ZBrush環(huán)境：火山

在Zbrush中創(chuàng)建一個火山環(huán)境，使用3ds Max框架的最終場景和Photoshop整理...

In the following tutorial, you will see techniques that can be used to quickly create and revise assets in ZBrush using traditional sculpting methods and the built-in procedural tools. We will also use ZBrush's tools to unwrap and texture, placing details at key areas without breaking the bank on polys. After that, we will export each asset to finish our project in 3ds Max. In 3ds Max we will set up a clear and organized scene in which to render our final image using mental ray. We will build a quick lighting system to get a believable result as easily and quickly as possible, and tweak those settings to get closer to our target lighting.

在下面的教程中，您將看到可用于使用傳統(tǒng)雕刻方法和內(nèi)置過程工具在ZBrush中快速創(chuàng)建和修改資產(chǎn)的技術(shù)。 我們還將使用ZBrush的工具來解開和紋理，在關(guān)鍵區(qū)域放置細節(jié)，而不會破壞銀行的多邊形。 之后，我們將導(dǎo)出每個資產(chǎn)以在3ds Max中完成我們的項目。 在3ds Max中，我們將創(chuàng)建一個清晰和有組織的場景，在其中使用mental ray渲染最終圖像。 我們將建立一個快速照明系統(tǒng)，以盡可能容易和快速地獲得可信的結(jié)果，并調(diào)整這些設(shè)置，以更接近我們的目標照明。

After we have our render, we will visit Photoshop to add some post effects and adjustments. We will color-grade our image, adjust our exposure, and add a few cool effects to give our image depth and punch.

在我們有渲染后，我們將訪問Photoshop添加一些后效果和調(diào)整。 我們將對圖像進行色彩調(diào)整，調(diào)整曝光，并添加一些酷效果，以提供我們的圖像深度和打孔。

By the end of this tutorial, you will have a better idea of how ZBrush's procedural tools and sculpting options can help to speed up your workflow.

在本教程結(jié)束時，您將更好地了解ZBrush的過程工具和雕刻選項如何幫助您加快工作流程。

Are you ready to get started? Let's do it!

你準備好了嗎？ 我們開始做吧！

Step 01: Setting up the scene

For every project I start, I start with organization in mind. It's always a great idea to have a clear idea of your project and how you'd like to set it up. First, I create a folder hierarchy in Windows Explorer. For this project I create folders called '3ds Max Files', 'Concepts and Reference', and 'ZBrush Files'.

I let 3ds Max handle its own structure by setting a new project in a folder I've already created. In 3ds Max, go to File > Manage > Set Project Folder and choose my '3ds Max Files' folder. 3ds Max automatically creates the necessary subfolders.

第01步：設(shè)置場景

對于我開始的每個項目，我從組織開始。 總是一個好主意，對你的項目有一個清楚的想法和你想如何設(shè)置它。 首先，我在Windows資源管理器中創(chuàng)建文件夾層次結(jié)構(gòu)。 對于這個項目，我創(chuàng)建了名為“3ds Max文件”，“概念和參考”和“ZBrush文件”的文件夾。

我讓3ds Max通過在我已經(jīng)創(chuàng)建的文件夾中設(shè)置一個新項目來處理自己的結(jié)構(gòu)。 在3ds Max中，轉(zhuǎn)到文件>管理>設(shè)置項目文件夾，然后選擇我的“3ds Max文件”文件夾。 3ds Max自動創(chuàng)建必要的子文件夾。

Step 02: Making the blockout

Next is the blockout of the scene. I do this to nail down the composition and scale that I will use going forward. I set 3ds Max's scale to meters using the Customize > Units Setup window. Click System Unit Setup to ensure that 1 Unit is equal to 1 meter. Next, I create the basic elements of the scene. I make a ground plane, foreground piece, two framing pieces, and the shape of the volcano. I create the camera set to the dimensions of the final image. Lastly, I export the entire scene to an OBJ file and import it into ZBrush.

