在本教程中，我将通过纹理和合成我们未来的沙漠赛车从上个月的问题建模教程。 特别是，我们将研究如何使用Maxwell Render的材料编辑器从珠光漆，碳纤维和金属制造各种材料。 我们还将通过使用Maxwell海洋工具创建岩石和树木的前景，远程背景，使用麦克斯韦雾雾发射器创建深度的过程，最终我们将使用HDR照明将所有这些元素放在一起。
In this tutorial I will be following on from the modeling tutorial in last month's issue by texturing and compositing our futuristic desert racer. In particular we will be looking at how to create a variety of materials from pearlescent paint, carbon fiber and metallics using Maxwell Render's Material Editor. We will also go through the process of creating a foreground with rocks and trees, a distant background using the Maxwell Ocean tool, creating depth with the Maxwell Fog Emitter, and finally we will bring all of these elements together using HDR lighting.
Step 01: Base landscape
In Maxwell Render, the first step we need to take is to create a large expanse of background desert for our scene to take place. By selecting the Maxwell shelf we can access the new Maxwell Ocean tool. Simply click on this to generate an ocean plane. In order for the fog to work effectively, I resize the ocean to be very large in the scene at a 45-degree angle to our vehicle. In order to make the ocean look more like a sloping desert, we need to adjust the settings, and for the fog to dissipate naturally a low setting of 0.3 set to 'Constant' should give the effect we need.
步骤01：基础景观
在Maxwell Render中，我们需要采取的第一步是创建一个大的背景沙漠，为我们的场景发生。 通过选择Maxwell架，我们可以访问新的Maxwell Ocean工具。 只需点击这个生成海洋飞机。 为了使雾有效地工作，我调整海洋的大小在场景中与我们的车辆成45度角。 为了使海洋看起来更像一个倾斜的沙漠，我们需要调整设置，为了雾自然消散0.3的低设置为“常量”应该给我们需要的效果。
Step 02: Foreground
As the foreground is closest to the camera we need to have much better detail. So first we need to create a polygon plane and add edge loops in line with the wheel direction, then extrude downward a small amount to create a natural-looking wheel groove in the ground. In order for the sand to match up with this, we must make and export a UV map for Photoshop. In Photoshop, place a tileable sand texture (see downloadable resources) and paint out the sand pattern as if it's been driven across. We'll apply this texture later in the tutorial.
步骤02：前景
由于前景最接近相机，我们需要有更好的细节。 首先，我们需要创建一个多边形平面，并添加与车轮方向一致的边缘环，然后向下挤压少量，以在地面中创建一个自然的轮槽。 为了使沙子与此匹配，我们必须在Photoshop制作和导出UV地图。 在Photoshop中，放置一个tileable沙子纹理（见可下载的资源），并画出砂图案，如果它被驱动。 我们将在本教程的后面应用这个纹理。
Step 03: Making rocks using photogrammetry
Now I will demonstrate the process of making simple and effective rocks using 123D Catch.123D Catch is a free online resource from Autodesk where you can upload images of any object and automatically transform it into a usable 3D object!
The first step you need to take is to bring your dog for a walk and find some lovely stones. It's best to use stones that look like miniature rocks, so pick ones with rough details and crevices. Go to 123D Catch and follow the simple instructions.
After you upload the photos and export your model from 123D Catch, import it back into Maya and delete all of the unnecessary geometry. By pressing '6', you can preview the texture. That's it - instant rocks!
步骤03：使用摄影测量法制作岩石
现在，我将演示使用123D Catch.123D制作简单有效的岩石的过程。Catch是Autodesk的免费在线资源，您可以上传任何对象的图像，并自动将其转换为可用的3D对象！
你需要采取的第一步是找到一些可爱的石头。 最好使用看起来像微型岩石的石头，所以选择粗糙的细节和裂缝。 转到123D抓住并按照简单的说明。
上传照片并从123D Catch导出模型后，将其导入Maya并删除所有不必要的几何体。 按'6'，可以预览纹理。 就是这样 - 即时岩石！
Step 04: Image-based lighting (IBL)
In the project files for this tutorial you will be able to download this outstanding extra-large HDR image, supplied to us exclusively by doschdesign.com. Dosch Design supply artists with an array of products including beautiful high-quality HDR images, so I am very grateful to Sebastian Dosch for letting us use this image.
To access this image we need to enable Image Based Environment in the Maxwell Render settings window. I find an Offset U value of 25 and an Offset V value of 5 work nicely to get the most from this HDRi. Of course, this is a matter of personal taste.
