3d人物場(chǎng)景制作流程

才華橫溢的張支繼和我們provokingFratricidal在ZBrush中

Project folder management

Before I begin any project I create a general folder which I use to manage the project and the source material. Classifying and labeling also ensures that I can find everything quickly.

在開始任何項(xiàng)目之前，我創(chuàng)建一個(gè)通用文件夾，用于管理項(xiàng)目和源材料。分類和標(biāo)簽也確保我可以快速找到一切。
我的項(xiàng)目文件夾管理

Sketching and conceptual design

I began to draw a few quick sketching to capture the feeling of this subject that was inside my head onto paper. There is no need to be too accurate, it is important to establish the main direction and feeling. The detailed refinement will be done in later steps using this sketch as a base.

我開始畫一些簡(jiǎn)單的草圖來捕獲這個(gè)主題的感覺在我的腦海里。不需要太準(zhǔn)確,重要的是要建立的主要方向和感覺。詳細(xì)的細(xì)化將在以后的制作步驟中體現(xiàn)，此草圖作為基礎(chǔ)。
草圖和概念設(shè)計(jì)

Reference collecting

With the basic concepts done, I started to go further to determine the subject matter of the specific years, location, characters and events. Using the internet I looked for lots of source material and information about the Civil War, including text, pictures and movies.

隨著基本概念的完成，我開始進(jìn)一步確定主題的具體年份，地點(diǎn)，人物和事件。我在網(wǎng)上搜集了很多有關(guān)內(nèi)戰(zhàn)的資料和資料，包括文字、圖片和電影。
參考收集

Raw modeling

I started making raw models based on the references. For each character, I used the DynaMesh tool of ZBrush for rapid sculpting. I needed to sculpt each character and show their individuality including basic height, ages, and temperament. Besides this step there is no need to think about making the scene, just focus on the characters.

我開始制作原始模型的基礎(chǔ)上參考每一個(gè)角色特點(diǎn)，我使用ZBrush的DynaMesh工具快速造型。我需要塑造每個(gè)角色，展示他們的個(gè)性，包括基本的身高，年齡和氣質(zhì)。在這個(gè)步驟，沒有必要考慮制作場(chǎng)景，只關(guān)注角色。
原始建模

Refining the models

I did some further refinement each character in ZBrush using the references to accurately capture of each character's feeling. I used 3Ds Max for lighting test in order to check on the model this helps to ensure the accuracy of the models physique and anatomy.

每個(gè)角色我都做了一些進(jìn)一步的細(xì)化，需要準(zhǔn)確捕捉每個(gè)人物的感覺。使用3ds max進(jìn)行照明測(cè)試，以檢查模型，這有助于確保模型的準(zhǔn)確性，體質(zhì)和解剖。
精煉的模型

Auto retopology and UVs

I process the all topology automatically and use this as a start and do any corrections manually. With this done I spilt the final model in to UV maps. I use Unfold3d and UV tools of Maya for UV mapping. Once the UVs are unfolded I export them back into ZBrush to project the detailed high-poly model using the Project-All tool of ZBrush; I also perform some detailed revision and reworking.

我自動(dòng)處理所有的拓?fù)�，并以此作為開始，并做任何更正手動(dòng)。做完這件事，我把最后的模型分解成了紫外線貼圖。我用 Maya和unfold3d和紫外UV貼圖工具。一旦UVs展開我出口他們回到ZBrush ZBrush使用項(xiàng)目的所有工具的詳細(xì)的高多邊形模型項(xiàng)目；我也進(jìn)行了一些具體的修改和返工。
自動(dòng)拓?fù)浜蚒Vs

Making the scene and character integration

When making a scene there will be lots of small objects that take up more workload of your work load and are very time-consuming, have patience and you will get through them. I used the same production methods for the scene as with modeling the characters; build a basic framework and move on to refining the specific features. Once everything was sculpted I integrated the characters into the scene and moved them about until I found a good composition. This is also a good time to work on the lighting and color tone of the picture.

制作場(chǎng)景時(shí)會(huì)有很多小物件占用你的工作量，而且非常耗時(shí)，要有耐心。構(gòu)建一個(gè)基本框架，并進(jìn)一步細(xì)化具體的功能。一旦所有的東西都被雕刻了，我就把角色融入場(chǎng)景，把它們移動(dòng)直到找到一個(gè)好的構(gòu)圖。這也是一個(gè)很好的時(shí)間工作的照明和色調(diào)的圖片。
將人物融入場(chǎng)景

Materials and lighting

I made the textures and mapping for the characters in MARI. First of all, I use the real picture for projecting drawing, then using hand-make drawing for more color and texture variation. The size of the texture is between 1024px and 4096px. I made them appropriately exaggerated based on the property of real textures. I wanted to show the atmosphere of the environment as dry, cold and dirty so I adjusted the skin color of the characters to have a bit of a purple flush. I used V-Ray for rendering as well as its area lights for lighting.

我在MARI軟件中映射人物紋理，首先，我用真實(shí)的圖片進(jìn)行投影，然后用手工繪制更多的顏色和紋理變化。紋理的大小是1024px和4096px之間。我做了適當(dāng)夸張的基礎(chǔ)上真正的紋理屬性。我想顯示環(huán)境的氣氛干燥，寒冷和骯臟，所以我調(diào)整膚色的字符有點(diǎn)紫色沖洗。我用V-Ray渲染以及其區(qū)域燈光照明。
人物資料
現(xiàn)場(chǎng)照明
人物特寫

Making hair

The amount of work I had to do making the hair in this project was relatively large and complex. The cut hair on the ground and fibers of the clothes were all made in ZBrush. The characters' hair was made using Hairtix in 3Ds Max.

我在這個(gè)項(xiàng)目中做頭發(fā)的工作量比較大和復(fù)雜。在服裝的地面和纖維剪頭發(fā)都需要。人物的頭發(fā)是用hairtix在3ds max制作
頭發(fā)

Post production and final image

I do the post production step inside Photoshop. Several raw channels are exported by 3DsMax, including ID, AO, Z-depth, color and so on. Using these channels, I made the background combination and the overall atmosphere of the picture. I think that color correction is the most important step of the post production process followed by lighting and enhancing materials.