制作“貓隊(duì)長”

第1步：阻塞

這是你需要集中精力做雕刻工作的步驟。我不想用ZSphere來做這件事，但是我想嘗試一種新的方法來達(dá)到一個(gè)更好的形狀和一個(gè)非常干凈的表面。

Step 1: Block out

This is the step when you need to focus your all on the sculpting job. I don't want to use ZSphere for this piece, but I'd like to try a new approach in order to reach a better shape and a really clean surface.

第2步：Dynamesh

這次我在我的雕刻管道中嘗試了一種新的工作方式。 我從一個(gè)非常粗糙的原始形式開始，直接使用插入網(wǎng)格筆刷。 在這種情況下，Dynamesh是在雕刻中保持良好的自由度和舒適度的最佳選擇之一。

Step 2: Dynamesh

This time I have experimented with a new style of work in my sculpting pipeline. I started with only a really rough primitive form, using the insert mesh brush directly. In this case Dynamesh is one of the best choices to maintain a good degree of freedom and comfort during your sculpt.

第3步:ZRemesh

重塑是你雕刻過程中非常重要的一步，因?yàn)閾碛幸粋�(gè)好的拓?fù)浣Y(jié)構(gòu)意味著擁有最好的造型體驗(yàn)。在梳理階段，這也將是決定性的。Zremesher是一個(gè)強(qiáng)大的工具，它可以幫助很多人，但是你需要保持專注，以便只獲得想要的循環(huán)，避免螺旋。

Step 3: ZRemesh

Remeshing is a very important step in your sculpting, because having a good topology means having the best sculpt experience possible. It will also be decisive during the grooming stage. Zremesher is a powerful tool that can help a lot, but you need to stay focused in order to obtain only the wanted loops, avoiding the spirals.

第4步：姿勢

擺姿勢是我最喜歡的步驟之一，因?yàn)楫?dāng)你的角色第一次出現(xiàn)在你的生活中，你可以看看你的工作。 通常這個(gè)階段我使用Transpose Master和各種面具。 通過這種方式，我可以很快創(chuàng)建一個(gè)姿勢，并有機(jī)會(huì)看看不同的解決方案。

Step 4: Pose

Posing is one of my favorite steps because it's when your character comes to life for the first time, and you can check out your job. Usually for this stage I use Transpose Master and a variety of masks. In that way I can create a pose really quickly, and have the opportunity to take a look at different solutions.

第5步:UV貼圖

當(dāng)你有一個(gè)好的拓?fù)鋱D時(shí)，在ZBrush中創(chuàng)建良好的UV是很容易的。我創(chuàng)造了很多的polygroups來定義眼睛，嘴巴，頭部，鼻子等等。這可以幫助UV Master，可以使用這些組在你的UV裝置上給予更多的準(zhǔn)確性和清潔度。

Step 5: UV texturing

When you have a good topology creating good UV is really easy in ZBrush. I create a lot of polygroups to define eyes, mouth, head, nose and so on. This helps a lot with UV master that can use these groups to give more accuracy and cleanliness in your UV set.

第6步: 地圖提取

如果雕刻需要一半的時(shí)間，另一半則專注于地圖創(chuàng)作。只有用好的地圖，你的模型才會(huì)用ZBrush的樣子呈現(xiàn)。通常我把Maya作為我所有3D作品的中心，它不能處理很多多邊形，所以你的位移和法線貼圖是處理細(xì)節(jié)和良好的形狀最好的朋友。

Step 6: Map extraction

If sculpting needs half of your time the other half is dedicated to the maps creation. Only with good maps your model will be rendered with ZBrush's look. Usually I use Maya as a hub for all my 3D pieces, and it can't handle a lot of polygons, so your displacement and normal maps are your best friends for details and good shapes.

第7步：毛皮Xgen

當(dāng)你的基本材料準(zhǔn)備好了，你的幾何形狀已經(jīng)從雕刻恢復(fù)了原來的形狀，現(xiàn)在是毛皮的時(shí)候了。 在開始工作之前，我真的很喜歡在大自然中尋找和研究皮毛。 你的理念是一個(gè)開始，但為了達(dá)到一個(gè)好的和一致的模式，學(xué)習(xí)好的參考是最基本的。

Step 7: Fur Xgen

When your basic material is ready and your geometry has recovered the original shape from sculpting, it is time for fur. I really love finding and studying fur from nature before starting a job. Your concept is the start, but in order to achieve a good and consistent model, to study good references is fundamental.

第8步：陰影和照明

現(xiàn)在是時(shí)候把所有的紋理和地圖放在一起，為你的作品創(chuàng)造最好的陰影。Substance Designer 和Painter是兩個(gè)很棒的工具，幫助加速了這個(gè)過程。 在Maya中，我想先從Arnold曲面開始，然后鏈接Substance創(chuàng)建的所有地圖。 將范圍節(jié)點(diǎn)作為您的地圖和著色器之間的橋梁也是一個(gè)好習(xí)慣。 這可以幫助你調(diào)整你的地圖的價(jià)值，如果可能的話，揭示細(xì)節(jié)和真實(shí)的speculars。

從圓頂開始可能是一個(gè)很好的工作流程，我的第一步是建立一個(gè)環(huán)境光（HDR有令人敬畏speculars）。 第二步設(shè)置是關(guān)鍵; 在這個(gè)特定的情況下，我選擇了一個(gè)區(qū)域燈光，以獲得柔和的陰影。 但是這一次，我的輪輞燈是為了創(chuàng)造一個(gè)有影響力的形象的差異。

Step 8: Shading and lighting

It's time to put all the textures and maps together and create the best shading possible for your piece. Substance Designer and Painter are two awesome tools that have helped to speed up the process. When in Maya I'd like to start with Arnold surface, and to link all the maps created by Substance. Also it's a good habit to put a range node as a bridge among your maps and the shader. That helps you to tune your map's values if possible, to reveal details and really fine speculars.

Starting with a dome could be a good workflow, my first step is to establish an ambient light (HDR has awesome speculars). The second step setup is key; in this specific case I chose an area light to have soft shadows. But this time my rim lights are what makes the difference in order to create an impactful image.

第9步：AOV

將你的圖像分成不同的部分，所以在這個(gè)階段你需要非常的專注，特別是Zdepth和idmatte AOV。這兩種方法對操控你的最終形象非常有幫助，當(dāng)你需要更多的現(xiàn)實(shí)感的時(shí)候，它們會(huì)幫助你。

Step 9: AOV

Separate your image into different pieces, so you need to be really carful during this stage especially with Zdepth and idmatte AOV. These two are incredibly powerful for manipulating your final image, and will help you when you need more of a sense of realism.

第10步：完成和最終的形象

我最后完成是在Nuke。 我開始合并所有的AOVs，只是為了解我的總體圖像。 那么現(xiàn)在是時(shí)候添加一些發(fā)光和模糊節(jié)點(diǎn)，以幫助燈光的情緒。 另外一個(gè)非常重要的步驟是在idmaps中表示表現(xiàn)出來，特別是在這個(gè)情況下，當(dāng)盾牌給角色投下一個(gè)很大的陰影時(shí)，你需要添加更多的光線，以便讓這個(gè)姿勢清晰而干凈。

Step 10: Comp and final image

My final comp is in Nuke. I start by merging all my AOVs just to understand my general image. Then it is time to put some glow and blur nodes in to help with the light's mood. Another really important step is represented in the idmaps, especially in this case when the 'shield' casts a big shadow on the character, and you need to add more light in order to let the pose legible and clean.