創(chuàng)建女科幻人物工作流程

在本文中，我將展示制作游戲模型的步驟。 它將覆蓋使用諸如ZBrush，Maya和Marmoset Toolbag等軟件的高分辨率，低分辨率，自定義阿爾法，構(gòu)圖和渲染。

In this article I will go through the steps of making the Baby Cakes game model. It will cover high-res, low-res, custom alphas, posing and Rendering using softwares like ZBrush, Maya and Marmoset Toolbag.

Concept

The idea to make this character came when I saw its concept, by Trevor Claxton, on the internet. I thought it was such a fresh and awesome design that I just could not hold myself back from doing it. Also, the challenge to recreate such an amazing piece was another important motivational aspect.

概念

這個(gè)角色的想法是當(dāng)我在互聯(lián)網(wǎng)上看到Trevor Claxton它的概念。 我以為這是一個(gè)這么新鮮和令人敬畏的設(shè)計(jì)，我只是不能阻止自己做這個(gè)。 此外，重新創(chuàng)造這樣一個(gè)驚人的作品的挑戰(zhàn)是另一個(gè)重要的動(dòng)機(jī)方面。

Proportions

The first thing to do was to get the proportions of the body right. In this specific model I used a female base mesh that I have made before and imported into ZBrush. That allowed me to save some time and jump straight to the proportions and silhouette I needed. I used the actual concept as reference. Even though the concept was not in a modeling pose, it was good enough to extract some information from it, like leg size, waist size, and torso size. I really wanted to get a narrow waist, thick thighs and small feet. It was important to get a solid body base because it served as reference for everything else on the model.

比例

首先要做的就是讓身體正確的比例。 在這個(gè)具體的模型中，我使用了我以前制作的母基網(wǎng)格并導(dǎo)入ZBrush。 這讓我節(jié)省了一些時(shí)間，直接跳到我需要的比例和剪影。 我用實(shí)際的概念作為參考。 即使這個(gè)概念不是在建模姿勢(shì)中，但是從腿部尺寸，腰圍尺寸和軀干尺寸中提取一些信息也是足夠好的。 我真的想得到一個(gè)狹窄的腰，厚的大腿和小腳。 得到一個(gè)堅(jiān)實(shí)的身體基礎(chǔ)是重要的，因?yàn)樗�是模型上的其他一切的參考�?/p>

Suit blockout

Once I was happy with the body proportions, I could then move on to the suit blockout. In ZBrush, I duplicated the body SubTool, went down the 2nd subdivision and the deleted the lowest and highest subdivisions.

Then I masked the whole body but the head (1). After masking I clicked Hide Point, to hide the head, and then Delete Hidden, to get rid of the head. That left me a second SubTool with only the body (2). Now with a basemesh for the suit I could start blocking the shapes and details out of the suit with brushes like Standard, Clay tube, Clay Buildup etc (3). Then it was just a matter of adding and polishing the shapes and details (4).

西裝封閉

一旦我對(duì)身體的比例感到滿意，我可以繼續(xù)前進(jìn)到西裝封閉。 在ZBrush中，我復(fù)制了SubTool的身體，第二個(gè)細(xì)分下來(lái)，刪除了最低和最高的細(xì)分。

然后我掩蓋了整個(gè)身體，但頭部（1）。 屏蔽后，我點(diǎn)擊隱藏點(diǎn)，隱藏頭部，然后刪除隱藏，以擺脫頭部。 這讓我第二個(gè)只有身體的SubTool（2）。 現(xiàn)在有了這款西裝，我可以用標(biāo)準(zhǔn)，粘土管，粘土堆積等刷子開(kāi)始阻擋衣服的形狀和細(xì)節(jié)。 那就只是添加和拋光形狀和細(xì)節(jié)的問(wèn)題（4）。

High-res retopology

After sketching out all the details of the suit, I used Decimation Master in ZBrush to lower the polygon count.

高分辨率重構(gòu)

在勾畫出西服的所有細(xì)節(jié)之后，我使用ZBrush中的Decimation Master降低多邊形數(shù)量。

Moving to Maya

Then I imported the decimated mesh into Maya (1) and started remaking the suit with Maya's new Modeling Tool Kit (2) until I had all the parts of the suit rebuilt with a cleaner topology (3).

移動(dòng)到Maya

然后我將抽取的網(wǎng)格導(dǎo)入Maya（1），并開(kāi)始使用Maya的新建模工具包（2）重新制作西服，直到我使用更清晰的拓?fù)洌?）重新組裝了所有套裝。

Custom alphas

Heading toward the end of the high-poly modeling stage, I made some custom alphas from 3D models to add the final details on my model. In the image below you can see the 3D models on the left and the correspondent alphas on the right.

