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Digital Lighting and Rendering 2nd edition [Pehme köide]

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  • Formaat: Paperback / softback, 432 pages, kõrgus x laius x paksus: 192x231x19 mm, kaal: 862 g
  • Ilmumisaeg: 11-May-2006
  • Kirjastus: New Riders Publishing
  • ISBN-10: 0321316312
  • ISBN-13: 9780321316318
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Digital Lighting and Rendering 2nd editionSuurem pilt
  • Formaat: Paperback / softback, 432 pages, kõrgus x laius x paksus: 192x231x19 mm, kaal: 862 g
  • Ilmumisaeg: 11-May-2006
  • Kirjastus: New Riders Publishing
  • ISBN-10: 0321316312
  • ISBN-13: 9780321316318
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9780321316318.html
Märksõnad:
Crafting a perfect rendering in 3D software means nailing all the details. And no matter what software you use, your success in creating realistic-looking illumination, shadows and textures depends on your professional lighting and rendering techniques. In this lavishly illustrated new edition, Pixar's Jeremy Birn shows you how to:





Master Hollywood lighting techniques to produce professional results in any 3D application Convincingly composite 3D models into real-world environments Apply advanced rendering techniques using subsurface scattering, global illumination, caustics, occlusion, and high dynamic range images Design realistic materials and paint detailed texture maps Mimic real-life camera properties such as f-stops, exposure times, depth-of-field, and natural color temperatures for photorealistic renderings

Render in multiple passes for greater efficiency and creative control Understand production pipelines at visual effects and animation studios Develop your lighting reel to get a job in the industry

Muu info

Crafting a perfect rendering in 3D software means nailing all the details. And no matter what software you use, your success in creating realistic-looking illumination, shadows and textures depends on your professional lighting and rendering techniques. In this lavishly illustrated new edition, Pixar's Jeremy Birn shows you how to:





Master Hollywood lighting techniques to produce professional results in any 3D application Convincingly composite 3D models into real-world environments Apply advanced rendering techniques using subsurface scattering, global illumination, caustics, occlusion, and high dynamic range images Design realistic materials and paint detailed texture maps Mimic real-life camera properties such as f-stops, exposure times, depth-of-field, and natural color temperatures for photorealistic renderings

