical sky” parameters. In the "sun disk appearance” group, increase the disk and glow intensity values to about 25.0.
注意：为了使环境贴图靠近太阳的位置有一圈红/黄颜色围绕其像素。为了强调这种效果,回到 "mr physical sky” 主参数栏。在 "sun disk appearance” 组,增加半径和发光强度值约为25.0。
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Fig. 19
Next, we are going to test render without the "material override”, and set up for the final render.
下面我们去掉override材质测试渲染，并设置最终渲染。
Disable the "material override” function, in the render setup "processing” rollout.
关闭 "material override”选项，在渲染设置 "processing” 的选项栏。
Enable the FG process and test render. (Fig.20)
打开FG，测试渲染。

Fig. 20
The render is looking reasonably ok now. The next stage is to save up the final gather files and send the final high resolution render.
渲染是看起来好了。下一阶段是保存FG文件并做的高分辨率渲染。
With the FG saved, mental ray will bypass the FG process and concentrate mainly on rendering. This will subsequently reduce the rendering times dramatically. It is highly commended to use one computer only, when executing this task.
当FG存好后,mental ray 会绕过FG过程集中到渲染上。这将大幅减少渲染时间。我们只用一台电脑渲染FG。
Once saved, one can then use multiple computers to reuse the pre-saved FG file to render the image.
一旦保存FG,然后用多台计算机的调用之前保存的FG文件来渲染图像。
Mental ray is very powerful and efficient in enabling users to save the FG file at a small output resolution (i.e. 320x240), and later reuse it for your final high resolution (i.e. 5000x3750), without artifacts.
Mental ray非常强大和有效的地方是能够用户保存小分辨率的FG文件(即320 x240),之后将其重用于你最后的高分辨率的渲染(即5000 x3750),不会出错。
Note that, the camera view, image and pixel aspect output size need to be locked beforehand.
注意,摄像机视图、图像和像素方面输出尺寸需要事先锁定。
Moreover, when network rendering, it's vital to have this pre-saved FG file in a location where other computers can "see” it and reuse it.
此外,当网络渲染时,这是至关重要的,要让其他电脑可以“看见”它和重新用以前保存的FG文件。
With the camera view, image and pixel aspect output size locked, we can now begin setting up the final FG parameters.
相机的视图、图像和像素方面输出尺寸锁定以后,我们现在可以开始设置最后的成品参数。
On "render setup” dialog, under "indirect illumination” rollout, increase the "initial FG point density” value to about 0.7.
在“渲染设置”对话框中,在“间接照明”卷展栏,增加 "initial FG point density”值约为0.7。
This parameter is very useful to add depth to the scene and help correct most lighting artifacts.
这个参数是非常有用的用来增添深度到场景里,能纠正大多数照明缺陷。
The value of 0.7 seemed sufficient for the results desired however; one may tweak these values as desired.
0.7的价值看起来足够了，不过可以根据需要调整这些值。
Note that, higher values will result in higher FG processing time. Default 0.1.
注意,更高的值会导致更高的FG处理时间。默认的0.1。
Increse the "rays per FG point” to 150. The value of 150 is often the minimum required to achieve a nice and smooth interior lighting however, one may tweak these values as desired.
增加"rays per FG point”到150。150的值通常是所需的最低达到完美和平稳的室内照参数,可以根据需要调整这些值。
This parameter helps to improve FG accuracy by shooting rays in the scene. Higher values equate to better results however the FG processing time will increase. Default 30.0.
这个参数有助于提高场景的FG精度。更高的值等于更好的结果不过FG处理时间将会增加。默认的30.0。
The "interpolate over num. FG points” is very useful to correct most FG artifacts however; very high values will result in less depth in the scene.
"interpolate over num. FG points”是非常有益的,可以纠正大部分FG 错误，越高的值会导致越少的场景细节。
Increase the value to 80.Note that, although very useful and effective, this parameter has little or no impact in the rendering time.
将该值增加到80。请注意,虽然非常有用且有效的,这个参数却几乎不影响渲染时间。
The value of 0 enables the mental ray "brute force” rendering ; which essentially renders the scene without the FG pre process (i.e. raw); this will subsequently increase the rendering times dramatically.
值为0使mental ray "brute force”渲染;其本质上渲染场景不用FG处理(即原始);这将大幅增加渲染时间。
On the "processing” rollout, enable the "geometry caching” function. When enabled, this function caches the scenes geometry every time a render occurs.
在 "processing” 卷展栏,打开 "geometry caching” 功能。启用时,该函数将缓存场景物体在每次渲染以后。
For faster render translations; simply lock it to bypass this process. One should only lock it when all geometry changes had been addressed.
为了更快的渲染，这个锁定只是绕过处理模型这个过程。我们应该当所有模型修改都确定的时候才用锁定功能。
To delete any previously cached files, simply click the "clear geometry cached” button, and unlock it.
要删除先前缓存的任何文件,只需单击"clear geometry cached” 按钮,打开它。
Default 50.0 (Fig.21a and Fig.21b)
默认是50.(Fig.21a 和 Fig.21b)
翻译by:yipinsucai.com

