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《魔兽》角色制作

xiao_q | 17年12月4日|257关注

高端角色人物制作 观看预览

高端角色人物制作

包含109节视频教程
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用于商业的高端人物制作系列教程,可以做为宣传海报级别的人物制作高级教程,使用了全新的制作软件,包含silo、maya、mari、nuke等,是非常专业和不可多得的高端角色教程。

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阿方索科波拉(Alfonso Coppola)展示了用ZBrush,Maya,和Mudbox来重现王薇的《魔兽》角色的3D概念所经历的过程。

Alfonso Coppola shows the process he went through to recreate Wei Wang's "Warcraft" character concept in 3D, with ZBrush, Maya, and Mudbox...

步骤1:参考研究

首先,在这个项目开始的时候,我花了很多时间研究好的参考文献,因为它是每一个工作中最重要的部分。开始时没有引用将无法得到您正在寻找的适当结果。我主要使用Pinterest和谷歌图像。

Step 1: Reference research

First of all at the beginning of this project, I spent time researching good references because it is the most important part of every work. Beginning without references won't help to get the appropriate result you're looking for. I mostly used Pinterest and Google images.

步骤2:身体阻挡

我的第一步是重新创建身体,并使用Dynamesh来粗略地确定整体比例。通常,在我制作的每一个个人项目中,我喜欢从一个球体开始,因为这样我才有机会改进我的雕刻技巧。

Step 2: Body block-out

My first move was recreating the body and to do this, I used Dynamesh to roughly establish the overall proportions. Usually, with every personal project I produce, I like to start from a sphere because thanks to this I have the chance to improve my sculpting skill.

步骤3:衣服阻挡

我进入了Marvelous Designe,粗略地把衣服的体积都遮住了。当我对结果感到满意时,我使用了几个简单的步骤来导出网格并将其导入ZBrush。

Step 3: Cloths block-out

I moved into Marvelous Designe to roughly block out the clothes volume. Once I felt satisfied with the result, I used a couple of easy steps to export the mesh and import it into ZBrush.

步骤4:添加附件和身体次要形状

现在身体和衣服都被挡住了,我开始在身体上增加配饰和次要的形状。我只用了几个简单的笔刷。当我给身体添加更多的形状时,我打破了对称。纤维网帮助我粗略地了解了胡子的想法。我也用不同层次的纤维网来制造羽毛。对于项链和类似的配件,我使用了“实例沿着曲线”,这是一个非常方便的来自Maya的免费脚本。

Step 4: Adding accessories and body secondary shape

Now that the body and clothes have been blocked out, I started to add accessories and secondary shapes to the body. I used just a few simple brushes. While I was adding more shapes to the body I broke up the symmetry. Fibermesh helped me to rough out the idea for the beard. I also used different layers of Fibermesh to create the feathers. For the necklaces and similar accessories, I used "Instance Along Curve" which is a great handy free script from Maya.

步骤5:重拓扑和UV

由于所有主要形式都被封锁了,所以我最终跳到Maya那里进行重新拓扑。我在这个过程中使用的一个更有用和自由的脚本是Froretopo,它听起来有点老,但它仍然适用于我。 使用它,我做了一个基本的身体几何,谈论边缘流,我没有添加任何特殊的,只是一个干净的拓扑结构来帮助我以后得到一个很好的UV。

Step 5: Retopology and UV

Since all major forms have been blocked out, I finally jumped to Maya for the retopology process. One more useful and free script I used during this process was Froretopo that could sound a bit old but it still works great for me. Using it, I made a basic geometry of the body, and talking about the edge flow I didn't add anything special, just a clean topology to help me get a nice UV later on.

第6步:姿势

最后,一切都准备好了,在这种情况下,我使用ZBrush中的移调法师来做到这一点,因为它是一个非常强大的工具。

Step 6: Pose

Finally everything is ready to pose and in this case, I used the Transpose Master in ZBrush to do this as it is a really powerful tool.

第七步:变形

我决定把我的模型直接画在他最后的姿势,用Mudbox处理整个纹理过程。我用ZBrush的一个姿势,而不是粗略地重新画出纹身草图。为了在Mudbox中复制ZBrush雕刻,我选择了“雕刻使用地图”选项,这多亏了我能够在同一时间内为我的模型绘制和添加三级细节。

Step 7: Texturing

I decided to paint my model directly in his final pose using Mudbox for the entire texturing process. I used the A pose in ZBrush instead to roughly recreate the tattoo sketch. To replicate the ZBrush sculpt in Mudbox, I choose the "sculpt using map" option, and thanks to this I was able to paint and add tertiary details to my model at the same time.

第8步:Xgen和照明设置

一切都准备好了。我用Xgen来做头发和胡子,但不幸的是,我在Maya2016版本中遇到了麻烦,所以,老实说,我的模型的最终外观并不是我在开始时所期望的。灯光设置是相当基本的:只有一个键,边缘和一个HDRI图像使用穹顶灯。

Step 8: Xgen and lighting setup

Everything is ready for rendering. I used Xgen for hairs and beard but unfortunately I had trouble with the Xgen version of Maya 2016 so, being honest, the final look of my model is not exactly what I expected at the beginning. The lights setup is pretty basic: just a Key, Rim and an HDRI image using Dome light.

步骤9:渲染传递和最终合成

我用v - ray渲染几次。我总是使用这个渲染传递设置来获得更多的自由和灵活性。最后,我用Photoshop处理堆肥过程。

Step 9: Render pass and final compositing

I used V-Ray to render out several passes. I always use this render pass setup to get more freedom and flexibility later on. At the very end, I used Photoshop for the composting process.


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