使用3DMAX制作起重車

新一代的游戲就在這里。 隨著新硬件的引入，PlayStation 4和Xbox One的界限現(xiàn)在可以進一步推進，質(zhì)量和現(xiàn)實主義已經(jīng)取得了巨大的飛躍。 游戲工作室有硬件可以讓他們比以前更進一步推動極限。

我想向您介紹如何創(chuàng)建下一代資產(chǎn)。 本教程將帶您完成創(chuàng)建單個資產(chǎn)并以適合您的投資組合的方式展示的過程。 您將被引導(dǎo)通過建模和紋理，以及如何創(chuàng)作PBR（基于物理的渲染）地圖，這將確保資產(chǎn)為下一代游戲做好準備。 我將使用3ds Max進行資產(chǎn)的建模和UVing。

The new generation of games is here. With the introduction of new hardware - the PlayStation 4 and Xbox One - boundaries can now be pushed further, and quality and realism have taken huge leaps. Games studios have the hardware available to allow them to push the limits further than before.

I want to give you an introduction into creating a next generation asset. This tutorial will take you through the process of creating a single asset and presenting it in a way ready for your portfolio. You will be guided through the modeling and texturing, and also how to author PBR (physical based rendering) maps which will ensure the asset is ready for the next generation of games. I will be using 3ds Max for the modeling and UVing of the asset.

Step 1: Rough block-out

First we'll use simple 3ds Max primitives such as the box and cylinder to block out the rough shape and dimensions of the asset. Using photos for reference, create the basic shape, but don't go too detailed as this is only a guide. (This is normally referred to as a "whitebox asset".)

Place a 1.8m Biped in the scene for comparison. This is handy if you don't have a blueprint or dimensions to work from, as it gives us a good sense of scale and proportion next to an adult human figure.

步驟1：粗糙的堵塞

首先，我們將使用簡單的3ds Max基元（例如框和圓柱體）來屏蔽資產(chǎn)的粗略形狀和尺寸。 使用照片作為參考，創(chuàng)建基本形狀，但不要太詳細，因為這只是一個指南。 （這通常稱為“白盒資產(chǎn)”。）

在現(xiàn)場放置一個1.8m Biped進行比較。 如果你沒有一個藍圖或維度來工作，這是方便的，因為它給了我們一個成熟的人類數(shù)字旁邊的規(guī)模和比例的良好意識。

Step 2: Refining the basic shape

Convert the box primitive into an editable mesh and use Edge Select to push and pull edges into the basic shape of the main body. Once the basic shape is made, select the two upper edges and Chamfer them to give a rounded edge. (A chamfer is a type of bevel effect.) This is important as it will help catch the light and give a more natural, solid feel to the geometry.

It's important to keep your mesh clean and tidy, so remove any stray edges and use the Cut tool to join edges to the open ends of the polys. To save doing duplicate work, you can cut the mesh in half and apply a Symmetry modifier, which will mirror your edits to the other side of the mesh, making sure it's perfectly symmetrical.

步驟2：精煉基本形狀

將框圖元轉(zhuǎn)換為可編輯的網(wǎng)格，并使用邊緣選擇將邊緣推入并拉入主體的基本形狀。 一旦基本形狀生成，選擇兩個上邊緣，并倒角它們以得到圓角邊緣。 （倒角是一種斜面效果。）這很重要，因為它可以幫助捕獲光線，給幾何體更自然，更堅實的感覺。

重要的是保持你的網(wǎng)格清潔和整潔，所以刪除任何雜散的邊緣，并使用切割工具將邊緣連接到多邊形的開放端。 要保存重復(fù)的工作，你可以將網(wǎng)格切成兩半，并應(yīng)用對稱修改器，這將反映你的編輯到網(wǎng)格的另一邊，確保它完全對稱。

Step 3: Spline modeling

To create more complex geometry, I start by using splines to block out the desired shape. The good thing about using splines is that they're non-destructive, and if you find the shape isn't quite right you can go back down your modifier stack and make edits.

Here I've outlined the support for the crane arm. I used Bezier Curves to get the curvatures to follow the desired shape. Once you're happy with the shape, add an Edit Mesh modifier to the stack, which will give you all the regular poly modeling tools to flesh out the geometry. If you are not happy with the shape in 3D, go back down the stack to the spline and edit the shape.