Fig. 21a

Fig. 21b
With the above parameters set, it's now time to set mental ray to cache the FG maps.
上面的参数设置好以后,现在是时候来设置mental ray来缓存FG贴图了。
Back on the "indirect illumination” rollout, pan down to the "reuse (FG and GI disk caching)” rollout.
回到"indirect illumination” 卷展栏,拖动到reuse (FG和GI磁盘缓存)“参数栏。
Change the final gather map type to "incrementally add FG points to map files. This function will calculate and save all the final gather points.
改变最终聚集映射类型"incrementally add FG points“。这个函数将计算并保存所有的FG收集点。
Click on the file toggle to set the name and destination of the saved FG file. Save it in the network preferably...as mentioned earlier. The adjacent button(X) enables the user to delete any existing file in the written destination.
单击文件切换到保存的FG文件。它保存在网络路径最好……正如前面所提到的。旁边的按钮(X)允许用户删除任何现有的文件。
Since we know the overall result of the render, it's wise to enable the "calculate FG/GI and skip final rendering function, if desired. This function forces mental ray to compute the Fg process only, skipping the rendering. Some users prefer to see the final result.
既然我们知道大概的总体渲染结果,启用 "calculate FG/GI and skip final rendering” 功能是明智的如果需要的话。这个函数强制mental ray只处理FG,跳过最终渲染。但是有些用户更喜欢看到最终结果。
Finally, click the "generate final gather map file now”, to render. Or alternatively press shift + Q. (Fig.22a and Fig.22b)
最后,点击 "generate final gather map file now”来渲染。或者按shift + q(Fig.22a和Fig.22b)
Once the rendering process is finished; change the final gather map type from "incrementally add FG points to map files” to "read FG points only on existing map files”. This will freeze and reuse the FG map.
一旦渲染过程结束;改变最终聚集映射类型从 "incrementally add FG points to map files” 到 "read FG points only on existing map files”。这将冻结并载入FG贴图。

Fig. 22a

Fig. 22b
Also, lock/freeze the cashed geometry from "geometry caching” function. (Fig.23)
同时,锁定/冻结模型从 "geometry caching” 参数里。(图23)

Fig. 23
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Mental ray is quite powerful in producing glare; camera depth of field and chromatic aberration effects straight from the renderer however, in this exercise we will use 3Ds Max's rendered elements to facilitate adding some these effects in Photoshop.
Mental ray非常强大的另一个地方是生产眩光效果;相机的景深和色差的效果。然而,在这个练习中,我们将使用3ds Max的渲染元素来获得在Photoshop中添加的一些这种效果。
The first element to setup is the Z depth. This element will help to add the camera depth of field in Photoshop, if required.
第一个元素先设置Z深度。这个元素将有助于增加相机的景深效果,如果需要的话。
It is prudent to setup its parameters prior to sending the final render:
渲染之前谨慎地设置它的参数。
In the "render elements” rollout, click the "add” button to open the render elements dialog. Choose the "Z depth” element from the list (Fig.24).
在 "render elements”面板“，点击 "add”按钮打开渲染元素对话框，从列表中选择 "Z depth”。

Fig. 24
The "enable” function needs to be checked.
勾选 "enable”选项。
By default, its file destination path is the same as the render output file.
默认情况下,其文件的输出路径是和渲染输出文件一样的。
The min and max Z values are set from 100 to 300 by default. Tweak and test render with its settings to see what suits best.
最小和最大Z值在默认情况下设置从100到300。测试渲染并调节到最合适的。
It is worth mentioning that one can increase the original Z Depth contrast in Photoshop (i.e. with curves/levels) to expand darker/brighter areas. (Fig.25)
值得一提的是,一个可以增加原Z深浅对比的方法是在Photoshop里调节(例如曲线/亮度对比度)扩大深/亮部的对比。(图25)

