機(jī)械構(gòu)造的過程 - 第2部分

在本教程中，我們將了解如何在SketchUp，KeyShot和Photoshop中完成機(jī)械設(shè)計(jì)的組合片段。 本教程的前一部分涵蓋了從縮略圖草圖到完成的3D模型設(shè)計(jì)機(jī)制的過程。

In this tutorial, we will learn about how to complete a portfolio piece of a mech design in SketchUp, KeyShot and Photoshop. The previous part of the tutorial covered the process of designing the mech from thumbnail sketches to a finished 3D model.

In this next part, we will cover labeling the model's IDs, where we'll think about the distribution and proportions of the different materials. Then we'll move on to posing the model, and discuss how the camera angle would affect the pose. After that, we'll take the model to KeyShot to assign materials to the different parts. We'll touch on the basic interface and some important tools in KeyShot, and use KeyShot's label system to add not only decorative labels but also stains and weathering to the surfaces.

在下一部分中，我們將討論標(biāo)記模型的ID，我們將考慮不同材料的分布和比例。 然后我們將繼續(xù)構(gòu)造模型，并討論相機(jī)角度將如何影響姿勢。 之后，我們將把模型用于KeyShot，以便為不同的部分分配材料。 我們將介紹KeyShot的基本界面和一些重要工具，并使用KeyShot的標(biāo)簽系統(tǒng)，不僅添加裝飾標(biāo)簽，而且還向表面添加污漬和風(fēng)化。

Finally, we'll use Photoshop to do the final touches, where we'll also briefly touch on using good composition and lighting to create an appealing scene, and some basic photo-compositing techniques.

最后，我們將使用Photoshop做最后的修飾，我們還將簡要介紹使用良好的組合和光照創(chuàng)建一個(gè)吸引人的場景，以及一些基本的照片合成技術(shù)。

Step 01: Labeling IDs and posing
步驟01：標(biāo)記ID和擺姿勢

The model is finished at this point, and it is time to label the IDs which will be used to assign materials later in KeyShot. At this point, I have a general idea of how I want to distribute different materials. Although I'm not sure yet what materials I will use, I know that I want a dominant material that takes up most of the space (dark green), a secondary material for color decoration (dark red), and a third material for creating 'breaks' and adding rhythm to the color distribution (bright green). For some small bits which I'm not yet sure about, I simply choose a new color for easy adjustment later. I also know where I will assign metal, such as the handles, hydraulics, and some parts covered by panels, so I use the same color (pink) for all the metal parts.

該模型是在這一點(diǎn)上完成的，它是時(shí)間標(biāo)簽的ID將被用于分配材料后在KeyShot。在這一點(diǎn)上，我有一個(gè)大致的想法，如何分配不同的材料。雖然我不知道我會使用什么材料，我知道，我想要一個(gè)占主導(dǎo)地位的材料，占據(jù)大部分的空間（深綠色），色彩裝飾（暗紅色）的第二種材料，第三種材料“斷裂”并向顏色分布（亮綠色）添加節(jié)奏。對于一些我還不確定的小塊，我只是選擇一種新的顏色，以便稍后調(diào)整。我也知道我在哪里分配金屬，例如手柄，水力學(xué)和面板覆蓋的一些部分，所以我使用相同的顏色（粉紅色）所有的金屬部件。

After labeling the IDs, I start to re-group parts in preparation for posing. I group the parts that will move together (fig.01b and fig.01c). However, I still edit within the biggest component, so all the re-grouping will be reflected to the other side.

在標(biāo)記ID之后，我開始重新組部分準(zhǔn)備擺姿勢。我對將一起移動的部件分組（圖01b和圖01c）。但是，我仍然在最大的組件內(nèi)編輯，所以所有的重新分組將反映到另一邊。

圖1a-具有標(biāo)記為準(zhǔn)備用于KeyShot的ID的模型

圖1b - 將在前腿上一起移動的分組部件

圖1c-將在后腿上一起移動的分組部分

Step 02: Simple posing
步驟02：簡單的姿勢

Now I move to pose the mech. I explode the biggest mirrored components, so when I make changes to one side of the body, it won't affect the other side any more, but all the groups I created on both sides before will stay grouped, and I don't have to worry re-grouping them again.

