在3ds Max制作“禮品鞋”

我很高興分享我的最新形象禮品鞋的工作流程。

I am happy to share my workflow of my latest image The Gift Shoes.

References

I started by collecting a lot of references about shoes, computer pieces and lighting ambiance. I find that having good references gives me the potential to have more ideas - about what kind of detail or objects I'm going to make for my scene and how the light will react with materials.

參考

我開始收集很多關(guān)于鞋子，電腦和照明環(huán)境的參考資料。 我發(fā)現(xiàn)有很好的參考資料讓我有更多的想法 - 關(guān)于我將要為我的場景做什么樣的細節(jié)或?qū)ο�，以及光將如何與材料反應(yīng)。

Sketch idea and Composition

Before I begin modeling I blocked out a rough scene with 3ds Max; I used simple objects like boxes and spheres as a fill in before I added detail. I used a camera angel to give a general idea about all objects and their placement that I needed to model in the scene.

素描構(gòu)思與構(gòu)圖

在我開始建模之前，我用3ds Max閉塞了一個粗糙的場景; 在添加細節(jié)之前，我使用像盒子和球體這樣的簡單對象作為填充。 我使用攝像機來給出我需要在場景中建模的所有對象和位置的一般概念。

Modeling

After blocking the general forms off all objects, I started to add the details to each object one by one based on the references I had gathered together. This enabled me to have better freedom when modeling. I always begin with a lower subdivision and add more edges and vertex when I need it.

造型

在阻止所有對象的一般形式之后，我開始根據(jù)我聚集在一起的引用逐個添加每個對象的細節(jié)。 這使我在建模時有更好的自由。 我總是從較低的細分開始，并在需要時添加更多的邊和頂點。

Texture and UVS

Once all the models and objects have the level of detail I wanted to achieve, I apply the Unwrap UVW modifier to the objects and use modifier tools to set up the mapping. I render the UV to Photoshop for the texturing process, for some objects I simply use a box or cylinder mapping with tillable texture.

紋理和UVS

一旦所有模型和對象都具有我想要實現(xiàn)的細節(jié)級別，我將Unwrap UVW修飾符應(yīng)用于對象，并使用修飾符工具來設(shè)置映射。 我將UV渲染到Photoshop的紋理過程中，對于某些對象，我只需使用帶有可裁剪紋理的框或圓柱映射。

Materials

I prefer to use VRayMtl, which results in the objects being and looking more physically correct in the illumination and with more realistic reflection and refraction parameters, of course a faster render time!

材料

我更喜歡使用VRayMtl，這會讓物體在照明和物理上更正確，并且具有更逼真的反射和折射參數(shù)，當然渲染時間也更快！

Lighting

I considered lighting as one of the most important steps in the process, as it reflects the emotion and feeling that I want to show. I start rendering tests with a simple white V-Ray material, and have an idea about the number of lighting source that I need in the scene, also be sure that the shoes have the most important part of the lighting in the composition.

燈光

我認為照明是過程中最重要的步驟之一，因為它反映了我想展現(xiàn)的情感和感覺。 我開始使用簡單的白色V-Ray材料進行測試，并了解我在場景中需要的照明源數(shù)量，同時確保鞋子在組合中是最重要的照明部分。

Render passes

Firstly I select all passes in render element section and do a small render with draft parameter to see which passes I need in my compositing process, I can easily verify in the frame buffer to have an idea of every pass separately then I delete the pass that I don't need for my final result.

渲染通行證

首先，我在渲染元素部分中選擇所有通行，并使用草稿參數(shù)進行一個小渲染，以查看我的合成過程中需要哪些通行證，我可以輕松地在幀緩沖區(qū)中驗證每個通行證單獨的想法，然后刪除通行證， 我不需要我的最終結(jié)果。

渲染通過

渲染設(shè)置

全局照明和幀緩沖區(qū)設(shè)置

Photoshop

Once the rendering is completed, I go back over to Photoshop and follow this path : files > script > load files into stack, to open all the passes into one Photoshop files with multiple layer, then I experiment with different blending modes to reach the final result.

Photoshop

一旦渲染完成，我回到Photoshop，并按照這個路徑：文件>腳本>將文件加載到堆棧中，將所有的通過打開到一個多層的Photoshop文件，然后我嘗試使用不同的混合模式來達到最終 結(jié)果。

Final Compositing

At this final stage I am happy with the result, I have got to a point where I feel the look of the composited images that I want, and I apply a few final effects like color correction, noise, saturation to enhance the feeling on the image that match the story behind. The result at least it feels more interesting.

最終合成

在這個最后階段，我對結(jié)果感到滿意，我已經(jīng)到了一個點，我感覺到我想要的合成圖像的外觀，我應(yīng)用了一些最終的效果，如顏色校正，噪點，飽和度，以增強感覺 符合故事背后的形象。 結(jié)果至少感覺更有趣。