Fig. 25
Material and object's Ids elements are equally crucial when sending out the final renders; especially when one is required to address changes quickly. (Fig.26)
材质和对象的id是同样重要的元素，,尤其是当需要面对很快的修改要求时。(图26)

Fig. 26
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One should start tagging the objects and materials from the start of the project; as objects and materials can quickly grow to unmanageable numbers.
应该从一开始就标记物体和材质的ID，当物体和材质会很快多的你难以控制。
Once satisfied with most parameters, one can begin to prepare the scene for final rendering.
一旦满意大部分参数,就可以开始准备最终渲染。
On "common” rollout set the final output size to 3500x1638 pixels. Note that there was no need to render higher resolution, as the render is looking very sharp and without noise.
在 "common”工具栏设置最后的输出3500x1638像素尺寸。注意,没有必要渲染更高的分辨率,只要渲染看起来非常清晰和平滑。
On "render output” group, click on the "files” toggle to choose the file location and format.
在“渲染输出”面板,单击“文件”切换选择文件的位置和格式。
This new location will subsequently alter the original rendered elements location.
这个新路径将随后修改原来的渲染元素的路径。
I personally use "Targa Image file” formats, since all the extra rendered elements are being saved however, a growing number of users are choosing ILM's "OpenEXR image file” format.
我个人使用"Targa Image file”格式,因为所有的额外渲染的元素被保存，然而越来越多的用户选择ILM的“OpenEXR图像文件”格式。
Note that, when opening these files in Photoshop, one will be required to turn its default 32bits/channel mode to 16bits or lower in order to utilize some of the Photoshop's filters and layer adjustments. (Fig.27a and Fig.27b)
注意,当在Photoshop中打开这些文件,你将被要求将其默认的32位通道模式转到16位为了利用一些Photoshop的滤镜和层的调整功能。(Fig.27a和Fig.27b)

Fig. 27a

Fig. 27b
On the "renderer” rollout, increase the soft shadows precision (multiplier) to 4.0.This function will correct any soft shadows artifacts caused by the sun position; at cost of some additional rendering time. Note that this parameter works globally. Otherwise the sunlight's shadow samples would have been more adequate.
在"renderer”面版,提高软阴影精度(倍数)到4.0。这个函数将修正软阴影缺陷，需要一些额外的渲染时间成本。请注意,此参数在全局范围内工作。否则,阳光的影子样本本来可以调的更高。
Increase the "glossy reflections precision (multiplier)” value to 4.5. This function will correct any glossy artifacts, at the cost of some additional rendering time.
增加 "glossy reflections precision (multiplier)”值为4.5。这个函数将修正模糊反射的精度,需要一定的额外的渲染时间。
Also, change the "sampling quality” to 1/16 samples per pixel and the filter type to "Mitchell”, to increase the rendering quality.
同时,改变"sampling quality” 每像素1/16样本，过滤器类型设置为"Mitchell”，以提高渲染的质量。
It is recommended not go higher (i.e. 1/64), especially when the final output size is already big.
建议不要太高(比如1/64),特别是当最终的输出尺寸已经很大了的时候。
With everything set, one can finally click render to see the final high resolution render, from your machine. (Fig.28a and Fig.28b)
一切设置好了，可以最后点击渲染从您的机器看到最后的高分辨率的渲染。(Fig.28a和Fig.28b)
翻译by:yipinsucai.com

