安装草图大师的2.0vary渲染器时出现这个command line option syntax error.type for help_百度知道
安装草图大师的2.0vary渲染器时出现这个command line option syntax error.type for help
复制的请绕路.0vary渲染器时出现这个command line option syntax error.type for help ，哪位大仙支个招解决下，确定之后打开草图大师里边没有vary安装草图大师的2
来是安装的路径里边有中文，改了以后安装vary的时候没在出现什么，哪儿都找了，但是打开草图大师里边没有安装的vary，没有
我有更好的答案
建议重装。路径中无中文字符，且最好能在C盘。
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出门在外也不愁【国外经典】Making&of&NYC&TAXI&by&Efim&Armand
原文地址：
帖子有点长图片很多，希望大家等到网页完整打开后再看。&&&
写在前面:Making of
一直以来是我个人很喜欢板块~不仅仅可以从中学到许多，更多的是可以让你知道自己是多么的渺小~为了让自己喜欢的板块增添点人气，今天我就翻译一篇来自我喜欢的众多大师中的一位Efim
Armand,的NYC
TAXI.并附上影片链接~~希望大家喜欢~这是我第一次做,作品赏析，望前辈们看到问题麻烦直接指出，我会及时更正~谢谢~
& 作品赏析
——【国外经典】&NYC
TAXI&by&Efim Armand
原著：Efim
Armand&&翻译：--洪
转载请注明出处：
Introduction:
Hello, my name is Efim Armand. I work as a 3d
artist in the ArchViz industry for the past 10 years, doing the
modeling, texturing, shading, lighting, rendering and final post
production compositing.
你好,我的名字叫Efim
Armand。我在过去的10年中，作为3D艺术家在ArchViz行业里，做模型，贴图，阴影，灯光，渲染和最终的后期制作合成。
Here I would like to present the Making of ‘NYC
TAXI’ animation, which is currently in production stage. I will try
to pay attention to each creative part of the piece, and tell you
about some of the difficulties that I faced and decisions that were
made along the way, as well as mentioning any special features
during the project.
在这里，我会介绍“纽约的士”动画的制作过程。我会尽量注意每个创意的部分，并告诉你们一些在项目过程中我所面临的困难和作出的决定，以及些特殊的功能。
This project was intended as a studying of
rigging/animation at first, but as I kept working on it I decided
to make it a complete scene. I hope that you will take something
interesting from this article for yourself.
该项目一开始的目的是为了学习rigging/animation，但我一直制作使我决定使它成为一个完整的场景。我希望你能从这篇文章中获取些东西。
References:
I start each new project by collecting as many reference
photos as possible. I find this step to be very essential. The main
reference was the Google Street View, which helped a lot for
understanding the atmosphere and dimensions of NYC streets and even
getting some texture samples.
我开始每一个新的项目，尽可能收集尽可能多的参考照片。我觉得这一步是非常重要的。主要参考的是谷歌街景，在理解纽约市街道的气氛和尺寸，甚至获得一些纹理贴图上，帮了不少忙。
All the modeling was done with 3ds Max (with small bits
in SketchUp). First of all, I set myself the task of creating a
scene considering that it should be adapted for animation, so low
poly modeling was the main technique.
所有的建模都在3ds
Max完成（在SketchUp少量）。首先，我给自己定下的任务是建立一个可以制作动画场景，所以低面建模是主要的技术。
This was the hardest part of work, because of the need to
make complete streets full of buildings. I started my scene with
simple, low poly blocks out to help me find the right scale, camera
compositions and basic light set up.
这是最难的部分工作，因为需要做出充斥建筑物的完整街道。我开始了简单的场景，低面体块帮我找到合适的比例，相机和基本的灯光设置。
One of the problems that I ran into with this project was
the large number of individual objects, and so I had to create
layers based on object types.&&It
helped me to make the workflow easier. I just turned off layers I
did not need at any given time to provide clean, fast and focused
我遇到了这个项目的问题之一是大量的单个物体，所以我必须根据物体类型来创建层。它帮助我使工作流程更容易。我只是关闭层，就不需要花费任何时间使重点视口清洁，快速。
The environment was divided in three distinct
Foreground buildings and street elements (hi and
middle poly counts) for close-up views.
