黑暗隊(duì)長(zhǎng)的制作過(guò)程

角色被設(shè)計(jì)為“Comicon挑戰(zhàn)賽”的入門。這是我第一次參加此類活動(dòng)的經(jīng)歷，我唯一的目的是提升自己的技能。 我在這個(gè)比賽開(kāi)始后才知道了這個(gè)比賽，花了整整2個(gè)星期的時(shí)間選擇一個(gè)角色。 只有一個(gè)人有太多的漫畫書！

The character was designed as an entry to the Comicon Challenge 2014. It was my first experience of taking part in such an event, and my sole purpose was to just level up my skills. I learned about this contest only 2 weeks after it started and spent the whole 2 weeks selecting a character. There are too many comic books out there for just one person!

I ended up with Kroenen of the Hellboy universe. He's not a mere mortal ? he's a German WWI vet, resurrected with a dark ritual. He hides his visage behind a mask, and his body behind metal gear, which maintains the remains of his life force in the effectively dead body.

Kroenen is known for his love of melee armaments, but, as the contest conditions demanded to alter the character's outfit with the author's own design, I decided to add an addiction to flight and pyromania to his melee obsession. It was an interesting touch, and the steam-punk elements of his outfit were literally screaming to be transferred onto the all-new rocket backpack.

我結(jié)束了地獄男爵宇宙的克羅寧。 他不是一個(gè)凡人？ 他是一個(gè)德國(guó)的WWI獸醫(yī)，用黑暗的儀式復(fù)活。 他隱藏在面具背后的面容，身后的金屬齒輪，將生命的遺體保留在有效的尸體中。

克羅寧因?yàn)閷?duì)近戰(zhàn)武器的熱愛(ài)而聞名，但是，由于比賽條件要求用作者自己的設(shè)計(jì)來(lái)改變角色的裝備，所以我決定把飛行和火焰原子癮添加到他的近戰(zhàn)癡迷中。 這是一個(gè)有趣的感覺(jué)，他的衣服的蒸汽朋克元素字面上被尖叫轉(zhuǎn)移到全新的火箭背包。

The concept

After studying a ton of references and taking a couple of concept drawing lessons, I started creating the first sketches. After wasting several hours, my only outcome was a collage in Photoshop and a simplistic 3ds Max model. Anyway, I'd developed an idea of adding the backpack to the outfit design, and later upgraded that with the Reich eagle wings and the flamethrower control system on Kroenen's arm.

概念

在學(xué)習(xí)了大量參考資料并參加了幾個(gè)概念繪圖課程后，我開(kāi)始制作第一幅素描。 浪費(fèi)了幾個(gè)小時(shí)后，我唯一的結(jié)果就是Photoshop中的拼貼和簡(jiǎn)單的3ds Max模型。 無(wú)論如何，我開(kāi)發(fā)了一個(gè)想法，將背包添加到衣服設(shè)計(jì)中，隨后用克里寧手臂上的帝國(guó)鷹翅膀和火焰噴射器控制系統(tǒng)進(jìn)行升級(jí)。

The basic 3ds Max model showing the general form and new backpack

顯示一般形式和新背包的基本3ds Max模型

Modeling

I won't describe every modeling stage, because there are tons of lessons on this topic and it honestly didn't require a lot of skill ? mostly time. In this tutorial, I'll just focus on what really matters.

I used the Human ZBuilder plug-in to create the character's body. It's a very simple and handy plug-in, which allows the creation of anything between a male, a female and an ape (well, just a humanoid with an adequate topology) by simply moving the sliders.

造型

我不會(huì)描述每個(gè)建模階段，因?yàn)檫@個(gè)話題上有很多教訓(xùn)，而且老實(shí)說(shuō)并不需要很多的技巧？ 多數(shù)時(shí)間 在本教程中，我將專注于真正重要的事項(xiàng)。

我使用人類ZBuilder插件來(lái)創(chuàng)建角色的身體。 這是一個(gè)非常簡(jiǎn)單和方便的插件，它允許通過(guò)簡(jiǎn)單地移動(dòng)滑塊來(lái)創(chuàng)建男性，女性和猿之間的任何東西（以及僅具有足夠拓?fù)涞念惾藙?dòng)物）。

Using the ZBuilder plug-in to create a humanoid figure

使用ZBuilder插件創(chuàng)建一個(gè)人形圖

Modeling the outfit

The next stage was modeling the base mesh of the character's outfit in 3ds Max, and then exporting it into ZBrush and finishing the model. The model was significantly different after the sculpting process: a lot of imported details were modified and some created in ZBrush from scratch. Below you can see several sculpting stages.

