使用Maya制作烏龜

在本教程中，我將向您展示我用來制作這個Squirt的場景的過程。 我們將從收集參考和靈感開始，繼續(xù)到如何雕刻角色，然后看看照明和陰影，最后我們要渲染它并組成它。 我也會談?wù)撌裁词挂粋�好的組成，也許有點顏色。

In this tutorial I will show you how the process I used to make this scene of Squirt. We will start by gathering references and inspiration, moving on to how to sculpt the character, then look at the lighting and shading, and finally we are going to render it and compose it. I will also to talk about what makes a good composition and maybe a bit about colors.

Inspiration

I find that when you first start a new artwork you must have an impulse or inspiration that will push you to do it; for me this was two artists, Aaron Blaise and Jeremy Vickery. Their understanding of light, composition, and color is so mind blowing that makes their work look amazing. They have led me to take some courses on lighting and color and I have begun to microscopically analyze their work to try to gain a better understand, and learn from, what makes their work stand out. The work of these two geniuses is so amazing that I it has inspired me to do something in their style - but in 3D because they are mainly 2D guys!

靈感

我發(fā)現(xiàn)，當(dāng)你第一次開始一個新的藝術(shù)品，你必須有一個沖動或靈感，將推動你做它;這是兩個藝術(shù)家，亞倫布萊斯和杰里米維克里。 他們對光，組成和顏色的理解是如此令人興奮，使他們的工作看起來驚人。 他們帶領(lǐng)我參加了一些關(guān)于照明和顏色的課程，我已經(jīng)開始微觀分析他們的工作，嘗試更好地了解和學(xué)習(xí)，是什么使他們的作品脫穎而出。 這兩個天才的工作是如此驚人，我也啟發(fā)了我在自己的風(fēng)格做什么但是3D，因為他們主要是2D。

Here you can see Jeremy has a good understanding of color and light

在這里你可以看到Jeremy對顏色和光有很好的理解

Finding reference

Once you have the inspiration, your next step should always be to find reference images of what you are going to create. For me this was an existing character (Squirt the turtle) which makes the reference gathering a bit easier; although I intended to do a new, completely different scene and lighting from what exists in the film Finding Nemo. I started to gather references from the film to help with the modeling and also reference of lighting and composition. I usually put together a collage of the images and I keep it open, to refer to, until I have finished.

尋找參考

一旦你有了靈感，你的下一步應(yīng)該是找到你要創(chuàng)造的參考圖像。對我來說，這是一個現(xiàn)有的角色（Squirt烏龜），使參考資料的收集更容易一點; 雖然我打算做一個新的，完全不同的場景和所存在的Finding Nemo在電影中的照明。我開始收集電影的參考，以幫助建模和照明和組成的參考。 我通常把一個拼貼的圖像，我保持開放，參考，直到我完成了。

I usually collect as many references as I can, from lots of angles

我通常收集盡可能多的參考，我可以從許多角度

Modeling

When you have collected together the references you can move on to the fun part - modeling the character. Since this is a personal project done for fun, and is not going to be animated, I don't need to worry too much about topology and posing for animation. This allows me to have more artistic freedom, so I go straight to sculpting in the pose and expression of the final look. If this was for production, we would need to model first in a neutral pose, do some retopology and then in ZBrush or Maya rig it in a pose.

建模

當(dāng)你收集了這些引用之后，你就可以進(jìn)入到有趣的部分--角色建模。因為這是一個為了樂趣而做的個人項目，并且不會是動畫，我不需要擔(dān)心太多的拓?fù)浜蛿[動動畫。 這讓我有更多的藝術(shù)自由，所以我直接雕刻的姿勢和表達(dá)的最后的樣子。 如果這是為了生產(chǎn)，我們將需要首先在一個中立的姿勢，做一些重構(gòu)，然后在ZBrush或maya鉆機它的姿勢。

Sculpting

I usually start with a sphere. This is my personal preference when starting a new sculpt but you can start whichever way suits your work best. I like to put the references side by side to help match the sculpt to the character. I define the overall shapes and proportions, which always looks ugly at first because the shapes are not yet defined and the personality of the character has not yet emerged, but by working slowly and paying attention to the forms and shapes you will start to get it right! I work with DynaMesh until I have all the correct overall volumes and proportions, then use ZRemesher before I start defining all the shapes, planes, volumes, etc.

