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In this tutorial we will render an animation with moving objects and GI with V-Ray. The goal is to make the process as efficient as possible. We can always use a high-quality GI solution to render an animation without any special tricks, however this will typically take very long. We would like to optimize this process as much as possible. L\wpS1L( 在本教程中，我们将用VR渲染移动物体（场景中移动的参加渲染GI计算的对象，也就是不包含摄影机，辅助对象等等）的动画。我们的目标是使这一过程尽可能高效。我们可以使用高品质的GI解决方案、没有任何技巧的高参数来渲染高质量的动画（因为场景中包含移动的物体，你必须为每一帧渲染GI，静态场景的渲染方法使用于动画场景会出现黑斑），但是这通常要消耗很长的时间，我们希望尽可能的优化这个过程。 fCf#zV[ 1~5q :X Typically, we have a small number of moving objects (i.e. a few characters) in some more complex environment. Our main optimization idea uses this fact: we can split the animation into a background part, and animation part. wYO"znd 通常情况下，在我们复杂的场景中只有少数的移动物体。我们的主要优化方案使用了这样一个办法：我们可以分离动画的背景部分和运动部分。 yC 7Vb P _p J_V>l Since the background does not move, we can render it using a walk-through animation method, for example as pointed out in this tutorial. Then we can render out the moving objects, and composite these for the final animation. rH&r6X v[ 由于背景是不动的，我们可以使用穿行动画的方案来渲染它。然后我们渲染移动物体。最后综合这些动画形成最终的结果。 r ctSS:1
Before we go into details on rendering the animation, we will cover some compositing basics. g7 Md 在我们进入具体的内容之前，我们将介绍一些合成的基础知识。 71l"m^Z3zy ~S^ X"8(U Our task is this: given an object in a 3d scene, we would like to composite it over a given background, taking into account as many effects as possible (shadows, reflections, GI etc). Y0PGT5].@' 我们的任务是这样的：在三维场景中的对象，我们想将它合成到指定的背景中，并且还要考虑到很多效果（阴影，反射，GI等）。 ^0 Q= #p 6/[Z178m This is typically done with the help of two layers with the 3d object, which are then composited over the background. We will call one layer a mask layer, and it determines which parts of the background are altered by the 3d object, and which parts remain the same. The mask layer is multiplied by the background. We will call the second layer object layer, and it determines what color must be added to the masked background in order to get the final image. The object layer is added to the masked background. Fo e>}6~{? 通常的做法是在几层图像的帮助下，通过在背景上合成来达到目的。我们将其中一层称为遮罩层，它决定背景中哪一部分是变化的三维对象，以及哪一部分是不变的。遮罩层复合到背景层。我们将二层称为对象层，它决定了哪些颜色被添加到复合背景上，以获得最终的图像。对象层被添加到复合背景层上。 ^$=tcoQG [Y2 2Wi So, in general, the compositing formula is this: 3'[Rvy{ 所以，一般的合成公式是： Dh &:- >P \h,1 final_image = background_layer * mask_layer + object_layer 6wb^*dD92 最终图像=背景层*遮罩层+对象层 （*是倍增 +是添加 详细请参考图形通道布尔运算） W&+y(Z-t
Given these three renders, we can compute the mask layer and the object layer in this way:
Now, let us apply all this theory in practice. We will use 3dsmax for compositing, but this can be done in any compositing program that supports the necessary image operators (addition, difference, multiplication and division) - for example, Digital Fusion. 1{^CfamF 现在，让我们在实践中应用这些理论。我们将使用3DSMAX合成，但它也可以在任何支持所需的图像运算（相加，差值，相乘，相除）的合成程序中完成。比如Fusion, nuke(注意的是，AE不支持通道布尔运算的，节点编辑软件支持，AE为层级编辑软件)。 neF8V"-u& $u:<x Unfortunately, 3dsmax does not have the necessary compositing operators built-in, so we are going to use an additional plugin, the VRayCompTex texture map。 ze&#i6S 不幸的是，3DSMAX没有内置必要的合成环境，所以我们要使用一个额外的插件。VR合成纹理 贴图。 )&>L !,z Ddb-@YD&+0 This is the background plate that we will use: G(3;;F7 " 这是我们要使用的背景： kL|\wci [O\9 9> avg4K*v v We are going to add a teapot in the middle of this rendering. R }1W 在此次渲染，我们要在中间添加一个茶壶。 *#zS^b n \0nl PXk?G 1.1. Open the starting scene, which can be found here. The scene is not exactly the same as the one that was used for the background plate, but it is close enough for the composition. In general, you should try to match the plate as best as possible. If the background plate is a rendered 3d scene, then it would be best to use the same scene. tU{\ev$x 打开初始场景（后面是一堆废话）。 s"WBw'_<< `kFiH*5 %z 1.2. Render the scene and save it as normal.png, with 48 bits per pixel (for increased precision during the compositing later on). GV5qdD( 渲染场景并保存至 normal.png 文件,使用48位每像素（以便在合成时保留余量，每通道16位）。 o,1Dqg4P3 <[ZI.+_Wt V#L'7">VP 1.3. Open the material editor, create a new VRayLightMtl and assign a pure black color to the material - or you can use the black mtl material in the ME. Apply the material to the teapot in the scene. &))\2pl 打开材质编辑器，创建一个新的VR灯光材质并指定一个纯黑色材质- 或者你可以使用黑色应用给场景中的茶壶。 <! F3s`7~ ]ENK8bW 1.4. Render the scene and save it as black.png with 48 bits per pixel (for increased precision). nR[^|CA R 渲染场景并保存图像为black.png,使用48位/像素 设置（提高精度）。 t"|DWC* JhP\u3 QE |@wyC0k! 1.5. Hide the teapot. moZm0` WR 1.6. Render the scene and save it as pure.png (again, with 48 bits per pixel). gi$XB}L+X 隐藏茶壶。 8EI:(NE*J 渲染场景并保存图像pure.png（同样48位/像素）。 ) ,` 8eQC DpvrMI~I_ This is all the work we have to do with the 3d scene. Now we are going to composite the final result. .3X Y&6 这是我们在3D场景中所有要做的工作。现在我们开始复合最终的图像。 U\vY/6;JI 5FOqv=6S 1.7. Open 3dsmax with an empty scene. Wekqn !h 1.8. Open the Material Editor and put the four images (normal.png, black.png, pure.png and the background) into four separate bitmap textures; set the mapping mode of the bitmaps to Screen environment. dYF=c 打开3DSMAX（默认空场景状态）。 _ck[&Q 打开材质编辑器 ，把4张图像（normal.png, black.png, pure.png and the background）分别分配到4张位图纹理；设置位图纹理的贴图模式为屏幕环境。 JvL{| KtyU fYX<d%?7 Now we will create the mask and object layers. .z kP~xQ~ 现在我们可以创建遮罩层和对象层。 rL v;Y *C2R`gpBI 1.9. Create a VRayCompTex and name it object. G%{0i20_ 1.10. Drag the normal bitmap onto the Source A bitmap slot in the VRayCompTex (choose the Instancemethod when prompted). 5-vo0:hk 1.11. Drag the black bitmap onto the Source B bitmap slot in the VRayCompTex (again, choose the Instancemethod). |He=LQ }0 1.12. Set the Operator of the VRayCompTex to Difference. This is what you should get: C5 X(U : 创建一个VR合成纹理并命名为对象。 