步骤04：基于图像的照明（IBL）
在本教程的项目文件中，您将能够下载此出色的超大HDR图像，由doschdesign.com独家提供给我们。 Dosch Design为艺术家提供了一系列的产品，包括美丽的高品质HDR图像，所以我非常感谢Sebastian Dosch让我们使用这个图像。
要访问此图像，我们需要在Maxwell Render设置窗口中启用基于图像的环境。 我发现偏移U值为25和偏移V值为5可以很好地利用这个HDRi。 当然，这是个人品味的问题。
Step 05: Lighting alternatives
In this step we will take a look at some lighting alternatives. If you do not have access to the Dosch HDR image you can find some nice free alternatives online. One such place is HDRLabs (hdrlabs.com) which offers a wide range of free quality HDR images.
Another great alternative is to use the built-in Sky Dome in Maxwell Render. The advantage of using the Maxwell Sky is that you have a huge amount of control over the lighting itself, such as time of day, atmospherics and location. This can be accessed in the Render settings under the Maxwell tab.
步骤05：照明替代品
在这一步，我们将看看一些照明替代品。 如果你没有访问Dosch HDR图像，你可以找到一些很好的免费替代品在线。 一个这样的地方是HDRLabs（hdrlabs.com），它提供了各种各样的免费质量HDR图像。
另一个伟大的选择是使用内置的天空穹顶在麦克斯韦渲染。 使用麦克斯韦天空的优点是，你对照明本身有很大的控制权，例如时间，大气和位置。 可以在Maxwell选项卡下的Render设置中访问。
Step 06: Adding foliage
In this step we will use a free sample from Xfrog to populate our scene with foliage. It's time to add some trees into our scene. For this there's no better place than Xfrog. As this is a desert environment, I've chosen the Queen Palm set which you can download for free from the Xfrog website (xfrog.com/product/TR19.html). You can choose to download the models in multiple formats, but Maxwell is not one of those formats, so I will supply the Maxwell Materials for this tree in the downloadable project files. Next, place the trees into the scene to fill any spaces in the composition and apply the materials as labeled.
步骤06：添加树叶
在这一步中，我们将使用Xfrog的一个免费样本来填充我们的场景中的树叶。 是时候给我们的场景添加一些树。 对于这一点没有比Xfrog更好的地方。 由于这是一个沙漠环境，我选择了皇后棕榈集，你可以从Xfrog网站（xfrog.com/product/TR19.html）免费下载。 您可以选择以多种格式下载模型，但Maxwell不是这些格式之一，因此我将在可下载的项目文件中为此树提供Maxwell材料。 接下来，将树放入场景中以填充合成中的任何空格，并将材质应用于标记。
Step 07: Exporting for MARI
For painting our model in MARI, we first need to make and lay out the UV tiles. MARI supports multiple UV tile layouts, so I will separate the model into its material components, i.e. metal, wheels, paint surfaces, and so on. This will make it easier to select objects, paint objects of the same material, and apply an overall dust texture later.
In the Maya mesh settings, I use the smooth setting with a value of 2, with Preserve > Selection Borders checked. In the UV layout panel, under the UV Texture Editor Grid Options, set the length and width to 10, and the number of subdivisions to 2. This should enable you to preview the full set of UV tiles for MARI.
步骤07：导出MARI
为了在MARI中绘画我们的模型，我们首先需要制作和布置UV瓷砖。 MARI支持多种UV瓦片布局，因此我将把模型分成其材料组分，即金属，轮子，油漆表面等。 这将使得更容易选择对象，绘制相同材料的对象，并且稍后应用整体灰尘纹理。
在Maya网格设置中，我使用值为2的平滑设置，选中了保留>选择边框。 在UV布局面板中，在UV纹理编辑器网格选项下，将长度和宽度设置为10，将子细分数设置为2.这将使您能够预览MARI的完整UV瓦片集。
Step 08: Making sand masks in MARI
To create the effect of sand in crevices, first go to Objects > Ambient Occlusion. Then in the Channel menu, create a new layer and select Geometry > Ambient Occlusion. The ambient occlusion will be created as a procedural layer, so to rasterize this, right-click and select Merge.
By selecting various parts of the geometry, we can use grayscale images to paint natural sand streaks on the AO layer. Try to imagine that what's black will be sand. When you're happy, right-click the AO layer and navigate to Export. It's good practice to rename your exported files according to where they are on the vehicle.