雕刻

我通常從一個球開始。 這是我個人的喜好，當(dāng)開始一個新的雕塑，但你可以開始，無論哪種方式適合你的工作最好。 我喜歡把參考并排，以幫助匹配雕刻的字符。 我定義的總體形狀和比例，它總是看起來丑陋，因為形狀尚未定義，人物的個性還沒有出現(xiàn)，但通過工作緩慢，注意到形式和形狀，你會開始得到它 對！ 我使用DynaMesh，直到我有所有正確的總體積和比例，然后使用ZRemesher之前，我開始定義所有的形狀，飛機，卷等。

I start from the basic form, define the planes and start to refine the forms

我從基本形式開始，定義平面并開始細(xì)化形式

UVs

I made the UVs in ZBrush, which is very easy. You only have to grab the SubTool, go to ZPlugin > UV master, then click ?Work on Clone'. With the Standard brush, enable control painting, then click Attract and fill the SubTool with blue. Then click Protect and mark the seam in red. Now the only thing left to do is click Unwrap, and there you have it! Now copy the UVs from the Clone to the original SubTool , you have the UVs!

Again, if this was for production, I would have done the UVs in Maya and laid them out correctly; but doing work for myself is the only time when I don't need to be worried about all that technical stuff.

UVs

我在ZBrush做了UVs，這是很容易。 你只需要抓住SubTool，轉(zhuǎn)到ZPlugin> UV master，然后單擊“工作在克隆”。 使用標(biāo)準(zhǔn)畫筆，啟用控制繪畫，然后單擊吸引并用藍(lán)色填充子工具。 然后單擊保護(hù)并用紅色標(biāo)記接縫。 現(xiàn)在唯一剩下要做的就是點擊Unwrap，你有它！ 現(xiàn)在復(fù)制UVs從克隆到原來的SubTool，你有UVs！

再次，如果這是為了生產(chǎn)，我會在Maya完成UVs并正確地布置它們; 但為自己做的工作是唯一的時候，我不需要擔(dān)心所有的技術(shù)的東西。

The blue color represents the UV space and the red one the seam

藍(lán)色代表UV空間，紅色代表接縫

Painting time!

For painting I use the Standard brush with different alphas. I start by giving it a flat base color, and then define some opaque spots. Afterwards I add some highlights and finally a layer of little freckles.

繪畫時間！

對于繪畫我使用具有不同阿爾法的標(biāo)準(zhǔn)畫筆。 我開始給它一個平基色，然后定義一些不透明的斑點。 之后，我添加一些亮點，最后一層小雀斑。

Alphas are a great help when creating skin patterns, markings, and freckles

當(dāng)創(chuàng)建皮膚圖案，標(biāo)記和雀斑時，Alphas是一個很大的幫助

Exporting

As I said since this is a personal project and I was not going to animate this, I did not retopologize it (it would have been the correct thing and a good practice), so for exporting this to Maya, what I did was export a 4k Displacement Map from ZBrush and a bum map and then import it into Maya with the lowest subdivision mesh of the turtle model, I exported the displacement mainly for the wrinkles and the skin texture in the fins.

出口

正如我所說，因為這是一個個人項目，我不會動畫這個，我沒有retopologize它（這將是正確的事情和良好的做法），所以出口到Maya，我做的是出口 4k位移地圖從ZBrush和一個地圖，然后導(dǎo)入到龜甲模型的最低細(xì)分網(wǎng)格Maya，我導(dǎo)出位移主要是為了皺紋和皮膚紋理的鰭。

I exported a 4k displacement map to apply it in Maya and have the same level of detail

我導(dǎo)出了一個4k的位移貼圖，在Maya中應(yīng)用它，并具有相同的細(xì)節(jié)水平

Lighting and composition

I used a Dome light with an HDRi to give overall warmth to the fill light; I added a key light, and afterwards, some bounce lights. Once all the lights are in you can play with the color and temperature of the lights. I wanted to create a kind of "sunset" lighting, so I started to move lights around to match something like a sunset. One important light here is the directional light; this is because it gives you the same feeling as the setting sun, with hard shadows and nice colors.

