制作美女戰(zhàn)士

在本教程中，我將展示我的建模過(guò)程，我將演示如何實(shí)現(xiàn)令人滿(mǎn)意的結(jié)果。 我已經(jīng)測(cè)試了不同的風(fēng)格，最終確定的字符，當(dāng)我決定做我沒(méi)有參考它在3D，我最大的參考基準(zhǔn)是一些2D插圖。

In this tutorial I'll show how was my modeling process, I will show how was the evolution to achieve a satisfactory result. I have tested different styles before finalizing the character, I had no reference of it in 3D when I decided to do and my biggest base of references was some 2D illustrations.

Blocking in ZBrush

Blocking in ZBrush is a key part of my process; I like to transfer my ideas quickly and basically from my head onto the screen, I find this saves me time and I don't have to redo it later. I like to work with a low model even in ZBrush, for this I usually use the DynaMesh with a maximum of three subdivisions; using brushes such as Clay Buildup, Dam-Standard and Move.

在ZBrush中阻塞

阻塞在ZBrush是我的過(guò)程的關(guān)鍵部分; 我喜歡將我的想法迅速轉(zhuǎn)移，基本上從我的頭到屏幕上，我發(fā)現(xiàn)這可以節(jié)省我的時(shí)間，我不必重做以后。 我喜歡使用低模型，即使在ZBrush，因?yàn)槲彝ǔＪ褂肈ynaMesh最多三個(gè)細(xì)分; 使用諸如Clay Buildup，Dam-Standard和Move等畫(huà)筆。

Topology and UVs

While still in ZBrush, I decimated the model and brought it into 3ds Max to start creating topology, I used the tools on 3ds Max. After the topology was done, it was time to start the UVs. Again I used ZBrush to create the UVs faster results.

拓?fù)浜蚒V

雖然仍然在ZBrush，我抽取了模型，并把它帶入3ds Max開(kāi)始創(chuàng)建拓?fù)�，我使用�?ds Max上的工具。 在拓?fù)浣Y(jié)束后，是時(shí)候啟動(dòng)UV。 我再次使用ZBrush創(chuàng)建UVs更快的結(jié)果。

Texturing

I exported the objects as OBJs and sent them to Mudbox. I decided to use Mudbox as my main texturing software because of the ease of transitioning between 3ds Max and Mudbox. In Mudbox I normally paint my textures by hand.

紋理

我將對(duì)象導(dǎo)出為OBJ并將其發(fā)送到Mudbox。 我決定使用Mudbox作為我的主要紋理軟件，因?yàn)樵?ds Max和Mudbox之間輕松轉(zhuǎn)換。 在Mudbox中，我通常用手繪制我的紋理。

Wires and Hair

Hair, So I made separate shapes for the hair: one for the head, another for the clothes, Ornatrix V4 helped me a lot in this process, still undergoing tests, got a good result simulating wires in the clothes and a short hair.

真絲和頭發(fā)

頭發(fā)，所以我為頭發(fā)做了單獨(dú)的形狀：一個(gè)是頭，另一個(gè)是衣服，Ornatrix V4幫助了我很多在這個(gè)過(guò)程中，仍在測(cè)試，在衣服仿真絲和短頭發(fā)取得了良好的效果。

Lights

The lighting in this scene is very simple. The lighting is a very important element that could be used to the final result of the image. I researched scenes from the movie, other artists' work, paintings and anything that has similar colors that I wish to project. I experiment a lot to find the best way to show the final image. I just used three lights for this project.

照明

這個(gè)場(chǎng)景中的照明非常簡(jiǎn)單。 照明是一個(gè)非常重要的元素，可以用于圖像的最終結(jié)果。 我研究了電影中的場(chǎng)景，其他藝術(shù)家的作品，繪畫(huà)和任何有類(lèi)似顏色，我想投影。 我實(shí)驗(yàn)了很多，找到最好的方式來(lái)顯示最終的圖像。 我剛剛為這個(gè)項(xiàng)目使用了三個(gè)燈。

Render

I used V-Ray to render the scene. With three lights in my scene, consisting of two main light sources; yellow being the main light and another blue light providing the rim lighting. The render took about 25 minutes in the size of 3000px, I did not do a render in passes.

渲染

我使用V-Ray渲染場(chǎng)景。 在我的場(chǎng)景中有三個(gè)燈，包括兩個(gè)主光源。黃色是主光，另一個(gè)藍(lán)色光提供邊緣照明。 渲染花了大約25分鐘的大小3000px，我沒(méi)有做一個(gè)渲染的傳球。