逼真的頭發(fā)

我的名字是瑞恩里德,我目前在大學(xué)的一名大四學(xué)生學(xué)習(xí)的3D圖形和設(shè)計。我的父親在7歲時就過早地向我介紹了3D軟件，我一直在研究和實(shí)踐我的手藝在我的教育至今。我將展示我的一些進(jìn)程的創(chuàng)建Mondus的。

之前，我潛入造型Mondus，我想找到的東西，在CG界還沒有挖掘到。我做了一些頭腦風(fēng)暴和第一個在ZBrush概念階段，然后選擇創(chuàng)建achromasia（也稱為白化病），非洲的男人。我做了它是如何造成的，它基本上是一種遺傳性疾病的特點(diǎn)是幾乎沒有黑色素的生成一些研究。我碰到一個公眾人物，他的名字是節(jié)目播音員朱厄爾，其特點(diǎn)是獨(dú)一無二的，所以我搜集引用他以及其他非洲開始之前白化人物雕刻。

My name is Ryan Reid and I am currently a senior student in college studying 3D graphics and design. I started drawing at the age of to, my father introduced me to 3D software at the early age of seven, and I have been studying and practicing my craft throughout my education ever since. I will be showing some of my processes for the creation of Mondus.

Before I dived into modeling Mondus, I wanted to find something that the CG community hadn't tapped into. I did some brainstorming and concepting in ZBrush first and then chose to create an African male with achromasia (also known as albinism). I did some research on how it is caused and it is basically an inherited disorder characterized by little or no melanin production. I came across a public figure whose name is Deejay Jewell, whose features were unique, so I gathered references on him as well as other African albino figures before beginning to sculpt.

Step 01: Sculpting

In ZBrush I started out sculpting the head from a sphere and went through many changes until I got a good base. Once I was happy with my base mesh, I moved to secondary forms, which were subtle wrinkles and asymmetry. After my secondary forms were completed, I started my tertiary detailing. For this step I used scan data alphas from Surface Mimic. I also did a lot of manual work using the Dam Standard brush for tight wrinkles and lip detail. For my main sculpting brush, I used the Clay Build Up brush.

步驟01：雕刻

在ZBrush我開始從一個球體雕塑的頭部，并通過了很多變化，直到我得到了一個很好的基礎(chǔ)。我很滿意我的基礎(chǔ)網(wǎng)格，我移動到輔助的形式，這是細(xì)微的皺紋和不對稱。我的輔助形式完成后，我開始了我的第三細(xì)節(jié)。對于這一步我用掃描數(shù)據(jù)阿爾法從表面模仿，我也做了很多使用的大壩標(biāo)準(zhǔn)刷緊的皺紋和唇線的手工工作。對于我的主要雕刻刷，我用的是黏土建立刷。

使用ZBrush Mondus的臉雕刻

Step 02: Texture maps

I created my diffuse texture map in MARI by projecting photo images onto my head model. My normal map was from ZBrush since all the tertiary detail was created there. Once I created my normal map, I generated an ambient occlusion map and a cavity map from my normal map with an action script I used in Photoshop. Once I created the ambient and cavity map, I combined them together in Photoshop to create my specular map. I then painted darker areas and lighter areas, which then became my roughness map.

步驟02：紋理貼圖

我創(chuàng)建了MARI的漫反射貼圖通過照片圖像投射到我的頭部模型。我法線貼圖是從ZBrush的，因?yàn)樗�有的三級�?xì)節(jié)被創(chuàng)造那里。我建立了我的正常的地圖，我產(chǎn)生一個環(huán)境閉塞地圖，從一腔地圖我與我在Photoshop中使用。我創(chuàng)建了環(huán)境和型腔地圖動作腳本法線貼圖，我在Photoshop結(jié)合在一起他們創(chuàng)造我的高光貼圖，然后我畫暗區(qū)和較亮的區(qū)域，然后成為我的粗糙的地圖。

已應(yīng)用于我的皮膚著色材料混合四張地圖

Step 03: Skin shader

For my rendering engine, I used V-Ray. After I created my V-Ray shader connections with different material blends, I then created a light rig to show how the skin shader reacted. Before you light your scene, I would suggest creating a simple light rig to show how the skin shader is reacting under different light intensities. Your skin shader should be able to look pretty good in any type of lighting situation. Using different HDR images is also good for testing your skin shader. For example, I used one V-Ray rectangle light that did a 360 around my model.

步驟03：皮膚著色器

對于我的渲染引擎，我使用的V-Ray，我創(chuàng)建了不同的材料混合我的V-Ray著色器連接之后，然后我創(chuàng)建了一個光臺，以顯示皮膚材質(zhì)的反應(yīng)如何。點(diǎn)亮你的場景，我建議建立一個簡單的輕裝備展示如何在皮膚著色器不同光照條件下的反應(yīng)，你的皮膚著色器應(yīng)該能夠看起來不錯的任何類型的光線條件下，利用不同的HDR圖像，也對測試你的皮膚著色器。例如，我使用的做了360在我的模型中的一個的V-Ray光線的矩形。

Step 04: Hair modeling

For the next step I decided to take on a unique design for braided hair. I started out by creating a three-part braid in Maya, and then converted the geometry to an IMM brush, which was done in ZBrush. Once I created the brush, I drew on my model where I wanted the braids to be placed. Once placed, I then Polygrouped the hair geometry and created fanning to the root of each sub-braid. This way, when I generate the hair in Maya, each root will look different and feel well-rooted.