步驟02：進行阻塞

接下來是場景的阻塞。 我這樣做是為了固定我將使用的組成和規(guī)模。 我使用自定義>單位設(shè)置窗口將3ds Max的標度設(shè)置為米。 單擊系統(tǒng)單元設(shè)置以確保1單位等于1米。 接下來，我創(chuàng)建場景的基本元素。 我做了一個地平面，前景，兩個框架件和火山的形狀。 我創(chuàng)建相機設(shè)置為最終圖像的尺寸。 最后，我將整個場景導(dǎo)出到OBJ文件，并將其導(dǎo)入ZBrush。

Step 03: Preparing to Sculpt

When you import the layout into ZBrush, it comes in as one large piece. Click Polygroups > Auto Groups, then SubTool > Groups > Groups Split to break the objects into SubTools. The next step is to DynaMesh the ground.

This adds to the resolution while retaining the shape. I usually DynaMesh at a low level (64), then use regular subdivisions to control the resolution. Preserving subdivision levels will make unwrapping and texturing far easier later on. In general, I find that it's always beneficial to be able to step between resolutions for your ZBrush sculpts.

步驟03：準備雕刻

當您將布局導(dǎo)入ZBrush時，它作為一個大塊。 單擊多組組>自動組，然后單擊子工具>組>組拆分將對象拆分為SubTools。 下一步是DynaMesh的地面。

這增加了分辨率，同時保持形狀。 我通常DynaMesh在低級（64），然后使用常規(guī)細分來控制分辨率。 保存細分級別將使解包和紋理化更容易。 一般來說，我發(fā)現(xiàn)能夠在ZBrush雕刻的分辨率之間進行切換總是有益的。

Step 04: Sculpting the ground

I subdivide, and then apply a large-scale surface noise to my mesh. In this case, I want the noise to affect the shape of the mesh, but not drastically. I set the scale of my noise to 65 and apply it to the mesh. After that, I subdivide again, and apply more noise at a scale of 32. I repeat this a few more times until I'm in the millions of polys. When I'm satisfied, I brush the mesh with the Trim Dynamic brush to flatten some areas.

I sculpt the foreground in the same way. Since it will be closer to the camera, I make sure the details are more pronounced, using the Noise Curve to add interest to my noise.

步驟04：雕刻地面

我細分，然后對我的網(wǎng)格應(yīng)用大規(guī)模表面噪聲。 在這種情況下，我想要噪聲影響網(wǎng)格的形狀，但不是劇烈。 我設(shè)置我的噪音的規(guī)模為65，并應(yīng)用于網(wǎng)格。 之后，我再次細分，并應(yīng)用更多的噪音，在32的尺度。我重復(fù)這幾次，直到我在數(shù)百萬的多邊形。 當我滿意的時候，我用Trim動畫刷刷網(wǎng)格，使一些區(qū)域變平。

我以同樣的方式雕刻前景。 由于它會更接近相機，我確保細節(jié)更明顯，使用噪聲曲線增加我的噪音感興趣。

Step 05: Sculpting the volcano

The main difference in process is that I mask out the top of the volcano during the initial noise pass. I also blur the mask to avoid hard edges caused by applying noise to the mesh. I use the Clay Buildup brush set to Zsub to carve out the main crater and channels for the lava. I define surface planes using Trim Dynamic. I subdivide, click on Brush Properties, and set my Gravity Strength high so as I sculpt, the geo slides along the surface normal like a mudslide. This gives my sculpt weight and motion. Next, I use custom alphas to add quick rocky detail. Lastly, I mask the top again, blur, and apply a larger scale noise to create a charred base around the peak.

步驟05：雕刻火山

過程的主要區(qū)別是，我在初始噪聲通過期間掩蓋了火山的頂部。 我也模糊掩碼，以避免由于對網(wǎng)格應(yīng)用噪聲引起的硬邊緣。 我使用Clay Buildup刷子設(shè)置為Zsub來雕刻熔巖的主要火山口和通道。 我使用Trim動態(tài)定義表面平面。 我細分，點擊畫筆屬性，并設(shè)置我的重力強度高，以便我雕刻，地理幻燈片沿著表面法線像泥石流。 這給我的雕塑重量和運動。 接下來，我使用自定義字母添加快速的巖石細節(jié)。 最后，我再次掩蓋頂部，模糊，并應(yīng)用更大的尺度噪聲，以創(chuàng)建圍繞峰頂?shù)臒�焦基地�?/p>

Step 06: Sculpting igneous rocks

I want these rocks to have a really versatile shape because I plan to use them in various positions all over my scene. This also means I need these to be lower in polycount. I begin with a cube, DynaMesh, apply noise, and then begin sculpting using the Clay Build Up brush. I give this shape separate and unique forms to create an interesting base. When I've finished sculpting the major forms, I DynaMesh, subdivide, and add my main noise pass. Lastly, I use Trim Dynamic to smooth some areas. All told, the result is a more compact 200,000 polys.

