外星隊(duì)長(zhǎng)的制作（二）

UV

在為角色或任何對(duì)象使用紋理之前，最好在UV編輯器中展開網(wǎng)格。

Before going with textures for the character or any object it's good to unfold the mesh in the UV editor.

它提供了一個(gè)網(wǎng)格布局，并且在二維圖像編輯器中很容易理解。因此，你可以使用Gimp或Photoshop的所有工具來創(chuàng)建漂亮和豐富的紋理。

It gives a mesh layout and is very easy to understand in 2D image editors. So you can use all the tools of Gimp or Photoshop to create nice and rich textures.

通過在3D視窗中按下T或空格鍵，可以很容易地找到用于UV編輯的Blender工具。選擇UV編輯工作在UV布局。任何帶有UV/圖像編輯器的窗口將在您選擇它時(shí)顯示網(wǎng)格，并按Tab進(jìn)入編輯模式。

Blender tools for UV editing are easy to find by pressing T or the Space bar in the 3D viewport. Select UV Editing to work on a UV layout. Any window with the UV/image editor active will show you the mesh when you select it and press Tab to enter Edit mode.

在編輯模式下的網(wǎng)格，你可以按空格鍵，如果你知道它們，就可以制作動(dòng)作，比如Mark Seam或Unwrap。當(dāng)你對(duì)你標(biāo)記的接縫滿意時(shí)，選擇打開。它給你一個(gè)自動(dòng)展開的網(wǎng)格，通常很好。如果你對(duì)結(jié)果不滿意，你可以一直標(biāo)記其他的接縫(圖08)。

With the mesh in Edit mode you can press Space bar and write your actions if you know them, like Mark Seam or Unwrap. When you are happy with the seams you've marked, choose Unwrap. It gives you an automatic unfolded mesh that is usually very good. If you're not happy with the result you can always mark other seams (Fig.08).

圖08

提示:在編輯模式下，按下A，選擇所有的網(wǎng)格面，然后按U, UV上下文菜單就會(huì)打開你的網(wǎng)格。

Tip:In Edit mode, select all the mesh faces by pressing A, then press U and the UV contextual menu will appear to unwrap your mesh.

造型的關(guān)鍵領(lǐng)域

Sculpt for Key Areas

接下來，我用雕刻工具來定義更多的區(qū)域，比如眼睛、眉毛、嘴唇、鼻子和耳朵。我使用了多分辨率修改器來代替細(xì)分曲面。這讓我可以在我需要的地方進(jìn)行細(xì)分工作。

Next I used the sculpt tools to define more areas, like the eyes, eyebrows, lips, nose and ears. I used the Multi Resolution modifier to work instead of the Subdivision Surface. This allowed me to go back and forward on the subdivision levels and work where I needed.

表達(dá)人物性格的一個(gè)快速方法是使用雕刻工具。創(chuàng)建混合形狀更容易(3ds Max中的變形者)。

A fast way to give expression to your character is to use the Sculpt tools. It's easier to create blend shapes (morphers in 3ds Max).

提示:當(dāng)我完成細(xì)節(jié)的時(shí)候，我烤了一個(gè)環(huán)境遮擋的UV布局。我把它和顏色混合在一起。這給渲染中的模型提供了更多的深度。

Tip:When I'm finished with details I bake an Ambient Occlusion of the UV layout. I combine this in Multiply mode, low opacity with my color. This gives more depth to the model in the render.

繪制3 d紋理

3D Painted Textures

我在3D viewport和UV/image編輯器中為模型繪制了紋理。我還使用了開源圖像編輯器Gimp。

I painted the textures in Blender over the models in the 3D viewport and in the UV/image editor. I also used the open source image editor Gimp.

在viewport預(yù)覽中配置您的燈光進(jìn)行工作。激活實(shí)體選項(xiàng)以顯示一個(gè)紋理，并使用默認(rèn)的OpenGL燈照明。你可以在Blender的用戶參數(shù)>系統(tǒng)中編輯OpenGL燈(圖09a - 09b)。

Configure your lights in the viewport preview to work. Activate the Solid option to display the object with one texture and lit with the default OpenGL lights. You can edit the OpenGL lights in the Blender user Preferences > System (Fig.09a - 09b).

圖09a

圖09b

你也可以用你的場(chǎng)景燈光設(shè)置來點(diǎn)亮你的物體。3D Viewport >視圖屬性菜單“N”陰影> GLSL，然后選擇顯示對(duì)象紋理或按Alt + Z的方法(圖10)。

You can also use your scene light setup to light your object. 3D Viewport > View Properties Menu "N" Shading > GLSL, then choose the method to display the object texture or press Alt + Z (Fig.10).

圖 10

激活這個(gè)附加組件:油漆>貼圖貼圖>層管理器使用紋理油漆層。該工具將出現(xiàn)在3D Viewport >視圖屬性菜單中(按N)(圖11)。

Activate this add-on: Paint > Texture Paint > Layer Manager to use the texture paint layers. This tool will appear in the 3D Viewport > View Properties menu (press N) (Fig.11).

