卡通熊的制作

這是我在Gnomon視覺(jué)效果學(xué)院創(chuàng)建的一個(gè)課程。 該項(xiàng)目的目標(biāo)是在2周（1周模型和紫外線以及其他周的紋理，照明和堆肥）中制作成品。 我選擇了這個(gè)驚人的概念， Cory Loftis，因?yàn)樗�的作品代表了我最喜歡做3D的工作, 這是一個(gè)故事。

在本教程中，我想顯示一些我的管道，并概述了創(chuàng)建這一部分的步驟。 我真的喜歡創(chuàng)造一件作品的整個(gè)過(guò)程，但是我最注意的是傳達(dá)一個(gè)好的故事（有趣，情感，悲傷，快樂(lè)，黑暗等等）。

This is a project I created for a class at the Gnomon School of Visual Effects. The goal of the project was to create a finished piece in 2 weeks (1 week modeling and UVs and the other week for texturing, lighting and composting). I chose this amazing concept piece by Cory Loftis because his work represents what I like most about doing in 3D ? which is telling a story.

In this tutorial I want to show a bit of my pipeline and do an overview of the steps used in the creation of this piece. I really enjoy the entire process of creating a piece but the thing that I pay most attention to is conveying a GOOD story (funny, emotional, sad, happy, dark, and so on).

Choosing the concept

This first moment is very, very important! You really need to take the time to choose and analyze your concept before deciding to start a new project. Try to pick subjects that interest you (especially if it is a personal project). The importance of a good story is that people connect with your piece on a higher level and the technicality is forgotten. This is your chance to tell something through your artistic skills, so use it!

選擇概念

這第一時(shí)刻非常非常重要！ 在決定啟動(dòng)新項(xiàng)目之前，您真的需要花時(shí)間選擇和分析您的概念。 嘗試選擇感興趣的科目（特別是如果是個(gè)人項(xiàng)目）。 一個(gè)好故事的重要性在于人們與你的作品在更高的層次上聯(lián)系在一起，技術(shù)性被遺忘。 這是你通過(guò)你的藝術(shù)技巧來(lái)告訴你的機(jī)會(huì)，所以使用它！

Studying the concept

After you have picked your concept, it is time to analyze the props, characters and details. The trick is, before you begin, just zoom in, go through your image and slowly start getting to know it. Walk around it with patience. It is also good at this time to have a notebook and start taking notes about the props and any ideas that cross your mind about how to approach specific objects. The more you familiarize yourself with the concept the better the creativity will flow.

Also, begin to gather references ? you're always going to need them! With the list of props from your scene, it is easier to know what to look for now, so collect as much as you can. Try to get photos, drawings, maquettes, 3D pieces that inspire you or are related to the subject you are researching. Also try to be as organized as possible. Also, don't only think about objects, but also collect ideas for lighting, the color palette, mood, anatomy studies etc.

研究概念

選擇您的概念后，現(xiàn)在是分析道具，人物和細(xì)節(jié)的時(shí)候了。 訣竅是，在您開(kāi)始之前，只需放大，瀏覽您的圖像，并慢慢開(kāi)始了解它。 要很有耐心。 在這個(gè)時(shí)候，還有一個(gè)筆記本，并開(kāi)始記錄關(guān)于道具的任何想法，以及關(guān)于如何處理特定對(duì)象的任何想法。 你越熟悉這個(gè)概念，創(chuàng)造力就越好。

另外，開(kāi)始收集參考, 你總是需要他們！ 隨著您場(chǎng)景中的道具列表，現(xiàn)在更容易知道要查找的內(nèi)容，因此盡可能多地收集。 嘗試獲取照片，圖紙，木片，3D片段，激發(fā)您或與您正在研究的主題相關(guān)。 還要盡量組織起來(lái)。 另外，不僅要考慮物體，還要收集照明，調(diào)色板，心情，解剖學(xué)等方面的想法。

Let's start modeling!

For this piece, I decided to model in a type of zombie pose with the arms facing the front, because in the end it would be easier to match the pose from the concept.

In ZBrush I started creating ZSpheres with the overall volume of the character, focusing on basic proportions. After this part was done, I converted it to a mesh and started blocking the shapes, silhouettes and finding the apexes. Try to keep symmetry on as long as possible at this stage. After nailing the basic silhouette, I started to add secondary forms, building up muscle definition and transitions of sharp to soft forms.