During the sculpting process, the model constantly traveled from DynaMesh to ZRemesher and back, occasionally being modified in the ShadowBox. I used the Clip Curve brushes and the Panel Loops frequently, as well.

建模服裝

下一個(gè)階段是對(duì)3ds Max中的角色裝備的基礎(chǔ)網(wǎng)格建模，然后將其導(dǎo)出到ZBrush中并完成模型。 造型過(guò)程中的模型顯著不同：大量導(dǎo)入的細(xì)節(jié)被修改，一些在零開(kāi)始的ZBrush中創(chuàng)建。 下面你可以看到幾個(gè)雕刻階段。

在雕刻過(guò)程中，模型不斷從DynaMesh到ZRemesher，并且在ShadowBox中偶爾被修改。 我也經(jīng)常使用剪輯曲線畫筆和面板循環(huán)。

Building up the detail in the model

建立模型中的細(xì)節(jié)

Retopology and unwrap

Commencing the work, I decided to create a mid-poly model and to texture it by baking, so the next thing was to determine if I wanted to do the re-topology manually or with the ZRemesher. My character worked well with the high detail, and I couldn't afford wasting too much time on applying polygons to the model by hand due to the tight deadline, so I ended up experimenting with the ZRemesher.

After wasting 3 days on experiments, I was greatly disappointed with my decision: the result was quite decent, but it would bring a lot of problems with the unwrap and skin. So I finally opened the model with TopoGun and began the hard work. To my great surprise, it was much less time-consuming than expected. All in all, TopoGun, with further adjustment with the 3ds Max, equaled a great result.

I then performed the unwrap with the UVLayout. I divided the model into 5 texture zones: head, torso, legs, backpack and a separate cloak texture.

重塑和展開(kāi)

開(kāi)始工作，我決定創(chuàng)建一個(gè)中間多模型，并通過(guò)烘焙來(lái)紋理，所以接下來(lái)要確定是否要手動(dòng)或使用ZRemesher進(jìn)行重新拓?fù)洹?我的角色與高細(xì)節(jié)運(yùn)行良好，由于截止日期的緊迫，我無(wú)法承受浪費(fèi)太多時(shí)間手動(dòng)將多邊形應(yīng)用于模型，所以我最后嘗試了ZRemesher。

在浪費(fèi)了3天的實(shí)驗(yàn)后，我對(duì)我的決定感到非常失望：結(jié)果相當(dāng)不錯(cuò)，但會(huì)帶來(lái)很多打開(kāi)和皮膚的問(wèn)題。 所以我終于用TopoGun打開(kāi)了這個(gè)模型，開(kāi)始了辛勤工作。 令我驚奇的是，這比預(yù)期的時(shí)間要少得多。 總而言之，TopoGun與3ds Max進(jìn)一步調(diào)整相當(dāng)，取得了很大的成績(jī)。

然后我用UVLayout進(jìn)行展開(kāi)。 我將模型分為5個(gè)紋理區(qū)：頭，軀干，腿，背包和獨(dú)立的斗篷紋理。

Unwrapping using the UVLayout to begin the texture phase

使用UVLayout展開(kāi)開(kāi)始紋理階段

Baking

I baked the maps using xNormal. The contest conditions allowed using an unlimited quantity of polygons and textures with any resolution, so I decided to use the 2,048 ? 2,048 textures. To correctly bake every element, I had to split the character into 59 parts. Normal, AO, curvature, vertex colors, objectspace, which equaled 295 textures in total.

Of course, manually baking so many textures would consume a huge amount of time, so I used my cunning. I loaded all the high-poly and low-poly elements into the xNormal, and then selected the required pairs, made all the adjustments, applied the maps, chose the name and save path, calculated the ray distance, and then saved my settings in the settings and examples tab, and saved the file into the separate folder for each of the 59 pairs.

烘焙

我用xNormal烤了地圖。 比賽條件允許使用無(wú)限數(shù)量的多邊形和紋理與任何分辨率，所以我決定使用2,048？ 2,048個(gè)紋理。 為了正確地烘烤每一個(gè)元素，我不得不把這個(gè)角色分成59個(gè)部分。 正常，AO，曲率，頂點(diǎn)顏色，對(duì)象空間，總共等于295個(gè)紋理。

當(dāng)然手工烘烤這么多紋理會(huì)消耗大量的時(shí)間，所以我用我的狡猾。 我將所有的高聚和低多邊形元素加載到xNormal中，然后選擇所需的對(duì)，進(jìn)行所有調(diào)整，應(yīng)用地圖，選擇名稱和保存路徑，計(jì)算光線距離，然后將我的設(shè)置保存在 設(shè)置和示例選項(xiàng)卡，并將文件保存到59對(duì)中的每一個(gè)的單獨(dú)文件夾中。

