卡通場(chǎng)景制作

步驟1:概念草圖

STEP 1: Concept sketching

對(duì)于這個(gè)圖像，我實(shí)際上是畫(huà)了一個(gè)概念草圖，而不是每個(gè)項(xiàng)目都做的。 因?yàn)槲抑�道我想用魚(yú)眼鏡頭的角度來(lái)看，我覺(jué)得有必要看看它是否會(huì)起作用。 但是，我犯了一個(gè)錯(cuò)誤，就是沒(méi)有在3D中測(cè)試龍。 當(dāng)使用一個(gè)怪異的鏡頭，不要以為你可以預(yù)期的效果會(huì)很好，更不要說(shuō)畫(huà)它了。 用3D進(jìn)行測(cè)試。

For this image I actually 'drew' (scribbled) out a concept, something I don't do for every project. Because I knew I wanted to work with fisheye lens perspective, I felt the need to see if it would work. However, I made the mistake of not testing the dragon in 3D. When using a weird lens, don't think you can anticipate the effect, let alone paint it. Test it out in 3D and save yourself a headache or three later on...

早期的概念

Early concept

步驟二:小孩的制作

 STEP 2: Sculpting the kid

重新拓?fù)湓?D-Coat中完成。 這款軟件中的retopo工具超級(jí)可靠！ 它只是按照你想要的方式工作。 一個(gè)好的建議是先從/大/四方開(kāi)始，鋪設(shè)流線(xiàn)和循環(huán)。 只需點(diǎn)擊一下鼠標(biāo)就可以添加額外的循環(huán)，然后手動(dòng)添加額外的循環(huán)。 一般來(lái)說(shuō)，這也是更簡(jiǎn)潔的拓?fù)浣Y(jié)構(gòu)。

Retopology was done in 3D-Coat. The retopo tools in this piece of software are super solid! It just works the way you want it to. A good tip is to start with the /big/ quads, laying out the flow lines and loops. It's so much faster to add extra loops with one click in between others then to add extra loops all the way around manually. It also results in much cleaner topology in general.

加快小孩的速度，測(cè)試自己能夠多快地完成一些可用的東西。 原來(lái)是一個(gè)半小時(shí)左右！

Speed retopo of kid, testing myself how quickly I could achieve something useable. Turned out to be about an hour and half!

步驟3:造型設(shè)計(jì)

STEP 3: Marvelous Designer

我喜歡使用Marvelous Designer的一個(gè)重要原因是我不必?fù)?dān)我的面料的UVs。 因?yàn)槟鷮⑺鼈兎胖迷诙�維視圖中（如同您在現(xiàn)實(shí)生活中一樣）并進(jìn)行模擬，您可以使用二維布局作為UV坐標(biāo)，而不必?fù)?dān)心織物在某些地方伸展/變形。 超酷！ 對(duì)于雕刻的服裝來(lái)說(shuō)，讓圖案向右流動(dòng)通常是令人討厭的。

One of the big reasons I like to use Marvelous Designer is that I don't have to worry about the UVs of my fabrics. Because you lay them out in a 2D view (as you would in real life) and simulate them, you can use the 2D layout as your UV coordinates without having to worry about your fabric stretching/deforming in places. Super cool! With sculpted clothing it's often annoying to get the patterns to flow right.

用奇妙的設(shè)計(jì)模擬面料

 Simulating the fabrics with Marvelous Designer

步驟四：雕刻孩子的臉

STEP 4: Sculpting the kid's face

當(dāng)我雕刻這個(gè)表情的時(shí)候，我想我已經(jīng)盡可能地把它推到極致了——如果我再進(jìn)一步推它，它看起來(lái)就不太對(duì)了。主要的問(wèn)題是ZBrush的陰影模型。當(dāng)角色完全被紋理遮蔽，光線(xiàn)散射到皮膚中時(shí)，它更加寬容，而且我認(rèn)為我制作的表情幾乎顯得有些沉悶。在接下來(lái)的項(xiàng)目中，我知道我可以進(jìn)一步完善它。

When sculpting the expression, I thought I had really pushed it as far as I could - if I pushed it any further it just didn't look right. It turns out that the main problem was the shading model in ZBrush. When the character was fully shaded with textures applied and light scattering into the skin, it was a lot more forgiving and the expression I thought I pushed so far almost seems a little bit dull. Knowing that I can push it even a lot further is something I will keep in mind in upcoming projects.