我們開(kāi)始建模！

對(duì)于這件作品，我決定用一種類型的僵尸姿勢(shì)建模，手臂朝向前方，因?yàn)樽罱K會(huì)更容易匹配這個(gè)概念的姿勢(shì)。

在ZBrush中，我開(kāi)始創(chuàng)造出ZSpheres的整體素質(zhì)，側(cè)重于基本的比例。 這部分完成后，我把它轉(zhuǎn)換成一個(gè)網(wǎng)格，并開(kāi)始阻止形狀，剪影和查找頂點(diǎn)。 盡量在這個(gè)階段盡可能長(zhǎng)時(shí)間保持對(duì)稱。 在打了基本的輪廓后，我開(kāi)始添加二次形式，建立肌肉定義和鋒利到柔和形式的轉(zhuǎn)換。

Creating topology and UVs

While still in ZBrush, I decimated the model and brought it into Maya to start creating topology for better posing and animation. I used the quadraw tool (from the new modeling toolkit in Maya 2014), to define the flow of the loops. After the topology was done, it was time to start the UVs. I normally use Maya to create the UVs, but you can also use ZBrush for faster but less accurate results.

With the topology and UVs done, I went back to ZBrush to start posing the character in the chair with Transpose Master. This stage is very important from a storytelling point of view ? the pose plays a big role in telling who our character is. Pay attention to contraction and compression, try to push the pose even further than the concept, and spin your model while posing to see if it reads well from all angles. Try to study photos of people in that pose or ask a friend to pose for you and take a photo. All this will help, as the more subtleties you add the stronger the character will be.

創(chuàng)建拓?fù)浜蚒V

雖然仍然在ZBrush，我剔除了模型，并將其帶入Maya開(kāi)始創(chuàng)建拓?fù)洌瑏?lái)更好地構(gòu)建和動(dòng)畫(huà)。我使用quadraw工具（來(lái)自2014年5月的新建模工具包）來(lái)定義循環(huán)的流程。拓?fù)浣Y(jié)束后，現(xiàn)在是啟動(dòng)UV的時(shí)候了。我通常會(huì)使用Maya來(lái)創(chuàng)建UV，但是您也可以使用ZBrush來(lái)獲得更快，但不太準(zhǔn)確的結(jié)果。

隨著拓?fù)浜蚒V完成，我回到了ZBrush，開(kāi)始用Transpose Master將椅子擺放在椅子上。這個(gè)階段從講故事的角度來(lái)看非常重要？這個(gè)姿勢(shì)在告訴我們?nèi)宋锸钦l(shuí)的角色。注意收縮和壓縮，嘗試推動(dòng)姿勢(shì)遠(yuǎn)遠(yuǎn)超過(guò)概念，并旋轉(zhuǎn)你的模型，同時(shí)擺放看看它是否從各個(gè)角度看起來(lái)都很好。嘗試研究那個(gè)姿勢(shì)的人的照片，或者請(qǐng)朋友為你拍攝照片。所有這一切將有所幫助，因?yàn)槟闾砑拥母�多�?xì)微之處將是更強(qiáng)的角色。

Texturing

With all the stages presented before being done, I exported the objects as OBJs and sent them to Maya. I decided to use Mudbox as my main texturing software because of the ease of transitioning between Maya and Mudbox. In Mudbox, for the bear texture, I used the bw_bistrol2 stamp to paint some of the fur, changing the color constantly to create variation. This variation would help in the future with the V-Ray fur. For the props, I normally paint a lot of my textures by hand and at the very end overlay various images to amplify the effect.

紋理

在完成之前的所有階段，我將對(duì)象導(dǎo)出為OBJ并將其發(fā)送到Maya。 我決定使用Mudbox作為我的主要紋理軟件，因?yàn)樵贛aya和Mudbox之間輕松轉(zhuǎn)換。 在Mudbox中，對(duì)于熊紋理，我使用bw_bistrol2印花來(lái)繪制一些毛皮，不斷改變顏色以創(chuàng)建變體。 這種變化將有助于將來(lái)的V-Ray毛皮。 對(duì)于道具，我通常手工繪制很多紋理，并在最后覆蓋各種圖像以放大效果。

Shaders

This is the shader connection I normally use for cloth materials. Some types of cloth have a fuzzy matte feeling, and to get that effect in Maya I usually use this method.

Basically, you take a shader and instead of putting the texture on the diffuse color you plug a ramp node. From the ramp node you connect a sampler info node as shown in the image below. The idea is to have 2 colors on the diffuse and with the sampler info node you get the facing ratio, meaning that the top color will be facing the camera and the bottom color facing away. This, along with a rough specular and reflection, will give you the fuzzy feeling most of the time. Basically, we are cheating the physically based material attributes to behave the way we want.

著色器

這是我通常用于布料的著色器連接。 一些類型的布有模糊的啞光感覺(jué)，并且要在Maya得到這個(gè)效果我通常使用這種方法。

基本上，您可以使用著色器，而不是將紋理放在漫反射色上，然后插入斜坡節(jié)點(diǎn)。 從斜坡節(jié)點(diǎn)連接一個(gè)采樣器信息節(jié)點(diǎn)，如下圖所示。 這個(gè)想法是在漫射上有2種顏色，而采樣器信息節(jié)點(diǎn)可以獲得面對(duì)比例，這意味著頂部顏色將面向相機(jī)，而底部顏色將面向遠(yuǎn)離。 這與粗糙的鏡面和反射一起，會(huì)給你大部分時(shí)間的模糊感覺(jué)。

FURRR!

