Zbrush制作“嗜血的海盜”

介紹

經(jīng)過(guò)了很長(zhǎng)時(shí)間的各種商業(yè)項(xiàng)目，我決定用大量的東西來(lái)增強(qiáng)我的投資組合，這將有助于測(cè)試我在CG行業(yè)獲得的能力和技能。從一開(kāi)始我就知道沒(méi)有動(dòng)畫(huà)，所以我不必關(guān)心索具和其他相關(guān)的方面。作為一個(gè)幻想迷，我決定創(chuàng)造一個(gè)妖精角色。我不想復(fù)制任何人都知道的東西，所以我決定創(chuàng)造一個(gè)嗜血的海盜老大，他在海外旅行期間獲得了史詩(shī)般的裝備。在開(kāi)始任何工作之前，我在互聯(lián)網(wǎng)上搜索了參考資料，這樣人物就會(huì)變得有趣，并有其豐富的歷史資料。建立一個(gè)角色的故事對(duì)我來(lái)說(shuō)非常重要！

建模是真正的樂(lè)趣，至少對(duì)我來(lái)說(shuō)，所以我嘗試著提前思考，做好準(zhǔn)備，所以我沒(méi)有任何UV問(wèn)題，幾何或單位的錯(cuò)誤。在建模方面，我有一個(gè)標(biāo)準(zhǔn)的流水線，這個(gè)流水線已經(jīng)被證明是非常有效的。

我從一個(gè)基本的低聚模型開(kāi)始，配備了基本的UV貼圖和一個(gè)標(biāo)準(zhǔn)的設(shè)置。基本的網(wǎng)格被輸出到ZBrush，我開(kāi)始處理肌肉和身體的形狀（圖01 - 02）。完成這個(gè)之后，我將第二個(gè)細(xì)分集導(dǎo)出到3ds Max中，開(kāi)始用地精設(shè)備的低多邊形網(wǎng)格來(lái)準(zhǔn)備物體，最后得到22個(gè)子工具。

Introduction

After a long time spent on various commercial projects, I decided to enhance my portfolio with something massive that would help test my abilities and skills gained in the CG industry. From the very beginning I knew there would be no animation, so I didn't have to care about rigging and other linked aspects. As a fantasy fan, I decided to create a goblin character. I didn't want to copy anything well known so I decided to create a bloodthirsty pirate boss with epic equipment gained during his journeys overseas. Before any work began I searched the internet for references so that the character would be interesting and have its own history rich in details. Building a character's story is very important to me!

Modeling is where the real fun is, at least for me, so I try to think ahead and make preparations so I don't have any problems with UVs, errors in geometry or units. Where modeling is concerned I have a standard pipeline, which is long proven and very effective at doing what I need.

I began with a basic low poly model equipped with basic UV mapping and a standard setup. The basic mesh was exported into ZBrush where I started to process muscles and the body shape (Fig.01 - 02). Finishing this, I exported the second subdivision set back into 3ds Max and started to prepare the body with low poly meshes of the goblin's equipment, which by the end resulted in 22 subtools.

圖01Fig.01

圖02Fig.02

在詳細(xì)說(shuō)明設(shè)備之前，我準(zhǔn)備了UV設(shè)備中的所有物品，以便它們可以被紋理化并且容易識(shí)別。對(duì)地精裝備的每一個(gè)部分都進(jìn)行處理，直到我對(duì)結(jié)果滿意為止。最終模型由78,531,268個(gè)多邊形組成。

為了創(chuàng)造出非常精確的細(xì)節(jié)和裝飾，我使用了Photoshop面具系統(tǒng)，這對(duì)于制作胸甲非常有效（圖03 - 04b）。

Before detailing the equipment I prepared all the items in the UV set so they could be textured and easily identified. Every part of the goblin's equipment was processed until I was happy with the result. In the end the model consisted of 78,531,268 polygons.

To create the very precise details and ornaments I used a Photoshop mask system, which turns out to be very good for creating breastplates (Fig.03 - 04b).

圖03Fig.03

圖04Fig.04

當(dāng)goblin模型完成時(shí)，我嘗試了使用轉(zhuǎn)置工具的幾個(gè)姿勢(shì)，并選擇了最好的一個(gè)。那么這只是一個(gè)調(diào)整和添加所有其他元素的情況（圖05）。

When the goblin model was done I tried a few poses using the transpose tools and picked the best one. Then it was just a case of adjusting and adding all of the other elements (Fig.05).

圖05Fig.05

為了獲得最大可能的細(xì)節(jié)水平，同時(shí)防止由大量位移貼圖造成的硬件崩潰，使用了Decimation Master。在3ds Max中渲染的最終多計(jì)數(shù)是850萬(wàn)個(gè)多邊形。

To get the maximum possible level of detail whilst preventing hardware collapses caused by high numbers of Displacement maps, the Decimation Master was used. The final polycount for rendering in 3ds Max was 8.5 million polygons.

紋理

紋理是一個(gè)非常有趣的部分。我總是從幾何圖形中準(zhǔn)備最好的地圖。這意味著紋理變成一個(gè)簡(jiǎn)單的著色過(guò)程，然后為金屬，皮革，污垢和劃痕添加照片紋理。 Cavity地圖幫助我標(biāo)記了ZBrush模型的小細(xì)節(jié)，Ambient Occlusion地圖與Cavity地圖一起被用作裝甲鐵銹和整體臟的外觀的掩模。為了實(shí)現(xiàn)干凈的紋理過(guò)渡，我使用了火焰梨的Solidify插件（圖06）。

Texturing

Texturing was a really fun part. I always prepare the best maps I can from the geometry. This means that texturing turns into a simple process of coloring followed by adding photo textures for the metal, leather, dirt and scratches. Cavity maps helped me to mark the small details from the ZBrush model and Ambient Occlusion maps combined with Cavity maps were used as a mask for the armor rust and overall dirty look. To achieve the clean texture transitions I used a Solidify plugin by Flaming Pear (Fig.06).