步驟3：樣條建模

要創(chuàng)建更復(fù)雜的幾何，我首先使用樣條曲線來阻止所需的形狀。 使用樣條線的好處是它們是非破壞性的，如果你發(fā)現(xiàn)形狀不太對，你可以回到你的修改器堆棧并進行編輯。

這里我概述了起重機臂的支撐。 我使用貝塞爾曲線獲得曲率跟隨所需的形狀。 一旦你對形狀感到滿意，添加一個編輯網(wǎng)格修改器到堆棧，這將給你所有的規(guī)則多邊形建模工具來豐富幾何。 如果您對3D中的形狀不滿意，請沿著堆棧返回樣條并編輯形狀。

Step 4: Finalizing the arm support bracket

Continue to add chamfered edges because it really adds a lot to the final look of the asset. On the main support, I add a 0.005cm Chamfer, which is small but will be enough to let the light roll around the surfaces of the metal geometry.

Notice I also add two small upright supports to add strength to this section. It's important to follow real-life engineering and design. Also, when we come to texturing, we can draw in seams where different surfaces meet. This all makes the asset believable and realistic in our final renders.

步驟4：完成臂支撐支架

繼續(xù)添加倒角邊緣，因為它真的給資產(chǎn)的最終外觀添加了很多。 在主支撐上，我添加了0.005cm倒角，這是小的，但將足夠讓光線圍繞金屬幾何的表面滾動。

注意我還添加了兩個小的直立支撐，以增加這一部分的強度。 遵循現(xiàn)實生活中的工程和設(shè)計很重要。 此外，當我們來到紋理，我們可以在不同表面相遇的接縫。 這一切都使得資產(chǎn)在我們的最終渲染中是可信的和現(xiàn)實的。

Step 5: Hydraulic strut modeling

Start off with a basic cylinder primitive and place it roughly in the right place. Apply an Edit Poly modifier and use the Bevel tool to extrude and expand polys, blocking out the rough shape of the strut. I haven't added a lot of geometric detail here because it's not going to be that visible (it's going to be in shadow). I want the materials to do a lot of the work for us, making it look like there's detail when there really isn't. As long as you get the silhouette correct this is all this element needs.

步驟5：液壓支柱建模

從一個基本的圓柱基元開始，并將它大致放置在正確的位置。 應(yīng)用編輯多邊形修改器，并使用斜角工具擠出和展開多邊形，阻止粗糙的形狀。 我沒有在這里添加很多幾何細節(jié)，因為它不會是可見的（它將在陰影）。 我想要的材料為我們做了很多工作，使它看起來像有細節(jié)。 只要你得到正確的剪影這就是這一切元素的需要。

Step 6: Base framework

To model the base framework, create a rectangular spline shape, and use the Snap tools to snap it to the corner vertices of the generator. In the rendering options for the spline, tick "Render in viewport", this turns the spline into a 3D mesh. You have the option to use radial or rectangular geometry; as this is the main support frame, I use the rectangular option. I find using a length of 6.0cm and a width of 4.0cm gives me a mesh that looks sturdy enough. Align the mesh perfectly with the main generator body by adding an Edit Mesh modifier and pulling the vertices into the correct position.

步驟6：基本框架

要對基本框架建模，請創(chuàng)建長方形樣條形狀，然后使用“捕捉”工具將其捕捉到生成器的角頂點。 在樣條的渲染選項中，勾選“在視口中渲染”，這將樣條曲線變?yōu)?D網(wǎng)格。 您可以選擇使用徑向或矩形幾何; 因為這是主要的支持框架，我使用矩形選項。 我發(fā)現(xiàn)使用長度為6.0厘米和寬度為4.0厘米給我一個看起來堅固的網(wǎng)格。 通過添加編輯網(wǎng)格修改器并將頂點拉到正確的位置，使網(wǎng)格與主發(fā)生器主體完全對齊。

Step 7: Layers of detail

It's best to slowly build up the detail layer by layer. Using the same methods as in the previous steps and duplicating elements where possible, I add more supports to the framework, also duplicating the hydraulic struts and slightly scaling them up. On the smaller body of the generator, I add small hinges along the edge and a handle to lift what will be a hatch. The handle is a simple box with beveled details and softer chamfered edges.

 步驟7：細節(jié)層次

最好逐層慢慢地建立細節(jié)層。 使用與前面的步驟相同的方法，并在可能的情況下復(fù)制元素，我向框架添加更多的支持，也復(fù)制液壓支柱和略微放大。 在發(fā)電機的較小主體上，我沿著邊緣添加小鉸鏈和手柄來提升將是艙口蓋。 手柄是一個簡單的盒子，具有斜面細節(jié)和更柔軟的倒角邊緣。

Step 8: The Shell modifier

To model the crane arm, start off with a simple box primitive and get the correct dimensions to match the rough block-out we created in step one. Once you're happy with the size of the crane arm, split the mesh down the centre and delete one side of the mesh; this if for later on, when we add the Symmetry modifier to complete the element.