Fig. 28a

Fig. 28b
Alternatively, "distributed bucket rendering (i.e. DBR)” or "net render” rendering techniques could be used for those fortunate enough to have additional computers.
另外,分布式渲染(即.DBR)”或“网络渲染“技术可用于那些有幸获得额外效率的电脑。
Distributed Bucket Rendering/分布式渲染
Ensure to use one method or the other, not both at the same time.
确保使用一种方法，不要都用在同一时间。
Also, one should not use this rendering method for animations. It works best with still images.
同样的,不应该使用这个渲染方法渲染动画，它最适合于静态图像。
All files should be (i.e. FG; bitmaps; file output path etc) in a shared drive (not local drives i.e. C drive, etc).
所有文件(比如：FG，位图，文件输出路径等)都在一个共享驱动器(而不是本地驱动器)（网络路径的意思）。
Open the "render set up”, on "processing” rollout, under "distributed bucket rendering” parameters, check the "distributed render” function.
打开 "render set up”,在"processing” 工具栏， "distributed bucket rendering” 栏目里，勾选 "distributed render” 参数。
Click the "add” toggle to add the IP address. The "add/edit DBR” host” dialog box should appear.
点击 "add” 按钮来增加IP地址， "add/edit DBR” host”面板这时候就会出现。
Type the IP address number followed by ok to close the dialog box.
输入IP地址，点确认关闭对话框。
Keep adding as many as available and allowed.
继续增加多个可用地址。
To edit, simply select one machine at time and click edit.
要编辑的话，只要选中一台机器然后点击编辑。
To monitor the rendering process, simply open the "mental ray message window.
要监视渲染进程，只要打开 "mental ray message window”.
Check all its options (i.e. information, progress, debug (output to file), open on error etc). (Fig.29a)
检查所有选项（比如信息，进程，调试，输出路径等等）

Fig. 29a
Net Render/网络渲染
Ensure that all your files (FG; bitmaps; file output path etc) are in a shared drive (not local drives i.e. C etc).
确保你所有的文件(FG;位图;文件输出路径等)都在一个共享驱动器(而不是本地硬盘即.C等)。
Also, the "net render” toggle needs to be checked, and click render. The "network Job assignment” dialog box should be prompted.
同样,"net render” 需要勾选,然后单击渲染。 "network Job assignment” 对话框应该被提示。
Ensure that the "include maps” function is enabled; in case there are any bitmaps or mapping coordinates missing.
确保 "include maps” 功能是启用的，如果有任何位图或映射坐标丢失。
Click "connect”, to see all the available machines in the server. Select the desired machines from the server field name.
点击“连接”,看到所有可用的机器在服务器里表里。从服务器字段名称选择所需的机器。
On the "server usage” group, choose "use selected” to enable only the selected machines to be used.
在"server usage”组,选择 "use selected”使只有被选中的机器被使用。
On the "options” group, choose the "split scan lines” option, followed by clicking on the "define” toggle. The "strips setup” dialog box should be prompted: set it to pixels; the overlap value to 2; the number of strips to 10 and strip height to 48; and click o.k. to close the dialog box. Click submit to render. (Fig.29b)
在"options” 组,选择 "split scan lines” 选项,然后点击"define”切换。"strips setup” 对话框提示:将它设置为像素;重叠值为2,这个数目的10条,带高度至48;并单击ok关闭对话框。单击submit来渲染。(Fig.29b)
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Fig. 29b
Disable the "use map” function and its color swatch to white. This is to make the background color white.
关闭 "use map”参数，它的颜色会变成白色，这样把背景换成了白色。
Keep the image "sampling quality” as before 1/16 samples per pixel and "Mitchell” filter.
"sampling quality”设置1/16， "Mitchell” 过滤方式。
Finally, turn off the exposure controls and click render.
最后，关闭曝光控制然后点击渲染。
Ambient Occlusion (AO)/环境闭塞(AO)
It is common practise to save out the AO as a separate pass, for compositing. This methodology enables users to have full control of its appearance without having to re-render.
这个普通的练习存储了AO作为一个单独的元素用于合成。这种方法允许用户拥有完全控制其外观而无需重新渲染。
Open the "material editor” and choose a completely new material slot by dragging and dropping from one editor slot to another.
打开“材质编辑器”,并选择一个完全新的材质球通过拖拽一个材质球到另一个。
Rename it, and load a new mental shader from the "material/map browser” list. See (Fig.30a and Fig.30b)
重命名,并加载一个新的 mental shader从"material/map browser” 列表。看图(Fig.30a和Fig.30b)

Fig. 30a

Fig. 30b
With the mental ray shader loaded, click on its "surface” toggle to load up the "ambient/reflective occlusion” shader, from the "material/map browser” list.
mental ray shader 加载后,点击它的"surface” 从材质/贴图浏览器列表载入 "ambient/reflective occlusion” 。
Its parameters should load up; change "samples” value to 60; the "spread” value to 7.0 and "max distance” to 0.3.
它的参数应该重新加载，改变"samples”值为60， "spread” 的值为7.0, "max distance” 值为0.3。
Note that these values worked best for the effect intended however; one may try different values, if desired. (Fig.31a and Fig.31b)
请注意,这些值也许不是最好的效果，你可以尝试不同的值,如果需要的话。(Fig.31a和Fig.31b)
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Fig. 31a

