制作科幻城市景觀

在這篇文章中，我將展示3D如何幫助創(chuàng)造一個(gè)非常詳細(xì)的科幻城市景觀的基礎(chǔ)。 一旦3D部分完成，我將繼續(xù)介紹2D工作如何細(xì)化細(xì)節(jié)，以及如何調(diào)整氛圍，找到正確的顏色，使整體圖像迷人。

In this article I will look at how 3D can help to create a foundation for a very detailed sci-fi cityscape. Once the 3D part is done I will move on to how 2D work refines the details and how to tune the atmosphere to find the right colors that give the overall picture a captivating mood.

Step 01: Preparing the scene

Normally to find your composition you would start with rough sketches, however I tackle my work a little differently with the help of 3D but I still like to start rough. Originally I wanted to create a giant space station and started working on the scene by kit-bashing some of the models from previous projects. I kept the main structures in a separate scene file since they ended up being rather polygon heavy. Needless to say I pushed my machine quite a bit when bringing all the elements into one final scene in the end.

步驟01：準(zhǔn)備場(chǎng)景

通常要找到您的作品，您將從粗略的草圖開(kāi)始，但是我在3D的幫助下處理我的工作有點(diǎn)不同，但我仍然喜歡開(kāi)始粗暴。 本來(lái)我想創(chuàng)建一個(gè)巨大的太空站， 我把主要的結(jié)構(gòu)保存在一個(gè)單獨(dú)的場(chǎng)景文件中，因?yàn)樗鼈冏罱K變得相當(dāng)多邊形。 不用說(shuō)，把所有的元素放到一個(gè)最后的場(chǎng)景中，我把機(jī)器推了一大堆。

Step 02: Going a different path

I soon abandoned the idea of doing a space scene and followed my love for Sci-fi cityscapes. You can argue a lot about the quality of the Star Wars prequels but ever since I saw the world-spanning city of Coruscant for the first time I knew I wanted to create something like that! So I decided to convert the space station into a space port of a giant futuristic city. Now it was time to build a city and I started with the background first. Again the buildings are kit-bashed models with the intention of being painted over here and there later in the process.

步驟02：走不同的道路

我很快放棄了做空間場(chǎng)景的想法，跟隨我對(duì)科幻城市的愛(ài)好。 你可以爭(zhēng)論很多關(guān)于星球大戰(zhàn)前傳的質(zhì)量，但是自從我第一次看到世界各地的科羅桑特城市以來(lái)，我知道我想要?jiǎng)?chuàng)造一些這樣的東西！ 所以我決定將空間站轉(zhuǎn)變成一個(gè)巨大的未來(lái)城市的太空港。 現(xiàn)在是時(shí)候建立一個(gè)城市，我首先從背景開(kāi)始。 這些建筑物再次是套件式的模型，目的是在這里和那里稍后繪制。

Step 03: How to build a sci-fi city

I wouldn't say there are rules set in stone when building a sci-fi city but there are some things you should keep in mind. First of all, do not clutter your scene with mile high buildings and secondly try to maintain a good balance and variation of sizes and looks. For this scene I used copy & paste a lot but I always kept an eye on the overall composition since I want the viewer to experience the city, dive into the details and discover stuff. After adding more detail to the main structure and finishing the background and mid-ground, I moved into Photoshop and add more life to the foreground.

步驟03：如何建立一個(gè)科幻城市

我不會(huì)說(shuō)在建立科幻城市時(shí)有規(guī)則，但是你應(yīng)該記住一些事情。 首先，不要用英里高的建筑物混亂你的場(chǎng)景，其次嘗試保持良好的平衡和尺寸和外觀的變化。 對(duì)于這個(gè)場(chǎng)景，我使用復(fù)制和粘貼很多，但是我總是關(guān)注整體構(gòu)圖，因?yàn)槲蚁Ｍ�觀眾體驗(yàn)城市，潛入細(xì)節(jié)并發(fā)現(xiàn)東西。 在添加更多細(xì)節(jié)到主體結(jié)構(gòu)并完成背景和中間位置后，我移動(dòng)到Photoshop中，并將更多的生命添加到前景。

Step 04: Adding more life

The easiest way to suggest a busy sci-fi city is to add some ships that are zipping through the scene; although this is very cliche it does the job. Beside that we can also add some more ships that are docked to the station. I also had the idea to add some interesting energy generator elements. Even with the extra details of the ships and generators added the scene still needed more color in the foreground. So I gave those generators a neat sci-fi blue glow. Every giant city needs energy, right? Now we are ready for a final render.

