創(chuàng)建一個(gè)arch-viz場(chǎng)景

如何創(chuàng)建一個(gè)獲獎(jiǎng)的建筑可視化是一個(gè)很難回答的問(wèn)題。那是為什么？這篇文章中的所有圖片都來(lái)自Double Aye。 他們有一些驚人的工作，不僅推動(dòng)了可視化行業(yè)，而且展示了我在文章中提出的很多觀點(diǎn)。

How to create a winning architectural visualization is at first glance potentially quite a difficult question to answer. Why is that? Just to note that all of the images in this article are from Double Aye. They have got some amazing work which is not only pushing forward the visualization industry, but also illustrates many of the points I make in the article.

The curse of premade props

There are a huge number of free and paid for 3D models out there. The provision of off the shelf resources has really exploded in the last 4 or 5 years. Much of it is free, even for commercial use, and so there has been a major uptake in their use. This is all well and good because it speeds up the workflow. The curse is that you run the risk of your scenes looking the same as many other artists! Where possible try and create your models from scratch. A lot of work but often worth it.

預(yù)制道具的詛咒

有大量免費(fèi)和付費(fèi)的3D模型在那里。 過(guò)去四五年來(lái)，提供現(xiàn)貨資源真的有所爆炸。 其中大部分是免費(fèi)的，即使是商業(yè)用途，因此在使用中已經(jīng)有很大的吸引力。 這一切都很好，因?yàn)樗�加快了工作流程�?詛咒是你冒著與許多其他藝術(shù)家一樣的場(chǎng)景的風(fēng)險(xiǎn)！ 盡可能?chē)L試從頭開(kāi)始創(chuàng)建模型。 很多工作，但經(jīng)常值得。

Work on your composition

The layout and composition of your scene will go a long way to communicating your design and your vision behind it. Take care over the way things are laid out. That means that you'll need to get used to set dressing your scenes, not just randomly placing objects here and there, but making it believable and making sure there are reasons behind why objects are placed in a certain position.

整理你的作品

您的場(chǎng)景的布局和組成將有很長(zhǎng)的路要傳達(dá)您的設(shè)計(jì)和您的愿景背后。照顧好事情的安排。這意味著你需要習(xí)慣于設(shè)置你的場(chǎng)景，不僅僅是隨意放置物體，而且要使它可信，并確保物體放置在某個(gè)位置的原因。

Avoid anything that detracts

You'll also want to avoid anything in your scene that detracts from the quality of your image. So, if you've got a model that you know is just not up to scratch and it's really obvious. The rest of your scene is top draw but this one model and maybe its texture is just really lacking. If that's the case either improve that model or just remove it from your scene. You'll want to make sure that everything in your scene ties together well. Make sure your textures also sit together well. There's not much worse than a single texture that screams out ‘a(chǎn)mateur' when the rest of the scene is so good.

避免任何減損的東西

您還將避免在場(chǎng)景中損害圖像質(zhì)量的任何內(nèi)容。 所以，如果你有一個(gè)模型，你知道只是沒(méi)有劃傷，這是非常明顯的。 你的場(chǎng)景的其余部分是頂尖的，但是這個(gè)模型，也許它的紋理只是真的缺乏。 如果是這樣，可以改進(jìn)該模型，或者將其從場(chǎng)景中刪除。 你會(huì)想確保你場(chǎng)景中的一切都很好地聯(lián)系在一起。 確保您的紋理也很好地坐在一起。 沒(méi)有比單一的紋理更糟糕，當(dāng)場(chǎng)景的其余部分如此好時(shí)，它會(huì)尖叫出“業(yè)余”。

Use camera angles that communicate emotion

Often the following advice is given: "Use creative camera angles” but what does that even mean? Let me put a little flesh on the bones and even give you a better idea of how to use camera angles effectively. Watching and studying films is probably the best way to do this. The best directors use camera angles that communicate the emotion they are trying to convey. So why not going and watch a film or two and write down how the camera angles make you feel!

使用傳達(dá)情感的相機(jī)角度

通常會(huì)給出以下建議：“使用創(chuàng)意攝像機(jī)角度”，但這甚至意味著什么？給你一個(gè)更好的想法，如何有效地使用攝像機(jī)角度。觀看和學(xué)習(xí)電影可能是 最好的導(dǎo)演使用攝像機(jī)角度傳達(dá)他們想要傳達(dá)的情感，所以為什么不去看一兩部電影，寫(xiě)下相機(jī)的角度如何讓你感覺(jué)到！

Attention to detail

When putting your scene together, and especially in the modeling and texturing phases of your workflow, it is important that you give a lot of attention to detail. Where possible try not to cut corners or to rush the process. Artists like Bertrand Benoit are famous for putting the extra effort into the modeling and texturing of his scenes and it really pays off. That being said, you'll obviously need to work out where the payoff is for the time you've taken.