自定義阿爾法

在高分辨率建模階段結(jié)束之際，我從3D模型中做了一些自定義的阿爾法，以添加我的模型的最終細(xì)節(jié)。 在下面的圖片中，您可以看到左側(cè)的3D模型和右側(cè)的通訊對(duì)象。

Adding detail with alphas

The process was something like the following:

1. Model a shape that you want to use as alpha in ZBrush and export as OBJ

2. Import it to ZBrush, place it in the canvas and then press 'T' to drop the tool

3. Click In the brush palette and choose the MRGBZGrabber brush

4. With the MRGBZGrabber brush selected, click-and-drag anywhere on the canvas until it covers the whole canvas. When you release it, ZBrush will capture and store color and ZDepth information from the canvas

5. You will find the ZDepth information in the alpha sub-palette. Select the alpha and export

6. Open it in Photoshop and adjust the document size to be square

用阿爾法添加細(xì)節(jié)

該過(guò)程類似于以下內(nèi)容：

1.在ZBrush中將要用作alpha的形狀建模并導(dǎo)出為OBJ

2.將其導(dǎo)入到ZBrush中，將其放在畫布中，然后按“T”放下工具

3.在畫筆調(diào)色板中單擊并選擇MRGBZGrabber畫筆

4.選擇MRGBZGrabber畫筆后，在畫布上的任意位置單擊并拖動(dòng)，直到其覆蓋整個(gè)畫布。 當(dāng)您釋放它時(shí)，ZBrush將從畫布中捕獲并存儲(chǔ)顏色和ZDepth信息

5.您將在Alpha子調(diào)色板中找到ZDepth信息。 選擇alpha并導(dǎo)出

6.在Photoshop中打開(kāi)它，并將文檔大小調(diào)整為正方形

Final details

With the high-res retopology done, I imported all the pieces back into ZBrush as separated SubTools for final detailing and polishing. I used the alphas I created and also, with the Standard brush, I added some folds on the fabric and rubber areas.

最終細(xì)節(jié)

隨著高分辨率重新做法，我將所有的部分作為分離的SubTools導(dǎo)入到ZBrush中，以進(jìn)行最終的細(xì)化和拋光。 我使用了我創(chuàng)建的阿爾法，而且用標(biāo)準(zhǔn)的刷子，我在織物和橡膠區(qū)域添加了一些褶皺。

Game-res model

From the beginning I wanted this to be a character for a game, so once the high-res model was done, it was time to work on the game model. At this point the process was very similar to the 'High-Res Re-topology' step.

I again used Decimation Master on my high-res model to get a lower polygon count version (1). Then I could import it into Maya for the re-topology, but this time for the game-res version, something around 15k to 20k polygons (2). Once the re-topology work was done I then split the model into a few parts which each one could have their own UV sets and textures ? head (yellow), hair (red), eyes and teeth (green) and body (blue) (3).

It's important the break the materials up like that because you want to be able to control the material properties and resolution independently from each other, especially the head since it is usually the focal point of the character.

Game-res模式

從一開(kāi)始我就希望這是一個(gè)游戲的角色，所以一旦高分辨率模型完成，那么現(xiàn)在是時(shí)候在游戲模型上工作了。 此時(shí)該過(guò)程與“高分辨率再拓?fù)洹辈襟E非常相似。

我再次使用Decimation Master在我的高分辨率模型下獲得較低的多邊形數(shù)量版本（1）。 然后我可以將其導(dǎo)入到Maya中進(jìn)行重新拓?fù)洌�但是這次是游戲-res版本，大約15k到20k的多邊形（2）。 一旦重新拓展工作完成，我然后將模型分成幾個(gè)部分，每個(gè)部分可以有自己的UV集和紋理？ 頭（黃），頭發(fā)（紅色），眼睛和牙齒（綠色）和身體（藍(lán)色）（3）。

重要的是要打破這樣的材料，因?yàn)槟�希望能夠�?dú)立地控制材料特性和分辨率，特別是頭部，因?yàn)樗�通常是人物的焦點(diǎn)。

Facial topology

Another thing to take in consideration here is the facial topology. It's important that the loops are placed respecting the face structure, muscles and so on. That will allow the face to have a better deformation when animators are working on the face expressions. Although that wasn't the goal here, it is always a good practice to do them.

Textures were pretty straight forward. Normal map and occlusion map were baked with xNormal. Cavity maps were extracted from normal maps in Photoshop with a personal set of actions, but you could get it with the xNormal filter for PS or nDO. For the face I used real photo reference projection in Mudbox.

面部拓?fù)?/h6>

另外需要考慮的是面部拓?fù)洹?重要的是，環(huán)繞著臉部結(jié)構(gòu)，肌肉等等。 當(dāng)動(dòng)畫師在面部表情上工作時(shí)，這將使臉部變形更好。 雖然這不是目標(biāo)，但總是一個(gè)很好的做法。

紋理非常簡(jiǎn)單。 正常地圖和遮擋圖用xNormal烘烤。 從Photoshop中的正常貼圖中提取腔圖，并附有一組個(gè)人動(dòng)作，但您可以使用PS或nDO的xNormal過(guò)濾器。 對(duì)于臉，我在Mudbox中使用了真正的照片參考投影。

Posing I

To give the character some attitude in the final render, I decided to pose the model just like the concept. For that I imported game model back into ZBrush and used the transpose tools.

