xiao_q | 17年5月15日|988关注
这是我在Gnomon视觉效果学院创建的一个课程。 该项目的目标是在2周（1周模型和紫外线以及其他周的纹理，照明和堆肥）中制作成品。 我选择了这个惊人的概念， Cory Loftis，因为他的作品代表了我最喜欢做3D的工作, 这是一个故事。
This is a project I created for a class at the Gnomon School of Visual Effects. The goal of the project was to create a finished piece in 2 weeks (1 week modeling and UVs and the other week for texturing, lighting and composting). I chose this amazing concept piece by Cory Loftis because his work represents what I like most about doing in 3D ? which is telling a story.
In this tutorial I want to show a bit of my pipeline and do an overview of the steps used in the creation of this piece. I really enjoy the entire process of creating a piece but the thing that I pay most attention to is conveying a GOOD story (funny, emotional, sad, happy, dark, and so on).
This first moment is very, very important! You really need to take the time to choose and analyze your concept before deciding to start a new project. Try to pick subjects that interest you (especially if it is a personal project). The importance of a good story is that people connect with your piece on a higher level and the technicality is forgotten. This is your chance to tell something through your artistic skills, so use it!
这第一时刻非常非常重要！ 在决定启动新项目之前，您真的需要花时间选择和分析您的概念。 尝试选择感兴趣的科目（特别是如果是个人项目）。 一个好故事的重要性在于人们与你的作品在更高的层次上联系在一起，技术性被遗忘。 这是你通过你的艺术技巧来告诉你的机会，所以使用它！
After you have picked your concept, it is time to analyze the props, characters and details. The trick is, before you begin, just zoom in, go through your image and slowly start getting to know it. Walk around it with patience. It is also good at this time to have a notebook and start taking notes about the props and any ideas that cross your mind about how to approach specific objects. The more you familiarize yourself with the concept the better the creativity will flow.
Also, begin to gather references ? you're always going to need them! With the list of props from your scene, it is easier to know what to look for now, so collect as much as you can. Try to get photos, drawings, maquettes, 3D pieces that inspire you or are related to the subject you are researching. Also try to be as organized as possible. Also, don't only think about objects, but also collect ideas for lighting, the color palette, mood, anatomy studies etc.
选择您的概念后，现在是分析道具，人物和细节的时候了。 诀窍是，在您开始之前，只需放大，浏览您的图像，并慢慢开始了解它。 要很有耐心。 在这个时候，还有一个笔记本，并开始记录关于道具的任何想法，以及关于如何处理特定对象的任何想法。 你越熟悉这个概念，创造力就越好。
另外，开始收集参考, 你总是需要他们！ 随着您场景中的道具列表，现在更容易知道要查找的内容，因此尽可能多地收集。 尝试获取照片，图纸，木片，3D片段，激发您或与您正在研究的主题相关。 还要尽量组织起来。 另外，不仅要考虑物体，还要收集照明，调色板，心情，解剖学等方面的想法。
For this piece, I decided to model in a type of zombie pose with the arms facing the front, because in the end it would be easier to match the pose from the concept.
In ZBrush I started creating ZSpheres with the overall volume of the character, focusing on basic proportions. After this part was done, I converted it to a mesh and started blocking the shapes, silhouettes and finding the apexes. Try to keep symmetry on as long as possible at this stage. After nailing the basic silhouette, I started to add secondary forms, building up muscle definition and transitions of sharp to soft forms.
在ZBrush中，我开始创造出ZSpheres的整体素质，侧重于基本的比例。 这部分完成后，我把它转换成一个网格，并开始阻止形状，剪影和查找顶点。 尽量在这个阶段尽可能长时间保持对称。 在打了基本的轮廓后，我开始添加二次形式，建立肌肉定义和锋利到柔和形式的转换。
While still in ZBrush, I decimated the model and brought it into Maya to start creating topology for better posing and animation. I used the quadraw tool (from the new modeling toolkit in Maya 2014), to define the flow of the loops. After the topology was done, it was time to start the UVs. I normally use Maya to create the UVs, but you can also use ZBrush for faster but less accurate results.
With the topology and UVs done, I went back to ZBrush to start posing the character in the chair with Transpose Master. This stage is very important from a storytelling point of view ? the pose plays a big role in telling who our character is. Pay attention to contraction and compression, try to push the pose even further than the concept, and spin your model while posing to see if it reads well from all angles. Try to study photos of people in that pose or ask a friend to pose for you and take a photo. All this will help, as the more subtleties you add the stronger the character will be.
With all the stages presented before being done, I exported the objects as OBJs and sent them to Maya. I decided to use Mudbox as my main texturing software because of the ease of transitioning between Maya and Mudbox. In Mudbox, for the bear texture, I used the bw_bistrol2 stamp to paint some of the fur, changing the color constantly to create variation. This variation would help in the future with the V-Ray fur. For the props, I normally paint a lot of my textures by hand and at the very end overlay various images to amplify the effect.