 圖11

在對(duì)象模式下激活紋理。這將顯示菜單中的工具(按T)，你需要在3D視窗中繪制。

Activate Texture Paint in Object mode. This will display the tools in the menu (press T) with all you need to paint in the 3D viewport.

為選定的對(duì)象分配一個(gè)材質(zhì)。選擇Blender UV編輯布局。在3D viewport按Tab中選擇所有的面。UV/圖像編輯器將顯示模型UVs。創(chuàng)建一個(gè)新的紋理，并在你分配給對(duì)象的材質(zhì)中使用它來影響>顏色。記住使用映射> UV。

Assign a material to the object selected. Choose the Blender UV Editing layout. In the 3D viewport press Tab to select all the faces. The UV/image editor will show the model UVs. Create a new texture and use it in the material you assigned to the object as Influence > Color. Remember to use Mapping > UV.

按F來控制刷的半徑。按Shift + F鍵控制畫筆的影響(圖12)。

Press F to control the brush's radius. Press Shift + F to control the brush's influence (Fig.12).

圖 12

動(dòng)作

The Pose

這個(gè)姿勢(shì)是用移動(dòng)工具雕刻的。就像畫畫一樣，我用F鍵控制畫筆的半徑和Shift + F來控制影響。在viewport中注意您的對(duì)象距離。它會(huì)影響影響的范圍。

The pose was sculpted with the Move tool. Like when painting, I used the F key to control the radius of my brush and the Shift + F to control the influence. Take care of your object distance in the viewport. It will affect the area of influence.

用清晰的行動(dòng)線表現(xiàn)出良好的動(dòng)作是非常重要的。一個(gè)漂亮的形狀和強(qiáng)大的輪廓可以幫助你詮釋一個(gè)形象。

It was very important to show a good pose with a clear line of action. A nice shape and a strong silhouette helps you to read an image.

面部表情是用細(xì)節(jié)塑造的，賦予人物情感以配合他的動(dòng)作。在這個(gè)階段，布料也會(huì)起皺。我根據(jù)他的動(dòng)作雕刻了太空服上的褶皺。

The facial expression was sculpted with details to give the character emotion that matched his actions. The cloth wrinkles were also done at this stage. I sculpted the wrinkles on the space suit depending on his movement.

渲染

Render

我在渲染環(huán)境菜單中使用了這些參數(shù)(圖13)。

I used these parameters in the render and environment menu (Fig.13).

圖 13

我渲染了兩層:一層是整個(gè)場(chǎng)景，另一層是用來發(fā)光的。每一個(gè)人都有自己的通道。

I rendered two layers: one layer for the entire scene and another for the glows. Each one had its own passes for compositing later.

提示:要做預(yù)覽渲染，使用小的輸出尺寸和降低渲染的樣品和陰影樣品上的每一個(gè)光。

Tip:To do preview renders, use a small output size and lower the render AA samples and the shadows samples on every light.

合成

Composition

這個(gè)圖像的渲染非常簡(jiǎn)單，它沒有使用GI。因此，使用節(jié)點(diǎn)組合來獲得更好的圖像:

The rendering for this image was very simple and it didn't use GI with radiosity. So a node composition was used to achieve a nicer image:

-環(huán)境遮擋法是一種很好的增加深度的方法。這讓我可以做一個(gè)細(xì)微的顏色流血效果。我添加了一個(gè)RGB曲線節(jié)點(diǎn)到AO匹配環(huán)境光的顏色。

-一種普通的方法，可以在稍后的環(huán)境光中照亮合成物。

-渲染層與發(fā)射通過的槍閃電和發(fā)光。

- An Ambient Occlusion pass was a very good way to add depth. This allowed me to do a subtle color bleed effect. I added a RGB Curves node to the AO to match the ambient light color.

- A Normal pass to light the objects in the composition with ambient light later.

- Render Layer with the Emit pass for the gun lightning and glows.

在Gimp中添加了一些效果，以完成圖像。像一種微妙的景深(圖14)。

Some effects were added later in Gimp to finish the image. Like a subtle depth of field (Fig.14).

圖14

這是最終的圖像(圖15)。

And here's the final image (Fig.15).

圖15

我希望你喜歡這個(gè)制作。我將在西班牙巴塞羅那舉辦一系列的研討會(huì)，在那里我會(huì)更深入地講解西班牙語(yǔ)。在這個(gè)過程中，我將用我必須解決的問題來教軟件Blender。請(qǐng)隨時(shí)聯(lián)系我。

I hope you enjoyed this Making Of. I'm going to do a series of workshops in Barcelona (Spain) where I will explain in Spanish the techniques more in depth. I will teach the software Blender in this process with the problems I had to solve. Feel free to contact me.