渲染航天器場景

在這個系列的最后一篇文章中，我們將介紹為我們的船創(chuàng)造一個環(huán)境，并用簡單的元素建模一個機(jī)庫。 然后，我們將在Marmoset Toolbag 2中設(shè)置最終渲染，在HDR上添加輔助天空燈，以獲得船上漂亮的鏡面反射和地板上有趣的陰影，以及增加霧和景深，使其更加現(xiàn)實 現(xiàn)場。 最后，我們將介紹Photoshop中的每個分層步驟，從最后的圖像的后期制作，從灰塵，煙霧和其他效果，到對比度和色彩平衡的最終調(diào)整，以給更多的戲劇的形象。

In this, the last article of the series, we're going to cover creating an environment for our ship, and modeling a hangar with simple elements. Then we'll set up the final render in Marmoset Toolbag 2, adding secondary sky lights on the HDR to obtain nice specular reflections on the ship and interesting shadows on the floor, as well as adding fog and depth of field to make a more realistic scene. Finally we'll cover every layering step in Photoshop for the post-production of the final image, from the addition of dust, smoke and other effects, to the final adjustments in terms of contrast and color balance to give more drama to the image.

Step 01: Modeling the environment

For the final image I need to create an environment for the ship. In the original concept, the ship was located in a space hangar. Inside 3ds Max, I model every single object that composes the hangar: the floor, wall, roof, tubes, cables, metal structures and so on. I place a camera and start to build the scene as similarly as possible as the concept. I use very simple meshes for the elements of the environment. Most of them will be very blurred in the final image due to the camera's depth of field, so I don't make any detail on them, only adding little chamfers on the borders. Keep in mind that the ship is very big, so be careful with the proportions of the elements. Focus on the elements you can see in the image; it's not necessary to model a complete hangar as long as the final image looks correct and good. I don't make any UVs for these elements - I only apply a UV map modifier.

步驟01：建模環(huán)境

對于最終的形象，我需要為船創(chuàng)造一個環(huán)境。 在原來的概念中，這艘船位于一個空間機(jī)庫內(nèi)。 在3ds Max內(nèi)部，我對構(gòu)成機(jī)庫的每一個對象進(jìn)行建模：地板，墻壁，屋頂，管子，電纜，金屬結(jié)構(gòu)等。 我放置一個相機(jī)，開始盡可能地像現(xiàn)場一樣構(gòu)建場景。 我為環(huán)境的元素使用非常簡單的網(wǎng)格。 由于相機(jī)的景深，大多數(shù)人在最終的形象中將會非常模糊，所以我沒有對他們做任何細(xì)節(jié)，只在邊框上添加小倒角。 請記住，這艘船很大，所以要小心元素的比例。 專注于圖像中可以看到的元素; 只要最終的圖像看起來正確和良好，就沒有必要建立一個完整的機(jī)庫。 我沒有為這些元素制作任何UV - 我只應(yīng)用一個UV映射修飾符。

Step 02: Scene setup in Marmoset Toolbag 2

Inside 3ds Max, I organize all the elements in different layers and export them in groups; for example, all the element of the wall, the elements of the floor, all the tubes, cables, and so on. This way it's going to be easy to manipulate them in Marmoset Toolbag 2.

I import all the OBJ files into Marmoset Toolbag 2 and start to create different materials for them. I don't use any textures, only playing with the glossiness, albedo and metallic values for each material. I only used a simple concrete map for the wall and floor materials. Notice that I don't add too much reflection to the materials because I want to be faithful to the style of the concept and keep all the elements dark.

After this, I start to play with different HDRIs, choosing 'Castle Sunset'. I also set up the camera with a 33mm focal length and add a flare effect.

步驟02：Marmoset Toolbag2中的場景設(shè)置

在3ds Max內(nèi)部，我組織不同層次的所有元素，并將它們分組導(dǎo)出; 例如，墻的所有元素，地板的元件，所有的管，電纜等等。 這樣在Marmoset Toolbag 2中很容易操作它們。

我將所有OBJ文件導(dǎo)入Marmoset Toolbag 2，并開始為它們創(chuàng)建不同的材料。 我不使用任何紋理，只使用每種材料的光澤度，反照率和金屬值。 我只使用了一個簡單的具體的地圖墻和地板材料。 請注意，我不要對材料加上太多的反思，因為我想忠實于這個概念的風(fēng)格，并使所有的元素都變暗。

之后，我開始玩不同的HDRIs，選擇“城堡日落”。 我還設(shè)置了一個33mm焦距的相機(jī)，并添加了耀斑效果。

Step 03: Adding secondary lights

Once I have the scene with the selected HDRI and all the materials applied to each element, I start to add more sky lights around specific areas to obtain nice shadows on the floor, visual interest points and the main focus on the middle-back area of the ship. Before starting to add the lights, I check the 'Local reflections' and 'Ambient occlusion' options under the Render tab.