現(xiàn)在我將造成機(jī)械。 我爆發(fā)最大的鏡像組件，所以當(dāng)我對身體的一側(cè)進(jìn)行更改時(shí)，它不會影響另一側(cè)，但是我在兩側(cè)創(chuàng)建的所有組將保持分組，我不必?fù)?dān)心再次重組

As well as thinking about the biggest feature I want to show on this mech, another consideration when posing is how the camera angle will affect what can be seen and what can't. In this case, the camera angle I plan to have is a three-quarter view. Therefore, I pose the mech's right leg stretching out, and its left leg closer to the body, instead of the opposite. In that way, I can show as much of the design as possible. I also turn the 'head' part a little to the side, as if it's looking around.

除了思考我想在這臺機(jī)器上展示的最大的功能，另一個(gè)考慮，當(dāng)擺姿勢時(shí)，相機(jī)角度會影響什么是可以看到的和什么是不可以看到的。 在這種情況下，我計(jì)劃擁有的攝像機(jī)角度是四分之三視圖。 因此，我把機(jī)器的右腿伸出來，它的左腿靠近身體，而不是相反的。 這樣，我可以展示盡可能多的設(shè)計(jì)。 我也將“頭部”部分稍微轉(zhuǎn)向一邊，好像它在環(huán)顧四周。

圖2a-不要忘記爆炸組件，使它們不再鏡像

圖2b - 幸運(yùn)的是，身體兩側(cè)的群體即使在使用爆炸后仍會保持分組

Step 03: Adding a background
步驟03：添加背景

Since I plan to showcase an entire scene instead of just the mech design, I download props from the 3D Warehouse in SketchUp and set up a background for the scene. As I mentioned previously, I already have a rough idea that it's a small scout mech. I further develop that idea into a police patrol mech that is lightweight with great mobile ability, meant for searching instead of aggressively hunting down targets. This idea inspires me to have some fun and do a background that shows an almost propaganda image: a beautiful park scene to show how well-maintained the social order is in the area.

由于我計(jì)劃展示整個(gè)場景而不僅僅是機(jī)械設(shè)計(jì)，我從SketchUp的3D模型庫中下載道具，并為場景設(shè)置背景。正如我前面提到的，我已經(jīng)有一個(gè)大概的想法，這是一個(gè)小的偵察機(jī)。我進(jìn)一步的想法發(fā)展成為一個(gè)警察巡邏機(jī)甲，重量輕，偉大的移動能力，意味著搜索而不是追捕目標(biāo)。這個(gè)想法激勵我有一些樂趣，做一個(gè)背景，顯示一個(gè)幾乎宣傳的形象：一個(gè)美麗的公園場景，以顯示如何良好的維護(hù)社會秩序在該地區(qū)。

While placing props, I think about the composition of the scene: the foreground with some fences and tree leaves, the middle ground with the mech, and the far background with a bridge. I think about how to use the elements I can find in a park to create an interesting composition and believable environment, e.g. there shouldn't be fences in front of benches, and lamp-posts are very likely near a bench, as well as trash cans. I also use the road path, coming in from the left, as a guiding element to lead the eye to the mech, before the eye is stopped by the tree leaves in the upper-right corner.

在放置道具時(shí)，我想到了場景的組成：前景與一些圍欄和樹葉，中間的地面與機(jī)械，和遠(yuǎn)的背景與橋梁。如何使用元素，我可以找到一個(gè)公園，創(chuàng)造一個(gè)有趣的組成和可信的環(huán)境，例如。在長凳前面不應(yīng)有圍欄，燈柱很可能靠近長凳，以及垃圾桶。我還使用道路路徑，從左邊進(jìn)來，作為引導(dǎo)人們看到機(jī)械的眼睛，在眼睛被右上角的樹葉吸引之前。

Step 04: Cropping image
步驟04：裁剪圖像

After I've finished everything in SketchUp, I export the scene as an OBJ file and bring it into KeyShot. The first thing I do is play around with the camera and decide which part of the image I want to include in the final render. The red box marked in the image indicates what will show in the final render. I can adjust the resolution ratio by going to Settings > Resolution Presets. Unless it's necessary, I don't recommend messing around with the original ratio; just make sure to check the Lock Resolution, so even if the ratio of the frame changes, it doesn't affect the resolution of the scene.

在SketchUp中完成所有操作后，我將場景導(dǎo)出為OBJ文件并將其導(dǎo)入KeyShot。 我做的第一件事是擺弄相機(jī)，決定哪些部分我想要包含在最終的渲染圖像。圖像中標(biāo)記的紅色框表示最終渲染中將顯示的內(nèi)容。 我可以通過轉(zhuǎn)到設(shè)置>分辨率預(yù)設(shè)來調(diào)整分辨率。 除非有必要，我不建議弄亂原來的比例; 只是確保檢查鎖定分辨率，因此即使幀的比率發(fā)生變化，也不會影響場景的分辨率。

I play around with the 'Perspective/Focal Length' and 'Field of View' slides here to test out how I want the final image to look (the blue box in the image). After I have decided on the camera setting, I will click the little lock icon on the camera list in order to lock the camera, so I don't accidentally change anything later (pictured here in purple).

