雕刻一個陌生星球

Another step will be building the stone structures out of Metablobs with the previously created material. I will show you my way of painting the terrain in the editor with the help of terraces, plateaus and rock filters. The physical water setup also plays an important role in this scene, since I want a more or less fluent transition between water and sky. A sci-fi scene needs a moody atmosphere and what would an alien landscape be without the proper flora!
另一個步驟將是建筑的石頭結(jié)構(gòu)Metablobs之前創(chuàng)建的材料。我將向您展示我的繪畫方式的地形編輯器的幫助下梯田,高原和巖石過濾器。物理水設(shè)置也扮演著重要的角色在這個場景中,因為我想要一個或多或少地流利的水和天空之間的過渡�？苹脠鼍靶枰�一個喜怒無常的大氣和外星景觀是沒有適當(dāng)?shù)闹参?
I won?t go through every single step in my explanations. Instead I will show you the most important settings and you can experiment on your own with them, or instead simply load the materials or scene file included as a downloadable resource. 
I only use plants and materials that come with Vue in this tutorial, as I know many Vue users don?t work with the Editor and just use pre-made materials. I therefore hope that I can motivate some of you to dive with me into it! So let?s get started!
我贏了嗎？不要在我的解釋中走過每一步。相反，我會告訴你最重要的設(shè)置，你可以自己做實驗，或者簡單地加載包含下載資源的材料或場景文件。
我只能用植物材料來與Vue在本教程中，我知道很多用戶不憂？與編輯一起工作，只使用預(yù)先制作的材料。因此我希望我能激勵你們中的一些人和我一起潛水！讓？s開始！

Step 01: Crystal displacement setup

I open up a new scene and create a standard sphere object. Then I open the material, choose World Parametric as mapping mode, check Displacement mapping under the Bump tab, and open the displacement production. There I create a math node with ?Multiply by a constant? selected, followed by two simple fractals with cellular patterns/crystals as noise, and at last a blender node to connect them.
我打開一個新的場景,創(chuàng)建一個標(biāo)準(zhǔn)的領(lǐng)域?qū)ο�。然后我打開材料,選擇世界參數(shù)映射模式,檢查撞下位移映射選項卡,打開位移生產(chǎn)。我創(chuàng)建了一個數(shù)學(xué)節(jié)點嗎?乘以一個常數(shù)?與細(xì)胞的模式選擇,其次是兩個簡單分形/晶體作為噪聲,最后攪拌機(jī)節(jié)點連接。
The two fractals differ in their values for the largest and smallest features to get more variance in the resulting structure. To achieve the crystalline form, it?s important that we set high values for these two settings. In the blender node, I set the combination mode to max with a ratio of 1. That combines the max settings from the two fractals, resulting in a nice crystalline shape. I close the editor and set a displacement depth of 2.5.
兩個分形的最大和最小值不同特性來獲得更多的方差在生成的結(jié)構(gòu)。實現(xiàn)結(jié)晶形式,它嗎?這兩個重要的年代,我們組高值設(shè)置。攪拌機(jī)的節(jié)點,我設(shè)置了組合模式,最大的比1。結(jié)合的最大設(shè)置兩個分形,導(dǎo)致晶體形狀。我關(guān)閉編輯器和設(shè)置一個位移深度為2.5。
在這個圖像中你可以看到兩個分形設(shè)置和預(yù)覽所產(chǎn)生的位移

