未來(lái)派蝙蝠俠的制作

在這個(gè)作品中，我會(huì)談到一個(gè)關(guān)鍵幀插圖和一些人物設(shè)計(jì)技巧，在這個(gè)例子中，我用自己的方式詮釋了蝙蝠俠穿著未來(lái)主義的服裝。

In this making of I will talk about the creation of a keyframe illustration and some tips for character design, in this case I did my own interpretation of Batman wearing a futuristic suit.

步驟1:草圖

在這個(gè)階段，我探索了可以為關(guān)鍵幀插圖工作的不同的姿勢(shì)和組合。我選擇了其中的一個(gè)草圖，然后我開(kāi)始研究人物設(shè)計(jì)。

Step 1: Sketching

In this stage I explore different poses and compositions that could work for the keyframe illustration. I choose one of the sketches and I start to work on the character design.

步驟2:角色設(shè)計(jì)

在我畫(huà)完草圖之后，我進(jìn)入了設(shè)計(jì)的過(guò)程中，這次我直接用ZBrush來(lái)做，用一個(gè)基本的網(wǎng)格來(lái)做身體，用dynamesh來(lái)阻止一些部分的盔甲和使用IMM刷子的敲打。

Step 2: Character design

After I have my sketches done I jump into the design process, and this time I start directly in ZBrush, using a Base mesh for the body and using dynamesh to block out some parts of the armor and Kitbashing using IMM Brushes.

步驟3:擺姿勢(shì)和導(dǎo)出

當(dāng)我完成設(shè)計(jì)時(shí)，我就開(kāi)始擺姿勢(shì)。我用轉(zhuǎn)置大師來(lái)做這部分，有時(shí)我也用一個(gè)球體鉆機(jī)。在這個(gè)過(guò)程中，一些元素會(huì)被破壞，所以在做了這個(gè)動(dòng)作之后，我調(diào)整了網(wǎng)格，或者在正確的地方分別修正了元素。在此過(guò)程之后，我使用Decimation master來(lái)優(yōu)化渲染過(guò)程的網(wǎng)格。

Step 3: Posing and Export

When I have completed the design I start with the posing process. I use Transpose master for this part, sometimes I use a zspheres rig too. In this process some elements can be damaged, so after the pose is done I adjust the mesh or correct the elements individually in the right place. After this process I use Decimation master to optimize the mesh for the rendering process.

第四步:渲染設(shè)置

對(duì)于這一部分，我使用Keyshot。我使用默認(rèn)的HDRI環(huán)境之一，我添加了一個(gè)帶有輕材料的球體，用于給場(chǎng)景提供更多的戲劇性照明，而對(duì)于渲染設(shè)置，我使用了標(biāo)準(zhǔn)。我也不想把這些設(shè)置弄得太亂。

Step 4: Render settings

For this part I use Keyshot. I use one of the default HDRI environments and I add a sphere with a light material applied to give a little more of dramatic lighting to the scene, and for the render settings I use the standard. I don?t like to mess around too much with those settings.

第五步:渲染通道

在這里，我向您展示了一些我用來(lái)呈現(xiàn)的最常見(jiàn)的渲染傳遞。同樣，我用這種方法在他的服裝元素上應(yīng)用材料分離，在不同的材料中渲染我需要的區(qū)域，然后我在Photoshop中使用面具把地圖繪制成服裝，這也節(jié)省了很多時(shí)間。

Step 5: Render passes

Here I show you some of the most common render passes that I use for my renders. Also, I use this method to apply material separation on his costume elements, rendering the regions that I need in different materials, then I use masks In Photoshop to paint the maps into the costume, which saves a lot of time too.

步驟6:改善渲染

在這一部分中，我使用了一些紋理來(lái)改善渲染的材料，添加雨滴在表面，貼花，不完美等等。這種細(xì)節(jié)給我的觀點(diǎn)提供了一個(gè)新的層次，結(jié)果也更現(xiàn)實(shí)一些。

Step 6: Improving the render

In this part I use several textures to improve the materials in the renders, add the rain drops over the surface, decals, imperfections and so on. This kind of details gives a new level to the renders in my opinion and the result is a little more realistic.

第七步:色彩校正

這是項(xiàng)目的最后一部分，當(dāng)我嘗試給圖像看一個(gè)電影的時(shí)候，為了這個(gè)目的，我使用了調(diào)整圖層，在不同的融合模式下，有平滑的圖層，還有Photoshop的神奇子彈插件。

Step 7: Color correction

This is the final part of the project when I try to give a cinematic look to the image, and for this purpose I use adjustment layers, solid layers with flat colors in different fusion modes, and the Magic Bullet plugin for Photoshop.