在本教程中，我们将了解如何在SketchUp，KeyShot和Photoshop中完成机械设计的组合片段。 本教程的前一部分涵盖了从缩略图草图到完成的3D模型设计机制的过程。
In this tutorial, we will learn about how to complete a portfolio piece of a mech design in SketchUp, KeyShot and Photoshop. The previous part of the tutorial covered the process of designing the mech from thumbnail sketches to a finished 3D model.
In this next part, we will cover labeling the model's IDs, where we'll think about the distribution and proportions of the different materials. Then we'll move on to posing the model, and discuss how the camera angle would affect the pose. After that, we'll take the model to KeyShot to assign materials to the different parts. We'll touch on the basic interface and some important tools in KeyShot, and use KeyShot's label system to add not only decorative labels but also stains and weathering to the surfaces.
在下一部分中，我们将讨论标记模型的ID，我们将考虑不同材料的分布和比例。 然后我们将继续构造模型，并讨论相机角度将如何影响姿势。 之后，我们将把模型用于KeyShot，以便为不同的部分分配材料。 我们将介绍KeyShot的基本界面和一些重要工具，并使用KeyShot的标签系统，不仅添加装饰标签，而且还向表面添加污渍和风化。
Finally, we'll use Photoshop to do the final touches, where we'll also briefly touch on using good composition and lighting to create an appealing scene, and some basic photo-compositing techniques.
最后，我们将使用Photoshop做最后的修饰，我们还将简要介绍使用良好的组合和光照创建一个吸引人的场景，以及一些基本的照片合成技术。
Step 01: Labeling IDs and posing步骤01：标记ID和摆姿势
The model is finished at this point, and it is time to label the IDs which will be used to assign materials later in KeyShot. At this point, I have a general idea of how I want to distribute different materials. Although I'm not sure yet what materials I will use, I know that I want a dominant material that takes up most of the space (dark green), a secondary material for color decoration (dark red), and a third material for creating 'breaks' and adding rhythm to the color distribution (bright green). For some small bits which I'm not yet sure about, I simply choose a new color for easy adjustment later. I also know where I will assign metal, such as the handles, hydraulics, and some parts covered by panels, so I use the same color (pink) for all the metal parts.
该模型是在这一点上完成的，它是时间标签的ID将被用于分配材料后在KeyShot。在这一点上，我有一个大致的想法，如何分配不同的材料。虽然我不知道我会使用什么材料，我知道，我想要一个占主导地位的材料，占据大部分的空间（深绿色），色彩装饰（暗红色）的第二种材料，第三种材料“断裂”并向颜色分布（亮绿色）添加节奏。对于一些我还不确定的小块，我只是选择一种新的颜色，以便稍后调整。我也知道我在哪里分配金属，例如手柄，水力学和面板覆盖的一些部分，所以我使用相同的颜色（粉红色）所有的金属部件。
After labeling the IDs, I start to re-group parts in preparation for posing. I group the parts that will move together (fig.01b and fig.01c). However, I still edit within the biggest component, so all the re-grouping will be reflected to the other side.
在标记ID之后，我开始重新组部分准备摆姿势。我对将一起移动的部件分组（图01b和图01c）。但是，我仍然在最大的组件内编辑，所以所有的重新分组将反映到另一边。
图1a-具有标记为准备用于KeyShot的ID的模型
图1b - 将在前腿上一起移动的分组部件
图1c-将在后腿上一起移动的分组部分
Step 02: Simple posing步骤02：简单的姿势
Now I move to pose the mech. I explode the biggest mirrored components, so when I make changes to one side of the body, it won't affect the other side any more, but all the groups I created on both sides before will stay grouped, and I don't have to worry re-grouping them again.
现在我将造成机械。 我爆发最大的镜像组件，所以当我对身体的一侧进行更改时，它不会影响另一侧，但是我在两侧创建的所有组将保持分组，我不必担心再次重组
As well as thinking about the biggest feature I want to show on this mech, another consideration when posing is how the camera angle will affect what can be seen and what can't. In this case, the camera angle I plan to have is a three-quarter view. Therefore, I pose the mech's right leg stretching out, and its left leg closer to the body, instead of the opposite. In that way, I can show as much of the design as possible. I also turn the 'head' part a little to the side, as if it's looking around.
