《衣柜里的僵尸》制作

介紹

Introduction

大家好！我的名字是Yaroslav Primachenko，在這個(gè)制作中，我會告訴你我最后一部3D作品“壁櫥里的僵尸”制作流程。這項(xiàng)工作的想法是因?yàn)槲铱戳艘恍┙┦�電影，玩了精彩的植物與僵尸游戲后產(chǎn)生的——為什么僵尸總是由同一物種組成，它太無趣了！這些可愛的生物理應(yīng)得到更多的東西，所以我決定把不同的生物結(jié)合起來，創(chuàng)造出自己的僵尸，讓它更具創(chuàng)造性（或者我應(yīng)該說已經(jīng)死了嗎？）。所以我畫了一個(gè)叫Franky的角色——著名的Frankenstein怪物的弟弟。一個(gè)怪人，一個(gè)被社會排斥的人，由于吃素而被自己的家庭所憎恨和輕視，他寧愿吃花椰菜也不愿吃大腦。沒有人寫過任何關(guān)于他的書或拍過電影，他的存在是他所有親戚的恥辱。嗯，你知道，每個(gè)人的衣柜里都有個(gè)骷髏。

Greets everyone! My name is Yaroslav Primachenko and in this Making Of I will tell you about my last 3D work called "A zombie in the closet". The idea for this work came to me after watching some zombie movies and playing the brilliant Plants vs. Zombies game - why are zombies always composed of parts taken from the same species, it's so boring! These cute creatures surely deserve more, so I decided to make my own zombie and make it more creative by combining parts of different living (or should I say dead?) beings. So I drew a character called Franky - a younger brother of the famous Frankenstein monster. A freak and an outcast, hated and despised by his own family for being a vegetarian and preferring broccoli to brains. Nobody ever wrote any books or shot movies about him - his existence was a disgrace to all of his relatives. Well, there's a skeleton in everyone's closet, you know.

起初，我想用不那么飽和的顏色畫出一個(gè)更逼真的形象，但在畫完草圖后很快改變了主意。我不想失去所有機(jī)會，用一種更卡通的方式來制作——就像弗蘭基坐在搖椅上，或者用這種變形的比例。我試著去創(chuàng)造一個(gè)僵尸，每個(gè)人都想當(dāng)寵物，并且喜歡吃僵尸喜歡吃的東西(大腦?)

At first I wanted to make a more realistic-looking image with less saturated colors, but quickly changed my mind after drawing a sketch. I didn't want to lose all the opportunities that a more cartoony approach gave me - like Franky sitting on his tail as if in a rocking chair, or using such deformed proportions. I tried to create a zombie that everyone would want as a pet and would love to feed with all the stuff the zombies love to eat (brains?).

超級建模

Super Modeling

我開始使用ZBrush 3.1中的ZSpheres——這是一個(gè)很棒的工具，特別是現(xiàn)在已經(jīng)發(fā)布了3.5版本。在ZSpheres中，我找到了合適的比例，然后將它們轉(zhuǎn)換成可編輯的網(wǎng)格，并開始定義幾何圖形(圖01)。

I started with ZSpheres in ZBrush 3.1 - which is a great tool, especially now that version 3.5 has been released. With the ZSpheres I sought the right proportions then turned them into an editable mesh and started defining the geometry (Fig.01).

圖01

然后我將它導(dǎo)出為3ds Max，并在需要的地方做了一些修復(fù)——清理幾何圖形并進(jìn)一步細(xì)化。圖02為所示的結(jié)果，且無渦輪平滑。

Then I exported it into 3ds Max and made some fixes where needed - cleaning the geometry and refining it even more. Fig.02 shows the results both with and without turbosmooth on.

圖 02

我還打開模型，使它可以用于紋理(圖03)。

I also unwrapped the model to make it ready for texturing (Fig.03).

