制作“神奇的羽毛”（二）

場景

Scenery

這棵樹、蘑菇、巖石、石頭和植物都是用瑪雅建模型，在ZBrush中有詳細(xì)的描述。這個(gè)場景非常重要，以顯示人物的比例。起初，我研究了樹木和樹皮，然后用Photoshop制作了樹皮刷，然后用它們做的更快。在ZBrush中，樹的細(xì)節(jié)來自置換貼圖。用Photoshop手工制作蘑菇的紋理。

The Tree, Mushrooms, Rocks, Stones and Plants were all modelled in Maya and detailed in ZBrush. The scene was very important to show the proportions of the characters. At first l researched the trees and barks, then in Photoshop l made bark brushes and with them the texture's done more quickly. In ZBrush, The tree's detail comes from the displacement map. Textures of mushrooms were prepared manually in Photoshop.

雖然我改變了顏色，但是貼圖效果/草坪上的刷子是用來做草的。這些巖石和石頭都是用低聚體進(jìn)行的，然后在ZBrush中詳細(xì)制作。

Paint effects / GrassWindWide brush was used for the Grass, although I changed the colours. The Rocks and Stones are modelled in low poly then detailed in ZBrush.

馬車:馬車和袋在Maya中建模。這個(gè)麻袋沒有質(zhì)地。

The Carriage:The carriage and the sack were Modelled in Maya. The Sack has no texture.

“Greg”上的配飾的材質(zhì)是用Photoshop制作的。

The texture for the accessories which are on 'Greg' were created in Photoshop.

照明和組成

Lighting & Composition

然后我添加了燈光效果，并合成了場景中的模型。由于多邊形數(shù)高，我不得不從相同的相機(jī)角度將模型呈現(xiàn)在較小的組中，然后再將它們合成到場景中。

Then I added the lighting effects and composited the models in the scene. Because of the high polygon count, l had to render the models in smaller groups from the same camera angle, and then composite them into the scene afterwards.

 第一組:樹下蘑菇和草”。

 第二組:角色諾西，雀斑，格里格帶著馬車，麻袋和火在燈里飛。

 第三組:巖石、石頭和植物在左邊的前景。

 第四組:嬰兒在其巢和母親Puhu 爪上左邊的視線。

 第五組:Simurg。

  Group One: The tree with mushrooms on it and the grass'.

  Group Two: The characters; Nosey, Freckle, Greg with the carriage, sack and the Fire Fly in the lamp.

  Group Three: The rock, stones and plants on the left side of the foreground.

  Group Four: The baby Puhu in its nest and the mother Puhu's claw on top of the left sight.

  Group Five: Simurg.

我用2個(gè)點(diǎn)光源照明，有光霧效應(yīng)，1區(qū)光和HDRl貼圖。

I lit the groups with 2 spot lights with a light fog effect, 1 area light and a HDRl map.

下面的圖片顯示了一個(gè)整體的外觀。

The image below shows a general look to the composition.

這是一個(gè)測試渲染。

Here is a test render.

另一個(gè)測試的角色和效果。

Another test with the characters and the effects turned on.

前景是非常重要的，賦予一個(gè)深度的領(lǐng)域形象。在場景的前面是一個(gè)模糊的效果，就像使用了攝影技術(shù)。

The foreground is very important to give a depth of the field to the image. In the front of the scene is a blur effect like if photography techniques had been used.

背景圖像必須經(jīng)過良好的對比，并盡可能地適應(yīng)場景。這就是背景。

The background image had to be well contrasted & as well-adjusted to the scene as possible. This is the scene with background.

西姆格現(xiàn)在也在現(xiàn)場。葡萄藤上的雀斑本來應(yīng)該有一個(gè)運(yùn)動(dòng)模糊，但不幸的是，我沒有時(shí)間去完成它。我也希望能有更多的時(shí)間在場景右側(cè)的前景上工作，同時(shí)也需要更多的工作。

The Simurg also now in the scene. Freckle on the vine was supposed to have a motion blur added but I unfortunately ran out of time as was unable to complete it. I also would have liked more time to work on the foreground on the right side of the scene and also the ground needs to be worked much more.

現(xiàn)在一切都結(jié)束了。這是最后的圖像。

Now everything is finished. Here is the final image.

希望你喜歡。歡迎大家提出問題和意見。謝謝

Hope you enjoy the making of. Welcome to all questions and opinions. Thanks.