我们很高兴为您带来令人难以置信的3D图像，生日快乐！ 由林章创建，使用Maya，3ds Max，ZBrush，V-Ray和Photoshop。
We are delighted to bring you the making of the incredible 3D image, Happy Birthday! by Lin Zhang, created using Maya, 3ds Max, ZBrush, V-Ray and Photoshop.
Happy Birthday! was inspired by the memories of my childhood. I was always a troublemaker for my parents when it came to birthday celebrations. For this image I decided to use Japanese and US comics as inspiration for extraordinary and exaggerated expressions, and as a reference to create a believable-looking image. I hope this image reminds people of their childhoods and of the colorful lives we lead.
生日快乐！ 受到童年记忆的启发。 在生日庆祝活动中，我的父母一直是个麻烦制作者。 对于这个形象，我决定使用日本和美国的漫画作为非凡和夸张的表达的灵感，并作为创造一个可信的形象的参考。 我希望这个形象提醒人们他们的童年和我们领导的丰富多彩的生活。
Step 1: Preparation
Firstly, I spent a lot of time collecting references and figuring out the composition. This was a big step, although I see so many people ignore it. It's during this stage that the more well-prepared you are, the better chance of a success you have ? it's much like building a solid foundation for a great construction.
步骤1：准备
首先，我花了很多时间收集参考资料并弄清楚作品的构成。 这是一个很大的进步，虽然我看到这么多人忽略它。 在这个阶段，你准备得越好，你有更好的成功机会吗？ 这很像建设坚实的基础。
Step 2: Modeling and lighting
After establishing the initial composition, I made some simple models for a lighting test to so I could gauge the overall atmosphere. I then adjusted the camera's position to determine the composition.
I continued to adjust the camera during future stages, so this was just the first level of adjustments.
步骤2：建模和照明
建立初步构图后，我做了一些简单的照明测试模型，以便我可以衡量整体氛围。 然后我调整了相机的位置以确定组合。
我在未来阶段继续调整相机，所以这只是第一级的调整。
Step 3: Character model
All the models were made in Maya and ZBrush. Because the image is focused around the notion of wind, every character's face was very important, and I had to pay careful attention to the various details in the clothing and body. It all required great patience and careful observation.
步骤3：角色模型
所有的模型都是在玛雅和ZBrush制作的。 因为形象集中在风的概念上，每个人物的脸都很重要，我必须要注意衣服和身体的各种细节。 这一切都需要很大的耐心和仔细的观察。
Step 4: Scene model
After completing the basic models, I began to focus on the scene. Most of the models had no specific use and were created using basic modeling techniques. I twisted and adjusted everything manually ? which was a very interesting and imaginative experience for me. I also encountered lots of difficulties at this stage for 2 main reasons: I wanted to go for an 80s Japanese style and a windy environment; and because there were so many objects, I'm afraid I can only share a few of the screenshots here.
步骤4：场景模型
完成基本型号后，我开始专注于现场。 大多数模型没有特定用途，并使用基本的建模技术创建。 我手动扭曲和调整一切？ 这对我来说是一个非常有趣和富有想象力的经历。 在这个阶段我也遇到很多困难有两个主要原因：我想去八十年代的日本风和一个有风的环境; 因为有这么多的对象，恐怕我只能在这里分享一些截图。
Step 5: UVs & model optimization
The next stage was to take care of the UVs, which I actually carried out during the modeling stage simultaneously. I mainly used the great UV software: UV Layout and Unfold3D for UV-unwrapping. In order to save production time for the scene models, I used the ZBrush UV Master tool, using it to copy the UV information from low-level models to high-poly models, as shown below.
