吸煙的老頭

GV Prashanth花了時(shí)間成為一個(gè)CG全才，學(xué)習(xí)建模和紋理的不同方面。他目前在印度的節(jié)奏和色調(diào)工作室作為照明/環(huán)境TD。

GV Prashanth has spent time as a CG generalist, specializing and learning different aspects of modeling and texturing. He currently works as a lighting/environment TD at Rhythm and Hues studios in India.

Introduction

This was a render I created in my spare time after work. I wanted to learn the art of rendering photoreal characters using V-Ray in Maya. I also wanted to study a particular style of side lighting for this render.
這是我下班后在業(yè)余時(shí)間創(chuàng)造的一種渲染。我想學(xué)習(xí)使用V-Ray渲染photoreal紋理特征在瑪雅的藝術(shù)。我也想研究一個(gè)特定的側(cè)面照明這種渲染風(fēng)格。

Starting out

When it comes to the workflow, I like to make things simple and clean, and at the same time make some good quality artwork. I also like to take up scenes with a fewer number of characters or objects and try to make them look as realistic as possible. I used linear workflow of lighting and rendering in this procedure.
當(dāng)涉及到工作流程，我喜歡使事情簡(jiǎn)單和干凈，并在同一時(shí)間作出一些優(yōu)質(zhì)的藝術(shù)品。我也喜歡用較少的人物或?qū)ο笈臄z場(chǎng)景，盡量使它們看起來(lái)更逼真。在這個(gè)過(guò)程中，我使用了線性工作流的照明和渲染。
Looking for references is the most important thing I do before starting off any artwork. It helps an artist plan out the workflow and leads him towards a particular direction to get the artwork done. I had to look for a lot of references for older skin, such as photographs of wrinkles and pores. Also from the lighting point of view, I studied how different skins react to the rim and side lights, since the rim and side style of lighting is what I was using in this render. 
開(kāi)始任何藝術(shù)品之前，尋找參考是最重要的事情。它可以幫助藝術(shù)家計(jì)劃的工作流程，并引導(dǎo)他朝著一個(gè)特定的方向來(lái)完成的藝術(shù)品。我不得不找很多參考，為老皮膚，如照片的皺紋和毛孔。也從照明的角度來(lái)看，我研究了如何不同的皮膚反應(yīng)的邊緣和側(cè)光，因?yàn)檫吘壓蛡?cè)面的照明風(fēng)格是我在這個(gè)渲染。
So first, I started with a low poly T-pose base mesh of a human model and started blocking the shape of the old man and started posing it. Once it was done, I started adding fine details to the skin ? a lot of wrinkles and pores. Since he was an old man I made him look skinny and made the neck a little bent. Once the modeling was done I used UV unwrap inside ZBrush to unwrap the character. The hat was modeled using Maya.
先，我開(kāi)始與人體模型的網(wǎng)格低聚T型構(gòu)成基礎(chǔ)開(kāi)始阻斷老人的形狀開(kāi)始提出。一旦完成，我開(kāi)始添加細(xì)節(jié)皮膚？很多皺紋和毛孔。由于他是一個(gè)老人，我使他看起來(lái)瘦，使頸部有點(diǎn)彎曲。一旦進(jìn)行了模擬我用UV展開(kāi)在ZBrush打開(kāi)字符。這頂帽子是用瑪雅做的。
Once the modeling and sculpting was done, I added detail for the wrinkles and pores ? a lot of spots and tan were also added to distinguish the older skin from the younger skin. Dirt was added at the synapses of the wrinkles, and at the corners and contact regions of the nails to the fingers. Tiny beard hairs and eyebrows were added for a little bit of realism. V-Ray Fur was used for this.
一旦建模和雕刻完成后，我增加了細(xì)節(jié)的皺紋和毛孔？許多斑點(diǎn)和棕褐色也被添加到區(qū)分老皮膚從年輕的皮膚。污垢添加在皺紋的突觸，并在角落和指甲接觸區(qū)域的手指。小胡子頭發(fā)和眉毛增加了一點(diǎn)點(diǎn)的現(xiàn)實(shí)主義。vray毛皮被用于這個(gè)。
The textures were all hand-painted. I initially tried to use projected textures but later ended up using hand-painted textures only. Once the Diffuse map was created, I created the Specular map out of it using Photoshop. I used 8k Maps inside ZBrush to paint out the textures. V-Ray skin shader was added to get realism in the skin. Different maps of subsurface layers were created from the Diffuse maps. Hat textures were created by projecting multiple wood textures on to it.
紋理全部手繪。我最初嘗試使用投影紋理，但后來(lái)只使用手繪紋理。一旦漫反射貼圖的創(chuàng)建，我創(chuàng)建了鏡面地圖出來(lái)使用PS圖象處理軟件。我使用8K的地圖在ZBrush畫(huà)出紋理。V-Ray的皮膚著色器被添加到皮膚變得現(xiàn)實(shí)。不同的地圖的地下層創(chuàng)建的漫映射。帽子紋理創(chuàng)建了多個(gè)木材紋理投影到它。
皮膚材質(zhì)參數(shù)

