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sunliang
17年4月18日
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CG卡通逼真的人物模型制作

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包含27節(jié)視頻教程
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這是市面上最難找的高級教程。朱峰社區(qū)提供的蒂法系列是老師們經過多年總結，嘔心瀝血制作的成果！你可以制作出電影中的角色出來，并且為她蒙皮做動畫等等！

我最初意大利的BigRock培訓中心（http://www.bigrock.it）創(chuàng)建了查理教授計算機圖形在學碩士期間，我真的很喜歡這個設計，那么在這個培訓之后，我決定通過添加更多的細節(jié)，給他一個適合自己的個性的環(huán)境，把他開發(fā)成個人作品。

I initially created Charlie to teach character modeling during a master degree of computer graphics at the BigRock training center (http://www.bigrock.it) here in italy. Since I really liked the design, after the course I decided to develop him into a personal piece by adding more details and giving him a context that fits his personality.

Concept and References

概念和參考

The original concept was created by Corrado Colleoni (Fig.01).
原來的概念是由Corrado Colleoni創(chuàng)建的（圖01）。

圖01

I took his idea as a starting point and I tweaked the character's volumes a little to make them work better in 3D Finally, I created his equipment, helmet, weapons and the helicopter from scratch.
我把他的想法作為一個起點，我調整了角色的體積讓他們更好地工作在3 d，最后,我創(chuàng)建了他的設備,從頭開始頭盔,武器和直升機。
Looking for references was the longest part of the project. I wanted a cartoony but realistic character, so I spent several nights after work creating a big inspirational library (Fig.02). Since I had already completed the early version of Charlie for the course, I decided to create the rest of the props around him. Thanks to ZBrush I was able to figure out what was working for him directly in 3D, with a few little study sketches on paper.

尋找參考文獻是項目中最長的部分。我想要一個卡通但真實的角色，所以我花了幾個晚上的工作創(chuàng)建一個大的靈感庫（圖2）因為我已經完成了早期版本的查利的課程，我決定創(chuàng)建其余的道具在他身邊。由于ZBrush我能夠為他找出工作直接在3 d，并在紙上幾個小學習草圖。

圖2

Modeling

建模

Charlie was modeled twice. As mentioned before, the first model was created for my character modeling class and was fairly simple. The second was much more detailed and had a number of props. I'm going to talk about the creation process behind each model.
For the first version I started from a cube. From the beginning I modeled the head and the body separately; this way I could add more details to the face without worrying about how to make the loops flow on the torso. Then I created a very simple mesh for the body, which I used later to extract the vest and the shirt. In this early step I took great advantage of the GoZ plugin for ZBrush: it eliminates the time-consuming process of exporting and importing meshes from various software packages. By using it I was able to jump back and forth between the software, using ZBrush to tweak the volumes and relax the vertices, and Maya to add details and redirect the loops when needed (Fig.03).

查利被模仿了兩次。如前所述，第一個模型是為我的角色建模類創(chuàng)建的，而且相當簡單。第二個是更詳細的，有很多道具。我將談談每個模型背后的創(chuàng)作過程。對于第一個版本，我從一個立方體開始。從一開始我分別模擬了頭部和身體;這樣，我可以添加更多的細節(jié)到臉上，而不用擔心如何使循環(huán)在軀干上流動。然后我為身體創(chuàng)建了一個非常簡單的網格，我以后用它來提取背心和襯衫。在這個早期的步驟中，我很好地利用了ZBrush的GoZ插件：它消除了從各種軟件包導出和導入網格物體的耗時過程。通過使用它，我能夠在軟件之間來回跳轉，使用ZBrush來調整卷并放寬頂點，而Maya可以在需要時添加細節(jié)并重定向循環(huán)（圖03）。

圖03

To make the bullet belt I firstly created a NURBS circle around his body, then modeled the belt straight without any deformations, and finally created a joint for every bullet. After creating a bind skin I used the IK Spline Handle tool function (with Autocreate Curve unchecked) to link the belt to the circle: this way I could dynamically modify the position and scale of the bullets directly on Charlie's body (Fig.04).

為了制作子彈帶，我首先在他身上創(chuàng)建了一個NURBS圓，然后在沒有任何變形的情況下對皮帶進行建模，最后為每個子彈創(chuàng)建了一個關節(jié)。創(chuàng)建綁定皮膚后，我使用了IK樣條手柄工具功能（未勾選Autocreate Curve）將皮帶連接到圓圈：這樣我可以直接在Charlie身上修改子彈的位置和比例（圖04）。

圖04

For the second version of Charlie I sculpted and refined the meshes I had already created (Fig.05). I also added new details and increased the topology where needed to support the sculpting. I tried to lower rendering time using only Normal maps, instead of a Normal and Displacement combination (Fig.06).

