3DSMAX超真吉他制作全過程

先看看效果圖：

Modelling建模部分 :

我使用不同的方法來創(chuàng)建吉他的不同部位，最主要用到的技法是box modeling 和patch modeling。Patch modeling是創(chuàng)建曲面的非常好的方法。比如吉他的面板和neck,，因?yàn)樗鼤�讓你�?chuàng)建精確的曲面。

整個模型都是可以光滑，整個模型有128,532個多邊形和94,000個頂點(diǎn)（完美的整數(shù)）當(dāng)然這些數(shù)字是沒有執(zhí)行網(wǎng)格平滑的數(shù)字。渲染的時候你需要執(zhí)行網(wǎng)格平滑，而這時的模型面數(shù)獎達(dá)到300.000左右。

圖10

The Wooden Material:木紋材質(zhì)

木紋材質(zhì)的表現(xiàn)上我只用了程序紋理。木紋石一種特殊的材質(zhì)；材質(zhì)的里里外外每個地方都不一樣。一塊木紋的外觀取決于你在何處砍下去。同時也決定了整個材質(zhì)的外觀。有兩種方法來為吉他的neck創(chuàng)建木紋材質(zhì)（或者是用在任何其他地方）。首先是展平UV然后貼上真實(shí)的木紋貼圖。但是在曲弧形形狀的地方比如吉他的neck位置，就不是很容易做�；蛘呓Y(jié)果不是很精確。第二種方法是使用程序紋理，程序紋理更簡單并且你也不用編輯UV，另外在渲染的時候使用程序紋理會更節(jié)省系統(tǒng)資源。它幾乎可以提供無限大精度的貼圖結(jié)果，就是說即使你使用的巨大的分辨率你也看到像素點(diǎn)，而且效果也不錯。噢。我是不是忘了提到它比一張真實(shí)的紋理更精確，并且節(jié)省時間嗎？所以它有很多有點(diǎn)，我想你現(xiàn)在也能猜到我將使用哪種方法了。

圖01

圖02

3DSMAX打造超逼真吉他 飛特網(wǎng) 3DSMAX教程

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圖10

The Wooden Material:木紋材質(zhì)

I used only procedural maps for the wood material. Wood is a special material; every millimeter inside and out looks different. The look of a piece of wood depends on where you cut it and this basically determines the look of the whole material.

木紋材質(zhì)的表現(xiàn)上我只用了程序紋理。木紋石一種特殊的材質(zhì)；材質(zhì)的里里外外每個地方都不一樣。一塊木紋的外觀取決于你在何處砍下去。同時也決定了整個材質(zhì)的外觀。

There are two ways to create the wooden material for a guitar’s neck (or for anything else really). The first way is to flatten the UV Map and texture it with real wood textures, but on a curved shape like the guitar neck, it’s not very easy to do this, or very accurate.

有兩種方法來為吉他的neck創(chuàng)建木紋材質(zhì)（或者是用在任何其他地方）。首先是展平UV然后貼上真實(shí)的木紋貼圖。但是在曲弧形形狀的地方比如吉他的neck位置，就不是很容易做�；蛘呓Y(jié)果不是很精確。

The second method is to use procedural maps, which is much easier and means you don’t have to flatten the UVs. It will also spare the system memory while rendering, it has nearly unlimited resolution so it won’t be pixilated in greater resolutions and it looks good too! Oh and have I forgotten to mention that it’s more accurate than simple textures and spares a lot of time? So it has a lot of advantages and I bet you can guess which method I used!

第二種方法是使用程序紋理，程序紋理更簡單并且你也不用編輯UV，另外在渲染的時候使用程序紋理會更節(jié)省系統(tǒng)資源。它幾乎可以提供無限大精度的貼圖結(jié)果，就是說即使你使用的巨大的分辨率你也看到像素點(diǎn)，而且效果也不錯。噢。我是不是忘了提到它比一張真實(shí)的紋理更精確，并且節(jié)省時間嗎？所以它有很多有點(diǎn)，我想你現(xiàn)在也能猜到我將使用哪種方法了。

There were three parts to the wooden material I used (圖11):

在表現(xiàn)這個木紋材質(zhì)的的時候我用到了三個部分(圖11):

The main annual rings (darker and lighter)

主要的年輪（暗色和亮色）

Splinters inside the wood that are in-line with the annual rings

直的年輪里面的小雜點(diǎn)

A few speckles that make the wooden material a little bit more inhomogeneous

一些讓木紋材質(zhì)看起來更加無序的斑點(diǎn)

圖11

A few corrections were needed to get a correct result. The first thing was to * the direction of the annual rings and the splinters. To do that I tried to guess how the annual rings and splinters became parallel. 圖12 and 圖13 show the coordinates of the splinters, and 圖14 shows the coordinates of the wood map. With these *tings the two types of maps were parallel and they were also in-line with the Z-axis of the object.