Lighting

Lighting being one of the key aspects to realism, I wanted to place the scene in a calm and a lonely environment. I decided the key light would be more like a side light, giving it the highest intensity. Along with that, I added a couple of fill lights and rim lights to fill some areas, and get the details on the important parts of the skin.
照明是現(xiàn)實(shí)主義的關(guān)鍵方面之一，我想把場(chǎng)景放在一個(gè)平靜和孤獨(dú)的環(huán)境中。我決定關(guān)鍵光會(huì)更像一個(gè)側(cè)光，給它的最高強(qiáng)度。隨著這一點(diǎn)，我增加了一些填充燈和邊緣燈填補(bǔ)一些地區(qū)，并獲得細(xì)節(jié)的重要組成部分的皮膚。
Since this scene depicts a very lonely old guy lost in his own world, I tried to keep the colors in the scene to a particular tone, and at the same time keep it muted.
由于這一幕描繪了一個(gè)非常孤獨(dú)的老家伙迷失在自己的世界，我試圖保持在場(chǎng)景中的顏色，以一個(gè)特定的色調(diào)，并在同一時(shí)間保持靜音。
I used V-Ray lights along with V-Ray Dome lights for this particular scene. I used a HDRI of an interior scene to kind of replicate the initial setup of indoor lighting. A couple of lights were used to get a proper side lit feel to it, and at the same time give enough reflection on the skin. In CG, what gives additional shape or life to the character is the extra reflection component on it. Initially this scene had a lot of light bounces from different parts of the dome light, so I had to use a couple of light blockers to block most of the unwanted light falling on the character and to get a graduated shadow from the bottom by placing planes and switching off their primary visibility. Once the entire setup was done in the preview render, the settings were bumped up to a higher quality for the final render.
我用V-Ray燈光隨著V-Ray頂燈在這個(gè)特定的場(chǎng)景。我使用一個(gè)HDRI室內(nèi)場(chǎng)景的一種復(fù)制室內(nèi)照明的初始設(shè)置。一對(duì)夫婦的燈被用來(lái)獲得適當(dāng)?shù)膫?cè)面點(diǎn)燃的感覺(jué)，同時(shí)給予足夠的反思對(duì)皮膚。在CG中，賦予角色額外形狀或生命的是額外的反射成分。最初這個(gè)場(chǎng)景有很多反射光從頂燈的不同部分，所以我不得不使用一對(duì)夫婦的光受體阻滯劑阻止大多數(shù)的多余的光落在性格和放置飛機(jī)和切斷他們的主要的知名度從底部到畢業(yè)的影子。一旦整個(gè)設(shè)置是在預(yù)覽渲染，設(shè)置被碰撞到一個(gè)更高的質(zhì)量為最終渲染。