使用maya制作下水道之魚

軟件有maya，zbrush，mental ray ps和uv-layout。

before any further move, i always prefer to make little production scratch chart for my guideline, which can help me to focus in between my personal work and office work’s deadly deadline as shown in.

任何進(jìn)一步的行動(dòng)之前，我總是喜歡先做一些小測(cè)試來(lái)為后面的步驟做參考，這可以幫助我在個(gè)人工作和公司工作之間集中更多的精力在這個(gè)上面。

usually i’m spending 2-3 hrs for my personal work. that’s why i assumed to spend almost 2 weeks for ‘say cheese!!’ artwork, then i started to make rough list of production stages which i’ve thought to make out fish in estimated time and with most perfection.

通常我花2-3個(gè)小時(shí)在個(gè)人工作上。這就是為什么我以為要花近2個(gè)星期的時(shí)間在這個(gè)工作上，然后我開始列出生產(chǎn)階段的清單，我試著在規(guī)定的時(shí)間內(nèi)作出盡可能完美的魚。

after rough calculation, i’d started to make concept drawings and thought to add lots of stuffs into it. i was about to add more than two fishes at a time but, it was giving scene much complexity and unbalance. i wanted to spend little more time for concept design to make it clean clear idea. concept gives me very bright appealing for composition and pov.

粗略計(jì)算后，我開始畫概念圖，認(rèn)為要添加更多的元素在里面。我剛開始想著在同一時(shí)間增加兩條以上的魚，但它讓場(chǎng)景變的復(fù)雜和不平衡。我想花多一點(diǎn)的時(shí)間在概念設(shè)定上，使它盡可能的清晰明了。概念圖使我對(duì)構(gòu)圖和pov有一個(gè)直觀的了解。

參考——概念化之后，我真的需要很多有關(guān)水，氣泡，礫石，泥土磚的參考，尤其是魚的參考。我從網(wǎng)絡(luò)和自己的參考圖書館里收集所有可能有用的參考。要在一幅藝術(shù)作品中創(chuàng)造一個(gè)重要的角色，首先要了解它的解剖結(jié)構(gòu)。為了更好的建模和制作紋理，我研究了魚的解剖結(jié)構(gòu)。

modeling incorporated with dynamics – all models were done in maya and minor tweaks done in z-brush. i took props first where bg setup needs priority. i made very simple and low poly tiles and floor in short time. then as per reference i made pipes absolutely like that but, kept it limited according to logical and composition sense. after completion of whole basic setup; i’d decided to make gravels.

模型與動(dòng)力學(xué)——所有的模型是在maya中完成，然后在zb中做小改動(dòng)。我首先制作了一些小道具。我在很短的時(shí)間內(nèi)制作了地板的低模。然后照著參考，我制作了像這樣的水管，但使它符合邏輯和構(gòu)圖。經(jīng)過(guò)整個(gè)基礎(chǔ)設(shè)置完成后，我決定開始制作礫石

gravels were little tricky one! so, i thought to spread it through dynamics. i made little emitter “particle setup” for such things which can help me in further. with collision of each object (pipes, floor and tiles); gravels placed perfect on floor and some on pipes even. to give little natural effect i have used random transformation (rotate, scale) script for gravels.

砂礫是比較棘手的模型中的一個(gè)！所以，我想用動(dòng)力學(xué)來(lái)分布它。我創(chuàng)建了一個(gè)發(fā)射器“particle setup”，這在后面會(huì)幫到我。隨著每個(gè)對(duì)象的碰撞（管道，地板和瓷磚），礫石非常完美的分布在地面和管道中。為了產(chǎn)生一些隨機(jī)的效果，我用旋轉(zhuǎn)和縮放 對(duì)礫石編輯了一下。

amazing water level needed right attention. so, i made pond fluid and wake emitter for waves. once i satisfied with shape of water level i’d converted fluid into polygon for mr shading purpose.

驚人的水位需要正確的注意。所以，我創(chuàng)建了“pond fluid”流體和“wake emitter”產(chǎn)生波紋。當(dāng)我對(duì)形狀和水位感到滿意后，我把流體轉(zhuǎn)變?yōu)槎噙呅巍?img src="http://m.10000bestjobs.com/bjqasdasd3f5gt454/ewebeditor/uploadfile/url_image/20111202161339345.jpg">

bubbles were made same with dynamics process, i’d put emitter into leaked pipe connection. with help of mathematical expressions into instancer properties, bubbles were little screwed, pressed, randomly rotate and scaled properly. dynamics helps most with such situation.