Fig. 31b
Next, open the "render setup” dialog and select the "processing” rollout.
下面打开 "render setup”面板选择 "processing”。
Enable the "material override” again, and drag and drop the AO material slot to the "material override” toggle. Choose "instance” method. (Fig.32).
在次开启 "material override”，拖拽AO材质球到后面的栏目里，选择关联复制。

Fig. 32
Disable the FG and open the "environment and effects” dialog.
关闭FG，打开 "environment and effects”面板
Disable the "use map” function and its colour swatch to white. This is to make the background color white.
关闭"use map”参数，把颜色设置为白色，这样背景颜色就是白色了。
Keep the image "sampling quality” as before 1/16 samples per pixel ; "Mitchell” filter and the "soft shadows precision (multiplier)” to 1.0 .
保持图像的 "sampling quality”仍然为1/16，"Mitchell”过滤，软阴影细分倍数为1.
Finally, turn off the exposure controls and click render. (Fig.33a and Fig.33b)
最终，关闭曝光控制点击渲染。(Fig.33a 和 Fig.33b)

Fig. 33a

Fig. 33b
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Photoshop/后期
Photoshop is very powerful and useful when incorporating quick changes and/or effects that would otherwise be time consuming to address in Max alone. Having said that, it is also important to have relatively decent renders from Max. This work process will later prove very fruitful for one's final piece.
Photoshop非常强大的并且很有用,当需要快速改变或做特效,独自在Max完成会很费时间。这么说,同样重要的是,要具有相对出色的max渲染。这个工作流程之后将会证明非常富有成果。
In this final part of the tutorial, we will bring in the main rendered image, along with the pre rendered AO element.
在这一篇教程的最后,我们将导入渲染的图片,以及之前渲染的 AO元素。
Although we had rendered numerous elements, we will be using the AO pass only, for the purpose of this exercise. Open the main render along with the above mentioned element.
虽然我们有大量的元素渲染,我们将只使用AO通过这个练习。打开渲染的图片连同上述元素。
Select the rendered image document; on its "layer” rollout duplicate it, by right clicking and selecting the "duplicate layer” option from the popup list.
选择渲染后的图像的文件;在其 "layer”上复制它,右击,并选择“复制图层“选项弹出列表。
Name it "render”
命名为 "render”
Also, change its original white color to red, by right clicking on the layer and selecting the "layer properties” option from the list. This will help differentiate layers. (Fig.34)
同时,改变原来的层颜色白色为红色,用鼠标右键点击图层,选择“层属性“选项列表。这将帮助你区分层。(图34)

Fig. 34
The next step is to emulate the "bloom” camera effect. Note that this effect could have been easily achieved with mental ray however, we had decided to do it in Photoshop, as it gives us the flexibility to quickly edit/choose the areas affected by this effect.
下一步是效仿 "bloom”相机效果。注意,这种效果就可以在 mental ray 轻松实现，然而，我们已经决定在Photoshop中做,因为它能让我们灵活快速地编辑和选择这种效果。
Open the "channels” dialog and press Ctrl + left click on the "alpha” layer, to select its pixels.
打开“通道”对话框中,按下Ctrl +左键单击“alpha”层,以选择像素。
Note that, the alpha channel came integrated with the TGA rendered file.
注意,alpha通道来是TGA渲染文件自带的。
Now that the alpha channels are selected, Inverse the selection (Shift + Ctrl + I), to select the desired areas.
现在,alpha通道就被选择了，然后反选(Shift + Ctrl + I),选择所需的地区。
Use the "polygonal lasso tool” (L) to subtract (Alt) and/or add (Shift) selection areas for the bloom effect. These areas should be white, preferably.
使用“多边形套索工具”(L)减去(Alt)和/或增加(Shift)选择的选区。这些地区最好应该是白色。
While the selection is still on, save it by clicking the "select” rollout from the main toolbar and choosing the "save selection” option, from the dropdown list.
选择过程中,保存选择范围通过点击“选择”工具从主工具栏,从下拉列表中选择“保存选择”选项。
Name it "bloom”, on the "save selection” dialog, name field.
命名为"bloom”,在“保存所选”对话框中命名。
This new selection should now be automatically added onto the channels list. (Fig.35)
这个新的选区应该自动添加到通道列表。(图35)
翻译by:yipinsucai.com