除了思考我想在这台机器上展示的最大的功能，另一个考虑，当摆姿势时，相机角度会影响什么是可以看到的和什么是不可以看到的。 在这种情况下，我计划拥有的摄像机角度是四分之三视图。 因此，我把机器的右腿伸出来，它的左腿靠近身体，而不是相反的。 这样，我可以展示尽可能多的设计。 我也将“头部”部分稍微转向一边，好像它在环顾四周。
图2a-不要忘记爆炸组件，使它们不再镜像
图2b - 幸运的是，身体两侧的群体即使在使用爆炸后仍会保持分组
Step 03: Adding a background步骤03：添加背景
Since I plan to showcase an entire scene instead of just the mech design, I download props from the 3D Warehouse in SketchUp and set up a background for the scene. As I mentioned previously, I already have a rough idea that it's a small scout mech. I further develop that idea into a police patrol mech that is lightweight with great mobile ability, meant for searching instead of aggressively hunting down targets. This idea inspires me to have some fun and do a background that shows an almost propaganda image: a beautiful park scene to show how well-maintained the social order is in the area.
由于我计划展示整个场景而不仅仅是机械设计，我从SketchUp的3D模型库中下载道具，并为场景设置背景。正如我前面提到的，我已经有一个大概的想法，这是一个小的侦察机。我进一步的想法发展成为一个警察巡逻机甲，重量轻，伟大的移动能力，意味着搜索而不是追捕目标。这个想法激励我有一些乐趣，做一个背景，显示一个几乎宣传的形象：一个美丽的公园场景，以显示如何良好的维护社会秩序在该地区。
While placing props, I think about the composition of the scene: the foreground with some fences and tree leaves, the middle ground with the mech, and the far background with a bridge. I think about how to use the elements I can find in a park to create an interesting composition and believable environment, e.g. there shouldn't be fences in front of benches, and lamp-posts are very likely near a bench, as well as trash cans. I also use the road path, coming in from the left, as a guiding element to lead the eye to the mech, before the eye is stopped by the tree leaves in the upper-right corner.
在放置道具时，我想到了场景的组成：前景与一些围栏和树叶，中间的地面与机械，和远的背景与桥梁。如何使用元素，我可以找到一个公园，创造一个有趣的组成和可信的环境，例如。在长凳前面不应有围栏，灯柱很可能靠近长凳，以及垃圾桶。我还使用道路路径，从左边进来，作为引导人们看到机械的眼睛，在眼睛被右上角的树叶吸引之前。
Step 04: Cropping image步骤04：裁剪图像
After I've finished everything in SketchUp, I export the scene as an OBJ file and bring it into KeyShot. The first thing I do is play around with the camera and decide which part of the image I want to include in the final render. The red box marked in the image indicates what will show in the final render. I can adjust the resolution ratio by going to Settings > Resolution Presets. Unless it's necessary, I don't recommend messing around with the original ratio; just make sure to check the Lock Resolution, so even if the ratio of the frame changes, it doesn't affect the resolution of the scene.
在SketchUp中完成所有操作后，我将场景导出为OBJ文件并将其导入KeyShot。 我做的第一件事是摆弄相机，决定哪些部分我想要包含在最终的渲染图像。图像中标记的红色框表示最终渲染中将显示的内容。 我可以通过转到设置>分辨率预设来调整分辨率。 除非有必要，我不建议弄乱原来的比例; 只是确保检查锁定分辨率，因此即使帧的比率发生变化，也不会影响场景的分辨率。
I play around with the 'Perspective/Focal Length' and 'Field of View' slides here to test out how I want the final image to look (the blue box in the image). After I have decided on the camera setting, I will click the little lock icon on the camera list in order to lock the camera, so I don't accidentally change anything later (pictured here in purple).
我在这里的“透视/焦距”和“视场”幻灯片，以测试我想要的最终图像看起来（图像中的蓝色框）。 在我决定了相机设置后，我将点击相机列表中的小锁图标锁定相机，所以我不会不小心改变任何东西（这里是紫色的）。
Step 05: Assign materials步骤05：分配材料
I then assign the materials by dragging and dropping the material balls from the library window to the parts where I want the materials to be. The parts that have the same color on the model will all be assigned with the same material.
然后通过将材料球从库窗口拖放到我想要材料的部分来分配材料。 在模型上具有相同颜色的零件都将分配相同的材料。
After assigning materials, I can edit them by going to the Materials tab. The Diffuse color means the local color of the material, and the Specular color means the color of the highlight on the material. I set the Specular color to bright blue to suggest the color of the sky.
分配材料后，我可以通过转到材料选项卡进行编辑。 漫反射颜色表示材料的局部颜色，反射颜色表示材料上突出显示的颜色。 我将镜面颜色设置为亮蓝色，以建议天空的颜色。
Step 06: Label system
Under the Materials tab, there is a sub-tab called 'Labels'. As well as adding labels, I also use it to add stains. I find a free stain texture online and turn down the opacity. Then I add labels and stains by clicking on the plus icon next to the label list. Anywhere on the material, the 'label' will instantly go to where I click. It's really convenient when it comes to stains and weathering effects that are not easily visible. I can duplicate labels by selecting the label on the list, hitting the plus icon again and choosing Duplicate Label.
