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ZBrush設(shè)計(jì)一個(gè)虛擬人物

次世代人物黑暗BOSS 觀看預(yù)覽

次世代人物黑暗BOSS

包含56節(jié)視頻教程
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老師耗時(shí)一個(gè)多月,全力打造的次世代角色的制作教程。全部原創(chuàng)制作。從原畫(huà)到建模雕刻再到烘培材質(zhì)繪制等完完整整的一個(gè)教程。這絕對(duì)是最超值的好教程了!

關(guān)閉

使Khlotharius的目的涉及到一些事情,包括測(cè)試我的人物裝備管道,并將整個(gè)燈光管道從瑪雅轉(zhuǎn)移到Houdini的Mantra渲染器。 在本教程中,我將嘗試解釋如何在ZBrush中開(kāi)始,最后在Mantra中渲染。
The purpose of making Khlotharius involved a few things, including testing my character rigging pipeline and transferring the whole light and shade pipeline from Maya to Houdini's Mantra renderer. In this tutorial I will try to explain how I started in ZBrush and ended up rendering in Mantra.

Step 01: Concept
步驟01:概念
Blizzard Entertainment's characters have always inspired me, and I'm a big fan of all The Lord of the Rings films, so whenever I plan a character these kinds of detailed ideas pop out from the back of my head. Keeping that in mind, plus collecting some shape references and design motifs of 'elements' such as wind and fire, I created these motifs. They'll be used to design the armor details later. For the character himself, I collected some anatomy references from the internet, using Google and Pinterest. I tend to use my memory for anatomy sculpting for a little stylization, but whenever I get confused I turn to references.
暴雪娛樂(lè)的角色一直激勵(lì)著我,我是《指環(huán)王》系列電影的忠實(shí)粉絲,所以每當(dāng)我計(jì)劃一個(gè)角色時(shí),這些細(xì)節(jié)的想法就會(huì)從我的腦海中跳出來(lái)。記住這一點(diǎn),再加上收集一些形狀的參考和設(shè)計(jì)主題的元素,如風(fēng)和火,我創(chuàng)建了這些主題。之后,他們將被用來(lái)設(shè)計(jì)盔甲細(xì)節(jié)。為了這個(gè)角色,我用谷歌和Pinterest收集了一些來(lái)自互聯(lián)網(wǎng)的解剖學(xué)參考資料。我傾向于使用我的記憶來(lái)進(jìn)行解剖雕塑,但是每當(dāng)我感到困惑時(shí),我轉(zhuǎn)向參考文獻(xiàn)。
Designing some early motifs
設(shè)計(jì)一些早期圖案
Step 02: Starting from a sphere
步驟02:從球體開(kāi)始
If it's a personal project I always start from a DynaMesh sphere in ZBrush. Using the Standard, Move, Snake Hook, Inflate and Smooth brushes, I create the basic form of the figure, as pictured.
如果是個(gè)人項(xiàng)目,我總是從ZBrush的DynaMesh球體開(kāi)始。 使用標(biāo)準(zhǔn),移動(dòng),蛇鉤,充氣和平滑的刷子,我創(chuàng)建了圖的基本形式,如圖所示。
Building a base mesh up from a sphere
從球體構(gòu)建基礎(chǔ)網(wǎng)格
Step 03: Further sculpting
步驟03:進(jìn)一步雕刻
To build up secondary forms, I love to use the Clay Buildup brush in combination with Alpha06. Using this technique, I create all the secondary forms, like bony landmarks and muscle fibers.
為了建立第二種形式,我喜歡使用Clay Buildup畫(huà)筆與Alpha06結(jié)合使用。 使用這種技術(shù),我創(chuàng)造出所有的次生形態(tài),如骨骼標(biāo)志和肌肉纖維。
Adding more form with Clay Buildup
加入更多的粘土
Step 04: Retopology
步驟04:重塑
Now it's time to do the topology. For topology I primarily use ZBrush's ZRemesher for the body, and then take the mesh into Maya. But before exporting, under the 'Export' section of the Tools menu, deselect 'Grp'.
