瓶子的制作

本教程將向您展示我的作品“生命瓶”的過(guò)程。 對(duì)于我來(lái)說(shuō)，作為CG藝術(shù)家深入研究軟件的所有方面的最重要的，事實(shí)是堅(jiān)持最終結(jié)果的創(chuàng)造力和藝術(shù)風(fēng)格。 在這個(gè)特定的項(xiàng)目中，我打算用完美的照明和細(xì)致的紋理來(lái)實(shí)現(xiàn)一些引人注目的東西！

In this tutorial will show you the process of my last artwork "Bottles of Life." The most important fact for me as a CG artist delving deep into all the facets of the software, is to hold on to the creativity and artistic look of the final result. In this particular project I intended to achieve something eye-catching with perfect lighting and detailed textures!

Fire up the project (references)

I always spend some time to study art fundamentals like lighting principals, color scripts, photography rules, and then finally fire up the project by the first step which is always gathering references to me! Just look at these references. They are awesome, aren't they?!

啟動(dòng)項(xiàng)目（參考）

我總是花點(diǎn)時(shí)間學(xué)習(xí)藝術(shù)基礎(chǔ)，如照明，彩色腳本，攝影規(guī)則，然后第一步，終于開(kāi)始了項(xiàng)目，收集對(duì)我有用的參考！ 只看這些參考。 他們真棒，不是嗎！

But, as I mentioned I don't like to just create something crazy realistic! I need it to be artistic and magical! In fact, in this part I usually add some spice. For example, how about adding some extra lights which we don't have in the real world! How about some levitated grapes in those bottles which have not been affected by gravity! To be honest some of these spices will be added during the process. So don't push your whole energy to finalize your concept at this level! (e.g. the last thing I added to "Bottles of Life" was the rat tail.)

但是，正如我所提到的，我不喜歡創(chuàng)造一些瘋狂的現(xiàn)實(shí)！ 我需要它是藝術(shù)和神奇的！ 其實(shí)在這部分我通常會(huì)添加一些趣味。 例如，如何添加一些我們現(xiàn)實(shí)世界中沒(méi)有的額外的燈光！ 那些沒(méi)有受到重力影響的瓶子里的一些懸浮葡萄怎么樣？ 說(shuō)實(shí)話，一些趣味將在這個(gè)過(guò)程中添加。 所以不要把你的全部精力完成在這個(gè)層次上你的概念！ （例如，我添加到“生命瓶”中的最后一件事就是老鼠尾巴）

Quick Modeling and setting up the camera

Gathering references and creating your own first concept is a lot of fun! I usually use Maya for 80% of the project. I started from scratch by modeling the initial shapes and blocks!

快速建模和設(shè)置相機(jī)

收集參考并創(chuàng)建自己的第一個(gè)概念是有很多樂(lè)趣的！ 我通常使用Maya完成80％的項(xiàng)目。 我從頭開(kāi)始，通過(guò)建模初始形狀和塊！

After playing with object positions and different camera angles, I choose the best camera view and best composition for the scene! Of course this may change as the project goes forward. But not too much! Maybe just some adjustments!

在完成對(duì)象位置和不同的攝像機(jī)角度后，我選擇最好的相機(jī)視圖和最佳組合的場(chǎng)景！ 當(dāng)然這可能隨著項(xiàng)目的進(jìn)展而改變。 但不要太多！ 也許只是一些調(diào)整！

You may need to spend hours to find the best angle for your camera! Care about golden points and concentrate on your heroes in the scene!

您可能需要花費(fèi)數(shù)小時(shí)才能找到相機(jī)的最佳角度！ 關(guān)注黃金點(diǎn)，專(zhuān)注于你的英雄在現(xiàn)場(chǎng)！

Do not forget to play with all the camera parameters such as angle of view, film gate, camera rolling and focal length, besides tilting, panning and zooming!

