使用Maya制作3D圖像

我們很高興為您帶來令人難以置信的3D圖像，生日快樂！ 由林章創(chuàng)建，使用Maya，3ds Max，ZBrush，V-Ray和Photoshop。

We are delighted to bring you the making of the incredible 3D image, Happy Birthday! by Lin Zhang, created using Maya, 3ds Max, ZBrush, V-Ray and Photoshop.

Happy Birthday! was inspired by the memories of my childhood. I was always a troublemaker for my parents when it came to birthday celebrations. For this image I decided to use Japanese and US comics as inspiration for extraordinary and exaggerated expressions, and as a reference to create a believable-looking image. I hope this image reminds people of their childhoods and of the colorful lives we lead.

生日快樂！ 受到童年記憶的啟發(fā)。 在生日慶�；顒�(dòng)中，我的父母一直是個(gè)麻煩制作者。 對于這個(gè)形象，我決定使用日本和美國的漫畫作為非凡和夸張的表達(dá)的靈感，并作為創(chuàng)造一個(gè)可信的形象的參考。 我希望這個(gè)形象提醒人們他們的童年和我們領(lǐng)導(dǎo)的豐富多彩的生活。

Step 1: Preparation

Firstly, I spent a lot of time collecting references and figuring out the composition. This was a big step, although I see so many people ignore it. It's during this stage that the more well-prepared you are, the better chance of a success you have ? it's much like building a solid foundation for a great construction.

步驟1：準(zhǔn)備

首先，我花了很多時(shí)間收集參考資料并弄清楚作品的構(gòu)成。 這是一個(gè)很大的進(jìn)步，雖然我看到這么多人忽略它。 在這個(gè)階段，你準(zhǔn)備得越好，你有更好的成功機(jī)會(huì)嗎？ 這很像建設(shè)堅(jiān)實(shí)的基礎(chǔ)。

Step 2: Modeling and lighting

After establishing the initial composition, I made some simple models for a lighting test to so I could gauge the overall atmosphere. I then adjusted the camera's position to determine the composition.

I continued to adjust the camera during future stages, so this was just the first level of adjustments.

步驟2：建模和照明

建立初步構(gòu)圖后，我做了一些簡單的照明測試模型，以便我可以衡量整體氛圍。 然后我調(diào)整了相機(jī)的位置以確定組合。

我在未來階段繼續(xù)調(diào)整相機(jī)，所以這只是第一級(jí)的調(diào)整。

Step 3: Character model

All the models were made in Maya and ZBrush. Because the image is focused around the notion of wind, every character's face was very important, and I had to pay careful attention to the various details in the clothing and body. It all required great patience and careful observation.

步驟3：角色模型

所有的模型都是在瑪雅和ZBrush制作的。 因?yàn)樾蜗蠹�中在風(fēng)的概念上，每個(gè)人物的臉都很重要，我必須要注意衣服和身體的各種細(xì)節(jié)。 這一切都需要很大的耐心和仔細(xì)的觀察。

Step 4: Scene model

After completing the basic models, I began to focus on the scene. Most of the models had no specific use and were created using basic modeling techniques. I twisted and adjusted everything manually ? which was a very interesting and imaginative experience for me. I also encountered lots of difficulties at this stage for 2 main reasons: I wanted to go for an 80s Japanese style and a windy environment; and because there were so many objects, I'm afraid I can only share a few of the screenshots here.

步驟4：場景模型

完成基本型號(hào)后，我開始專注于現(xiàn)場。 大多數(shù)模型沒有特定用途，并使用基本的建模技術(shù)創(chuàng)建。 我手動(dòng)扭曲和調(diào)整一切？ 這對我來說是一個(gè)非常有趣和富有想象力的經(jīng)歷。 在這個(gè)階段我也遇到很多困難有兩個(gè)主要原因：我想去八十年代的日本風(fēng)和一個(gè)有風(fēng)的環(huán)境; 因?yàn)橛羞@么多的對象，恐怕我只能在這里分享一些截圖。

Step 5: UVs & model optimization

The next stage was to take care of the UVs, which I actually carried out during the modeling stage simultaneously. I mainly used the great UV software: UV Layout and Unfold3D for UV-unwrapping. In order to save production time for the scene models, I used the ZBrush UV Master tool, using it to copy the UV information from low-level models to high-poly models, as shown below.

步驟5：UVs和模型優(yōu)化

下一個(gè)階段是在建模階段同時(shí)進(jìn)行的紫外線照射。 我主要使用偉大的UV軟件：UV Layout和Unfold3D進(jìn)行UV打包。 為了節(jié)省場景模型的生產(chǎn)時(shí)間，我使用了ZBrush UV Master工具，使用它將UV信息從低級(jí)模型復(fù)制到高模型，如下所示。

Step 6: Lights and basic material

When the models were complete, I took everything into 3ds Max and began to carefully adjust the lighting to create some default shaders for rendering tests. I used V-Ray for lighting and materials; this step was very time-consuming because I needed to test the rendering repeatedly until it achieved a satisfactory result.