步驟06：雕刻火成巖

我想讓這些巖石有一個真正多才多藝的形狀，因為我打算在我的場景中的各種位置使用他們。 這也意味著我需要這些在多元計數(shù)更低。 我從一個立方體，DynaMesh開始，應(yīng)用噪聲，然后開始使用粘土積累刷子雕刻。 我給這種形狀獨立和獨特的形式創(chuàng)造一個有趣的基礎(chǔ)。 當我完成雕刻主要形式，我DynaMesh，細分，并添加我的主要噪音通行證。 最后，我使用Trim Dynamic平滑一些區(qū)域。 總之，結(jié)果是更緊湊的200,000聚合物。

Step 07: Preparing for texture

Before texturing, we need UVs. Use ZBrush's UV Master for this. This is one reason why we keep our subdivision levels. To increase precision, I divide my models into Polygroups. On ForegroundRock01, I mask the bottom and go to Polygroups > Group Masked. I repeat the process for the sides. I open the UV Master dialogue and click 'Work on Clone' to work on a copy of my tool. I click on 'Polygroups', then 'Unwrap'. You can check the UVs using the Flatten option. I use the Transpose tools to pack my UVs. When done, I click 'Copy UVs', navigate back to my original tool, re-open UV Master, then 'Paste UVs'.

步驟07：準備紋理

在紋理化之前，我們需要UV。 使用ZBrush的UV Master。 這是為什么我們保持我們的細分水平的一個原因。 為了提高精度，我將我的模型分成多組。 在ForegroundRock01上，我屏蔽底部，然后轉(zhuǎn)到多邊形組>分組屏蔽。 我重復(fù)雙方的過程。 我打開UV Master對話框并單擊“克隆工作”來處理我的工具的副本。 我點擊“Polygroups”，然后點擊“Unwrap”。 您可以使用Flatten選項檢查UV。 我使用轉(zhuǎn)置工具打包我的UV。 完成后，我單擊“復(fù)制UV”，導(dǎo)航回到我的原始工具，重新打開UV主屏幕，然后“粘貼UVS”。

Step 08: Texturing using Polypaint

Now that we have UVs, we can start painting. I begin by choosing the Standard Brush, turning off 'Zadd' and turning on 'RGB'. Next, I load the textures and make sure to set my tool to the highest subdivision level, then subdivide it again to make sure my Polypaint details are crisp. For these objects, I use textures downloaded from www.cgtextures.com.

When I'm ready to Polypaint, I turn my brush mode to Scatter and saturate the object in the texture. For detailed areas, I change my brush mode to Drag Rectangle. Next, I use the masking tools to isolate cracks and other areas I want to darken. I usually generate masks using PeaksandValleys, Mask by Cavity, and Smoothness. Lastly, I generate a mask using AO (ambient occlusion). If generating the mask takes a long time, you can step your subdivisions down to around 200,000, then step back up to the highest level.

步驟08：使用Polypaint進行紋理化

現(xiàn)在我們有UVs，我們可以開始繪畫。 我開始選擇標準畫筆，關(guān)閉“Zadd”并打開“RGB”。 接下來，我加載紋理，并確保將我的工具設(shè)置為最高細分級別，然后再細分，以確保我的Polypaint細節(jié)清晰。 對于這些對象，我使用從www.cgtextures.com下載的紋理。

當我準備好Polypaint，我把我的筆刷模式為散射和飽和紋理中的對象。 對于詳細區(qū)域，我將我的筆刷模式更改為拖動矩形。 接下來，我使用掩蔽工具來隔離裂縫和其他我想變暗的區(qū)域。 我通常使用PeaksandValleys，Mask by Cavity和Smoothness來生成掩碼。 最后，我使用AO（環(huán)境遮擋）生成遮罩。 如果生成掩碼需要很長時間，您可以將您的細分步驟降低到大約200,000，然后退回到最高級別。

Step 09: Exporting to 3ds Max

After Polypainting, I need to create the texture maps. I click UV Map and select my size. My objects use 2,048 and 4,096 textures. Next, I open the Texture Map roll-out, click Create, and select 'New From Polypaint'. This creates the texture map. Click 'Clone Txtr' to send the texture to the Texture palette. Find the cloned texture in the texture palette and export to 'Save as a PSD' and that's it! We have a texture map.