RE"^ )- 拖动normal到VR合成纹理中的 来源A 操作框中（当出现提示时选择实例方法）。 5v _P Oq 拖动black到VR合成纹理中的 来源B 操作框中（同样选择实例）。 `JURQ:l)3^ 设置VR合成纹理中的 操作符 为 差异，你会得到这个： /'wF2UR VaLs`q&3> Now we have our object layer. Next, we need to create the mask layer. MesRa( 现在我们有了对象层，接下来，我们需要创建遮罩层。 iiC!|`k" h~} .G{" 1.13. Create a new VRayCompTex in an unused slot of the material editor and name it mask. PK2~fJB 1.14. Drag the black bitmap onto the Source A bitmap slot in the VRayCompTex (choose the Instance method when prompted). diT=x52 1.15. Drag the pure bitmap onto the Source B bitmap slot in the VRayCompTex (again, choose the Instancemethod). u{e-G&]^; 1.16. Set the Operator of the VRayCompTex to Divide. This is what you should get: >U!*y4 在材质编辑器中创建一个新的VR合成纹理并命名为遮罩。 lB;FUck9 拖动black图像到 来源A （实例）。 TnH\ O$ 拖动pure图像熬 来源B （实例）。 $)Bg JDr 设置运算符为 相除。你会得到这个： m`A% p KY9n2u&4 Now we have the mask and object layers for the final compositing. We need to combine these with the background to get the final image. z j{s}* 现在我们拥有了用来合成最终图像的遮罩层和对象层。我们需要将这些结合到背景上来得到最终的图像。 nv/ [I,nw $lwz-^1t. 1.17. Create a new VRayCompTex in an unused slot of the material editor and name it masked bg. ^QX bJJ 1.18. Drag and instance the mask texure into the Source A slot of the VRayCompTex map. Y3U9:VB 1.19. Drag and instance the background bitmap into the Source B slot of the VRayCompTex map. zTm]AG|0 1.20. Set the Operator of the VRayCompTex to Multiply. B4H!5b 在材质编辑器上创建一个新的VR合成纹理并命名为masked bg。 A;X=bj _&a 拖动 遮罩 材质实例到 来源A。 PL=^}{r 拖动 背景 图像实例到 来源B。 _8?o'<!8?^ 设置运算符为 相乘。 S~OhtHwK 'Prxocxq Now that we have the masked background map, we need to add the object map to it. N:5[,O<m_ 现在我们拥有了遮罩背景贴图，我们需要给它添加对象层。 fz _nsVD L V{Q,DrP 1.21. Create a new VRayCompTex in an unused slot of the material editor and name it final. e / K#>, 1.22. Drag and instance the masked bg map into the Source A slot of the VRayCompTex. K95;r d 1.23. Drag and instance the object map into the Source B slot of the VRayCompTex. j Ch=@<9 1.24. Set the Operator of the VRayCompTex to Add. ?)4?V\ $ 在材质编辑器上创建一个新的VR合成纹理并命名为final。 {tP%epQ 拖动 masked bg 实例到 来源 A。 G@ \Pi#1 拖动 对象层 实例到 来源B。 ^rNUAj9Z 设置运算符为 相加。 A#wEuX=[ mB'3N;~ OW;tT=ql C@\{ehG 6=_~ 0PcY This is our final composite texture map. Here is a schematic view of how we have connected the four input images: \;5\9B"i 这是我们合成的最终图像。这里是我们连接4张图像的示意图：
)=pD%$iq 5f'DoT Now we need to render that map in order to get the final image. lJ;J~> 现在我们需要渲染以获得最终的图像。 ;Y9=!.Ak0y )}v 3q6?_ 1.25. Open the Render scene dialog and in the Common Tab set the resolution to 600x600 (the resolution of all our images in this section). {Bvj"mL]j 1.26. Set the current renderer to Default scanline. RrrK*Fk8= 1.27. In the Renderer tab, turn off the Antialiasing option. ^y.nDs%ZT7 1.28. Turn off the Filter maps option. 0Wvq>R.(]7 打开 渲染场景 对话框，在通用设置面板下将分辨率设置为600*600（分辨率和我们的源图像一样）。 F4#g?R ::U 设置当前渲染器为默认扫描线渲染器。 