To render the dark scene close to what I saw I took 7 consecutive 15-second exposures in under 2 minutes interval.
为了表现接近我所能看见的黑暗场景，我在2分钟的时间内采用了7个连续不断的15秒曝光。
Let's say you have just updated your gamestate for the 10Th time, and now you are going to render the scene.
假设你刚刚更新了第十次的游戏状态，如今你需要渲染这个场景。
After the initialization, you render the scene to the screen.
初始化后，您就可以将场景渲染到屏幕上。
This simple photograph by Gordon Gahan shows the power of light to ignite even the most mundane scene-a concrete tunnel-and render it beautifully.
在戈登。加恩拍摄的这张简单的照片里，光线照亮了凡尘俗世间最普通的场景，一条混凝土水渠，并将其美化。
To make sure the rendering will have the same dimensions as our piece, on the right side go to Shader Tree > Render and set the width/height of the scene to 3613/5000.
为了确保渲染的效果图和我们的图像尺寸相同，执行窗口右侧的 渲染树>渲染 ，并设置高度和宽度为3613和5000 。
Since we have the scene ready with basic materials we can now start working with lighting and render setup, which is always the best part of work.
因为我们准备好了有基本材质的场景，现在可以开始灯光和渲染设置，这总是工作中最棒的一部分。
In this render, I turned off our omni lights and as you can see the scene looks pretty good.
在这个渲染中，我关闭了泛光灯，但是你可以看出场景看上去更漂亮了。
This render mode places UI elements on the screen rendered on top of the scene.
这个渲染模式把UI元素放置屏幕上在场景的最上方。
David Mitchell then moves on to show us how to texture, light and render an interior scene.
大卫·米切尔然后移动到我们展示如何质地，重量轻，使室内场景。
Lights and shadows of your scene will make all the difference about how your hair's gonna render.
场景中的灯光和阴影会决定你的头发渲染出来是什么样。
You will also learn some more advanced lighting techniques and learn how to add atmosphere to your scene and render out a final image.
您还将学习一些更先进的照明技术，并学习如何添加气氛到您的场景，并给出了最终的图像。
Next came a very impotent stage in the process in which I prepared models to act as the small and medium details to be spread all around my scene to achieve a realistic look in the final render.
接下来的渲染过程比较简单，我将准备好的小细节模型散布到场景中使最终渲染效果看上去更真实。
Result of the base pass is Z buffer filled with scene contents and Render Texture with normals & specular power.
基本渲染的结果是被屏幕内容填满的Z缓冲和带有法线和高光强度的渲染纹理。
This article presents a two-pass algorithm to render the scene including participating media, and this algorithm is an expansion of the rendering to solid objects with photon mapping.
本文依据光子映射对实体物体的渲染，将其扩展到对包含参与介质的场景的渲染，为此提出了一个两路的渲染算法。
The wave modeling is a very important field of virtual ocean scene, usually, people need fast render speed, meanwhile, the scene should be as really as possible.
虚拟海洋场景中，海浪建模是一个非常重要的方面，通常的虚拟场景要求海浪渲染速度快，而且要具有相当的准确性。
Combining the methods of classified modeling and special modeling we constitute the large-scale complex urban IR scene and render the IR images of urban scene at various time.
采用分类建模和特殊建模相结合的方法构建了大规模复杂城市场景的红外模型，绘制出了不同时刻城市复杂场景红外成像图。
An optimized shadow volume algorithm was developed to render shadow in large-scale scene.
为解决大规模场景中绘制实时阴影的问题，提出优化的阴影体算法。
So, after setting up the scene, I immediately hit the render button, and this is what will pop up.
所以在设置完场景之后，我立即点击了渲染按钮。
Tone mapping is performed in two places within the code: once in Render as part of the final shader pass to compose the glare textures onto the scene, and once as part of the bright-pass filter.
色调映射执行两处代码；一处是在渲染中作为最终着色器的一部分传给合成的耀光纹理到场景中，一处是作为光亮过滤器的一部分。
With the High Dynamic Range (HDR) rendering, we can render synthesized scene objects into real environments, with out method.
利用高动态范围(HDR)渲染，采用本文提出的方法可以将合成的场景实时渲染到真实的环境中去。
Facing the enormous scene data, How to render the scene with better effect and more efficiently, is the main problem in virtual landscape technology on PC.
面对场景的庞大数据量，如何以更好的效果和更高的效率表现场景，是景观微机虚拟技术中面临的主要问题。
Then all you have to do is set up your scene and render...
然后你需要做的就是设置场景和渲染了。
In part two of this tutorial, I show you how to set up the textures and the lights in this scene to prepare it for render.
在本教程的第二部分，我告诉你如何为场景的渲染准备设置灯光和纹理。
Discover the complete workflow of setting up lighting in a nature scene. And then learn how to bake lighting for a blazing fast render.
发现在自然风光设置照明的完整的工作流。然后学习如何烤照明一个速度极快的渲染。
I used almost the same render Settings for all of the scenes except the fog scene.
我使用的场景，除了雾现场几乎所有相同的渲染设置。
We're then able to begin to build up our scene states for render pass creation and take our final render passes into comp.
然后，我们可以开始建立渲染通道创建的场景状态，并将最终的渲染传递到comp。
Unlike traditional 3d computer graphics in which 3d geometry of the scene is known, image-based rendering techniques render novel views directly from input images.
基于图像的绘制技术不同于对已知场景建立的3d计算机图形，它是利用输入的图片进行渲染。
Go behind the scenes and discover how to animate a campaign logo with a 2d style, create more depth with a 3d set extension and how to set up and render a scene as a 360 degree Virtual Reality video.
在幕后，探索如何使用2d风格为广告活动标志设计动画，使用3d集合扩展功能创造更多深度，以及如何将场景设置和渲染为360度虚拟现实视频。
Go behind the scenes and discover how to animate a campaign logo with a 2d style, create more depth with a 3d set extension and how to set up and render a scene as a 360 degree Virtual Reality video.
在幕后，探索如何使用2d风格为广告活动标志设计动画，使用3d集合扩展功能创造更多深度，以及如何将场景设置和渲染为360度虚拟现实视频。
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