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“追逐者”的制作

ks | 18年2月10日|196关注

运动规律 观看预览

运动规律

包含1节视频教程
关注2.9万

讲解动画师必须了解的运动规律的基础。很巧妙的让你一步步的了解各种运动规律的掌握。一步步迈向动画师之路。

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介绍
Introduction
 

大家好!首先,非常感谢3DTotal团队给了我们写这篇教程的机会——我希望它能对很多艺术家有帮助。

 

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.

 

不管怎样,这幅作品是由三位艺术家共同完成的,目的是提升我们的新动画工作室的能力,该工作室专门制作高质量的3D动画服务,名为Enspire studio。至于《追逐》本身,我们试着拍摄一部以动作为导向的科幻场景,结合超现实的灯光,设定在遥远的未来。

 

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.

 

引用
References
 

参考文献对这篇文章很重要,因为我们正在创造一个来自这个世界的人物和环境。因此,我们决定将许多伟大的机器人科幻CG图片与互联网结合起来。

 

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.

 

建模
Modeling

 

建模是一个具有挑战性的部分,特别是对于角色来说,我们想要得到快速移动忍者般的机器人的正确组合,但同时不能失去他的身体比例。角色设计本身实际上是一个基于团队中其他人反馈的想法。下面是来自不同角度的人物细节(图01)。

 

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).

图01

 

这是线框版本(图02)。

 

Here is the wireframe version (Fig.02).

 

图02

 

对于环境,我们实际上创造了场景的完整环境,作为一个学习过程。在这座巨大的建筑的内部,我们试图创造一个科幻的世界。下面是环境的阴影版本(图03)。

 

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).

 

图03

 

这是wireframe版本的环境(图04)。

 

Here is the wireframe version of the environment (Fig.04).

 

图04

 
纹理
Texturing

 

至于这部分,它出奇的简单。我们为人物和内饰创造了纹理,主要是通过在Photoshop中绘画,结合了大量的金属着色。纹理基本上是一种基于颜色的纹理来决定人物/内部建筑的基本颜色。图05显示了该角色纹理的平面渲染。

 

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.

图05

着色器
Shader

 

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.

 

照明和渲染
Lighting/Rendering

 

我们没有非常复杂的照明;我们只是使用了一个基本的三点照明装置。我们在单独的通道上分离了RGB光,并为这个角色分离了三个容量灯。

 

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.

 

至于渲染部分,这部分对于图像来说非常重要,大约50%或更多的图像由许多不同的通道组成。总共有超过35个通道,主要包括:

 

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:

 

?金属材质

?污垢材质

?云/噪音材质

?体积灯

?RGB灯

?RGB选择

?独立的漫射光:高光,HDRI和AO。

 

? 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.

 

图06  

图07

图08

 

图09

 

合成
Compositing

 

合成也非常重要,因为这部分实际上是将所有的着色/输出渲染和编辑图像全部合并。我们精心准备的所有细节,并添加了污垢/划痕上画的人物性格和前景栏杆,以及大量的经过调整,色彩校正,子弹外观,景深,Z-Depth雾,额外的容量,最后的裁剪,背景绘景,发光,装饰图案,镜头光晕,运动模糊。所有这些步骤都是在Photoshop编辑中完成的。PSD文件本身在一个文件中增长到超过500mb,因为它有许多高的res在同一个地方。

 

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.

 

这是图像的阴影部分(图10)。

 

Here is shaded version of the image (Fig.10).

图10

 

下面是一些与颜色校正相结合的例子(图11)。

 

Here is the sample of just the passes combined with a bit of color correction (Fig.11).

图 11

 

这里是最后一张图片,经过多次调整后,结合了Photoshop中的一些绘画和编辑(图12)。

 

And here is the final image, after a lot of adjustment, combined with some painting and editing in Photoshop (Fig.12).

图12

 

最后,环境的最终版本的不同角度(图13)。

 

And finally, the final version of the environment from different angles (Fig.13).

 

图13

 

非常感谢您阅读我们的教程——我希望您觉得它有用。

 

Thank you very much for reading our tutorial - I hope you found it useful.

 

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未知用户

未知用户

sxh007

sxh007

普通会员

非常棒,值得学习

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18年2月11日

wswwh1987

wswwh1987

普通会员

这也太厉害了吧!牛人啊

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18年2月11日

yhf13428085482

yhf13428085482

普通会员

感谢分享~~~~~~~~~~~~~~
分享快乐! -yhf13428085482

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18年2月11日

JXCKISSCLM

JXCKISSCLM

普通会员

这材质,这质感,没谁了

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18年2月11日

mtdyd2006

mtdyd2006

普通会员

非常厉害,大片既视感

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18年2月11日

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