對于查理的第二版，我雕刻并精制了我已經創(chuàng)建的網格（圖05）。我還添加了新的細節(jié)，并增加了需要支持雕刻的拓撲。我試圖僅使用法線貼圖來降低渲染時間，而不是正常和位移組合（圖06）。

圖05

圖06

The helicopter pilots are a variation of the main character. Instead of giving the pilots a new face I tried to characterize them through the helmet itself. This way the viewer is driven to Charlie's Face and the pilots are forced to be secondary characters in the image (Fig.07).

直升機飛行員是主角的變體。而不是給飛行員一個新的面孔，我試圖通過頭盔本身來表征他們。這樣，觀眾被驅趕到查理的臉上，飛行員被迫成為圖像中的次要角色（圖07）。

圖07

The helicopter was a new challenge for me because I had never modeled something with that level of detail before. I started with a low poly proxy model, and in the first phase I followed a blueprint of a real chopper used in the Vietnam War: the Huey UH. Then I placed the characters inside the model and rebuilt it around them, trying to create a realistic environment, where they could easily move around and reach every button. Thanks again to ZBrush I was able to try a lot of variations before choosing the one that actually suited Charlie and pilots (Fig.08).

直升機對我來說是一個新的挑戰(zhàn)，因為我從來沒有以這樣的細節(jié)來模仿某些東西。我開始使用低代理模式，在第一階段，我按照越南戰(zhàn)爭中使用的真正的切碎機藍圖：he Huey UH然后我把角色放在模型里面，并在它周圍重建，嘗試創(chuàng)造一個現(xiàn)實的環(huán)境，在那里他們可以輕松地移動到達每個按鈕。再次感謝ZBrush我可以嘗試很多變化，然后選擇一個真正適合查理和飛行員（圖08）。

圖08

After that I started to replace the proxy model with more detailed meshes. I also created a little in scene library of UV mapped objects (such as buttons, bolts, screws, etc) to quickly insert where needed (Fig.09 - 10).

之后，我開始用更詳細的網格替換代理模型。我還創(chuàng)建了一個場景庫的UV映射對象（如按鈕，螺栓，螺絲等），以快速插入所需的位置（圖09-10）。

圖09

圖10

UV Mapping, Shading and Texturing

UV映射，陰影和紋理

I treated the UV mapping and texturing phase as a pipeline exercise, working more than I should for a static image. I wanted to test my workflow with high res textures and multiple maps for the same character. I also wanted to apply an ambient occlusion bake directly in the diffuse texture to every mesh in the scene. To achieve this result I UV mapped every single object (everything but the screws), trying to create a map for each material, and keeping the maps separated (the helicopter exterior, helicopter interior, weapons and characters) (Fig.11 - 12).

我將UV映射和紋理化處理作為一個管道練習，比我應該為靜態(tài)圖像工作。我想用相同人物的高分辨率紋理和多個地圖來測試我的工作流程。我也想將場景中的每個網格直接在漫反射紋理中應用環(huán)境遮擋烘烤。為了達到這個結果，我將UV映射到每一個對象（除了螺絲之外的所有物體），試圖為每種材料創(chuàng)建一張地圖，并保持地圖分離（直升機外部，直升機內飾，武器和人物）（圖11-12）。

圖11

圖12

Then I created a PSD file with the UV snapshot reference in it, and recorded some actions to save and overwrite automatically the maps (mostly diffuse, specular and normal) in order to speed up the testing phase (Fig.13 - 14).

然后，我創(chuàng)建了一個帶有UV快照參考的PSD文件，并記錄了一些操作，以自動保存并覆蓋地圖（主要是漫反射，鏡面和正常），以加快測試階段（圖13-14）。

圖13

圖14

Having all the UV shells unfolded and no overlapping helped me a lot. It allowed me to add details with repeatable patterns in Photoshop, especially for the dresses, and also gave me the chance to export various maps from ZBrush.