Render in multiple passes for greater efficiency and creative control Understand production pipelines at visual effects and animation studios Develop your lighting reel to get a job in the industry
Fundamentals of Lighting Design
1(16)
Motivation
2(3)
Off-Screen Space
2(1)
Qualities of Light
3(2)
Direct and Indirect Light
5(1)
Cheating
5(3)
Cheating in Live Action
8(1)
Visual Goals of Lighting Design
8(4)
Making Things Read
9(1)
Making Things Believable
9(1)
Enhancing Shaders and Effects
10(1)
Maintaining Continuity
10(1)
Directing the Viewer's Eye
11(1)
Emotional Impact
11(1)
Lighting Challenges
12(2)
Your Workspace
14(1)
Creative Control
15(2)
Lighting Basics and Good Practices
17(26)
Starting Points
18(1)
Types of Lights
19(10)
Point Lights
19(1)
Spotlights
20(3)
Directional Lights
23(1)
Area Lights
24(2)
Models Serving as Lights
26(1)
Environment Spheres
27(1)
Ambient Light
27(2)
Controls and Options
29(9)
Decay
29(4)
Diffuse and Specular
33(2)
Light Linking
35(1)
Cookies
36(2)
Lighting in Production
38(3)
When to Light
38(1)
The Feedback Loop
38(2)
Naming Lights
40(1)
Managing Versions
40(1)
Exercises
41(2)
Shadows and Occlusion
43(42)
The Visual Functions of Shadows
44(5)
Defining Spatial Relationships
44(1)
Revealing Alternate Angles
45(1)
Enhancing Composition
46(1)
Adding Contrast
46(1)
Indicating Off-Screen Space
47(1)
Integrating Elements
48(1)
Which Lights Need Shadows?
49(2)
Shadow Clutter
49(1)
Secondary Shadows
50(1)
Shadow Color
51(2)
Testing Shadows
52(1)
Shadow Size and Perspective
53(2)
Shadow Algorithms
55(10)
Depth Map Shadows
55(7)
Raytraced Shadows
62(3)
Hard and Soft Shadows
65(8)
Hard and Soft Light
67(1)
Soft Shadows with Depth Maps
68(2)
Soft Raytraced Shadows
70(3)
Occlusion
73(4)
Ambient Occlusion
73(1)
Occlusion in Global Illumination
74(2)
Other Types of Occlusion
76(1)
Faking Shadows
77(6)
Negative Lights
77(1)
Shadows-Only Lights
78(2)
Shadow Objects
80(1)
Baking Lighting
81(2)
Conclusions
83(1)
Exercises
83(2)
Lighting Environments and Architecture
85(40)
Daylight
86(8)
Sunlight
86(3)
Sky Light
89(3)
Indirect Light
92(2)
Night Scenes
94(2)
Practical Lights
96(3)
Lighting the Light
96(1)
Set Lighting from Practical Lights
97(2)
Lighting Windows
99(2)
Simulating Indirect Light
101(7)
Corners
105(2)
Sourcy Lighting
107(1)
Global Illumination
108(12)
Conventional Radiosity
112(1)
Photon Mapping
113(2)
Final Gathering
115(1)
Caustics
116(4)
Ambient Occlusion
120(3)
Exercises
123(2)
Lighting Creatures, Characters, and Animation
125(34)
Modeling with Light
126(5)
Directionality
127(1)
Definition
128(3)
Three-Point Lighting
131(3)
Variations
133(1)
Tools, Not Rules
134(1)
Functions of Lights
134(12)
Key Lights
135(1)
Fill Lights
136(3)
Bounce Lights
139(1)
Rim Lights
140(4)
Kickers
144(1)
Specular Lights
145(1)
Issues in Lighting Character Animation
146(11)
Test Frames
147(1)
Linking Lights to Characters
147(1)
Technology Changes
148(2)
Subsurface Scattering
150(3)
Lighting Hair
153(1)
Lighting Eyes
154(3)
Exercises
157(2)
Cameras and Exposure
159(26)
Understanding F-Stops and Depth of Field
160(5)
Matching Real Lenses
162(1)
The Two-Thirds Rule
163(1)
Hyperfocal Distance
163(1)
Bokeh Effects
164(1)
Frame Rates
165(1)
Realistic Motion Blur
165(7)
Shutter Speed and Shutter Angle
165(3)
The Comet Tail Myth
168(1)
Blurring Rotations
169(1)
Video Fields
170(2)
Film Speed
172(1)
Photographic Exposure
173(4)
The Zone System
174(1)
Histograms
175(2)
Matching Lens Imperfections
177(5)
Lens Distortion
177(3)
Chromatic Aberration
180(1)
Vignetting
180(1)
Lens Flares and Halation
181(1)
Exercises
182(3)
Composition and Staging
185(28)
Types of Shots
186(5)
Shot Sizes
186(2)
Z-Axis Blocking
188(1)
POV Shots
188(1)
The Two-Shot
189(1)
The Over-the-Shoulder Shot
190(1)
Camera Angles
191(7)
The Line of Action
191(1)
Perspective
192(3)
High-Angle and Low-Angle Shots
195(1)
Camera Moves
196(2)
Improving Your Composition
198(6)
The Rule of Thirds
199(1)
Positive and Negative Space
200(1)
Graphic Weight
201(1)
Lines
202(1)
Tangencies
203(1)
Framing for Film and Video
204(6)
Formats and Aspect Ratios
204(1)
Film Formats
205(3)
Adaptation to Television
208(1)
Cropping and Overscan
209(1)
Exercises
210(3)
The Art and Science of Color
213(34)
Color Mixing
214(6)
Additive Color
214(1)
Subtractive Color
215(1)
Hue, Saturation, and Value Adjustments
216(1)
When Light Color Meets Surface Color
217(3)
