The Gnomon Workshop – Cinematic Lighting Shot Production

在 Graham Cunningham 主持的这场综合研讨会中，您将学习使用 Maya、Katana、Arnold 和 Nuke 为电影镜头进行布光和合成的整个流程。这是一门高级课程，以 Taeyoung Kim 主持的 Katana 入门研讨会为基础。

这场 4 小时的研讨会首先会讲解如何为 ACEScg 设置 OCIO、在 Maya 和 Arnold 中导入和准备资源、创建布局和镜头摄像机、管理 .tx 文件和色彩空间，并详细介绍如何将材质转换为 MaterialX 格式，以及如何将所有内容导出到 Arnold USD。

接下来，您将在 Katana 中学习如何更新镜头模板、创建新的宏、准备交互式渲染滤镜，以及设置用于多通道 EXR 输出的 AOV。您将学习如何导入 USD 资源、优化场景、进行布光设置，以及创建和修改 HDRI 灯光纹理（快速了解一下 Nuke）。

从这里开始，工作流程将进入渲染通道的创建、如何管理可见性和采样，以及使用 Katana 批处理命令将图像序列渲染到磁盘。最后一步，Graham 将进入 Nuke，演示如何组装渲染通道、分离灯光 AOV、调整灯光颜色和强度。您还将学习如何使用体积/雾渲染和 WorldP 数据来添加氛围，如何使用 3D 卡上的素材素材添加雾效，以及如何使用加密遮罩来微调结果、添加辉光、镜头眩光、胶片颗粒并应用最终调色。

完成本次研讨会后，您将全面了解成为一名灯光合成艺术家所需的条件。虽然不提供项目文件和插件，但研讨会将提供所用资源的列表。

Graham 的场景是使用 Big Medium Small 的 Tokyo Back Alley Kit 构建的。在 Nuke 中组装场景后，Graham 随后利用 Action VFX 的动画“挥之不去的雾”资源来营造氛围。

In this comprehensive workshop by Graham Cunningham, you will be taken through the entire process of lighting and compositing a cinematic shot using Maya, Katana, Arnold, and Nuke. This is an advanced course that builds on the Introduction to Katana workshop by Taeyoung Kim.

This 4-hour workshop begins with setting up OCIO for ACEScg, importing and preparing assets in Maya and Arnold, creating a layout and shot camera, managing your .tx files and color spaces, and details how to convert materials to MaterialX, and export everything to Arnold USD.

Next, in Katana, you’ll discover how to update the shot template, create some new macros, prepare Interactive render filters, and set up AOVs for multi-channel EXR output. You’ll see how to import your USD assets, optimize your scene, go through the lighting setup, and create and modify HDRI light textures (in a quick excursion to Nuke).

From there, the workflow proceeds to the creation of render passes, how to manage visibility and sampling, and render image sequences to disk using Katana batch commands. As the last step, Graham jumps into Nuke, where he shows how to assemble the render passes, split out light AOVs, adjust light colors and intensities. You’ll also explore how to add atmosphere using volume/fog renders and WorldP data, how to add fog FX using stock footage on 3D cards, as well as how to use cryptomattes to fine-tune results, add glow, lensflare, film grain, and apply a final color grade.

Upon completing this workshop, you will have a thorough understanding of what it takes to be a lighting compositing artist. Although project files and plugins are not provided, a list of the assets used are provided with this workshop.

Graham’s scene was built using the Tokyo Back Alley Kit from Big Medium Small. After assembling the scene in Nuke, Graham then utilizes animated Lingering Fog assets from Action VFX to build up the atmosphere.