“瘋狂的僵尸”制作過程

介紹

Introduction

嗨，我的名字是A，我想感謝Jo邀請(qǐng)我寫一些關(guān)于我的作品瘋狂的僵尸的制作流程。

Hi, my name is A and I would like to thank Jo for their invitation to me to write a few things about the making of my image Crazy Zombie.

這項(xiàng)工作是個(gè)人項(xiàng)目的一部分:一個(gè)高分辨率的人物設(shè)計(jì)測(cè)試和3ds Max的射線渲染。

This work is part of a personal project: a character design test in high resolution and rendered in mental ray with 3ds Max.

建模和貼圖

Modeling & Texturing

我在3ds Max建模一個(gè)簡(jiǎn)單的網(wǎng)格(圖01)。我對(duì)這個(gè)角色有一個(gè)清晰的概念，但在建模過程中進(jìn)行實(shí)驗(yàn)也很有趣。

I started modeling a simple mesh in 3ds Max (Fig.01). I had a clear concept in my mind for this character, but it was also fun for me to experiment during the modeling process.

圖01

在建模了最初的網(wǎng)格之后，我對(duì)它很滿意，所以我繼續(xù)使用基本的3ds Max工具來展開UVs。

After modeling the initial mesh, I was happy with it and so I went on to use the basic 3ds Max tools to unfold the UVs.

我將模型導(dǎo)出為obj格式到ZBrush中，作為子工具，這樣我就可以添加細(xì)節(jié)并完善所有模型部分(圖02 - 03)。

I exported the models as .obj to ZBrush, as Subtools, so that I could add detail and refine all the model parts (Fig.02 - 03).

圖02

圖 03

我用這些刷子做雕刻:標(biāo)準(zhǔn)，粘土，粘土管，夾，移動(dòng)和光滑。

I used these brushes for sculpting: Standard, Clay, Clay Tubes, Pinch, Move and Smooth.

對(duì)于頭部，我用ZBrush和Polypaint繪制了基礎(chǔ)紋理，在導(dǎo)出到Photoshop進(jìn)行修飾(圖04)。該角色的其他部分也使用了相同的過程。

For head, I painted the texture base in ZBrush with Polypaint, and after I exported to Photoshop for retouching (Fig.04). The same ocess was used for other parts of the character.

我在將模型導(dǎo)出為obj到3ds Max之后，我使用了Decimation Master，來減少多邊形的數(shù)量。

I used Decimation Master, to reduce the number of polygons, and after I exported the models as .obj to 3ds Max.

圖04

陰影和照明

Shading & Lighting

當(dāng)基本的紋理完成后，我將一個(gè)標(biāo)準(zhǔn)材質(zhì)貼到模型上，并開始使用Max(圖05)中的照明。

Once the basic textures were done, I put a standard material onto the model and started with lighting in Max (Fig.05).

圖05

我使用了一個(gè)環(huán)境光和五個(gè)區(qū)域陰影的omni燈。渲染用的是超級(jí)渲染。

I used one skylight (hdri environment) and five omni lights with area shadows. The render was done with mental ray.

我使用了超級(jí)渲染的材料。我使用SSS快速皮膚材料的用于頭部，牙齦，舌頭和玩具熊。對(duì)于其他的物體，我使用的標(biāo)準(zhǔn)材料混合了我在Photoshop中繪制和準(zhǔn)備的紋理(圖06)。

I created the materials for rendering with mental ray. I used SSS fast skin material for the head, gums, tongue and toy bear. For the other objects, I used standard materials with a mix of textures that I painted and prepared in Photoshop (Fig.06).

圖 06

合成

Composition

在相機(jī)選項(xiàng)中，我增加了渲染的景深(心理光線)。在Photoshop中，我合并了渲染圖像，環(huán)境遮擋(在多重模式下)，以及在正常模式下的圖層，為合成添加更多的氣氛。

In camera options I added Depth of Field (mental ray) for rendering. In Photoshop, I merged, the render image, Ambient Occlusion (in multiply mode), and center interest layer in normal mode) to add more atmosphere to the composition.

在這之后，我調(diào)整Photoshop的透明度來獲得最終的圖像(圖07)。

After this I played with the levels and the transparency in Photoshop to get the final image (Fig.07).

圖 07

結(jié)論

Conclusion

在不久的將來，我希望從網(wǎng)格重新拓?fù)鋱D開始，并應(yīng)用置換貼圖和法線貼圖，以得到一個(gè)新的版本，這個(gè)角色準(zhǔn)備好了制作動(dòng)畫。

In the near future, I hope start with mesh retopology, and apply displacement maps and the normal maps, to get a new version of this character prepared for rigging and animation.

感謝您的閱讀!

Thank you for your time!

圖.08