注重細(xì)節(jié)

將場(chǎng)景整合在一起，特別是在工作流程的建模和紋理化階段，重要的是您會(huì)非常重視細(xì)節(jié)。 在可能的情況下，盡量不要削減角落或者趕上這個(gè)過(guò)程。 像貝特朗貝諾伊（Bertrand Benoit）這樣的藝術(shù)家以為場(chǎng)景的建模和紋理進(jìn)行額外的努力而聞名，這真的是值得的。 話雖如此，你顯然需要找出所付出的時(shí)間。

Be yourself

This is probably the best advice I can give you. You've just got to be yourself. Be a voice, not an echo. Sure, grab inspiration from others but try to avoid copying! There will be elements and styles that you might want to borrow from other artists but try as much as possible to do your own thing. This will take courage and boldness but there is nothing better than knowing that what you've created is unique to you. Be free!

做你自己

這可能是我能給你的最好的建議。當(dāng)然，從別人那里得到靈感，但是盡量避免抄襲！ 將會(huì)有元素和風(fēng)格，你可能想從其他藝術(shù)家借來(lái)，但盡可能多地做自己的事情。 這將是勇氣和勇氣，但沒(méi)有什么比知道你創(chuàng)造的是獨(dú)一無(wú)二的。 是自由的！

Do something different

Following on from the last point a little. When you create something try and create something that is different. Far too much arch-viz is very samey and to a certain extent this is unavoidable. I so love seeing work that is different because it's new and fresh. If you want inspiration then I would encourage you to look at other art forms outside of arch-viz. This will help you stand out and apart.

做一些不同的事情

從最后一點(diǎn)繼續(xù)下去。 當(dāng)你創(chuàng)造一些嘗試創(chuàng)造不同的東西。 太多的arch-viz是非常相似的，在一定程度上這是不可避免的。 我喜歡看到不同的工作，因?yàn)樗�是新鮮的。 如果你想要靈感，那么我會(huì)鼓勵(lì)你去看看其他的藝術(shù)形式。 這將有助于您脫穎而出。

Have a style

As you grow as a 3D artist you'll do well to develop your own style. It's not to say that all of your work has to look the same but every great artist has a style. It sets them apart and the viewer knows whose work they are looking at. This might be something that takes years of crafting and refining but it's definitely something to aim for.

有風(fēng)格

當(dāng)您作為3D藝術(shù)家成長(zhǎng)時(shí)，您將會(huì)很好地發(fā)展自己的風(fēng)格。 不是說(shuō)所有的工作都要看起來(lái)一樣，但是每個(gè)偉大的藝術(shù)家都有一種風(fēng)格。 它將它們分開(kāi)，觀眾知道他們正在看的工作。 這可能需要多年的制作和精煉，但這絕對(duì)是一個(gè)目標(biāo)。

Bring personality into your scene

Far too many visualizations are technically brilliant but they lack any sort of personality and emotion. They can be appreciated for how well they've been put together but they're not causing me to be moved or to contemplate and think about what it's communicating. Bringing personality such as people, or playfulness can really bring a visualization alive. You may also want to communicate negative emotions and I would encourage you to play with that if it suits the mood you're going for.

將個(gè)性帶入您的場(chǎng)景

太多的可視化技術(shù)在技術(shù)上是輝煌的，但他們?nèi)狈θ魏涡问降膫�(gè)性和情感。 他們可以欣賞他們已經(jīng)被放在一起，但他們并沒(méi)有使我被動(dòng)員，或考慮和思考它的溝通。 帶來(lái)個(gè)性，如人，或玩具，真的可以帶來(lái)可視化。 你可能也想傳達(dá)消極的情緒。

Aim for the best quality

Hopefully this one goes without saying but obviously, it's important to aim for the best possible quality. This is especially true if it's a portfolio piece and you're trying to put it into a gallery. There is such a huge amount of incredible quality work out there that you've got to do something that really stands out to get accepted in. It's worth taking longer over a piece to make sure it shows off your skills to their maximum.

瞄準(zhǔn)最好的質(zhì)量

希望這個(gè)不用說(shuō)，但很明顯，重要的是盡可能的品質(zhì)。 這是一個(gè)特別的事實(shí)，如果它是一個(gè)投資組合，你正試圖把它放在一個(gè)畫(huà)廊。 有這么多的令人難以置信的質(zhì)量工作，你必須做一些真正突出被接受的東西。值得花更長(zhǎng)的時(shí)間，以確保它顯示你的技能到最大限度。

Conclusion

Hopefully that's been a helpful overview of some of the things to think about. Most of them can be boiled down to thinking about why you're doing each thing. It's always good to have a motivating reason for why you're setting up a particular camera angle or even why you're placing an object in a certain position. This will go a long way to helping your visualizations be believable and will give them a huge amount of extra credit with the view. But this list is in no way exhaustive; why not add your own thoughts in the comments below.

結(jié)論

希望這是一些有用的概述。 他們中的大多數(shù)可以煮熟，想想你為什么要做每件事情。 有一個(gè)激勵(lì)的原因總是很好，為什么你設(shè)置一個(gè)特定的攝像頭角度，甚至為什么你放置一個(gè)對(duì)象在一定的位置。 這將大大有助于您的可視化是可信賴的，并將給予他們大量的額外信用。 但這份清單并不詳盡; 為什么不在下面的評(píng)論中添加你自己的想法。