蒸汽朋克場景制作

舊金山的CG藝術(shù)家弗拉基米爾佩特科維奇向我們展示了如何使用Maya制作的蒸汽朋克的場景
I will briefly go over the major steps I took while constructing Cuberia ? the Capital city of my imaginary world.

我敘述的主要步驟,構(gòu)建Cuberia嗎?我的假想的世界。

Inspiration

Cuberia is mainly inspired by Victorian era London, with some elements from various steampunk artworks I admire mixed in for good measure. I wanted to represent a powerful and dynamic city, which is a major epicenter of trading and political intrigue.
Cuberia主要靈感來源于維多利亞時代倫敦,與一些從不同的蒸汽朋克元素藝術(shù)品混合在一起。代表一個強(qiáng)大的和動態(tài)的城市,這是一個貿(mào)易和政治陰謀的主要中心。

The tower

The main focus of this artwork is the tower, which stands at the front. The shape and design of my tower is mainly inspired by Disney Hollywood Studios - The Twilight Zone Tower of Terror. I paid a lot of attention to the texture and intricate details that could make it compelling to look at, such as the pipes, power source etc.
這個作品的主要焦點(diǎn)是塔,站在前面。塔的形狀和設(shè)計主要是受迪斯尼好萊塢電影公司——《暮光之城》的參考。我很多注意紋理和錯綜復(fù)雜的細(xì)節(jié),可以使它引人注目,如管道、電源等。
迪士尼好萊塢制片廠恐怖塔
主要焦點(diǎn)

The city implementation

I knew that implementing the entire city scene was going to be extremely demanding on my computer's memory. The workaround I used was to build a dozen or so unique elements and then use Maya particle instancing. The principle is that Maya only loads the instances (a house, a tree, etc.) one time and then you are able to multiply these elements almost indefinitely, without clogging the RAM memory. I added simple expression codes that randomize y-axis rotations and scaling. This helped randomizing instances even further. Autodesk has recently simplified this process with their plugin called XGen.
我知道實(shí)現(xiàn)整個城市場景是非常占用我的電腦的內(nèi)存要求。我使用的解決方案是建立一個十幾個獨(dú)特的元素,然后使用 Maya粒子實(shí)例化。Maya的原則是只加載實(shí)例(房子,樹等)一次,然后你可以把這些元素幾乎無限,沒有堵塞RAM內(nèi)存。我添加了簡單的表達(dá)式代碼隨機(jī)軸旋轉(zhuǎn)和縮放。這有助于進(jìn)一步隨機(jī)化實(shí)例。歐特克最近與他們的插件叫XGen簡化這個過程。
I had three major particle systems:
- background forest
- city elements
- island grass and ground plants
我有三個主要的粒子系統(tǒng)：
背景的森林
城市元素
島草和地面植物
At the end, I had around 3000 architectural objects and a huge number of trees, grass and other plants. Overall poly count was over 600,000,000 polys but the scene was still manageable.
在年底，我有大約3000建筑對象和大量的樹木，草和其他植物。整體的多邊形數(shù)超過600000000后但現(xiàn)場仍然可控。
我分散多粒子系統(tǒng)的基本地形幾何
我用實(shí)例工具，具有幾何實(shí)例替換每個粒子

Instance types

The city itself is a combination of houses and various industrial elements. I purposely mixed medieval with 19th century architecture and retro-futuristic elements in order to get the impression of a very old, yet advanced city that has conquered electricity.
城市本身就是房屋和各種工業(yè)元素的結(jié)合體。我故意混合中世紀(jì)與第十九世紀(jì)的建筑和復(fù)古的未來元素，以獲得一個非常古老的，但先進(jìn)的城市，征服了電力的印象。
房子的元素
中世紀(jì)的元素
To break the repetition I placed some unique buildings and elements such as the zeppelin, floating military vessel, the botanical garden, the city square etc:
打破重復(fù)我把一些獨(dú)特的建筑和元素如飛艇、浮動軍事船舶、植物園、城市廣場等
植物園
城市廣場
I was aiming for an exotic and oriental atmosphere, so I used Onyx software to create tropical trees like palms and such. The grass and ground plants are modeled in Maya.
我的目標(biāo)是異國情調(diào)和東方的氣氛,所以我用紅Maya軟件創(chuàng)建熱帶樹木像手掌等。草和地面植物在Maya建模。
植物區(qū)系

Lighting

The lighting is very basic; since it is an outdoor, daylight scene, I used a Mental Ray physical sun and sky. I tend to do lighting using the default Lambert material, without any textures.
照明是非常基本的,因?yàn)樗�是一個室外,白天,我使用一個精神雷身體太陽和天空。我傾向于做照明使用默認(rèn)的蘭伯特材料,沒有任何紋理。
照明

Render passes

The three major render passes I used for this project were Beauty, Ambient Occlusion, and ZDepth.
三大渲染我用于這個項(xiàng)目是 Beauty, Ambient Occlusion, 與 ZDepth.
美通過
環(huán)境遮擋（接觸陰影）
ZDepth(用于景深和距離霧)

Putting everything together in Photoshop

Photoshop was used for:
1. Render passes compositing
2. Color corrections and contrasts
3. Adding sky and smokes
4. Chromatic Aberration effect

Photoshop是用于:

1。通過合成渲染

2。顏色校正和對比

3。添加天空和抽煙

4。色差的影響

PS圖象處理軟件層