Note: You'll have to flip the UVs vertically in Photoshop before bringing them into 3ds Max.

步驟09：導(dǎo)出到3ds Max

Polypainting后，我需要創(chuàng)建紋理貼圖。 我單擊UV地圖并選擇我的大小。 我的對象使用2,048和4,096紋理。 接下來，我打開紋理貼圖展開，單擊創(chuàng)建，然后選擇“從多邊形新建”。 這將創(chuàng)建紋理貼圖。 單擊“克隆Txtr”將紋理發(fā)送到紋理調(diào)色板。 在紋理調(diào)色板中找到克隆的紋理，并導(dǎo)出到“另存為PSD”，就是這樣！ 我們有一個紋理貼圖。

注意：你必須在Photoshop中垂直翻轉(zhuǎn)UVs，然后將它們放入3ds Max。

Step 10: Rebuilding the scene in 3ds Max

When I bring objects into 3ds Max from ZBrush, they may sometimes come in at the wrong scale. I scale my pieces up by 10,000 to fix that. At the right scale, each piece should fall neatly back into place.

I use the standard shaders with diffuse and spec maps. To give the ground more interest, I add a bump map using the Cellular expression in 3ds Max. This is also a good time to add lights. I add a bluish skylight for ambient lighting, a few smartly placed point lights to get lava lighting, plus one spotlight for edge highlights. If you haven't already, change your renderer to mental ray.

步驟10：在3ds Max中重建場景

當我把對象從ZBrush中導(dǎo)入3ds Max時，他們有時會進入錯誤的刻度。 我把我的碎片擴大10,000，以解決這個問題。 在正確的尺度，每件應(yīng)該整齊地回到原位。

我使用標準著色器與漫反射和spec映射。 為了給地面更多的興趣，我使用3ds Max中的Cellular表達式添加凹凸貼圖。 這也是添加燈的好時機。 我為環(huán)境照明添加了藍色的天窗，幾個巧妙放置的點光源獲得熔巖照明，加上一個聚光燈用于邊緣亮點。 如果您還沒有，請將渲染器更改為mental ray。

Step 11: Modeling the Lava

To create the main lava stream, I make a plane, extend it along the slope of the volcano, and add segments. I use the Conform brush (found in the Graphite Modeling Tools) to fit the plane to the slope of the volcano, then Turbosmooth it. I then add a Shell modifier and Turbosmooth that. Lastly, I add a Noise modifier and an FFD 2x2x2 to taper the ends.

For the minor lava streams, I draw renderable splines with Turbosmooth and Noise modifiers. I create a plane with a slight bend that intersects the ground to create the pools of lava.

步驟11：建模熔巖

要創(chuàng)建主熔巖流，我做一個平面，沿著火山的斜坡延伸，并添加段。 我使用Conform筆刷（在Graphite建模工具中找到）將平面擬合到火山的斜坡上，然后Turbosmooth。 然后我添加一個Shell修改器和Turbosmooth。 最后，我添加了一個噪點修改器和一個FFD 2x2x2來縮小兩端。

對于次要熔巖流，我繪制具有Turbosmooth和Noise修飾符的可渲染樣條。 我創(chuàng)造了一個有輕微彎曲的平面，與地面相交，創(chuàng)造了熔巖池。

Step 12： Making the lava material

With the lava modeling done, it's time to tackle the material. Since I know I'll adjust the lava in Photoshop later, I want something clean and simple to work with. I use a mental ray material with the surface shader set to Glow. I set the surface color to red and the Glow and Diffuse to orange. I set the Brightness to 5.0.

To enable Glow at render time, go to Render Setup > Renderer > Camera Effects and check the box next to Output. You can drag the Glare map to the Material Editor to tweak its values.