步骤5：UVs和模型优化
下一个阶段是在建模阶段同时进行的紫外线照射。 我主要使用伟大的UV软件：UV Layout和Unfold3D进行UV打包。 为了节省场景模型的生产时间，我使用了ZBrush UV Master工具，使用它将UV信息从低级模型复制到高模型，如下所示。
Step 6: Lights and basic material
When the models were complete, I took everything into 3ds Max and began to carefully adjust the lighting to create some default shaders for rendering tests. I used V-Ray for lighting and materials; this step was very time-consuming because I needed to test the rendering repeatedly until it achieved a satisfactory result.
步骤6：灯光和基本材料
当模型完成后，我将所有内容都放入3ds Max，并开始仔细调整照明，以创建一些默认着色器进行渲染测试。 我用V-Ray照明和材料; 这一步非常耗时，因为我需要反复测试渲染，直到达到令人满意的结果。
Step7: Materials & mapping
After lighting and basic colors had been set up, I began to create the character and object textures. I mainly used the VRayMtl shaders to simulate normal objects, using VRayFastSSS2 to simulate objects with an SSS material effect, such as skin, cream and juice. Because there were so many objects in the scene, the final number of textures was more than 100. Here is a breakdown of the character textures and materials.
步骤7：材料与制图
在照明和基本颜色设置完成后，我开始创建字符和对象纹理。 我主要使用VRayMtl着色器来模拟正常对象，使用VRayFastSSS2模拟具有SSS材质效果的对象，如皮肤，奶油和果汁。 因为场景中有这么多的物体，所以纹理的最终数量超过了100.这里是纹理和材质的分解。
Step 8: Hair & fur
All hair was done using the plug-in Hairtrix (Ornatrix) in 3ds Max. This is not only a very powerful hair plug-in, but also very easy to control. You can find a detailed tutorial if you're interested ? I'm just going to introduce it briefly here. For example: I divided the model of dad's head into a few areas, and then selected one as the basis for hair generating. Then I added OX Guide from Surface and OX Edit Guide edit spline nodes. After I achieved a proper brush spline, I then added OX Hair from Guides to be able to get an appropriate hairstyle. I also added some random nodes afterwards to get it a bit more natural-looking. I created each area of hair one by one, until all the hair was completed.
步骤8：头发和毛皮
所有的头发都是使用3ds Max中的插件Hairtrix（Ornatrix）完成的。 这不仅是一个非常强大的头发插件，而且很容易控制。 如果您有兴趣，可以找到详细的教程 我刚刚在这里介绍一下。 例如：我将爸爸的头部模型划分成几个区域，然后选择一个作为发型的基础。 然后我从Surface和OX Edit Guide中添加了OX指南，编辑样条节点。 当我实现了一个适当的刷花样，然后我从指南添加OX头发，以获得一个适当的发型。 之后我还添加了一些随机节点，使它更自然。 我逐个创建了每个领域的头发，直到所有的头发都完成了。
Step 9: Rendering
Because of the pre-test work I was well prepared, so the final rendering process was quite smooth.
I did not use layered rendering; all the elements were rendered once, including the hair. The benefit of this process is that the effect is very uniform and precise. The disadvantage is that the rendering time is too long, and also limits the flexibility of post-processing. The final result of the rendered image is shown below.
步骤9：渲染
由于预先测试的工作我做好了准备，所以最终的渲染过程很顺利。
我没有使用分层呈现; 所有的元素都被渲染一次，包括头发。 这个过程的好处是效果非常均匀和精确。 缺点是渲染时间太长，也限制了后处理的灵活性。 渲染图像的最终结果如下所示。
Step 10: Post-production
In the final step, I did some tonal adjustments and detailing in Photoshop, which improved the overall quality of the final image.
I hope you've enjoyed learning a little about my production experience on this image. I hope you enjoy the image and have found something useful from this short making of!
第10步：后期制作
在最后一步中，我在Photoshop中进行了一些色调调整和细节调整，从而提高了最终图像的整体质量。
我希望你喜欢在这个形象上学到一点关于我的生产经验。 我希望你喜欢的形象，并找到了一些有用的从这个简短的做法！
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