現(xiàn)在是做拓?fù)涞臅r(shí)候了。對(duì)于拓?fù),我主要使用ZBrush的ZRemesher作為主體,然后將網(wǎng)格放入Maya中。但在導(dǎo)出之前,在工具菜單的“導(dǎo)出”部分中,取消了“Grp”。
Step 05: Setting the scale in Maya
步驟05:在Maya中設(shè)置比例
Now I import into Maya, one of the most important steps to do is setting the scale of the mesh. If the figure is six feet tall, then we should scale it to that measurement. I usually set the unit of measurement to feet and scale the figure to match the height I'm looking for. If I don't do this step now, I'll have trouble getting perfect displacement effects, lighting and rigging later.
現(xiàn)在我導(dǎo)入Maya,最重要的步驟之一是設(shè)置網(wǎng)格的大小。如果這個(gè)數(shù)字是六尺高,那么我們應(yīng)該把它擴(kuò)大到這個(gè)測(cè)量。 我通常將測(cè)量單位設(shè)置為英尺,并將圖形縮放以匹配我要查找的高度。 如果我現(xiàn)在不做這個(gè)步驟,我將在以后遇到完美的位移效應(yīng),照明和索具時(shí)遇到麻煩。
Making sure we set the correct scale in Maya
確保我們?cè)贛aya中設(shè)置正確的比例
Step 06: Making polygroups
步驟06:制作多組
Now I bring back retopologized mesh back into ZBrush and assign some polygroups for later use of the hide/show function and UV mapping. Make sure you also store the Morph Target. The model's now ready for adding micro details like skin wrinkles and pores!
現(xiàn)在我將重新網(wǎng)格化的網(wǎng)格帶回ZBrush,并分配一些polygroups以供以后使用隱藏/顯示功能和UV映射。 確保您還存儲(chǔ)變形目標(biāo)。 該模型現(xiàn)在準(zhǔn)備添加微細(xì)節(jié),如皮膚皺紋和毛孔!
The model split into polygroups
該模型分為多組
Step 07: Adding surface noise
步驟07:增加表面噪音
Before going into fine details, I distort the model a little bit with some surface noise. Start with the higher noise scale and lower strength. Each time I apply the surface noise to the mesh; I lower the noise scale and increase the noise strength. It's best to start with a lower subdivision and increase it each time you add more noise, but this might inflate the model each time. So, in some places, I make use of the Morph brush and masked areas. To break up the secondary forms more, I use the Inflate brush with Alpha63 and Depth Gravity Strength set to 60.
在進(jìn)入精細(xì)的細(xì)節(jié)之前,我用一些表面噪聲對(duì)模型進(jìn)行了一點(diǎn)扭曲。開(kāi)始噪音比較高,強(qiáng)度較低。 每次將表面噪聲應(yīng)用于網(wǎng)格; 我降低噪音比例,增加噪音強(qiáng)度。 最好從較低的細(xì)分開(kāi)始,每次增加更多的噪音時(shí)都會(huì)增加它,但這可能會(huì)使模型倍增。 所以,在某些地方,我使用變形刷和掩蔽區(qū)域。 為了打破次要形式,我使用Aclate刷子與Alpha63和深度重力強(qiáng)度設(shè)置為60。
Add surface noise to the skin before beginning to sculpt details
在開(kāi)始雕刻細(xì)節(jié)之前,將表面噪音添加到皮膚上
Some of the brush settings used for sculpting details
用于雕刻細(xì)節(jié)的一些畫(huà)筆設(shè)置 
Step08: Sculpting skin details
步驟08:雕刻皮膚細(xì)節(jié)
For skin pores, wrinkles and cross-hatching detail, I use the Dam Standard and Pen A brushes with ZSub on, and the Standard brush with Color Spray settings using various alphas. With the help of the brushes pictured, and some custom alphas, I create all the skin details.
