RealityCapture大型环境场景制作工作流教程FXPHD – Advanced Environments – Juggernaut Bend Project

本教程是关于RealityCapture大型环境场景制作工作流RealityCapture视频教程FXPHD – Advanced Environments – Juggernaut Bend Project，时长：4小时10分，大小：18.3 GB，MP4高清视频格式，教程使用软件：RealityCapture，Maya，Clarisse，Nuek等，附源文件，作者：Juggernaut Bend，共8个章节，语言：英语。

RealityCapture是一款模型扫描软件，通过本软件，可以用户在分析实体模型的时候拥有更快的建模平台，其实现在很多模型都是通过3D扫描完成的，也别是在游戏开发方面，通过3D扫描可以将人类的动作传输到软件上，让软件帮助您自动计算出运动的轨迹代码，从而完成虚拟的游戏模型建立，这款realitycapture就是通过3D扫描技术将物体扫描到软件上制作模型，软件可以记录全部扫描的数据，并利用高级运算分析以及代码工具快速生成虚拟模型，从而实现更快的3D建模！

课程纲要

第1课：照相
该课程使我们有机会遍历RealityCapture中的工作流程，其中包括从Nuke中的图像序列准备到Maya Arnold和Clarisse中的渲染的Drone镜头。在Reality-capture中，我们将生成3D网格，正确对齐和定向网格，了解边界框概念，创建一些UV和UDIM并导出OBJ和TIF纹理。最后，我们将跳入Maya并重新连接所有内容，以在Arnold中获得最终的Layout资产。

第2课：CLARISSE布局
我们从RealityCapture获得了生成的3D网格，纹理和相机，现在该在Clarisse中进行所有设置了。我们将在Maya中准备3D资产，并将所有内容导出为Alembic文件。在本课程中，我们将在Clarisse中探索散射工具，以及Clarisse如何快速有效地生成我们的船，帐篷，塔楼来进行拍摄。

第3课：Clarisse视觉发展
在这一节课中，我们将为每种资产做一个lookDev。探索标准着色器，并将我们的TIF纹理文件转换为TX文件，以提高内存效率。没有纹理优化，RAM可能很快过载。我们将通过“材质编辑器”并连接所有地图以获取每个资产的lookDev。

第4课：Clarisse照明
在直接进入Clarisse的照明工具之前，我们花了几分钟的时间对板进行了阳极化处理并了解了照明。使用环境光和定向光设置lightRig，并说明不同的参数如何工作以匹配印版并整合CG资产。

第5课：CLARISSE渲染
灰色，美丽和阴影/反射的创建通过并渲染。探索ShadingLayer和组在Clarisse中的工作方式，以及在浏览器中保持Clarisse场景紧密相关的重要性。我们在Nuke中所有渲染的CG拍击合成，并为下一个部门提供了可靠的版本。

第6课：进行比赛第1部分
这是一个由三部分组成的部分，由环境专家TD Michal Skowrow（伦敦德尼格伦敦）教授，它引导您完成基于DJI Mavic 2 Pro无人机影像的虚拟摄像机的重新创建过程。涵盖了整个matchmove管道，从概述和必要数据的收集，降噪板，无人机镜头的重建，摄像机的匹配移动，三级摄影测量法对摄像机进行排列，变形板的创建，以及如何在Maya to Nuke工作流程中使用它。

第7课：进行比赛第2部分
涵盖Matchmove流程的三个课程中的第二个。Michal Skowron曾在Framestore，MPC和Dneg工作，还曾担任大学讲师。他为电影和电视，产品，汽车和医学可视化领域的大型和小型制作做出了贡献。项目包括重力，迪士尼丛林图书，火星人，以及最近的《黑镜》和切尔诺贝利电视连续剧。

第8课：进行比赛第3部分
三个类别中的第三个涵盖了matchmove流程。

Duration 4h 10m Project Files Included MP4

Title: FXPHD – VFX307 – Advanced Environments – Juggernaut Bend Project

Info:
CLASS 1: PHOTOGRAMMETRY
This class give us the opportunity to go through the workflow in RealityCapture with our Drone footage from the preparation of the images sequence in Nuke to the render in Maya Arnold and Clarisse. In Reality-capture we will generate the 3D mesh, align and orient properly the mesh, understand the bounding box concept, create some UVs and UDIM’s and export an OBJ and TIF textures. Finally, we will jump in Maya and reconnect everything to get our final Layout asset in Arnold.

CLASS 2: LAYOUT IN CLARISSE
We got from RealityCapture our 3D mesh generated, textures and Camera, it’s time to set up everything in Clarisse. We will prepare our 3D asset in Maya and export everything as an Alembic file. In this class we will explore in Clarisse the scattering tool and how quick and efficient Clarisse can be to generate our layout with boats, tent, towers for our shot.

CLASS 3: LOOK DEVELOPMENT IN CLARISSE
In this class we will do a lookDev for each asset. Explore the Standard shader and convert our TIF texture file to TX files for memory efficiency. Without texture optimization, the RAM could quickly overload. We will go through the Material Editor and connect all our maps to get our lookDev for each asset.

CLASS 4: LIGHTING IN CLARISSE
Before jumping straight to the lighting tool in Clarisse, we spend couple of minutes analylzing the plate and understand lighting. Setup of the lightRig with Environment and Directional Lights and explain how the different parameters work to match to the plate and integrate the CG assets.

CLASS 5: RENDERING IN CLARISSE
Creation of the Grey, Beauty and Shadow/Reflection passes and renders. An exploration as to how ShadingLayer and groups work in Clarisse and how it’s important to keep the Clarisse scene tight up in the Browser. A CG slap comp of all our renders in Nuke and get a solid version for the next department.

CLASS 6: MATCHMOVE PART 1
This three part section, taught by Environments Generalist TD Michal Skowrow (Dneg London), walks you through the process of recreating a virtual camera based on the DJI Mavic 2 Pro drone footage. The entire matchmove pipeline is covered, starting with an overview and gathering of necessary data, de-noising plates, reconstruction of the drone lens, matchmoving the camera, working with the class three photogrammetry to line-up the camera, creation of distortion plate, and how to use it inMaya to Nuke workflow.

CLASS 7: MATCHMOVE PART 2
The second of three classes covering the matchmove process. Michal Skowron has worked for Framestore, MPC and Dneg and also as a university lecturer. He has contributed to larger and smaller productions both in film and TV, product, automotive and medical visualization. Projects include Gravity, Disney Jungle Book, The Martian and more recently the Black Mirror and Chernobyl TV series.

CLASS 8: MATCHMOVE PART 3
The third of three classes covering the matchmove process.