Alex Roman是一個CG藝術家。想必大家都看過他許多電影級的CG作品。比如路易斯康的圖書館，安藤忠雄設計的藏書館等。這里我給大家翻譯的是一個禮堂的教程。
有人會說，這有必要做成這樣嗎。當然我可以不客氣的回答那些人——你活著有必要嗎？對藝術品我只能萬分敬仰。對于不屑一顧的人，藝術也應該給予他們以最大關愛！
當我開始做CG時，看過許多“星球大戰(zhàn)”式的CG藝術：戰(zhàn)爭，機器，怪物...當我看到Alex Roman的作品時，感到數(shù)碼圖片也可以達到治療效果——那種準宗教般的寧靜與關懷！
煽情結束，這個教程在http://area.autodesk.com/index.php/t...torium/#title1（需要注冊才能看）
他把教程分為五個部分：
Modelling（模型）
Materials（材質）
Lighting（燈光）
Rendering（渲染）
Postproduction（電影后期）
Modelling（模型）
I started to build it from some initial blueprints. I couldn't find much info on it except for a very basic-stage simple plan and section. Thanks to this, I was able to add a few personal details. The whole main structure and individual elements are mirrored by a central axis, so I centered the modeling around just one of the symmetries.
翻譯：
開始，建模用一些原始藍圖。我找不到更多關于這個禮堂的參考，除了舞臺的簡單設計和剖面。
對虧這些，我就可以自己加入一些細節(jié)。整個的主體結構和個別元素用一個中心軸鏡像。
所以模型就大約只有一個對稱。
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Walls, floors, stair-steps and so on... they all are modelled from primitives or extruded splines. Mapping was also quite simple: all elements were mapped by a simple UVW Box. As I eventually attached all the steps into one single mesh, I had to boolean them with some cylinders in order to get the proper holes where I could introduce the actual stepping spotlights
翻譯：
墻面，地板，臺階等等...他們都是用基本集合體或樣條線（splines）擠壓建模出來的。
貼圖也非常的簡單：所有物件的uv都是UVW BOX。最后把所有步驟attach到一個單獨的mesh。
我不得不用一些圓柱體進行波爾計算（boolean），以便得出適當?shù)陌级磥磉M行分級照明
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All of the seats come from one original model with randomized elements. Both the back and the seat itself were box modelled with an applied turbosmooth modifier while the rest of the seat elements are simple modified primitives. Once the seat was done, each group of mobile elements were attached into one and transformed into Vray proxies.
Then, I placed their own pivot point in it's logical place and grouped the seat afterwards.
Why proxies? --------> The seat itself has a lot of polys because of the seams and I had to replicate it 510 times! So the VrayProxy was the best solution...
And why did I place the pivot in the mobile axis parts? ---------> Cause we want to randomize them!
翻譯：
所有的座位來自一個用“隨機法原理”得到的原始模型。當靠背和座位都用box建模turbosmooth修飾細分時，其余座位也被修飾了。
一個座位完成后，attach每個可移動的元素（靠背，座椅），然后轉化為Vray代理（VR proxies）.于是，我在合理的位置上安置他們自己的轉動支點，然后群組座椅。
為什么要代理？
因為我必須復制510次有皺紋的座位，座椅就占去了很多面數(shù)。所以Vray代理是最好的解決方法...
為什么我要把轉動支點（pivot）設為可移動部分？
因為想要去隨機轉動座椅。
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After duplicating them all by arc splines and the wonderful spacingtool, I had to add a bit of chaos using some wonderful scripts from Blur Studio. Making several random selection sets with "randomselect" script, I could do some rotation variations via the "randomtransform" script (Blur Studio too)...
翻譯：
用一根曲線和spacingtool把座椅復制完成后，我必須用來自Blur Studio的腳本讓座位亂一點。
設置“randomselect”腳本，進行隨機選擇。我也用到“randomtransform”腳本來旋轉座位（同樣是Blur Studio）...
Materials（材質）
The scene does not have many different materials. We have basically some timber in contrast with the white fabric seats and ceiling concrete. The original idea was to get three primary colour spread over the big surfaces.
Here are some of the materials and textures used:
翻譯：場景并不需要許多不同的材質。最基本的一些木材和白色織物的座椅，和天花板上的混凝土。
原來設想就是用三種色系來覆蓋整個場景表面。
以上是貼圖和材質的的設置
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接下來是Lighting（燈光）
This chamber auditorium has no natural light openings so the place had to be lit in a completely artificial way. I chose to ignore the typical stage spotlights since I was more interested in dividing spaces by the light areas: Upper cold fluorescent light against the warmer steps with small leading lights.
Each step spotlight has a vraylight in front of it and is invisible (affecting only in diffuse and specular terms). They're all instanced so as to allow for more easier and global control.
翻譯：
每一臺階前的射燈都是用不可見（invisible）的vraylight（只需要影響散射（diffuse）和高光(specular)）.
考慮到能夠簡便的全局控制燈光，所以燈光都被關聯(lián)復制了。
For the upper light panels, I also cloned an instanced planar vraylight using the spacingtool. The lights are looking down and placed inside the upper hollow pits and they have one-sided sss-plastic single face in front of them which doesn't cast shadows. The no-casting shadow point is to allow the lights to "freely" affect both diffuse and specular surfaces, but avoid the enclosure panels' direct shadow while still being back-lit to show a translucent effect.
翻譯：
上面的燈光面板，我同樣用spacingtool關聯(lián)復制了vraylight。燈光朝下，放置在凹洞里邊。有一個sss塑料片在燈光前面。
這各半透明塑料片沒有強制陰影。為什么沒有陰影，是因為光在散射和高光表面自由散射效果（freely）。
當還在逆光顯示半透明時，避免圍起來的面板里有直接陰影。
Rendering（渲染）
It is important to care about balance in every composition. After deciding what was going to appear in the comp, I chose to set the shot image aspect. Afterwards, it was time to find the right balance between volumes by changing camera position, focal length, etc... All shots here are made by physical cameras because of the need of real exposure, vertical correction, etc...
Here are two good architectural photograph references. Of course all the advice won't fix things in CG, but I think it is quite good to know it anyway in general terms:
重要的是注意各成分之間的平衡。決定什么是你想在最終畫面上出現(xiàn)的，就是要如何選擇構圖。
在這之后，改變攝像機的位置，焦距等，來取得一個體量之間的平衡。所有鏡頭都用的是物理攝像機，因為可以取得一個真實的曝光，垂直修正等等。
這里有兩個很好的建筑攝影參考。當然所有建議并非可以用在CG里，但不管怎樣，我覺得可以了解個大概：
1.Interior Photography Tips and Tricks
2.Architectural Photography: Examples and Tips
3.Linear workflow 'reloaded'（線性渲染流程，建議大家看一下，不過都是英文）
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Postproduction（電影后期）
Obviously all process steps are highly important in order to get a desired CG picture. However, I feel IMHO that postproduction work is the most personal step. In this example, I decided to go for an old-analog Lomo's Holga and Polaroid film look. All post work was done in AfterEffects.
翻譯：
顯然所有的過程步驟最重要的是得到一張想要的CG圖像。個人認為后期制作時一個非常個人的步驟。
在這個例子中，我決定模擬出老式Lomo's Holga(lomo相機的一種)和偏振膠片效果。所有帖子都是在AfterEffects中完成。