步骤08：在MARI制作防砂口罩
要在裂缝中创建沙子的效果，首先转到对象>环境遮挡。 然后在“通道”菜单中，创建一个新图层，并选择几何>环境遮挡。 环境遮挡将创建为过程层，因此要栅格化它，请右键单击并选择合并。
通过选择几何的各个部分，我们可以使用灰度图像在AO层上绘制天然砂纹。 试着想象什么是黑色将是沙子。 当您快乐时，右键单击AO图层并导航到导出。 最好根据车辆上的位置重命名导出的文件。
Step 09: Applying the carbon fiber texture
First we will select our geometry and open the UV tab; this way, we can paint flat. Import the file 'carbon fiber.png' (provided in the downloadable resources) into the image plane and drag it onto the work area. At the top, select Repeat so that the texture will repeat at the edges as we paint. Alternatively, by selecting Stamp, you can fill the entire screen with once click. (Note that this will affect all geometry on the screen at the same time, so make sure only the panels we want carbon fiber on are visible.)
步骤09：应用碳纤维纹理
首先，我们将选择我们的几何并打开UV选项卡; 这样，我们可以画平。 将文件'carbon fiber.png'（在可下载资源中提供）导入图像平面，并将其拖动到工作区域。 在顶部，选择重复，以便纹理将在我们绘制时在边缘重复。 或者，通过选择Stamp，您可以一次性填充整个屏幕。 （请注意，这将同时影响屏幕上的所有几何图形，因此请确保只有我们想要碳纤维的面板才可见。）
Step 10: Interior texturing
I apply the material for the seats in the same way I applied the carbon fiber. I have supplied the seat texture for you in the project files. When applying the seat texture, ensure that the seams and fiber direction run complementary to the seat itself, as it will look much better in the final renders. We can also import images to apply as patches to the seat belts or wherever you wish. Note that it's good practice to apply each material in a separate layer within your channel layer and label it accordingly.
步骤10：内部纹理化
我应用碳纤维相同的方式应用座椅的材料。 我已经在项目文件中为您提供了座位纹理。 当应用座椅质地时，确保接缝和纤维方向与座椅本身互补，因为它在最终渲染中看起来更好。 我们还可以导入图像以作为补丁应用于安全带或任何您想要的地方。 请注意，最佳做法是将每种材料应用到您的渠道图层中的单独图层中，并相应地标记。
Step 11: Maxwell material overview
In the Maxwell Editor we can create multiple layers of various opacities, and within each layer we can also create BSDF layers, which can contain bump maps, diffuse textures, gloss maps, emitters and displacements. The best workflow is to create the base BSDF first by plugging your image into the Reflectance node. You can lower the Roughness of this to achieve a matte or gloss finish; whatever color or image is plugged into 'Reflectance 90' will become more dominant the lower the Roughness is brought. In the upper layers above this, we can plug in a solid sand color and this can be controlled by an opacity mask made earlier in MARI (or any grayscale image). This way we can layer sand on top of our materials below.
步骤11：Maxwell材料概述
在Maxwell编辑器中，我们可以创建多层不同的不透明度，在每个层内，我们还可以创建BSDF层，其中可以包含凹凸贴图，漫反射贴图，光泽贴图，发射器和位移。 最佳工作流程是首先通过将图像插入“反射”节点来创建基本BSDF。 您可以降低粗糙度来获得无光泽或光泽的表面; 无论何种颜色或图像被插入“反射90”将变得更显着，粗糙度越低。 在上面的上层，我们可以插入一个坚实的沙色，这可以通过在MARI早期制作的不透明蒙板（或任何灰度图像）控制。 这样我们可以在我们的材料上面层砂。
Step 12: Maxwell material overview
metallic paint: For making a nice metallic paint, we need to start with a deep ruby base with a Roughness of 50. Above this, make a new layer and set it to Additive (this is signified by an 'A' on the layer). On this layer, we'll make the Roughness 25, put a red color in Reflectance and orange in Reflectance 90. Reflectance 90 should always have a lighter color than Reflectance for better falloff light.
Then make another Additive layer above this for the glaze coating, check "Force Fresnel" and lower the Roughness to 0. You can add a new layer above this again, like in the carbon texture, if you want to make the sand mask.