In the image you can see each light I create, adding them one by one (I've marked them with a green arrow) so you can see the progress in the illumination. When you add a sky light into the Light Editor, it automatically assigns a color to that light depending on its position on the HDR map. I didn't change any colors, but kept all the lights with their default color. After this I also add a subtle bloom effect.

步驟03：添加輔助燈

一旦我選擇了HDRI的場景和所有的材料應(yīng)用于每個元素，我開始在特定的區(qū)域添加更多的天空燈，以獲得地板上的漂亮的陰影，視覺興趣點和主要的焦點在中后面區(qū)域 船。 在開始添加燈光之前，請查看“渲染”選項卡下的“本地反射”和“環(huán)境遮擋”選項。

在圖像中，您可以看到我創(chuàng)建的每個光，逐個添加（我已經(jīng)用綠色箭頭標(biāo)記了它們），以便您可以看到照明的進(jìn)度。 當(dāng)您將Lightlight添加到Light Editor中時，會根據(jù)HDR地圖上的位置自動為該燈指定一種顏色。 我沒有改變?nèi)魏晤伾�，但保持所有的燈與他們的默認(rèn)顏色。 之后，我也增添了一個微妙的綻放效應(yīng)。

Step 04: Adding depth of field and fog

With all the illumination done, it's time to activate the depth of field to give the image a more realistic feeling. I play a bit with the near blur, far blur and bokeh size, trying to find a balance where nothing looks too blurred, with a nice and smooth transition from the focal point (the ship) to the very back.

At this point the image looks quite good but it's missing some atmosphere, so I add a fog effect. The fog is very useful to separate the elements in the foreground and background, and again it gives a very realistic feeling to the scene.

步驟04：增加景深和霧

隨著所有的照明完成，現(xiàn)在是激活景深的時候給圖像一個更逼真的感覺。 我有點模糊，遠(yuǎn)離模糊和散景大小，試圖找到一個平衡，沒有什么看起來太模糊，從焦點（船）到后面的一個很好的平穩(wěn)過渡。

在這一點上，圖像看起來相當(dāng)不錯，但它缺少一些氣氛，所以我增加了霧效果。 霧是非常有用的分離前景和背景中的元素，并再次給了一個非�，F(xiàn)實的感覺的場景。

Step 05: Layering different exposures

At this point I've finished the scene's 3D stage, so let's go to Photoshop to post-produce the final image. I use Marmoset Toolbag 2 to render out three images at different exposures: 1, 2 and 0.3.

The base image in Photoshop is the one at exposure 1. This image has very flat colors, with everything looking too homogeneous; I want to add some more contrast and a more dramatic feeling to it, and to do so I use the image at exposure 2 (at around 30% Color Dodge blending mode) to mask the lightest of the areas; and the image at exposure 0.3 (in Soft Light blending mode) to mask the darkest of areas. Using this technique here, I can therefore start creating some Vignette effects but with the real illumination of the scene.

步驟05：分層不同的曝光

在這一點上，我已經(jīng)完成了現(xiàn)場的3D舞臺，所以讓我們?nèi)�Photoshop進(jìn)行后期制作。 我使用Marmoset Toolbag 2以不同的曝光渲染三張圖像：1,2和0.3。

Photoshop中的基礎(chǔ)圖像是曝光1的圖像。該圖像具有非常平坦的顏色，一切看起來都太均勻; 我想添加一些更多的對比度和更顯著的感覺，并且這樣做，我使用曝光2（大約30％顏色道奇混合模式）下的圖像來掩蓋最輕的區(qū)域; 和曝光時的圖像0.3（在軟光混合模式下）以掩蔽最黑暗的區(qū)域。 在這里使用這種技術(shù)，因此我可以開始創(chuàng)建一些Vignette效果，但是與場景的真實照明。

Step 06: Adding dust particles

I search over the internet for dust particle images and test a few of them. I finally choose one with very small particles, remembering to always be consistent with the proportions of the elements, even with the dust. The inside of the hangar is a huge place and the small dust particles will help to create that sensation. I use the image in 60% Color Dodge blending mode.

步驟06：添加灰塵顆粒

我在互聯(lián)網(wǎng)上搜索塵埃粒子圖像并測試其中的幾個。 我終于選擇了一個非常小的粒子，記住總是與元素的比例一致，即使是灰塵。 機(jī)庫的內(nèi)部是一個巨大的地方，小塵埃會幫助創(chuàng)造出這樣的感覺。 我使用60％顏色道奇混合模式的圖像。

Step 07: Adding smoke

For the smoke I use an image from textures.com.

In Photoshop I select the white areas of the smoke with Color Range to get rid of the blue background. I make several duplications of it and put them around the image, always rotating and flipping them to avoid any evident repetitions, and masking some regions to hide or show different areas of the smoke.

I usually use them in Pin Light blending mode at low opacity, but this depends on the result you want to achieve. Previously in Marmoset Toolbag 2, I rendered an image with a transparent background to use as a mask for the smoke, turning off all the elements except the ones in the foreground (ship, tubes, cables, and so on.).

I use this image to create a mask in the smoke folder, so these elements will be in front of the smoke. You can always manually paint out any areas of the mask as you wish, to bring the smoke to the front or back.

