Digital Tutors - 'Infiltrator' Production Pipeline Volume 6: Rendering | +Project files | .flv | 1.93Gb
Lesson Outline (20 lessons)

In this volume of the Infiltrator Production Pileline, we will go through the process of setting up materials, lights and render passes in preparation for final compositing.

We will begin by learning how we can optimize our high-resolution geometry to use our system memory more effectively. This will allow for more efficient, stable rendering, especially if you are working on a 32-bit system with limited resources. From there, we will take some time to set up materials for the various portions of our 'Infiltrator' spider and then we will begin the lighting setup. We will use an image-based-lighting approach to achieve a high level of realism and to ensure that the lighting on the CG spider matches the live-action plate. Finally, we will learn how to use Render Passes and Render Layers to output our final renders in a way that will give us a tremendous amount of control over the final result whenever we get into our final compositing phase.

1. Introduction and Project Overview

3. Optimizing Infiltrator geometry - part 1

5. Optimizing Infiltrator geometry - part 3

7. Adding accent colors to the Infiltrator character

9. Incorporating ambient occlusion into Architectural materials

11. Improving rendering stability of complex Maya scenes

13. Creating shadow-only lights in Maya

15. Setting up initial render passes for our character

17. Rendering an ambient occlusion pass in Maya

19. Making final quality adjustments to Infiltrator scene


2. Discussing rendering challenges within this scene

4. Optimizing Infiltrator geometry - part 2

6. Applying initial materials to the Infiltrator character

8. Adding dark accents to the Infiltrator character

10. Re-referencing optimized Infiltrator mesh

12. Utilizing Color Management features in Maya

14. Modifying the wall stand-in geometry

16. Creating a custom color buffer for our Maya character

18. Viewing rendered framebuffers in Maya

20. Creating a custom material ID pass in Maya