本教程是由Gnomon机构出品的Maya中V-Ray金属机械鸟影视级渲染技术视频教程，The Gnomon Workshop Figure Fundamentals Volume 4，时长：5小时，大小：12.7 GB，MP4高清视频格式，教程使用软件：substance painter，maya，photoshop，v-ray，nuke，作者：STEPHEN DELALLA，共20个章节，语言：英语。
视觉发展是通过为模型添加纹理，颜色，灯光，甚至是合成效果，赋予模型情感的艺术。本教程中，Stephen DeLalla将为我们讲解使用Maya中V-Ray进行视觉发展的全过程。他首先准备好一个新的模型。因为要统一着色，所以他会为我们讲解如何使用渲染测试创建视觉发展场景。为模型添加基础色彩后，我们在Photoshop中进行快速渲染并设计模型的调色板。最后Stephen将制作完成的模型引入灯光场景中，添加灯光，渲染，最终在Nuke中合成。学习完本教程，学员需要完成自己的视觉发展任务。
VRay是由chaosgroup和asgvis公司出品的一款高质量渲染软件。VRay是目前业界最受欢迎的渲染引擎。基于V-Ray 内核开发的有VRay for 3ds max、Maya、Sketchup、Rhino等诸多版本，为不同领域的优秀3D建模软件提供了高质量的图片和动画渲染。除此之外，VRay也可以提供单独的渲染程序，方便使用者渲染各种图片。
Autodesk Maya是美国Autodesk公司出品的世界顶级的三维动画软件，应用对象是专业的影视广告，角色动画，电影特技等。Maya功能完善，工作灵活，易学易用，制作效率极高，渲染真实感极强，是电影级别的高端制作软件。Maya声名显赫，是制作者梦寐以求的制作工具，掌握了Maya，会极大的提高制作效率和品质，调节出仿真的角色动画，渲染出电影一般的真实效果，向世界顶级动画师迈进。Maya 集成了Alias、Wavefront 最先进的动画及数字效果技术。它不仅包括一般三维和视觉效果制作的功能，而且还与最先进的建模、数字化布料模拟、毛发渲染、运动匹配技术相结合。Maya 可在Windows NT与 SGI IRIX 操作系统上运行。在目前市场上用来进行数字和三维制作的工具中，Maya 是首选解决方案。
Maya参与制作的电影有：法国国宝级艺术家Jean Giraud，他原创的影片有《第五元素》、《异形》、《星战》等，并参与制作了《沙丘魔堡》、《深渊》等经典科幻电影；导演Glenn Chaika，著名动画片导演，曾在迪斯尼担任《小美人鱼》的动画师，并执导《拇指仙童历险记》、《花木兰II》等影片；模型监制Wayne Kennedy是曾参与过《隐形人》、《星球大战》、《龙卷风》、《黑衣人》、《木乃伊》的模型师；动画监制Bob Koch和Kelvin Lee是担任《 玩具总动员》、《精灵鼠小弟》等影片的资深动画师；特效指导Manny Wong曾担任《后天》的特效总监，并参与制作了《狂莽之灾I》、《星河战舰》、《巨蟒》、《魔女游戏》等影片。
GNOMON教程，每每给我们于激情与期待！让我们在CG设计路上不再独行！让我们共同期待！让我们共同期待与业界CG顶尖设计师的面对面！少玩多花些时间多学习学习，让我们的商业作品与众不同！Gnomon的教程向来以其前沿的技术和清晰的视频质量而受到广大用户的青睐。
THE GNOMON WORKSHOP LOOK DEVELOPMENT WITH V-RAY FOR MAYA WITH STEPHEN DELALLA
Look development is the art of giving emotion to a model via textures, shaders, lighting, and even compositing. It is a very exciting time as you get to see your model take shape, and the story you are telling begins to fall into place. In this lecture, Stephen DeLalla will be covering his entire look development process with V-Ray for Maya. He begins with a newly modeled asset to discuss proper preparation. Since there is a need for consistency among shading work, Stephen explains how to create a look dev scene to use for all render tests. This same scene is used during our asset work, and also during an in-depth look at creating realistic shaders for cloth, metal, wood, glass, concrete, stone, and leather. After applying a set of base shaders to the asset, we take a render into Photoshop for a quick paint over to design the color palette of the asset.
Look development is an exploratory process, where there needs to be room for change as the artist is working. Substance Painter gives a lot of freedom in this sense, and will be used for creating our textures for the asset. During the texturing process there is discussion of the thought process behind the choices being made that leads us to our result. You will also be able to see how Photoshop (or any other painting package) can be used in combination with Substance Painter to get even better control. Once the asset is fully textured, the shaders are built in Maya with the exported files from Substance. Lastly, Stephen brings the completed asset into a small lighting scene, and finishes the lecture with the explanation of the lighting/rendering workflow and compositing in Nuke to really finalize our look. By the end of this lesson, artists should have a clear understanding of how to approach their own look development tasks both at home and in production.