所有紫外線殼打開,沒有重疊的幫了我大忙。它讓我在PS圖象處理軟件可重復的模式添加細節(jié)，尤其是衣服，也給了我機會從ZBrush出口各種地圖。
Usually I work this way (Fig.15):
1. Creation of different flat color islands following the UV snapshots in Photoshop
2. Application and deformation of clean patterns or textures
3. Dirt and scratches: with blending modes in Photoshop or using masks previously created in ZBrush (I used this method, for example, to isolate the chipped off paint in the helicopter)
4. Ambient Occlusion bake multiplied on top to add detail
Specular and Normal maps creation

通常我這樣工作（圖15）：
按照Photoshop中的UV快照創(chuàng)建不同的平面色島
2.清潔圖案或紋理的應用和變形
3.污垢和劃痕：在Photoshop中使用混合模式或使用以前在ZBrush中創(chuàng)建的面罩（我使用這種方法，例如，分離直升機中的切割油漆）
4.環(huán)境遮擋烘烤在上面加倍添加細節(jié)
鏡面和正常的地圖創(chuàng)建

圖15

I was testing V-Ray for Maya so I decided to try the V-Ray materials. Vrmtl shaders are really easy to set up in Maya and give good results in rendering. The only exception is maybe the fast SSS, which is good but not as good and flexible as the mental ray Fast Skin SSS

我正在為 Maya測試V-Ray，所以我決定嘗試使用V-Ray渲染。 Vrmtl著色器真的很容易在Maya中設置，并在渲染中給出很好的結果。唯一的例外可能是快速SSS，這是好的，但不如mental ray Fast Skin SSS那么好和靈活

(圖16).

圖16

Posing

擺姿勢

I didn't want to animate Charlie, so the pose was the only thing that would help the viewer understand his attitude. After creating a fast rig (no extra controls, only joints) I tried to characterize him the best I could, experimenting with different poses. I wanted something exaggerated but still believable. Once I was satisfied with his pose I exported everything back to ZBrush for the finishing touches. I modeled his facial expression and fixed some interpenetration issues (Fig.17).

我不想為查理制作動畫，所以姿勢是唯一可以幫助觀眾理解他的態(tài)度的。在創(chuàng)建一個快速鉆機（沒有額外的控制，只有關節(jié)）之后，我試圖用最好的方式來表征他，嘗試不同的姿勢。我想要一些夸張但仍然可信的東西。一旦我對他的姿勢感到滿意，我將所有東西都帶回到ZBrush的最后一刻。我模仿了他的面部表情，并修正了一些相互滲透的問題（圖17）。

圖17

Lighting and Rendering

燈光和渲染

The final scene was pretty heavy so to avoid long lasting rendering, I tried to keep the light setup as simple as I could. I decided to use a V-Ray sun light, an HDR image to simulate the sky and a hidden V-Ray light inside the helicopter to brighten the pilots area. I also used Global Illumination (irradiance map + light cache). The cloudy background of the final image was the same HDRi used for the render, retouched and color corrected (Fig.18).

最后的場景是很重的，要避免長時間的渲染，我試圖把燈光設置簡單的我可以。我決定使用vray太陽光，模擬天空和隱藏的燈光照亮在直升機飛行員地區(qū)HDR圖像。我也使用全局光照（光貼圖+光緩存）。最終圖像的云背景用于呈現(xiàn)相同的HDRI，修飾和色彩校正（圖18）。

圖18

Before rendering I set up some V-Ray render passes in order to have more opportunities to retouch and enhance the image in Photoshop. I also created two ambient occlusion passes: one with narrow shadows to catch small holes and details, and another with very wide shadows to give some more shading where needed.

在渲染之前，我設置了一些V-Ray渲染通道，以便有更多的機會潤飾和增強Photoshop中的圖像。我還創(chuàng)造了兩個環(huán)境遮擋通道：一個具有窄陰影以捕捉小洞和細節(jié)，另一個具有非常寬的陰影，以便在需要時給出更多的陰影。
In Photoshop I isolated five different parts: helicopter exterior, helicopter interior, Charlie, pilots and background choppers. I added contrast and details to every object using passes and textures from my library, and then I created some depth of field and fog with the ZDepth pass. Finally I created some vignetting and glowing effects (Fig.19).

在Photoshop中，我分離了五個不同的部分：直升機外部，直升機內部，查理，飛行員和背景砍刀。我使用我的庫中的傳遞和紋理為每個對象添加了對比度和細節(jié)，然后通過ZDepth傳遞創(chuàng)建了一些景深和霧。最后我創(chuàng)造了一些暈影和發(fā)光的效果（圖19）。