了解基礎(chǔ)知識(shí)：ZBrush后期和現(xiàn)場(chǎng)構(gòu)圖

按照上一個(gè)教程，我呈現(xiàn)了我的角色的不同的傳遞，我現(xiàn)在將顯示如何將所有這些傳遞導(dǎo)入到Photoshop中以組合最終的圖像。

Following the previous tutorial where I rendered the different passes of my characters, I will now show how I have imported all these passes into Photoshop to composite the final image.

Step 1: Importing all the render passes

To import all the passes at once in stack, go to File Script - Load Files into Stack... Load all your passes by pressing the Browse button and all your passes will be on different layers in one stack.

步驟1：導(dǎo)入所有渲染過(guò)程

要將堆棧中的所有通行證一次性導(dǎo)入，請(qǐng)轉(zhuǎn)到文件腳本 - 將文件加載到堆棧中...按“瀏覽”按鈕加載所有通行證，所有通行證將在一個(gè)堆棧中的不同層上。

Step 2: Additional material passes

I have rendered some other passes with different materials applied to the model so I could change the material of some of the parts. I wanted to apply different material on the shoulder armor, for example, for the bones, the metal parts and the skin parts of the model. It was easier to just render another pass and attribute these different materials within Photoshop.

步驟2：附加材料通行證

我已經(jīng)使用不同材料的一些其他通行證應(yīng)用于模型，所以我可以改變一些零件的材料。 我想將不同的材料應(yīng)用在肩鎧上，例如用于骨骼，金屬部件和模型的皮膚部分。 在Photoshop中簡(jiǎn)單地渲染另一個(gè)通行符并將這些不同的材質(zhì)歸結(jié)起來(lái)更容易。

Step 3: Faking a sub surface scattering

Although I rendered the skin of the character with a translucent material (Human Skin2), I wanted to multiply this SSS effect a little more by adding a red pass of the character skin (Soft Rough Red material). I put the blending mode of this layer to Linear Dodge (Add) and its opacity to 10%, it has a very subtle effect.

步驟3：偽表面散射

雖然我呈現(xiàn)的人物的皮膚用半透明材料（人力Skin2），我想通過(guò)添加人物皮膚（軟紅粗糙的材料）的紅色通多一點(diǎn)乘以這個(gè)SSS效果。我把這個(gè)層線(xiàn)性減淡（添加）和其不透明度的混合模式為10％，它有一個(gè)非常微妙的影響。

Step 4: Composite the main passes

I have composited the 4 main passes that I rendered separately from KeyShot, and changed their blending mode and opacity to achieve the result I was looking for.

- Reflection pass: Soft Light 38% opacity

- Yellow plastic pass: Soft Light 50% opacity

- Translucent pass: Soft Light 65% opacity

- Ambient Occlusion: Multiply 20% opacity masked the water out, and I added a Curves adjustment layer to make the AO pass a bit lighter

步驟4：復(fù)合主要通行證

我已經(jīng)合并了4個(gè)主要通行證，我單獨(dú)提供了KeyShot，并改變了他們的混合模式和不透明度，以達(dá)到我正在尋找的結(jié)果。

- 反射通過(guò)：柔光38％不透明度

- 黃色塑膠通：柔光50％不透明度

- 半透明：柔光65％不透明度

- 環(huán)境遮擋：將20％的不透明度掩蓋掉水，我添加了曲線(xiàn)調(diào)整層，使AO通過(guò)一點(diǎn)點(diǎn)

Step 5: Composite photo in the render

I have found a wave crashing on a rock in Google and composited it behind the character using a mask. I changed its blending mode to Lighter color, before merging these layers (Ctrl+Shift+Alt+E) and using the Smudge tool to add some motion blur, as well as blending the photo and the 3D water together.

步驟5：復(fù)制照片在渲染

我發(fā)現(xiàn)一個(gè)波在谷歌的巖石上崩潰，并使用掩碼在字符后面進(jìn)行合成。 在將這些圖層（Ctrl + Shift + Alt + E）合并并使用涂抹工具添加一些運(yùn)動(dòng)模糊，以及將照片和3D水融合在一起之前，我將其混合模式更改為淺色。

Step 6: Color grading with adjustment layers

After compositing all the render passes, it is time to add some adjustment layers to modify the exposure, colors and contrast of the image. I have also added a slight dodge layer to lighten some part of the character by filling a layer with 50% grey and changing its blending mode to Overlay, then painting the area I want to lighten with the Dodge tool.

步驟6：調(diào)整層的顏色分級(jí)

在合成所有渲染遍之后，現(xiàn)在是添加一些調(diào)整圖層來(lái)修改圖像的曝光，顏色和對(duì)比度的時(shí)候了。 我還添加了一個(gè)輕微的閃避層，通過(guò)填充一個(gè)50％灰色的層并將其混合模式更改為Overlay，然后使用Dodge工具繪制我要減輕的區(qū)域來(lái)減輕角色的某些部分。

Step 7: Adding Depth of Field

I merged all the previous layers (Ctrl+Shift+Alt+E), then put the depth layer rendered from KeyShot in an Alpha channel and applied it through the Lens blur filter found in Filter Blur - Lens Blur. It's a subtle effect in this image but it helps blend the character with the background.

步驟7：增加景深

我合并了所有以前的圖層（Ctrl + Shift + Alt + E），然后將從KeyShot呈現(xiàn)的深度圖層放在Alpha通道中，并通過(guò)Filter Blur - Lens Blur中的Lens模糊濾鏡進(jìn)行應(yīng)用。 這是一個(gè)微妙的效果在這個(gè)形象，但它有助于混合角色與背景。

Step 8: Cropping and adding a vignette effect

The next step was to crop the image to have a better composition and to add a slight vignette effect to focus even more on the character. To create the vignette, just go to Filter > Lens Correction, then go to the Custom tab and find the Vignette settings below the Chromatic aberration sliders. I have made the Vignette pretty strong in the filter window so that I could adjust its strength easily with the layer opacity.

步驟8：裁剪并添加暈影效果

下一步是為了更好地構(gòu)圖，并添加一些輕微的小插曲效果，更多的關(guān)注角色。 要?jiǎng)?chuàng)建小插件，只需轉(zhuǎn)到過(guò)濾器>鏡頭校正，然后轉(zhuǎn)到自定義選項(xiàng)卡，并在色差滑塊下方找到暈影設(shè)置。 我已經(jīng)在過(guò)濾器窗口中使Vignette變得非常強(qiáng)大，以便我可以輕松地調(diào)整其強(qiáng)度與層不透明度。

Step 9: Adding clouds and adding texture to the wave

To finish the image, I have added a cloud layer, and put it under the Vignette layer. I put it behind the character and the water using a mask. I have changed its blending mode to Overlay and added to it a Hue/Saturation adjustment layer to blend it with the rest of the image.

I have also added additional water textures to the crashing wave to show more details, and added a Brightness/Contrast and Hue/Saturation adjustment layer to blend it with the rest of the image. This last step finished my fan art of Mer-Man.

步驟9：添加云并添加紋理到波

要完成圖像，我添加了一個(gè)云層，并將其放在暈影層下。 我用面具把它放在角色和水面后面。 我已經(jīng)將其混合模式更改為Overlay，并將其添加到色調(diào)/飽和度調(diào)整圖層以將其與其余圖像混合。

我還向崩潰的波浪添加了額外的水紋理，以顯示更多細(xì)節(jié)，并添加了亮度/對(duì)比度和色相/飽和度調(diào)整圖層以將其與圖像的其余部分相混合。 這最后一步完成了我的粉絲藝術(shù)的Mer-Man。