對(duì)于皮膚毛孔,皺紋和交叉陰影細(xì)節(jié),我使用了Dam標(biāo)準(zhǔn)和Pen A刷子和ZSub,標(biāo)準(zhǔn)刷子使用各種顏色設(shè)置。 在畫(huà)面的幫助下,和一些自定義的阿爾法,我創(chuàng)建所有的皮膚細(xì)節(jié)。
The finished skin details
完成的皮膚細(xì)節(jié)
Step 09: Exporting UVs into Maya
步驟09:將UVs導(dǎo)出到Maya
For the UVs, I have the help of ZBrush's UV Master plug-in. Under the UV Master settings, I turn on the polygroups which I created before. This gives me a decent UV. I export the low resolution mesh into Maya, making sure to deselect 'Grp' under the Export menu, as I did previously in step 4. If you don't do this, the model will be exported in chunks. In Maya, I arrange it into four UDIMs (UV tiles) with some UV changes.
對(duì)于UVs,我有ZBrush的UV Master插件的幫助。 在UV Master設(shè)置下,我打開(kāi)之前創(chuàng)建的多組。 這給了我一個(gè)體面的紫外線。 我將低分辨率網(wǎng)格導(dǎo)出到Maya中,確保取消選擇“導(dǎo)出”菜單下的“Grp”,如之前在步驟4中所做的那樣。如果不這樣做,模型將以塊形式導(dǎo)出。 在瑪雅,我把它安排成四個(gè)UDIM(紫外線瓦片)和一些紫外線變化。
After this, I export the model back into ZBrush. As there are no changes made to the mesh, keeping the tool open in ZBrush at its lowest subdivision and simply importing the UV modified mesh into ZBrush will do just fine. 
之后,我將模型導(dǎo)出回ZBrush。 由于沒(méi)有對(duì)網(wǎng)格進(jìn)行任何更改,因此在ZBrush的最低分區(qū)中保持工具打開(kāi),并將UV修改的網(wǎng)格簡(jiǎn)單導(dǎo)入到ZBrush中將會(huì)很好。
Step 10: Sculpting the armor
步驟10:雕刻裝甲
There are a few awesome techniques for creating hard-surface accessories, which wouldn't be possible or efficient without ZBrush. I'll try to explain a few of them. To start with, we need a base, which can be extracted from the body as follows.
創(chuàng)建硬表面配件有一些很棒的技術(shù),如果沒(méi)有ZBrush,這是不可能或沒(méi)有效率的。 我會(huì)嘗試解釋其中的幾個(gè)。 首先,我們需要一個(gè)可以從身體提取的基座,如下所示。
First we need to duplicate the SubTool and mask the area to extract the mesh from. Use Ctrl+W to assign a polygroup. Now we need to smooth the jagged line of the polygroup border. For this I use the Smooth Groups brush from the Smooth brush collection in the Lightbox. Draw around the jagged polygroup border and hide the other polygroups. Under Tools > Geometry > Modify Topology, press 'Delete hidden', but before applying this remove or freeze all the subdivision levels. Now use ZRemesher with its default setting. Next, choose the 'Half' preset under ZRemesher and press it several times to get the polycount you think is suitable. Adjust it according to your needs. 
首先,我們需要復(fù)制SubTool并掩蓋從中提取網(wǎng)格的區(qū)域。 使用Ctrl + W分配多組。 現(xiàn)在我們需要平滑多邊形邊框的鋸齒狀線條。 為此,我使用“燈光”中的“平滑”畫(huà)筆集合中的“平滑組”畫(huà)面。 圍繞鋸齒狀的多邊形邊框,并隱藏其他多組。 在“工具>幾何”>“修改拓?fù)洹毕,按“刪除隱藏”,但在應(yīng)用此操作之前,請(qǐng)刪除或凍結(jié)所有細(xì)分級(jí)別。 現(xiàn)在使用ZRemesher及其默認(rèn)設(shè)置。 接下來(lái),選擇ZRemesher下的“Half”預(yù)置,然后按幾次以獲得您認(rèn)為合適的多邊形。 根據(jù)您的需要進(jìn)行調(diào)整。
From the Stroke menu, under Curve function, select 'Border only' and press Frame Mesh. This will give us a guide curve at the border. Select the Curve Tube brush, click on the existing guide curve, and apply DynaMesh. Smooth the jagged polygroup border and apply DynaMesh as we did above. Unwrap using UV Master, and now we have a clean base to which we can add detail. I select a white color and fillObject. 