步驟07：加煙

對于煙，我使用textures.com的圖像。

在Photoshop中，我選擇了顏色范圍的煙霧的白色區(qū)域以擺脫藍(lán)色背景。 我做了幾個重復(fù)，并把它們圍繞在圖像上，總是旋轉(zhuǎn)和翻轉(zhuǎn)它們，以避免任何明顯的重復(fù)，并掩蓋一些地區(qū)隱藏或顯示不同的煙霧區(qū)域。

我通常在低透明度的Pin Light混合模式下使用它們，但這取決于您要實現(xiàn)的結(jié)果。 以前在Marmoset Toolbag 2中，我渲染了一個透明背景的圖像，用作煙霧的掩碼，關(guān)閉除了前景（船，管，電纜等）之外的所有元素。

我使用此圖像在煙霧文件夾中創(chuàng)建一個蒙版，因此這些元素將在煙霧的前面。 您可以隨時手動繪制面罩的任何區(qū)域，以將煙霧帶到正面或背面。

Step 08: Lens flare effect

I always like to add some lens flare effects in the shiniest areas of the image, to give a really nice sci-fi look.

Be careful to not add too many, otherwise they will look too redundant. Just choose some areas to place them as a final detail in the image - usually one or two is enough. This time I choose a lens flare image from the psdbox and use it in Screen blending mode; one in the main cabin to help the focal point and the second in one of the roof lights. Another detail I add to the image is some small dots with a simple brush to suggest some lights; again, two or three is more than enough here.

步驟08：鏡頭閃光效果

我總是喜歡在圖像最小的區(qū)域添加一些鏡頭閃光效果，給出一個非常好的科幻外觀。

小心不要添加太多，否則會看起來太多了。 只需選擇一些區(qū)域即可將其作為圖像中的最終細(xì)節(jié)放置 - 通常一到兩個就足夠了。 這一次我從psdbox中選擇一個鏡頭閃光圖像，并在屏幕混合模式下使用它; 一個在主艙幫助焦點，另一個在屋頂燈之一。 添加到圖像中的另一個細(xì)節(jié)是一些小點，一個簡單的畫筆來建議一些燈光; 再次，這里有兩三個是足夠的。

Step 09: Adding texture to the wall

The wall on the left looks too flat, so I add a texture to it to make it look better. This time I use an image from 'Total Textures V07:R2 - Sci-fi'. First of all I play with the arrows of the blending options inside the Layer Style window. This way I remove some of the lightest areas of the image. I apply the image in Overlay blending mode and make a duplication set to 50% Multiply to intensify it a bit. I also paint a mask over the region of the wall, and finally I add a small decal in the corner of the wall.

步驟09：將紋理添加到墻上

左邊的墻看起來太平，所以我添加一個紋理，使它看起來更好。 這次我使用“Total Textures V07：R2 - Sci-fi”中的圖像。 首先，我使用“層樣式”窗口中的混合選項的箭頭。 這樣我就可以刪除圖像中最亮的區(qū)域。 我將圖像應(yīng)用于疊加混合模式，并將復(fù)制設(shè)置為50％乘法，以加強(qiáng)其一度。 我還在墻壁上涂了一個面具，最后我在墻角加了一個小貼花。

Step 10: Adjusting Curves and Levels

The final step to complete the post-production is to add even more contrast and drama to the image. To do so, I make some adjustments to the Curves, Levels and Color Balance.

Once you've finished all your adjustments, you can make a copy of the merged image and add a bit of Sharpen filter (at around 30-40%) to make it look more defined. At this point we can say the image is done!

步驟10：調(diào)整曲線和水平

完成后期制作的最后一步是為形象添加更多的對比和戲劇。 為了做到這一點，我對曲線，水平和色彩平衡做了一些調(diào)整。

完成所有調(diào)整后，您可以復(fù)制合并的圖像，并添加一些銳化濾鏡（約30-40％），使其看起來更加定義。 在這一點上我們可以說圖像完成了！

Top tip: The Sharpen filter and Smudge brush

At the end of the composition, applying a Sharpen filter to the image will make it look clearer. Don't use it at 100% or it will look extremely sharp (I usually use it at 30%-40%). Once you've applied the Sharpen filter, you may encounter some specific high-contrast areas that have unwanted jagged lines. This inconvenience is very easy to fix - just use the Smudge brush in a very small size and pass it in one direction to smooth over the jagged edges and the neck.

小貼士：銳化濾鏡和涂抹刷

在組合結(jié)束時，對圖像應(yīng)用銳化濾鏡將使其看起來更加清晰。 不要在100％使用它，否則會看起來非常尖銳（我通常在30％-40％使用）。 應(yīng)用銳化濾鏡后，您可能會遇到一些具有不想要的鋸齒線的特定高對比度區(qū)域。 這種不便很容易解決 - 只需使用非常小尺寸的涂抹刷，并將其沿一個方向傳遞，以使鋸齒狀邊緣和頸部平滑。