步驟04：增加更多的生命

建議一個(gè)繁忙的科幻城市的最簡(jiǎn)單的方法是添加一些在現(xiàn)場(chǎng)拉鏈的船只; 盡管這是非常陳詞濫調(diào)， 我們還可以添加更多的船�？吭谲�(chē)站。 我也有想法添加一些有趣的能量發(fā)生器元素。 即使附加的船舶和發(fā)電機(jī)的額外細(xì)節(jié)，場(chǎng)景仍然需要更多的顏色在前景。 所以我給那些發(fā)電機(jī)一個(gè)整潔的科幻藍(lán)光。 每個(gè)巨城都需要能量，對(duì)吧？ 現(xiàn)在我們準(zhǔn)備好了最后的渲染。

Step 05: MultiPass render

With element heavy scenes like this one it is good to render your picture the smart way. Every modern 3D package has the ability to render your scene with MultiPass options, these allow you to render specific elements (buildings and ships for this piece) along with a mask. It makes it very easy to replace already rendered elements in Photoshop because there is always something that can be re-rendered to refine details in the scene. Vue also allows 'Area Rendering' where you can select a small portion of the scene to be rendered instead of the complete scene. So the best way to render this scene was to render the city and ships separately.

步驟05：MultiPass渲染

像這樣的元素沉重的場(chǎng)景，很好的渲染你的圖片的聰明的方式。 每個(gè)現(xiàn)代3D包都能夠使用MultiPass選項(xiàng)渲染您的場(chǎng)景，這些選項(xiàng)允許您渲染特定的元素（此片的建筑物和船只）以及遮罩。 它可以很容易地替換Photoshop中已經(jīng)渲染的元素，因?yàn)榭偸怯幸恍┛梢灾匦落秩镜臇|西來(lái)改進(jìn)場(chǎng)景中的細(xì)節(jié)。 Vue還允許“區(qū)域渲染”，您可以在其中選擇要渲染的場(chǎng)景的一小部分，而不是完整的場(chǎng)景。 所以渲染這個(gè)場(chǎng)景的最好辦法是讓城市和船只分開(kāi)。

Step 06: Photoshop magic

Additional detail was added by using the Specular render pass (that is also part of the MultiPass Render options). This is an easy method to give the suggestion of detail throughout a scene.

步驟06：Photoshop

通過(guò)使用鏡面渲染通道（也是MultiPass Render選項(xiàng)的一部分）添加了更多的細(xì)節(jié)。 這是在整個(gè)場(chǎng)景中給出詳細(xì)建議的簡(jiǎn)單方法。

What is a cityscape without some lights? Even if this scene has a daylight/morning atmosphere, there are some areas that lie in pretty dark parts. That is mainly in the area on the left next to the main structure - around the energy generators. Here I used the rendered masks to single out the parts I wanted to texture. In this case it was a simple photo of a night skyline of a random city.

沒(méi)有燈光的城市景觀是什么？ 即使這個(gè)場(chǎng)景有一個(gè)白天/早晨的氣氛，也有一些地方是在黑暗的部分。 這主要是在左邊的區(qū)域左邊的主要結(jié)構(gòu) - 圍繞能量發(fā)電機(jī)。 在這里，我使用了渲染的面具來(lái)單擊我想要紋理的部分。 在這種情況下，這是一個(gè)隨機(jī)城市的夜晚天際線的簡(jiǎn)單照片。

Step 07: Overpainting and refining

Now it's time to go back to the point I made in step 3 - variation and variety of the buildings. I copy & pasted many of the buildings but keeping an eye on creating different sizes and rotating them isn't enough to make it believable. The human eye constantly looks for patterns and repeating the buildings ruined the illusion of diversity. The easiest method to fix this problem is by overpainting and adding extra details to the existing buildings and towers throughout the scene. Since I was working on the background it was not necessary to go super detailed.

