視頻教程
轉載
軟件
材質
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In this tutorial I’ll explain how I did the modeling, texturing, lighting, rendering, and post-work for the image “Invisible”.
在這個練習里我將講解我如何進行建模、材質、照明、渲染以及“無形”作品的后期處理。
Modeling
建模
Overall, I kept the modeling rather basic. For the models that were simple, such as the flowers pots or small stool, I didn’t use any reference, but for more complex things, like the clock or the flower cart, I always try to get a few good reference pictures to go on. Even then I’ll usually deviate * the reference just to see what I can come up with on my own. To me, that’s the really fun part, being able to put my own ideas into whatever it is I’m working on. I box modeled all the props using the Edit Poly modifier. I chamfered all the edges on the props to give the objects a smoother feel.
總的來說，我一直保持基礎的建模。為了使模型簡單，類似花瓣或者小凳子這些東西，我都沒有使用 任何的參考資料，不過對于一些復雜的事情，比如鐘座或者花車，我總是會嘗試獲取一些不錯的參考圖片來進行制作。盡管如此我通常不會照搬參考資料，而是通過 提示來看看我自己會得到什么。對我來說，這是非常有趣的部分，通過表達我自己的想法到整個畫面上，這才是我要做的事情。我用 Box 透過 Edit Poly 修改器建模了所有的道具。我對在道具上的所有邊線進行了倒角，讓物體據(jù)有一種平滑的感覺。
For the plants and trees I used Xfrog models and some free models found on the web and just made texture modifications to them and built my own props for them.
對于植物和樹木，我使用了 Xfrog 模型以及一些在網(wǎng)絡上的自由下載模型，并且僅僅修改了它們的紋理，好讓它們成為我自己的道具。
Flower cart:
花車：
Ivy plant:
藤蔓植物：
Here’s the reference picture I used for the clock.
這里我創(chuàng)建鐘座參考了圖片。
For the fence I used Lines with the initial type smooth checked. The shape for this fence just came off the top of my head, no referenced was used, though it might have been helpful since the design isn’t the most elegant. 
對于柵欄我使用了Lines，在 initial type (卷展)打開了 smooth。 這個柵欄的形狀僅來自于我的腦海，沒有使用參考資料，盡管它可能會有些用處，但是設計的并不是很雅致。
For the fruit I used simple shapes like spheres and cylinders and modified them with the Edit Poly modifer. I scaled two or three pieces of fruit and then instanced them in the crates to give more variation.
對于水果我使用了簡單的物體，比如球形以及圓柱，然后用 Edit Poly 修改器編輯了它們。我縮放了水果中的兩個或者三個，然后以 instanced 形式復制到箱子里讓它們具有更多的變化。
Textures
紋理
For the textures I mainly used textures * sites like CgTextures and used the Blend function in 3ds Max to give more variation to the textures.
對于紋理我主要使用了比如 CgTextures 網(wǎng)站等處得到的紋理，然后使用了 3ds Max 內部的混合功能讓紋理獲得更多的變化。
This is the texture I used for the clock.
這是我用于鐘座的紋理。
I went further to add another Blend function inside the current Blend I already had and used a black and white dirt mask for the blending effect.
我在當前的 Blend 著色器里進一步的添加了另外一個 Blend，然后我又為混合效果添加了一張黑白的污垢遮罩圖。
Here are the textures I used for the green paint on the clock:
這是我用于鐘座上的綠色油漆紋理：
These were the first two color maps I blended:
在這里我首先混合了兩種色彩貼圖：
This is the dirt mask I used for the blending.
這是我為混合而是用的污垢遮罩。
Then on top of that I added another texture and dirt mask for blending:
然后在它們上面我為混合效果又添加了另一張紋理與污垢遮罩圖：
Color map:
色彩貼圖：
Dirt mask:
污垢遮罩：
This is what the Blend process looks like:
這里的混合過程看上去像這樣：
Once I get all my textures in place I go in and add a bump map to all my textures. I’ll either take the color maps and desaturate them in Photoshop or just put the color map in the bump map slot. Depending on the type of texture I will usually leave the bump intensity *ting at 30 or take it up to around 65.