Fig. 35
Next, while the selection is still on, select the "render” layer, followed by copying (Ctrl + C) and pasting (Ctrl + V) to create a new layer from the selection.
接下来,在选区仍然选中时,选择 "render” 层,然后复制(Ctrl + C)和粘贴(Ctrl + V)创建一个新层。
Change its layer properties colour to blue, and name the new layer "bloom”.
改变其层属性色彩为蓝色,命名新的层为 "bloom”。
Next we are going to apply a nice "Gaussian blur” filter to emulate the bloom effect.
接下来我们要应用一个不错的“高斯模糊”滤镜,模拟 bloom效果。
Duplicate the layer to keep the original copy.
复制图层来保持原始副本。
It is prudent and common practice to retain the original layers prior to editing it.
这是谨慎的操作，编辑原始图层之前最常见的方法。
Click on the "filters” rollout from the main toolbar and choose the "Gaussian blur” filter from the dropdown list.
从主工具栏点击“滤镜”工具,选择“高斯模糊”滤镜从下拉列表中。
The value of 11.1 seemed to have worked best however; you may want to try different values, if desired.
11.1的值似乎效果最好不过,你可以尝试不同的值,如果需要的话。
For future reference, it is always commendable to rename the layer according to the filter applied, plus its values (i.e.” Gaussian blur 11.5”). This will make it easier to remember the original filter applied. (Fig.36)
作为未来参考,值得你根据应用的滤镜重命名该层,加上它的值(例如“高斯模糊11.5”)。这将使它更容易记住最初应用的滤镜。(图36)

Fig. 36
The reflection of the environment on the mirror is not as intense as the front areas of the window. This is probably accurate however; brighter reflections would look better for the sake of the composition.
反射环境的镜子不会和前面的窗口一样清晰。这可能是正确的，然而更亮的倒影看起来会好些。
Select the dodge tool (O) and the "bloom” layer.
选择减淡工具(O)和"bloom”层。
Set the range to "midtones”, click and brush around the relevant areas, until satisfied with the brightness. (Fig.37)
设置“中间调”的范围,点击并在相关区域涂抹刷,直到达到满意的亮度。(图37)
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Fig. 37
Next, we are going to use the "curves” adjustment layer to brighten up the scene a bit.
接下来,我们将使用“曲线”调整图层来照亮场景。
Add the "curves” adjustment layer by clicking on the ""create new fill or adjustment layer” button.
添加“曲线”调整图层,点击"create new fill or adjustment layer” 按钮。
Choose the "curves” from the popup list.
选择“曲线”从弹出的列表。
Add and move points so the brighter areas of the image are increased considerable; and the darker areas slightly.
添加和移动点,画面中的亮部增加一些，暗区域降低一些。
Use the "brush” (B) tool, to mask out over overexposed areas such as the directly lit and overblown areas by the bed side.
使用“画笔”(B)工具来涂抹遮罩,来掩盖过度曝光的部位。
The mask layer works best with black and white colors(X). Black= to omit pixels(X); White= to bring pixels to prominence(X). (Fig.38)
Mask层最适合于黑白颜色(X)。黑色=省略像素(X);白色=将像素来突出显示(X)。(图38)

Fig. 38
Next, we are going to colour grade the image with the "Color balance” and "hue and saturation” adjustment layers.
接下来,我们将用“色彩平衡”和“色调和饱和度”调整层调节颜色。
To capture the true essence of this particular time of the day, we will first add a mix of red and green tones to the image.
为了获得这个特殊的时间段真实的色彩,我们将首先添加一个调节红色和绿色的图层。
Add the "color balance” adjustment layer.
添加 "color balance”调节层。
Increase the red midtone to about +29; and the green to about +12. You may change these values, if desired. (Fig.39)
红色midtone约+ 29;绿色+ 12。你可以更改这些值,如果需要的话。(图39)
The "hue and saturation” adjustment layer will help balance the overall tone of the image.
“色调和饱和度”调整层将有助于平衡图像的整体色调。

