《魔獸》角色制作

阿方索科波拉(Alfonso Coppola)展示了用ZBrush,Maya，和Mudbox來重現(xiàn)王薇的《魔獸》角色的3D概念所經(jīng)歷的過程。

Alfonso Coppola shows the process he went through to recreate Wei Wang's "Warcraft" character concept in 3D, with ZBrush, Maya, and Mudbox...

步驟1:參考研究

首先，在這個項目開始的時候，我花了很多時間研究好的參考文獻，因為它是每一個工作中最重要的部分。開始時沒有引用將無法得到您正在尋找的適當(dāng)結(jié)果。我主要使用Pinterest和谷歌圖像。

Step 1: Reference research

First of all at the beginning of this project, I spent time researching good references because it is the most important part of every work. Beginning without references won't help to get the appropriate result you're looking for. I mostly used Pinterest and Google images.

步驟2:身體阻擋

我的第一步是重新創(chuàng)建身體，并使用Dynamesh來粗略地確定整體比例。通常，在我制作的每一個個人項目中，我喜歡從一個球體開始，因為這樣我才有機會改進我的雕刻技巧。

Step 2: Body block-out

My first move was recreating the body and to do this, I used Dynamesh to roughly establish the overall proportions. Usually, with every personal project I produce, I like to start from a sphere because thanks to this I have the chance to improve my sculpting skill.

步驟3:衣服阻擋

我進入了Marvelous Designe，粗略地把衣服的體積都遮住了。當(dāng)我對結(jié)果感到滿意時，我使用了幾個簡單的步驟來導(dǎo)出網(wǎng)格并將其導(dǎo)入ZBrush。

Step 3: Cloths block-out

I moved into Marvelous Designe to roughly block out the clothes volume. Once I felt satisfied with the result, I used a couple of easy steps to export the mesh and import it into ZBrush.

步驟4:添加附件和身體次要形狀

現(xiàn)在身體和衣服都被擋住了，我開始在身體上增加配飾和次要的形狀。我只用了幾個簡單的筆刷。當(dāng)我給身體添加更多的形狀時，我打破了對稱。纖維網(wǎng)幫助我粗略地了解了胡子的想法。我也用不同層次的纖維網(wǎng)來制造羽毛。對于項鏈和類似的配件，我使用了“實例沿著曲線”，這是一個非常方便的來自Maya的免費腳本。

Step 4: Adding accessories and body secondary shape

Now that the body and clothes have been blocked out, I started to add accessories and secondary shapes to the body. I used just a few simple brushes. While I was adding more shapes to the body I broke up the symmetry. Fibermesh helped me to rough out the idea for the beard. I also used different layers of Fibermesh to create the feathers. For the necklaces and similar accessories, I used "Instance Along Curve" which is a great handy free script from Maya.

步驟5:重拓撲和UV

由于所有主要形式都被封鎖了，所以我最終跳到Maya那里進行重新拓撲。我在這個過程中使用的一個更有用和自由的腳本是Froretopo，它聽起來有點老，但它仍然適用于我。 使用它，我做了一個基本的身體幾何，談?wù)撨吘壛�，我沒有添加任何特殊的，只是一個干凈的拓撲結(jié)構(gòu)來幫助我以后得到一個很好的UV。

Step 5: Retopology and UV

Since all major forms have been blocked out, I finally jumped to Maya for the retopology process. One more useful and free script I used during this process was Froretopo that could sound a bit old but it still works great for me. Using it, I made a basic geometry of the body, and talking about the edge flow I didn't add anything special, just a clean topology to help me get a nice UV later on.

第6步：姿勢

最后，一切都準(zhǔn)備好了，在這種情況下，我使用ZBrush中的移調(diào)法師來做到這一點，因為它是一個非常強大的工具。

Step 6: Pose

Finally everything is ready to pose and in this case, I used the Transpose Master in ZBrush to do this as it is a really powerful tool.

第七步:變形

我決定把我的模型直接畫在他最后的姿勢，用Mudbox處理整個紋理過程。我用ZBrush的一個姿勢，而不是粗略地重新畫出紋身草圖。為了在Mudbox中復(fù)制ZBrush雕刻，我選擇了“雕刻使用地圖”選項，這多虧了我能夠在同一時間內(nèi)為我的模型繪制和添加三級細節(jié)。

Step 7: Texturing

I decided to paint my model directly in his final pose using Mudbox for the entire texturing process. I used the A pose in ZBrush instead to roughly recreate the tattoo sketch. To replicate the ZBrush sculpt in Mudbox, I choose the "sculpt using map" option, and thanks to this I was able to paint and add tertiary details to my model at the same time.

第8步:Xgen和照明設(shè)置

一切都準(zhǔn)備好了。我用Xgen來做頭發(fā)和胡子，但不幸的是，我在Maya2016版本中遇到了麻煩，所以，老實說，我的模型的最終外觀并不是我在開始時所期望的。燈光設(shè)置是相當(dāng)基本的:只有一個鍵，邊緣和一個HDRI圖像使用穹頂燈。

Step 8: Xgen and lighting setup

Everything is ready for rendering. I used Xgen for hairs and beard but unfortunately I had trouble with the Xgen version of Maya 2016 so, being honest, the final look of my model is not exactly what I expected at the beginning. The lights setup is pretty basic: just a Key, Rim and an HDRI image using Dome light.

步驟9:渲染傳遞和最終合成

我用v - ray渲染幾次。我總是使用這個渲染傳遞設(shè)置來獲得更多的自由和靈活性。最后，我用Photoshop處理堆肥過程。

Step 9: Render pass and final compositing

I used V-Ray to render out several passes. I always use this render pass setup to get more freedom and flexibility later on. At the very end, I used Photoshop for the composting process.