zb怪物次世代游戲制作教程

The image “Prolapsed Eye” was initially a sketch by a friend of mine: Yuri Sakovich www.thesakovich.com

這張圖片的原稿來(lái)自于我的朋友Yuri Sakovich的草圖，www.thesakovich.com

Modeling was very simple. I based my model off the original sketch and created what is known as an organized mesh. Meaning, that the topology of the model is in accordance to the muscle structure. Once that was done, I made sure to * the scale to my liking and imported into ZBrush to check it.

建模很簡(jiǎn)單。我根據(jù)草圖的形象建造了基本的模型。同時(shí)，模型的拓?fù)浣Y(jié)構(gòu)是按照對(duì)象的肌肉結(jié)構(gòu)來(lái)劃分的。模型建造完成后，我確保模型大大小合適后就導(dǎo)入到ZBrush去檢查。

UV’s – I took the base mesh and imported it into Unfold 3D, a UV Layout software. It gives me full control of my UV’s and has a very intuitive and user-friendly interface, apart * being incredibly fast.

UV’s-我把剛才建造好的模型導(dǎo)入到Unfold 3D中。Unfold 3D是一款UV編輯軟件。他讓我可以完全控制我UV，并且其界面也非常的直觀和友好，除此之外他的速度也快得驚人。

I then import the model into ZBrush and make sure that the UV’s are ok and that there are no overlapping UV’s (The image is completely grey and has no red areas).

接下來(lái)我把模型導(dǎo)入到ZBrush中并且確保UV沒(méi)有問(wèn)題，沒(méi)有重疊的UV區(qū)域（就是圖片全部是灰色的，沒(méi)有紅色的區(qū)域）

culpting雕刻

Sculpting in ZBrush was fairly simple and very straightforward. I used mainly the Standard, Move, Clay, ClayTubes and Smooth Brushes. I didn’t use any Alphas for sculpting; I usually prefer to sculpt all my detail by hand. It’s a challenge but the results are usually much nicer.

在ZBrush里面雕刻是相當(dāng)?shù)暮?jiǎn)單和直接的。我主要使用了Standard, Move, Clay, ClayTubes 和 Smooth Brushes這幾個(gè)筆刷。并沒(méi)有用道任何Alphas的來(lái)雕刻；我通常喜歡所有的細(xì)節(jié)都手動(dòng)雕刻出來(lái)。這樣雖然比較有挑戰(zhàn)性，但結(jié)果常常會(huì)更好。

The Cloth was done in Maya and then sculpted in ZBrush as well.

衣服也是MAYA里面建造然后導(dǎo)入到ZBrush雕刻的。

Texturing紋理繪制

Texturing is one of the most creative and fun parts. I didn’t have any color scheme to work * so I used what I felt would match the character best. I looked at some reference images and came up with an organic like color scheme. Polypainting was used for texturing along with the dry-brushing technique. I used mainly the Spray Stroke along with Alpha 23. Once the base colors were applied, I then went over it with a very light coat of the skin color. The same applies to the cloth.

紋理的繪制是整個(gè)創(chuàng)作過(guò)程中最有創(chuàng)造力和有趣的部分之一。我并沒(méi)有任何的配色方案做參考，所以我用我自己認(rèn)為最能和角色匹配的配色，我觀察了一些參考圖片然后獲得一些基本的配色方案。我使用Polypainting配合dry-brushing技術(shù)來(lái)繪制貼圖。我主要使用Spray Stroke配合Alpha 23來(lái)完成。當(dāng)基本顏色繪制完成后，我在皮膚的顏色之上繪制了一層薄薄的顏色。衣服的文理也是使用同樣的方法完成。

Rendering渲染

First I had to export several Displacement Maps * ZBrush. I normally export 32-bit Displacement Maps, as they are very simple to use and give the best results. I use Displacement Exporter 3 with these *tings

首先我要在ZBrush里面生成幾張置換貼圖。我通常輸出的是32位的置換貼圖，因?yàn)樗麄兪褂煤?jiǎn)單并且結(jié)果很棒，我使用Displacement Exporter 3的設(shè)置如下。

The Rendering process was somewhat tedious due to Maya’s incredible render pass system (…not). But the results were great. I exported a fairly high poly-count mesh, since this model will only be used for a still along with a simple Light Set-Up, using 2 planes as the main light source and 2 spotlights as kickers.

由于MAYA的復(fù)雜的render pass系統(tǒng)，渲染的過(guò)程比較煩瑣。但是所得到的結(jié)果卻很不錯(cuò)，我輸出一個(gè)面數(shù)很高的模型，因?yàn)檫@里只是制作靜幀并且燈光設(shè)置也很簡(jiǎn)單，使用了兩個(gè)面作為主光，兩盞聚光燈作為輔助光

I used the Mental Ray Skin Shader with a Scale Conversion of about 25 and maps for the Subdermal Weight, and Backscatter Weight and rendered with Final Gather. I made separate Render Layers for the Color, SSS, Occlusion, Specularity, Reflection, Shadow, and a Backscatter pass. (Color, reflection, Fresnel, and Occlusion for Cloth also).

我使用Mental Ray的皮膚材質(zhì)，Scale Conversion設(shè)置為25.并且為Subdermal 權(quán)重，Backscatter權(quán)重連接的貼圖。并且開(kāi)啟了Final Gather。

我創(chuàng)建了多個(gè)渲染層，包括Color, SSS, Occlusion, Specularity, Reflection, Shadow, 以及一個(gè)ackscatter 通道. (同樣為衣服設(shè)置reflection, Fresnel和Occlusion層.)

I also rendered out a few black and white masks to use for compositing the cloth. I used Photoshop to put the image together. Here’s a better look at my layer blending modes.

為了后面合成衣服我也渲染了一張黑色和白色的遮照貼圖。我使用Photoshop把分層渲染的結(jié)果合在一起。下面是詳細(xì)的圖層混合模式圖解

Thanks everyone and hope you enjoyed the tutorial. For any questions just email me at Fausto@pixolclay.com or view my website at www.pixolclay.com

多謝各位觀看并且希望大家喜歡這個(gè)教學(xué)，有問(wèn)題可以發(fā)郵件給我Fausto@pixolclay.com或者到我的網(wǎng)站www.pixolclay.com也一樣。