從“筆觸”菜單中,在“曲線”功能下,選擇“僅限邊框”,然后按“幀格網(wǎng)格”。 這將給我們一個(gè)在邊界的指導(dǎo)曲線。 選擇曲線管刷,點(diǎn)擊現(xiàn)有指南曲線,并應(yīng)用DynaMesh。 平滑鋸齒狀的多邊形邊框,并按照上述方式應(yīng)用DynaMesh。 使用UV Master打包,現(xiàn)在我們有一個(gè)干凈的基地,我們可以添加細(xì)節(jié)。 我選擇一個(gè)白色的顏色和fillObject。
Modeling and detailing an armor piece
建模和詳細(xì)的裝甲
Step 11: Detailing the armor
步驟11:細(xì)化裝甲
Now we can PolyPaint the mesh using the Surface Noise function, with custom image along with UV enabled. We are going to use Surface Noise just to extract color from a custom image. Set the Strength to 0, Mix Basic Noise to 0, Color Blend to 1, and the color to black. Now apply noise to mesh.
現(xiàn)在我們可以使用表面噪聲功能PolyPaint網(wǎng)格,自定義圖像以及UV啟用。 我們將使用表面噪聲來(lái)提取自定義圖像中的顏色。 將強(qiáng)度設(shè)置為0,將基本噪音混合為0,將顏色混合為1,將顏色設(shè)置為黑色。 現(xiàn)在對(duì)網(wǎng)格應(yīng)用噪音。
I apply a mask based on color intensity and hit Ctrl+W to make a polygroup. I duplicate the SubTool, hide the other polygroups, and delete hidden. I use ZRemesher with its default setting and extrude with ZModeler. Now I've got something with better topology. I use Crease Polygroup, subdivide twice, then Uncrease All. Finally, I subdivide again to get a cleaner edge. With the help of this technique, I create all the armor pieces.
我基于顏色強(qiáng)度應(yīng)用蒙版,并按Ctrl + W進(jìn)行聚合。 我復(fù)制SubTool,隱藏其他polygroups,并刪除隱藏。 我使用ZRemesher的默認(rèn)設(shè)置和拉伸與ZModeler。 現(xiàn)在我有一些更好的拓?fù)浣Y(jié)構(gòu)。 我使用Crease Polygroup,細(xì)分兩次,然后Unlrease All。 最后,我再次細(xì)分,以獲得更清潔的優(yōu)勢(shì)。 在這種技術(shù)的幫助下,我創(chuàng)建了所有的裝甲。
Adding some motif details to the armor
向裝甲添加一些主題細(xì)節(jié)
Step 12: Making a stitch
步驟12:制作針跡
First we need to create a Curve Insert brush with stitch mesh. Start with a poly converted torus and shape it into letter 'C'. Align it in a way so that it looks like letter 'I', or based on your needs. If it's lying on a surface, then align it that way. From the Brush menu, select 'Create InsertMesh'. From the Stroke menu, choose Curve Mode. Now we have a stitch that can be applied to the character's clothes.
首先,我們需要?jiǎng)?chuàng)建一個(gè)帶針跡網(wǎng)格的曲線插入刷。 從一個(gè)聚轉(zhuǎn)換圓環(huán)開(kāi)始,并將其形成字母'C'。 對(duì)齊它的方式,使它看起來(lái)像字母'我',或根據(jù)你的需要。 如果它躺在一個(gè)表面上,那么這樣對(duì)齊。 從“畫(huà)筆”菜單中,選擇“創(chuàng)建InsertMesh”。 從“筆畫(huà)”菜單中,選擇“曲線模式”。 現(xiàn)在我們有一個(gè)針腳可以應(yīng)用于角色的衣服。
Creating a stitch using a torus
使用圓環(huán)創(chuàng)建針跡
Step 13: Creating cloth
步驟13:制作布
Now I'll create some fabric. First I do the 'Group by normals' to separate the facing surface by polygroup. I divide it and hide the other groups, then shrink the visibility. I use the Curve function's 'Frame Mesh by Border'. This way I get the guide curve a little inside the surface, which is the perfect area to place the stitches. Later it will be used to create stitches with the Curve Insert brush.