Fig. 39
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Add the "hue and saturation” adjustment layer. Decrease the overall colour (i.e. master) saturation to about -33.
The next stage is to tweak with specific colors. The first color to concentrate on is red.
Choose the red colour from the palette list.
Increase its "saturation” to about +35. This parameter will only affect the red colors/tones of the image.
Increase the yellows "saturation” to about +49, to accentuate the yellow tones/colors.
Finally, increase the blues to about +56 and its brightness to +100.
Note that these values can be changed, if desired. (Fig.40a, Fig.40b, Fig.40c and Fig.40d)
添加“色调和饱和度”调整层。减少总的色彩)饱和度到大约-33。
下一步是调节特定的颜色。第一个颜色是红色。
选择红色从调色板中的列表里。
增加其“饱和”到+ 35。这个参数只会影响图像的红颜色。
增加黄色“饱和”到+ 49,强调黄色色调/颜色。
最后,增加蓝色约+ 56和它的亮度+ 100。
请注意,这些值可以被改变,如果需要的话。(Fig.40a,Fig.40b,Fig.40c和Fig.40d)

Fig. 40a

Fig. 40b

Fig. 40c

Fig. 40d
The "sunset” "feel” of the overall image is now more prominent because it had been color graded.
整体图片现在更加突出“日落”“感觉”,因为它的颜色被强调了。
Now is the time to add the AO pass for additional depth.
现在是时候要添加AO来获得额外的细节。
Select the AO document and duplicate it.
选择AO图层并复制
In the "duplicate layer” dialog; under the "destination” group, choose the relevant document (i.e. "Final render.sunset.tga”) destination, and name the layer as AO.
在“复制图层”对话框中,在“目的地”组,选择相关的文档 (即. "Final render.sunset.tga”) 为目标地,并命名为AO层。
This will paste this duplicated layer in the chosen document, with the appropriate name.
这将复制的图层粘贴到这个在选定的图层。
In the "Final render.sunset.tga” document, move down the AO layer to be placed on top of the "render” layer.
在 "Final render.sunset.tga”文档,向下移动AO层放在渲染图层的顶部。
The next step is to blend the AO layer and edit its appearance.
下一步是把混合AO层和调节它的可见性。
Set the AO layer blending mode to "multiply” type. Create a mask for the AO layer, by clicking on the "add vector mask” button. This will help edit this layer with the brush tool (B).
设置AO图层混合模式设置为 "multiply” 类型。创建一个mask给AO层，通过点击 "add vector mask”按钮。这将可以编辑这个层用画笔工具(B)。
While the AO layer mask is selected, enable the brush tool (B) and begin brushing around the areas of the image that you desire to omit or have less prominence. The mask layer works best with black and white colors(X). Black= to omit pixels(X); White= to bring pixels to prominence(X).
选中AO图层蒙版时，则可以选择启用画笔工具(B),并开始涂抹周围区域的图像，哪里想增加哪里想减少都可以用画笔来控制。mask层最适合于黑白颜色(X)。黑色=省略像素(X);白色=将像素来突出显示(X)。
Moreover, the opacity function on the main toolbar helps to set the visibility of the brush strokes.
此外,主工具栏上的不透明度参数是用来设置画笔的透明度。
Finally, one can duplicate the AO layer to accentuate its appearance. (Fig.41)
最后,可以复制AO层来强调其细节。(图41)
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Fig. 41
Sun glare is often associated with the sunsets.
太阳眩光通常伴随着日落。
When used appropriately, it can add a lot to an image.
使用得当的话,它能为一个图像增色不少。
Open the PSD file under the name of "Sun Glare.psd” and drop it at a lower/mid level of the window, on right hand side of the image.
打开PSD文更名为“太阳眩光.psd”并把它放在图片的右边。
The window on the right hand side was chosen, because it matches with the original position of the sunlight's position in the Max scene.
右边的窗口被选中,因为它的位置和场景里的太阳的位置最接近。
Ensure that, it's on top of all layers of the document.
确保,它在所有层的顶端。
Use the "linear dodge (add)” blending mode to help blend it; and edit "transform” it to occupy a small portion of the window.
使用 "linear dodge (add)”的混合模式来帮助混合;并且编辑它使它占据一小部分的窗口。
The final result should be a nice sun glare bursting through the window.
最后的结果应该是一个不错的太阳眩光直射冲破窗口。
Once satisfied with the image, save it as TIFF, if desired.
一旦图像满意了，将其保存为TIFF,如果需要的话。
Tiff file formats are highly recommended by the reprographics, as these file types retain the original quality of the render. JPEGs should only be used for email and web purposes. (Fig.42)
Tiff文件格式是强烈推荐的在打印领域。,因为这种文件类型保留原有的质量的渲染。jpeg文件应该仅仅用于电子邮件和网络的目的。(图42)

Fig. 42


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