我在這里的“透視/焦距”和“視場”幻燈片，以測試我想要的最終圖像看起來（圖像中的藍(lán)色框）。 在我決定了相機(jī)設(shè)置后，我將點(diǎn)擊相機(jī)列表中的小鎖圖標(biāo)鎖定相機(jī)，所以我不會不小心改變?nèi)魏螙|西（這里是紫色的）。

Step 05: Assign materials
步驟05：分配材料

I then assign the materials by dragging and dropping the material balls from the library window to the parts where I want the materials to be. The parts that have the same color on the model will all be assigned with the same material.

然后通過將材料球從庫窗口拖放到我想要材料的部分來分配材料。 在模型上具有相同顏色的零件都將分配相同的材料。

After assigning materials, I can edit them by going to the Materials tab. The Diffuse color means the local color of the material, and the Specular color means the color of the highlight on the material. I set the Specular color to bright blue to suggest the color of the sky.

分配材料后，我可以通過轉(zhuǎn)到材料選項(xiàng)卡進(jìn)行編輯。 漫反射顏色表示材料的局部顏色，反射顏色表示材料上突出顯示的顏色。 我將鏡面顏色設(shè)置為亮藍(lán)色，以建議天空的顏色。

Step 06: Label system

Under the Materials tab, there is a sub-tab called 'Labels'. As well as adding labels, I also use it to add stains. I find a free stain texture online and turn down the opacity. Then I add labels and stains by clicking on the plus icon next to the label list. Anywhere on the material, the 'label' will instantly go to where I click. It's really convenient when it comes to stains and weathering effects that are not easily visible. I can duplicate labels by selecting the label on the list, hitting the plus icon again and choosing Duplicate Label.

步驟06：標(biāo)簽系統(tǒng)

在“材料”標(biāo)簽下，有一個(gè)名為“標(biāo)簽”的子標(biāo)簽。 除了添加標(biāo)簽，我也用它來添加污漬。 我在網(wǎng)上找到一個(gè)免費(fèi)的污點(diǎn)紋理，調(diào)低不透明度。 然后，通過單擊標(biāo)簽列表旁邊的加號圖標(biāo)添加標(biāo)簽和污漬。 在材料上的任何地方，“標(biāo)簽”將立即轉(zhuǎn)到我點(diǎn)擊的位置。 這是非常方便的，當(dāng)涉及到污漬和風(fēng)化效果，不容易看到。 我可以通過選擇列表上的標(biāo)簽復(fù)制標(biāo)簽，再次點(diǎn)擊加號圖標(biāo)并選擇復(fù)制標(biāo)簽。

Step 07: Environment lighting
步驟07：環(huán)境照明

After I have finished assigning all the materials, I move on to setting up environment lighting which will suit the park scenery better. Instead of using the default HDRI images in the library, I choose to find an image myself because I want one with a blue sky and green trees to reflect the colors of a park onto the model. I go to the Environment tab on the left panel and then click on the icon to the right of the 'Add new folder' icon to import my HDRI image.

在我完成所有的材料分配后，我繼續(xù)設(shè)置環(huán)境照明，將更好地適應(yīng)公園的風(fēng)景。而不是使用庫中的默認(rèn)HDRI圖像，我選擇自己找到一個(gè)圖像，因?yàn)槲蚁胍�一個(gè)有藍(lán)色的天空和綠樹，以反映公園的顏色到模型上。我轉(zhuǎn)到左側(cè)面板上的環(huán)境選項(xiàng)卡，然后單擊“添加新文件夾”圖標(biāo)右側(cè)的圖標(biāo)導(dǎo)入我的HDRI圖像。

After importing the image, I turn to the Environment tab in the project window and start to play around with the sliders to get the result I want. Hold Ctrl and drag with the left mouse button to rotate the HDRI.

導(dǎo)入圖像后，我轉(zhuǎn)到項(xiàng)目窗口中的環(huán)境選項(xiàng)卡，開始使用滑塊來獲得我想要的結(jié)果。按住Ctrl并用鼠標(biāo)左鍵拖動以旋轉(zhuǎn)HDRI。

Since I already have a modeled background, for the Background option, I choose to use 'Color', and I pick a color that's similar to the sky (pictured in the blue box). The flat color will help me later to quickly mask things out in Photoshop. For the same reason, I check off 'Ground Shadows' under the Environment tab in the project window (purple box), so I can easily mask out the mech's silhouette later in Photoshop.

