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[其他教程] fxphd – Introduction to V-Ray 3 for Maya

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发表于 2017-1-6 16:54:48 | 显示全部楼层 |阅读模式
fxphd - V-Ray 3 for Maya简介
0042157f.jpg
英语| 2014年10月| mp4 | H264 1440x810 | AAC 2 ch | 10小时57分钟| 4.02 GB
电子学习课程编号:VRY102
本课程是介绍如何使用V-Ray 3.0 Autodesk Maya和3DSMax。本课程将重点介绍让您照明几个项目,为您提供使用V-Ray的经验。课程的结束将集中在将课程内容与两个案例研究项目相结合,使您能够在单个工作流中使用多个课程点。

在本课程结束时,您将熟悉V-Ray的工作原理,您将能够:
•使用V-Ray着色器使用各种材质外观遮蔽对象。
•使用灯光以及V-Ray太阳和天空系统照亮您的场景。
•使用全局照明渲染,识别不同的引擎组合以及如何减轻渲染噪声。
•通过Maya和V-Ray渲染元素输出渲染层,并了解如何在After Effects中将元素组合在一起(返回美容合成)。
课程纲要

第1类
我们谈论一般的VRay UI,以及创建灯光和VRay材料(VRayMtl)。我们采用mental ray的现有场景设置,并将其转换为VRay。我们将完成一半的场景转换:将平面,地板和墙壁变成VRay材质,并放入VRay球体和矩形灯来代替Maya点和区域灯。

第2类
我们完成将mental ray场景转换为VRay并进入VRay位移(提前!)以及使用和不使用HDR的Dome灯。我们也更多地参与VRay材料设置和他们做什么。

第3类
我们将把灯罩转换成VRay材料,包括制作一个金属着色器和一个双面着色器,让灯罩以半透明的光线发光。我们还将导入玻璃对象到场景中并探索制作折射着色器。最后,我们将打开GI,并快速查看当我们在场景中反射光时照明如何受到影响。

第4类
我们将用低分辨率模型替换高分辨率几何体,并在渲染时使用细分,以使低细分体看起来更好。我们还将仔细观察在VFB中调整图像颜色和级别。最后,我们将比较不同的GI引擎组合,并了解如何识别我们的渲染中噪声的类型和如何处理噪声。我们当然会看看所有在Maya以及3ds Max。

第5类
我们将仔细看看色彩空间,以及如何在VRay for Maya以及3ds Max中正确使用Linear。我们将使用一些技术,使我们的渲染更好的VRay物理相机,然后进入一个新的场景,以快速查看太阳和天空系统以及VRay的汽车漆着色器。

第6类
当我们进入这个VRay课程的下半部分,我们将介入中间VRay工作流。我们将深入研究如何使用SubSurface Scattering with VRay FastSSS2 Material以及如何使用地图控制它。目标是使一个简单的外来人物看起来像一个软橡胶玩具。我们还将使用V-Ray Blend Material进一步了解它,并了解如何使用地图控制Blend和FastSSS2材质。我们还将使用V-Ray RT来显示我们的工作,我们在与Maya视口以及3ds Max QuickShade的材料工作进展。

第7类
当我们进入这个VRay课程的下半部分,我们将介入中间VRay工作流。我们深入了解V-Ray 3.0的新皮肤材料与复杂的外星人胸围模型。 Dariush会带你通过自己的看起来开发工作流,我们看看如何使用只使用已经绘制的基本漫射地图,使用Photoshop生成不同的子皮肤纹理地图。我们将这些皮肤贴图(以及法线和凸起)放入皮肤材料中,在第一类皮肤材料中创建一个漂亮的外来肉体外观,并学习关于皮肤材料的一切。

第8类
我们将继续使用中间VRay工作流程,因为我们进一步发展这个人物胸围的外观。我们继续深入研究V-Ray 3.0的新皮肤材料。我们用混合材料添加第二层“外壳”到外来皮肤,为眼睛创建着色器,最后看看使用V-Ray Fur为外星人的脸部添加一些晶须和头发。我们还将在这个过程中看看V-Ray头发材料。

第9类
我们将继续使用中间VRay工作流程,因为我们进一步发展这个人物胸围的外观。我们进一步深入与V-Ray 3.0的头发材料。我们将为角色创造头发,看看V-Ray Hair 3 Material如何工作得更深。我们还将在角色的现有皮肤上添加一个酷炫的灯光效果。最后,我们将看看VFB中的镜头效果控件,为渲染添加一个绽放和眩光镜头效果。

第10类
我们将继续使用中间VRay工作流程,因为我们完成了这个人物胸围和渲染在pa的外观
fxphd - Introduction to V-Ray 3 for Maya
English | October 2014 | mp4 | H264 1440x810 | AAC 2 ch | 10 hrs 57 min | 4.02 GB
eLearning | Course Number: VRY102
This course is an introduction to using V-Ray 3.0 for Autodesk Maya and 3DSMax. The course will focus on getting you lighting a few projects to give you experience in using V-Ray. The end of the course will focus on putting course content into action with two case study projects to enable you to put multiple course points to use in a single workflow.