圖03

之后，我將它導(dǎo)出到ZBrush中，將它分割了幾次，并開始處理一些精細(xì)的幾何圖形。正是在那個(gè)時(shí)候，我開始覺得有點(diǎn)傻，因?yàn)槲野l(fā)現(xiàn)很難把所有不同的部分結(jié)合起來，讓它們看起來是有機(jī)的和自然的。它變成了一系列實(shí)驗(yàn)，嘗試這個(gè)，探索人類和動(dòng)物的解剖，思考如何將它應(yīng)用到我的僵尸身上，讓它看起來可信。

After that I exported it back into ZBrush, divided it a few times and started working on some fine geometry. It was at exactly that time that I started feeling a bit stupid as it turned out to be rather difficult to combine all the different parts and yet make them look organic and natural. It became a series of experimenting, trying this and that, exploring human and animal anatomy and thinking about how to apply it to my zombie and make it look believable.

然后我把模型分成了更多的部分，開始添加所有不同的皺紋——我最喜歡的部分(圖04)。我使用了ZBrushCentral的free alphas——非常棒的東西——還從iguana的照片中創(chuàng)建了一些照片，用于臉頰和我的僵尸生物的背部(圖05)。這才是真正的樂趣，我更喜歡的是紋理。

Then I divided the model even more and started adding all the different wrinkles - my favorite part of the work (Fig.04). I used free alphas from ZBrushCentral - really awesome stuff - and also created some from the iguana photos for the cheeks and the back of my zombie creature (Fig.05). That's the real fun, it's only texturing that I like more!

圖 04

圖 05

材質(zhì)和貼圖

Cool texturing and awesome materials

My texturing process goes like this. First I fill the model with the basic color and then do a rough polypaint (all in ZBrush), not caring about the resolution or the details a lot and just finding the right color scheme for the creature. 

我的變形過程是這樣的。首先，我用基本的顏色填充模型，然后做一個(gè)粗糙的多色漆(全部在ZBrush)，不關(guān)心分辨率或細(xì)節(jié)，只是為該生物找到合適的配色方案。

From time to time I export the texture as a low res PSD file and render it in Max, then paint more to try and get the look I want - I find this approach gives me the best and most predictable results. 

當(dāng)我對結(jié)果或多或少感到滿意時(shí)，我將其導(dǎo)出為4k紋理，在Photoshop中打開，并應(yīng)用色相/飽和度來校正顏色、曲線，并提高對比度。然后，我將這個(gè)固定的紋理應(yīng)用到ZBrush的模型中，并使開始繪畫投影——現(xiàn)在正在研究細(xì)節(jié)。我經(jīng)常用空腔來掩蓋模型，并使我所需要的細(xì)節(jié)更加明亮。有時(shí)我也會在Photoshop中打開紋理，使用不同的疊加模式添加額外的紋理。這些層通常只有10%可見，但我發(fā)現(xiàn)它們增加了所需的活力和多樣性。標(biāo)準(zhǔn)的顏色演化看起來是這樣的(圖06)。

When I'm more or less happy with the result I export it as a 4k texture, open it in Photoshop and apply hue/saturation to correct the color, curves and to raise up the contrast. Then I apply this fixed texture to the model in ZBrush and start painting on it using projection master - now working on fine details. I often mask the model by cavity and brighten or darken the details I need. From time to time I also open the texture in Photoshop and add extra textures using different overlay modes. These layers are often only 10% visible but I find they add the needed vibrancy and variety. The standard color evolution looks something like this (Fig.06).

圖 06

當(dāng)我對結(jié)果感到滿意時(shí)，我從ZBrush導(dǎo)出紋理，在Photoshop中打開它，然后添加一些銳化，我覺得可以讓紋理看起來更好。正如你所看到的，從ZBrush漫反射紋理(圖07)導(dǎo)出的頂部有很多額外的層。沒有食譜——每次都是獨(dú)一無二的。我通常在漫射通道的頂部添加一個(gè)空腔掩模，使其倍增，使其可見度為20-50%。我還喜歡把圖層設(shè)置為柔和的燈光，添加額外的紋理，或者只是為了避免縫合的細(xì)節(jié)而畫出細(xì)節(jié)。

When happy with the result I export the texture from ZBrush, open it in Photoshop and add some sharpen and just whatever I feel will make the texture look better. As you can see there's pretty much additional layers on top of exported from ZBrush diffuse texture (Fig.07). There's no recipe - it's unique every time. I usually add a cavity mask on top of the diffuse channel set it to multiply and make about 20-50% visible. I also like to lighten up some details with the layer set to soft light and add extra textures or just draw the details trying to avoid the seams.

