科幻武器的建模與渲染

大家好，我是Chris Tulloch McCabe，我是一個概念藝術家。我將向你們展示我設計科幻武器的過程。這種工作流程和方法可以很容易地應用于其他資產(chǎn)，如車輛、建筑物或裝甲。我將主要從事3D工作，因為我喜歡它的靈活性，并且可以選擇重輕，改變材料處理，并將模型傳遞給團隊的其他成員。給他們至少一個良好的堅實的基礎，或支持3D打印和原型的東西。 讓我們開始吧！

Hi, my name is Chris Tulloch McCabe and I am a concept artist. I will be showing you my process when designing a sci-fi weapon. This workflow and approach would be easily applied to other assets like vehicles, structures, or armor. I will work in 3D mostly, as I like its flexibility and having the option to relight, change material treatment, and pass the model on to other members of the team. Giving them at the very least a good solid base to build on, or for a prop to have something to 3D print and prototype. Let gets started!

第1步：咖啡，研究和參考

所以，在開始設計武器時，這個階段是至關重要的。 讓自己喝一杯熱飲，放點音樂，然后就可以開始了。想想你的思路; 在此基礎上做一些粗略的記錄，比如科幻步槍，冰冷的星球，冰塊，玻璃，潮濕的黑色花崗巖，元素的破壞等。 然后，我會開始互聯(lián)網(wǎng)搜索或翻閱書籍/雜志。試著在這一點上保持寬松和開放的思想。 抽象地思考，耳機成為噴油器，現(xiàn)代雕塑變成盾牌，車門把手變成匕首。

Step 1: Coffee, research and reference

So, when starting your weapon design, this stage is crucial. Get yourself a hot drink, put on some music and just dive in. Think about your brief; make some rough notes based on that, things like sci-fi rifle, cold planet, ice, glass, wet, black granite, elemental damage. Then I would begin internet searching or looking through books/magazines. Try and stay loose and open to ideas at this point. Think abstractly and it won't be long before headphones become fuel injectors, modern sculpture becomes shields, and car door handles become daggers.

第二步:畫草圖，清理蜘蛛網(wǎng)

既然你已經(jīng)掌握了這個簡短的信息和你將要使用的語言，那么就該認真開始了�，F(xiàn)在到了下一個階段，我發(fā)現(xiàn)把筆放在紙上很好。這是給你的。沒有壓力! 不要把你的美麗的牛皮皮革寫生簿和你的一套36 Copic grays。只是一支筆和任何舊的紙:我只是想開始把我的參考翻譯成符合邏輯的和討人喜歡的形狀。

Step 2: Sketch and clear the cobwebs

Now that you have a grasp on the brief and the vibe/language that you will use to answer it, it's time to start in earnest. Now with the next stage, I find putting pen to paper is good. This is just for you. No pressure! Don't pull out your beautiful vellum leather-bound sketchbook and your set of 36 Copic grays. Just a pen and any old paper: I am just trying to start the process of translating my reference into both logical and pleasing shapes.

和我一起，我開始思考我可能從什么形式和組合開始。 不要過度設計，或甚至完成它們。

With mine, I started to think about what shapes and compositions I might start with. Don't over design and/or even finish them.

第三步:三維草圖和kitbash

一旦我對我想要開始的東西有了大致的了解，我就開始建模。我首先使用一些深色的材料，在模型上用少量的反射來顯示內(nèi)部的體積。這同樣有助于保持光和創(chuàng)造力。抽象地查看模型并將其讀取成松散的形狀。在工作的時候瞇著眼睛。3d - coat的基于voxels的雕塑在這個階段是非常棒的。對我來說，我喜歡像用粘土一樣工作。切片，直到我滿意的形狀。(更不用提非常，非常有治療效果的)我使用了這兩種方法的混合，并且用我自己的資產(chǎn)為之前的概念建立了自己的資產(chǎn)。

Step 3: 3D sketching and kitbash

Once I have a rough idea of what I want to start with, I get to modeling. I start by using a dark material on the models with a small amount of reflection to suggest internal volumes. This again helps to stay light and creative. To see the model abstractly and read into shapes loosely. Squint your eyes as you work. 3D-Coat's voxel-based sculpting is utterly awesome for this stage. For me, I like to work like I am using clay. Slicing bits off until I am happy with the shape. (Not to mention very, very therapeutic) I used a mixture of this and kitbashing my own assets built for previous concepts.