除了傾斜，平移和縮放之外，不要忘記調(diào)整所有相機(jī)參數(shù)，如視角，膠片門(mén)，相機(jī)滾動(dòng)和焦距。

I chose a 55mm lens for "Bottles of Life"

我選擇了一個(gè)55毫米鏡頭的“生命瓶”

Love this focal length! The modeling section will be finalized during the process and you may add something new

愛(ài)這個(gè)焦距！ 建模部分將在此過(guò)程中確定，您可以添加新的內(nèi)容

Lighting

I prefer to have a schematic look of the final result as the project goes forward! So once I have achieved my first setup in modeling with main objects, I add a key light to see if I should continue or pick some other road to drive down! It's enjoyable to tweak the lights and try to set up the balance of dark and light.

燈光

我希望在項(xiàng)目前進(jìn)時(shí)，有最終結(jié)果的原理圖！ 所以一旦我實(shí)現(xiàn)了主要建模的第一個(gè)設(shè)置，我添加了一個(gè)關(guān)鍵的燈光，看看我是否應(yīng)該繼續(xù)，或選擇一些其他的道路來(lái)降低！ 調(diào)節(jié)燈光，嘗試設(shè)置黑暗和光線的平衡是很愉快的。

To recap on lighting: I used a V-Ray Rec light in directional mode as Key Light. Some V-Ray Sphere lights among the bottles. I also applied a dim Dome light for a blue tint over the dark shadows

要回顧照明：我在定向模式下使用V-Ray Rec燈作為光源。 瓶子里有一些V-Ray Sphere燈。 我還在黑暗的陰影下應(yīng)用了一個(gè)朦朧的圓頂燈，以獲得一個(gè)藍(lán)色的色調(diào)

Creating realistic textures in Substance Painter

Looking back to my goal for this particular project - perfect lighting and realistic, detailed textures - it's time to meet the Swiss army app of 3D texturing. I mean the great Substance Painter. Without Substance Painter "Bottles of Life" would never have been born! It's easy to use, smart and user friendly! By importing your object with simple UVs and baking the texture in Substance Painter, you will have many abilities such as brushes, alphas, smart material and lots of procedural textures. I usually start by simply filling the layers for the base color, and then proceeding with smart masks.

在Substance Painter中創(chuàng)建逼真的紋理

回顧我對(duì)這個(gè)特定項(xiàng)目的目標(biāo) - 完美的照明和逼真，細(xì)致的紋理 - 現(xiàn)在是滿足3D紋理應(yīng)用程序的時(shí)候了。 我的意思是偉大的Substance Painter。 沒(méi)有Substance Painter“生命瓶”永遠(yuǎn)不會(huì)誕生！ 它易于使用，智能和用戶(hù)友好！ 通過(guò)使用簡(jiǎn)單的UVs導(dǎo)入您的對(duì)象，并在Substance Painter中烘烤紋理，您將具有許多能力，如畫(huà)筆，阿爾法，智能材料和大量程序紋理。 我通常首先簡(jiǎn)單地填充基礎(chǔ)顏色的圖層，然后繼續(xù)使用智能蒙版。

There are several magical maps that help you within Substance Painter

有幾個(gè)神奇的地圖可以幫助你在Substance Painter

Curvature and ambient occlusion are the most important maps. You can also benefit from a world space map to define the top parts of your objects to easily apply the dust effect

曲率和環(huán)境遮擋是最重要的地圖。 您還可以從世界空間地圖中受益，以定義對(duì)象的頂部，以輕松應(yīng)用灰塵效果

The important point when creating realistic textures is to not rely on smart or procedural pre-provided nodes. You should care about all man-made imperfections such as footprints, effects on dust, wood scratches, special dirt, or even the effects of some absent objects in your scene which may have been there in the past. (Look at the blue ring on the table which tells you there had been a paint pot here)

創(chuàng)建逼真紋理的重點(diǎn)在于不依賴(lài)智能或程序化預(yù)先提供的節(jié)點(diǎn)。 您應(yīng)該關(guān)心所有的人造缺陷，例如腳印，灰塵，木材劃痕，特殊污垢，甚至過(guò)去可能存在的場(chǎng)景中的一些缺失物體的影響。 （看著桌子上的藍(lán)色戒指，告訴你這里有一個(gè)油漆罐）

When I get the satisfying result with all the desired detailed textures, I bake them in 4K or even 8K for some larger objects! (e.g. I created 8 UDIM textures for the table in Maya and 8k export from SP).