Middle-ground (low-poly buildings, mostly textured
Background with distant buildings as
simple textured planes
环境分为三个不同的部分...
前景建筑和街头元素（用高中模）用于特写镜头。
中景（低面的建筑，大多是贴图模型）。
远景和远房建筑使用简单的贴图。
This way it was really easy to manage the level of
details according to the distance from the
这种方式是根据与相机的距离，来管理细节。
------------------------
I browsed the SketchUP model library for models of city skyscrapers
for the background, so I could fill the scene with this pretty nice
low-poly buildings which actually look very nice at a distance or
in foreground for camera views with motion blur
我使用SketchUp模型库的摩天大楼为背景，这样我就可以充充场面，这是相当不错的低多边形的建筑，放在远处在运动模糊后看起来是相当不错的。
Below is a collection of Times
Square surrounding buildings. Since&Alex
Roman’s famous Exeter tutorial it is nice to start your project
with searching reference models at Google 3D Warehouse
下面是收集的时代广场周围的建筑。由Alex Roman的著名教程Exeter(译者注:Alex Roman
的教程中也是先用google的简模来当项目启动的模型，NYC TAXI
作者也是使用这个方法。)，谷歌搜索参考模型的3D模型库是很好的项目启动的模型。
I had to make more detailed buildings from the reference
pictures for using them in close-up views. Here is the process of
modeling a sample building (E.V. Haughwout Building, 488
Broadway).
我不得不根据参考图片做出更细的建筑，用在特写的镜头里。这是一个建筑（EV
Haughwout，488百老汇大厦）建模的过程
First I collected a lot of reference photos together to
understand the shapes of the building and make textures. I tried to
choose high-resolution photos with overcast lighting to avoid
shadows or obvious light sources.
首先，我收集了大量的参考照片，用来了解建筑物的形状和制作纹理。我尽量选择高解析度，阴照明的照片，尽量避免阴影或明显的光源的照片。
There were a lot of unwanted elements in the pictures,
like antennas, cars, flowers, cables, people, etc. So I took them
into Photoshop and cleaned them up a bit. I used the distort tool
to push them into shape, laying down a grid helped to make sure
lines are parallel to each other.
有很多的照片都有天线，汽车，花卉，电缆，人等元素，所以我把它们导入到Photoshop清理掉。我用distort
工具，把他们推到shape，铺设了网格帮助以确保线是相互平行的。
When the textures were ready I started to model. At first
the building was a single polygon plane with UVW mapping and the
final texture applied, then I made cuts and extrusions following
the underlying texture as a guide. I used the same texture as a
background in the UV editor to get even better control in matching
my model to the texture.
当贴图制作好了，我开始建立模型。起初的是建一个单一的多边形平面用UVW
maping完整的贴下整个贴图，然后我根据贴图的纹理做了切割和挤压。并且我用了相同的贴图作为背景，使UV编辑器来得到更好的控制匹配我的模型结构。
It was quite enough for the dynamic animated
这是相当不错的动画镜头
In the same way I modeled several other buildings. After
the modular building facades were finished I saved the objects to a
separate file and then merged them as xRef objects to the main
以同样的方式，我仿制了几个其他建筑物。建筑立面完成后，我保存它们到一个单独的文件，然后合并它们作为外部参照对象导入到主要场景里。(译者注：xRef
外部参照，大多用在大场景和动画里，现在大家的电脑都好了所以用的就少了。好处就是当作参照的物体导入场景不影响你场景的大小。具体的大家可以百度下懂CAD的应该都懂的。)
It helped me to optimize the scene weight, Also
considering the proxy mode of xref used less memory. After that I
scattered my buildings, combining them to the city blocks as I
还考虑到代理模式的外部参考使用更少的内存，它帮我优化了场景大小。之后，我按照我喜欢的来摆放我的建筑。
ELEMENTS（街头元素）
---------------------------
The main street elements were…
intersections.
sidewalks.
roads (with three and five
traffic lights.
