敘述教程：老虎的制作

遮擋

首先，我通常先從zSpheres開始。他們真的很方便迅速發(fā)現一些原始卷和一個好的輪廓。不幸的是，你必須要保持清潔的雕刻，所以這是一個很好的挑戰(zhàn)。

Block out

First off first I usually start with some zSpheres. They are really handy to quickly discover some raw volume and a good silhouette. Unfortunately you have to be really conscious to maintain clean sculpting, so it is a nice challenge with this method.

Dynamesh

一旦基本量準備好了，我就該去做第二和第三卷形狀了。Dynamesh可以成為實現這一目標的最佳工具。您可以快速地添加分辨率，而不必擔心拓撲，因此您可以非常自由地雕刻。

Dynamesh

Once the base volume is ready is time to go I work towards the second and third volume shapes. Dynamesh can be the best tool for this purpose. You can quickly add resolution without worrying about topology, so you can be really free to sculpt.

ZRemesh

ZRemesher是另一個幫助您實現最佳拓撲的好工具。從你的retopo畫筆開始，創(chuàng)建ZBrush的主流向導，然后點擊ZRemesh。如果你需要，你也可以在按下ZRemesher按鈕時使用“Alt”來進行不同的評估。在這種情況下，ZBrush將另一種算法用于最終的評估。

ZRemesh

ZRemesher is another nice tool that helps you achieve the best topology possible. Start with your retopo brush to create the main flow guide for ZBrush and then hit the button ZRemesh. If you need, you could also have a different evaluation just holding "Alt" when you hit the ZRemesher button. In that way ZBrush actives another algorithm for the final evaluation.

姿勢

是時候擺姿勢了。這是把生活放在你的角色上的時刻。通常我喜歡用轉置主來移動它，因為它簡單有效。你只需要掩飾和移動它。在這種情況下，如果有好的可以選擇很多。

Pose

It's time to pose your piece. This is the moment when you put life in your character. Usually I like to move it with the transpose master because it's simple and effective. You just have to mask and move it. In this situation having good Polygroups helps a lot with selections.

UV貼圖

ZBrush有一個很好的UV和貼圖插件。有了UV Master，你可以有干凈和快速的UV。當我接近這樣的工作時，我通常使用相同的顏色托盤的概念，特別是當我想要重現我在參考文獻中看到的相同的情緒。

UV texturing

ZBrush has a good plugin for UV and texturing. With UV Master you can have clean and quick UV. When I'm approaching a work like this, I typically use the same color pallet of the concept, especially when I want recreate the same mood that I see in the reference.

地圖提取

從ZBrush中獲取好的呈現在Maya中是很好的基礎。Multimaps的出口看起來很完美。選擇所有你需要的地圖并導出它們——這很簡單，但我需要小心一些像法線和置換貼圖之類的東西，通常EXR文件是最好的細節(jié)。

Map extraction

Extracting good maps is the basis for obtaining a good render in Maya from ZBrush. Multimaps export looks perfect for that. Select all the maps that you need and export them - it's really easy, but I need to be careful with stuff like normal and displacement maps, usually EXR files are the best ones for details.

毛皮XGen

現在我在Maya里有了網格，現在是毛皮時間。Autodesk為你提供了不同的選擇，我最喜歡的是XGen。特別是現在你可以使用互動模式，所有的東西都是快速和方便的。我開始想象如何在不同的補丁中細分角色的毛皮，然后分別對每個補丁進行操作。把你的時間花在這個任務上，因為它可能很棘手，但結果卻是驚人的。

Fur XGen

Now that I have my mesh in Maya, it is fur time. Autodesk offers you different options for that, and my favorite is XGen. In particular now that you can use interactive mode with grooms, everything is quick and handy. I start imagining how to subdivide the character's fur in different patches, and then work on each of them individually. Take your time for this task because it could be really tricky, but the result is absolutely amazing.

陰影和照明

是時候把所有的紋理和地圖組合在一起，為這篇文章創(chuàng)造最好的陰影了。Substance Designer和Painter是兩個非常棒的工具，可以幫助加速這個過程。在Maya中，我喜歡從Arnold曲面開始，并鏈接Substance創(chuàng)建的所有地圖。此外，在地圖和著色器之間設置顏色校正節(jié)點也是一個好習慣。這可以幫助您調整以及檢查您的地圖的值，以達到最佳的渲染效果。

Shading & lighting

It's time to put all the textures and maps together and create the best shading possible for the piece. Substance Designer and Painter are two awesome tools that help to speed up the process. When in Maya I like to begin with Arnold surface, and to link all the maps created by Substance. Also it's a good habit to put a color correction node in as a bridge among your maps and the shader. This helps you with tuning as well as checking your map's values, in order to achieve the best result in rendering.

從一個圓頂開始是一個很好的工作流程，所以我的第一步是建立一個環(huán)境光(HDR很棒)。第二步是設置keylights，在這個特定的情況下，我選擇了一個點光來模擬火焰光。我創(chuàng)造了一個大的區(qū)域光，并把它設置在主要角色的后面，來模擬洞穴外的光線。這個可以很有用，也可以是rim;這種光線確實有助于揭示細節(jié)。最后一件事是補上一些陰影。

Starting with a dome could be a good workflow, so my first step is to establish an ambient light (HDR helps to have awesome speculars). The second step is to set up the keylights, in this specific case I choose a point light to mimic the flame light. I have created a big area light and set it up behind the main character to simulate light from the outside of the cave. This one can be useful as well as a rim; this kind of light is really helpful to bring out the details. The last thing is a fill light to pick up some shadows.

AoV (視角)

AoVs是一個很好的方式來分享你的形象。直接和間接擴散;對于鏡面、折射、SSS和ZDepth都是一樣的。另外，我還做了一些定制的Aov，只有keylight,fill light和rim light contribution。我為AO、容積指標和ID matte創(chuàng)建了一些額外的渲染層，這總能幫助我們在最終的圖像中添加更多的深度。

AoV (angle of view)

AoVs are a great way to share control on your image. I have made direct and indirect diffuse; same for specular, refraction, SSS and ZDepth. Also, I have made some custom Aov with only keylight, fill light and rim light contribution. I create some extra render layers for AO, volumetrics and ID matte, which always helps to put more depth into the final image.

排版和最終的圖像

我的最后一個comp在Nuke，我的出發(fā)點是把所有的光線都融合在一起，然后使用所有其他的AoVs組合在一起，用好的光罩來盡可能地調整鏡面光線和間接光線。體積和AO是最后的觸摸，賦予圖像更多的深度和正確的對比度。正如你在這張圖片中看到的，我決定解釋最后的背景。我認為在一個封閉的地方，像一個洞穴，和整個空間形成對比是一個很好的選擇來強調我的最終形象。

Comp and final image

My final comp is in Nuke; my starting point is to merge all the light passes and after that use all the others AoVs in combination with good masks to tweak the specular and indirect light as best I can. Volumetric and AO are the final touch to give more depth and the right contrast to the image. As you can see in this image I have decided to interpret the final background. I thought that to put in contrast in a close place like a cave with the entire space could be a really good choice to emphasize my final image.