7 Classes Project Files Included MP4

Title: FXPHD – MYA227 Transitioning from Mental Ray to Arnold

Info:

This new Maya course is specifically designed for artist looking to move from Mental Ray to Arnold. Mental Ray was first bundled free with Maya 4.5 back in 2002, but over the years other renderers such as Arnold have become faster and easier to use. With the release of Maya 2016, Autodesk removed Mental Ray and replaced it with Arnold. The goal of this course is to help artists make the inevitable transition as smoothly as possible by comparing both renderers side by side and showing how to take the knowledge acquired over years of Mental Ray use and quickly transfer it to Arnold.

We have broken the course down into logical sections. The first class hits the ground running by quickly covering all the bases with one straightforward project. From there we slow down and focus on each of the major areas associated with a render engine. Firstly the renderer itself, then shaders, lighting, camera, render passes, AOV, and finally a mixed bag of various built-in utilities and other more technical features and tricks.

The course is taught by Matt Leonard who has been in the 3D and Visual Effects industry since 1990. He has been using Maya since its release in 1998 and Arnold since 2011. He works for Industrial Light and Magic as a Technical Trainer and before that he was the Lead Lighting and Rendering Trainer for MPC. He currently lives in Vancouver with his wife and three kids.

course syllabus

CLASS 1

We start with a basic overview of Arnold for Maya, looking at how it compares generally with Mental Ray and its seamless integration with Maya. From there we jump straight into Arnold creating Shaders, Lights, a Camera, and finally setting up and tuning the Renderer. By the end of this first class you’d have created your first Arnold render.

CLASS 2

All about the Arnold Renderer, its settings and parameters. We run two scenes side by side, one using Mental Ray and the other Arnold focusing on speed and flexibility. In Arnold we specifically look at Sampling, Ray Depth, along with Object Settings and the Region of Interest found within Arnold’s Render View.

CLASS 3

We move our focus to the Shaders of Arnold. We start by looking at the many shaders that ship with Mental Ray and then more on to look at the small but extremely flexible list of Shaders for Arnold. We look at the key areas of the AiStandard shader, Diffuse, Specular, Reflection, Refraction, Bump and more, before looking at the over Shaders for Skin, Utilities and much more besides.

CLASS 4

We look at the differences between Mental Ray and Arnold in the area of Lighting. We delve deep into the main Arnold Area Light, SkyDome Light and Mesh Light. We look at key areas such as Exposure, Color Temperature, Blockers and the like. We also spend some time in Nuke looking at how to adjust an HDRI to get the best out of an our-door screen but adjusting the exposure of the sun to create more realistic shadows.

CLASS 5

We focus on cameras and how in Arnold they closely mimic that of a real photographic camera through way of f/stop adjustments, Rolling Shutter, Depth of Field and Motion Blur. We also look a an number of tricks to help get the best out of the Renderer by adjusting the Camera Samples vs. Diffuse and Glossy.

CLASS 6

We look in-depth at Render Passes and AOV’s. Using a new project we create Passes for all the key Shader types and look at how we can adjust the Data Outputs, Drivers and Filtering. We look at various additional passes such as Depth, Position and Normals. We also spend some time in Nuke looking at the Passes in more depth along with how to rebuild the beauty and use the over AOV’s.

CLASS 7

We cover a mix of extra tools and functions that ship with Arnold. We start by looking at the ‘TX Manager’ used to convert texture files such as OpenEXR’s to Arnold Texture or .tx files. Next we look at the ‘Light Manager’ which can be used to control many aspects of the scene lighting along with enabling the user to create use Lights from within the managers UI. We also look at Rendering Deep EXR’s, working with Stand-In geometry and how you would create Fog and other Environmental effects.

7类项目文件包括 MP4

标题: FXPHD-MYA227 从精神光线过渡到阿诺德

信息:

这一新的玛雅课程是专门为艺术家寻找从精神光线转移到阿诺德。精神射线首先被捆绑了自由与玛雅人4.5 早在 2002年, 但多年来其他器例如阿诺德变得更加快速和更加容易使用。与玛雅2016的发行, 被去除的精神射线和替换它与阿诺德。本课程的目标是帮助艺术家们通过比较两个器的并排, 并显示如何采取多年的心理射线使用获得的知识, 并迅速转移到阿诺德, 使不可避免的过渡尽可能顺利。

我们把课程分成了逻辑部分。第一类是通过快速覆盖所有的基础和一个简单的项目来运行的地面。从那里, 我们放慢脚步, 专注于与渲染引擎相关的每个主要领域。首先渲染器本身, 然后着色, 照明, 相机, 渲染传球, aov, 最后一个混合袋各种内置的公用事业和其他更多的技术特点和技巧。

该课程是由 matt 伦纳德, 谁一直在3D 和视觉效果行业自1990年以来。自2011年以来, 他就一直使用玛雅, 自从1998年和阿诺德获释。他工作的工业光和魔术作为一个技术培训师, 之前, 他是铅照明和渲染教练的 mpc。他目前住在温哥华与他的妻子和三孩子。

课程提纲

1班

我们先从阿诺德的基本概述玛雅, 看它是如何比较一般与精神射线和它的无缝集成与玛雅。从那里我们直接跳转到阿诺德创建着色器, 灯光, 相机, 最后设置和调整渲染器。在第一节课结束时, 你会创建你的第一个阿诺德渲染。

2班

所有关于阿诺德渲染器, 它的设置和参数。我们并排运行的两个场景, 一个使用的精神光线和其他阿诺德专注于速度和灵活性。在阿诺德, 我们特别关注采样, 射线深度, 以及对象设置和在阿诺德的渲染视图中找到的感兴趣区域。

3班

我们把焦点转移到阿诺德的着色器上。我们首先看的许多着色器, 船舶与精神光线, 然后更多地看的小, 但非常灵活的着色名单阿诺德。我们看的关键领域的 AiStandard 着色, 漫, 镜面, 反射, 折射, 凹凸和更多, 之前看的过度着色的皮肤, 公用事业和更多的此外。

4班

我们看看在照明领域的精神光线和阿诺德之间的差异。我们深入钻研的主要阿诺德地区光, 体育馆光和网状光。我们研究的关键领域, 如暴露, 色温, 阻滞剂等。我们也花一些时间在核武器的研究如何调整 hdri, 以获得最好的出我们的门屏幕, 但调整暴露的太阳, 创造更现实的阴影。

5班

我们专注于相机, 以及如何在阿诺德, 他们密切模仿一个真正的摄影相机的方式, 通过 f/停止调整, 滚动快门, 景深和运动模糊。我们还看了一些技巧, 以帮助获得最好的渲染器通过调整相机样品与漫反射和光泽。

6班

我们看起来 in-depth 在渲染传球和 aov 的。使用一个新的项目, 我们创建了所有的关键着色器类型的通行证, 并看看我们如何可以调整数据输出, 驱动程序和过滤。我们看看各种额外的通行证, 如深度, 位置和法线。我们也花了一些时间在核武器看在更深入的通行证, 以及如何重建美丽和使用超过 aov 的。

7班

我们涵盖了额外的工具和功能, 与阿诺德船舶的混合。我们首先查看 "tx manager", 用于将纹理文件 (如 OpenEXR 的图像转换为阿诺德纹理或. tx 文件)。接下来, 我们来看看 "光管理器", 它可以用来控制场景照明的许多方面, 同时允许用户在管理界面中创建使用光源。我们还将研究渲染深 EXR 的, 使用 "备用几何" 以及如何创建雾和其他环境影响。