項目概述：穿著納米套裝和盔甲的女性角色

介紹

在這個項目概述中，我將向您展示我用于我的Hunter模型的工作流程的概述。 我會盡力分享關(guān)于這個項目的有趣的部分，我希望你能找到我說的有用的東西。 以下是我將要討論的部分：

1.靈感和參考

2.建模

3.紋理和材質(zhì)

4.照明

5.渲染

6.在Photoshop中合成

7.動畫

8.結(jié)論

introduction

In this project overview I'm going to show you an overview of the workflow that I used for my Hunter model. I'll try to share the interesting parts about this project and I hope that you find what I say useful. Here are the sections I'll be covering:

1. Inspiration and Reference

2. Modeling

3. Textures and Materials

4. Lighting

5. Rendering

6. Compositing in Photoshop

7. Animation

8. Conclusion

靈感

我創(chuàng)造了這個角色來迎接挑戰(zhàn)，規(guī)則是創(chuàng)造一個能融入大眾效應(yīng)宇宙的角色，但是我并沒有完全遵循這個規(guī)則！我的角色和Crysis的角色很相似，但只是一個女性版本。

我從一開始就知道，我想創(chuàng)造一個“穿著納米套裝和盔甲的性感角色”。 我開始收集各種網(wǎng)站的參考資料，以完成我的想法。 我也看了一些電影，以幫助我找到一些靈感。我認(rèn)為在進(jìn)入建模階段之前收集引用是一個好主意，這樣以后您就不會感到困惑了。

Inspiration

I created this character for a challenge and the rule was to create a character that would fit into the Mass Effect universe, but I didn't follow that rule exactly! My character is very similar to Crysis's character, but a female version.

I knew from the beginning that I wanted to create a "sexy character in a nano suit and armor". I started by gathering references from various websites to complete my ideas. I watched some movies too, to help me find some inspiration. I think it's a good idea to collect references before going onto the modeling stage so you won't be confused later.

造型

我打算在3ds Max中完成整個建模過程，而不是使用任何輔助或插件軟件。 建模時，我通常在ZBrush中使用基礎(chǔ)幾何，但是這次我決定使用不同的技巧來提高我的能力。

Modeling

I intended to do the whole modeling process in 3ds Max and not to use any secondary or plug-in software. When modeling, I usually work on a base geometry in ZBrush, but this time I decided to use a different technique to help increase my ability.

在創(chuàng)建基礎(chǔ)網(wǎng)格之后，我在ZBrush中做了一些變形。

After I had created the base mesh, I did just a little bit of deforming in ZBrush.

在ZBrush中變形

當(dāng)我對形狀滿意的時候，我回到了Max，并使用Graphite建模工具和retopologizing技術(shù)進(jìn)行了一些建模。 我也有使用Maya，XSI，ZBrush和Topogun的經(jīng)驗，在我看來，最好使用ZBrush或Topogun進(jìn)行重新拓?fù)洌�因為多邊形會很好地捕捉到表面�?/p>

Deforming in ZBrush

When I was content with the shape, I went back into Max and did some modeling by using the Graphite modeling tools and the retopologizing technique. I have experience with Maya, XSI, ZBrush and Topogun too, and in my opinion it's better to use ZBrush or Topogun for retopologizing because the polygons will snap on the surface very well.

紋理和材料

我在這個項目中使用了mental ray Arch和Design材質(zhì)和SSS系統(tǒng)，因為他們非常擅長描繪金屬材質(zhì)。 拱門和設(shè)計材料有一些良好的預(yù)設(shè)設(shè)置，您可以創(chuàng)建各種逼真的材料。 這是創(chuàng)建自定義設(shè)置的一個很好的起點。

我還在反射貼圖槽中使用了HDR圖像，這大大有助于實現(xiàn)逼真的金屬，而不僅僅依賴于環(huán)境反射。

Arch和Design的材料大大增加了渲染時間，但我認(rèn)為最終的結(jié)果值得期待。

對于裝甲的劃痕和風(fēng)化部分，我在Photoshop中繪制了一些其他臟紋理的alpha。

對于UV解壓，我在3ds Max中使用了UV編輯器，并且大多數(shù)紋理（如面部和圖案）都是在Photoshop中創(chuàng)建的。

Textures and Materials

I used the mental ray Arch and Design material and SSS system for this project, as they are very good at portraying metal materials. The Arch and Design materials have some good preset settings with which you can create all sorts of realistic materials. These are a good starting point from which to create your custom setups.

I also used an HDR image in the reflection map slot, which helped greatly in achieving realistic metals instead of relying only on the environment reflections.

The Arch and Design materials dramatically increased the render times, but I think the end result was worth the wait.

For scratched and weathered parts of the armor, I painted alphas with some other dirty textures in Photoshop.

For UV unwrapping I used the UV Editor in 3ds Max and most of the textures such as the face and patterns were created in Photoshop.

燈光

我只用了三組燈，整個場景每組有兩盞燈。 另外，我用先生的天空門戶燈給我想要的光滑的陰影。

Lighting

I only used three groups of lights, and each group had two lights for the whole scene. Also, I used mr sky portal lights to give me the smooth shadows I wanted.

渲染

由于一些材料非常沉重，需要很長時間才能渲染，因此我將渲染測試設(shè)置設(shè)置為非常低的質(zhì)量。 這總是很好的做法，并會加快你的工作流程; 你想要做的最后一件事是等待測試渲染。 我使用測試的默認(rèn)草稿設(shè)置，并保持渲染大小很小。

一旦我對渲染感到滿意，照明看起來很合理，我就轉(zhuǎn)向了更大的渲染。 這個渲染有輕微增加的設(shè)置，如彈跳和最后的聚光射線。

Rendering

Because some of the materials were quite heavy and took a long time to render, I set my render test settings to a very low quality. This is always good practice and will speed up your workflow; the last thing you want to be doing is waiting around for test renders. I used the default draft settings for the tests and kept the render size small.

Once I was happy with my render and the lighting looked reasonable, I moved on to a larger render. This render had slightly increased settings such as bounce and final gather rays cast.

在Photoshop中合成

對于合成，我用一些通行證（AO，Alpha）與最終渲染進(jìn)行了合作。

Compositing in Photoshop

For the compositing, I worked with the final render with some passes (AO, Alpha).

動畫

我還制作了一個頭盔的動畫，只是為了展示它將如何打開和關(guān)閉

結(jié)論

我想感謝您閱讀這個項目概述。 這是我展示我的工作流程的一個機(jī)會。

祝你好運！

Animation

I also made an animation for the helmet, just to show how it would open and close

Conclusion

I would like to thank you for reading this project overview. This has been an opportunity for me to show a little of my workflow.

Good luck!