Other small street elements (mailboxes,
newspaper boxes, signs, trash cans, etc.).
主要的街道元素...
道路（三，五车道）。
交通信号灯。
其他的街道元素（邮箱，信报箱，指示牌，垃圾桶等）。
which are reused in modular
这是重复使用的模块化的方式。
The road mesh have a noise modifier applied to avoid the
lanes regularity in perspective views.
在马路的棉片上添加noise，使得它在透视窗口看起来不那么的有规律。
Traffic light objects had scripted Attribute Holder
modifier to quickly animate light
交通灯对象使用了Attribute Holder 脚本，在修改器添加了交通灯的动画。
The building shaders were setup with the
basic V-Ray power shader:
建筑材质使用的是V-Ray材质
Diffuse Component & Painted and color
corrected photo-based maps, primarily collected
Reflection Component & Greyscale specular breakup map piped into
the reflection and Reflection Glossiness slots. Reflection was used
with the glossiness turned down (around .95), Fresnel reflections
Bump Component & A grayscale, high frequency image used on all
固有色-修改和较色后的照片为基础的题图，主要从收集。反射 -
灰色的高光贴图贴在reflection 和Reflection Glossiness。glossiness
（约0.95），菲涅尔反射开启凹凸
-灰色的高频图像的贴图贴在所有的材质上. (应该是类似noise的吧~)
TRAFFIC LIGHTS MATERIAL（交通灯材质）------------------------------------
The following chart showcases how the
traffic lights materials was
constructed.
下面的图表展示了如何调的交通灯材质。
ROAD / INTERSECTIONS MATERIAL（路/交叉口材质）
At first I applied individual IDs for road
lane and intersection faces.
先前我设置了了各自车道和路口片面的ID。
Instead of using Multi/Sub-Object material
I chose VRayMtl with VRayMultiSubTex on diffuse slot. The main goal
of this choice was the ability to modify reflection, glossiness,
textures color correction and other options in one place without
switching from one sub-material to
我没有使用多维子材质而是在固有色贴上了VRayMultiSubTex&。这个选择的主要目标是为了方便修改反射，光泽度，贴图色彩和其他选项，而无需切换到另一个材质球。
To simulate the wet look of the street, I
had to produce a reflection map and glossiness map. I used
desaturated and color corrected diffuse map. All of these
adjustments came after a long journey of tries and
errors.为了模拟湿润的接到，我不得不制作一个反射贴图和光泽度贴图。我用饱和度和色彩校正固有色贴图。所有这些调整都经过了长途跋涉的尝试和错误。
After the base road material was finished,
I decided to add some extra details to it. The material was
converted to VRayBlendMtl. I added some extra glossiness and
puddles blended to the base material by several masks. Also some
asphalt cracks and lane signs were
blended.路面材质完成后，我决定给它添加一些额外的细节。材质球转化为VRayBlendMtl。我通过几个蒙版添加了一些额外的光泽度和水坑混合了基础材质。还添加了些沥青混合裂缝和车道标志。Glossiness material and blending mask for
puddles…下图为水坑的光泽度材质和混合的蒙版...
Below is the screenshot of how the final
material node looks like… it seems to be complicated at
first.下面的截图是最终的材质节点，一开始看起来似乎很复杂。
MATERIALS（车材质）With such an amount of car models in scene I
chose a way of using one material for car bodies. The feature of
this material was in MultiScatterTexture in diffuse slot. This
method helped to create vast amount of various tones to gain a more
realistic appearance of various colors of cars.
有了这样的车模场景，我给汽车车身用了一种材质。这种材质的特点是在固有色贴MultiScatterTexture。这种方法有助于创造大量的各种色调各种颜色的汽车，可以获得更逼真的外观。I
also blended the base car body material with a simple dirt material
using the combination of Falloff/Noise maps as a mask.我也在基础的车身材质使用Falloff/Noise贴图蒙版上融合了一个简单的污垢材料。
Below is Glass material with dirt
map:下面是混有泥土的玻璃材质：
MAPS（车的污垢贴图）
Lighting&Rendering
The scene is lit only by a VRaySun
(Daylight) and a VRaySky map placed in the environment slot of the
V-Ray rendering settings.场景只用了VRaySun（日光）和VRaySky
贴在environment 中使用V-Ray渲染
Here are some
previews…下面是一些预览...
bunch more…
还有更多的
The render settings were simple. you can
see the render setting below.渲染设置比较简单。下面是你可以看到的渲染设置。
One of the tips I had applied was
overriding of motion blur samples in V-Ray object properties for
wheel objects in the scene to provide more correct motion blur.