Step 02: Crystal color setup

Now I take care of the further material settings, like color and transparency. I want some color variations ranging between purple and blue, and a pattern with lines/cracks for the crystals. To achieve this, I first create Linear Interpolation 2, choose a light-purple for Color 1 and a light-blue for Color 2, and connect it to the Small Crystals fractal.
現(xiàn)在我負(fù)責(zé)進(jìn)一步的材料設(shè)置，如顏色和透明度。我想一些紫色和藍(lán)色之間的顏色變化，和線/裂縫的晶體模式。為了實現(xiàn)這一點，我首先創(chuàng)建線性插值2，選擇淡紫色為顏色1和淺藍(lán)色為顏色2，并將其連接到小晶體分形。
Thereby I have converted the vector space into a color space. To get more color gradations and disturbances, I create a Color Variation and connect it with Linear Interpolation 2. To get even more variance into the material, I would like to have some effects in it like a line pattern that covers the crystal shape. For that I create another simple fractal, choose line patterns/cracks as noise and connect it with the contrast input of the Color Variation. 
因此，我已經(jīng)轉(zhuǎn)換成顏色空間的向量空間。為了獲得更多的顏色層次和干擾，我創(chuàng)建了一個顏色的變化，它與線性插值2連接。為了獲得更多的差異的材料，我想有一些影響，就像一個線模式，涵蓋了晶體形狀。為此，我創(chuàng)建另一個簡單的分形，選擇線模式/裂縫作為噪音，并連接它的對比度輸入的顏色變化。
仔細(xì)看看線條圖案/裂縫分形和顏色變化，包括預(yù)覽設(shè)置

Step 03: Crystal transparency setup

The displacement and color are already set up, and now I need to work on the highlights and transparency. I close the function editor and go to the Highlights tab. I want a lot of strong, shiny anisotropic highlights on the crystals, so I set high values for all three sliders and choose a very desaturated purple as the highlight color. 
位移和顏色已經(jīng)設(shè)置，現(xiàn)在我需要工作的亮點和透明度。我關(guān)閉函數(shù)編輯器并轉(zhuǎn)到突出標(biāo)簽。我想很多強(qiáng)，光澤的晶體各向異性的亮點，所以我設(shè)置高值的所有三個滑塊，選擇一個非常飽和的紫色的顏色。
Then I move on to the Transparency tab and turn the Global transparency to 70%. Crystals have a high refraction index (2.42 for diamonds), therefore I choose the highest possible value in Vue, which is 2. I also check Physical transparency with a purple scattering color and a backward anisotropy of -0.87. 
然后我轉(zhuǎn)到透明選項卡，把全球透明度為70%。晶體具有高折射率（2.42鉆石），所以我選擇在Vue公司的最高值，為2。我也檢查身體透明的紫色散射的顏色和一個落后的各向異性-0.87。
The crystals need a bit of reflectivity. By raising ?Turn reflective with angle? to 70% I get the desired effect. The setup is complete and I can save the material.
晶體需要一點反射率。通過提高？用角度轉(zhuǎn)動反射？到70%我得到想要的效果。安裝完成后，我可以保存材料。
預(yù)覽最終材料的透明度的設(shè)置選項卡

Step 04: Setting up the AlienRock material

I use the crystal displacement as a base for the AlienRock material to get a similar look, but change the Small Crystals fractal with distributed patterns/square Samples. 
我用水晶位移作為基地AlienRock材料得到類似的看,但是改變分形的小晶體分布模式/平方樣本。
I change the colors of the Linear Interpolation to a more rock-like brownish color ? but as we are on another planet, every other color would suit, so feel free to experiment! 
我改變線性插值的顏色更如磐石般堅韌的褐色的顏色?但是當(dāng)我們在另一個星球,每一個其他顏色適合,所以隨意實驗!
Apart from the displacement, which affects only the bigger rock shapes, I want some small bumps in the material where the lines and cracks from the material color appear. For that, I take the lines/cracks fractal and connect it with the Bump output and choose a low value of about 0.2, so that there?s a visible bump, but not that much so the lines/cracks pattern is still visible. At last I save the material.
除了位移,它只影響更大的巖石形狀,我想要一些小疙瘩在物質(zhì)材料顏色的線條和裂縫出現(xiàn)。,我把線/裂縫分形和連接它與凹凸輸出和選擇一個較低的值約為0.2,這樣嗎?可見腫塊,但沒有那么多的線/裂縫模式仍然是可見的。最后我節(jié)省材料。
節(jié)點設(shè)置alienrock材料隨著分布式模式設(shè)置/平方樣品和線性插值

