本教学是由Robert Harrington讲解的，内容涉及到了MAYA与MENTAL RAY中的照明，材质，多层渲染。这些内容与Russell Dodgson即将在NUKE教学中制作的东西是直接相关的，使用了相同的东西，并且提供了他所希望的渲染结果。我们也会涉及到一点NUKE方面的东西，找出为什么这样做对我们灯光师来说更好，而并非使用PHOTOSHOP。

本教学将反映出实际工作流程中的现实秦天概况，建模，UV设置，动画等都已经提前准备好了，意思就是说我们的时间久是集中于照明与材质校正，然后为他们提供所需要的合成结果与渲染层。在这个过程中，我们将讲解到技巧，理论还有让作品更接近现实的原则。

Harrington是伦敦Framestore的技术总监。他在学习产品设计的时候开始用到3D，然后开始从马克笔与水彩画转换为使用DOS系统下的3DS MAX软件。当她完成了一个展示伦敦地铁贩卖机的动画广告以后，意识到这是他感兴趣的东西，然后他做了很多年的自由设计师。

在使用数百个灯光与运动模糊的图像制作方式让位于全局照明以后，他又开始到公司工作，主要是做大型的建筑动画，当然偶尔也会做一些有趣的东西。当经济衰退导致了城市制作行业的衰落以后，他去到了Framestore.

第一课：入门，讲解了材质，brdf，还有为什么要在色彩空间中保持线性，还有一个针对灯光师的NUKE介绍，我们会经常的用到它，所以你需要了解它的主要功能。

第二课：看看我们对场景中的照明有多少理解，创建与校准高动态范围环境/greyball/光源，让场景看起来有所改进。

第三课：主要是讲解greyball，当然还会讲解一些第二周没有讲到的东西。

第四课：Convolutions与ARBs，还有它们能让我们做什么。

第五课：对高动态范围图片进行调整，即使这个过程会对我们造成一些问题，

第六课：Referencing与一些流程上的自动化，它是如何出错的，为什么会出错，还有如何解决这些问题。

第七课：反射规则与材质。

第八课：通过金属匹配与调整环境来处理降噪验证各种可能性，从而完成材质的制作。

第九课：渲染。我们的建模师Oliver为我们制作了一个大型的机器，我们要将它渲染出来，或者至少是个开始。我们将经历参考过程来帮助我们管理文件尺寸，并且开始我们的双光源设置过程。

第十课：我们将在这里完成所有部分的制作。涉及到照明策略的选择及其原因，重建地板，还有投射运动阴影的方法，还有进行何种贴图，渲染层，管理passes，将所有的部分合成到一起。

This course, taught by Robert Harrington, will cover lighting, shading and multi-pass rendering in Maya and mental ray. It will work directly with what Russell Dodgson will be doing this term in Nuke, using the same plates and providing all renders he wants. We too will be dabbling in Nuke, finding out why its good for us lighters in a way that Photoshop isn't.

This course will reflect the production reality where you are part of a pipeline. The modelling, UV'ing and animating will have been prepared already, meaning our time is focused on getting the lighting and shading correct, and providing compositing with the render-passes they need. Along the way we will cover tricks, theories and guidelines to help get closer to reality.

Harrington is a TD at Framestore, London, working in commercials. He first tried 3D while on a product design degree course, swapping marker pens and gouache for blindly clicking labels and pressing function-keys in 3D Studio for DOS. When his final year's work included an animation of a London Underground station just to show off a vending machine it became clear he'd found something interesting. He would go on to spend many years as a freelance illustrator, mostly doing stills in Lightwave.

As using a hundred lights and motion-blur on one still made way for the mass global-illumination epoch, he returned to office life, working mostly on large-scale "architectural-branding" animations and the occasional more-fun escapade too. With the demise of easy credit leading to the demise of making cities, he moved to Framestore.

Class 1: Introduction: Week one's video is all about getting up to speed, so we're covering the shaders, a quick brdf tour, projections and why we're going linear with our colourspace. There's also a lighter's tour of Nuke, as we'll be using it quite heavily and its important you know its main functionality.

Class 2: What we know from the set's lighting, and creating/calibrating the HDRI environment/grey-ball/lights, giving us our look-development scene.

Class 3: The grey ball, basically. Week three is mainly covering what wasn't in week two, with week three's original content moved back (it'll be fine). This week it's our approach to the greyball (and the effect of "Canon's look" on our reference photography), plus replacing parts of an HDRI image with CG lights to deal with those sampling issues we're getting when combining really bright HDRIs with finalgather. It will also come to light how handy a spreadsheet is versus a calculator, and how much this course relies on them to solve problems.

Class 4: Convolutions and ARBs, and what they let us do. Week four is all about trying to see how we would finish our look dev scene. We cleanup the hanger HDRI in Nuke, allowing us to make a nice diffuse convolution of the room, and then set up our environment, seeing how we would arrange two spatially aware HDRIs, one for lighting and one for reflections. After that we define the principles of our ARBs based workflow and cover how we would set that up in Nuke.

Class 5: Grading our HDRI, even when we make it difficult for ourselves. This week we've received the plates from Comp for each shot, and we've now got to grade our HDRIs to match them. We're going to work through one particular process to get there, and work around one particular oversight we had on set - a good test for us. We're also going to be working through replicating the lighting size/positions on set, and sticking it all together with our test object & reference shot.

Class 6: Referencing and some minor pipeline automation Week six's big thing is working with Maya's referencing, how it goes wrong, why it goes wrong, and how we fix it. Due to the realities of our model we're going to want to use referencing, so its good to get to grips with how it likes to work. We're also going to be changing our ARBs as Comp has decided it should be done differently, so we're going to look at how we can automate that to make our lives a bit easier. On top of that, there will also be a look at what's coming up in week seven's shaders. This week's file upload is 18 CR2 files covering one angle from the main hanger fisheye, so you can try out other routes/software to making those HDRIs.

Class 7: Reflection rules and shaders: Week seven sees us start to lookdev our shaders, but also gets us up to speed on how real life material reflection values relate to what we can achieve in mental ray, how they are portrayed in optics and what we can do to mimic that (and also what we can't).

Class 8: We finish off our materials development phase by examining the difference between the possibilities we have for matching metals, and adapt our environment to deal with the noise. Its all about getting ready for the final assault on the machine model.

Class 9: Render time... Our modeller, Oliver Kane, has given us our giant machine, so this week we're going to render it - or at least start. We go through our referencing process to help manage file sizes and start our two lighting setups, all of which leads to the week ten finale...

Class 10: The End. Week ten finishes off everything. We cover the lighting decisions and why they've been chosen, reconstruction of the floor, a method for projecting her moving shadow, what texturing we need to do, render layers, utility passes and some quick comps to make sure everything's working. Its a long one.