Most of the other objects have used Geometry samples defined in
V-Ray Motion Blur settings.我的技巧之一是场景中轮子的VR物体属性设置全局的motion blur
samples使它有更好的运动模糊。其他物体在V-Ray中的Motion
Blur设置里使用Geometry samples 。如下2张图。
The rendering process had three stages for
each animated camera in scene (three backburner jobs)
:渲染过程有三个阶段，每个动画相机都在场景里（3个准备工作）：Light
cache & just one single frame of animation rendered.光缓存 - 只渲染一帧。
Irradiance map based on the pre-rendered light cache map, active
animation range renderedIrradiance map使用pre-rendered模式，Light cache
读取了先前渲染的light cache 文件。
Final render based on the pre-rendered
Irradiance map, active animation range
rendered.最后渲染用 Irradiance
map使用pre-rendered模式渲染。
HEADLIGHTS(的士车头灯)
At first the taxi headlights were turned
off. Later, during compositing I decided to add some glowing
effects and flares to the project. So I rendered headlights
separately with mental ray using its Glare and Glow Shaders with
patterned lens.
起先出租车的车灯是关闭的。后来，在合成过程中，我决定到项目中添加一些发光效果和信号。所以，我用mental
ray分别渲染前大灯的镜头眩光和光晕着色。
There were three basic headlights parts
大灯有三个基本部分：
1. Chrome & Raytrace
2. Lens & Architectural material
with Checker on Bump map slot
光线跟踪材质。
建筑材质中的Checker
3. Glowing lamp: Standard material with
Glow shader on Diffuse slot
3。发光的灯：标准材质在固有色上贴Glow
Mental Ray and Flare shader
settings…
ray和Flare设置...
最终的结果...
THE SMOKE(烟)
For the sewer smoke I used the FumeFX
plug-in. After smoke fluids were calculated I instanced the FumeFX
grid over the scene and placed the instances wherever I wanted them
to be. For some cameras more detailed smoke sources were calculated
(cars interacting and tire tracks
对于下水道烟雾中，我使用的FumeFX插件。烟流体计算后我实例化，并放置在场景中任何我想放置烟雾的地方。某些镜头有更详细的烟雾源（例如汽车相互作用和轮胎轨迹的烟）。
After this part was over, I applied
VRayMtlWrapper material to all the geometry in scene by Override
option in Glo then for each camera in the
scene smoke sequences were rendered without GI, I used them later
之后，我用VRayMtlWrapper材质代替了场景中所有的几何体材质，然后为每个相机的烟雾渲染序列，不开GI，最后把它们放在Nuke。
Render Elements(渲染元素)
Before I talk about going to Nuke, let’s
look at main render elements I used for this
在我使用Nuke之前，让我们看看这个项目中的主要渲染元素.
VRayAtmosphere
VRayObjectID
VRayReflection
VRayRefraction
VRayRenderID
VRayZDepth
Compositing(合成)
This process was rather an important stage
for this work, because it allowed me to fix any rendering mistakes
and to add some artistic retouching. During compositing process I
blended the Reflection pass to the roads to increase the reflection
a bit more. Also adding more dirt to some parts by using the VRayAO
pass, which brings more reality to the
对于这项工作这个过程是相当的重要阶段，因为它让我解决任何渲染错误，并可以添加一些艺术的修饰。在合成的过程中我用反射通道
来增加我道路的反射。我还在某些部分通过渲染的AO通道添加了更多的污垢，使它看起来更加真实。
Such works as ‘We Miss You’ by Hanna Maria
Heidrich…
And ‘Solo L.A.P.D.’ by Lasse
Gretland…
inspired me greatly in searching of color
and environment mood.