圖06Fig.06

底紋

在這個(gè)過(guò)程中花費(fèi)的時(shí)間很長(zhǎng)，因?yàn)檫@是我第一次在這樣的規(guī)模上使用mental ray，因此我不得不應(yīng)對(duì)大量的問(wèn)題。對(duì)于皮膚，我使用了Zapa先生的皮膚著色器，這對(duì)于獲得良好的SSS效果和整體有機(jī)外觀是非常好的。其余的（金屬，皮革等）我使用Arch Design著色器。我不想使用任何簡(jiǎn)單的東西，所以我利用了大量的面具來(lái)實(shí)現(xiàn)材料的混合。這用于胸甲，金色的帽子裝飾和皮帶裝飾（圖07）。

Shading

The time spent on this process was long due to the fact that it was the first time I had used mental ray on such a scale and I had to cope with a huge number of problems because of this. For the skin I used a skin shader by Mr.Zapa, which turned out to be great for getting a good SSS effect and overall organic look. For the rest (metal, leather, etc.,) I used mr Arch Design shaders. I didn't want to use anything simple, so I took advantage of numerous masks to achieve the material blending. This was used on the breast armor, golden hat ornament and the leather belt decoration (Fig.07).

圖07gFig.07

頭發(fā)和毛皮

正如我想要我的小妖精的頭發(fā)和胡須是油膩的，我決定購(gòu)買(mǎi)一個(gè)頭發(fā)農(nóng)場(chǎng)插件，這是我的需求的理想選擇。

Hair and Fur

As I wanted the hair and beard of my goblin to be greasy I decided to buy a Hair Farm plugin, which was ideal for my needs.

了照明，我選擇了一個(gè)標(biāo)準(zhǔn)的三點(diǎn)燈安裝，作為主要光源。我還使用了一個(gè)填充光從側(cè)面添加一個(gè)額外的光源。背光被用來(lái)增強(qiáng)輪廓。光線的顏色提供了一個(gè)真實(shí)的世界幻象，并設(shè)定了畫(huà)面的整體基調(diào)。我用了一個(gè)藍(lán)色的鑰匙燈，一個(gè)橙色的填充燈和一個(gè)白色的背光。在本例中，我使用了一個(gè)環(huán)境HDRI映射來(lái)進(jìn)行反射，并使用一些黑白平面來(lái)增強(qiáng)其中的一些(圖08)。

Lighting and Rendering

For the lighting I chose a standard three-point key light setup, which worked as the main light source. I also used a fill light from the side to add an additional light source. The back light was used to enhance the silhouette. The color of the light helped provide a real world illusion and set the overall mood of the picture. I used a blue key light, an orange fill light and a white back light. In this case I used an environmental HDRI map for reflections and a few black and white planes to enhance some of these (Fig.08).

圖08Fig.08

用于渲染(圖09a - b)，我總是使用帶有Gamma 2.2的線性工作流程。由于我想要一個(gè)大的版式，我使用了高反鋸齒設(shè)置，并將間接照明設(shè)置為低。我還使用了曝光控制，這幫助我有效地控制了輸出。我總是試圖直接從3ds Max得到一個(gè)干凈的輸出，所以我只需要做少量的后期制作。圖片被渲染成獨(dú)立的16位TGA層，以保持最好的質(zhì)量。通過(guò)分層，我能夠很容易地調(diào)整一切。

Mental ray was used for the rendering (Fig.09a - b). I always use a linear workflow with Gamma 2.2. Due to the fact I wanted a large format print I utilized a high Anti-Aliasing setting and set Indirect Illumination to low. I also used an exposure control, which helped me effectively control the output. I always try to get a clean output directly from 3ds Max so I need only do a small amount of post-production. The picture was rendered into separate 16-bit TGA layers to keep the best possible quality. By having separate layers I was able to adjust everything easily.

圖09a Fig.09a

圖09b Fig.09b

環(huán)境

我開(kāi)始計(jì)劃一個(gè)可以和角色一起工作的環(huán)境。我決定在類似沼澤的沼澤地區(qū)選擇一個(gè)丟失的碼頭，那里有類似于泰國(guó)的霧崖。包括蜘蛛網(wǎng)等在內(nèi)的前景是用3D制作的，其余的場(chǎng)景都是在Photoshop中創(chuàng)建的，類似于無(wú)光澤的繪畫(huà)。主要用于Fliker.com和Shutterstock.com的參考圖片。

Environment

I started to plan an environment that would work with the character. I decided to choose a lost wharf in a swamp-like area with a backdrop of foggy cliffs resembling those in Thailand. The foreground including the webs etc., were produced in 3D with the rest of the scene created in Photoshop similar to a matte painting. For the reference pictures I mainly used Fliker.com and Shutterstock.com.

結(jié)論

最后我對(duì)結(jié)果感到滿意。目的是要學(xué)習(xí)新技術(shù)和新技術(shù)，通過(guò)貫穿整個(gè)創(chuàng)作過(guò)程來(lái)測(cè)試自己的能力，甚至是那些我不太喜歡的部分。

Conclusion

In the end I was happy with the result. The purpose was to learn about new technology and techniques, and to test my abilities by going through the entire creative process, even those parts I don't really like.

這確實(shí)幫助我理解了一些事情，我打算在將來(lái)使用它

This has certainly helped me to understand a few things, which I plan to use in the future.