制作“撲克大師”（一）

介紹

Introduction

在這篇“制作”文章中，我將試著解釋我創(chuàng)建這個(gè)圖像的技術(shù)。我將主要對(duì)人物進(jìn)行創(chuàng)作。我想學(xué)習(xí)“新一代”工具，比如ZBrush，這個(gè)項(xiàng)目給了我這個(gè)機(jī)會(huì)。

In this 'making of' article I will try to explain the techniques that I used to create this image. I will focus mainly upon the creation of the character. I wanted to learn "new generation" tools, like ZBrush, and this project gave me the opportunity for exactly this. 

建模

Modeling

我用Maya做了一個(gè)基本模型，注意確保所有多邊形都是4面(圖01)，然后導(dǎo)出到ZBrush。

I made a basic model in Maya, taking care to ensure that all of the polygons were 4-sided (Fig.01), and then exported to ZBrush.

圖 01

我可以在這里生成UV，這將是投影映射的好時(shí)機(jī)。但是我決定以后使用UVLayout。有了這個(gè)軟件，幾何圖形的“姿態(tài)”就不重要了，所以我決定等待ZBrush的更詳細(xì)的網(wǎng)格。

I could have generated the UVs here; this would have been a good moment for projection mapping. But I decided that I would use UVLayout later.  With this software the "pose" of the geometry doesn't matter, and so I decided to wait for more detailed meshes from ZBrush.

我使用子工具將OBJs導(dǎo)入到ZBrush文件中。我創(chuàng)建了一些引用對(duì)象，如表和雪茄煙，然后使用旋轉(zhuǎn)(圖02)來(lái)設(shè)置角色。使用標(biāo)準(zhǔn)和移動(dòng)筆刷，我開始添加細(xì)節(jié)和網(wǎng)格的細(xì)化。我繼續(xù)這樣做，直到我得到了與我想要的幾何形狀相似的東西，仍然有少量的多邊形(圖03)。

I imported the OBJs into a ZBrush file using SubTools. I created some reference objects, like the table and cigar, and then posed the character using Transpose Master (Fig.02). Using the Standard and Move brushes, I began the process of adding detail and the refinement of the meshes. I continued this until I had something similar to the geometry that I wanted, still with a low number of polygons (Fig.03).

圖02

圖 03

我刪除了那些不能被看到的多邊形，比如軀干和襯衫的內(nèi)部。然后我有3個(gè)不同的網(wǎng):頭，胳膊和襯衫。我將這些網(wǎng)格導(dǎo)出到OBJ格式，以使用UVLayout創(chuàng)建UVs。在UV布局中，我做了一些UVs的外殼，以便更好的分配和減少對(duì)UVs的失真。我試著把接縫的位置移開(圖04)。

I deleted the polygons that were not going to be visible, like the torso and the interior of the shirt. I then had 3 different meshes: head, arms and shirt. I exported these meshes to OBJ format to create the UVs with UVLayout. In UV layout, I made some UVs shells for better distribution and less distortion of the UVs. I tried to place the seams away from the view (Fig.04).

圖04

細(xì)節(jié)和紋理

Detailing & Texturing

一旦我使用了正確的UVs，導(dǎo)入ZBrush并開始添加細(xì)節(jié)和細(xì)分。在這一點(diǎn)上，它是ZBrush, Photoshop和BodyPaint之間的一個(gè)過(guò)程。我使用了不同的方法來(lái)添加細(xì)節(jié)，使用alphas在ZBrush(圖05)中添加了DragRect工具的細(xì)節(jié)。同樣，在Photoshop中，我從照片中添加了一些紋理圖層(圖06)，然后在ZBrush中，我修改了基于紋理的幾何體(圖07)。

Once I had the OBJs with the correct UVs, I imported back to ZBrush and started to add detail and subdivide. At this point, it was a process between ZBrush, Photoshop and BodyPaint. I used different ways to add detail, using alphas to add detail with the DragRect tool in ZBrush (Fig.05). Also, in Photoshop, I added some texture layers from photographs (Fig.06), and then in ZBrush I modified the geometry based on that texture, masking by intensity (Fig.07).

圖05

圖 06

圖 07

有時(shí)先在ZBrush中生成位移，然后利用這些信息來(lái)修改紋理，使用空腔映射。在Photoshop中，我使用了空腔貼圖紋理來(lái)屏蔽(圖08)。我還使用了ZBrush的保利畫特征和車身油漆去除接縫，添加細(xì)節(jié)和項(xiàng)目照片。最后，我創(chuàng)建了一個(gè)適用于Maya中的著色器的普通貼圖。這是ZBrush(圖09)中幾何的最后一個(gè)方面。

Sometimes I generated first the displacement in ZBrush and then used that information to modify the texture based on that, using cavity maps. In Photoshop I used that cavity map texture for masking (Fig.08). I also used ZBrush's poly painting feature and BodyPaint to remove the seams, to add detail and project photos. Finally, I created a normal map to apply to the shader in Maya. This is the final aspect of the geometry in ZBrush (Fig.09).

圖08

圖 09

對(duì)于襯衫和其他元素，我拍攝了所有可能使用的東西的照片(圖10)。

For the shirt and the rest of elements, I took photographs of all the possible things that I could use (Fig.10).

圖 10