為了得到正確的結(jié)果需要經(jīng)過多次調(diào)節(jié)。首先要做的是設(shè)置圓形的年輪和豎著的年輪的方向，為了達(dá)到目的，我嘗試著猜測年輪里面的紋理是如何平行的。圖12 和圖13顯示了下雜點(diǎn)的坐標(biāo)設(shè)置。圖14顯示木紋紋理的坐標(biāo)設(shè)置。使用這些參數(shù)設(shè)置，兩種類型的紋理就平行了，同時紋理也和物體的Z方向一致。

圖12

圖13

圖14

If you want to know more about how this material works then you can download it by clicking here.

如果你想更多的了解這個材質(zhì)是如何工作的，你可以在這里下載。

Textures 紋理:

Okay, here are the specific textures I used for this image. I used CorelDRAW to make them (圖15).

The strings have an over-tiled Gradient Ramp texture on them and it’s fully procedural of course (圖16).

好了，下面就是我使用的特殊的紋理，使用CorelDRAW來完成的(圖15).琴弦使用的是平鋪的Ramp紋理，當(dāng)然，它完全是程序紋理。

圖15

圖16

Lighting燈光 :

First I wanted to create a scene, but I changed my mind after I’d finished the guitar. Since I wanted to show you every part of it, I didn’t feel necessary to create an entire scene. Alright, but what could I do instead? Should I create an ordinary blue-orange studio scene? No, it was too boring. Should I use HDRI? No, never, I hate it – it doesn’t give accurate results as it hasn’t got distance * the objects. How about using original lights? Maybe …but how?

一開始我想創(chuàng)建一個場景，但后來當(dāng)我把吉他建造完成后我改變了主意。因?yàn)槲蚁胂虼蠹艺故炯�他的每一個部分。我覺得沒有必要創(chuàng)建整個場景。好了，但是我要使用什么方法來替代呢？我應(yīng)該創(chuàng)建一個普通的藍(lán)色-橙色的studio場景嗎？不，這太無聊了。我應(yīng)該使用HDRI嗎？不，我討厭這玩意兒—HDRI不能提供精確的結(jié)果因?yàn)樗麩o法得到到物體的精確距離。使用常規(guī)的燈光如何？或許何以……但是怎么做呢？

After a little thinking, I Googled for some real studio lighting pictures. I was lucky and found quite a few. I then created two new types of light sources for myself. (I just wanted to prevent the hard edges on the reflections generated by simple VRayLights) (圖17).

小想一會兒后。我在Google上搜索了一些真實(shí)的studio lighting圖片。我很幸運(yùn)找到了不少類似的圖片。然后我就創(chuàng)造了兩種新的類型的光源。(我只是想防止VRayLights產(chǎn)生反射的硬邊。) (圖17).

圖17

Here are a few things about lighting that I’d just like to mention at this point:

下面是一些打燈時我想提醒大家的一些要點(diǎn)：

For diffuse light it is better to use a desaturated light blue color, and for directional it is better to use a yellow one.

漫反射燈光最好使用低飽和度的藍(lán)顏色。方向燈最好是使用黃色。

Turn off the “Affect reflection” and “Affect specular” buttons.

關(guān)掉“影響反射”和“影響高光”按鈕

The directional light needs to look at the object you wish to light, and needs to be double-sided. The diffuse needs to be looking at the hemisphere and the double-sided option should be off… (You can, of course, use caustics with type 1 lights too. It depends on which is better for your scene).