使用任何神奇的kitbash資源都很好，如果你有時間或機會來建立你自己的，保存它并重新使用它，翻轉(zhuǎn)它，彎曲它，并復制它。你能從幾個好的預制資產(chǎn)中獲得多少里程，這真是令人驚訝。我用的主要是3d - coat的“Build”和“Primitive”， 來構建一個粗糙的質(zhì)量，然后是“Cut off”工具。此外，為了創(chuàng)建重疊和更復雜的形狀，我使用“Vox Hide”來隱藏像素!然后用“切斷”來移除腫塊。在這一點上，去幾何學的>取消隱藏，將隱藏的三維像素移回來。這可能會造成一些非常瘋狂、復雜的形狀，如果在正常的、非造型的多邊形建模中嘗試，會讓你的頭部受傷。

Using any of the amazing kitbash resources out there are great and if you get the time or chance to build your own, save it and re-use it, flip it, bend it and duplicate it. It's amazing how much mileage you can get out of a few good premade assets. I used mainly 3D-Coat's 'Build' and 'Primitive' to build up a rough mass and then the 'Cut off' tool. Also, for creation overlapping and more complex shapes, I used 'Vox Hide' to hide voxels! Then use 'Cut off' to remove mass left. At this point go to Geometry > Unhide All to bring the hidden Voxels back. This can make some pretty crazy, complex shapes that would make your head hurt if tried in normal, non-sculpt based poly modeling.

第四步:讓你的剪影適合你

這一步真的不是必須的，這取決于你的時間。但是如果你有一套3D草圖，就用它們吧。不只是側(cè)面的經(jīng)典剪影；探索的角度。如果你有一個游戲中的模型導入它，并把武器放在它的手中。嘗試5分鐘的燈光設置。把它拉開，彈出，電池盒彈射。這些都很好。但關鍵是，如果時間允許，讓草圖為你工作。

Step 4: Make your silhouettes work for you

Now this step really isn't a must and it depends on your time. But if you have a set of 3D sketches, use them. Not just side-on classic silhouettes; explore angles. If you have an in-game model import it and put the weapon in its hand. Try a 5-minute light setup. Pull it apart, magazines out, battery pack ejection. Any or all of these are good. But the point is, if time permits, make the sketches work for you.

第五步:最終模型構建

一旦你決定了一個設計，你就可以開始構建細節(jié)了。對我來說，這是一個壓力較小的階段，因為所有主要的設計決策都已經(jīng)完成，只是決定何時何地應該添加細節(jié)。值得一提的是，你很容易就會因為細節(jié)而抓狂，尤其是在3D方面。這一階段對主要設計決策的關注較少，但你仍然需要考慮讓你的眼睛休息一下，以及在哪里放置那些“oh -so- juicey”的細節(jié)。這是一個平衡。一個精致的形狀和細節(jié)完全包在表面上看起來從來都不好看。

Step 5: Final model building

Once you decide on a design to take forward you can start building on the details. For me, it's a less stressful phase, as all the major design decisions have been made and is just about deciding when and where details should be added. It is worth mentioning that it's very easy to just go Baroque-crazy with the details, especially in 3D. This phase has less focus on major design decisions but you still need to think about giving your eye rest, and where to place those oh-so-juicey details. It's a balancing act. A nice shape with details totally encrusting the surface never looks good.

所以，技術上，我把我的基礎體素網(wǎng)格，把分辨率提高到900萬，這樣我就能得到銳利的邊緣。有時我需要在一些地方重建形狀，但3D-Coat讓你得到了保護。如果你把一個形狀插入另一個形狀，只要它們在“Vox Tree”的同一層上，它們就會被合并，這樣你就可以很容易地重建形狀，然后減少多余的部分。我還構建了模型本身的大部分實際的網(wǎng)格細節(jié)，而不是在紋理階段使用面板線，剪輯和按鈕進行法線處理，或者使用Photoshop中的繪制。

So, tech-wise, I took my base Voxel Mesh and upped the resolution to about 9 million so I could get nice sharp edges. Sometimes I needed to rebuild the shape in places but again, 3D-Coat has got you covered. If you take a shape and just jam it into the other, so long as they are on the same layer in the 'Vox Tree' they will be merged so you can do the rebuilding of shapes very easily and then trim the excess. I also build most of the actual mesh details on the model itself as opposed to doing things like panel lines, clips and buttons with Normals at the texture phase or with paint in Photoshop.

第6步：導出和渲染

一旦你對最后的模型感到滿意，你可以導出它。有幾種方法可以繼續(xù)下去，這個過程本身就是一個教程。有很多沉悶，但有用的視頻，如何從3D雕刻軟件導出高多邊形網(wǎng)格與法線和優(yōu)化的網(wǎng)格。我基本上把這個模型弄壞了，并把它帶入了Octane。隨著時間的推移，我用我計劃在最后一幅畫中使用的不同材料渲染了整個模型，只是用Photoshop中的摳圖來選擇它們應該出現(xiàn)在哪里。如果你有時間的話，你可以輸出UVs或所有的網(wǎng)格分解成各自的部分。在這里，我發(fā)現(xiàn)按照我的方式做這件事的破壞性不大。這意味著我可以在Photoshop中的最后繪畫階段改變我的想法。

Step 6: Export and render

Once you're happy with the final model you can export it. There are a few ways to go on that and the process is a tutorial in itself. There are lots of dull but helpful videos out there on how to export high poly meshes from your 3D sculpting software with normals and optimized mesh. I basically decimated the model and brought it into Octane. As I was pushed for time I rendered the whole model a number of times with the different materials I planned on using in the final painting, and just used mattes in Photoshop to choose where they should appear. If you have time, you can either export UVs or all the mesh broken up into its respective parts. Here I find it less destructive to do it the way I have. It means I can change my mind in the final paint phase in Photoshop as much as I want.