因?yàn)槲乙呀?jīng)有一個(gè)建模的背景，對于背景選項(xiàng)，我選擇使用'顏色'，我選擇一個(gè)類似于天空的顏色（如藍(lán)色框中所示）。平面顏色將幫助我以后在Photoshop中快速掩蓋的東西。出于同樣的原因，我在項(xiàng)目窗口（紫色框）中的環(huán)境選項(xiàng)卡下檢查“地面陰影”，所以我可以很容易地在Photoshop中掩蓋機(jī)械的剪影。

Step 08: Final rendered images
步驟08：最終渲染的圖像

It is time to render out the images. Since I plan to create scratches and do much post-editing in Photoshop, I render out a couple of images with the exact same camera angle, but with different materials which will be the underlying materials of the cover paint.

現(xiàn)在是繪制圖像的時(shí)候了。 由于我計(jì)劃在Photoshop中創(chuàng)建劃痕和進(jìn)行后編輯，我渲染出幾個(gè)具有完全相同的攝像機(jī)角度的圖像，但使用不同的材料，這將是覆蓋油漆的基礎(chǔ)材料。

I hide any unwanted parts by selecting them and then right-clicking and choosing the Hide Selection option. This speeds up the image rendering time considerably.

我通過選擇它們?nèi)缓笥益I單擊并選擇隱藏選擇選項(xiàng)來隱藏任何不需要的部分。 這大大加快了圖像渲染時(shí)間。

圖8a - 渲染場景準(zhǔn)備進(jìn)行后編輯

圖8b-不同的渲染將在合成過程中給出更多的自由度

Step 09: Texture compositing
步驟09：紋理合成

When the images are ready, I bring them all into Photoshop. I put masks on all the images that I need, to simply for creating the scratches (see fig.09a, in red). The way I create scratches is by erasing the black mask from the images with textured brushes.

當(dāng)圖像準(zhǔn)備好了，我把他們?nèi)�部�?dǎo)入Photoshop。 我把面具放在我需要的所有圖像上，只是為了創(chuàng)建劃痕（見圖0.09a，紅色）。 我創(chuàng)建劃痕的方式是從紋理畫筆的圖像擦除黑色面具。

I also start to put in photo textures. The way I select the tricky, irregular shape of trees is with a masking technique. I first click on the 'Edit in Quick Mask Mode' icon in the tool panel (fig.09c, in red), and then I use a white brush to paint in the part that I want to select. After I finish painting, I click on the icon again to change back to normal mode, and the painted part will automatically become the selection.

我也開始投入照片紋理。 我選擇復(fù)雜,形狀不規(guī)則的樹木與屏蔽技術(shù)。 我首先點(diǎn)擊工具面板中的'在快速蒙版模式中編輯'圖標(biāo)（圖09c，紅色），然后我使用白色畫筆來繪制我想選擇的部分。 在我完成繪畫后，我再次點(diǎn)擊圖標(biāo)，改回正常模式，畫的部分將自動成為選擇。

圖9a - 這些掩蔽層將用于風(fēng)化效果

圖9b - 用帶紋理的刷子擦除掩模

圖9c-掩蔽不規(guī)則樹形狀

Step 10: Dramatic lighting
步驟10：劇烈的照明

Lighting is one of the most important elements in a composition. I imagine a few lighting situations, such as dusk, sunny afternoon, twilight, a cloudy day, and eventually settle on a dawn-ish lighting. I think this is when the temperatures of the light and shadow are the most complementary, when the shapes of the shadows are most dramatic, and when there is still some heavy mist in the air.

照明是組成中最重要的元素之一。 我想象一些照明的情況，如黃昏，陽光明媚的下午，黃昏，陰天，最終落在黎明的照明。 我認(rèn)為這是光和陰影的溫度是最相輔相成的，當(dāng)陰影的形狀是最戲劇性的，當(dāng)空氣中還有一些重霧時(shí)。

I add a layer with the blending mode set to Color Dodge, then pick a dark-brown color to fill in the layer. I then add a mask to the layer and start to erase the parts where I want the light to show. I set the light coming from left, to lead the viewer's eye to the mech.

