“追逐者”的制作

介紹

Introduction

大家好!首先，非常感謝3DTotal團(tuán)隊(duì)給了我們寫這篇教程的機(jī)會——我希望它能對很多藝術(shù)家有幫助。

Hi everyone! First of all, thank you very much to the 3DTotal team for giving us the chance to write this tutorial - I hope it proves to be helpful to many artists out there.

不管怎樣，這幅作品是由三位藝術(shù)家共同完成的，目的是提升我們的新動畫工作室的能力，該工作室專門制作高質(zhì)量的3D動畫服務(wù)，名為Enspire studio。至于《追逐》本身，我們試著拍攝一部以動作為導(dǎo)向的科幻場景，結(jié)合超現(xiàn)實(shí)的燈光，設(shè)定在遙遠(yuǎn)的未來。

Anyway this artwork was actually done by a team of three artists to promote the capability of our new animation studio, which specializes in a high quality 3D animation service, called Enspire Studio. As for the The Chase itself, we were trying to get an action-oriented sci-fi scene, combined with surreal lighting, set in the distant future.

引用

References

參考文獻(xiàn)對這篇文章很重要，因?yàn)槲覀冋�在�?chuàng)造一個(gè)來自這個(gè)世界的人物和環(huán)境。因此，我們決定將許多偉大的機(jī)器人科幻CG圖片與互聯(lián)網(wǎng)結(jié)合起來。

References were important for this piece as we were creating a character and environment that is out of this world. Therefore we decided to combine lots of references of many great robotic sci-fi CG pictures from the internet.

建模

Modeling

建模是一個(gè)具有挑戰(zhàn)性的部分，特別是對于角色來說，我們想要得到快速移動忍者般的機(jī)器人的正確組合，但同時(shí)不能失去他的身體比例。角色設(shè)計(jì)本身實(shí)際上是一個(gè)基于團(tuán)隊(duì)中其他人反饋的想法。下面是來自不同角度的人物細(xì)節(jié)(圖01)。

The modeling was a challenging part, particularly for the character as we wanted to get the right combination of fast-moving-ninja-like robot, but not lose his body proportions at the same time. The character design itself was actually a brainstorming idea based on feedback from someone else in team. Here is the character detail from a different angle (Fig.01).

圖01

這是線框版本(圖02)。

Here is the wireframe version (Fig.02).

圖02

對于環(huán)境，我們實(shí)際上創(chuàng)造了場景的完整環(huán)境，作為一個(gè)學(xué)習(xí)過程。在這座巨大的建筑的內(nèi)部，我們試圖創(chuàng)造一個(gè)科幻的世界。下面是環(huán)境的陰影版本(圖03)。

For the environment we actually created the full environment for the scene, as a learning process. In the interior of this huge building, we trying to create a sci-fi otherworld combined with spiritual advancement. Here is the shaded version of the environment (Fig.03).

圖03

這是wireframe版本的環(huán)境(圖04)。

Here is the wireframe version of the environment (Fig.04).

圖04

紋理

Texturing

至于這部分，它出奇的簡單。我們?yōu)槿宋锖蛢?nèi)飾創(chuàng)造了紋理，主要是通過在Photoshop中繪畫，結(jié)合了大量的金屬著色。紋理基本上是一種基于顏色的紋理來決定人物/內(nèi)部建筑的基本顏色。圖05顯示了該角色紋理的平面渲染。

As for this part, it was surprisingly simple. We created the textures for the character and the interior mostly by painting in Photoshop, combined with a lot of metal shaders. The texture is basically a color-based texture to determine the basic color of the character/ interior building. Fig.05 shows a screenshot of a flat render of the texturing for the character.