氣泡也是用相同的方法制作的，我把發(fā)射器放在水管結(jié)合處。借助instancer屬性中的數(shù)學(xué)表達(dá)式，氣泡被適當(dāng)?shù)男�轉(zhuǎn)和縮放。在這種情況中，動(dòng)力學(xué)是最有用的。

then it was a time to make lead star of the scene a common “tropical fish”. i had used few references to understand its anatomy and skin structure as i mentioned. i’d also loaded reference image into front camera for better proportion guideline. first made very basic block out stage of fish model first, then i took blocked model into zbrush for minor tweaking and proportion check up.

現(xiàn)在在場(chǎng)景的中心制作一條很普通的熱帶魚。正如我所說(shuō)，我用了很少的參考去了解它的結(jié)構(gòu)和皮膚紋理。我還在相機(jī)的正視圖中導(dǎo)入了參考圖片來(lái)更好的掌握大形。首先做出一個(gè)魚的大形，然后再在zb中添加細(xì)節(jié)。

為了在zb中得到更好的結(jié)果，我按照實(shí)際中需要的對(duì)魚進(jìn)行了重新拓?fù)�。�?dāng)一個(gè)帶有凹凸，法線，置換貼圖的角色要進(jìn)行動(dòng)畫時(shí)，布線結(jié)構(gòu)是非常重要的。在開始雕刻之前，我用uv-layout把魚的uv分了一下。

for upper, lower and tail fins; i used hair system with the help of nurbs shape. the process was little manual but, it gave me right soft rays or dorsal spines on perfect place and clump. i had hold shift and make numerous isoparms according to taste, then i’d duplicate curves and converted it to hair and follicles with “convert curves into hair-system” function. again i had converted hair into polygon geometry for better optimization, sent fish model for more detail sculpting in very cool software called ‘zbrush’.

對(duì)于上鰭，下鰭和尾鰭，我用nurbs和毛發(fā)系統(tǒng)。這個(gè)過(guò)程很簡(jiǎn)單，但它讓我在正確的位置生成了正確的 鰭。我按住shift鍵并選擇全部的isoparms，然后我復(fù)制曲線用“convert curves into hair-system”功能轉(zhuǎn)變?yōu)轭^發(fā)。為了更優(yōu)化我再次把頭發(fā)轉(zhuǎn)變?yōu)槎噙呅�，然后再zb中把魚雕刻出更多cool的造型。

sculpting – well, that’s really ‘full of fun’ stage; just we need to be aware of some pre-requites steps before get into zbrush package. such as clean topology, clean uvs (if you want to use any map), equal space of quads, lesser tries.

雕刻——好，這真是’充滿了樂(lè)趣’的階段; 我們?cè)趯?dǎo)入zb之前需要注意一些細(xì)節(jié)。比如干凈的拓?fù)浣Y(jié)構(gòu)，干凈的uv（如果你想使用任何貼圖的畫），相同大小的四邊形。

i’d decided to put full details as much as possible on fish in maya only. i’d started sculpting with ‘standard brush’ and ‘inflate brush’ to catch up basic details on 1st level of subdivision. i was keep going towards more details, particularly on fins, gill cover, anal fin, soft dorsal fin and caudal fin area within 2nd and 3rd level of subdivision.

我決定在maya中把魚做的盡可能的詳盡。在一級(jí)細(xì)分的模式下，我開始用“standard brush”和“inflate brush”來(lái)雕刻出最基本的結(jié)構(gòu)。我繼續(xù)深入下去，尤其是在二級(jí)和三級(jí)細(xì)分下對(duì)鰭，鰓蓋，臀鰭，背鰭軟和尾鰭。

i’d used layers option for more details like skin pattern with help of alpha brush. i’d decided to use masking with cavity and enhanced details. now time was for posing, so i took it to lowest level and exported to maya and rigged (last level, rigged one) then again imported back to zbrush. i’d decided camera angle so, i didn’t need to concentrate on asymmetrical shape.

我使用alpha筆刷來(lái)使皮膚達(dá)到更多細(xì)節(jié)層次。我決定使用腔和洞的mask遮罩�，F(xiàn)在要擺pose，所以我導(dǎo)出一個(gè)低模，在maya中進(jìn)行綁定（最后一個(gè)級(jí)別，綁定一個(gè)）然后再把它導(dǎo)入zb中。我要決定攝像機(jī)的角度，不需要把精力集中在非對(duì)稱外形上。

texturing and shading – texturing and shading is one of the important stages through out whole artwork look and feel depended. i assumed major objects would be shaded with procedural shaders. so, i used very basic single switch node for gravels and i’d used 3 little scripts for randomization.

紋理——在整個(gè)制作流程中紋理是非常重要的一個(gè)環(huán)節(jié)。我設(shè)想著主用物體的紋理用程序貼圖。

所以我給了礫石基本的“single switch”節(jié)點(diǎn)，還使用了3個(gè)小的腳本。? assigned user defined attribute “vcoord” to n selected objects using script.

? connected geometries with selected single switch node in hypershade using script.

