第五大道大廈的制作

在這個過程中，我們將描述我們?yōu)榱酥谱鬟@個圖像而遵循的過程。 “第五大道大廈” 展示了在曼哈頓天際線設計出一幢優(yōu)雅而永恒的摩天大樓的雄心壯志，該摩天大樓旨在支持豪華住宅、酒店、寫字樓和零售空間，這些空間是大型社區(qū)露臺之間的綜合景觀，俯瞰整個城市。

In this making of, we'll describe the process we followed to make this image. "5th Avenue Tower" unveils the ambition to create an elegant and timeless skyscraper in the Manhattan skyline designed to support luxury residences, a hotel, offices, and retail spaces integrated between large community terraces looking out over the city.

這座摩天大樓的獨特之處來源于其形狀的特征，其結(jié)構的清晰度和城市感知的深度：透明，半透明，不透明，反光和明亮。這個項目（開發(fā)中）最大的挑戰(zhàn)就是它的實驗方面，不僅是難以從頭開始創(chuàng)建一個摩天大樓項目，能夠制作出一套視覺效果，并在結(jié)尾保持一致和準確。

The singularity of this skyscraper derives from the identity of its shape, the clarity of its structure, and the depth of its urban perception: transparent, translucent, opaque, reflective and luminous. The highest challenge of this project (in development) is the experimental side of it, not only by the difficulty to create a skyscraper project from scratch, but also, be able to produce a set of visuals that look and feel consistent and accurate at the end.

概念和參考

當我們開始這個項目的時候，第一步就是收集有關建筑物的外觀，燈光，材料/飾面，細節(jié)和可以表達我們所追求的主要概念的氣氛的參考資料。以下是我們用于這項工作的一些參考圖像。

Concept & references

The first step, when we began working on this project, was to collect reference material about how the building would look like, lighting, materials/finishes, fine details, and the atmosphere that could express the main concept that we were after. Here are some of the reference images we used for this work.

概念和參考Concept and references

基本場景設置

我們通常首先將3ds Max單位設置為厘米，啟用伽瑪值為2,2和顏色映射中的線性乘法。

Basic scene setup

We generally start by configuring the 3ds Max units setup to centimeters, enable the gamma to 2,2 and the linear multiply in the color mapping.

場景設置Scene setup

造型

在開始建模之前，我們在AutoCAD中創(chuàng)建二維圖紙（平面圖和高程圖），這我們不僅可以建立正確的建筑尺寸/比例，而且還可以幫助我們轉(zhuǎn)換在項目開發(fā)過程中所做的架構決策

然后我們將圖紙導入到3ds Max中，我們只需使用基本形狀和編輯多邊形修改器進行簡單的多邊形建模即可從頭開始構建3D模型。在這個階段，我們也在相機設置上工作，花時間去完善3D模型，處理基本的幾何圖形，外觀，內(nèi)部和其他細節(jié)，直到看起來盡可能精確。一旦建筑物完成，所有其他的構圖元素都被添加到場景中以用于特定的攝像機角度。

Modeling

Before starting the modeling, we create the 2D drawings (floor plans and elevations) in AutoCAD, which allows us not only to establish the correct dimensions/proportions of the building, but also it helps us translate the architectural decisions we made along the development of the project.

Then we import the drawings into 3ds Max and we built the 3D model from scratch using just simple polygonal modeling with basic shapes and edit poly modifiers. During this phase, we also work on the camera setup and take the time to refine the 3D model, working on the base geometry, facade, interiors and other details, until it looks as accurate as possible. Once the building was finished, all the other composition elements were added in the scene for the specific camera angle.

造型Modeling

相機設置

我們使用了V-Ray物理相機，并改變了默認參數(shù)，如膠片門，焦距，f值，快門速度和ISO。

Camera setup

We used a V-Ray Physical Camera and changed the default parameters such as the film gate, focal length, f-number, shutter speed and ISO.

相機設置Camera setup

環(huán)境

對于環(huán)境，我們選擇123RF拍攝的照片作為背景，與選定的觀點相匹配，并進行必要的色彩/對比度/構圖調(diào)整，以產(chǎn)生逼真的城市環(huán)境，突出建筑的設計，提升我們的整體情緒。

Environment

For the environment, we choose to use a stock photograph from 123RF as the background that could match the selected point of view, and made necessary color / contrast / composition adjustments in order to produce a realistic urban environment, highlight the design of the building, and enhance the general mood we were looking for.