第12步：制作熔巖材料

隨著熔巖模型的完成，是時候處理材料。 因為我知道我會在Photoshop中調(diào)整熔巖，我想要一個干凈，簡單的工作。 我使用mental ray材質(zhì)，表面著色器設(shè)置為Glow。 我將表面顏色設(shè)置為紅色，將Glow和Diffuse設(shè)置為橙色。 我將亮度設(shè)置為5.0。

要在渲染時啟用Glow，請轉(zhuǎn)到渲染設(shè)置>渲染器>相機效果，然后選中輸出旁邊的框。 您可以將眩光貼圖拖動到材質(zhì)編輯器以調(diào)整其值。

Step 13: Setting up ambient occlusion

With lighting decided, we want to create another render pass for ambient occlusion. I create a new mental ray material and add an Ambient/ReflectiveOcclusion node to the Surface parameter. I use the Measuring Tape found under Helpers > Tape in the Creation panel to get accurate distances. To quickly apply this material to the scene, go to Render Setup > Processing and enable Material Override, then drag an instance of your AO material to the slot. Uncheck the box to render your scene normally again.

步驟13：設(shè)置環(huán)境遮擋

由于決定了光照，我們想為環(huán)境遮擋創(chuàng)建另一個渲染過程。 我創(chuàng)建一個新的mental ray材質(zhì)，并向Surface參數(shù)添加一個Ambient / ReflectiveOcclusion節(jié)點。 我使用“創(chuàng)建”面板中“幫助>磁帶”下的“測量磁帶”來獲取準確的距離。 要快速將此材質(zhì)應(yīng)用到場景，請轉(zhuǎn)到渲染設(shè)置>處理并啟用材質(zhì)覆蓋，然后將AO材質(zhì)的實例拖動到插槽中。 取消選中該框以再次正常渲染場景。

Step 14: Adjustments in Photoshop

After rendering, I take the images to Photoshop for adjustments. I darken a few areas that came out light on the render. I also add a background downloaded from www.cgtextures.com. I darken the AO using Curves and multiply it on top of the base render masking out shadow in the lava. Next, I use a special technique to sharpen the image. First, I press Ctrl+Alt+Shift+E to merge all visible layers into a new layer. I duplicate the layer. Next, I group the two layers together and set the group's blending mode to overlay. Inside the group, I change the top layer's blending mode to vivid light and press Ctrl+I to invert the image. I Gaussian Blur the vivid light layer which produces a sharpening effect. Neat!

步驟14：在Photoshop中的調(diào)整

渲染后，我將圖像導(dǎo)入Photoshop進行調(diào)整。 我在渲染上亮出了一些區(qū)域。 我還添加了從www.cgtextures.com下載的背景。 我使用曲線使AO變暗，并將其乘在基礎(chǔ)上，掩蓋熔巖中的陰影。 接下來，我使用一種特殊的技術(shù)來銳化圖像。 首先，我按Ctrl + Alt + Shift + E將所有可見圖層合并到一個新圖層。 我復(fù)制圖層。 接下來，我將兩個圖層組合在一起，并將組的混合模式設(shè)置為覆蓋。 在組內(nèi)，我將頂層的混合模式更改為鮮艷的燈光，然后按Ctrl + I以反轉(zhuǎn)圖像。 I高斯模糊生動的光層，產(chǎn)生銳化效果。

Step 15: The finishing touches

Next I enhance the lava by painting red-orange in Overlay mode. I adjust the color and lighting using curves adjustment layers. I set one layer to Luminosity blending mode and the other to Color, so I can adjust each independent of the other. Using the color Curves, I increase the red in the highlights and reduce the green in the shadows. Last up are the finishing touches.

I paint more orange to brighten the lava, as well as add smoke, clouds, and some atmospheric distortion to increase the depth of my image. Lastly, I finish with a vignette to frame the completed image.

步驟15：整理

接下來我通過在覆蓋模式下繪制紅橙色來增強熔巖。 我使用曲線調(diào)整層調(diào)整顏色和照明。 我設(shè)置一層為亮度混合模式，另一個設(shè)置為顏色，所以我可以調(diào)整每個獨立的。 使用顏色曲線，我增加了高光中的紅色，并減少陰影中的綠色。 最后是最后的潤色。

我畫更多的橙色照亮熔巖，以及增加煙霧，云和一些大氣變形，以增加我的形象的深度。 最后，我完成了一個小插曲，以框架完成的圖像。