But first we'll add a Shell modifier, which is a very useful modifier that gives us customizable thickness dimensions. Within the modifier, I set the Inner Amount to 0.04, which will extrude our mesh inwards. Now add the symmetry modifier, completing this element.

步驟8：Shell修飾符

為了對起重機臂進行建模，首先使用一個簡單的框圖元素，并獲得正確的尺寸，以匹配我們在第一步中創(chuàng)建的粗糙塊。 一旦你對起重機臂的尺寸感到滿意，將網(wǎng)格沿中心分開，刪除網(wǎng)格的一邊; 這個如果以后，當我們添加對稱修改器來完成元素。

但首先我們將添加一個Shell修飾符，這是一個非常有用的修飾符，它給了我們可自定義的厚度尺寸。 在修改器中，我將內(nèi)部量設(shè)置為0.04，這將向內(nèi)擠壓我們的網(wǎng)格。 現(xiàn)在添加對稱修改器，完成此元素。

Step 9: More layers of detail

Duplicate the hydraulic struts to both sides of the crane arm. Thin cylinders that have been cut in half can be used to give the struts something to fix onto, slightly longer on one side to add a bit more interest. To give the lights something to attach to, model a frame, again following the same rules as chamfering the edges and thinking about how this design would work in real life. You can quickly add bolts by using a flattened cylinder with five sides to give it the common bolt shape. We will add the details at the texture stage, so don't worry if it looks too simple.

步驟9：更多層次的細節(jié)

將液壓支柱復(fù)制到起重機臂的兩側(cè)。 已經(jīng)被切成兩半的薄圓柱體可以用于給支柱固定的東西，在一側(cè)略長，以增加一點興趣。 要給燈添加一些東西，模仿一個框架，再次遵循與倒角邊緣相同的規(guī)則，并思考這個設(shè)計在現(xiàn)實生活中如何工作。 您可以通過使用具有五個側(cè)面的扁平圓柱體來快速添加螺栓，從而為其提供常見的螺栓形狀。 我們將在紋理階段添加細節(jié)，所以不要擔心，如果它看起來太簡單。

Step 10: Adding the lights

The lights are cylinders which have two height segments. Once converted to an editable poly, select one of the edges of the segments and do a loop select, which automatically selects the connecting edges of the cylinder. You can now scale these to the correct shape for the light fixture. Do this again for the back of the light.

The Bevel tool easily adds the indentation for the glass of the fixture. The brackets are boxes manipulated into shape. Duplicate these brackets and lights, but instead of copying them, choose "Instance" - this connects the mesh to the original, so whatever edits you make will be replicated to the other brackets and lights. This cuts down on duplicated work.

步驟10：添加燈

燈是具有兩個高度段的圓柱體。 一旦轉(zhuǎn)換為可編輯的多邊形，選擇一個片段的邊緣，并進行循環(huán)選擇，自動選擇圓柱體的連接邊緣。 您現(xiàn)在可以將它們縮放到燈具的正確形狀。 再次為光的背面做這個。

斜角工具容易添加夾具玻璃的壓痕。 支架是被操作成形的盒子。 復(fù)制這些括號和燈光，但不是復(fù)制它們，而是復(fù)制它們，選擇“實例” - 這將網(wǎng)格連接到原始，所以你做的任何編輯將復(fù)制到其他的括號和燈光。 這減少了重復(fù)的工作。

Step 11: Modeling the wheel

Create a cylinder with enough sides to give a smooth circular shape. I found 24 segments to be enough. Wheels' polycount can get high, so keep that in mind, but don't go so low that the curved edges start to get flattened out. Select the front-facing polys and apply the Bevel tool. Change the Extrude and Bevel options to model in the basic shape of the tire and the metal hubcap.

Clicking the green + sign on the Bevel tool keeps the tool open and the polys selected, allowing you to work faster. The outer edge of the tire is very sharp, so loop-select the edges and apply a larger chamfer to soften them up.