步驟07：涂抹和精煉

現(xiàn)在是時(shí)候回到我在步驟3做的點(diǎn)了 - 建筑物的變化和多樣性。 我復(fù)制并粘貼了許多建筑物，但注意創(chuàng)建不同的大小并旋轉(zhuǎn)它們不足以使其相信。 人眼不斷尋找模式，重復(fù)建筑破壞了多樣性的錯(cuò)覺(jué)。 解決這個(gè)問(wèn)題的最簡(jiǎn)單方法就是在整個(gè)現(xiàn)場(chǎng)對(duì)現(xiàn)有的建筑物和塔樓進(jìn)行覆蓋和添加額外的細(xì)節(jié)。 由于我在背景下工作，所以沒(méi)有必要去超級(jí)細(xì)致。

Step 08: Clouds

At this late stage I thought that the scene was missing something and I knew that a low cloud layer would add a lot to the scene but had avoided it because rendering clouds is a very time consuming process. Nevertheless I decided to take that extra step and added clouds via a separate render. Once again Vue's MultiPass render allowed me to easily cut out the clouds from the render and place in the Photoshop file. Smaller additional overpaints and fixes made the clouds sit in the scene really well and created an element the viewer can relate to, especially when it comes to the scale of the scene the clouds added another layer of believability.

步驟08：云

在這個(gè)晚期階段，我以為現(xiàn)場(chǎng)丟失了一些東西，而且我知道一個(gè)低云層將會(huì)增加很多場(chǎng)景，但由于渲染云是一個(gè)非常耗時(shí)的過(guò)程，所以避免了這一點(diǎn)。 然而，我決定采取額外的步驟，并通過(guò)單獨(dú)的渲染添加云。 再次，Vue的MultiPass渲染允許我輕松地從渲染和Photoshop文件中放置云。 更多的額外的過(guò)度保護(hù)和修復(fù)使得云層很好地坐在現(xiàn)場(chǎng)，創(chuàng)造了觀眾可以相關(guān)的元素，特別是當(dāng)涉及到景觀的規(guī)模時(shí)，云添加了另一層可信度。

Step 09: Finalizing steps

To finalize the Photoshop stage I played around quite a bit with adjustment layers and colors to give the picture the look I had in mind. Adjustment layers really help me to stay flexible (and in general non-destructive techniques keep you on top of everything that might come up); I went back and carried on refining things until I was happy - masks and adjustment layers are the key here. Last but not least I added some atmospheric glow throughout the scene and a bit of typical sci-fi lens flare.

步驟09：完成步驟

為了完成Photoshop舞臺(tái)，我用了很多調(diào)整圖層和顏色，讓我的照片看起來(lái)符合我的的想法。 調(diào)整層真的有助于我保持靈活性（一般來(lái)說(shuō)，非破壞性技術(shù)可以讓您處于可能出現(xiàn)的一切之上）; 我繼續(xù)磨煉，直到我滿意 - masks和調(diào)整層是這里的關(guān)鍵。 最后但并非最不重要的是，我在整個(gè)場(chǎng)景中添加了一些大氣光輝，還有一些典型的科幻鏡頭閃光燈。

Step 10: Treat it like a photograph

Even after fiddling around with the colors in Photoshop I did not get the colors how I wanted them, so I decided to treat the picture like a photo! You can do this by either by loading it into Photoshop's Camera Raw or via Lightroom. I prefer the latter because it feels a little more organic and accessible but it does not matter which route you take. In Lightroom I managed to push the overall color-scape to what I had in mind. By pushing up the Clarity I was also able to make the whole image pop a little more and make it a real eye-catcher. It's always good though not to go too crazy (especially with the Clarity); often enough less is more.

步驟10：像照片一樣對(duì)待它

即使在Photoshop中擺放著顏色，我也沒(méi)有得到我想要的顏色，所以我決定像照片一樣對(duì)待照片！ 您可以通過(guò)將其加載到Photoshop的Camera Raw或Lightroom中來(lái)實(shí)現(xiàn)。 我更喜歡后者，因?yàn)樗�感覺(jué)有點(diǎn)更有機(jī)和可以訪問(wèn)，但你采取哪條路線并不重要。 在Lightroom中，我設(shè)法將整體色彩推到了我所想的位置。 通過(guò)提高清晰度，我也能夠使整個(gè)圖像流行一點(diǎn)，使其成為真正的奪人眼球。 總是很好，但不要太瘋狂（尤其是Clarity）。