第七步：繪制階段 - 材料

在這里，我嘗試了如何將這些材料應用到武器上，這非常有趣。您導出越多的版本，您就可以生產(chǎn)更多的版本。 我有一套非常具體的顏色和材料類型，所以我不會抓狂，但他們?nèi)绾畏謱邮敲赓M的游戲。我鼓勵你們在這個階段繼續(xù)實驗。 經(jīng)過至少一天的沉重的細節(jié)建模，你可能會覺得你的概念已經(jīng)在軌道上了，最后的結果已經(jīng)決定了，但是仍然有時間對如何設計進行一些非常大的更改。而且，如果一位藝術總監(jiān)說他們可能會在以后的某天把另一件武器上的油漆工作傳過去，你仍然擁有所有的配料。

Step 7: Paint phase - Materials

Here I experimented with how the materials would be applied to the weapon and it's lots of fun. The more renders you export the more versions you can produce. I had a pretty specific set of colors and material types so I didn't go crazy, but how they are layered out is free game. I would encourage you to still experiment at this stage. After at least a day of heavy poly detail modeling you may feel that your concept is on rails, and the final outcome is already decided but there is still time to make some pretty big changes with regards to how to design is read. Also, if an art director says that they might like to take another pass at the paint job on a weapon at a later date, you still have all the ingredients.

步驟8: 繪制階段-細節(jié)

我決定要添加一些額外的功能，比如貼紙、文字和劃痕。對于科幻武器來說，這是賣出現(xiàn)實主義的好方法。這不是真的，事實上是愚蠢的。那么，你如何降低看似愚蠢的事情的風險呢? 那么嵌入你會與實際的日常項目相關的東西是好的。螺釘，劃痕可能會暴露或摩擦在裝甲角落上或布料上。還有一些實用的東西，比如警告貼紙和型號、剪輯和邏輯位置上的門閂。這也有助于給人一種規(guī)模和重量的感覺。你的大腦會下意識地觀察這些細節(jié)，并將它們與日常用品進行比較，并告訴你它的大小。

Step 8: Paint Phase - Details

I decided that I wanted to add some small extras such as stickers, text, and scratches. For a sci-fi weapon this is a great way to sell realism. It's not real, it's silly in truth. So how do you reduce the risk of something seeming as silly as it is? Well embedding things that you would associate with actual day-to-day items is good. Screws, scratches on corners that would be exposed or rubbing on armor, or cloth. Utility stuff like warning stickers and model numbers, clips and latches in logical places also. This stuff also helps give a sense of scale and weight. Your brain will subconsciously look at these details and compare them to everyday items, and tell you how big or heavy it would be.

第9步：:繪制階段- SFX

我決定，我需要在中間的水上多做點工作。 我對Octane的外觀并不滿意，我不認為這水會旋轉(zhuǎn)，高速的穿過。是的，一些波浪照片，濕式混合機刷和運動模糊之后，我更滿意它的樣子。更重要的是，這種想法在第一次閱讀中是可以理解的。

Step 9: Paint Phase - SFX

I decided that I needed to work a bit more on the water in the middle. I wasn't happy with the look out of Octane and more importantly didn't think the idea that this water would swirl and high speed was coming across. So yeah, some wave photos, wet mixer brush and motion blur later, and I was happier with the way it looked. And more importantly, the idea was understandable on a first read.

第十步:結論

所以，我們有了它;我創(chuàng)造武器的工作流程。正如我在一開始所說的，它也可以用于其他東西。這是靈活的，有助于避免陷入困境。保在每個階段保持興奮和創(chuàng)造力是關鍵。你甚至不需要把它一直帶到一個高度詳細的模型和渲染。通常，客戶可能不需要您這樣做。把你的三維草圖和一些照片放在一起，告訴觀眾材料選項也是一個有效的工作流程。如果你需要回頭再看。那么你就會有一套很好的基礎來完善甚至使用其他的概念，比如建筑，或者機器上的佳能。我希望你能發(fā)現(xiàn)它的幫助和啟發(fā)!

Step 10: Conclusion

So, there we have it; my workflow for creating weapons. As I said at the start, it can be used for other stuff too. It's flexible and helps avoid getting bogged down along the way. Staying excited and allowing for creativity at each stage is key. You don't even need to take it all the way to a high detailed model and render. Frequently, a client may not need you to do so. Taking your 3D sketches and painting over with some photos laid in to inform the viewer of material options is a valid workflow too. If you need to go back in later, then you have a set of great bases to refine or even use on other concepts such as buildings, or the canon on a mech. I hope you have found it helpful and inspiring!