Color Schemes
220(9)
Color Contrast
221(3)
Meanings of Colors
224(3)
Color and Depth
227(1)
Tinted Black-and-White Images
228(1)
Color Balance
229(8)
Color Temperature
231(5)
Picking Colors from Pictures
236(1)
Understanding RGB Color
237(3)
Importance of Red, Green, and Blue
239(1)
Digital Color
240(5)
8-bit Color
240(1)
16-bit Color
241(1)
HDRI
241(2)
Compact Data Formats
243(2)
Exercises
245(2)
Shaders and Rendering Algorithms
247(36)
Shading Surfaces
248(11)
Diffuse, Glossy, and Specular Reflection
248(3)
Specular Highlights
251(7)
BRDF and BSSRDF
258(1)
Anti-Aliasing
259(5)
Over-Sampling
259(3)
Under-Sampling
262(1)
Filtering
263(1)
Rendering at Higher Resolutions
263(1)
Raytracing
264(10)
Raytracing Acceleration Structures
265(1)
Raytraced Reflections
266(3)
Shadows
269(1)
Transparency and Refraction
270(4)
Reyes Algorithms
274(3)
The Renderman Interface Standard
275(1)
Reyes and Raytracing
276(1)
Z-Buffer Rendering
277(1)
Scanline Rendering
277(1)
GPU-Accelerated and Hardware Rendering
278(2)
Hardware Rendering
278(1)
GPU Acceleration
278(1)
Interactive Previewing
279(1)
Exercises
280(3)
Designing and Assigning Textures
283(52)
Types of Texture Mapping
284(12)
Color Mapping
284(2)
Specular Mapping
286(1)
Incandescence Mapping
287(1)
Transparency Mapping
288(2)
Displacement Mapping
290(1)
Bump Mapping
291(2)
Normal Mapping
293(2)
Polynomial Texture Mapping
295(1)
Other Mapping Techniques
295(1)
Photographic Textures
296(3)
Shooting Tips
296(3)
Flatbed Scans
299(1)
Stylized Textures
299(3)
Texture Map Resolution
302(2)
Alignment Strategies
304(20)
Tiling Maps
304(6)
Decals
310(3)
Projections
313(4)
UV Coordinates
317(4)
Texturing Poles
321(2)
3D Paint Programs
323(1)
Procedural Textures
324(4)
Resolution Independence
324(1)
3D Textures
324(1)
Animation
325(1)
Appearance
325(1)
Baking Procedural Textures into Texture Maps
326(2)
Looks Development
328(4)
Painting in Layers
328(1)
Color First
329(1)
Displacement First
330(2)
Exercises
332(3)
Rendering Passes and Compositing
335(42)
Rendering in Layers
336(6)
Background Layers
337(1)
Matte Objects
338(1)
Effects Layers
339(3)
Alpha Channel Issues
342(5)
Compositing With Straight Alpha Channels
343(2)
Compositing With Premultiplied Alpha Channels
345(2)
Rendering in Passes
347(19)
Diffuse Passes
348(1)
Specular Passes
349(1)
Reflection Passes
350(3)
Shadow Passes
353(5)
Ambient Passes
358(1)
Occlusion Passes
359(1)
Beauty Passes
360(1)
Global Illumination Passes
361(1)
Mask Passes
362(1)
Depth Passes
363(2)
Pass Management Features
365(1)
Rendering Many Passes at Once
366(1)
Lighting in the Composite
366(3)
Rendering Lights as Separate Passes
367(1)
Relighting Tools
368(1)
Matching Live-Action Background Plates
369(6)
Reference Balls and Light Probes
370(3)
Other Approaches to Matching Lighting
373(2)
Exercises
375(2)
Production Pipelines and Professional Practices
377(32)
Production Pipelines
378(19)
Planning an Animated Feature
378(1)
Story
378(1)
Layout
379(1)
Preparing for Visual Effects Shots
380(1)
Previsualization
380(1)
Match Move and Virtual Sets
381(2)
Rotoscoping
383(1)
Core Departments
384(1)
Art Department
385(1)
Modeling
386(1)
Set Decorating
387(1)
Technical Directors
388(1)
Character Rigging
389(1)
Character Animation
390(1)
Effects
390(1)
Shading
391(1)
Texture Paint
392(1)
Lighting
393(1)
Compositing
394(1)
Film I/O
395(1)
Visualizing Production Pipelines
395(2)
Getting Work Approved
397(3)
Working with Clients
397(1)
Setting Expectations
397(1)
Dealing with Changes
398(1)
Supervising Lighters
399(1)
The Chain of Command
400(1)
Getting a Job in 3D Lighting
400(9)
A Lighting Showreel
401(1)
Credits
402(1)
Quality over Quantity
403(1)
Starting Strong
403(1)
Do I Need to Specialize?
404(1)
Internal Promotion
405(1)
Job Security
406(1)
Advancing in Your Career
407(2)
Index 409


Jeremy Birn is a Lighting Technical Director at Pixar Animation Studios, where he worked on Cars and the Academy Award-winning The Incredibles. Prior to joining Pixar in 2002, Jeremy did lighting and rendering at such companies as Palomar Pictures, Wild Brain, CBS Television, and Tippett Studio, where he worked on effects for the feature film Evolution. Jeremy has taught courses at the California Institute of the Arts in Southern California and the Academy of Art University in San Francisco. More of Jeremys work and more about his writing is on his website, www.3dRender.com.