Arnold影视级灯光渲染教程 - ARN201 Real World Lighting and Rendering

Arnold影视级灯光渲染教程 - ARN201 Real World Lighting and Rendering with Arnold - FXPHD

使用软件：Arnold、Maya
项目文件：包含
教程大小：2.09 GB

[attachimg]94331[/attachimg

]

Solid Angle's Arnold 是视觉特效行业的顶级渲染引擎之一。因为它是在1999年阿诺德已经用无数的广告片，专题动画和电影，其中包括对10部电影，包括正在使用的10部电影的7目前的短名单的视觉效果奥斯卡7使用初始版本“烤关“这是引力所使用的唯一的渲染器，并主要呈现在环太平洋地区，星际迷航陷入黑暗和孤独的游侠，以及所使用的极乐世界，钢铁侠3，雷神和大段：黑暗的世界。
Solid Angle's Arnold is one of the visual effects industry's top render engines. Since it’s initial release in 1999 Arnold has been used on countless commercials, feature animations and movies, including being used on 7 of the 10 films including being used on 7 of the 10 films currently on the short list for the Visual Effects Oscar “bake off”. It was the sole renderer used on Gravity, and primary renderer on Pacific Rim, Star Trek into Darkness and The Lone Ranger, as well as being used for large sections of Elysium, Iron Man 3, and Thor: The Dark World.

阿诺德是一个完整的光线跟踪/全球照明解决方案，物理为基础，并利用蒙地卡罗路径追踪技术。这种强力的方法使阿诺德快速，高效地处理非常大的几何形状套，不像之前需要渲染，甚至可以开始进行缓存光子贴图或点云渲染等。例如阿诺德提供的百万灯（用于电视节目“皮肤”，通过视觉特效的磨坊），并达到了惊人的50000亿多边形的空间站向上的极乐世界（由威士忌树VFX）。
Arnold is a full Ray Traced / Global Illumination solution, Physically-Based and utilizes Monte Carlo Path Tracing technique. This brute force approach enables Arnold to handle very large geometry sets quickly and efficiently, unlike other renderers which need to cache out Photon Maps or Point Clouds before the render can even begin. For example Arnold rendered upwards of 1 million lights (for the TV show 'Skins', VFX by The Mill) and a staggering 5 trillion polygons for the space station in Elysium (VFX by Whiskey Tree).

对于任何打火机，看看开发艺术家，CG总监或通才，阿诺德现在是学习和掌握的重要工具。在这个过程中，我们将涵盖包括照明，着色器，相机，颗粒和Volumetrics，Hair和Fur软件的所有主要领域，当然渲染设置，AOV的和一些技术领域，如利用.LOG的， .ass和.tx文件。在课程结束时，您将有阿诺德一个坚定的认识，以及如何制作快速，高效地美丽呈现。
For any Lighter, Look Dev Artist, CG Supervisor or Generalist, Arnold is now an important tool to learn and master. During this course we will be covering all the main areas of the software including Lighting, Shaders, Cameras, Particles and Volumetrics, Hair and Fur, and of course render settings, AOV's and a number of technical areas such as the use of .log, .ass and .tx files. By the end of the course you’ll have a firm understanding of Arnold and how to produce beautiful renders quickly and efficiently.

该课程是由马特·伦纳德谁一直在3D和视觉特效行业超过20年教。他曾代表无论是在英国和海外的立体角，现在已经用阿诺德超过3年了。他是视觉效果协会的成员，并曾担任过Beta测试的玛雅，武士刀，RenderMan的密语，核弹，当然还有阿诺德。目前，他经营着自己的现场培训公司在英国，也是在视觉特效硕士课程南威尔士大学的主讲师。
The course is taught by Matt Leonard who has been in the 3D and visual effects industry for over 20 years. He has spoken on behalf of Solid Angle both in the UK and abroad, and has now been using Arnold for over 3 years. He is a member of the Visual Effects Society and has worked as a beta tester for Maya, Katana, RenderMan, Mari, Nuke, and of course Arnold. He currently runs his own on-site training company in the UK and is also the primary lecturer on the VFX Masters degree course for the University of South Wales.

class syllabus

Class 1: The World of Arnold. In our first class we briefly cover the history of Arnold, its implementation of Physically Plausible Rendering and how it handles a Linear Colour Workflow. From there we move into lighting, shading and rendering a basic scene enabling everyone to gain a basic understanding of the Arnold workflow and setup.