以上的2个作品大大启发了我对颜色和环境的感觉。
First of all start with adjusting the
brightness and contrast of the image and make a quick objects color
correction based on ObjectID and RenderID masks. The base
compositing tree was built and later I used it for other cameras
with adding some modifications where I had
第一步我通过&ObjectID
和 RenderID 蒙版，进行亮度对比度，和简单的色彩调整.&。在基合成树后，我不得不加入一些修改以对应其他相机。
can see the approximate process of compositing on breakdown
你可以从下面的视屏中看到合成过程。
And the general overview of the Nuke
Some animation
screenshots…
一些动画截图
Conclusion（结论）
Personal projects are amazing. They allow
us to use full and complete creative freedom and to show the world
what we can create. If you have any questions, don’t hesitate to
ask by commenting below.
个人项目是惊人的。他们使我们能够利用充分和完全的创作自由和向世界展示些我们可以创建。如果您有任何问题，不要犹豫，问下面的评论。
Below is the list of software used during
the creation of these scenes.
使用的软件
3ds Max 2012
MultiScatter
GhostTrails
PremiereAfter
Thank you all!
Efim&<img src="/blog7style/images/common/sg_trans.gif" real_src ="/wp-includes/images/smilies/icon_wink.gif" BORDER="0" ALT="" WIDTH="15" HEIGHT="15" STYLE="word-wrap: break- cursor:" NAME="aimg_UZR3I"
TITLE="【国外经典】Making&of&NYC&TAXI&by&Efim&Armand" />
Efim&&的制作流程比较新颖，整体流程很适合个人作品或者特别的项目。
最为特别的是他建模的方式 都是建立成块状然后再拼接~~
其实这样的建模方式很方便将元素整理用于其他项目。而且移动元素摆放元素又可以让不同的项目用同样的元素有不同的效果，国内的公司其实可以尝试借鉴。
还有他的渲染方式，有点别于我们的动画渲染的流程。
本人估计是为了提高渲染的速度，减少了对2次反弹GI的计算时间，希望大家有空测试下。
还有Efim 使用的是LWF线性工作流---这里做下超链接普及下--在这里谢谢大家看完全文。
今后会抽出更多的时间给大家带来更多的原创翻译与解析。
谢谢大家，希望大家常来交流。
已投稿到：
以上网友发言只代表其个人观点，不代表新浪网的观点或立场。由专筑网刘庆新，vigo编译
Nookta的作品之前在微博上就显得很有特色，他曾发表过制作地中海住宅渲染图。今天，我很高兴分享他们最近2015年第20周最佳作品——“Arrival”。这是一个美国加州60年代建筑的改造项目。在遵循现代建筑风格，从Richard Neutra，Donald Wexler和Pierre Koenig设计的作品，并从中得到许多灵感。“Arrival”描述了废弃场所的复兴。随着时间推移，这个场所的一切本来已经被淘汰了。从Nookta多个层面来讲，这个图是我看到的最好的图。很高兴在这里和大家一起分享！
我们很高兴在这里和大家一起分享，希望我们的经验会对大家有所帮助。特别感谢Ronen的邀请，并及时告知相关信息。
Nookta’s work was featured on the blog before, with the making of the Mediterranean House, and today I’m happy to share the making of their latest Best of Week 20/2015 – “Arrival”. It is their in-house project based on architecture from the 60’s in California, USA. Following the modern movement architecture, discovering the creations of Richard Neutra, Donald Wexler and Pierre Koenig, which inspired them immensely. “Arrival” describes the revitalization of an abandoned place. A place where time has passed and things were left behind. This image is the best I’ve seen from Nookta on many levels, and it is great to share the making of it here with you. Enjoy!
We are very pleased to be able to share our work with you and we do hope our tips will be of value to you. Special thanks to Ronen for the invitation and for his great engagement in keeping us informed on further developments in our field of work.
Introduction/简介
开始一个项目的时候，花时间搜索相关图是很重要的。这些图为进行的工作步骤起到了一个引导作用。专注做好基础工作，后面就会节省时间。
另外，技术方面，它们也帮助我们在思想上构思该项目。
When starting a project it is very important to take our time in researching reference images. These images serve as a guideline for proceeding working steps. You can thus concentrate on the essentials and save a lot of time!
