3Dsmax打造受傷的獸人過(guò)程

step 1

我要花費(fèi)大量的時(shí)間來(lái)進(jìn)行制作基礎(chǔ)模型，我們?cè)谇捌谧钪饕�的是要把大致的形體比例做到位，而且網(wǎng)格盡量都是四邊面。

ok, after modeling quite a rough shape of his head, i exported it to zbrush. it is a great program and offers infinte ways and techniques for character artists. because this is an early stage for the modeling, i'm using zbrush only for shaping the head, playing with proportion and not for adding small details.

ok，之后呢，我們把模型要導(dǎo)入到zbursh里面，對(duì)這些模型再進(jìn)行動(dòng)態(tài)形體的調(diào)整，使他的細(xì)節(jié)更加的惟妙惟肖。

step 2

sadisfied for the moment from zbrush, i got back to max extending and building new geometry

從zbursh中再把模型倒出來(lái)，我們對(duì)模型再進(jìn)一步調(diào)整

i'm trying to get the most of 3ds max robust polygon toolset. after that point, back to zbrush.

從3d max里面再導(dǎo)出這個(gè)模型，并在zbursh里面進(jìn)行形體的細(xì)分。

it's amasing how quickly you can carve a lot of detail, with very few tools like draw and move in zbrush. going this way, i've modeled the body. starting from a simple shape/ turning to poly/ and adding detail with only these simle tools.

這個(gè)是通過(guò)在zbursh里面做到身體各個(gè)的細(xì)節(jié)部分。

back in max i builded the gums and teeth.

這個(gè)是牙齒模型的細(xì)化

step 3

the tounge. 舌頭

i'm almost done with modeling and it's time to do some uv work!... i added unwrap uvw modifier and started pulling and pushing the uv's, trying to make them as flat as posible. i also used pelt techniques to flaten and adjust the uv's in order to avoid texture streching.

這個(gè)部分是uv制作環(huán)節(jié)，在展uv部分是，我常用的就是unwrap uvw 這個(gè)修改器，并使用一些放松的命令對(duì)模型uv拉伸部分進(jìn)行放松處理。盡量不讓uv有明顯的拉伸，除此之外，uv的布局也要看上去很滿，不要有太多的空缺。

bringing the model back to zbrush, i started painting some color for the texture. at the end i exported displacement and normal maps from zbrush, to use them later on the rendering proces.

回到zbursh里面，我們?cè)賹?duì)這個(gè)模型進(jìn)行紋理的繪制.

step 4

time for skining. i built a ferely simple scheleton rig and added some simple controls for the limbs, head, mouth.

我們使用3d max里面自帶的蒙皮工具進(jìn)行蒙皮處理，重新調(diào)整一個(gè)理想中的姿勢(shì)。

this way i can pose it.

這個(gè)是其他視角。

after that, i worked with the enviroment, building the cave first , and than adding rocks, grass, and other tiny details.

在3d max中我們搭建一個(gè)我們所需要的環(huán)境，再添加一些植物，水坑，一些臟舊的東西。

i've created a spot light. added a volume light to atmospheres & effects rollout.

設(shè)置好燈光，在大氣和效果卷展覽加上我們所需要的體積光特效。

the shaders played very important role in what i was trying to achive for the skin look. using brazil rendering system gives me more fredom to play with shaders because it has more channels to fed the texture in. i used brazil skin material for achieving that soft and warm look i was looking for. i turned on global illuminations and enviroment lightening. played with brazil shaders to get the soft and translucent effect i was looking for the skin. here is a test i've done using the ellements mentioned before,(volume light & translucent effect).

為了試圖使用這個(gè)皮膚材質(zhì)看起來(lái)更加的自然，我使用了巴西渲染器，因?yàn)樗�有更多的通道選項(xiàng)，給了我更多的發(fā)揮，做出豐富的質(zhì)感。為了實(shí)現(xiàn)柔軟柔和的效果，我一直在尋找巴西皮膚的材質(zhì)。我打開(kāi)全局照明和環(huán)境燈光。并開(kāi)始嘗試調(diào)整皮膚的柔軟和半透明的效果，下面的測(cè)試，就是我已經(jīng)做了前面提到過(guò)的ellements后的效果。

step 4

the sss shader combined with normal bumps, enhanced the look of the character even further. it was easy to add hair & fur to my character, using the new intuitive hair system in 3ds max. combig and styling the hair, bringed to a new level the look of the ork.

使用sss材質(zhì)并結(jié)合凹凸貼圖，為了增強(qiáng)更多的質(zhì)感細(xì)節(jié)。這個(gè)是添加的毛發(fā)效果，在3ds max中使用毛發(fā)系統(tǒng)，為其調(diào)整一個(gè)看上去合適的毛發(fā)效果。

i added some more spots and omni lights in the scene. with all the lights setup in the scene i ensured that global illuination was turned on in the rendering panel. checked once again all the shaders, the textures and the geometry, to verify that everything is all right.the scene is almast complete now, and it's time to do planing for rendering it in differnt passes.

我再補(bǔ)充一點(diǎn)，現(xiàn)在場(chǎng)景中的燈光。憑借著場(chǎng)景中的燈光設(shè)置，我們?cè)阡秩久姘迳祥_(kāi)啟全局照明，再次檢查一下所有的材質(zhì)，紋理。確認(rèn)一切都是正常的，之后，就可以進(jìn)行渲染了。

here are some of the main passes.

下面是一些主要的通道

i used digital fusion to blend all the passes together into a sigle piece. alsow added some lens blur and defocus effect on the main character and the scene itself.

我使用了fusion進(jìn)行后期合成，為我們的主場(chǎng)景和角色做一些鏡頭模糊和焦散效果。