現(xiàn)在我將創(chuàng)建一些面料。 首先,我做“按法線分組”,通過(guò)聚組分離面對(duì)面。 我劃分它并隱藏其他組,然后縮小可見(jiàn)性。 我使用曲線函數(shù)的“邊框框架網(wǎng)格”。 這樣我就可以在表面上看到指導(dǎo)曲線,這是放置針跡的完美區(qū)域。 之后,它將用于使用曲線插入畫(huà)筆創(chuàng)建針跡。
With the Insert brush, click on the guide curve. Under the Brush menu, use the 'Imbed' slider to set the height of the Insert Mesh placement. Use the 'CurveStep' slider to set the distance in between each stitch. Now with more work we can bring out a nice stitch detail. Under Curve Function, you can use Smooth to remove distortion on the guide curve. If any weird result appears after changing the CurveStep value, try pressing Smooth once and then click on the guide curve using the Insert brush. You have to be careful because it also changes the placement of the guide curve little bit.
使用插入畫(huà)筆,單擊指南曲線。 在畫(huà)筆菜單下,使用“Imbed”滑塊設(shè)置插入網(wǎng)格位置的高度。 使用“CurveStep”滑塊設(shè)置每個(gè)針腳之間的距離。 現(xiàn)在有更多的工作,我們可以帶出一個(gè)很好的針跡細(xì)節(jié)。 在“曲線函數(shù)”下,您可以使用“平滑”來(lái)消除引導(dǎo)曲線上的失真。 如果在更改CurveStep值后出現(xiàn)任何奇怪的結(jié)果,請(qǐng)嘗試按Smooth一次,然后使用“插入”畫(huà)筆點(diǎn)擊引導(dǎo)曲線。 你必須小心,因?yàn)樗哺淖兞艘龑?dǎo)曲線的位置。
Creating a cloth with stitch detailing
用繡花細(xì)節(jié)制作布料
Step 14: Final accessories
步驟14:最終配件
The belts are created using the CurveStrapSnap brush, and the chain accessories were created with the help of various Insert brushes. The hood and clothes were created using Maya's nCloth, then brought back into ZBrush for detailing. I used the Surface Noise function with a custom alpha image. To UV map all the belts, strips, armors and cloth, I follow the same procedure I used for the body.
皮帶是使用CurveStrapSnap刷子創(chuàng)建的,鏈條附件是通過(guò)各種插入畫(huà)筆的幫助創(chuàng)建的。 引擎蓋和衣服是使用瑪雅的nCloth創(chuàng)建的,然后帶回ZBrush進(jìn)行詳細(xì)說(shuō)明。 我使用表面噪聲功能和自定義的alpha圖像。 紫外線映射所有的皮帶,條,鎧甲和布,我按照與身體相同的步驟。
The model with final details added
添加了最終細(xì)節(jié)的模型
Step 15: Displacement output
步驟15:位移輸出
This character has four UDIMs so we have to follow a special workflow to output any map from ZBrush. We have to create polygroups based on these UDIMs. From the Polygroups rollout, press 'UV Groups'. Now every time we output any map, we have to show only one of these polygroups at a time. At this point I am more concerned about displacement. I output all the displacement maps using following settings.
這個(gè)角色有四udims所以我們必須遵循一種特殊的工作流輸出任何地圖從ZBrush。我們要?jiǎng)?chuàng)建基于這些udims polygroups。從polygroups部署,按“UV組。現(xiàn)在我們每次輸出任何地圖,我們只顯示其中的一個(gè)如果一次。在這一點(diǎn)上我更關(guān)心的位移。我輸出所有的位移貼圖使用以下設(shè)置。
Step 16: Exporting into Houdini
第16步:輸出到Houdini
With the help of a special workflow for UDIM in ZBrush, I output all the maps. I want to check if all my displacement details have came along nicely in Houdini, so I export all the meshes into Houdini. I create some basic lighting to check the displacement and also created a Mantra PBR.