QWnndI_4p 在渲染面板中，启用 抗锯齿 选项。 ZM#=`k9 启用图像 过滤器 选项。 j|fd-<ng Fqq6^um 1.29. Open the Environment dialog and assing the final map as an environment map. 0 BPMmk 1.30. Render the scene: 9<E g}Ic 打开 环境 对话框，将环境贴图设置为 flnal 贴图。 )emOK S 渲染场景。 * A|-KKo\ Fy L_xu\e Here is the final scene for the composite that you should get if you followed all the steps correctly. EOKzzX7 S The beauty of using this method is that it can composite properly all effects (reflections, shadows, GI etc), without having to worry about any matte/shadow stuff or anything in 3dsmax. G\gMC <3 如果你按照所有正确的步骤那么这就是你想要的。 34|a\b} 使用此方法的美妙之处是它可以正确的复合一些特殊效果（反射、阴影、GI等），无需担心3DSMAX中的任何无光/投影材质或任意事情。 K ?$#nt p
We will use the same workflow as defined above, to render our entire sequence. However, we have to render our animation three times. With more heavy scenes, this means a lot of rendering. The correct calculation of GI effects requires all of the scene geometry, so we can't just remove it to speed things up. NF$\^WvYSP 我们需要使用上面定义的工作流去渲染我们的图像序列。然而，我们必须渲染我们的对象3次。更多的场景意味着更长的渲染时间。当前的GI计算必须考虑到场景里所有的几何对象，所以我们不能通过删除或隐藏某个对象来提高渲染速度。 &xZy M@ ;!@EixN-YH Most of the effects that we are interested in (shadows, reflections, GI) appear near the animated object in the scene. Ideally we would like to render only those parts, and skip re-rendering the entire image. n QK|n^AU/ 大多数我们需要的效果（阴影，反射，主动GI）都在动画物体附近。理想的情况是我们只渲染我们需要的那一部分，跳过渲染整个图像（否则效率就太低了）。 cp E ar 'rP]Nw This is where the VRaySphereFade atmospheric comes into play. It allows you to render only that part of the scene, which is located near the animated object. The rest of the scene is shown as a solid grey color. However GI, reflections, shadows etc. are still computed using the entire scene, so that they produce the correct effect. You can download the plugin here (extract the .dlr file to the pluginsvrayplugins folder of 3dsmax). yI{5m^s { 这是大气效果中的 VR球形褪光 。它可以让你只渲染场景中的一部分（比如运动对象和它周围的一小部分范围）。场景的其它范围会呈现固态黑色。然而，场景内包含的GI反弹、反射、阴影等仍然会被计算，所以它们可以产生正确的结果。 w2(guL($ 3 *S{;p Here is how we would use the VRaySphereFade plugin in the scene from the previous part. 2LY=D L7 下面是如何在先前部分的场景中使用VR球形褪光。 9X<OJT;3J )o _j]K+xI 2.1. Open the starting scene which can be found here. :B *}^g 2.3. Create a spherical gizmo object around the teapot. Typically, you will surround each animated object with a gizmo linked to that object: 2h 30\/xkU 打开初始场景。 %r KK[ 围绕茶壶创建一个球体大气装置。通常你需要围绕每个移动的对象创建大气装置。 t6N*6ld2b :HViX:]H 3M*Bwt;F_ /BKe+]dS* 2.2. Open the Environment dialog and add the VRaySphereFade atmospheric. Y o0FUj 2.4. Click the Pick button in the VRaySphereFade parameters and then click the newly created gizmo. u9-nt}hGYM 2.5. Go to the V-Ray System rollout and check the Optimized atmospheric evaluation option - this will speed up a lot the rendering of the areas masked by the atmospheric. 0O!cN_l| 2.6. Render the scene: UnWW/]E 打开环境对话框并添加 VR球体褪光。 