圖 07

這就是關(guān)于紋理的所有內(nèi)容。在Franky的例子中，我想給他的身體涂上不同的顏色，但很快發(fā)現(xiàn)這是個(gè)壞主意，因?yàn)檫@個(gè)角色看起來很不自然。在不同的部分之間仍然有一種顏色的差異，但不像我一開始想的那樣生動(dòng)。我還創(chuàng)建了反射、sss、bump和normal bump的貼圖(圖08)。

That's pretty much everything about texturing. In the case of Franky I wanted to color different parts of his body in completely different contrast colors, but soon found out it was a bad idea as the character looked very unnatural. There's still a color variation between the different parts but not as vivid as I intended from the beginning. I also created maps for reflection, sss, bump and normal bump (Fig.08).

圖08

燈光和場景設(shè)置

Genius lightning and great scene setup

我使用了一個(gè)非常簡單的閃電方案-一個(gè)基本的填充VRay光和兩個(gè)聚光燈的衰減，一個(gè)為邊緣光源，第二點(diǎn)為關(guān)鍵光。我還將一些帶有自我照明材料的飛機(jī)——一個(gè)經(jīng)常用于汽車場景設(shè)置的方法(圖09)。

I used a pretty simple scheme for the lightning - a basic fill VRay light and two spot lights with attenuation, one for the rim light source and second for the key light. I also put some planes with self illumination material on - a method frequently used in the car scene setup (Fig.09).

圖 09

在VRay環(huán)境的反射槽中，我放置了一個(gè)HDRI映射。我沒有使用任何HDRI作為額外的燈光-只是一個(gè)天空藍(lán)色的乘數(shù)設(shè)置為0,8。我使用了一幅irradiance貼圖，上面有一個(gè)主要的GI反彈的高預(yù)置和次級的光——這個(gè)組合非常適合靜態(tài)場景。我在背景上設(shè)置了一個(gè)暗的淺藍(lán)色漸變，在材質(zhì)的不透明通道上添加了一個(gè)帶有徑向漸變的平面，這樣地板就會逐漸消失在圖片的邊緣。我用轉(zhuǎn)置的方式在ZBrush里擺了一個(gè)角色，讓他們的眼睛看著攝像機(jī)，增加了一本書和pince-nez以配合素描，加上我想要達(dá)到的那種傲慢的樣子。

In the reflection slot of the VRay environment I put an HDRI map. I didn't use any HDRI for the additional lightning - just a sky blue color with multiplier set to 0,8. I used an irradiance map with the high preset for the primary GI bounces and the light cash for the secondary - this combination works really well for static scenes. I put a dark to light blue gradient on the background and added a plane under the character with radial gradient on the material's opacity channel, so that the floor kind of faded away to the edges of the picture. I posed the character in ZBrush using transpose, directed the eyes so that they looked in the camera, added a book and the pince-nez to correspond with the sketch and add this arrogant kind of look I wanted to achieve.

出色的后期效果

Brilliant post effects

哇，我喜歡這部分的工作——這意味著你幾乎可以從你的工作中解脫出來，你可以開始另一個(gè)項(xiàng)目。這也是當(dāng)形象真正地出現(xiàn)的時(shí)候!

Whoa, I love this part of work - it means you're almost free from this voluntary labor you're putting yourself through and that you get to start another one to continue the suffering. Well this is also the part when the image truly comes to life!

