3ds max教程：兵人制作流程

最終渲染

hi all, my name is stanislav klabík and i would like to show you the process of making of my latest personal project named "gunnery sergeant thomas highway"

i really like the movie heartbrake ridge where clint eastwood play a really tough drill instructor who is in war with marine corps in his platoon so i decided to make a some nice portraits of him.

大家好，我的名字是stanislav klabik 我很高興能給你展示我的最新角色作品：gunnery sergeant thomas highway.

我很喜歡hearbrake ridge這部電影。clint eastwood飾演一個參與海灣戰(zhàn)爭的排中的嚴格堅韌的教官，所以我決定為他做一個細致的肖像。

modeling：建模

i used a simple head model for the first modeling. when i was satisfied with the result, with the base proportions of eastwood´s face, i used this highpoly model for modeling a new topology with using the great polyboost scripts. i used a bit heavy polycount for his head to achieve all major proportions of his face, because i planned to make some facial animations.

我使用一個簡單的頭部模型作為基礎模型。當我制作好基礎模型比例與eastwood的臉相似，我使用這個高模制作了一個新的拓撲模型使用強大的polyboost插件，我為臉上的比例制作花費了比較多的精力。因為我計劃為臉部制作一些動作.

base sculpt：基礎雕刻

new topology：新拓撲模型

then i made a simple rig for the head and turned his head to different position, then i took this model to mudbox and added all details like wrinkles, pores and etc. i didn´t used the displace for final render, because there was a huge difference between the fastskin+displace and between the fastskin without displace implemented, don´t know why, but these shaders looks totally different in quality despite the same settings. the hairs and the facial fur like the eyebrows and etc. were made using the incredible slow hair and fur using a several maps to modify the hairs placement, length, thickness.

here you can see the evolution of clint

我為頭部制作了簡單的控制器，然后擺出不同的造型，然后我把這模型導入mudbox增加皺紋，毛孔等細節(jié)。我在最終渲染中更沒有使用置換，因為在使用fastskin+displace和fastskin沒有使用displace的時候差別很大。我也不知道為什么。在同樣的設置參數(shù)下陰影有很大的區(qū)別。一些毛發(fā)和皮膚上的軟毛和眉毛我使用非常緩慢的毛發(fā)系統(tǒng)來調(diào)節(jié)厚度長度。

這里你可以看到clint的變化過程。

final head

最終頭部

then i started a modeling of the cloths, i used the same screens from the movie as for the head. the hardest part were the ribbons and his badges, because i am not skilled in marine corps awards and the screens were to small to see what awards he has, i spent quite a long time with looking on the screens and with searchnig for right awards using right words via google.

然后我開始制作衣服，我使用剛才制作頭部時候使用的電影場景做參考，最難的部分是領帶還有他的徽章。因為我不大了解海軍陸戰(zhàn)隊的徽章和獎勵具體是什么。而且場景中的圖片過于小。我花了好長一段時間在谷歌上尋找關于真確的徽章和正確的名稱。

the ribbons

色帶

the metal badges were modeled really quick, i used googled images, tweaked them a bit in photoshop and then used them as a stencils in mudbox. then i tweaked the model for better shape and details, exported selected poylgons and that´s all, really quick way how to do these type of things and with great quality.

這些金屬徽章制作相當容易。我使用谷歌圖片。在photoshop中打開他們制作為圖案文件然后再mudbox中使用。然后我調(diào)節(jié)他們使之有好的陰影效果和細節(jié)。導出所以選出的模型，這種方法很容易快速簡單的制作出高細節(jié)的模型。

background is based on the movie too, i changed only some small details. some peoples were confused why i used so many polygons for windows and some other parts. that´s was beacause of quality, final render was a bit blured because of dof, but there were a difference between the renders with background with sharp-edged objects and between the background with chamfered and smoothed edges. and i want as much quality as possible so i that´s why i used so many polygons for this simple background.