在完成之前的所有阶段，我将对象导出为OBJ并将其发送到Maya。 我决定使用Mudbox作为我的主要纹理软件，因为在Maya和Mudbox之间轻松转换。 在Mudbox中，对于熊纹理，我使用bw_bistrol2印花来绘制一些毛皮，不断改变颜色以创建变体。 这种变化将有助于将来的V-Ray毛皮。 对于道具，我通常手工绘制很多纹理，并在最后覆盖各种图像以放大效果。
This is the shader connection I normally use for cloth materials. Some types of cloth have a fuzzy matte feeling, and to get that effect in Maya I usually use this method.
Basically, you take a shader and instead of putting the texture on the diffuse color you plug a ramp node. From the ramp node you connect a sampler info node as shown in the image below. The idea is to have 2 colors on the diffuse and with the sampler info node you get the facing ratio, meaning that the top color will be facing the camera and the bottom color facing away. This, along with a rough specular and reflection, will give you the fuzzy feeling most of the time. Basically, we are cheating the physically based material attributes to behave the way we want.
基本上，您可以使用着色器，而不是将纹理放在漫反射色上，然后插入斜坡节点。 从斜坡节点连接一个采样器信息节点，如下图所示。 这个想法是在漫射上有2种颜色，而采样器信息节点可以获得面对比例，这意味着顶部颜色将面向相机，而底部颜色将面向远离。 这与粗糙的镜面和反射一起，会给你大部分时间的模糊感觉。
For the fur I wanted to get a simple and very cartoony feel. I experimented with some Maya fur but couldn't get it to work the way I wanted and ended up deciding to use V-Ray fur. The V-Ray fur has very little control, which was a good thing for me because I was running out of time to finish the piece and needed something fast and simple.
To get a bit of complexity in the fur I decided to create several pieces of mesh, each of them with a different V-Ray fur assigned so I could control the randomness and direction of the patch. Also, I created some different fur in the same mesh, some with less fur but thicker and some with more fur but thinner. I used the V-Ray hair shader for it and plugged the texture painted in Mudbox to create the color variation mentioned in the texturing part. The fur's color is dictated by the diffuse of the underlying mesh that it references.
对于皮毛我想要一个简单而非常卡通的感觉。 我尝试了一些Maya毛皮，但不能让它按照我想要的方式工作，最后决定使用V-Ray毛皮。 V-Ray毛皮几乎没有控制，这对我来说是一件好事，因为我没有时间完成这件作品，需要一些快速简单的东西。
为了在毛皮上有一点复杂性，我决定创建几个网格，每个都有一个不同的V-Ray毛皮分配，所以我可以控制补丁的随机性和方向。 此外，我在同一个网格中制作了一些不同的毛皮，一些毛皮较粗，较粗，一些毛皮较薄。 我使用V-Ray头发着色器，并插入在Mudbox中绘制的纹理，以创建纹理部分中提到的颜色变化。 毛皮的颜色由它引用的底层网格的扩散决定。
The lighting in this scene is very simple but carefully placed. Besides the character, the lighting is another important element that could be used to amplify the mood and story of the image. This scene could be very different if the overall mood was brighter and had less contrast.
At this stage, it's a good idea to research scenes in movies, other artists' work, photos, paintings and anything that has a similar mood that you wish to project. Experiment a lot to find the best way to tell the story (I'm repeating myself again, because this is important!) So, I decided to leave the scene very dark with a primary source of light coming from the TV, a secondary light from the lamp and a big fill light from the bottom left side of the image.
这个场景中的照明非常简单，但要仔细放置。 除了角色，照明是另一个重要的元素，可以用来放大图像的情绪和故事。 如果整体情绪更亮，对比度较小，这个场景可能会有很大的不同。
在这个阶段，研究电影，其他艺术家的作品，照片，绘画和任何想要投射的类似心情的场景是一个好主意。 要多试验，找到最好的方式来讲述故事（我再次重复一遍，因为这很重要！）所以，我决定让场景非常黑暗，来自电视的主要光源，二次光 从灯和从图像的左下方的大填充光。
The compositing part is always fun! It's the time to push the lighting, add a bit of detail and fix some weird things that may have appeared during the render. I always generate a lot of passes which allows for more control throughout the compositing process. Multi matte passes help a lot for quick selections in Photoshop or NUKE.
The basic passes I always get out of V-Ray are in the image below. Basically, you will put them all in Add mode, except the AO pass which will be in a Multiply Blend mode. Clip the adjustment layers to your passes for a non destructive way of working. After all the adjustments, I like to top it off with a dust texture to give some atmosphere to the image. I finish off adding a lens correction filter and with this, you can add vignetting and chromatic aberration which helps to give a photographic look to your piece.
合成部分总是很有趣！ 现在是推动照明的时候，添加一些细节，并修复渲染过程中可能出现的一些奇怪的事情。 我总是生成大量通行证，可以在整个合成过程中进行更多的控制。 多个哑光通道可帮助您快速选择Photoshop或NUKE。
我总是从V-Ray出来的基本通行证在下面的图片中。 基本上，您将把它们全部放在添加模式，除了AO通过将在一个乘法混合模式。 将调整图层剪切到您的通行证，以非破坏性的工作方式。 经过所有的调整，我喜欢用灰尘纹理顶起来，给图像带来一些气氛。 我完成了添加一个镜头校正滤镜，这样，你可以添加渐晕和色差。
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