步驟6：燈光和基本材料

當(dāng)模型完成后，我將所有內(nèi)容都放入3ds Max，并開始仔細(xì)調(diào)整照明，以創(chuàng)建一些默認(rèn)著色器進(jìn)行渲染測試。 我用V-Ray照明和材料; 這一步非常耗時(shí)，因?yàn)槲倚枰�反�?fù)測試渲染，直到達(dá)到令人滿意的結(jié)果。

Step7: Materials & mapping

After lighting and basic colors had been set up, I began to create the character and object textures. I mainly used the VRayMtl shaders to simulate normal objects, using VRayFastSSS2 to simulate objects with an SSS material effect, such as skin, cream and juice. Because there were so many objects in the scene, the final number of textures was more than 100. Here is a breakdown of the character textures and materials.

步驟7：材料與制圖

在照明和基本顏色設(shè)置完成后，我開始創(chuàng)建字符和對象紋理。 我主要使用VRayMtl著色器來模擬正常對象，使用VRayFastSSS2模擬具有SSS材質(zhì)效果的對象，如皮膚，奶油和果汁。 因?yàn)閳鼍爸杏羞@么多的物體，所以紋理的最終數(shù)量超過了100.這里是紋理和材質(zhì)的分解。

Step 8: Hair & fur

All hair was done using the plug-in Hairtrix (Ornatrix) in 3ds Max. This is not only a very powerful hair plug-in, but also very easy to control. You can find a detailed tutorial if you're interested ? I'm just going to introduce it briefly here. For example: I divided the model of dad's head into a few areas, and then selected one as the basis for hair generating. Then I added OX Guide from Surface and OX Edit Guide edit spline nodes. After I achieved a proper brush spline, I then added OX Hair from Guides to be able to get an appropriate hairstyle. I also added some random nodes afterwards to get it a bit more natural-looking. I created each area of hair one by one, until all the hair was completed.

步驟8：頭發(fā)和毛皮

所有的頭發(fā)都是使用3ds Max中的插件Hairtrix（Ornatrix）完成的。 這不僅是一個(gè)非常強(qiáng)大的頭發(fā)插件，而且很容易控制。 如果您有興趣，可以找到詳細(xì)的教程 我剛剛在這里介紹一下。 例如：我將爸爸的頭部模型劃分成幾個(gè)區(qū)域，然后選擇一個(gè)作為發(fā)型的基礎(chǔ)。 然后我從Surface和OX Edit Guide中添加了OX指南，編輯樣條節(jié)點(diǎn)。 當(dāng)我實(shí)現(xiàn)了一個(gè)適當(dāng)?shù)乃⒒�樣，然后我從指南添加OX頭發(fā)，以獲得一個(gè)適當(dāng)?shù)陌l(fā)型。 之后我還添加了一些隨機(jī)節(jié)點(diǎn)，使它更自然。 我逐個(gè)創(chuàng)建了每個(gè)領(lǐng)域的頭發(fā)，直到所有的頭發(fā)都完成了。

Step 9: Rendering

Because of the pre-test work I was well prepared, so the final rendering process was quite smooth.

I did not use layered rendering; all the elements were rendered once, including the hair. The benefit of this process is that the effect is very uniform and precise. The disadvantage is that the rendering time is too long, and also limits the flexibility of post-processing. The final result of the rendered image is shown below.

步驟9：渲染

由于預(yù)先測試的工作我做好了準(zhǔn)備，所以最終的渲染過程很順利。

我沒有使用分層呈現(xiàn); 所有的元素都被渲染一次，包括頭發(fā)。 這個(gè)過程的好處是效果非常均勻和精確。 缺點(diǎn)是渲染時(shí)間太長，也限制了后處理的靈活性。 渲染圖像的最終結(jié)果如下所示。

Step 10: Post-production

In the final step, I did some tonal adjustments and detailing in Photoshop, which improved the overall quality of the final image.

I hope you've enjoyed learning a little about my production experience on this image. I hope you enjoy the image and have found something useful from this short making of!

第10步：后期制作

在最后一步中，我在Photoshop中進(jìn)行了一些色調(diào)調(diào)整和細(xì)節(jié)調(diào)整，從而提高了最終圖像的整體質(zhì)量。

我希望你喜歡在這個(gè)形象上學(xué)到一點(diǎn)關(guān)于我的生產(chǎn)經(jīng)驗(yàn)。 我希望你喜歡的形象，并找到了一些有用的從這個(gè)簡短的做法！