Yuo Tengara给我们展示了她美丽的形象《爱丽丝梦游仙境》背后的灯光和纹理技巧
Yuo Tengara gives us a rundown of the lighting and texturing techniques behind her beautiful image 'Alice in Wonderland'
阻塞的场景
为了使场景尽可能的平坦，我把相机的焦距设置为100。我使用ZBrush的ZSphere为角色创建基本地理位置，并将网格导入Maya以调整比例。这是为了更好地了解每个对象的规模和场景的深度。
当角色的尺度完成后，我开始在Maya的环境中阻塞。我开始使用原始形状，并轻推顶点以匹配放置位置。后来添加了草的地理位置，我用spPaint工具把它放在了地面上。
Blocking in the scene
In order to make the scene appear as flat as possible, I set the focal length of my camera to 100. I used ZBrush's ZSphere to create the base geo for the characters and imported the mesh into Maya to adjust the scale. This was to get a better idea of the scale for each object and the depth of the scene.
Once the scales of the characters were finalized, I started blocking in the environment in Maya. I began by using primitive shapes and nudging the vertices to match the placement. The geo for the grass was added later and I used the spPaint tool to place it on the ground plane.
在ZBrush雕刻
对于角色，我使用ZBrush添加了一些细节，但保持雕刻相当简单，以避免它变得逼真。ZBrush有一个不错的选择，你可以调整UI的不透明度(位于右上角，标记为透明)。我在后台打开了这个概念，降低了UI的不透明度，然后将模型定位到尽可能匹配这个概念。
我还在ZBrush中使用了视角来匹配Maya相机的焦距。我用这里的值作为起始点。剩下的只是在模型周围轻推模型，以匹配概念中人物的外观和体积。
Sculpting in ZBrush
For the characters, I used ZBrush to add a bit more detail but kept the sculpt fairly simple to avoid it becoming realistic looking. ZBrush has a nice option where you can adjust the opacity of the UI (located top-right, labeled ?See-through'). I had the concept open in the background and lowered the Opacity of the UI, then positioned the model to match the concept as best I could.
I also played around with the angle of view in ZBrush to match the focal length in Maya's camera. I used the value written here as a starting point. The rest was just nudging the model around to match the look and the volume of the characters in the concept.
Retopo和UV
在ZBrush中做了一些雕刻之后，我决定重新使用retopo，让它更容易打开UVs。没有必要这样做，因为这些角色不是动画，但我只是为了养成一个好习惯。
我通常使用NEX来进行retopoing，但是我使用ZBrush的ZRemesher选项来加速这个过程。对于UVing，我主要使用Maya，但是如果我不能得到一个好的结果，有时我会使用Headus。我试着把所有的东西都放在同一个地图上，这样我就可以使用同一个着色器。
Retopo and UV
After sculpting a bit in ZBrush, I decided to retopo to make it easier to unwrap the UVs. It wasn't necessary to do so because these characters weren't going to be animated but I just did it to get into a good habit.
I usually use NEX for retopoing but I used the ZRemesher option in ZBrush to speed up the process. For UVing, I mostly use Maya, but sometimes I use Headus if I can't get a good result. I try to put anything that might share the same quality of material onto one map so I can use the same shader.
建立照明
我在这个场景中使用了7个灯和2个反弹卡。
环境(整体):1个键，1个填充。
环境(FG):1
爱丽丝:1个键，2个填充，1个反弹卡。
柴郡猫:一填，一张反弹卡。
我主要使用V-Ray矩形灯光来照亮场景，但是对于某些区域，我将几何图形转换成光网以获得更多的控制。我觉得这个方法对于照亮人物很有用，因为几何学创造了核心阴影和接触阴影，这些阴影很难用矩形光源消除。
我创建了一个平面，并分配了一个V-Ray材质的扩散设置为白色的反弹卡。我在那些需要轻微照亮的地方（例如，在柴郡猫的尾巴和他的身体之间）使用那些东西。关键是要有一个均匀的照明，以获得平坦的外观。另一种实现平面外观的方法是依靠表面着色，但我不想使用这条路线，主要是因为我想让着色器对光线做出响应，并有一个微妙的亮点和跟随geo曲率的阴影。
我增加了一点自我照明(连接到自照明槽的伽马校正的漫反射贴图)，以帮助摆脱geos遇到的阴影。我没有增加更多的灯来压平它，我觉得这种方法更快更容易。
Establishing the lighting
I used 7 lights and 2 bounce cards in this scene.
Environment (overall): 1 key, 1 fill
Environment (FG): 1 fill
Alice: 1 key, 2 fill, 1 bounce card
Cheshire cat: 1 fill, 1 bounce card
I mostly used V-Ray Rectangular Lights to light the scene but for some areas, I converted geometries into light meshes to get more control. I felt this method was useful for lighting the characters because the geometry had created core shadows and contact shadows that were difficult to get rid of with just rectangular lights.
I created a plane and assigned a V-Ray material diffuse set to white for the bounce cards. I used those in areas where I just needed to lighten a little (for example, in between the Cheshire cat's tail and his body). The key was to have an even lighting to get the flat look. Another way to achieve the flat look was to rely on surface shader, but I didn't want to use that route, mainly because I wanted the shaders to respond to lights and have that subtle highlight and shadowing that follow the curvature of the geo.
I added a tiny bit of self illumination (a diffuse map with Gamma Correction connected to the self illumination slot) to help get rid of the shadows where the geos met. Instead of adding more lights to flatten it, I felt that approach was quicker and easier.
在Photoshop中进行纹理和自定义
在贴图之前，我做了一个简单的嵌入式操作，只使用着色器来获得整个调色板的概念，并且只有在接近最终的灯光时才开始实际的纹理绘画。
我在Photoshop中创建了几个动作按钮，以加速这个过程。 我尽了最大的努力去做非破坏性的工作，并且把事情组织起来（例如，通过命名层次），以便稍后可以轻松地进行修改。
为了获得这种风格，我避免使用照片，主要使用自定义Photoshop笔刷来获得手绘的感觉。 最后，我从网上抓取一个纸质纹理，叠加在上面，添加一个微妙的垃圾。 我做到了我所有的纹理。
Texture and customizing in Photoshop
Before texturing, I did a simple block-in using just the shaders to get an idea of the overall color palette, and only started on the actual texture painting when the lighting was close to final.
I had a few action buttons in Photoshop that I'd created to speed up the process. I did my best to work non-destructively, and kept things organized (for example, by naming layers) so that I could easily make changes later.
To get this painterly style, I avoided using photos and mainly used custom Photoshop brushes to get the hand-painted feel. In the end, I grabbed a paper texture from online and overlaid it on top to add a subtle grunge. I did this to all of my textures.
在NUKE合成
我已经把场景分解成前景，中场，背景，爱丽丝和柴郡猫。 我在NUKE里加了雾，把背景中间的地面分开。 我觉得在后期添加它会更快，所以我可以在以后轻松地进行更改。 多毡是非常有帮助的，因为它给了我更多的灵活性，以最终确定外观。
Compositing in NUKE
I had broken down the scene into foreground, mid-ground, background, Alice, and the Cheshire cat. I added fog in NUKE to separate the mid-ground from the background. I figured it was faster to add it in post so I could make changes easily later. The multi-mattes were very helpful because it gave me more flexibility in comp to finalize the look.
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