步驟11：建模車輪

創(chuàng)建一個具有足夠邊的圓柱，以獲得平滑的圓形形狀。 我發(fā)現(xiàn)24段足夠了。 輪子的多邊形可以變得高，所以記住，但不要這么低，以至于彎曲的邊緣開始變平。 選擇前向多邊形并應(yīng)用倒角工具。 更改拉伸和斜角選項，以輪胎和金屬輪轂的基本形狀建模。

單擊斜角工具上的綠色+號可保持工具打開并選擇多邊形，從而使您更快地工作。 輪胎的外邊緣非常鋒利，因此循環(huán)選擇邊緣并應(yīng)用較大的倒角軟化它們。

Step 12: Adding smaller details

The main body of the generator is coming to the end of the modeling phase, and we can rely on the texturing to add the final smaller details. You can see in the image that the finished tire has smoothed outer edges, and I've also added some wheel nuts using the same process as creating bolts. Sometimes it can be hard to decide which details should be in the texture and which should be modeled, as you will find out later in this series, but for now I decide to model in two buttons instead of relying on the texture. I think it benefits the asset if they are 3D.

步驟12：添加較小的詳細信息

發(fā)電機的主體正在建模階段結(jié)束，我們可以依靠紋理來添加最終的較小細節(jié)。 你可以看到在圖像中，成品輪胎具有平滑的外邊緣，我還添加了一些車輪螺母使用相同的過程創(chuàng)建螺栓。 有時，可能很難決定哪些細節(jié)應(yīng)該在紋理中，哪些應(yīng)該被建模，這將在本系列的后面部分中找到，但現(xiàn)在我決定在兩個按鈕而不是依賴紋理進行建模。 我認為如果他們是3D，它有利于資產(chǎn)。

Step 13: Creating the tow bar

The end of a tow bar has quite an interesting shape where it hooks up to a vehicle. Create a sphere and delete the back facing side, then extrude the open edges and weld them to the corners of an open-ended box. This unusual shape should give off some interesting Specular highlights. The surfaces are also going to be varied in this area, so the shader and textures will play a more important part here than the geometry. The wheel bracket is made with small cylinders bent into shape; as this wheel is only for balance and isn't load-bearing, it can be small.

步驟13：創(chuàng)建拖桿

拖桿的端部有一個相當有趣的形狀，掛鉤車輛。 創(chuàng)建球體并刪除背面，然后拉伸開放邊緣，并將它們焊接到開放式框的角上。 這種不尋常的形狀應(yīng)該給出一些有趣的鏡面亮點。 表面也將在這個區(qū)域變化，因此著色器和紋理將在這里比幾何更重要的部分。 車輪支架由小圓柱體彎成形; 因為這個輪只是為了平衡并且不承載，它可以是小的。

Step 14: Wiring up the lights

The wire for the lights will introduce a more organic shape to the asset, as up until now it has been very hard surfaces. The wire can also introduce little spots of color to add interest. First, model a junction box for the wires to start from. Then create a spline line starting from the junction box and ending at the middle of the light. Sometimes lining splines up in 3D space can be tricky, so use Snap to Vertex to assist you. Refine the spline by adding more vertex points, so we can meander the wire using Bezier Curve to soften or tighten the curves. Do this for all six lights.

步驟14：接通燈

用于燈的電線將為資產(chǎn)引入更有機的形狀，直到現(xiàn)在它已經(jīng)是非常硬的表面。 線也可以引入少量的顏色斑點以增加興趣。 首先，為接線從起始點建模一個接線盒。 然后創(chuàng)建一個從接線盒開始并在燈中間結(jié)束的樣條線。 有時候在3D空間中的襯線花樣可能很棘手，因此使用捕捉到頂點來幫助你。 通過添加更多的頂點來優(yōu)化樣條線，因此我們可以使用貝塞爾曲線來曲折曲線，以軟化或拉緊曲線。 對所有六個燈都這樣做。

Step 15: Final detail pass

Not only do the lights have wires, but the hydraulic struts need pipes leading to them. Using the same technique as for the wiring, I add pipes running into the back of the generator. Small cylinders are used to cap the ends of pipes and join to the generator. I added a thicker wire that runs into the crane arm, to indicate that it's the main power cable that leads to the lights. This is as much detail as I want to add to the mesh of this asset. We can now move onto the UVing and tidying up for baking.

步驟15：最終細節(jié)

不僅燈具有電線，而且液壓支柱需要通向它們的管道。 使用與接線相同的技術(shù)，我添加管道運行到發(fā)電機的后面。 小氣缸用于蓋住管道的端部并連接到發(fā)電機。 我添加了一根較粗的電線進入起重機臂，表明它是通向電燈的主電源線。 這是我想要添加到這個資產(chǎn)的網(wǎng)格的細節(jié)。 我們現(xiàn)在可以移動到UVing和整理烘烤。