當(dāng)我得到滿意的結(jié)果與所有所需的詳細(xì)紋理，我烘焙他們?cè)?K甚至8K的一些更大的對(duì)象！ （例如，我為Maya中的表創(chuàng)建了8個(gè)UDIM紋理，并從SP創(chuàng)建了8k個(gè)導(dǎo)出）。

Spider webs and age

When you want to show an old forgotten place, spider webs come into play. I used 2 techniques for these: modeling with surface curves, and textures with opacity map! With the SPIDER'S WEB MAKER script, you can easily define your web between objects with your own options. For the opacity spider webs, I just used a simple black-and-white texture which I found from Gleb Alexandrov's website, with a simple V-Ray material.

蜘蛛網(wǎng)和年齡

當(dāng)你想顯示一個(gè)舊的被遺忘的地方，蜘蛛網(wǎng)就會(huì)發(fā)揮作用。 我使用了兩種技術(shù)：用曲面曲線建模，并用不透明度貼圖進(jìn)行紋理化！ 使用SPIDER的WEB MAKER腳本，您可以使用自己的選項(xiàng)輕松地在對(duì)象之間定義Web。 對(duì)于不透明度蜘蛛網(wǎng)，我剛剛使用了一個(gè)簡(jiǎn)單的黑白紋理，我從Gleb Alexandrov的網(wǎng)站上發(fā)現(xiàn)了一個(gè)簡(jiǎn)單的V-Ray材質(zhì)。

Adding final details

Well, we are almost done! I'm happy with the final detail on the models, and the lighting and textures are very nice. What more do we need? I just spend some time on the final touches. As I mentioned above, I added the rat tail here.

添加最終細(xì)節(jié)

那我們差不多完成了！ 我很高興，到了模型的最后的細(xì)節(jié)，照明和紋理是非常好的。 我們還需要什么？ 我只是花了一些時(shí)間在最后的觸動(dòng)。 如上所述，我在這里添加了老鼠尾巴。 

Final render setting & render elements

I rendered "Bottles of Life" in 2400 res. As we have many refractions with 4k and 8k textures, this is really important to have an optimized render setting to save time. Don't forget to bake the irradiance and light cache maps! They really save you time!

最終渲染設(shè)置和渲染元素

我在2400 res中提供了“生命瓶”。 由于我們具有4k和8k紋理的許多折射，因此擁有優(yōu)化的渲染設(shè)置以節(jié)省時(shí)間非常重要。 不要忘記烘焙的輻照度和光緩存地圖！ 他們真的節(jié)約你的時(shí)間！

Final touches in post-production

Now it's time to composite the layers in your composition app which is Photoshop for me. I am not a fan of much post production. I love to achieve the highest percentage of final result in the 3D application. So I just added some fog effects to the left side of the image, and a slight color corrections.

后期制作的最后一幕

現(xiàn)在是時(shí)候在Photoshop里組合圖層。 我喜歡在3D應(yīng)用程序中達(dá)到最高比例的最終結(jié)果。 所以我剛剛在圖像的左邊添加了一些霧效果，稍微修正一下。

To finish, I just want to recommend that CG artists use their own objects, and their own artistic style! Do not try to fill up your scene with pre-provided objects found on the internet! I hope you like this written breakdown and will benefit from it!

最后Photoshop，我只是想建議CG藝術(shù)家使用自己的對(duì)象和自己的藝術(shù)風(fēng)格！ 不要嘗試用互聯(lián)網(wǎng)上發(fā)現(xiàn)的預(yù)先提供的對(duì)象填滿你的場(chǎng)景！ 我希望你喜歡這個(gè)書(shū)面細(xì)節(jié)，并從中受益！