制作“愛麗絲夢游仙境”

Yuo Tengara給我們展示了她美麗的形象《愛麗絲夢游仙境》背后的燈光和紋理技巧

Yuo Tengara gives us a rundown of the lighting and texturing techniques behind her beautiful image 'Alice in Wonderland'

阻塞的場景

為了使場景盡可能的平坦，我把相機的焦距設(shè)置為100。我使用ZBrush的ZSphere為角色創(chuàng)建基本地理位置，并將網(wǎng)格導(dǎo)入Maya以調(diào)整比例。這是為了更好地了解每個對象的規(guī)模和場景的深度。

當(dāng)角色的尺度完成后，我開始在Maya的環(huán)境中阻塞。我開始使用原始形狀，并輕推頂點以匹配放置位置。后來添加了草的地理位置，我用spPaint工具把它放在了地面上。

Blocking in the scene

In order to make the scene appear as flat as possible, I set the focal length of my camera to 100. I used ZBrush's ZSphere to create the base geo for the characters and imported the mesh into Maya to adjust the scale. This was to get a better idea of the scale for each object and the depth of the scene.

Once the scales of the characters were finalized, I started blocking in the environment in Maya. I began by using primitive shapes and nudging the vertices to match the placement. The geo for the grass was added later and I used the spPaint tool to place it on the ground plane.

在ZBrush雕刻

對于角色，我使用ZBrush添加了一些細節(jié)，但保持雕刻相當(dāng)簡單，以避免它變得逼真。ZBrush有一個不錯的選擇，你可以調(diào)整UI的不透明度(位于右上角，標記為透明)。我在后臺打開了這個概念，降低了UI的不透明度，然后將模型定位到盡可能匹配這個概念。

我還在ZBrush中使用了視角來匹配Maya相機的焦距。我用這里的值作為起始點。剩下的只是在模型周圍輕推模型，以匹配概念中人物的外觀和體積。

Sculpting in ZBrush

For the characters, I used ZBrush to add a bit more detail but kept the sculpt fairly simple to avoid it becoming realistic looking. ZBrush has a nice option where you can adjust the opacity of the UI (located top-right, labeled ?See-through'). I had the concept open in the background and lowered the Opacity of the UI, then positioned the model to match the concept as best I could.

I also played around with the angle of view in ZBrush to match the focal length in Maya's camera. I used the value written here as a starting point. The rest was just nudging the model around to match the look and the volume of the characters in the concept.

Retopo和UV

在ZBrush中做了一些雕刻之后，我決定重新使用retopo，讓它更容易打開UVs。沒有必要這樣做，因為這些角色不是動畫，但我只是為了養(yǎng)成一個好習(xí)慣。

我通常使用NEX來進行retopoing，但是我使用ZBrush的ZRemesher選項來加速這個過程。對于UVing，我主要使用Maya，但是如果我不能得到一個好的結(jié)果，有時我會使用Headus。我試著把所有的東西都放在同一個地圖上，這樣我就可以使用同一個著色器。

Retopo and UV

After sculpting a bit in ZBrush, I decided to retopo to make it easier to unwrap the UVs. It wasn't necessary to do so because these characters weren't going to be animated but I just did it to get into a good habit.

I usually use NEX for retopoing but I used the ZRemesher option in ZBrush to speed up the process. For UVing, I mostly use Maya, but sometimes I use Headus if I can't get a good result. I try to put anything that might share the same quality of material onto one map so I can use the same shader.