Beside technical aspects they also help us to mentally visualise a project.
Modeling/建模
建3D模型的时候，我们在粗糙的立体结构上进行细致的操作。创建渲染图的时候，建筑功能不会有最优先考虑，所以对建筑布局可以自由选择。另一方面，整理一个建筑模型是很有必要的。
因此，我们对建筑引进一个网格结构。对我们来说，创建一个现代、轻巧且简单的建筑很重要，即使我们使用了一个坚固的网格。这里我们是从Donald Wexler, Richard Neutra和Pierre Koenig等现代派的建筑师身上得到了启发。
When doing our 3D modelling we started from rough cubic structures on to tiny details. The functionality of the architecture did not have the highest priority while creating an image, thus enabling a free choice of layout. On the other hand it is necessary to systematise an architectural model.
We therefore introduced a grid for the construction. For us it was important to create an architecture that is modern, light and simple even though we use a rigid grid. In this we were inspired by modernist architects like Donald Wexler, Richard Neutra and Pierre Koenig.
对于这个项目，我们需要有细节。一些元素如支撑构架、地板、窗户材料和灯具都直接采用了前面找到的参考图。
For this project, we wanted to go into high detail. Elements such as supporting framework, flooring panels, window profiles and lighting were taken directly from the reference images.
“三维倒角”和“点编辑器”工具很大程度上简化了我们的工作。
下面展示了我们是如何构建地面和天花板。
首先我们用相同的参数编辑构成元素。接下来这些就不同了。有着相同参数的进一步构成元素被创建，接下来又不同。这个操作持续几次，直到生成一个不规则图。
Tools such as “roundcorner” and “vertextool” greatly simplified our work.
The following shows how we constructed the ground and ceiling panels.
we first compiled components with identical parameters. These were then made distinct. Further components with identical parameters were created. Again distinct. This process was repeated several times until an irregular image was achieved.
接下来我们在单个的构成元素中使用点编辑器工具，使面板变得更不规则。我们将边缘处的单个面板分成5厘米网格结构，并带有2米的半径。我们最后将装置转成Z向，有1到2厘米的延伸。这样我们的地板就变形的非常完美了。就像是地板生成器，只能自己创建。
水泥墙和楼梯创建方式是相同的。
We then used Vertex Tools on the individual components for further irregularity of the panels. We divided individual panels into 5 cm grids, decided on the edges and with a radius of 2 meters we finally shifted the contraption in z-direction over 1cm – 2cm spans. Our flooring panels were thus deformed perfectly. Almost like Floor Generator, only homemade.
Concrete walls and stairs were done similarly.
室外场景我们使用的是几个代理服务器。植物的创建来自XfrogPlants植物插件库，棕榈树通过阴影表现了出来。我们自己的2D棕榈叶看上去更真实了。
窗帘是通过Marvelious Designer软件完成的。我们从窗帘中抽出V-ray网孔数据，因为他们的数据很多。关于进一步的物体，如岩石和家具是从三维模型库中引进来的。其他家具直接来自制造商的页面，然后用artisan工具进行编辑。
For the outdoor scene we used several Proxies. Plants are from XfrogPlants (Luckily we had desert plants included in the package). Palm trees were only used for shadowing. Our own 2D palms were more realistic.
Curtains were done with Marvelious Designer. We exported vraymesh data out of the curtains because their data was high poly. Further objects, like rocks and furniture, were taken from 3D Warehouse. Other furniture came directly from manufacturer pages and subsequently edited with artisan tool.
The Story and Final Process/情节和最后过程
我们决定将场景描绘成夏季炎热的一天，这对于加州来说是很适合的。
SketchUp的太阳系统很容易操作。光线和阴影能精确地调整到我们需要的程度，这就是为什么我们不用V-Ray半球灯的原因。调节装置也很基本。对于后期制作我们也用这种路径进行渲染：Diffuse Filter， Raw Light，RenderID和ZDepth。
We decided to portray a hot summer‘s day, which for California would be quite appropriate.
