敘述教程：制作“巨石”

意大利環(huán)境技術(shù)總監(jiān)Danilo Lombardo用3ds Max、ZBrush和Photoshop制作了一幅色彩鮮明的科幻風景畫。

Italian Environment Technical Director Danilo Lombardo creates a cel-shaded sci-fi landscape with an imposing monolith using 3ds Max, ZBrush and Photoshop...

開始讓你的頭腦清醒

首先，我想把我腦海里的圖像轉(zhuǎn)換成屏幕上的真實圖像。一個很好的方法就是從一個非常松散的草圖開始。在這一點上，重要的是要確定我們的主要布局和鏡頭角度。然后我在Photoshop中畫一個透視坐標——你不需要精確。這創(chuàng)造了一個空間，一種我們可以工作的空間感覺。

我已經(jīng)知道了我心中的巨石柱的位置，所以這將是其中的一個主要元素。我的第一個草圖很松散，只是一個涂鴉，可以看到現(xiàn)場的視覺反饋。然后我可以用我的網(wǎng)格來改進它。有了這個網(wǎng)格，我總是可以用不同的組合來創(chuàng)建不同的解決方案。

Start to get your head around it

First of all I want to translate the images coming in my head into actual images on screen. A good way to do this is by starting with a very loose sketch. At this point it is just important to nail down our main layout and camera angle. Then I draw a perspective grid in Photoshop - you don't need to be precise. This creates a space, a sensation of space where we can work.

I already knew the position of the monolith I had in mind so that will be one of the main elements. My first sketch is very loose, it's just a scribble, to have a visual feedback of the scene. Then I can refine it a bit using my grid. With this grid I can always create different solutions with different compositions.

通過引入一個快速透視網(wǎng)格，我們可以在一個空間內(nèi)將一個涂鴉草圖變成一個更精細的草圖。 我們可以使用它來找到不同的解決方案

With the introduction of a quick perspective grid we can turn a scribble sketch into a more refined sketch inside a space. We can play with it to find different solutions

想象你的場景

現(xiàn)在我繼續(xù)為我的畫做準備，讓它看起來性感。不要害怕使用照片和Photoshop調(diào)整圖層來豐富圖像。我想用3D來完成我的最終目標，但這對我來說很好，我開始對我想要實現(xiàn)的目標充滿信心，以及相機和一切將會是什么樣子。

我做所有這些都是黑白的，因為當我想快速看到一些東西時，更容易集中在一般的圖像和從黑到白的值。這將是我以后的視覺參考。

Visualize your scene

Now I move on to dressing the sketch I already did and make it look sexy. Don't be afraid of using photos and Photoshop adjustment layers to enrich the image. I want to do my final in 3D, but this is nice for me to start having confidence with what I want to achieve, and how the camera and everything will look.

I do all these passes in black and white just because it's easier to focus on the general image and values from black to white when I just want to see something quick. This will be a visual reference for me later.

讓我們重復(fù)我們的草圖過程，但是在3D里 !

現(xiàn)在我有了自己的參考資料，我可以直接進入3D世界。我通常用3ds Max來做現(xiàn)實的或半現(xiàn)實的工作，但這次我想做一些不同的實驗。我不知道我要去哪里，這讓它變得有趣。在這一點上，我們可以使用簡單的平面或框建模來建模所有東西，而且老實說，您可以使用任何拓撲來建模，在這一點上您是自由的。

Let's repeat our sketch process, but in 3D!

Now I have my own reference and I can go straight into the world of 3D. I usually use 3ds Max to do realistic or semi-realistic kind of works, but this time I wanted to experiment and create something different. I have no idea where I'm going, and this is what makes it interesting. At this point we can model everything using simple plane or box modeling, and honestly you can just model using whatever topology, you are free at this point.

快速建模和組合精煉

除了有一個好的想法和一個可能的草圖之外，最重要的部分是將一個人類模型（在這種情況下是我們的巨型凝視人物）引入到3D場景中，以便我們可以設(shè)置比例尺。我使用簡單的建模技術(shù)，可以在每個3D軟件中復(fù)制。巖壁的基本模型是由擠壓平面形成的。 然后在ZBrush雕刻并剔除懸崖。

Quick modeling and composition refining

The most important part besides having a good idea and possibly a sketch is to bring in a human model (in this case our monolith staring guy) to the 3D scene, just so we can set the scale. I use simple techniques for modeling that can be replicated in every 3D software. The base model for the cliff was created by extruding a plane and shaping it. Everything is pretty much a plane in the scene. The cliff was then sculpted in ZBrush and decimated.

