“女神”的渲染制作

在這個很短的制作，我會帶你學習我在ZBrush中使用BPR渲染通道渲染布和皮膚在過程。由于我要集中精力渲染我不會討論我的建模過程。

In this is short making of I will take you through my process for rendering cloth and skin in ZBrush using the BPR Render Passes. As I am going to concentrate on the rendering I will not discuss my modeling process.

Step 01: Think ahead

I chose to model one of the concepts by the talented Daeho Cha. Before I start modeling I like to gather images and references relevant to the concept. In this case I looked for images related to anatomy, faces, manga, and pin-up poses. I put all of them together in a mood board and makes notes to help me finalize the project. I also study each part separately to work how to make them and how they will fit together.

步驟01：超前思考

我選擇模型由才華橫溢達霍查的概念之一。在我開始建模我喜歡搜集相關的概念，圖像和引用。在這種情況下，我找了相關的解剖圖像，面孔，漫畫，和迷人的姿勢我把所有的人一起在一個情緒板，使用筆記來幫助我完成這個項目。我還分別研究每一個部分的工作，他們將如何結合在一起的。

Step 02: Skin render method 1

In order to use ZBrush SSS you have to select the SSS button on the Light Properties in the Light panel, then go to the Render Settings and select the SSS button in that section as well, after that you are good to go. I move the main light around, add more lights, and play with them all to find several different results. You can see the settings I used in the BPR Shadow render in the image, these gave me the best result. I then selected the BPR RenderPass in the Render Properties panel. I then exported the passes in to Photoshop to put them together.

步驟02：皮膚呈現(xiàn)方法1

為了使用ZBrush的SSS你在光面板選擇的光屬性的SSS按鈕，然后去渲染設置，并選擇該節(jié)中的SSS按鈕為好。我移動主燈周圍，添加更多燈光，并與他們一起弄，以找到幾個不同的結果。你可以看到我在BPR暗影使用的設置在圖像渲染，這給了我最好的結果。然后我選擇了BPR RenderPass在渲染屬性面板。然后我出口的通行證中到Photoshop把它們放在一起。

Another method which I would like to share is using BPR Filters to make a sub surface scattering look. To do that you can solo your target SubTool and leave SSS light and SSS render buttons on just like before and render your work. After that to see SSS effect on your model you must click the first circle in BPR Filters and put the filter on paint mode and change the color to red or whatever color you need, then increase mask and SSS values to 1 and play around with Fresnel and radius values to make it work better.

我想用BPR過濾器，使子面散射的樣子共享的另一種方法。要做到這一點，你可以獨唱你的目標子工具，并留下SSS光SSS渲染上的按鈕，就像之前和渲染工作，之后看在模型SSS效果，你必須單擊BPR過濾器的第一圈，把過濾器上的油漆模式，并改變顏色為紅色或任何顏色，你所需要的，然后增加面具和SSS值1和菲涅爾和半徑值3弄到讓其更好地工作。

Step 03: Cloth renders

In order to render cloth first set your light to rim light by clicking on small dot on light sphere to send light to back and then use ZBrush basic material with diffuse and ambient values set to zero and right after that manipulate specular value and specular profile to make soft falloffs and shadows. For speeding up the render process you can turn off shadows button in render properties and then render and you can also make both sharp and soft rim passes for cloth and body to mix them later in Photoshop.

步驟03：布呈現(xiàn)

為了使布先設置你的光輪輞光通過點擊光球小點送光背，然后用ZBrush的基本材料設為零，右后擴散和環(huán)境價值觀操縱鏡面價值和鏡面輪廓使軟falloffs屬性和陰影。為加快渲染過程中，您可以在關閉陰影渲染按鈕屬性，然后渲染，您還可以使雙方尖銳和軟邊通行證布和身體它們在Photoshop中后混合。

Step 04: Making specular for cloth

For having good sense of reflection on the cloth you can set your material again to basic material with ambient and diffuse values set zero and play around with specular value and specular profile to make it look smoother and move around the light in your scene then render it for compositing in Photoshop.

步驟04：為布做鏡面

對于具有在布倒影的良好感覺，你可以用環(huán)境和漫反射值重新設定你的材料，基礎材料置零和鏡面價值和鏡面輪廓，使它看起來光滑，周圍的光線移動的場景，然后使其在Photoshop合成。

Step 05: Making ID pass

You can make clown pass using flat material very easily you only need to turn on mrgb on then fill your SubTools with different colors or you can merge your SubTools all together at once and then put your material on flat material and turn off draw polyframe and turn on fill and turn of shadows and then render. Clown pass is very necessary once you want to have 100% control over your different parts of your model

步驟05：制作ID通

你可以很方便地使用平板材料做角色你只需要打開mrgb上，然后用不同的顏色填滿你的子工具，或者你可以一次合并的子工具一起，然后把你的材料在平面材料，并關閉平局polyframe和轉在填充和陰影的轉彎，然后渲染角色是非常必要的，一旦你想擁有100％控制你的模型的不同部位

Step 06: Making gold in ZBrush

Making gold material in ZBrush is pretty straight forward and easy. All you need is double shade material with s1 and s2 circles turned on and then put metallicity up to 95 and increase specular value and you can also change the ambient and spec color and play around with environment reflection exposure and reflection gamma and then copy s1 to s2.

步驟06：在ZBrush制作金屬

在ZBrush制作金屬材質是非常簡單的，容易。所有你需要的是雙遮陽材料，S1和S2圈打開，然后把金屬豐度高達95，增加高光值，你也可以改變環(huán)境和規(guī)范的顏色和玩與環(huán)境反射曝光和反射伽馬然后復制s1至S2。

Step 07: Using Photoshop

And now it's time to load your ID pass layer in Photoshop and select different regions very easily with magic wand and then save the selections with a name to use that later to isolate your stuff.

步驟07：使用Photoshop

現(xiàn)在是時候在Photoshop載入您的ID通層，用魔棒選擇不同的區(qū)域很容易，然后保存的選擇使用一個名稱來使用，后來分離你的東西。

Step 08: Compositing

when your renders are finished you can start compositing and if you don't like what you rendered you can come back to ZBrush and render again. In Photoshop I change layers to soft light, color dodge, screen, lighten, to make the look that I am looking for and play around with levels, brightness and contrast, etc. to finalize the render.

步驟08：合成

當你的渲染完成后你就可以開始合成，如果你不喜歡你呈現(xiàn)你能回來的ZBrush并再次渲染。在Photoshop中更改層光線柔和，顏色減淡，屏幕，減輕，我尋找好的水平，亮度和對比度等，以完成渲染。