Step 05: Creating the ground terrain

I generate a standard terrain with a size of 1 km2, open it in the Terrain editor, and paint the terrain for the scene with a final resolution of 2,048 x 2,048. I mainly use the stones, terraces, and plateau effects beside the raise and flatten brush to shape the terrain. The next step is to paint the path onto the terrain. I close the Terrain editor, check the scale of the terrain, and resize its Z-axis to 40m. I open the terrain again and choose the Altitude brush with a brush size of 60m and an altitude level of 43m, and start to paint a curved path. After that I apply the stones effect two or three times, and choose ?River valley? from the Erosion effects panel to break the surface of the path a bit more.
我生成一個標(biāo)準(zhǔn)的地形，大小為1平方公里，打開它在地形編輯器，并繪制地形的場景與最終分辨率為2048乘2048。我主要使用的石頭，梯田和高原效果旁邊的提高和平整刷塑造地形。下一步是將道路繪制到地形上。我關(guān)閉地形編輯器，檢查地形規(guī)模，并調(diào)整其Z軸40m。我挑選一個60m的筆刷大小和海拔高度43m水平再刷開地形，并開始畫曲線路徑。之后我用石頭效果兩到三次，然后選擇？河谷？從侵蝕效果面板，以打破表面的路徑多一點。
地形編輯器的預(yù)覽與河谷地形侵蝕

Step 6: The physical water setupNow that I have my ground terrain, I create a water surface. I place it about 40m on the Z-axis, so that only the path is a bit above the surface (the exact position in this case is 39m, since the last erosion effect has taken away a bit of the height) and open the material. 
現(xiàn)在，我有我的地面地形，我創(chuàng)建一個水面。我把它約40m的z軸，所以只有道路表面上方一點（具體位置在這種情況下為39m，自從上次侵蝕作用帶走了一點的高度），打開材料。
I want calm, relatively clear, but slightly milky water without any foam, where the deepest spot of the terrain is barely visible. For that I turn the foam layer alpha boost to -100%, and in the Transparency tab of the water I turn the depth to 40m. For the milky-ness I turn the anisotropy backwards to -0.82. The only thing left is to set ?Turn reflective with angle? from the standard 40% to 81%, so that I get a bit more contrast in the water.
相對明確,但略乳白色的水沒有泡沫,最深的地方地形幾乎看不見。我把泡沫層α提高到-100%,在水的透明度選項卡,我把40米的深度。milky-ness我把各向異性向后至-0.82。唯一留下的是設(shè)置?把和角反射嗎?從標(biāo)準(zhǔn)的40%至81%,這樣我在水里得到更多的對比。
在這里您可以看到各種設(shè)置的水材料連同水表面編輯器

Step 07: Setting up the Metablobs

With the ground terrain and water created, I can now set up the rest of the scene. One tip: at this point it?s a good idea to start working with layers, so that you can hide elements of the scene and have a clear viewport for the Metablob setup. For my scene I need five different Metablobs: two low blobs for the fore- and mid-ground, one arch blob (which is duplicated twice), and two high blobs for the background. 
隨著地面地形和水的創(chuàng)建，我現(xiàn)在可以設(shè)置其余的場景。一個提示：在這一點上？是一個好主意，開始使用層，這樣你可以隱藏場景元素的和為metablob設(shè)置清晰的視圖。對于我的場景我需要五種不同的metablobs：兩低斑點前、中的地面，一拱滴（這是重復(fù)兩次），和背景兩大斑點。
I create them out of standard primitive cubes which I move around till I?m satisfied with the look. Once I?ve created the blobs, I resize them to fit to the ground terrain. For reference: the small foreground blob is about 30m high, and the two big background blobs a bit over 500m.
創(chuàng)造出來的標(biāo)準(zhǔn)的原始數(shù)據(jù)集移動直到我嗎?我很滿意的外觀。曾經(jīng)的我嗎？已創(chuàng)建的斑點，我調(diào)整到適合于地面的地形。參考資料：小前景塊約30m高，和兩大背景斑點500m以上一點。
在這張照片中你看到的設(shè)置metablobs連同地面地形、水面