步骤06：标签系统
在“材料”标签下，有一个名为“标签”的子标签。 除了添加标签，我也用它来添加污渍。 我在网上找到一个免费的污点纹理，调低不透明度。 然后，通过单击标签列表旁边的加号图标添加标签和污渍。 在材料上的任何地方，“标签”将立即转到我点击的位置。 这是非常方便的，当涉及到污渍和风化效果，不容易看到。 我可以通过选择列表上的标签复制标签，再次点击加号图标并选择复制标签。
Step 07: Environment lighting步骤07：环境照明
After I have finished assigning all the materials, I move on to setting up environment lighting which will suit the park scenery better. Instead of using the default HDRI images in the library, I choose to find an image myself because I want one with a blue sky and green trees to reflect the colors of a park onto the model. I go to the Environment tab on the left panel and then click on the icon to the right of the 'Add new folder' icon to import my HDRI image.
在我完成所有的材料分配后，我继续设置环境照明，将更好地适应公园的风景。而不是使用库中的默认HDRI图像，我选择自己找到一个图像，因为我想要一个有蓝色的天空和绿树，以反映公园的颜色到模型上。我转到左侧面板上的环境选项卡，然后单击“添加新文件夹”图标右侧的图标导入我的HDRI图像。
After importing the image, I turn to the Environment tab in the project window and start to play around with the sliders to get the result I want. Hold Ctrl and drag with the left mouse button to rotate the HDRI.
导入图像后，我转到项目窗口中的环境选项卡，开始使用滑块来获得我想要的结果。按住Ctrl并用鼠标左键拖动以旋转HDRI。
Since I already have a modeled background, for the Background option, I choose to use 'Color', and I pick a color that's similar to the sky (pictured in the blue box). The flat color will help me later to quickly mask things out in Photoshop. For the same reason, I check off 'Ground Shadows' under the Environment tab in the project window (purple box), so I can easily mask out the mech's silhouette later in Photoshop.
因为我已经有一个建模的背景，对于背景选项，我选择使用'颜色'，我选择一个类似于天空的颜色（如蓝色框中所示）。平面颜色将帮助我以后在Photoshop中快速掩盖的东西。出于同样的原因，我在项目窗口（紫色框）中的环境选项卡下检查“地面阴影”，所以我可以很容易地在Photoshop中掩盖机械的剪影。
Step 08: Final rendered images步骤08：最终渲染的图像
It is time to render out the images. Since I plan to create scratches and do much post-editing in Photoshop, I render out a couple of images with the exact same camera angle, but with different materials which will be the underlying materials of the cover paint.
现在是绘制图像的时候了。 由于我计划在Photoshop中创建划痕和进行后编辑，我渲染出几个具有完全相同的摄像机角度的图像，但使用不同的材料，这将是覆盖油漆的基础材料。
I hide any unwanted parts by selecting them and then right-clicking and choosing the Hide Selection option. This speeds up the image rendering time considerably.
我通过选择它们然后右键单击并选择隐藏选择选项来隐藏任何不需要的部分。 这大大加快了图像渲染时间。
图8a - 渲染场景准备进行后编辑
图8b-不同的渲染将在合成过程中给出更多的自由度
Step 09: Texture compositing步骤09：纹理合成
When the images are ready, I bring them all into Photoshop. I put masks on all the images that I need, to simply for creating the scratches (see fig.09a, in red). The way I create scratches is by erasing the black mask from the images with textured brushes.
当图像准备好了，我把他们全部导入Photoshop。 我把面具放在我需要的所有图像上，只是为了创建划痕（见图0.09a，红色）。 我创建划痕的方式是从纹理画笔的图像擦除黑色面具。
I also start to put in photo textures. The way I select the tricky, irregular shape of trees is with a masking technique. I first click on the 'Edit in Quick Mask Mode' icon in the tool panel (fig.09c, in red), and then I use a white brush to paint in the part that I want to select. After I finish painting, I click on the icon again to change back to normal mode, and the painted part will automatically become the selection.
我也开始投入照片纹理。 我选择复杂,形状不规则的树木与屏蔽技术。 我首先点击工具面板中的'在快速蒙版模式中编辑'图标（图09c，红色），然后我使用白色画笔来绘制我想选择的部分。 在我完成绘画后，我再次点击图标，改回正常模式，画的部分将自动成为选择。
图9a - 这些掩蔽层将用于风化效果
图9b - 用带纹理的刷子擦除掩模
图9c-掩蔽不规则树形状
Step 10: Dramatic lighting步骤10：剧烈的照明
Lighting is one of the most important elements in a composition. I imagine a few lighting situations, such as dusk, sunny afternoon, twilight, a cloudy day, and eventually settle on a dawn-ish lighting. I think this is when the temperatures of the light and shadow are the most complementary, when the shapes of the shadows are most dramatic, and when there is still some heavy mist in the air.
