在这篇文章中，我将展示3D如何帮助创造一个非常详细的科幻城市景观的基础。 一旦3D部分完成，我将继续介绍2D工作如何细化细节，以及如何调整氛围，找到正确的颜色，使整体图像迷人。
In this article I will look at how 3D can help to create a foundation for a very detailed sci-fi cityscape. Once the 3D part is done I will move on to how 2D work refines the details and how to tune the atmosphere to find the right colors that give the overall picture a captivating mood.
Step 01: Preparing the scene
Normally to find your composition you would start with rough sketches, however I tackle my work a little differently with the help of 3D but I still like to start rough. Originally I wanted to create a giant space station and started working on the scene by kit-bashing some of the models from previous projects. I kept the main structures in a separate scene file since they ended up being rather polygon heavy. Needless to say I pushed my machine quite a bit when bringing all the elements into one final scene in the end.
步骤01：准备场景
通常要找到您的作品，您将从粗略的草图开始，但是我在3D的帮助下处理我的工作有点不同，但我仍然喜欢开始粗暴。 本来我想创建一个巨大的太空站， 我把主要的结构保存在一个单独的场景文件中，因为它们最终变得相当多边形。 不用说，把所有的元素放到一个最后的场景中，我把机器推了一大堆。
Step 02: Going a different path
I soon abandoned the idea of doing a space scene and followed my love for Sci-fi cityscapes. You can argue a lot about the quality of the Star Wars prequels but ever since I saw the world-spanning city of Coruscant for the first time I knew I wanted to create something like that! So I decided to convert the space station into a space port of a giant futuristic city. Now it was time to build a city and I started with the background first. Again the buildings are kit-bashed models with the intention of being painted over here and there later in the process.
步骤02：走不同的道路
我很快放弃了做空间场景的想法，跟随我对科幻城市的爱好。 你可以争论很多关于星球大战前传的质量，但是自从我第一次看到世界各地的科罗桑特城市以来，我知道我想要创造一些这样的东西！ 所以我决定将空间站转变成一个巨大的未来城市的太空港。 现在是时候建立一个城市，我首先从背景开始。 这些建筑物再次是套件式的模型，目的是在这里和那里稍后绘制。
Step 03: How to build a sci-fi city
I wouldn't say there are rules set in stone when building a sci-fi city but there are some things you should keep in mind. First of all, do not clutter your scene with mile high buildings and secondly try to maintain a good balance and variation of sizes and looks. For this scene I used copy & paste a lot but I always kept an eye on the overall composition since I want the viewer to experience the city, dive into the details and discover stuff. After adding more detail to the main structure and finishing the background and mid-ground, I moved into Photoshop and add more life to the foreground.
步骤03：如何建立一个科幻城市
我不会说在建立科幻城市时有规则，但是你应该记住一些事情。 首先，不要用英里高的建筑物混乱你的场景，其次尝试保持良好的平衡和尺寸和外观的变化。 对于这个场景，我使用复制和粘贴很多，但是我总是关注整体构图，因为我希望观众体验城市，潜入细节并发现东西。 在添加更多细节到主体结构并完成背景和中间位置后，我移动到Photoshop中，并将更多的生命添加到前景。
Step 04: Adding more life
The easiest way to suggest a busy sci-fi city is to add some ships that are zipping through the scene; although this is very cliche it does the job. Beside that we can also add some more ships that are docked to the station. I also had the idea to add some interesting energy generator elements. Even with the extra details of the ships and generators added the scene still needed more color in the foreground. So I gave those generators a neat sci-fi blue glow. Every giant city needs energy, right? Now we are ready for a final render.
步骤04：增加更多的生命
建议一个繁忙的科幻城市的最简单的方法是添加一些在现场拉链的船只; 尽管这是非常陈词滥调， 我们还可以添加更多的船停靠在车站。 我也有想法添加一些有趣的能量发生器元素。 即使附加的船舶和发电机的额外细节，场景仍然需要更多的颜色在前景。 所以我给那些发电机一个整洁的科幻蓝光。 每个巨城都需要能量，对吧？ 现在我们准备好了最后的渲染。
Step 05: MultiPass render
With element heavy scenes like this one it is good to render your picture the smart way. Every modern 3D package has the ability to render your scene with MultiPass options, these allow you to render specific elements (buildings and ships for this piece) along with a mask. It makes it very easy to replace already rendered elements in Photoshop because there is always something that can be re-rendered to refine details in the scene. Vue also allows 'Area Rendering' where you can select a small portion of the scene to be rendered instead of the complete scene. So the best way to render this scene was to render the city and ships separately.
步骤05：MultiPass渲染
像这样的元素沉重的场景，很好的渲染你的图片的聪明的方式。 每个现代3D包都能够使用MultiPass选项渲染您的场景，这些选项允许您渲染特定的元素（此片的建筑物和船只）以及遮罩。 它可以很容易地替换Photoshop中已经渲染的元素，因为总是有一些可以重新渲染的东西来改进场景中的细节。 Vue还允许“区域渲染”，您可以在其中选择要渲染的场景的一小部分，而不是完整的场景。 所以渲染这个场景的最好办法是让城市和船只分开。
Step 06: Photoshop magic
Additional detail was added by using the Specular render pass (that is also part of the MultiPass Render options). This is an easy method to give the suggestion of detail throughout a scene.
