在这个细分中，我会尽我所能地解释制作这个项目背后的过程。 从收集参考到最终的渲染和合成开始。 我希望你觉得这对你有帮助。
In this breakdown I will explain as best as I can the processes behind making this project. Starting with gathering references through to the final rendering and compositing. I hope you find it helpful.
收集参考
任何项目中最重要的部分是找到能激励你的东西，并在整个创作过程中保持动力。你需要大量的参考资料。我从这些参考图像中获取灵感，创造出一种复杂而细致的分层装甲。
Gathering references
The most important part of any project is to find something that will inspire you and keep you motivated throughout the creative process. You need plenty of references of what you are studying to. I took my inspiration from these reference images to create a complex and detailed layered armor.
装甲建模和雕刻和UV映射
在收集参考图像和原始资料之后，开始对整个事物进行建模。 在Maya里，我开始制作我的基座，我决定让这个角色高7.5头，而不是8头，这是一个实验。 在阻挡身体后，我开始用躯干来包裹盔甲，这有助于放置其他部位，手臂，腿部和腰部。 在转移到ZBrush之前，我确定要对整个装甲进行UV映射; 不幸的是在雕刻过程中，我有多个文件损坏和失败，这导致我重新做了大量的盔甲，也驱使我根据他们的位置拆分ZBrush文件到五个不同的部分。 我使用各种雕刻技术和画笔来获得装甲上的细节纹理，包括标准画笔和Ryan Kingslien的alpha。
Armor modeling & sculpting and UV mapping
After gathering the reference images and source materials it was time to start modeling the whole thing. In Maya I started by making my base body place holder and I decided that I would make this character 7.5 heads tall instead of 8, as a bit of an experiment. After blocking the body I started layering up the armor starting with the torso which helped when placing the other parts, arms, legs, and waist. Before moving to ZBrush, I made sure to UV map the whole armor; unfortunately during the sculpting process I had multiple file corruptions and failures which led me to redo big portions of the armor and also drove me to split the ZBrush file into five different sections according to their placement. I used a variety of sculpting techniques and brushes to get the detailed textures on the armor, including the Standard brush and Ryan Kingslien's alphas.
脸部雕刻
随着盔甲的雕刻和质感，我已经准备好去做面部建模，通常从低分辨率的基础网开始移动的分辨率和细节。 和以前一样，我必须确保UVs达到我需要的分辨率。 如图所示，我使用了里克贝克（Rick Baker）的一些alpha，还有一些我制作的alpha和一些标准的ZBrush刷子。
Face sculpting
With the armor sculpted and textured I was ready to move on modeling the face, as usual starting from low resolution base mesh moving up the resolution as well as details. And as before I had to make sure that UVs are up to the resolution that I need. As shown I have used some of Rick Baker's alphas, some other alphas I made and some Standard ZBrush brushes.
地图提取，MARI设置，纹理
雕刻完成后，我开始提取我需要的地图来帮助在MARI中绘制纹理。 我创建了AO地图来指导我，还根据细节创建了切片，撕裂和颜色变化。 我用矢量位移，32位浮点位移和法线贴图（生成AO）。 我绘制的地图：漫反射，规范，并从提取的地图中获得中频，高频细节。
Map extractions, MARI setup, Texturing
After the sculpting was done I started extracting the maps I needed to help with painting my textures in MARI. I created AO maps to guide me, and also created the chip offs, torn offs and color variations based on details. I used Vector displacements, 32bit float displacements and normal maps (to generate AO). Maps I painted: Diffuse, Spec and already have the Mid, High frequency details from the extracted maps.
梳理
为了梳理毛发，我喜欢使用Maya nHair和ZBrush FiberMesh转换成曲线，用于修饰如眉毛和睫毛的细部。 图像显示了我使用多个Maya头发系统将头发添加到这个角色的方法的细节。
Grooming
For grooming I like to use Maya nHair and ZBrush FiberMesh converted to curves for the finer parts of the grooming such as the eyebrows and eyelashes. The image show a breakdown of my approach to adding hair to this character using multiple Maya hair systems.
阴影和lookDev
我必须创建一个轻便的平台来满足我的需求，让我的角色看起来更有个性，并在不同的光照条件下展示给我着色器的贡献。
Shading and lookDev
I had to create a light rig that served my needs for Look Dev my character and show me the shader contribution under different light conditions.
渲染通道
在所有的建模、纹理和灯光下，我转移到Nuke设置合成的渲染通道和图层。
Render passes
With everything modeled, textured and lit to my liking I moved on to Nuke to setup the render passes and layers for compositing.
评论