Using xNormal to bake the maps

使用xNormal來(lái)烘烤地圖

Total Commander

Then I used Total Commander to find the xnormal.exe and pressed Ctrl+Shift+Enter: the file added to the command prompt below the Total Commander window. I repeated the same process with each of the 59 XML xNormal settings files, which also added to the command prompt. Next, I put the cursor into the end of the prompt, pressed Enter, and voila! xNormal baked all the selected pairs and saved the textures in the selected paths!

總指揮官

然后我使用Total Commander找到xnormal.exe并按Ctrl + Shift + Enter：將文件添加到Total Commander窗口下方的命令提示符。 我重復(fù)了59個(gè)XML xNormal設(shè)置文件中的每一個(gè)同樣的過(guò)程，這些文件也添加到命令提示符下。 接下來(lái)，我把光標(biāo)放在提示符的末尾，按Enter，然后瞧瞧！ x正常烘烤所有選定的對(duì)，并將紋理保存在所選路徑中！

Adding command prompts in Total Commander to make baking maps easier

在Total Commander中添加命令提示，使烘焙地圖更容易

Texturing maps

Next, in Photoshop, I gathered all the required textures within the one texture atlas they belonged to, using the File > Scripts > Load Files into the Stack function. Therefore, if I needed all the head textures (which included the textures for hat, visor, breath pipe and the head itself) I selected these textures using the script and loaded them into one document as different layers, and, since I bake into PNG, I didn't have to get rid of the background ? all I had to do was merge all the layers, and the texture was ready! By the way, I also used the cavity texture, which I got from the normal with the nDo2.

紋理圖

接下來(lái)，在Photoshop中，我使用文件>腳本>將文件加載到堆棧函數(shù)中，在所屬的一個(gè)紋理圖集中收集了所有必需的紋理。 因此，如果我需要所有的頭紋理（包括帽子，遮陽(yáng)板，呼吸管和頭部的紋理），我使用腳本選擇這些紋理，并將它們加載到一個(gè)文檔作為不同的層，并且，因?yàn)槲液婵镜絇NG 我沒(méi)有擺脫背景？ 所有我要做的是合并所有的層，紋理準(zhǔn)備好了！ 順便說(shuō)一句，我也使用了nDo2從正常的空穴紋理。

The normal map and wire frame

法線貼圖和線框

Texturing

This is my favorite part. My main reference with texturing was the DOTA 2 Character Color texture Guide with slight modifications. First, I built the layers and folders hierarchy in order (bottom to top), working through color, textures, AO, FX, light, correct and helpers. To clarify:

?      COLOR ? contains the layers created with the Solid Color, allowing me to change their color anytime

?      TEXTURES ? material textures (metal, skin, fabric, scratches)

?      AO ? the ambient occlusion maps, added with the Multiply setting

?      FX ? contains the detail maps, cavity and curvature, blended with the Overlay

?      LIGHT ? a diffusive texture requires light for an additional volume. I used the light from the Green channel of the Objectspace. The folder Blending type is set to Soft Light, the contained textures are set to Screen, and, if the light is too dim, I can fill the top layer of this folder with gray color with R90 G90 B90 screen settings, and, varying the alpha, I can get rid of the excessive darkness

?      CORRECT ? I created 3 layers in this folder: Overlay, Multiply and Color, and then I used them to add light, shadow, or correct the color

?      HELPERS ? contains the scanning and the color selection mask

Of course, I could have added some more scratches, dirt and damage, but the contest rules demanded that I present the character in the brand new, shiny armor, and so I did.

That's how I do my diffusive texture; the specular map is much simpler to do, provided that I base it on the diffusive, removing AO, light, and correct folders. I added an extra contrast using the curvature maps, stacking them as much as needed to receive the required effect. The blending type was Overlay.