建立照明

我在這個場景中使用了7個燈和2個反彈卡。

環(huán)境(整體):1個鍵，1個填充。

環(huán)境(FG):1

愛麗絲:1個鍵，2個填充，1個反彈卡。

柴郡貓:一填，一張反彈卡。

我主要使用V-Ray矩形燈光來照亮場景，但是對于某些區(qū)域，我將幾何圖形轉(zhuǎn)換成光網(wǎng)以獲得更多的控制。我覺得這個方法對于照亮人物很有用，因為幾何學(xué)創(chuàng)造了核心陰影和接觸陰影，這些陰影很難用矩形光源消除。

我創(chuàng)建了一個平面，并分配了一個V-Ray材質(zhì)的擴散設(shè)置為白色的反彈卡。我在那些需要輕微照亮的地方（例如，在柴郡貓的尾巴和他的身體之間）使用那些東西。關(guān)鍵是要有一個均勻的照明，以獲得平坦的外觀。另一種實現(xiàn)平面外觀的方法是依靠表面著色，但我不想使用這條路線，主要是因為我想讓著色器對光線做出響應(yīng)，并有一個微妙的亮點和跟隨geo曲率的陰影。

我增加了一點自我照明(連接到自照明槽的伽馬校正的漫反射貼圖)，以幫助擺脫geos遇到的陰影。我沒有增加更多的燈來壓平它，我覺得這種方法更快更容易。

Establishing the lighting

I used 7 lights and 2 bounce cards in this scene.

Environment (overall): 1 key, 1 fill

Environment (FG): 1 fill

Alice: 1 key, 2 fill, 1 bounce card

Cheshire cat: 1 fill, 1 bounce card

I mostly used V-Ray Rectangular Lights to light the scene but for some areas, I converted geometries into light meshes to get more control. I felt this method was useful for lighting the characters because the geometry had created core shadows and contact shadows that were difficult to get rid of with just rectangular lights.

I created a plane and assigned a V-Ray material diffuse set to white for the bounce cards. I used those in areas where I just needed to lighten a little (for example, in between the Cheshire cat's tail and his body). The key was to have an even lighting to get the flat look. Another way to achieve the flat look was to rely on surface shader, but I didn't want to use that route, mainly because I wanted the shaders to respond to lights and have that subtle highlight and shadowing that follow the curvature of the geo.

I added a tiny bit of self illumination (a diffuse map with Gamma Correction connected to the self illumination slot) to help get rid of the shadows where the geos met. Instead of adding more lights to flatten it, I felt that approach was quicker and easier.

在Photoshop中進行紋理和自定義

在貼圖之前，我做了一個簡單的嵌入式操作，只使用著色器來獲得整個調(diào)色板的概念，并且只有在接近最終的燈光時才開始實際的紋理繪畫。

我在Photoshop中創(chuàng)建了幾個動作按鈕，以加速這個過程。 我盡了最大的努力去做非破壞性的工作，并且把事情組織起來（例如，通過命名層次），以便稍后可以輕松地進行修改。

為了獲得這種風(fēng)格，我避免使用照片，主要使用自定義Photoshop筆刷來獲得手繪的感覺。 最后，我從網(wǎng)上抓取一個紙質(zhì)紋理，疊加在上面，添加一個微妙的垃圾。 我做到了我所有的紋理。

Texture and customizing in Photoshop

Before texturing, I did a simple block-in using just the shaders to get an idea of the overall color palette, and only started on the actual texture painting when the lighting was close to final.

I had a few action buttons in Photoshop that I'd created to speed up the process. I did my best to work non-destructively, and kept things organized (for example, by naming layers) so that I could easily make changes later.

To get this painterly style, I avoided using photos and mainly used custom Photoshop brushes to get the hand-painted feel. In the end, I grabbed a paper texture from online and overlaid it on top to add a subtle grunge. I did this to all of my textures.

在NUKE合成

我已經(jīng)把場景分解成前景，中場，背景，愛麗絲和柴郡貓。 我在NUKE里加了霧，把背景中間的地面分開。 我覺得在后期添加它會更快，所以我可以在以后輕松地進行更改。 多氈是非常有幫助的，因為它給了我更多的靈活性，以最終確定外觀。

Compositing in NUKE

I had broken down the scene into foreground, mid-ground, background, Alice, and the Cheshire cat. I added fog in NUKE to separate the mid-ground from the background. I figured it was faster to add it in post so I could make changes easily later. The multi-mattes were very helpful because it gave me more flexibility in comp to finalize the look.