環(huán)境設置Environment setup

燈光

在這幅外部圖像中，我們想要營造出一種優(yōu)雅而強烈的黃昏氣氛，帶有強烈的藍色背景光，里面有一些粉紅色的色調(diào)和溫暖的亮點。為此，我們在V-Ray Dome Light（默認）中使用了藍光HDRI（TW 06，來自www.mediterraneanlight.net），并且選擇了環(huán)境的背板，這是獲得照片級效果的最簡單和最有效的方法。在內(nèi)部，我們添加了一個簡單的V-Ray Light Plane和V-Ray IES Light，它們都具有4000k的色溫和64個細分以獲得更平滑的結(jié)果。

此外，我們將V-Ray覆蓋材質(zhì)（RGB值128,128,128）應用于整個場景，并指定應將哪些對象從覆蓋材質(zhì)（通常為玻璃）中排除，以實現(xiàn)均衡的光照方案。

Lighting

In this exterior image, we wanted to create an elegant and strong dusk mood with a strong blue ambient light with a few pink tones and warm highlights coming from the interiors. For this, we used a blueish dusk HDRI (TW 06 from www.mediterraneanlight.net) inside a V-Ray Dome Light (default) and the selected backplate for the environment, the simplest and most effective way to get a photorealistic result. In the interior we added a simple V-Ray Light Plane and a V-Ray IES Light, both with 4000k of color temperature and 64 subdivisions for a smoother result.

Also, we applied a V-Ray override material (RGB values 128,128,128) to the overall scene and specify which objects should be excluded from the override material (normally glass) in order to achieve a well-balanced light scheme.

照明設置Lighting setup

粘土呈現(xiàn)Clay render

材料/紋理

所有材料都是自制的，基于我們的圖庫和textures.com中的紋理組合，以及Photoshop中的一些調(diào)整，如對比度，顏色，污垢和凹凸。特別是，我們通常會注意反射參數(shù)，例如IOR和材料中的缺陷，控制場景中污垢效果的顯示位置和方式。

這是這個過程的重要組成部分，應始終以真實的材料參考為基礎，以便對材料的外觀應該有一個很好的理解。以下是本工作中使用的最相關的材料/紋理：

門面金屬

木地板

粉刷

玻璃

Materials / Textures

All materials are self-made, based on the combination of textures available in our library and from textures.com with a few adjustments in Photoshop such as contrast, color, dirt and bump. In particular, we generally pay attention to reflection parameters, such as IOR and to imperfections in our materials, controlling where and how the dirt effect will be visible in the scene.

This is an important part of the process and should be always based on real material references to have a good understanding of how the materials must look like. Here are the most relevant materials/textures used in this work:

Facade Metal

Wood Floor

Stucco

Glass

門面金屬Facade Metal

木地板Wood Floor

粉刷Stucco

玻璃Glass

渲染設置

我們使用V-Ray和Irradiance Map和Light Cache解決方案渲染了這個場景。另外，我們還啟用了一些渲染元素，以便在后期制作階段使用。在下面，你可以看到渲染設置和原始渲染。

Render setup

We rendered this scene using V-Ray with an Irradiance Map and Light Cache solution. Also, we enabled some Render Elements to use later in post-production stage. Below, you can see the render settings and the raw render.

渲染設置Render setup

原始的渲染Raw render

后期制作

所有的后期制作都是在Photoshop中完成的。我們基本上使用了所有的渲染元素，精煉了圖像的所有不同部分，主要目的是增強它的氛圍和“美”。下面，您可以看到后期制作階段和最終圖像的亮點。

Post-production

All the post-production was made in Photoshop. We basically used all the render elements and refined all the different parts of the image with the main objective of enhancing its atmosphere and its "beauty". Below, you can see the highlights of the post-production phase and the final image.

就這樣！感謝您閱讀。我們希望您喜歡這個做法，同時也可能為您提供了一些關于我們的工作流程以及我們?nèi)绾谓佑|這個項目的寶貴見解。

That's all! Thank you for reading it. We hope you enjoyed this making of and, at the same time, may have offered you some valuable insights about our workflow and how we approached this project.