步骤12：Maxwell材料概述
金属漆：为了制作漂亮的金属漆，我们需要从一个深度为50的粗糙的红宝石底部开始。在这之上，做一个新的层，并将其设置为添加剂（这由层上的“A”表示） 。 在这个层上，我们将粗糙度25，在反射率中为红色，在反射率90中为橙色。反射率90应当总是具有比反射率更浅的颜色以获得更好的衰减光。
然后在上面做另一个添加剂层用于釉料涂层，检查“强制菲涅尔”，并将粗糙度降低到0.你可以再次添加一个新的层，如在碳质地，如果你想制作砂面膜。
Step 13: Maxwell material types
A great way to understand the materials and get started on any new material is to use the materials wizard. When you create a new material by selecting the Global Parameters tab, you can access a range of basic material types under the Type Menu. Alternatively you can access either the Browser at the top and search the thousands of ready-made user materials, or the Local Materials which are made by Maxwell. Always remember when stacking BSDF layers to make sure they collectively add up to 100 to get true results.
步骤13：Maxwell材料类型
了解材料并开始使用任何新材料的一个好方法是使用材质向导。 当您通过选择“全局参数”选项卡创建新材料时，可以在“类型菜单”下访问一系列基本材料类型。 或者，您可以访问顶部的浏览器，并搜索成千上万的现成用户材料或由Maxwell制作的本地材料。 始终记住，当堆积BSDF层，来确保他们共同加起来100，来获得真正的结果。
Step 14: Maxwell material basic
We can make any image into an Emitter material in the Maxwell Editor. First you must convert that image in Photoshop to a 32-bit format under the Mode tab in the menu, and then save it as an Open EXR. When you create a new Maxwell material by right-clicking on the layers palette, we can 'Create Emitter', and under Type, select 'HDR Image' and plug your image into the material. From here you can also adjust the intensity. I will supply the materials used in this project for you to analyze.
步骤14：Maxwell材料
我们可以在Maxwell Editor中将任何图像变成发射体材料。 首先，您必须在Photoshop中将此图像转换为32位格式，在菜单中的模式选项卡下，然后将其另存为开放EXR。 当您通过右键单击图层调色板创建新的Maxwell材料时，我们可以创建发射体，在类型下选择“HDR图像”，然后将图像插入材质。 从这里你也可以调整强度。 我将提供本项目中使用的材料供您分析。
Step 15: Adding fill and kick lights
In this step we will add a fill light and a kick light - also known as a 'kicker' light, a secondary light source that adds extra dimension to the darker side of the subject. One of the great features in Maxwell Render is the Multilight function, which allows us to adjust the lighting intensity and color, post-render.
The first thing we need to do is to add two polygon planes with the normals facing our vehicle. We will then need to apply a Maxwell emitter material to each plain. If you use the FIRE window, you can adjust the intensity and color of these before committing to a final render. These lights will give us extra control over the outcome of our scene.
步骤15：添加填充和踢灯
在这个步骤中，我们将添加一个补光灯和一个踢灯（也称为“踢球”灯），一个辅助光源，在主体较暗的一侧增加了额外的尺寸。 Maxwell Render的一个重要功能是Multilight功能，它允许我们调整照明强度和颜色，后渲染。
我们需要做的第一件事是添加两个多边形平面，法线面向我们的车辆。 然后，我们将需要对每个平面应用Maxwell发射体材料。 如果使用FIRE窗口，可以在提交到最终渲染之前调整这些窗口的强度和颜色。 这些灯将给我们额外的控制我们的场景的结果。
Step 16: The Maxwell Multilight feature
Before you render your scene, you must enable the Multilight feature in the render settings. You can enable it to adjust either light intensity or both intensity and color. Once your render is complete you can slide the dials in the Multilight window and update the scene by hitting Refresh. If you like the image, make sure to save it before adjusting the lights again. This way you can have multiple versions with different lighting from one render. In our final scene I will just use this setting sparingly to bump up some shadows and highlight the paint sparkle so that it looks natural. After taking the final image into Photoshop to tweak the levels, add some atmospheric dust and paint extra sand details under the tires, the car is complete.
步骤16：Maxwell多光照功能
在渲染场景之前，必须在渲染设置中启用多光照功能。 您可以启用它来调整光强度或强度和颜色。 一旦渲染完成，您可以在“多光”窗口中滑动拨盘，然后通过点击刷新来更新场景。 如果你喜欢的图像，确保保存它，然后再次调整灯光。 这样，您可以有多个版本，从一个渲染不同的照明。 在我们最后的场景中，我将只使用这个设置节省一些阴影和突出的油漆闪耀，使它看起来自然。 在将最终图像投入Photoshop调整水平之后，添加一些大气灰尘，并在轮胎下面绘制额外的沙子细节，汽车是完整的。
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