背景也是基于電影的，我只是改變了一些小的細節(jié)。很多人不明白我為什么使用如此多的面數(shù)在窗戶和其他的一些地方。這是為了最終渲染效果的，因為最終的背景效果會有一些的模糊，但是尖銳的棱角邊緣跟圓潤的棱角邊緣還是會有很大的區(qū)別，我需要盡可能的體現(xiàn)的完美。于是我在簡單的背景用了這么多的面數(shù)。

eye model：眼睛模型

texturing and materials：貼圖和材質(zhì)

i did texture only for head and ribbons, for head i used color, specular and bump map. i used only overal color slot in fastskin material, but you must know what you are doing when you are using only this slot. i used only one color or the mix of two colors for the rest of the color slots in fastskin material. when i matched all color tones of his faces i did the rest of the maps. textures for ribbons were really simple, only colors, everything else were made in geometry

我只為頭部和領帶制作了貼圖。為頭部制作了顏色，高光和凹凸貼圖。我在faskskin材質(zhì)只使用了疊加顏色，但是你必須知道你使用的這些圖層有什么作用。我只使用一個顏色和另外的兩個fastskin材質(zhì)的兩個通道。，當我設置好材質(zhì)的啥時候，我開始制作其他的貼圖。領帶的貼圖非常簡單。只是一個顏色，其他的就是模型了。

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head

for clothing i used again the fastskin material with simple cloth texture with pattern, this provide the soft look and together with the small

strong bump provide the soft fuzzy look.

制作衣服我同樣適用了fastskin材質(zhì)。使用簡單的布料貼圖和花紋。這使它看起來柔軟而且強烈的凹凸帶來毛茸茸的效果。

eye use fastskin together with the raytrace material for the outer shell of the eye. settings for the reflections is quite similar as max edwin has in his song hye-kyo project.

眼睛使用fastskin材質(zhì)使用raytrace材質(zhì)用于眼睛的表面散射。其他的設置于宋慧喬那個項目的參數(shù)類似

lightning：燈光

i used arealights, on the screens you can see their positions. the left side windows and the right side windows simulate light coming from the both sides of the room, everything is the same as in the movie.warm bulb light simulate warm light coming from above. back window simulate the light coming from window behind him. light uses the raytraced shadows.

我使用同樣的燈光。在屏幕上你可以看到他們的位置。左邊的窗口和右邊的窗口分別表象從房間的兩邊傳來的燈光。一切都像電影中的那樣。暖色調(diào)的等用來模擬從高處來的暖光。后面窗戶來模擬從后面發(fā)來的光線。燈光使用共線跟蹤陰影。

background uses several lights.

背景使用陣列燈光。

rendering：渲染

i used mental ray for character and vray for background. i am not skilled in mental ray interior rendering and i din´t want to waste my time

with mental ray for interiors i decided to use vray and match both scenes settings. for character i used camera with 130mm lens

我使用mentalray給角色渲染。使用vray為背景做渲染。我不熟練于使用mentalray渲染室內(nèi)，而且我也不想花費太多時間在如何使用mentalray渲染室內(nèi)上。所以我使用vray渲染室內(nèi)。我為角色設置了130mm的鏡頭效果。

mental ray settings：mental ray設置參數(shù)

vray settings：vray設置參數(shù)

postproduction：后期制作

in photoshop, there i did lot of tweaks to achieve a little bit specific look of 80´s movies. i tweaked the color balance, added a grain, at the end i added lens flare effect using the great knoll factory tools. but all the effect are only a small and decent, because bad using of lens flare can kill your render sooner than you blink. i also added tiny facial fur, and tweaked some details.

在photoshop中。我做了許多的調(diào)試使其看起來像八十年代的電影，我調(diào)整色彩平衡，增加一些顆粒感，最后我增加了鏡頭光暈使用強大的great knoll factory工具，最終我只使用了一些特效，因為一些鏡頭效果錯誤的使用會使缺點多過閃耀的地方。所以我增加了一些皮膚的軟毛和增加一些細節(jié)。

original render：最初渲染。