紋理化

這是我最喜歡的部分。我的主要參考文稿是DOTA 2 Character Color紋理指南，稍作修改。首先，我按順序（從底部到頂部）構(gòu)建了層和文件夾層次結(jié)構(gòu)，通過(guò)顏色，紋理，AO，F(xiàn)X，光線，正確和幫助等工作。澄清：

？顏色？包含使用純色創(chuàng)建的圖層，允許我隨時(shí)更改顏色

？紋理？材質(zhì)（金屬，皮膚，織物，劃痕）

？ AO？環(huán)境遮擋貼圖，加上“乘數(shù)”設(shè)置

？ FX？包含細(xì)節(jié)圖，空洞和曲率，與Overlay混合

？光？擴(kuò)散紋理需要光作為額外的體積。我使用了來(lái)自O(shè)bjectspace的綠色通道的光。文件夾混合類型設(shè)置為軟燈，包含的紋理設(shè)置為屏幕，如果光線太暗，我可以使用R90 G90 B90屏幕設(shè)置填充灰色的文件夾頂層，并更改阿爾法，我可以擺脫過(guò)度的黑暗

？正確？我在這個(gè)文件夾中創(chuàng)建了3個(gè)圖層：疊加，乘法和顏色，然后我用它們來(lái)添加光，陰影或更正顏色

？幫助？包含掃描和顏色選擇掩碼

當(dāng)然，我可以添加更多的劃痕，污垢和傷害，但比賽規(guī)則要求我把這個(gè)角色放在全新的，閃亮的裝甲上，所以我做到了。

這就是我的擴(kuò)散紋理;鏡面映射要簡(jiǎn)單得多，只要我基于漫射，刪除AO，光和正確的文件夾。我使用曲率圖添加了一個(gè)額外的對(duì)比度，根據(jù)需要堆疊它們以獲得所需的效果�；旌项愋褪荗verlay。

This is how the adjustments appear

這是調(diào)整出現(xiàn)的方式

Rigging and visualization

Since the deadline was drawing near, I decided to use the regular 3ds Max biped as a skeleton. After that, I configured a simplistic skin only using the Envelopes, chose the character's stance and adjusted the skin accordingly.

I rendered with the Marmoset Toolbag 2. I had only used it as a model viewer before, and I was eager to learn more about its possibilities. This program is quite easy and intuitive, and generally is a great interactive render, somewhat resembling a game engine. So, after placing my character into a certain stance and loading the model into Marmoset, I started configuring the lighting and materials. By my design, the character is shown at the moment of take-off, grasping the ignition handle ? backpack engines are warmed-up and ready to start.

The lighting had a cold and warm contrast. The scene featured 3 lighting sources and HDRI: 1 cold filling light with casting shadows (moonlight) and 2 and 3 were the bright, warm light sources: the backpack nozzles and working engine. HDRI was used as a counter source.

索具和可視化

由于截止日期臨近，我決定使用常規(guī)的3ds Max biped作為骨架。之后，我使用信封配置了一個(gè)簡(jiǎn)單的皮膚，選擇了角色的姿態(tài)并相應(yīng)地調(diào)整了皮膚。

我用Marmoset工具包2渲染了。我以前只用它作為模型查看器，而且我很想更多地了解它的可能性。這個(gè)程序是非常簡(jiǎn)單直觀的，通常是一個(gè)很好的互動(dòng)渲染，有點(diǎn)類似于游戲引擎。所以，在把我的角色放在一定的姿態(tài)，并將模型加載到Marmoset之后，我開(kāi)始配置照明和材料。通過(guò)我的設(shè)計(jì)，這個(gè)角色是在起飛時(shí)刻顯示出來(lái)的，抓住點(diǎn)火手柄？背包發(fā)動(dòng)機(jī)被加熱并準(zhǔn)備開(kāi)始。

照明有一個(gè)寒冷和溫暖的對(duì)比。現(xiàn)場(chǎng)有3個(gè)照明源和HDRI：1個(gè)帶有投影陰影（月光）的冷灌燈，2和3個(gè)是明亮溫暖的光源：背包噴嘴和工作引擎。 HDRI用作計(jì)數(shù)器源。

Here you can see the positions of the lighting sources and material settings. All materials settings were basically identical

在這里，您可以看到照明源和材料設(shè)置的位置。 所有材料設(shè)置基本相同

Post-processing

The fire and the smoke were a montage from images from the internet, further retouched with several Photoshop brushes.

I used the Overlay, Multiply and Color correction layers to finish the character. Using a brush, I adjusted some light and shadows and strengthened the rocket backpack engine heat reflexes.

后期處理

火焰和煙霧是來(lái)自互聯(lián)網(wǎng)的圖像的蒙太奇，并進(jìn)一步修飾了幾個(gè)Photoshop筆刷。

我使用疊加，乘法和顏色校正層來(lái)完成字符。 使用刷子，我調(diào)整了一些光線和陰影，并加強(qiáng)了火箭背包發(fā)動(dòng)機(jī)的熱反射。

Here you can see the post-processing stages

在這里您可以看到后期處理階段

The final result

最后的結(jié)果