Step 08: Islands and planet setup

Now I need four islands for the blobs, so I create a standard terrain, resize it to 130m2 and paint it with the same technique as before. The height of the terrain should be just slightly above the water surface. Then I duplicate it three times and distribute the islands onto the ground terrain with the Metablobs on top. 
現(xiàn)在我需要四個島嶼的斑點，所以我創(chuàng)建了一個標(biāo)準(zhǔn)的地形，調(diào)整到130m，用與之前相同的方法。地形高度應(yīng)略高于水面。然后我復(fù)制三次，將島上的地形和地面上metablobs。
The three arch blobs get no islands; instead, I place them across the path of the ground terrain so that they overlap a bit. Next, I build the distant planet by creating a sphere of about 180m and placing it far away. 
三弓斑沒有島嶼；相反，我把它們在地面地形的道路讓他們重疊一點。接下來，我建立了遙遠(yuǎn)的星球，通過創(chuàng)建一個180m左右放遠(yuǎn)球。
Inside the material, I change its color to yellow, and in the Effects tab I set a high Illumination of 5000% and a glow of 1% with a radius of 10000%. This simulates the corona of a distant sun.
里面的材料，我改變它的顏色為黃色，并在效果標(biāo)簽，我設(shè)置了高照明5000%和發(fā)光的1%半徑為10000%。這模擬了一個遙遠(yuǎn)的太陽的日冕。
頂視圖的場景，以顯示對象之間的距離，以及行星材料的主要設(shè)置

Step 09: Material and ecosystem

Next I create a sphere and load the crystal material. Then I duplicate the sphere three times and place them in a row. 
接下來，我創(chuàng)建一個球體和加載晶體材料。然后我復(fù)制球體三次，把它們放成一排。
Since the crystal material uses World Parametric mapping, all three crystal displacements look a bit different, and that?s exactly what I want. I bake them out as objects so that I can load them in an ecosystem and save them. 
由于晶體材料使用世界參數(shù)映射，所有三個晶體位移看起來有點不同，那？這正是我想要的。我烘焙他們作為對象，以便我可以加載他們在生態(tài)系統(tǒng)和拯救他們。
I assign the AlienRock material to the Metablobs. Since I want crystals on the rock surface, I make an ecosystem layer, load the three pre-made crystals in, and hit populate.
我將alienrock材料的metablobs。因為我想水晶在巖石表面，我做一個生態(tài)系統(tǒng)層，加載三預(yù)制造晶體，并命中填充。
For the ground terrain I want a few big crystals both under and above the water surface, surrounded by smaller ones. They should only appear on both sides of the path, leaving the middle part of it free. The same applies to the alien plants.
地面地形我要幾大晶體都在水面以上下,較小的包圍。他們應(yīng)該只出現(xiàn)兩邊的道路,離開它的中間部分自由。這同樣適用于外來植物。
關(guān)閉地面地形顯示自由的中間部分，和生態(tài)層的巖石拱門之一

Step 10: Ecosystem and atmosphere setup

Now to the setup. I load the Sand Flat material that comes with Vue and create five ecosystem layers. Layers 1 and 2 have the crystals assigned, and the other three layers contain one alien plant each. 
現(xiàn)在到設(shè)置。我載砂坪材料來自Vue和創(chuàng)建五個生態(tài)系統(tǒng)層。層1和2的晶體分配，和其他三層包含一個外來植物每。
I use the Z-Megaspore, and the Parrot?s Thistle and Tropic Plant as small fillers. For my exact settings, you can load the resource material provided. The island ecosystem is a copy of the ground terrain material, without the crystals and with slightly different settings. 
我使用了Z-Megaspore,鸚鵡?薊和熱帶植物小填充物。為我的設(shè)置,您可以加載資源提供的材料。島上的生態(tài)系統(tǒng)是地面地形資料的副本,沒有晶體和稍微不同的設(shè)置。
Now the atmosphere setup. I use a standard spectral atmosphere with global radiosity and volumetric lighting, adjusting the settings until I have a fluent transition from sky to water. 
現(xiàn)在氣氛設(shè)置。我使用一個標(biāo)準(zhǔn)的大氣光譜輻射度和體積與全局照明，調(diào)整設(shè)置，直到我從天空水流暢的過渡。
For a better depth effect I turn the aerial perspective to 10. For the background cloud, I use a cloud texture downloaded from www.cgtextures.com, applied to an Alpha plane.
為了獲得更好的深度效果，我把天線透視圖改為10。對于背景的云，我使用一個紋理下載www.cgtextures.com，應(yīng)用于α平面
地面地形層預(yù)覽，和兩個標(biāo)簽的氣氛編輯器與重要設(shè)置