快樂船長的制作

在這個作品中，我將簡要地介紹我的創(chuàng)作卡通人物的工作流程。 我想用一個角色做一個短片，所以我決定創(chuàng)建快樂的船長。 我使用3ds Max，ZBrush，V-Ray和Photoshop創(chuàng)建完成的插圖。

In this making of I will briefly go through my workflow for creating a cartoon character. I want to make a short film using a character so I decided to make the jovial skipper. I used 3ds Max, ZBrush, V-Ray, and Photoshop to create the finished illustration.

Step 01: References

Before I begin modeling I look for suitable references; for this character I have chosen to go with a big body so I have researched other large characters from some of my favorite films, including Kung Fu Panda, Despicable Me, and Wall-E. I try to look for references that reflect how I envision my character will look like when finished. Once I have gathered the references I make notes and work out the key features.

步驟01：參考

在我開始建模之前，我尋找合適的引用; 對于這個角色，我選擇了一個大的身體，所以我研究了一些我最喜歡的電影，包括功夫熊貓，卑鄙的我和Wall-E的其他大字符。 我試著尋找反映我如何設想我的字符將看起來像完成后的參考。 一旦我收集了參考文獻，我做筆記，并制定的主要特點。

Step 02: Modeling

I start modeling in ZBrush with the DynaMesh feature to build up the basic forms of my character - from a simple sphere to a fully formed body, including the clothing.

步驟02：建模

我開始在ZBrush建模用DynaMesh功能建立我的角色的基本形式 ，從一個簡單的球體到一個完全成型的身體，包括服裝。

Step 03: Retopology

Once I am happy with the overall shape I send it over to 3ds Max to work on the retopology. I weld the vertices and cut the edges until the mesh is how I want it.

步驟03：拓撲

一旦我對整體形狀感到滿意，我就把它發(fā)送到3ds Max去做重構。 我焊接頂點和切邊，直到網(wǎng)格是我想要的。

Step 04: UV mapping

With the topology of the mesh sorted, I am able to unwrap the character to get UV maps using the Unwrap Modifier in 3ds Max.

步驟04：UV映射

使用網(wǎng)格的拓撲排序，我能夠解開字符以使用3ds Max中的解包修改器獲取UV地圖。

Step 05: Modeling details

I send the mesh back in to ZBrush so I can add texture and details such as pores, wrinkles, and deformations using a variety of brushes and alphas.

步驟05：建模細節(jié)

我將網(wǎng)格發(fā)送回ZBrush，所以我可以使用各種畫筆和阿爾法添加紋理和細節(jié)，如毛孔，皺紋和變形。

Step 06: Painting the maps

Still in ZBrush, I paint different maps including diffuse map, sss weight, hair density, glossiness, normal map, specular, displacement etc. Then I export them to 3ds Max to combine and create the shading.

步驟06：繪制地圖

仍然在ZBrush，我畫不同的地圖，包括漫射地圖，sss重量，頭發(fā)密度，光澤度，法線貼圖，鏡面，位移等。然后我導出他們到3ds Max組合和創(chuàng)建陰影。

Step 07: Lighting

To light the character I use a simple three light setup in V-Ray. I used a V-Ray Dome light with an HDRi as the main light and two V-Ray Planes.

步驟07：照明

為了點亮角色，我在V-Ray中使用了一個簡單的三光設置。 我使用一個V-Ray圓頂燈與HDRi作為主光和兩個V-Ray Planes。

Step 08: Shading

I use the basic VRayMtl shader to make the shading of clothes. I also use some falloff maps to give the fabric texture. For the skin I used a VRayBlendMtl with VRayFastSSS2 on the base layer and combined with two VRayMtls to make the glossiness (additive shellac mode).

步驟08：著色

我使用基本的VRayMtl著色器來做衣服的陰影。 我也使用一些falloff地圖給出織物紋理。 對于皮膚我使用VRayBlendMtl與VRayFastSSS2在基礎層上，并結合兩個VRayMtls，來制作光澤度（附加蟲膠模式）。

Step 09: Grooming

For the arm and facial hair I used the 3ds Max Hair and Fur modifier. To make the hair look more realistic I used some diffuse maps on the hairs.

步驟09：梳洗

對于手臂和面部毛發(fā)，我使用3ds Max毛發(fā)和毛發(fā)修改器。 為了使頭發(fā)看起來更逼真，我在頭發(fā)上使用了一些漫射貼圖。

Step 10: Rigging

As I intend to make an animation with this character. I rig the skipper with some features that will facilitate the animation process. You can check out this on my rigging reel on my website.

步驟10：索具

我打算用這個角色制作動畫。 我裝備船長的一些功能，將有助于動畫的過程。 你可以在我的網(wǎng)站上的索具卷軸上查看這個。

Step 11: Post Production

I render this project at 10k pixels which took a long time to be complete. In Photoshop I compose the final render with some render passes such as normal map of the scene (getting the red, green, and blue channels inside curves), reflection, glossiness, subsurface, ambient occlusion, and ZDepth. With the render passes put together I am finished.

步驟11：后期制作

我以10k像素渲染這個項目，這需要很長時間才能完成。 在Photoshop中，我使用一些渲染通道（例如場景的法線貼圖（獲取曲線內的紅色，綠色和藍色通道），反射，光澤度，地下，環(huán)境遮擋和ZDepth）組成最終渲染。 與渲染傳遞放在一起完成。