方向燈需要指向你想要照亮的物體，并且需要勾選雙面。漫反射燈光需要指向半球，并且關(guān)掉雙面（當(dāng)然，你也可以在燈光類型1上使用焦散。這取決于那種效果在你的場景中最好）

The most important thing of all is to exclude all other objects on the Diffuse light option except the light hemisphere (Don’t exclude if using Type 2 light)

最重要的是在漫反射燈光的屬性中排除了除半球以外的所有物體（在類型2中的燈光不需要排除）

The next thing now was to put the lights in the correct places in my image. The lights that I wanted to see * the reflections were diffuse lights (I tried to find a place and size where I could see them * the reflections). The directional light was a good choice to generate nice, smooth shadows and caustics. I put them beside the model, or more then 45 degrees * perpendicular, and it gave a very nice result, as you can see in 圖18.

接下來要做的就是在場景中正確的放置這些燈光。我想在反射中能看到的燈光師漫反射燈光（我嘗試著在反射可見的區(qū)域找到一個合適的位置和大�。�。方向燈時很好的產(chǎn)生漂亮和柔和的陰影和焦散的燈光。我把他放置模型的旁邊，或者和水平面的夾角超過45度。這樣就可以得到非常好的記過，如你在圖18見到的一樣。

圖18

I want to point out one thing at this point: to get a realistic look for reflections it’s a good idea to use 5-10 light sources and try to cover more than 50-60* of the places where there is no light. With this method there will only be a few percent of dark places on the reflections, which is just as much as it really needs.

在這里我想要指出一點(diǎn)：為了得到真實(shí)的反射效果，使用5到10盞燈光并且覆蓋沒有燈光的照射的50-60*的地方是個不錯的方法。使用這種方法，只有很少一部分的黑色的區(qū)域出現(xiàn)在反射里，這就是它實(shí)際需要的。

You can also use other shapes to make a nice, realistic reflection. If you changed to a flat shape then you can easily simulate a wall or something else …you can make a plane and light it * the bottom edge or you could put two or more lights aside so that it looks like a window * the reflections.

你也可以使用其他的形狀來創(chuàng)建漂亮真實(shí)的反射，如果你選擇一個平的形狀你就可以很容易的模擬一堵墻或者其他類似的……你可以創(chuàng)建一個平面然后在它的底部照明或者你可以使用兩盞或者多盞燈光放置在它的旁邊，這樣在反射你看起來就像窗戶一樣。

Here is the lighting combination that I used for my rendered scene (圖19).

下面是我的場景中的燈光組合(圖19).

圖19

post Processing 后期處理:

I used HDRI to save the raw renders. It’s the best format to save your images in because it has 32bits/channel information * your renders. Of course it gives you a little bit of an interesting result when you load it into Photoshop, but that’s quite easy to prevent. Sadly Photoshop can’t make any procedures with this format so you have to change the color depth to 16bits/channel. With this method you still have 65536 colors/channel so you get very, very good gradients.

我使用 HDRI來保存原始的渲染。這是保存圖片的最好的格式，因?yàn)樗�包含了從你渲染得到的每通�?2位色的信息。當(dāng)然，當(dāng)你在Photoshop中導(dǎo)入它是也會有趣的多。遺憾的是Photoshop不能操作這類型的圖片，所以你不得不改變圖片的色深為美通道16色。使用這種方法，你仍然可以得到?jīng)]通道65536 種顏色，非常豐富的色彩了。

The next step was to correct the colors and make the picture natural. I used exposure and Blending methods to accomplish this, mostly Multiply, Overlay and Scene. I rendered down the ZDepth pass in 3ds Max and then I used Lens Blur to make DOF. I put Chromatic Aberration on to the picture with great care – you just have to feel it and not see it. I also put a very fine glow on to the highlighted places and some color correction.

下一步就是調(diào)整顏色使得圖片看起來更加自然，我使用exposure 和Blending的方法來實(shí)現(xiàn)它。大部分使用Multiply, Overlay 和Scene。我在3ds Max中渲染出Z通道，然后是鏡頭模糊來創(chuàng)建景深效果。我對圖像小心的校色，你必須去感覺它而不是看他。我也在高亮的地方放置了一些輝光并調(diào)色。

That’s all you have to know about this picture! I hope you enjoyed this Making Of and found it useful (圖20).

這就是創(chuàng)建這個作品所有你所需要知道的。我希望大家喜歡這個制作過程并且對你有所幫助(圖20).

圖20