頭部紋理制作

在Photoshop中展開，準(zhǔn)備應(yīng)用于3D模型。

Texturing III

I finally started to added dirt, spots and war-paint, with stronger color variations, using a combination of photosand brushes.
我終于開始添加污垢,斑點(diǎn)和顏料,顏色變化較強(qiáng),使用photosand的刷子組合。
Once the color map was finished I could start creating textures for Bump, Glossiness, Reflection, and Subsurface Scattering. All of these were created based on the color map.
一旦彩色地圖完成我可以開始創(chuàng)建紋理凹凸,光澤度,反射和地下散射。所有的這些都是基于彩色地圖創(chuàng)建的。
To aid in the creating of the SSS map, I baked an Occlusion map of the head and then inverted it.

為了創(chuàng)建SSS地圖，我又渲染了一張 Occlusion 貼圖。

This gave me a black and white image with the thin parts of the model white and vice versa. I combined this with a gray version of the color map and then further darkened areas covered by the war-paint, beard, brows and hair to reduce the SSS effect.

這給了我一個(gè)黑色和白色的形象與模型的白色部分，反之亦然。我結(jié)合這個(gè)灰色版本的彩色地圖，然后進(jìn)一步黑暗的地區(qū)所涵蓋的戰(zhàn)爭涂料，胡子，眉毛和頭發(fā)，以減少SSS效果。
最終顏色映射應(yīng)用于ZBrush模型

Shading

I used V-Ray's VRayFastSSS2 material for the skin shader. It's fast and easy to setup with enough parameters to get the result I was after. The setting I used for the Bear King can be seen here.
我用V-Ray的vrayfastsss2皮膚著色材料。它能夠快速和容易設(shè)置參數(shù)。
使用vrayfastsss2設(shè)置為皮膚著色

Beard and hair

It's important to break up the hair. I did so using several Hair Farm modifiers to clump it, vary its length, density, direction, and thickness. This was then rendered using V-Ray's new VRayHairFarmMod and VRayHair material which makes it possible to render Hair Farm with V-Ray lights and Global Illumination.
打破頭發(fā)是很重要的。我這樣做使用幾個(gè)頭發(fā)農(nóng)場修飾符叢生，改變其長度，密度，方向和厚度。這是當(dāng)時(shí)所采用的新材料和vrayhair V-Ray的vrayhairfarmmod使得用V-Ray燈光和全局光照渲染頭發(fā)農(nóng)場。
Hair tends to take its time to render. I recommend using the Adaptive DMC Image Sampler for test renders and Adaptive Subdivision Image Sampler for thefinal render.
頭發(fā)往往花時(shí)間渲染。我建議使用自適應(yīng)DMC圖像采樣測試渲染和最終渲染的圖像自適應(yīng)細(xì)分采樣器。
The lighting setup for this scene was pretty simple. One strong area light served as the key light, and a HDRI map served for GI and reflections. In the more advanced lighting setups, I'd recommend isolating lights one by one before rendering everything together. It makes rendering faster and gives you a better idea of what the light is affecting.
這個(gè)場景的燈光設(shè)置非常簡單。一個(gè)強(qiáng)大的區(qū)域光作為主光，和一個(gè)HDRI地圖為GI與思考。在更先進(jìn)的照明設(shè)置，我建議隔離燈逐一渲染一切之前。它使渲染更快，讓你更好地了解光的影響。
The first step is to render out a ZDepth image. In 3ds Max, I used the Tape Helper (Create > Helpers > Tape). I snapped it to my camera and measured the distance between the closest and furthest point of the model from the camera, and then added those numbers to the ZDepth Render Element parameters.
第一步是要渲染出ZDepth圖像。在 3ds Ma，我使用了磁帶助手（創(chuàng)建>助手>磁帶）。我把它給我的相機(jī)和測量距離最遠(yuǎn)點(diǎn)的模型從相機(jī)之間，然后加入這些數(shù)字ZDepth渲染元素參數(shù)。
I copied the ZDepth image into a new Channel (not layer) in Photoshop and renamed it DOF.
我復(fù)制ZDepth圖像到一個(gè)新的通道（層）在PS圖象處理軟件更名為自由度。
I then flattened my image and headed over to Filter > Blur > Lens Blur, where I set the depth map source to use my DOF channel. With Preview checked, I started playing with the parameters.
然后，我壓平我的圖象，并前往過濾器>模糊>鏡頭模糊，在那里我設(shè)置深度地圖源使用我的自由度通道。預(yù)覽檢查，我開始玩的參數(shù)。
This is a quick, easy and ? to me ? pretty accurate way of faking DOF which would otherwise have taken a long time to render.
這是一個(gè)快速,簡單嗎?對我?相當(dāng)準(zhǔn)確的方式偽造景深,本來已經(jīng)很長一段時(shí)間來呈現(xiàn)。
 ZDepth圖像用于創(chuàng)建一個(gè)微妙的DOF（景深）在PS圖象處理軟件