制作海盜場景的工作流程

在空閑時間Joao喜歡從事個人項目，他認(rèn)為重要的是嘗試新的工具，技術(shù)和工作流程，并且一直問自己如何改進！

In his spare time Joao likes to work on personal projects, he feels it is important to experiment with new tools, techniques and workflows, and to always ask yourself how you can improve!

Research

For several months I kept starting personal projects but I quickly lost interest, there was always something not quite right. One day I was doing some research and I came across Artyom Vlaskin's pirate tavern concept. I immediately felt that I wanted to bring it to life or, in other words, I felt that "click" of inspiration! So a big part of my final result is due to the amazing skills of this artist.

研究

幾個月來，我一直在做個人項目，但是我很快就失去了興趣，總是有些不太正確。 有一天我在做一些研究，我遇到了Artyom Vlaskin的海盜小酒館概念。 我馬上覺得我想把它帶到生活中，換句話說，我覺得“點擊”靈感！ 所以我最后的結(jié)果的很大一部分是由于這位藝術(shù)家的驚人的技能。

Blockout

Once I had found my inspiration I used 3ds Max for some basic blockout modeling, to figure out the proportions etc. Usually when I start something new, I have some basic ideas that I always keep in mind, one of which is scale. For me, it's really important to lay down some basic shapes with real world measures to guide the rest of the scene. I like to create objects with real dimensions, which is an added bonus when it comes time to do shading, displacement, lighting and rendering, therefore it's best to keep to the proper scale.

封鎖

一旦我找到了我的靈感，我就用3ds Max進行了一些基本的封鎖模擬，以弄清楚比例等。通常當(dāng)我開始新的時候，我有一些基本的想法，我總是記住，其中之一就是規(guī)模。 對我來說，用現(xiàn)實世界的措施來制定一些基本的形狀，以指導(dǎo)其余的場合是非常重要的。 我喜歡創(chuàng)建具有真實尺寸的對象，這是一個額外的好處，當(dāng)它到達陰影，位移，照明和渲染的時候，因此最好保持適當(dāng)?shù)囊?guī)模。

Wooden parts

I started out with some boxes for the roofs, then I played with the Bend modifier to achieve the desired effect. I removed some of the thickness, to cut all of the cracks and imperfections on the wood while keeping clean topology; if there had been too much thickness then this process would have been a nightmare.

After that I added a Shell modifier and the necessary segments to support the TurboSmooth modifier. While creating this kind of aged and damaged assets it's important to keep things in place and not to overdo the effect, it's pretty easy to get lost in excessive details.

木制零件

我開始用屋頂?shù)囊恍┖凶樱�然后我用彎曲修正器，以達到預(yù)期的效果。 我刪除了一些厚度，切割木材上的所有裂縫和缺陷，同時保持清潔的拓?fù)浣Y(jié)構(gòu); 如果厚度太大，那么這個過程將是一場惡夢。

之后，我添加了一個Shell修改器和必要的段來支持TurboSmooth修改器。 在創(chuàng)造這種老化和損壞的資產(chǎn)時，重要的是要保持現(xiàn)場狀態(tài)，而不是過度的影響，很容易迷失在細(xì)節(jié)上。

The rocks

When making the rocks, once again, I started with a box and then subdivided it four or five times with TurboSmooth. On top of that I added some Displacement modifiers with Cellular and Noise maps to create some rock patterns. For the chimney, I only modeled one rock. To add some variety to the rocks, I changed the rotation, scale, UVW size and position, and finally, with the FFD modifier I was able to change the silhouette itself. The final details were added in the texturing phase with Bump maps etc.

石頭

當(dāng)做巖石時，我再次開始一個盒子，然后用TurboSmooth細(xì)分四到五次。 除此之外，我添加了一些位移修飾符與細(xì)胞和噪聲圖，以創(chuàng)建一些巖石圖案。 對于煙囪，我只是模仿一塊巖石。 為了給巖石添加一些變化，我改變了旋轉(zhuǎn)，縮放，UVW的大小和位置，最后，使用FFD修飾符我可以改變輪廓本身。 最終的細(xì)節(jié)在Bump地圖等的紋理化階段添加

Final model

For the ropes, straws, and bird's nest I used basic lines and modifiers, later on I used a cool plug-in, "Houdini Ocean", to make the water; I also added a small boat to help sell the movement of the waves. I also think that it is important to do some early post production. This helps to point the direction on where the image is going; also getting some outside opinions is important because other people sometimes can see mistakes that we might not.