在ZBrush的UDIM特殊工作流程的幫助下,我輸出所有的地圖。 我想檢查一下,所有我的位移細(xì)節(jié)是否都在Houdini中很好地出現(xiàn),所以我將所有的網(wǎng)格導(dǎo)出到Houdini。 我創(chuàng)建了一些基本的照明來(lái)檢查位移,并創(chuàng)建了一個(gè)Mantra PBR。
Moving into Houdini
進(jìn)入Houdini
Step 17: Houdini shaders
第17步:Houdini著色器
I assign Houdini's mantraSurface shader to the body and make a special network to use the four UDIMs' displacement maps with the shader. For this we have to double-click on the mantraSurface to get deep into the shader and find the displacement section.
我將Houdini的mantraSurface著色器分配給身體,并建立一個(gè)特殊的網(wǎng)絡(luò),使用與著色器的四個(gè)UDIM的位移貼圖。 為此,我們必須雙擊mantraSurface來(lái)深入著色器并找到位移部分。
I create the five nodes shown in the image, and connect them accordingly. Under the default displacement section which comes with mantraSurface, you will find textureDisp already connected to luminanceDisp, RGBDispChannel and texture_value. Disconnect them from textureDisp and connect them with the 'add' node which we created just now. I also change UV Transform's 'Translate x' value based on the UDIM number. I use a value of 0 for the first, 1 for the second and so on.
我創(chuàng)建圖像中顯示的五個(gè)節(jié)點(diǎn),并相應(yīng)地連接它們。 在mantraSurface附帶的默認(rèn)位移部分下,您將發(fā)現(xiàn)textureDisp已連接到brightnessDisp,RGBDispChannel和texture_value。 斷開(kāi)它們與textureDisp的連接,并將它們與我們剛剛創(chuàng)建的'add'節(jié)點(diǎn)連接起來(lái)。 我還根據(jù)UDIM號(hào)更改UV Transform的“Translate x”值。 我使用第一個(gè)值為0,第二個(gè)值為1,依此類(lèi)推。
Setting up the displacement
設(shè)置位移

Step 18: Testing the displacement
步驟18:測(cè)試位移
As the scale of the model is based on real-world scale, I'll have less trouble getting the displacement and detail which I already achieved in ZBrush. Here you can see the settings for the displacement, and test renders of the model with and without displacement.
由于模型的規(guī)模是基于現(xiàn)實(shí)世界的尺度,所以在ZBrush中我已經(jīng)取得的位移和細(xì)節(jié)將會(huì)減少。 在這里,您可以看到位移的設(shè)置,并測(cè)試具有和不具有位移的模型的渲染。
Setting up the displacement
設(shè)置位移
Step 19: Texture painting
第19步:紋理繪畫(huà)
I texture the body using a mix of image projection and hand painting with the various masking features that ZBrush provides. While texturing I use ZBrush's skinShade4 shader. For image projection I use ZBrush's Spotlight function. First we have to import a texture from the Texture menu. Select the texture and press 'Add to spotlight'. The Lightbox might pop out, but turn it off. Now we're in texture placement and editing mode, so place and edit the texture using the circular manipulator. 
我使用混合的圖像投影和手繪與ZBrush提供的各種掩蔽功能進(jìn)行紋理化。 雖然紋理我使用ZBrush的skinShade4著色器。 對(duì)于圖像投影,我使用ZBrush的Spotlight功能。 首先我們必須從紋理菜單導(dǎo)入紋理。 選擇紋理,然后按“添加到聚光燈”。 燈箱可能會(huì)彈出,但將其關(guān)閉。 現(xiàn)在我們?cè)诩y理放置和編輯模式,所以使用圓形操縱器放置和編輯紋理。
Now we need to use two important shortcuts: Z and Shift+Z. Shift+Z will enable and disable Spotlight mode. After turning Spotlight on, the 'Z' key will switch between image-editing and painting mode. For the Standard brush, we must enable 'RGB only' to project color. If ZAdd/ZSub is enabled it will project detail as well. This way I project images to most of the areas of the body.
現(xiàn)在我們需要使用兩個(gè)重要的捷徑:Z和Shift + Z。 Shift + Z將啟用和禁用Spotlight模式。 打開(kāi)Spotlight后,“Z”鍵將在圖像編輯和繪畫(huà)模式之間切換。 對(duì)于標(biāo)準(zhǔn)畫(huà)筆,我們必須啟用“僅RGB”來(lái)投影顏色。 如果啟用了ZAdd / ZSub,它也會(huì)投影細(xì)節(jié)。 這樣我就可以將圖像投射到身體的大部分區(qū)域。
Using the Standard brush with the Color Spray setting and Alpha58 (or a custom alpha), I use the 'C' key to color-pick from existing projected textures and fill the white gaps. This way I get a vibrant color effect from the brush, which is like a real skin texture.