SketchUp‘s sun system is easy to operate. Light and shadow are precisely adjustable to our needs, which is why we decided to make do without a V-Ray Dome Light. Adjustments were kept very basic. For post production (using Photoshop) we also rendered these channels : Diffuse F Raw L RenderID and ZDepth.
下面操作关系到最终透视。
也许你注意到了，椅子的位置和嵌板后来才进行渲染。我们没有截屏，因为我们没有将最终校正体现在模型中。
物品的位置很重要，因为最终图的深度是通过这些表现出来。
The following concerns the Final Perspective…
As you perhaps noticed, the position of chairs and diving board was rendered afterwards. Of this we unfortunately have no screen shot as we failed to file the final adjustments to the model.
Here, the positioning of objects is important as with these we try to give the final image depth.
现在来看最终光线
And now to the Final Lighting…
在创建材料上我们花了时间和经验。事实上，一些材料通过交换贴图一下子就创建出来了。后来我们决定叠加一些泥土、灰尘和锈斑，为后期制作做准备。
For creating material components we took our time and experimented a lot. In fact, some of these were created quite accidentally by exchanging mappings. We decided to add dirt, dust and rusty spots subsequently in order to have more free choices for post production.
最终原始渲染图：
The Final Raw Rendering :
Final Picture/最终图
下面是一些关于制作过程的意见。
为了创建图的深度我们用到了FG，MG和BG元素，结构框架也用到了。冷色调在较暖阴影中的位置也增加了图象的深度。项目主题“桌子和椅子”被放置在了黄金分割处。
The following are guidelines we referred to while keeping an eye on the production process.
In order to create image depth we worked with FG, MG and BG elements. Framing was also used. The positioning of cold colours within warmer shades also added to image depth. The project theme “Table and Chairs” was positioned within the golden cut.
在开始最背景进行处理之前，我们用Camera Raw Filter插件对原始渲染图进行了编辑，来修正基本的特征，比如曲线、颜色、对比和亮度。
因为在最后的校正中，对比和亮度会 再次被编辑，所以不要把区域设置成100%的黑或白。其中一个最重要的元素就是BG，它让观察者决定这个尺度，使图象体现出深度。
到这一阶段，我们开始花时间来编辑好的参考图。背景是由几座山拼接而成。我们确实很喜欢在表面叠加纹理的过程。
后期制作中，对表面进行修饰编辑操作很有必要。在一些表面我们用传统刷子刷出纹理，而其他表面我们用不同的混合模式进行操作。
我们让表面呈现出不规则状态，提升了它的栩栩如生的感觉和真实感。最后的润饰只包含颜色调整、对比调整，还有稍微的软化集滤器。
Before starting on the background, we edited the raw rendering with Camera Raw Filter to correct general features such as curves, colours, contrast and intensity.
Because contrast and intensity are again edited during final adjustments, it is important to not have areas 100% black or white. One of the most important elements is BG which lets the observer determine the scale and gives depth to the image.
At this stage, we took our time to compile good reference images. The background is composed of several mountain segments which have to have equal grain and exposure. We really enjoyed the adding of texture to the surfaces.
In starting post production, it is helpful to have available all the masks for surface editing and to use them subsequently. On some surfaces we painted texture with custom brushes, others were done with various blending modes.
We made sure to achieve an irregularity on surfaces thus improving their vividness and real look & feel. Final retouching only consists of colour adaptions, contrast adaptions plus a very slight soft focus filter.
很多情况下，我们在长时间制作一个渲染图过程中，眼睛都迷乱了，需要稍微修正。极大地帮助我们在工作中反映出图象效果。因为我们的前提是在一个虚构的场地，建筑的朝向并不重要。
更重要的是我们怎样喜欢这个渲染图，这就是为什么最后我们使其保持镜面状态。
Very often, during long periods of working on an image the eye turns blind to minor adjustments. It helps tremendously to mirror the image frequently while working. Because our premises are at a fictional site, the direction the house is facing was of no importance.
More important was how we liked the image, which is why at the end we kept it mirrored.
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