創(chuàng)意咖啡杯的制作過程

您好，我的名字是Moumene Sofian，我想指導(dǎo)您完成我們在Carioca Studio制作的我們的圖像的創(chuàng)作過程。 它是在維也納DDB機(jī)構(gòu)的幫助下為麥當(dāng)勞做的。

Hello, my name is Moumene Sofian and I'd like to guide you through the creation process of one of our images made here at Carioca Studio. It was made for McDonald's with the help of the DDB agency in Vienna.

Before I start with the walkthrough, I want you to know that this image was made as part of a 3 image campaign, and the other two images you can see here below.

在我開始演練之前，我想讓你知道這張照片是作為3圖像廣告系列的一部分，另外兩個(gè)圖片可以在下面看到。

The complete set of visuals made for McDonald's

為麥當(dāng)勞制作的完整視覺效果

The idea and rough sculpting

The brief came from the DDB Tribal agency group in Vienna, and after we sorted out the details we started to build the characters in ZBrush. The characters were made by my talented colleague Mihai Mihail.

We loved the idea of the ad as soon as we read the brief. The ad was for McCafe and the idea was that the bigger the cup the stronger the waking state ? in this case this was generated by different noise sources: i.e. animals, race cars and musicians.

First we gathered references for the modeling stage and we tried to choose the best-fitting characters to tell the story.

The character creation process was a long one mainly because of the huge number of characters and because they had to be expressive and have enough detail to make you keep looking at them and discover each little story. It took around 4 weeks for each visual so we had lots of going back and forth with the agency until everything was right.

理念和粗糙的雕刻

簡報(bào)來自維也納的DDB部落機(jī)構(gòu)小組，在我們整理了細(xì)節(jié)后，我們開始在ZBrush中構(gòu)建人物。 這些角色是由我有才華的同事Mihai Mihail制作的。

一旦我們閱讀簡報(bào)，我們就喜歡廣告的想法。 這個(gè)廣告是針對(duì)McCafe的，而這個(gè)想法是，杯子越大醒來的狀態(tài)越強(qiáng)烈嗎？ 在這種情況下，這是由不同的噪音源產(chǎn)生的：即動(dòng)物，賽車和音樂家。

首先，我們收集了建模階段的參考資料，我們嘗試選擇最適合的人物來講述故事。

角色創(chuàng)作過程是一個(gè)漫長的過程，主要是因?yàn)槿宋飻?shù)量龐大，因?yàn)樗麄儽仨毦哂斜憩F(xiàn)力，并擁有足夠的細(xì)節(jié)，讓你繼續(xù)關(guān)注他們，發(fā)現(xiàn)每一個(gè)小故事。 每個(gè)視覺大約需要4周的時(shí)間，所以我們有很多來往的機(jī)構(gòu)，直到一切都正確。

The ideas for each of the animal, musician, and racer elements of the scene

每個(gè)動(dòng)物，音樂家和賽車手元素的想法

Concepting

The concepting was made in ZBrush. We used DynaMesh because it is so easy to work with, and then retopologized inside ZBrush to better add details. At the end we decimated and exported all the characters.

概念

這個(gè)概念是在ZBrush中做出的。 我們使用DynaMesh，因?yàn)樗�很容易使用，然后在ZBrush內(nèi)重新進(jìn)行了動(dòng)態(tài)化，以更好地添加細(xì)節(jié)。 最后我們刪除并導(dǎo)出所有的字符。

Some of the individual concepts for the animals

動(dòng)物的一些個(gè)人概念

Polygons

At this stage we had to find a balance between the number of polygons and the details, because we had to limit the polygons in order to contain all the characters (there were roughly 30-35 characters). The final scene had around 25-35 million polygons. For the very heavy characters I decimated them further just in the viewport with the help of the pro-optimizer modifier from 3ds Max.

多邊形

在這個(gè)階段，我們必須找到多邊形數(shù)量和細(xì)節(jié)之間的平衡，因?yàn)槲覀儾坏貌幌拗贫噙呅我园�含所有的字符（大約有30-35個(gè)字符）。 最后的場景有25-35萬多邊形。 對(duì)于非常沉重的角色，我們在3ds Max的pro-optimizer修飾符的幫助下，在視口中進(jìn)一步刪除它們。

Working on reducing the polygons to fit them all into the scene

努力減少多邊形，使其全部融入現(xiàn)場

The cup

Then we took some references from the internet and modeled the coffee cup and distorted it to fit the camera angle and character layout.