The process of posing is as follows:

1. Mask out the portion of the model you want to pose

2. Select the Transpose Rotate tool and place on of the ends of the transpose line at the desired pivot point

3. Click-and-drag the other end to rotate and pose the unmasked portion

擺姿勢(shì)

為了讓角色在最后的渲染中有一些態(tài)度，我決定像這個(gè)概念一樣構(gòu)建模型。 為此，我將游戲模型導(dǎo)入ZBrush并使用轉(zhuǎn)置工具。

冒充的過(guò)程如下：

1.遮掩你想要的模型部分

2.選擇移調(diào)旋轉(zhuǎn)工具，并將其放置在所需樞軸點(diǎn)處的轉(zhuǎn)置線的末端

3.單擊并拖動(dòng)另一端旋轉(zhuǎn)并構(gòu)建未屏蔽的部分

Posing II

I basically followed these three steps to pose the whole body. It took some back and forth, masks, touch ups and right placement of the transpose tool to get everything correctly posed but it was, definitely, much faster than the traditional way of rigging.

擺姿勢(shì)II

我基本上按照這三個(gè)步驟來(lái)構(gòu)成全身。 它采取了一些來(lái)回，面具，觸摸ups和正確安置的轉(zhuǎn)置工具，以獲得一切正確提出，但它絕對(duì)比傳統(tǒng)的索具方式快得多。

The render

To render this character I used Marmoset Toolbag. It was really good because it gave the model that in-game look since it's pretty much a game engine. But before taking the model to Marmoset, there are a couple of things that you need to do when exporting the model from Maya to Marmoset.

1. Make sure you split the model based on the UV sets, and name them accordingly to each object for easy management later, then make sure you select them all to export at the same time

2. Then go to File > Export Selection. In the Export window, choose OBJexport as your file type and make sure Groups is turned on. This is important to guarantee that the model will be exported as separated objects instead one object together

3. Importing it into Marmoset you will get a list of chunks that match the objects exactly in Maya, and then you will be able assign one material for each one of them

渲染

為了渲染這個(gè)角色，我使用了Marmoset Toolbag。 這是非常好的，因?yàn)樗�給了模型，游戲中的外觀，因?yàn)樗鼛缀跏且粋�(gè)游戲引擎。 但是，在將模型引入Marmoset之前，在將模型從Maya導(dǎo)出到Marmoset時(shí)，您需要執(zhí)行幾件事情。

1.確保根據(jù)UV組拆分模型，并將它們相應(yīng)地命名給每個(gè)對(duì)象，以便以后進(jìn)行管理，然后確保同時(shí)選擇它們?nèi)�部�?dǎo)出

2.然后轉(zhuǎn)到文件>導(dǎo)出選擇。 在導(dǎo)出窗口中，選擇OBJexport作為文件類型，并確保組已打開(kāi)。 這對(duì)于保證模型將被導(dǎo)出為分離的對(duì)象而不是一個(gè)對(duì)象在一起很重要

3.將其導(dǎo)入到Marmoset中，您將獲得一個(gè)與Maya中完全匹配對(duì)象的塊的列表，然后您將可以為其中的每一個(gè)分配一個(gè)材料

Lighting setup

After I was done assigning all the materials, with the correspondent textures, I made a quick a lighting setup. First I chose Garage in the Sky Lighting Presets (1) to use as my global lighting. Then I added a couple of dynamic lights (2), one over the head (A) to slightly illuminate the face and another far on the side (B). After that it was just a matter of placing the camera, adjusting the field of view, which in this case was pretty low, 15.00, and rendering it (3).

照明設(shè)置

在完成了所有材料的分配之后，用相應(yīng)的紋理，我做了一個(gè)快速的照明設(shè)置。 首先，我選擇車庫(kù)在天空照明預(yù)設(shè)（1）作為我的全球照明。 然后我添加了一些動(dòng)態(tài)燈（2），一個(gè)在頭（A）上輕輕地照亮臉部，另一個(gè)遠(yuǎn)在側(cè)面（B）。 之后，這只是一個(gè)放置相機(jī)的問(wèn)題，調(diào)整視野，在這種情況下，這是非常低的15.00，并渲染（3）。

Compositing

With the mask in the alpha channel of the rendered image, I could easily isolate the character from the original background (A). I added an occlusion pass in Multiply mode to give it a little more shadow information (B). Then I created a simple background in Photoshop that matched the lighting in the render, painted some ground shadows (C) and added some layer adjustments to tweak the color and saturation to get my final render (D).

合成

使用渲染圖像的Alpha通道中的蒙版，我可以輕松地將字符與原始背景（A）隔離開(kāi)。 我在“乘法”模式中添加了一個(gè)遮擋傳遞給它一個(gè)更多的陰影信息（B）。 然后，我在Photoshop中創(chuàng)建了一個(gè)簡(jiǎn)單的背景，與渲染中的照明相匹配，繪制了一些地面陰影（C），并添加了一些圖層調(diào)整來(lái)調(diào)整顏色和飽和度，以獲得最終渲染（D）。