For the fur I wanted to get a simple and very cartoony feel. I experimented with some Maya fur but couldn't get it to work the way I wanted and ended up deciding to use V-Ray fur. The V-Ray fur has very little control, which was a good thing for me because I was running out of time to finish the piece and needed something fast and simple.

To get a bit of complexity in the fur I decided to create several pieces of mesh, each of them with a different V-Ray fur assigned so I could control the randomness and direction of the patch. Also, I created some different fur in the same mesh, some with less fur but thicker and some with more fur but thinner. I used the V-Ray hair shader for it and plugged the texture painted in Mudbox to create the color variation mentioned in the texturing part. The fur's color is dictated by the diffuse of the underlying mesh that it references.

皮毛

對(duì)于皮毛我想要一個(gè)簡(jiǎn)單而非常卡通的感覺(jué)。 我嘗試了一些Maya毛皮，但不能讓它按照我想要的方式工作，最后決定使用V-Ray毛皮。 V-Ray毛皮幾乎沒(méi)有控制，這對(duì)我來(lái)說(shuō)是一件好事，因?yàn)槲覜](méi)有時(shí)間完成這件作品，需要一些快速簡(jiǎn)單的東西。

為了在毛皮上有一點(diǎn)復(fù)雜性，我決定創(chuàng)建幾個(gè)網(wǎng)格，每個(gè)都有一個(gè)不同的V-Ray毛皮分配，所以我可以控制補(bǔ)丁的隨機(jī)性和方向。 此外，我在同一個(gè)網(wǎng)格中制作了一些不同的毛皮，一些毛皮較粗，較粗，一些毛皮較薄。 我使用V-Ray頭發(fā)著色器，并插入在Mudbox中繪制的紋理，以創(chuàng)建紋理部分中提到的顏色變化。 毛皮的顏色由它引用的底層網(wǎng)格的擴(kuò)散決定。

Lights

The lighting in this scene is very simple but carefully placed. Besides the character, the lighting is another important element that could be used to amplify the mood and story of the image. This scene could be very different if the overall mood was brighter and had less contrast.

At this stage, it's a good idea to research scenes in movies, other artists' work, photos, paintings and anything that has a similar mood that you wish to project. Experiment a lot to find the best way to tell the story (I'm repeating myself again, because this is important!) So, I decided to leave the scene very dark with a primary source of light coming from the TV, a secondary light from the lamp and a big fill light from the bottom left side of the image.

照明

這個(gè)場(chǎng)景中的照明非常簡(jiǎn)單，但要仔細(xì)放置。 除了角色，照明是另一個(gè)重要的元素，可以用來(lái)放大圖像的情緒和故事。 如果整體情緒更亮，對(duì)比度較小，這個(gè)場(chǎng)景可能會(huì)有很大的不同。

在這個(gè)階段，研究電影，其他藝術(shù)家的作品，照片，繪畫(huà)和任何想要投射的類似心情的場(chǎng)景是一個(gè)好主意。 要多試驗(yàn)，找到最好的方式來(lái)講述故事（我再次重復(fù)一遍，因?yàn)檫@很重要！）所以，我決定讓場(chǎng)景非常黑暗，來(lái)自電視的主要光源，二次光 從燈和從圖像的左下方的大填充光。

Compositing

The compositing part is always fun! It's the time to push the lighting, add a bit of detail and fix some weird things that may have appeared during the render. I always generate a lot of passes which allows for more control throughout the compositing process. Multi matte passes help a lot for quick selections in Photoshop or NUKE.

The basic passes I always get out of V-Ray are in the image below. Basically, you will put them all in Add mode, except the AO pass which will be in a Multiply Blend mode. Clip the adjustment layers to your passes for a non destructive way of working. After all the adjustments, I like to top it off with a dust texture to give some atmosphere to the image. I finish off adding a lens correction filter and with this, you can add vignetting and chromatic aberration which helps to give a photographic look to your piece.

合成

合成部分總是很有趣！ 現(xiàn)在是推動(dòng)照明的時(shí)候，添加一些細(xì)節(jié)，并修復(fù)渲染過(guò)程中可能出現(xiàn)的一些奇怪的事情。 我總是生成大量通行證，可以在整個(gè)合成過(guò)程中進(jìn)行更多的控制。 多個(gè)啞光通道可幫助您快速選擇Photoshop或NUKE。

我總是從V-Ray出來(lái)的基本通行證在下面的圖片中。 基本上，您將把它們?nèi)�部放在添加模式，除了AO通過(guò)將在一個(gè)乘法混合模式。 將調(diào)整圖層剪切到您的通行證，以非破壞性的工作方式。 經(jīng)過(guò)所有的調(diào)整，我喜歡用灰塵紋理頂起來(lái)，給圖像帶來(lái)一些氣氛。 我完成了添加一個(gè)鏡頭校正濾鏡，這樣，你可以添加漸暈和色差。