我添加一個(gè)層，混合模式設(shè)置為顏色道奇，然后選擇深棕色的顏色填充圖層。 然后我給圖層添加一個(gè)蒙版，并開始擦除我想要光顯示的部分。 我設(shè)置光從左邊，引導(dǎo)觀眾的眼睛到機(jī)械。

I then darken the mech and add in ambient occlusion by adding a layer with the blending mode set to Multiply, and then using the same masking technique as mentioned above.

然后我將該機(jī)械變暗，并通過添加具有設(shè)置為乘法的混合模式的層，然后使用與上述相同的掩蔽技術(shù)來添加環(huán)境遮擋。

圖10a - 為場景選擇清晨環(huán)境光

圖10b - 向場景添加環(huán)境遮擋風(fēng)格陰影

Step 11: Further compositing
步驟11：進(jìn)一步合成

In this step, I start to edit the textures and add details to make them believable. I add a curb along the path. The connection between two objects, be they two mechanical components, a wall and a pipe, or in this case the path and the turf, is the key to believability. Furthermore, I look up some more references and decide to change the path to a more stone-like material. The technique I use here to make the texture match the perspective and shape I want is first by using 'Distort' on the texture, and then 'Warp'. I later erase the parts which I don't want (fig.11b).

在這一步，我開始編輯紋理和添加細(xì)節(jié)，使他們可信。 我沿路徑添加路緣。 兩個(gè)物體之間的連接，無論是兩個(gè)機(jī)械部件，墻壁和管道，或在這種情況下的路徑和草皮，是可信的關(guān)鍵。 此外，我查找更多的參考，并決定改變一條石頭的材料的路徑。 我在這里使用的技術(shù)，使紋理匹配的角度和形狀，我想首先通過使用'扭曲'的紋理，然后'翹曲'。 我稍后刪除我不想要的部分（圖11b）。

In addition to adding more tree textures, I tune down the value contrast and color saturation in the far background. I also pay attention to the diminishing size of the far background trees. Both adjustments are for enhancing depth in the piece.

除了添加更多的樹紋理，我調(diào)低背景中的對比度和顏色飽和度的值。 我也注意到遠(yuǎn)背景樹的尺寸越來越小。 這兩種調(diào)整都是為了提高工件的深度。

圖11a - 改善環(huán)境和背景

圖11b - 使用扭曲和變形工具

Step 12: Final touches
步驟12：最后潤色

I further adjust the value contrast to push the far background even further back, and then I look up more references and find that we usually can only see bushes for the far background, instead of the edge of the park, if we are deep in a huge park. Therefore, I add in bushes to enhance the believability of the scene. Observation of reality is the key of a convincing design, even for a fictional background story.

我進(jìn)一步調(diào)整對比度的值，推遠(yuǎn)背景甚至進(jìn)一步回來，然后我查找更多的參考，發(fā)現(xiàn)我們通常只能看到灌木叢遠(yuǎn)的背景，而不是公園的邊緣，如果我們深入巨大的公園。因此，我添加了灌木以提高場景的可信度。觀察現(xiàn)實(shí)是一個(gè)令人信服的設(shè)計(jì)的關(guān)鍵，即使是一個(gè)虛構(gòu)的背景故事。

I also further darken the shadow on the path, and adjust the overall shadow temperature to be much more blue. I paint in some sunlight flare on the edge of the objects that are close and against the direct sunlight. Again, observation of reality helps me to add in tiny but super important details to enhance the believability. Some final cherries which I add are the light glare on the mech, and then some dead leaves on the ground.

我還進(jìn)一步變暗了路徑上的陰影，并調(diào)整整體陰影溫度更多的藍(lán)色。我在一些陽光耀斑在靠近的物體的邊緣和直接的陽光下。再次，現(xiàn)實(shí)的觀察幫助我添加了微小但超重要的細(xì)節(jié)，以提高信心。最后的一些櫻桃樹，我加上機(jī)械的防眩光，然后在地上的一些落葉。。

Finally, I wrap up the piece by creating a Lens Blur effect to increase depth and make the viewers see the focal point first. In order to do that, I copy and paste the entire image onto a new layer, and then use the Gaussian Blur filter. I then put a mask onto the blurred image, and erase the parts which I don't want to be blurred.

最后，我通過創(chuàng)建一個(gè)鏡頭模糊效果來增加深度，讓觀眾首先看到焦點(diǎn)。為了做到這一點(diǎn)，我復(fù)制和粘貼整個(gè)圖像到一個(gè)新的層，然后使用高斯模糊濾波器。然后我把一個(gè)蒙版模糊的圖像，并擦除我不想被模糊的部分。