一旦我把我所有的紋理放到的合適的地方，我就會繼續(xù)并且為所有的紋理添加凹凸貼圖。我任意的采 用色彩貼圖然后在Photoshop里降低它們的飽和度，或者僅僅是把色彩貼圖放置到凹凸貼圖通道里。依賴于紋理的類型，我通常把凹凸的強度設置在 30 或者增加到 65 之間。
Lighting/Rendering
照明/渲染
I kept the lighting simple as well. I used one directional light for the sun and rendered with Vray with global illumination.
我保持光照也同樣的簡單。為了表現(xiàn)陽光我使用一個平行光源，然后我用打開了全局光照的 Vray 來進行渲染。
I enabled Vray Shadows and gave the light a slight yellowish tint.
我使用了 Vray Shadows 并且讓光源呈現(xiàn)輕微的黃色。
Also, I made sure the Light Cone encompassed all the geometry in the scene.
同樣，我確保燈光椎體包括了場景中的所有幾何體。
And enabled Area Shadows.
然后打開了體積陰影。
I left most render *tings at their default values. I will highlight the *tings I adjusted.
我應用了大部分的渲染設置的默認值。我將標注我調整過的設置。
I uncheck Default lights and checked the On button to enable GI under the Indirect Illumination tab.
我關閉了 Default lights （缺省照明）然后在 Indirect Illumination （間接照明）標簽下打開了 On 按鈕以允許 GI。
Reflection options : Be sure to check the Reflective option on under GI caustics in the Indirect Illumination tab and add color to the Reflection/refraction environment override option so that anything with reflective qualities will show up.
反射選項：確保 Indirect Illumination 標簽里的 GI caustics 勾選了 Reflective 選項。并且為 Reflection/refraction environment override（反射/折射環(huán)境覆蓋）選項添加了顏色，隱藏所有物體的反射特性將會顯現(xiàn)出來。
Color mapping : I tend to use Linear color mapping for outdoor scenes and Exponential or HSV Exponential color mapping for my indoor scenes.
染色貼圖：我趨向于為室外場景使用 Linear color mapping（線性色彩貼圖），然后用 Exponential（指數(shù)）或者 HSV Exponential（HSV 指數(shù)）色彩貼圖來作為我的室內場景選擇。
Test rendering : When I want to see what I have quickly I’ll * the Adaptive Subdivision (under the Antialiasing tab) at : Min: -1 Max: +2 , for Irradiance Map *tings: under Basic Parameters, I * the Min rate at -3 and Max rate at -3 . The HSph. SubDivisions on: 30 and Interp. Samples: 20 .
測試渲染：當我想快速的查看時，我會把 Adaptive Subdivision（Antialiasing 標簽下）設置為Min: -1 Max: +2，為在基本參數(shù)下的 Irradiance Map 設置：Min rate 為 -3 然后 Max rate 為 -3。 HSph. SubDivisions 為: 30 并且 Interp. Samples: 20。
Final rendering : For the best quality I adjust the Irradiance map *tings according to the size of the render. For example, a render at 640×480 : under the Basic Parameters I make the Min rate -3 and Max rate -1 . For double that size, I take the numbers down by one. So the Min and Max rate for a 1280×960 render would be -4 and -2 respectively. Double that size again, 2560×1920, and I take the numbers down by one again on the Min and Max rate (-5, -3) , and so on and so on for every time I double the size of my render. I take the Adaptive Subdivision Antialiasing Min and Max rate to 0 and 2 respectively for the final render. For the HSph. SubDivisions I will * it to around 60 and * the Interp. Samples to around 50 .