照明是组成中最重要的元素之一。 我想象一些照明的情况，如黄昏，阳光明媚的下午，黄昏，阴天，最终落在黎明的照明。 我认为这是光和阴影的温度是最相辅相成的，当阴影的形状是最戏剧性的，当空气中还有一些重雾时。
I add a layer with the blending mode set to Color Dodge, then pick a dark-brown color to fill in the layer. I then add a mask to the layer and start to erase the parts where I want the light to show. I set the light coming from left, to lead the viewer's eye to the mech.
我添加一个层，混合模式设置为颜色道奇，然后选择深棕色的颜色填充图层。 然后我给图层添加一个蒙版，并开始擦除我想要光显示的部分。 我设置光从左边，引导观众的眼睛到机械。
I then darken the mech and add in ambient occlusion by adding a layer with the blending mode set to Multiply, and then using the same masking technique as mentioned above.
然后我将该机械变暗，并通过添加具有设置为乘法的混合模式的层，然后使用与上述相同的掩蔽技术来添加环境遮挡。
图10a - 为场景选择清晨环境光
图10b - 向场景添加环境遮挡风格阴影
Step 11: Further compositing步骤11：进一步合成
In this step, I start to edit the textures and add details to make them believable. I add a curb along the path. The connection between two objects, be they two mechanical components, a wall and a pipe, or in this case the path and the turf, is the key to believability. Furthermore, I look up some more references and decide to change the path to a more stone-like material. The technique I use here to make the texture match the perspective and shape I want is first by using 'Distort' on the texture, and then 'Warp'. I later erase the parts which I don't want (fig.11b).
在这一步，我开始编辑纹理和添加细节，使他们可信。 我沿路径添加路缘。 两个物体之间的连接，无论是两个机械部件，墙壁和管道，或在这种情况下的路径和草皮，是可信的关键。 此外，我查找更多的参考，并决定改变一条石头的材料的路径。 我在这里使用的技术，使纹理匹配的角度和形状，我想首先通过使用'扭曲'的纹理，然后'翘曲'。 我稍后删除我不想要的部分（图11b）。
In addition to adding more tree textures, I tune down the value contrast and color saturation in the far background. I also pay attention to the diminishing size of the far background trees. Both adjustments are for enhancing depth in the piece.
除了添加更多的树纹理，我调低背景中的对比度和颜色饱和度的值。 我也注意到远背景树的尺寸越来越小。 这两种调整都是为了提高工件的深度。
图11a - 改善环境和背景
图11b - 使用扭曲和变形工具
Step 12: Final touches步骤12：最后润色
I further adjust the value contrast to push the far background even further back, and then I look up more references and find that we usually can only see bushes for the far background, instead of the edge of the park, if we are deep in a huge park. Therefore, I add in bushes to enhance the believability of the scene. Observation of reality is the key of a convincing design, even for a fictional background story.
我进一步调整对比度的值，推远背景甚至进一步回来，然后我查找更多的参考，发现我们通常只能看到灌木丛远的背景，而不是公园的边缘，如果我们深入巨大的公园。因此，我添加了灌木以提高场景的可信度。观察现实是一个令人信服的设计的关键，即使是一个虚构的背景故事。
I also further darken the shadow on the path, and adjust the overall shadow temperature to be much more blue. I paint in some sunlight flare on the edge of the objects that are close and against the direct sunlight. Again, observation of reality helps me to add in tiny but super important details to enhance the believability. Some final cherries which I add are the light glare on the mech, and then some dead leaves on the ground.
我还进一步变暗了路径上的阴影，并调整整体阴影温度更多的蓝色。我在一些阳光耀斑在靠近的物体的边缘和直接的阳光下。再次，现实的观察帮助我添加了微小但超重要的细节，以提高信心。最后的一些樱桃树，我加上机械的防眩光，然后在地上的一些落叶。。
Finally, I wrap up the piece by creating a Lens Blur effect to increase depth and make the viewers see the focal point first. In order to do that, I copy and paste the entire image onto a new layer, and then use the Gaussian Blur filter. I then put a mask onto the blurred image, and erase the parts which I don't want to be blurred.
最后，我通过创建一个镜头模糊效果来增加深度，让观众首先看到焦点。为了做到这一点，我复制和粘贴整个图像到一个新的层，然后使用高斯模糊滤波器。然后我把一个蒙版模糊的图像，并擦除我不想被模糊的部分。
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