By the end of this course, you will be familiar with how V-Ray works, and you will be able to:
•Shade objects with various material looks using V-Ray shaders.
•Use lights as well as the V-Ray Sun and Sky system to illuminate your scenes.
•Render with Global Illumination and discern the different engine combinations and how to mitigate render noise.
•Output render layers through Maya as well as V-Ray Render Elements and understand how to composite the elements back together (Back to Beauty comping) in After Effects.
course syllabus

Class 1
We talk about general VRay UI, as well as creating lights and the VRay Material (VRayMtl). We take an existing scene setup with mental ray and will convert it to VRay. We will complete half of our conversion of the scene: turning the plane, floor, and walls into VRay materials and putting in VRay sphere and rectangle lights in place of the Maya point and area lights.

Class 2
We finish converting the mental ray scene to VRay and get into VRay displacements (ahead of schedule!) as well as the Dome light with and without HDR use. We also get more involved with VRay Material settings and what they do.

Class 3
We will convert the lampshade over to VRay materials, including making a metallic shader and a 2-sided shader to let the lampshade glow with light with a translucence. We will also import glass objects into the scene and explore making refractive shaders. Lastly we'll turn on GI and take a quick look at how the illumination is affected when we bounce light in the scene.

Class 4
We will replace hi-res geometry with lower res models and use subdivisions at render time to make the low tessellation look better. We'll also take a closer look at adjusting image colors and levels in the VFB. Finally, we'll compare different GI engine combinations and learn how to identify the type of and how to take care of noise in our renders. We'll of course take a look at all that in Maya as well as 3ds Max.

Class 5
We will take a good look at Color Space and how to work in Linear properly in VRay for Maya as well as 3ds Max. We will use a number of techniques to make our render nicer with a VRay Physical Camera before moving on to a new scene to get a quick look inot the Sun and Sky system as well as VRay's Car Paint shader.

Class 6
As we enter the second half of this VRay course, we'll tread into intermediate VRay workflows. We'll take an in-depth look into using SubSurface Scattering with VRay FastSSS2 Material and how to control it with maps. The goal is to make a simple alien figure look like a soft rubber toy. We'll also use the V-Ray Blend Material to further it's look, and see how to use maps to control the Blend and FastSSS2 materials. We'll also be using V-Ray RT to visualize our work as we progress with the material work with Maya viewports as well as 3ds Max QuickShade.

Class 7
As we enter the second half of this VRay course, we'll tread into intermediate VRay workflows. We feature an in-depth look at V-Ray 3.0's new Skin Material with a complex alien bust model. Dariush will take you through his own look development workflow as we take a look at how to generate different sub-dermal texture maps using Photoshop using just a basic diffuse map that has been already painted. We'll take those sub-dermal maps (as well as Normals and Bump) into the Skin Material to create a nice alien flesh look in the first class of two, and learn everything about the Skin Material.

Class 8
We are continuing with intermediate VRay workflows, as we further develop the look of this character bust. We continue with our in-depth look at V-Ray 3.0's new Skin Material. We add a second layer of "shell" to the alien skin with the Blend material, create shaders for the eyes and finally look at using V-Ray Fur to add some whiskers and hair to the alien face. We'll also be looking at the V-Ray Hair material in the process.

Class 9
We are continuing with intermediate VRay workflows, as we further develop the look of this character bust. We go further in-depth with V-Ray 3.0's Hair Material. We will create hair for the character and see how the V-Ray Hair 3 Material works more deeply. We will also add a cool lighting look effect onto the character's existing skin. And lastly we'll take a look at the Lens Effects controls in the VFB to add a bloom and glare lens effect to the render.

Class 10
We are continuing with intermediate VRay workflows, as we finish the look of this character bust and render in passes for composite. We will render the character bust with V-Ray elements to have implicit pass control in composite in creating a "back to beauty" comp using Nuke and After Effects. We will explore the formula for adding the passes back together to form the exact beauty render in comp. We'll also see how to add extra passes for control, including zDepth, ambient occlusion, as well as multiple RGB mattes for object control in comp.
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发表于 2017-1-6 16:55:46 | 显示全部楼层
教程太棒了  感谢分享
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发表于 2017-1-20 12:25:38 | 显示全部楼层
教程太棒了  感谢分享
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发表于 2017-1-23 13:24:51 | 显示全部楼层
教程太棒了  感谢分享
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发表于 2017-1-29 15:29:46 | 显示全部楼层
教程太棒了  关键是免费下载
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发表于 2017-2-4 17:35:03 | 显示全部楼层
激动人心,无法言表!
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发表于 2017-2-23 18:49:08 | 显示全部楼层
真是难得给力的帖子啊。
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发表于 2017-3-14 08:25:42 | 显示全部楼层
楼主爱 你  这教程来得及时
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发表于 2017-3-27 19:42:44 | 显示全部楼层
楼主爱 你  这教程来得及时
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