最終渲染：為了更好的質量按照不同的渲染尺寸我調整了 Irradiance map 設置。舉例來說，640×480 的渲染：在基礎參數(shù)下我修改了 Min rate -3 并且 Max rate -1。對于兩倍的尺寸，我把參數(shù)下降了一個數(shù)值。因此對于 1280×960 的渲染來說Min 與 Max rate 各自為-4和-2，再次的雙倍尺寸，2560×1920, 我同樣把參數(shù)下降了一個數(shù)值 Min 與 Max rate為(-5, -3)，以此類推在所有時候我都為我的渲染進行兩倍尺寸的設置。為了最終的渲染我把 Adaptive Subdivision Antialiasing 的 Min 與 Max rate分別設置為 0 和 2。HSph. SubDivisions 我將設置在 60 左右并且把 Interp. Samples 設置在 50 左右。
Post-work
后期處理
Here’s the image right after rendering it in Vray. It’s a little too dark and flat for my taste so I’ll take it into Photoshop and touch it up a little.
這里的圖像在 Vray 里渲染完成之后，在我看來它顯得有點暗并且平淡，因此我將把它放到 Photoshop 里然后進行少許的調整。
The first thing I do is adjust the Levels. This is going to be different for every image since it depends on how dark the render is. For this image I adjusted the right Input level * 255 to 180.
第一件事情我調整了 Levels（級別）。對于每幅圖片來說這里都會有些不同，因為它依賴于渲染時會有多暗淡。對于這幅圖像來說我調整了右邊的級別（譯者：即圖像的白場），由 255 到 180。
Then I add more contrast to the image by adjusting the Brightness/Contrast values. For this image I increased the contrast to 7.
然后我通過調整 Brightness/Contrast 的值來為圖像添加更多的對比。對于這幅圖像我增加了對比度到 7。
Then to give the image a warmer feel I adjusted the yellow midtones to -8 using the Color Balance tool.
然后為了使圖片具有一種溫暖的感覺，我通過利用 Color Balance 工具調整黃色中間調到 -8。
The last thing I do is use Neil Blevins’ specular bloom method to add an even more dramatic effect to the lighting. The tutorial for this can be found here:
最后我使用了 Neil Blevins 的高光潤飾的方法來為照明添加了更加戲劇性的效果。這個練習可以在這里找到：
http://www.neilblevins.com/cg_education/specular_bloom/specular_bloom.htm
（譯者：地址里的教程就一個 max 效果：blur 效果~超級簡單~，在 PS 里也能輕松達到同樣的效果，看下文。）
I will outline it quickly here too. The first thing to do is to duplicate the Background Layer. Then add an extreme amount of contrast to the image and lower the brightness. For this image I raised the contrast to 90 and lowered the brightness to around -100. This will differ for each image. Basically what you see highlighted will received the bloom effect. When your contrast and brightness values are less extreme more of the scene will receive the bloom. In some cases this may not be what is wanted since it can wash out the image overall.
我也將在這里快速的說一下他的方法。第一件事情是復制背景圖層。然后為圖像添加一個極端數(shù)值的 對比度同時降低亮度。對于這幅圖像我提高對比度到 90 然后把亮度降低到了 -100 左右。對于每幅圖像來說這里會稍有不同�；旧蟻碚f當你看到高光處出現(xiàn)了輝光效果就可以了。當你的對比度和亮度值已經(jīng)少許過度的時候場景將產(chǎn)生輝光。在一 些情況下這里可能什么也不會看到，因為它可以沖抵掉整幅圖像。
Duplicate the Background layer
復制背景圖層
Adjust Brightness and Contrast to extremes
調整亮度對比度到極端狀態(tài)
The next step is to desaturate the layer that will take on the bloom effect. Then add a Gaussian blur filter to the layer. I usually adjust the *ting to around 15 pixels.
下一步是對圖層進行去飽和，圖層將獲得輝光效果。然后為圖層添加一個高斯模糊濾鏡。我通常調整設置到 15 個像素左右。
Desaturate the layer.
圖層去飽和
And add a Gaussian Blur effect.
然后添加高斯模糊效果
Then change the layer *ting to linear dodge . The lighting should look blown out now so we’ll need to lower the opacity . I usually * it around 10-15*.
然后調整圖層模式為 linear dodge。光線現(xiàn)在應該強烈的出現(xiàn)了，然后我們將需要降低它的透明度，我通常設置在10-15*左右。
And that’s it!
就是這樣了！