最終模型

對于繩索，稻草和鳥巢，我使用了基本的線條和修改器，后來我用了一個很酷的插件“Houdini Ocean”來制作水; 我還加了一條小船幫助賣波浪的運動。 我也認(rèn)為做一些早期的后期制作很重要。 這有助于指出圖像所在的方向; 也有一些外界的意見是重要的，因為其他人有時會看到我們可能沒有的錯誤。

Lighting, camera and settings

To light this scene I used V-Ray Sunlight; I wanted set the scene at sunset so I kept the sun low and increased the size multiplier to 7 so that I'd get soft shadows. I pretty much stuck with the default settings for the camera, except for the White balance and the f-number. With the render settings, I also kept things pretty simple, I just increased the sampling for better definition, set the noise threshold to 0.001 for less noise, and turn on GI etc. For the Material ID pass remember to turn on the anti-aliasing!

照明，相機和設(shè)置

為了點亮這個場景，我用了V-Ray Sunlight; 我想在日落時設(shè)置場景，所以我保持太陽低，并將尺寸乘數(shù)增加到7，這樣我會變得柔和的陰影。 我?guī)缀跸喈?dāng)于相機的默認(rèn)設(shè)置，但白平衡和f數(shù)除外。 使用渲染設(shè)置，我也保持簡單，我只是增加了采樣以獲得更好的清晰度，將噪聲閾值設(shè)置為0.001以減少噪點，并打開GI等。對于物料ID通行證，請記住打開抗鋸齒 ！

Texturing

For this particular scene I used five main textures: wood, glass, metal, rope and water. In order to save some time and keep things simple, I just made some slight color adjustments to account for material variation. As for the mapping part, I used box mapping for 95% of the scene and some Unwrap UVW modifier here and there, as needed.

紋理化

對于這個特定場景，我使用了五種主要紋理：木材，玻璃，金屬，繩索和水。 為了節(jié)省一些時間并保持簡單，我只是做了一些輕微的顏色調(diào)整來解釋材料變化。 對于映射部分，我根據(jù)需要使用95％的場景和一些Unwrap UVW修飾符的框映射。

Shading

The water shader was the most complex. I used a V-Ray Blend Material containing the water material and added a reflection coat material to get some variation. The main material had a basic water material and a couple of foam materials in the coat slots. This brings some life to the ocean and helps to break the tile pattern from the modeling. For the rest of the shaders I had a base material consisting in color and bump, a coat that is a copy of the base material with some color variation (usually a lighter color) and V-RayDirt maps.

陰影

水著色器是最復(fù)雜的。 我使用含有水的材料的V-Ray Blend材料，并添加了一種反射涂層材料，以獲得一些變化。 主要材料在涂層槽中具有基本的水性材料和一些泡沫材料。 這給海洋帶來了一些生命，有助于從建模中打破瓷磚圖案。 對于其余的著色器，我有一個基礎(chǔ)材料，包括顏色和凹凸，一件外套是基本材料的副本，具有一些顏色變化（通常是較淺的顏色）和V-RayDirt圖。

Rendering

During my modeling and texturing process, to see how the scene is coming together, I do a lot of early renders and some simple post production. In the process I also tweak a lot of stuff, so when I get to the final render I have very little to correct and I can focus more on the color correction and mood. For the final result I went for a more dramatic approach, for this result I just played around with curves, selective color, replaced the sky, sharpened the image and added some camera effects.

渲染

在我的建模和紋理過程中，要看到場景如何聚在一起，我做了很多早期渲染和一些簡單的后期制作。 在這個過程中，我還調(diào)整了很多東西，所以當(dāng)我得到最終的渲染時，我很少糾正，我可以更多地關(guān)注顏色校正和心情。 為了最終的結(jié)果，我采取了一個更加戲劇性的方法，為了這個結(jié)果，我剛剛玩曲線，選擇性的顏色，取代了天空，削減了圖像，并添加了一些相機效果。

Final image

So this is my final result! I sure had a lot of fun with this project and I really hope that my tips can help you in some way. Thanks a lot for reading and I hope you guys enjoyed it!

最終形象

所以這是我的最終結(jié)果！ 我確實對這個項目有很多的樂趣，我真的希望我的提示可以在某種程度上幫助你。 非常感謝您的閱讀，我希望你們喜歡它！