雕刻面部表情

Sculpting the facial expression

第5步：面料和頭發(fā)

 STEP 5: Fabric and hair

這個(gè)角色使用MARI紋理。 至于通道的每一步，紋理化都是從尋找好的參考開(kāi)始的。當(dāng)我知道我想用什么樣的圖案來(lái)制作這些布料時(shí)，我在網(wǎng)上找到了照片，然后裁剪和縮放它們，讓它們變得可以使用，這樣它們就可以作為一種圖案。我喜歡將紋理看作是構(gòu)建層(就像陰影一樣)。首先我要畫(huà)出布料的圖案，然后使用很多程序上的噪音模式來(lái)分解紋理。這樣做之后，我手繪了污漬、污垢和灰塵層，所有這些都是為了擺脫CG的外觀。這適用于我所畫(huà)的所有材料——金屬或木質(zhì)紋理都經(jīng)歷了完全相同的過(guò)程。

The character was textured with MARI. As for every step of the pipeline, texturing all started with finding good references. When I knew what kind of patterns I wanted to use for the fabrics, I found photographs on the internet and then cropped and scaled them to make them tileable so they were useable as a pattern. I like to think of texturing as building up layers (just like shading!). So first I would lay out the pattern of the fabric, and then use a lot of procedural noise patterns to break up the textures. After doing that, I hand-painted stains, dirt and dust layers, all to try to get rid of the CG look. This applied to all the materials that I painted - metals or wooden textures went through exactly the same process.

自從我使用Maya 2016以來(lái)，我選擇了學(xué)習(xí)XGen制作頭發(fā)的方法。  它在視口2.0中的實(shí)時(shí)預(yù)覽是不可思議的 - 不需要測(cè)試渲染任何東西！ 這節(jié)省了我很多時(shí)間。

Since I switched to Maya 2016 lately, I chose to learn the ways of XGen for making hair. And holy moly, did I have a good time doing it! The real-time preview of it in viewport 2.0 is incredible - no need to test-render anything! This saves me so much time.

XGen在視口2.0中實(shí)時(shí)預(yù)覽

XGen real-time preview in viewport 2.0

步驟6:看動(dòng)態(tài)

 STEP 6: Look development

在開(kāi)始陰影之前，我確保創(chuàng)建一個(gè)正確校準(zhǔn)的中性光線(xiàn)設(shè)置。 盡管這很重要，但并不是非常嚴(yán)格。 你只是想避開(kāi)那些會(huì)影響你的顏色和價(jià)值選擇的燈光設(shè)置。

Before starting shading I make sure to create a properly calibrated, neutral light setup. Although it's important, it's not super strict though. You just want to avoid light setups that would influence your color or value choices.

在中性照明的環(huán)境下看動(dòng)態(tài)

Look development in a neutrally lit environment

第七步:頭盔著色器

STEP 7: Helmet shaders

閱讀別人的節(jié)點(diǎn)圖會(huì)很困難，因?yàn)橐�看的東西太多了。為了更好地閱讀我的文章，您需要知道我在邏輯分層的方法中構(gòu)建了所有的著色器。以盾牌為例，我有一個(gè)生銹的金屬材質(zhì)和涂層。在我的分層方法中，涂層將是一個(gè)著色器，它將會(huì)在銹色著色器的頂部分層，它將會(huì)在底部的金屬著色器上分層。都在面具里!

Reading someone else's node graphs can be hard as there's so much to look at. In order to read mine better, you need to know that I build all my shaders in a logically layered approach. Taking the shield as an example, I've got a rusty metal shader with a coating. In my layered approach, the coating will be a shader, which will be layered on top of the rust shader, which will be layered on top of the base metal shader. It's all in the masks!

頭盔上的金屬由四個(gè)主要層組成。 一個(gè)閃亮的灰色基礎(chǔ)金屬，一個(gè)閃亮的氧化黃色層，骯臟的彌漫涂層，然后一個(gè)油漆層。 工作流程始終是相同的，從繪制或可繪制的地圖開(kāi)始，并使用一些實(shí)用節(jié)點(diǎn)來(lái)改變它們的外觀（增加增益，降低對(duì)比度等）。 在Maya中進(jìn)行這些非破壞性的操作要比不斷地回到NUKE或者Photoshop來(lái)寫(xiě)出新的圖像要好得多

The metal on the helmet consists of four main layers. A shiny grey base metal, a shiny oxidized yellow layer, the dirty diffuse coating, and then a paint layer. The workflow is always the same, starting from painted or tileable maps and using some utility nodes to change their appearance (up the gain, lower the contrast, etc). Doing these operations non-destructively in Maya is much better than having to keep going back to NUKE or Photoshop to write out new images.

頭盔著色器節(jié)點(diǎn)圖。 從右到左閱讀陰影網(wǎng)絡(luò)，非常簡(jiǎn)單！

Helmet shader node graph. Read the shading networks from right to left, it's so much easier!

第8步：散景效果

STEP 8: Bokeh effects

雖然蔡司的研究人員在談?wù)搲溺R頭——因?yàn)樗麄兪枪鈱W(xué)上不完美的——對(duì)于我們的CG藝術(shù)家來(lái)說(shuō)，他們可能是非常有趣的。

Whilst the Zeiss researcher was talking about bad lenses - because they are optically not perfect - for us CG artists they can be incredibly interesting.

使用自定義過(guò)濾器圖像和默認(rèn)的圓圈之間的區(qū)別

The difference between using a custom filter image and a default circle

最終的圖像!

Final image!