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日出日落场景制作——第二部分

xiao_q | 18年1月12日|183关注

游戏房屋 观看预览

游戏房屋

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这个系列是游戏美工的必学课程。作为游戏美工,制作出房子并且真实的房子是必须的。本教程也能让你更快的掌握合成贴图技术结合手绘材质技术。

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第二种情况有点棘手。 让我们从完成的场景开始,除去太阳以外的所有灯光。 如果我把太阳放在我想要的地方,并渲染,颜色都是错误的 - 冷,蓝,,而不是战争的棕色和橙色。简单来说,太阳太高了,没有合适的暖色。

The second scenario is bit more tricky. Let's start with the scene I've finished, and remove all lights except the sun. If I set the sun where I want it, and render, the colors are all wrong - cold, blue, instead of war browns and oranges. Simply the sun is too high to have proper warm color.

如果我将VraySun换成标准方向灯,我可以完全控制它的颜色。 我用日落的HDR照片替换了VraySky(在Vray覆盖标签中进行照明)(说实话,即使没有它,场景也可能工作,因为它的效果是微妙的,大部分的照明将是 但是,这是一个起点),碰到了主要反弹乘数,玩AO设置和Vray相机设置- 颜色开始看起来是正确的,但场景是太黑暗。

If I swap the VraySun for the standard Directional Light, I can have full control of its color. I replaced the VraySky (the one doing the lighting, in Vray override tab) with a HDR photo of a sunset (To be honest, the scene would probably work even without it, as its effect is subtle, and most of the lighting will be done by hand. Still, it's some starting point.), bumped up the Primary Bounces multiplier, played with AO settings, and Vray camera settings  - and the colors start to look right, but the scene is way too dark.

街道的墙壁处于阴凉处......他们可能应该这样做,但是我希望他们能够捕捉到一些光线,所以我在拱门下方放置了一个压扁的球形Vray Light。 正确的墙壁有一个轻微的反光材料(作为虫漆添加到基础着色器),所以这里有一个很好的细节图案。

The walls of the street are in shade... as they probably should, but I'd like them to catch some light, so I put a squashed, spherical Vray Light under the arch. The right wall has a slightly reflective material (added as a Shellac to the base shader), so there is a nice detailed pattern there.

另一盏灯放在屋顶上方,向右侧墙上投射一些背光。

Another light was placed above the roof, to throw some back-light on the wall on the right.

而另一个相当大的放置在街道上方,模拟了来自天空的光线- 但还不够,所以摄像机上方还有另一个更大的面向场景,提供了一些补光 向前的部分。 使用大面积灯具有一些优点 - 您可以添加来自某个方向的光线,但是没有会使图像混乱的尖锐阴影,并且在CG,点/光点分布方面没有特征,这并不总是需要的。 除此之外,它在现实世界中的作用就像一个巨大的柔光/反弹,无论是在摄影工作室,还是在电影中。 如果阴影的采样不够好的话,那么缺点是渲染时间,有时还会产生噪声。

Yet another, quite big one, placed above the street, simulates the light coming from the sky - but it's not enough, so there's another, even bigger one above the camera, facing the scene, providing some fill light on the forward-facing parts. Using big area lights has some advantages - you can add light coming from certain direction, but without sharp shadows, which would clutter the image, and without a very characteristic in CG, point/spot light distribution, which is not always desired. Besides, it works like a big softbox/bounce in real world, either in photography studio, or on a movie set. The downside is rendertime, and sometimes noise, if the sampling of the shadows is not good enough.

在最终渲染之前,我调整了屋顶上方的背光,使其稍微饱和一点,再稍稍旋转一点,真的没什么大不了的。 这里还有另外一个问题 -角落里有轻微的出血。 为了解决这个问题,我可以使用更高质量的辐照度地图,或尝试使用细节增强(以牺牲渲染时间为代价),但由于图像将以高分辨率渲染,因此我现在的设置应该足够了(以高分辨率, 即使低辐射图设置提供足够的信息,以获得一个干净的渲染)。 事实上,我已经把它们放低了,但是需要做一些小小的修改。

现场缺乏的是一些气氛 - 我把它留到了后期,进入后期制作阶段。 我做了一个Zdepth pass,并在Photoshop中添加了一些小雾,以及其他一些简单的调整。 - 最后的图像看起来像。

Before final rendering, I tweaked the backlight above the roof a bit - less saturation, bit more intensity, and rotated it a bit - no big deal, really. There's another problem here - a light bleeding in the corner. To fix that, I could use higher quality Irradiance Maps, or try to use Detail Enhancement - at the expense of rendertime - but as the image will be rendered in high resolution, the settings I have now, should be enough (at high resolutions, even the low Irradiance Map settings provide enough information to get a clean rendering). Actually, I've lowered them even more, but that required some slight fixing to be done.

What the scene lacks is some atmosphere - I left that for the very end, for the postproduction stage. I rendered a Zdepth pass, and added slight fog in Photoshop, along with some other simple tweaks. - and the final image looks like.

看到这两种方法,我们可以得出一些结论。 自动的太阳/天空系统是一个很好的起点,在某些情况下,它本身可能是足够好的。 但是它的表现并不总是足够灵活,一些场景将会从几个放置良好的额外灯光中获益匪浅 - 有些灯光将主要由手工照亮 - 一旦有了明确的方向,就不那么难了 你想达到什么目的。 这就是一些研究可以非常有用的地方。

Seeing those two approaches, we can draw some conclusions. The automatic Sun/Sky system is a great starting point, and in some cases, it's probably good enough by itself. But as good as it is, it is not always flexible enough, and some scenes will greatly benefit from few well placed additional lights - and some will have to be lit mostly by hand - which is not that hard, once you have a clear direction of what you want to achieve. And that's where some research can be very helpful.


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