映射到模型

3ds Max和v - ray有很多本地的程序地圖，它們可以結(jié)合在一起，實現(xiàn)很多很酷的效果。在這個場景中，所有的山脈都是用一個平面上的高度圖，上面有一個置換修改器。在你想要你的山的位置創(chuàng)建一個新的平面，并添加一個替換修飾符。使用灰度紋理來驅(qū)動網(wǎng)格的變形。多邊形越多，細節(jié)越多!這只是一個在viewport中顯示幾何圖形的快速技術(shù)，但是對于我們的目的來說已經(jīng)足夠了。

Maps to model

3ds Max and V-Ray have a lot of native procedural maps and they can be combined to achieve a lot of cool effects. All mountains in this scene were done using a height map on a plane with a displace modifier on it. Create a new plane in the position where you want your mountain to be and add a displace modifier. Use a greyscale texture to drive the distortion of the mesh. The more polygons, the more detail! This is just a quick technique for displacing geometry in viewport, but will be enough for our purpose.

卡通陰影

對于這幅圖像，我想用一種不同的陰影來做實驗。v - ray有一個toon節(jié)點，能夠繪制出我們對象的輪廓。我使用了這個和一個定制的toon著色來達到我的效果。toon著色器是由一個light mtl組成的混合材料，它使用梯度圖來控制顏色。3ds Max的梯度被設(shè)置為“照明”和“固態(tài)”插值。嵌套的其余材料是另一種vraylightMtl，它的顏色是由一個falloff地圖(使用Fresnel type)來控制的，它可以給著色器一些假的邊緣燈和一個由vraydirt節(jié)點控制的粉色材料。在這一點上，你只是想要有創(chuàng)意和實驗來完成你的版本。

Toon shading

For this image I wanted to experiment with a different type of shading. V-Ray have a toon node, capable of rendering out the outline of our objects. I have used this and a custom made toon shader to achieve my effect. The toon shader is a blend material composed by a light mtl which is using a gradient map to control the color. The gradient in 3ds Max is set to "lighting" with a "solid" interpolation. The remaining materials nested in the blend are another vraylightMtl with the color controlled this time by a falloff map (using Fresnel type) to give the shader some fake rim lights and a pink material controlled by a vraydirt node. At this point you just want to be creative and experiment to do your version.

通行證

時間添加到混合顏色。 我需要創(chuàng)建不同的通行證，以在comp中具有靈活性，并且還可以旋轉(zhuǎn)我的著色。 我通過渲染一個大氣通道，通過在場景中進行一個非常簡單的紋理而獲得的顏色通道，以及使用我自定義的cel著色器和使用vray卡通效果的一條線來實現(xiàn)這一點。

這些通道將在合成程序中合成，以獲得所需的結(jié)果。 我的選擇是融合。 我剛剛分層這些通行證，并通過混合和顏色校正紋理通過和cel著色器通過獲得顏色。 我也提供了一個無光澤的通行證，以供選擇。 在繪畫階段這將是有用的。

Passes

Time to add colors into the mix. I need to create different passes to have flexibility in comp, and also to spin my coloring. I achieve this by rendering an atmospheric pass, a color pass obtained by doing a really simple texturing on the scene, and one with my custom cel shader and a line pass using vray toon effect.

These passes will be composited inside a compositing program to obtain the desired result. My choice was Fusion. I have just layered these passes, and the color was obtained by mixing and color correcting both the texture pass and cel shader pass. I have rendered a matte pass as well for selection. This will be useful during the painting phase.

Photoshop時間

現(xiàn)在我們可以把合成的渲染到Photoshop中進行繪畫。我先畫一個背景天空，然后稍微提高整體照明。我使用照片作為天空的基礎(chǔ)，然后我使用刷子來整合渲染和增加顏色的多樣化。

Photoshop Time

Now we can bring our composited render into Photoshop for painting. I start by painting a background sky and enhancing the overall lighting a bit. I use a photo as the base for the sky, and then I work with brushes to integrate the render and add diversification to colors.

給Monolith添加顏色

Monolith是我們的主要元素，所以我喜歡通過添加色彩斑斕的細節(jié)，如燈光點點和古老的符號暗示，使其更有趣。 我使用matte元素來選擇整體或反轉(zhuǎn)選擇。

Adding colors to the Monolith

The Monolith is our main element here so I like to make it more interesting by adding colorful details like tiny spots of lights and some hint of an ancient symbol, well, kind of. I use the matte element to select the monolith or invert the selection.

最后考慮

因此，通過簡單的二維草圖來修復(fù)我們心中的形象。然后我們用3D技術(shù)制作了場景。然后我們用3D去建立場景。 關(guān)鍵因素是在這個例子中的渲染，我想成為實驗和冷靜。 研究技術(shù)在你自己的軟件中做cel陰影，并且嘗試把它與紋理通行證或照明通行證進行混合！

我能夠獲得顏色和紋理的詳細混合，我對完成的結(jié)果感到滿意。

Final considerations

So we've been reading the text and blocking out a simple 2D sketch to fix the image in our minds. Then we went with 3D and built the scene. The key factor is the rendering in this example, which I wanted to be experimental and cool. Research techniques to do cel shading in your own software, and try mixing that up in comp with texture passes or lighting passes and see where this takes you!

I was able to obtain a detailed mixture of colors and texture and I am satisfied with the finished result.