Class 2: Render Settings. From here we use some predesigned scenes to learn about Arnold’s render settings and how they can be optimized to produce the most realistic results fast and efficiently. We look at Samples, Ray Depth, Motion Blur, System Settings, and Overrides. This will form the basis for all our future classes and lay the groundwork for producing realistic renders in Arnold.

Class 3: Lighting. In our third class we move our attention to lighting. We look first at the extra photographic attributes Arnold brings to pre-existing Maya lights including Degrees Kelvin and Exposure. From there we turn our attention to the extra lights which ship with Arnold, these include Area, Mesh, and IBL (Image Based Lighting). Finally we look at various filters such as Blockers, Gobos and Barndoors.

Class 4: Camera and Per-Object Settings. In our fourth class we start by looking at cameras and the Arnold settings associated with them such as Type, Exposure, Rolling Shutter and Depth of Field. We then transition to looking at Per-Object Settings which enable us to do things such as adjust Shadows, Visibility and Subdivision Settings, and render Curves.

Class 5: Shaders (Part 1). In our fifth class we start a two class study of Arnold shaders. We start with the most common shader, the Standard Shader. From there we look at the Sub-Surface Scatter and Shadow Catcher shaders.

Class 6: Shaders (Part 2) and Textures. In class six, our second lesson on shaders, we examine some of the more utilitarian options including Matte, Motion Vector, Ray Switch, Wireframe, and Utility. From there we look at the various Arnold Textures, Bump and Displacement settings, UserData attributes and the use of MipMaps.

Class 7: AOVs (Arbitrary Output Variables). In our seventh class we take our existing projects and render them out using Arnold's AOVs. These include various Shader passes: Diffuse (direct/indirect), Specular (direct/indirect), Reflection, Refraction, Emission and various Subsurface Scatter passes. We also look at some of the utility passes including: Normal, Point, Z Depth, Motion Vector, Deep and ID. From there we look at how to create custom passes before moving into Nuke 8 to accurately recombine our renders back into the original Beauty. Finally we use a number of the utility passes to add realism to our composite.

Class 8: Particles and Volumetric Fluids. In our eighth class we look at how Arnold works with Particles and Volumetric Fluids. We start by examining the limitations of rendering Particles in Arnold, then move on to looking at Particle Sub-Surface Scattering, Sampler Info, Caching, Motion Blur and finally Instancing. In the second half of the class we turn our attention to Fluids and look at various Sampling techniques, Step Size, and Filter Types.

Class 9: Hair and Fur. In our ninth class we move into looking at Hair and Fur, and more importantly how Arnold Renders them. We cover a host of areas including Modes, MPW (Min Pixel Width), Transparency Depth, and general Optimization and Caching techniques.

Class 10: Miscellaneous Topics. In our final class we look at a mishmash of topics which are important but did not fit in earlier. We look at Stand-ins, Environmental Fog, Atmospheric Volume Scattering, Make .tx, Batch Rendering, .ass files, kick, and the importance of .log files.

谢谢分享~~

谢谢楼主分享

看看，謝謝樓主分享

不错呀，感谢楼主分享

感谢楼主的分享

感谢楼主的分享

谢谢楼主分享

好东西看到不错过

非常感谢楼主的分享！！！！！！！

upupupupupupup

upupupupupupup

非常感谢楼主的分享！！！！！！！

谢谢楼主分享~

谢谢楼主的分享