圖05

著色器

Shader

在整個(gè)圖像中，著色器起到了很大的作用，因?yàn)槲覀冊噲D賦予人物和環(huán)境一個(gè)金屬質(zhì)感，部分基于顏色紋理。對于著色器，我們使用了許多Arch & Design材料的精神射線，主要是我們尋找的金屬外觀。一些污垢和云噪聲陰影也適用于角色和環(huán)境。下面的照明/渲染部分包含了一些著色示例圖片。

The shader played a big role in the whole image, as we were trying to give the character and environment a metallic feel, partly based only on a color texture. For the shader we used many Arch & Design materials mental ray, mainly for the metal look that we were looking for. Some dirt and cloud noise shaders were also applied to both the character and environment. Some shader example pictures have been included in the following Lighting/Rendering section.

照明和渲染

Lighting/Rendering

我們沒有非常復(fù)雜的照明;我們只是使用了一個(gè)基本的三點(diǎn)照明裝置。我們在單獨(dú)的通道上分離了RGB光，并為這個(gè)角色分離了三個(gè)容量燈。

We didn't have very complicated lighting; we just used a basic 3-point lighting setup. We did separate RGB light on separate passes and separated three volumetric lights for the character.

至于渲染部分，這部分對于圖像來說非常重要，大約50%或更多的圖像由許多不同的通道組成。總共有超過35個(gè)通道，主要包括:

As for the rendering part, this part was really important for the image as about 50% or more of the image consisted of so many different passes. There were more than 35 passes altogether, mainly consisting of:

?金屬材質(zhì)

?污垢材質(zhì)

?云/噪音材質(zhì)

?體積燈

?RGB燈

?RGB選擇

?獨(dú)立的漫射光:高光，HDRI和AO。

? Metal Shader

? Dirt Shader

? Cloud/noise shader

? Volumetric lights

? RGB lights

? RGB selection

? Separate diffuse lights: Specular, HDRI and AO

圖06 - 09展示了該角色的一些重要的著色/燈光傳遞的例子。

Fig.06 - 09 show some examples of the important shader/lighting passes for the character.

圖06  

圖07

圖08

圖09

合成

Compositing

合成也非常重要，因?yàn)檫@部分實(shí)際上是將所有的著色/輸出渲染和編輯圖像全部合并。我們精心準(zhǔn)備的所有細(xì)節(jié),并添加了污垢/劃痕上畫的人物性格和前景欄桿,以及大量的經(jīng)過調(diào)整,色彩校正,子彈外觀,景深,Z-Depth霧,額外的容量,最后的裁剪,背景繪景,發(fā)光,裝飾圖案,鏡頭光暈,運(yùn)動模糊。所有這些步驟都是在Photoshop編輯中完成的。PSD文件本身在一個(gè)文件中增長到超過500mb，因?yàn)樗�有許多高的res在同一個(gè)地方。

Compositing was also very important as this part was actually combining all the shader/output renders and edit the image to its full potential. We carefully crafted all the details and added dirt/scratches on the character by painting on the character and foreground railing, as well as a lot of passes adjustment, color correction, Bullet FX, depth of field, Z-Depth fog, additional volumetric, final cropping, background matte painting, glow, vignette, lens flare, and a bit of motion blur. All of those steps were done in Photoshop editing. The PSD file itself grew to more than 500 MB in one file since it had many high res passes all in one place.

這是圖像的陰影部分(圖10)。

Here is shaded version of the image (Fig.10).

圖10

下面是一些與顏色校正相結(jié)合的例子(圖11)。

Here is the sample of just the passes combined with a bit of color correction (Fig.11).

圖 11

這里是最后一張圖片，經(jīng)過多次調(diào)整后，結(jié)合了Photoshop中的一些繪畫和編輯(圖12)。

And here is the final image, after a lot of adjustment, combined with some painting and editing in Photoshop (Fig.12).

圖12

最后，環(huán)境的最終版本的不同角度(圖13)。

And finally, the final version of the environment from different angles (Fig.13).

圖13

非常感謝您閱讀我們的教程——我希望您覺得它有用。

Thank you very much for reading our tutorial - I hope you found it useful.