To find a pleasant composition you can apply the Rule of Thirds and use the Golden Ratio, which helps to give a balanced composition with places were the eye can rest and move around the page.

照明和組成

我使用了一個圓頂燈與HDRi給整體的溫暖的填充光; 我添加了一個鑰匙燈，然后，一些反彈燈。 一旦所有的燈都在你可以玩的顏色和燈的溫度。 我想創(chuàng)造一種“日落”的照明，所以我開始移動燈光，以匹配像日落的東西。 這里一個重要的光是定向光; 這是因為它給你與夕陽相同的感覺，硬陰影和漂亮的顏色。

要找到一個愉快的組成，你可以應(yīng)用三分法，使用黃金比例，這有助于給一個平衡的組成與地方是眼睛可以休息和移動的頁面。

My lighting set up is simple HDRi, key light, fill light and the most important the bounce lights

我的照明設(shè)置是簡單的HDRi，鑰匙燈，補光和最重要的反光燈

You can see the golden ratio and the rules of three applied to my composition

你可以看到黃金比例和三個規(guī)則適用于我的構(gòu)圖

Shading

I used mainly the V-Ray FastSSS2 shader material which gives you a very nice organic feeling because of the SSS. Creating a nice shader is a matter of observation and keep tweaking until you find something that you like, also tweak the lighting to make the shader behave the way you want. The most important parameters in FastSSS2 are the prepass rate, scale, the Specular and the Scatter color. With the prepass rate you control the "quality" of the shader so something around 0 or 1 is finding. The scale is like a multiplier of the scatter radius it controls the amount of light is scattered. The Specular palette controls the specular parameters such as the amount and the gloss. And the scatter color controls the color of the shader when the light is scattered.

底紋

我主要使用V-Ray FastSSS2著色材料，它給你一個非常好的有機感覺，因為SSS。 創(chuàng)建一個漂亮的著色器是一個觀察的問題，并持續(xù)調(diào)整，直到你找到你喜歡的東西，也調(diào)整照明，使著色器的行為方式是你想要的。 FastSSS2中最重要的參數(shù)是準(zhǔn)波率，標(biāo)度，鏡面反射和散射色。 使用prepass速率你控制著色器的“質(zhì)量”， 所以大約0或1的東西被發(fā)現(xiàn)。 尺度就像散射半徑的乘數(shù)，它控制光的散射量。 鏡面調(diào)色板控制鏡面參數(shù)，如光量和光澤。 散射顏色控制光散射時著色器的顏色。

Here you can see the overall parameters I used for the skin shading

在這里你可以看到我用于皮膚陰影的總體參數(shù)

Compositing

I gave this scene several passes. Try to render out the turtle and the plants and sand separately this gives you much more control. I like to use After Effects to do my compositing; I usually start by giving it some contrast, then I blur the background. I apply a color correction layer with Magic Bullet Suite by Red Giant, which has a lot of cool tools for color correcting a scene. In Photoshop I make a few final tweaks and touches, such as accentuating the bright spots by painting in the image with the brush in Color Dodge mode ? its gives a more appealing light effect. I try to give the scene a "volumetric atmosphere" with depth.

合成

我給這個場景幾遍。嘗試把龜和植物和沙子分開，這給你更多的控制。 我喜歡使用After Effects做我的合成; 我通常開始給它一些對比，然后模糊我的背景。 我應(yīng)用紅色巨人魔術(shù)子彈套件的顏色校正層，它有很多很酷的工具，用于顏色校正場景。 在Photoshop中，我做了一些最后的調(diào)整和觸摸，例如通過在顏色模型中用畫筆在圖像中繪制亮點來突出亮點？ 它給出了更有吸引力的光效果。 我試著給場景一個“體積大氣”深度。

The finished piece  成品