Aez2*g3 在 VR球形褪光 参数面板中单击 拾取 按钮拾取创建的大气装置。 dm rps+L 到 VR系统卷展览 并勾选 优化大气运算 选项-这将加快很多被大气遮罩区域的渲染。 uw\1b.r'B 渲染场景： j{VGClb=T ^o? S M^ You can see how only the parts of the scene inside the gizmo are visible to the camera. Note the grey color - because we are computing our mask layer through division, it is not a good idea to have pure black colors in the "normal" image. $ls[|N:y0l 你可以看到只有大气装置的内部区域是可见的。注意：它是灰色的，因为我们要使用它和遮罩层进行复合运算，normal图像包含黑色可能会导致运算上运算错误。 p(SRjQt Ha>*?`?yI Proceed as in the previous step to create the pure, black and normal renders, and to composite them onto the background. The result is this: yKagT$- 可以按照上面的步骤依次得到 normal、black 和 pure 图像，你可以将它们复合到背景上，结果是这样的:
（大气装置内部的）上面三张分别是 ： 具有移动对象的渲染 nromal
移动对象为纯黑色材质的渲染 black
不包含移动对象的渲染 pure
上面四张分别是： 通过 nro-black 而得到的移动对象 也就是对象层
通过 black/pure 而得到的 对象的影响程度 也就是遮罩层
第三张则是通过 将遮罩层复合到背景层上面 得到对象对背景造成的颜色影响
第四张 这是将刚刚合成的背景层加上对象层 得到的最终结果
^y viV Y Using the VRaySphereFade plugin, we can control how much an object will affect its surroundings. For GI effects, it is usually enough to limit the influence not far away from the object. However, some effects (like long shadows, or reflections on surfaces at grazing angles) may require larger spheres of influence. An alternative in that case would be to add more gizmos to capture those effects, or to render them in a separate pass and composite them separately. eS/B24;* 使用 VR球形褪光 插件，我们可以控制对象会影响多少周围的环境。对GI来说，通常不会离开对象太远，所以大气装置的限制是足够的。然而，一些效果（比如长长的影子或者表面低掠角的反射）可能需要更大的限制范围。在这种情况下可以增加更多的大气装置用来包含这些区域，或者单独渲染它们然后分别合成。 AZ |yX Z]w# vLR f}c\_}( f67NWFX Conclusion 结论 2g{)AtK$# @\_x'!R We did a lot of extra work to render out our animation - setting up gizmos, rendering four different animations and compositing them. Why was this necessary and do we really have to go through all these troubles to render any animation? 7)rWw<mY 我们为渲染出我们的动画做了许多额外的工作 - 一些小装置，渲染4个不同的动画然后合成它们。为什么有这些必要的操作，我们需要对所有的动画执行这些操作吗？ k`HP "H v <\A% 9&%fq )gS uNbH\qd= However, when we are rendering a fully CG animation, the only thing that we save is render time - which is the single point of the whole exercise. Of course, if we had a large render farm then we could have simply rendered out each frame of the animation as it is, with high enough settings to obtain a stable GI solution from frame to frame. If the scene environment is simple enough, this would be the best and fastest thing to do. However, if we don't have a render farm or the scene is quite detailed, then we can drastically reduce the render times by avoiding re-rendering of the entire scene's background just because we have one or two moving characters in there. u.pxz8 这里需要考虑的是，我们渲染一个完整的CG动画，有一个重点是渲染时间。当然，如果我们有一个渲染农场，我们可以为每一帧设置足够高的参数以防止闪烁，然后可以简单的快速的渲染出来。如果场景环境比较简单，那么这是一个最好最快的解决方案，如果场景环境复杂，那么那些高参数会为了不必要的重复计算而消耗大量的资源。 如果我们没有农场或者场景是很复杂的。那么我们可以使用合成方法避免重复渲染整个场景而大大减少渲染时间，因为我们仅仅有一个或两个运动物体在这里。
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