? randomized all selected geometries attribute “vcoord” using script.

? 用腳本指定用戶定義的屬性“vcoord”給選擇的對(duì)象。

? 用腳本來(lái)連接幾何與選定在hypershade中單個(gè)開關(guān)節(jié)點(diǎn)。

? 用腳本隨機(jī)所有選取的幾何屬性為“vcoord”。

for pipes, i was so inspired from old copper and mossy effect. i made two different shaders for surface bubbles and water bubbles. so, i used different mr dielectric and dgs materials for bubbles. i found problem at water droplets on tiles were highly intensive glow because of key photonic light was linked to it.

對(duì)于水管，我的靈感來(lái)自舊銅和苔蘚的效果。我對(duì)表面氣泡和水中的水泡使用了兩個(gè)不同的著色器。所以我對(duì)水泡使用了mr的“dielectric”和“dgs materials”。我發(fā)現(xiàn)因?yàn)榇罅康墓庾訉?duì)水泡有影響所以在瓷磚表面的水泡就有曝光的現(xiàn)象。

i used zbrush for fish and tiles texturing, especially i’d used zapp-link plug-in for easy texturing, which can be interlinked with photoshop and zbrush visa versa. great package from zbrush!!

我用zb來(lái)制作魚和瓷磚紋理，尤其是用“zapp-link plug-in”來(lái)制作簡(jiǎn)單的紋理，他們可以在photoshop和zbrush中互聯(lián)反之亦然。

i made specular, reflection, all three skin layer maps from zbrush for mr sss shader in maya. i’d noticed shiny glossiness in fish skin, so i need to make glossy map which was really effective enough. even sss shader’s specular attribute has quite detailed options to generate nearly real skin.

我從zb中得到高光，反射，所有的三種皮膚貼圖，然后放入maya的mr sss材質(zhì)中。我注意到在魚皮膚上有光澤度，所以我需要制作足夠有用的光澤貼圖。sss材質(zhì)的高光屬性有詳細(xì)的參數(shù)來(lái)達(dá)到真實(shí)皮膚的效果

lighting and rendering – i’d used basic 3 lights setup (photonic key, fill and rim light). i’d used key photonic light for whole layout and other 2 lights were linked just for fish individually.

燈光和渲染——我使用3點(diǎn)布光（主光，輔光和輪廓光）。我用主光作用于整體環(huán)境，其他的兩盞光只對(duì)魚起作用。

i’d used gi photons for better result to the scene. because of mental ray’s dielectric shader and dgs refracted and reflection values, i had used caustics photons also. i was exited with double bounced shadow layer when light reflected through main photonic light. it gave me real water shadow effect.

我用gi燈光來(lái)得到更好的畫面效果。由于mr的“dedlectric shader”、“dgs refracted”和反射值，我使用了“caustics photons”。我設(shè)置反射的次數(shù)為雙倍。這樣給了我真實(shí)水面的效果。

i made proxy/dummy box under water level till floor with refracted glass, transparent shader assigned on it. it was just for refracted effect to water from straight front.

我在水面和地板之間制作了水箱，并把透明的材質(zhì)指派給它。在正面角度，它對(duì)水的折射產(chǎn)生了影響。

i was facing challenge at rendering occlusion pass, where refraction appears at under water portion specially. but, simple solution was to assign manually overrides at each property of light and shaders. i.e., in occlusion pass; i made ao shader, proxy box has same refracted shader but, i’d assigned ao shader to all other objects apart from ‘proxy box’.

我在渲染occ的時(shí)候遇到了挑戰(zhàn)，其中折射出現(xiàn)在水下部分的特殊處理。但是，簡(jiǎn)單的解決辦法是手工分配每個(gè)光線和陰影屬性。在occ部分，我制作了ao陰影，水箱有相同的折射陰影。但是我分配ao的時(shí)候把水箱和其他物體分開。

i always prefer self review first! after almost final rendered image, i did self correction and review of an image. according to self review, i found some minor creative corrections and changes. so, i rather preferred to be back on texturing and layout stage. production can be suffered if you found some problems, which can be technical or creative after rendering passes. so, reviews + correction stages are most reliable and accurate for any production. :-)

我總是喜歡自我檢查！經(jīng)過(guò)最終渲染，我進(jìn)行了自校正和畫面的審查。通過(guò)檢查，我發(fā)現(xiàn)一些小的創(chuàng)意更正和 更改。所以，我比較喜歡重新回到紋理和布局的時(shí)候。作品可能被修改，在渲染之后你發(fā)現(xiàn)了一些可以通過(guò)技術(shù)和創(chuàng)意來(lái)解決的問(wèn)題。因此，對(duì)任何作品來(lái)說(shuō)審查+ 校正階段是最可靠和準(zhǔn)確的。 :-)