ks | 18年2月10日|549关注
Hi everyone! First of all, thank you very much to the 3DTotal team for giving us the chance to write this tutorial - I hope it proves to be helpful to many artists out there.
Anyway this artwork was actually done by a team of three artists to promote the capability of our new animation studio, which specializes in a high quality 3D animation service, called Enspire Studio. As for the The Chase itself, we were trying to get an action-oriented sci-fi scene, combined with surreal lighting, set in the distant future.
References were important for this piece as we were creating a character and environment that is out of this world. Therefore we decided to combine lots of references of many great robotic sci-fi CG pictures from the internet.
The modeling was a challenging part, particularly for the character as we wanted to get the right combination of fast-moving-ninja-like robot, but not lose his body proportions at the same time. The character design itself was actually a brainstorming idea based on feedback from someone else in team. Here is the character detail from a different angle (Fig.01).
Here is the wireframe version (Fig.02).
For the environment we actually created the full environment for the scene, as a learning process. In the interior of this huge building, we trying to create a sci-fi otherworld combined with spiritual advancement. Here is the shaded version of the environment (Fig.03).
Here is the wireframe version of the environment (Fig.04).
As for this part, it was surprisingly simple. We created the textures for the character and the interior mostly by painting in Photoshop, combined with a lot of metal shaders. The texture is basically a color-based texture to determine the basic color of the character/ interior building. Fig.05 shows a screenshot of a flat render of the texturing for the character.
在整个图像中，着色器起到了很大的作用，因为我们试图赋予人物和环境一个金属质感，部分基于颜色纹理。对于着色器，我们使用了许多Arch & Design材料的精神射线，主要是我们寻找的金属外观。一些污垢和云噪声阴影也适用于角色和环境。下面的照明/渲染部分包含了一些着色示例图片。
The shader played a big role in the whole image, as we were trying to give the character and environment a metallic feel, partly based only on a color texture. For the shader we used many Arch & Design materials mental ray, mainly for the metal look that we were looking for. Some dirt and cloud noise shaders were also applied to both the character and environment. Some shader example pictures have been included in the following Lighting/Rendering section.
We didn't have very complicated lighting; we just used a basic 3-point lighting setup. We did separate RGB light on separate passes and separated three volumetric lights for the character.
As for the rendering part, this part was really important for the image as about 50% or more of the image consisted of so many different passes. There were more than 35 passes altogether, mainly consisting of:
? Metal Shader
? Dirt Shader
? Cloud/noise shader
? Volumetric lights
? RGB lights
? RGB selection
? Separate diffuse lights: Specular, HDRI and AO
图06 - 09展示了该角色的一些重要的着色/灯光传递的例子。
Fig.06 - 09 show some examples of the important shader/lighting passes for the character.
Compositing was also very important as this part was actually combining all the shader/output renders and edit the image to its full potential. We carefully crafted all the details and added dirt/scratches on the character by painting on the character and foreground railing, as well as a lot of passes adjustment, color correction, Bullet FX, depth of field, Z-Depth fog, additional volumetric, final cropping, background matte painting, glow, vignette, lens flare, and a bit of motion blur. All of those steps were done in Photoshop editing. The PSD file itself grew to more than 500 MB in one file since it had many high res passes all in one place.
Here is shaded version of the image (Fig.10).
Here is the sample of just the passes combined with a bit of color correction (Fig.11).
And here is the final image, after a lot of adjustment, combined with some painting and editing in Photoshop (Fig.12).
And finally, the final version of the environment from different angles (Fig.13).
Thank you very much for reading our tutorial - I hope you found it useful.
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