步驟04：頭發(fā)造型

對于下一步，我決定采取一個獨(dú)特的設(shè)計，編發(fā)。我開始通過Maya創(chuàng)建由三部分組成的辮，然后轉(zhuǎn)換幾何到IMM刷，這是在ZBrush完成的。我創(chuàng)建了刷，我畫了我的模型，我想辮子放置。一旦放置，然后我Polygrouped頭發(fā)的幾何形狀和創(chuàng)建煽動每個子編織物。這樣，我產(chǎn)生在Maya頭發(fā)上，每一根會看起來不同，感覺良好根深蒂固。

如何編織形成視覺的一步

Step 05: Extract curves

For this step my hair geometry is now in Maya. I extracted NURBS curves from each sub-braid and there you have it: a perfect set of braided hair guides. I applied Maya's nHair system and used a V-Ray hair material as the override shading for the hair system. I distributed a couple of nHair systems to random sub-braids, which were named and grouped in the outliner, which allowed me to select any sub-braid curve group and apply accordingly for extreme breakup.

步驟05：提取曲線

對于這一步我的頭發(fā)幾何現(xiàn)在在Maya中我提取NURBS曲線從每個子編織：一套完美編發(fā)指南我申請Maya的nHair系統(tǒng)和使用的V-Ray頭發(fā)材料作為覆蓋底紋頭發(fā)系統(tǒng)。我分配了幾個nHair系統(tǒng)隨機(jī)分辮子，分別命名，并在大綱分組，這讓我選擇任何子編織曲線組并據(jù)此申請極端解體。

轉(zhuǎn)換辮子的幾何形狀NURBS曲線

Step 06: Root hairs

After I converted the braids to NURBS curves, I had to create individual root hairs in-between the braids in order to convey how tightly they were braided. For this step I used XGen, which is a hair-generating system that was introduced in Maya 2015. In Maya 2016, there is a new function called "Add or Move Guides", which I used to add each root hair individually. One of XGen's special functions is its interpolation of figuring out the directionality of the hairs. I can simply place each hair curve without rotating them in the right direction. Using XGen saved me lots of time for this step. I made sure each root guide curve penetrated the braid curves, so when I added a nHair system to the root hairs later, the render would give off a fake blending between the root hairs and the braided curves.

步驟06：根毛

我轉(zhuǎn)換到NURBS曲線的辮子，我不得不以傳達(dá)他們是如何緊密地編織創(chuàng)建單獨(dú)的根毛的辮子在兩者之間。對于這一步我用的XGen，這是在Maya推出了頭發(fā)生成系統(tǒng)2015年，在Maya2016年，有一個叫“添加或移動指南”的新功能，這是我用來增加每一根毛發(fā)獨(dú)立，其中之一的XGen的特殊功能，就是它搞清楚毛發(fā)的方向性插值。我可以簡單地每根頭發(fā)曲線沒有在正確的方向旋轉(zhuǎn)它們。用的XGen救了我大量的時間進(jìn)行這一步。我確信每一根引導(dǎo)曲線滲入編織的曲線，所以當(dāng)我增加了一個nHair系統(tǒng)根毛后，渲染會發(fā)出根毛和編織曲線之間假的融合。

視覺步驟的根源是如何

Step 07: Hair result

After I successfully created the braids and roots, I then had to create loose curly hair for his hairline and shaved beard. I used Fibermesh in ZBrush to spawn the hairline and shaved beard. It's a very straightforward process; I simply masked off where I wanted the hair to spawn and tweaked the parameters in the Fibermesh UI to give the hair a wispy curl. Once I completed the hair with Fibermesh, there's a pull-down menu that allows you to export the Fibermesh as curves. I then created another nHair system to spawn nHair in place of the curves from ZBrush. Due to the density of African hair, the overall nHair count was pretty harsh, but it gave me a stunning result. With the hair sorted I was finished and very happy with the final result.

步驟07：頭發(fā)結(jié)果

我成功地創(chuàng)建了辮子和根之后，我便不得不創(chuàng)造自己的發(fā)際線松散卷曲的頭發(fā)剃胡須我用FiberMesh系統(tǒng)在ZBrush產(chǎn)卵發(fā)際線剃胡須這是一個非常簡單的過程;..我只是屏蔽了，我想頭發(fā)產(chǎn)卵和調(diào)整的FiberMesh系統(tǒng)UI的參數(shù)給頭發(fā)稀疏卷曲。一旦我完成了FiberMesh系統(tǒng)在頭發(fā)上，有一個下拉菜單，讓您的FiberMesh系統(tǒng)導(dǎo)出為曲線。然后，我創(chuàng)建了另一個nHair系統(tǒng)產(chǎn)卵nHair到位，從ZBrush的曲線的，由于非洲的頭發(fā)密度，整體nHair數(shù)量是相當(dāng)苛刻的，但它給了我一個驚人的結(jié)果。隨著頭發(fā)整理完后，非常高興最終結(jié)果。

顯示nHair的GI和鏡面通道