步骤06：Photoshop
通过使用镜面渲染通道（也是MultiPass Render选项的一部分）添加了更多的细节。 这是在整个场景中给出详细建议的简单方法。
What is a cityscape without some lights? Even if this scene has a daylight/morning atmosphere, there are some areas that lie in pretty dark parts. That is mainly in the area on the left next to the main structure - around the energy generators. Here I used the rendered masks to single out the parts I wanted to texture. In this case it was a simple photo of a night skyline of a random city.
没有灯光的城市景观是什么？ 即使这个场景有一个白天/早晨的气氛，也有一些地方是在黑暗的部分。 这主要是在左边的区域左边的主要结构 - 围绕能量发电机。 在这里，我使用了渲染的面具来单击我想要纹理的部分。 在这种情况下，这是一个随机城市的夜晚天际线的简单照片。
Step 07: Overpainting and refining
Now it's time to go back to the point I made in step 3 - variation and variety of the buildings. I copy & pasted many of the buildings but keeping an eye on creating different sizes and rotating them isn't enough to make it believable. The human eye constantly looks for patterns and repeating the buildings ruined the illusion of diversity. The easiest method to fix this problem is by overpainting and adding extra details to the existing buildings and towers throughout the scene. Since I was working on the background it was not necessary to go super detailed.
步骤07：涂抹和精炼
现在是时候回到我在步骤3做的点了 - 建筑物的变化和多样性。 我复制并粘贴了许多建筑物，但注意创建不同的大小并旋转它们不足以使其相信。 人眼不断寻找模式，重复建筑破坏了多样性的错觉。 解决这个问题的最简单方法就是在整个现场对现有的建筑物和塔楼进行覆盖和添加额外的细节。 由于我在背景下工作，所以没有必要去超级细致。
Step 08: Clouds
At this late stage I thought that the scene was missing something and I knew that a low cloud layer would add a lot to the scene but had avoided it because rendering clouds is a very time consuming process. Nevertheless I decided to take that extra step and added clouds via a separate render. Once again Vue's MultiPass render allowed me to easily cut out the clouds from the render and place in the Photoshop file. Smaller additional overpaints and fixes made the clouds sit in the scene really well and created an element the viewer can relate to, especially when it comes to the scale of the scene the clouds added another layer of believability.
步骤08：云
在这个晚期阶段，我以为现场丢失了一些东西，而且我知道一个低云层将会增加很多场景，但由于渲染云是一个非常耗时的过程，所以避免了这一点。 然而，我决定采取额外的步骤，并通过单独的渲染添加云。 再次，Vue的MultiPass渲染允许我轻松地从渲染和Photoshop文件中放置云。 更多的额外的过度保护和修复使得云层很好地坐在现场，创造了观众可以相关的元素，特别是当涉及到景观的规模时，云添加了另一层可信度。
Step 09: Finalizing steps
To finalize the Photoshop stage I played around quite a bit with adjustment layers and colors to give the picture the look I had in mind. Adjustment layers really help me to stay flexible (and in general non-destructive techniques keep you on top of everything that might come up); I went back and carried on refining things until I was happy - masks and adjustment layers are the key here. Last but not least I added some atmospheric glow throughout the scene and a bit of typical sci-fi lens flare.
步骤09：完成步骤
为了完成Photoshop舞台，我用了很多调整图层和颜色，让我的照片看起来符合我的的想法。 调整层真的有助于我保持灵活性（一般来说，非破坏性技术可以让您处于可能出现的一切之上）; 我继续磨炼，直到我满意 - masks和调整层是这里的关键。 最后但并非最不重要的是，我在整个场景中添加了一些大气光辉，还有一些典型的科幻镜头闪光灯。
Step 10: Treat it like a photograph
Even after fiddling around with the colors in Photoshop I did not get the colors how I wanted them, so I decided to treat the picture like a photo! You can do this by either by loading it into Photoshop's Camera Raw or via Lightroom. I prefer the latter because it feels a little more organic and accessible but it does not matter which route you take. In Lightroom I managed to push the overall color-scape to what I had in mind. By pushing up the Clarity I was also able to make the whole image pop a little more and make it a real eye-catcher. It's always good though not to go too crazy (especially with the Clarity); often enough less is more.
步骤10：像照片一样对待它
即使在Photoshop中摆放着颜色，我也没有得到我想要的颜色，所以我决定像照片一样对待照片！ 您可以通过将其加载到Photoshop的Camera Raw或Lightroom中来实现。 我更喜欢后者，因为它感觉有点更有机和可以访问，但你采取哪条路线并不重要。 在Lightroom中，我设法将整体色彩推到了我所想的位置。 通过提高清晰度，我也能够使整个图像流行一点，使其成为真正的夺人眼球。 总是很好，但不要太疯狂（尤其是Clarity）。
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