對于這個(gè)特殊的角色，我沒有做太多的后期處理。首先，我在圖層中渲染了圖像，以便更好地控制最終的輸出，然后在Photoshop中使用不同的疊加類型來組合它們——這就是實(shí)驗(yàn)發(fā)揮重要作用的地方。我裁剪了圖像，使構(gòu)圖更加戲劇化(原來的渲染是一個(gè)水平的框架)，為了擺脫單調(diào)的空間，在圖片的頂部和底部增加了一些空間。

For this particular character I didn't do so much post effect work. First I rendered the image in layers to have better control over the final output, then I combined them using different overlay types in Photoshop - this is where experimenting plays a great role. I cropped the image to make the composition more dramatic (the original render was a horizontal frame) and to get rid of free dull space, added some space at the top and the bottom of the picture.

我在背景上放了一些bokeh紋理，這樣它就能更支持圖像，復(fù)制了bokeh層，并在人物的頂部添加了一些，讓他更好地融入背景。我將這些圖層合并為Franky，并添加了內(nèi)輝光效果，只是幾個(gè)像素的藍(lán)色填充色——出于同樣的目的。利用ZDepth通道的信息，我模糊了圖像的某些部分，使其具有了一些額外的深度。我還在地板上添加了混凝土紋理。

I put some bokeh textures on the background so that it would support the image more, duplicated the bokeh layer and also added a few on top of the character, here and there, to blend him with the background better. I merged the layers with Franky together and added the inner glow effect, just a few pixels with a blue fill color - for the same purpose. Using the information of the ZDepth channel I blurred some parts of the image to give it some extra depth. I also added concrete texture on the floor plane.

使用簡單的Photoshop軟刷添加了一些最后的潤色-在這里和那里添加一些額外的亮點(diǎn)。我把頭發(fā)和皮毛分開，在角色的頭上加上一些頭發(fā)——不多，因?yàn)槲也幌肫茐尿狎媸降男愿瘢�但還是有一些東西。我還復(fù)制了鏡面層，并添加了一點(diǎn)模糊效果。我在圖片的頂部放上一些圖層，將它們設(shè)置成顏色，然后用一些非常亮的顏色漸變填充它們，以增加顏色的活力，然后將填充色設(shè)置為10-30%。

Using simple soft Photoshop brush I added a few finishing touches - some extra highlights here and there. I rendered a separate hair and fur pass to add some hair on top of the character's head - not much, as I didn't want to ruin the lizard-type character style, but still something. I also duplicated the specular layer and added a little blur effect on it. I put some layers on top of the image, set them to color and filled them with some really bright color gradients to add vibrancy to the color, then set the fill of them to 10-30%.

最后，我在圖像上放了一些漂亮的紋理，使它看起來不那么數(shù)字化，然后合并了圖層，并銳化了結(jié)果(總是在最后銳化圖像，特別是當(dāng)你為網(wǎng)絡(luò)做準(zhǔn)備的時(shí)候)——準(zhǔn)備好了!您可以在應(yīng)用post effects(圖10)前后對比圖像。

Finally I placed some nice textures over the image to make it look little less digital, then merged the layers and sharpened the result (always sharpen the image in the end, especially if you prepare it for the web) - ready! You can compare the image before and after applying the post effects (Fig.10).

圖 10

結(jié)論

Boring Conclusion

謝謝你抽出時(shí)間來讀這篇文章，希望你喜歡。這是最后的圖像(圖11)。最后一條建議——當(dāng)僵尸來襲時(shí)，要小心你的大腦!所以，當(dāng)你在電腦上工作的時(shí)候，每隔一兩個(gè)小時(shí)就休息一下，這樣它的味道就會很好，你就不必感到羞愧了!祝你好運(yùn)，祝你胃口好!

Thanks for taking your time to read this Making Of, I hope you liked it. Here's a final image (Fig.11). And one final piece of advice - take care of your brain as zombies are coming to get it! So sleep a lot and take a rest every hour or two when working at a computer so that it tastes really good and you won't have to feel ashamed! Good luck and bon appetite!

圖11