如何把纹理渲染到图像中？
光线和纹理渲染都完成了。
然后我这个映射在玻璃上最大的玻璃上，使纹理渲染这个面具的面具。
Then I mapped this onto glass in max and made a render mask of this texture on glass.
当一个纹理渲染以大于原先的尺寸渲染到屏幕上去，我们说它被放大了。
When a texture is rendered to the screen at a larger size than it was created we say is has been magnified.
尤其是运用最新的渲染、纹理贴图、光线追踪和光能传递技术，你可以使一个物体真像是大理石或者橡胶或者凡是你所想到的物体所制成的。
Especially with the latest techniques in rendering, texture mapping, ray tracing and radiosity, you can make an object look just like it's made of marble or rubber or whatever you wish.
实际情况要比这要比这复杂一些，因为该缓冲现在是OpenGL纹理，也可以是OpenGL图形渲染结果的纹理，或者是其他纹理混合在一起的结果。
It's a little bit more complicated than that, because this buffer is now an OpenGL texture and can be the result of rendering OpenGL graphics to the texture or compositing other textures together.
设计者利用复古色调和微细的斜线纹理，渲染出了非常漂亮的星际空间。
The planets are rendered beautifully with a vintage color vibe and a subtle texture provided by diagonal lines.
这个伟大的新加入使我们能够迅速看到我们的纹理将看起来一旦渲染。
This great new addition allows us to qUIckly see how our textures will look once rendered.
深度纹理对应于Z缓冲区所渲染的内容，它并不使用片段程序所输出的结果。
Depth texture corresponds to Z buffer contents that are rendered, it does not use the result from the fragment program.
两个渲染纹理被应用在一对平行的方形平板上。
The two render textures are applied to side by side square planes.
我们将不同尺寸的板条箱的位置放到最大，在平面图上渲染一种路径，将此作为纹理应用于虚幻引擎中，来帮助有针对性地放置板条箱。
We placed the location of the different sized craters in Max, rendered a channel in plan and used this as a texture in Unreal Engine to help us place the craters in a purposeful way.
为了让它们正常工作，显卡必须支持深度缓存(INTZ格式)或浮点型的渲染纹理。
Graphics card must support either native depth buffer (INTZ format) or floating point render textures in order for them to work.
当渲染到纹理时，片段程序必须能够输出需要的数值。
When rendering into the depth texture, fragment program must output the value needed.
纹理模式-尽可能的尝试绘制一切内容。注意，如果场景中没有布置灯光，渲染结果将仍然为黑色。
Textured - Attempts to draw everything as completely as possible. Note that if you have no lighting in your scene, everything will remain black.
你也将使用2D纹理与照相机闪光灯创建自己的动画的人群，看看你可以轻核渲染自己的CG。
You will also use 2D textures to create your own animated crowd with camera flashes, and see how you can light and render your own CG in NUKE.
动画师将能够掌握无数的建模，渲染和纹理与MK的最好和最聪明的作者建议的程序。
Animators will be able to master myriad modeling, rendering, and texturing procedures with advice from MK's best and brightest authors.
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。
Result of the base pass is Z buffer filled with scene contents and Render Texture with normals & specular power.
基础渲染非常不合逻辑，但是，我只是采用柔和阴影和一些基本的纹理进行渲染。
The base rendering was pretty brutal. However, I was just looking for a rendering with soft shadows and some basic texture information.
我们将采取循序渐进的方式，通过这个过程，从没有用modo渲染器集成在我们的纹理进行一些看开发结束我们的项目。
We'll take a step-by-step approach through the process, starting with nothing and ending our project by using the MODO renderer integration to perform some look dev on our textures.
如果Z缓冲不能被以纹理的方式访问，那么深度将在额外的渲染处理中被使用着色器替代技术渲染。
If Z buffer can't be accessed as a texture, then depth is rendered in additional rendering pass, using shader replacement.
最终渲染阶段产生最后渲染后的图像，到这一步，所有的对象都将被再次渲染，其中着色器将混合前一步生成的光源和纹理以及所有自发光照明。
Final pass produces final rendered image. Here all objects are rendered again; with shaders that fetch the lighting, combine it with textures and add any emissive lighting.
最后通过渲染，加以纹理贴图生成最终的发型。
Ultimate hair style is formed after rendering and texture mapping.
另外一个办法是在多遍渲染中使用模板缓存的算法来控制场景中那些部分将被投影纹理更新。
Another way is to use the stencil buffer in a multipass algorithm to control what parts of the scene are updated by a projected texture.
一些用来映射模型的纹理和渲染也做了一些测试。
Some of the textures used to map the models and also done some test rendering.
我真的很享受我在建这个场景、纹理贴图及渲染的过程。
I really enjoy when I doing this scene, texturing and rendering.
使用压缩纹理会减少纹理大小(结果是更快的加载速度和更小的内存占用)并且大幅提高渲染性能。
Using Compressed textures will decrease the size of your textures (resulting in faster load times and smaller memory footprint) and can also dramatically increase rendering performance.
这个选项在没有深度纹理可用或计算深度纹理非常昂贵时使用(比如，在前向渲染中，使用大量物体模型)。
This option can be used when no depth textures are available or they are too expensive to calculate (eg, in forward rendering with a large number of objects).
不管是处在阴影还是亮部，纹理基本上都是以相同方式渲染的。
The texture is rendered essentially the same way in the shadow as it is in the light, but in a reduced value or tone.
不管是处在阴影还是亮部，纹理基本上都是以相同方式渲染的。
The texture is rendered essentially the same way in the shadow as it is in the light, but in a reduced value or tone.
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