杯子

然后，我們從互聯(lián)網(wǎng)上獲得了一些參考，并對(duì)咖啡杯進(jìn)行了模擬，并扭曲了它，以適應(yīng)相機(jī)的角度和角色布局。

Making the coffee cup using references from the internet

使用互聯(lián)網(wǎng)的參考來制作咖啡杯

The coffee

The coffee base and added environmental features like grass, were made partly in ZBrush and partly in 3ds Max. We used MultiScatter for the rocks.

咖啡

Adding environmental features to the coffee base

在咖啡基地添加環(huán)境特征

Lighting

After we finished the modeling process and the agency approved the final scene layout, we started to light the scene. We used the HDR light studio because it is a very quick and reliable lighting tool.

Lighting was more of a trial and error process because of the large number of characters and their circular arrangement. Although it was not a complex light setup because we only used a single HDR map, it took some time to fit the light in order for each character to look good.

燈光

完成建模過程后，機(jī)構(gòu)批準(zhǔn)了最終場景布局，我們開始點(diǎn)亮現(xiàn)場。 我們使用HDR燈光工作室，因?yàn)樗�是一個(gè)非常快速和可靠的照明工具。

照明更是一個(gè)試錯(cuò)過程，因?yàn)榇罅康娜宋锖退麄兊难�環(huán)安排。 雖然它不是一個(gè)復(fù)雜的燈光設(shè)置，因?yàn)槲覀冎皇褂靡粋�(gè)單一的HDR地圖，花了一些時(shí)間來適應(yīng)光線，以使每個(gè)角色看起來不錯(cuò)。

The HDR map used to light the scene

HDR地圖用于點(diǎn)亮場景

Texturing and shading

We skipped the unwrapping process of all the characters in order to gain some time. In its place, we just applied a UVW map modifier in 3ds Max because we used a shader with a fingerprint map made by Pablander in the Glossiness slot and in the Bump slot.

Finding the shaders was a trial and error process and in the end we tried several shaders. First we tried a simple gray shader but it didn't create the feeling we wanted ? although the characters were very readable. Then we tried a liquid coffee shader but of course it was a mess because you couldn't understand the shapes well.

In the end we used the clay shader and added some more detail to it with a normal map with wrinkles and a fingerprint map to the bump slot, and it created the effect we wanted to achieve.

紋理和陰影

我們跳過了所有角色的展開過程，以獲得一些時(shí)間。 在它的位置，我們剛剛在3ds Max中應(yīng)用了一個(gè)UVW地圖修改器，因?yàn)槲覀兪褂昧艘粋�(gè)著色器，它由Pablander在光澤槽和Bump槽中制作的指紋圖。

尋找著色器是一個(gè)試錯(cuò)過程，最后我們嘗試了幾個(gè)著色器。 首先我們嘗試了一個(gè)簡單的灰色著色器，但它并沒有產(chǎn)生我們想要的感覺。 雖然字符很可讀。 然后我們嘗試了一個(gè)液體咖啡著色器，但當(dāng)然這是一個(gè)混亂，因?yàn)槟悴荒芎芎玫亓私庑螤睢?/p>

最后，我們使用粘土著色器，并添加了一些更多的細(xì)節(jié)，其中具有皺紋和凹凸槽的指紋圖形的法線貼圖，并創(chuàng)建了我們想要實(shí)現(xiàn)的效果。

Texturing the scene using shaders and a fingerprint map

使用著色器和指紋圖紋理場景

Render and post-production

The render was at 8,000 x 5,000 pixels and had as many V-Ray channels as we needed for the post-production stage. The post stage was made as usual in Photoshop and it was a straightforward process ? nothing too fancy. It consisted of color corrections and a depth of field effect and some background editing.

渲染和后期制作

渲染為8,000 x 5,000像素，并具有與后期制作階段相同的V-Ray通道。 后期在Photoshop中照常進(jìn)行，這是一個(gè)簡單的過程？ 沒有什么太花哨 它包括顏色校正和景深效果以及一些背景編輯。

Some of the render passes used for post-production

一些渲染過程用于后期制作

Conclusion

It was fun to work on this project and we all learned a lot. For me, the challenge was lighting multiple characters with the same HDR.

結(jié)論

這個(gè)項(xiàng)目很有趣，我們都學(xué)到了很多東西。 對(duì)我來說，挑戰(zhàn)是使用相同的HDR照亮多個(gè)角色。