使用標(biāo)準(zhǔn)畫(huà)筆與顏色噴霧設(shè)置和Alpha58(或自定義alpha),我使用'C'鍵從現(xiàn)有的投影紋理進(jìn)行顏色選擇,填補(bǔ)白色空白。 這樣,我可以從刷子中獲得鮮艷的色彩效果,就像一個(gè)真正的皮膚紋理。
Starting to paint texture onto the model
開(kāi)始將紋理繪制到模型上
Step 20: Texture detailing
步驟20:紋理細(xì)節(jié)
Now with more careful painting, I finish the texturing using various alphas and colors. While painting these areas I choose dark colors to paint the cavity areas compared to relief areas. For this I lower the subdivision and apply 'Mask by cavity', then blur the mask once, then sharpen it again. Then I go to the highest subdivision and start painting.
現(xiàn)在更仔細(xì)的繪畫(huà),我完成紋理使用各種阿爾法和顏色。 在繪畫(huà)這些區(qū)域時(shí),我選擇深色來(lái)繪制與救濟(jì)區(qū)相比的腔體區(qū)域。 為此,我降低細(xì)分并應(yīng)用“Mask by cavity”,然后將面具模糊一次,然后再次磨平。 然后我去最高的分區(qū)開(kāi)始繪畫(huà)。
Adding more realistic detail to the skin
為皮膚添加更逼真的細(xì)節(jié)
Step 21: Painting hard surfaces
步驟21:涂硬面
For hard-surface texturing I use 'Mask by cavity' the same way, but in addition to that I use two extra brushes. I use the TrimDynamic brush with RGB turned on only, which constrains the painting at the edges only. With this we can get a torn edge effect. I also use the Pen A brush, which creates lines from thin to thick and is good for scratch effects.
對(duì)于硬表面紋理,我以同樣的方式使用“Mask by cavity”,但除此之外,我還使用兩個(gè)額外的筆刷。 我使用TrimDynamic畫(huà)筆,只有RGB打開(kāi),這限制了邊緣的繪畫(huà)。 有了這個(gè),我們可以得到一個(gè)撕裂的邊緣效果。 我也使用筆A刷,它創(chuàng)建從薄到厚的線,有益于劃痕效果。

Step 22: Color maps
步驟22:彩色地圖
Later on I'll use these maps as masks for creating layered shaders. Pictured, you can see the color maps for the body. For the specular map, I combine the desaturated color map with the displacement map, then painted and adjusted a few areas in Photoshop.
稍后我將使用這些地圖作為創(chuàng)建分層著色器的掩碼。 如圖所示,您可以看到身體的顏色圖。 對(duì)于鏡面地圖,我將去飽和的顏色圖與位移圖相結(jié)合,然后在Photoshop中繪制并調(diào)整了幾個(gè)區(qū)域。
The model's map so far
該模型的地圖到目前為止
Step 23: Area lights
步驟23:區(qū)域燈
For the lighting setup, I use four area lights. All the area lights' attenuation is on, and the sampling quality is increased for a quality render. One environment light uses an HDR image (marked in the yellow box).
對(duì)于照明設(shè)置,我使用四個(gè)區(qū)域燈。 所有區(qū)域燈的衰減都亮起,并且提取質(zhì)量的采樣質(zhì)量。 一個(gè)環(huán)境燈使用HDR圖像(標(biāo)記在黃色框中)。
A simple area light setup for the model
模型的簡(jiǎn)單區(qū)域燈設(shè)置
Step 24: Further shader setup
步驟24:進(jìn)一步著色器設(shè)置
I double-click the mantraSurface shader I created for displacement and open the inside network section. I follow the same workflow for the UDIM that I followed for displacement, but this time I connect the 'add' node to the surface model's 'sss_clr'.
我雙擊我創(chuàng)建的位移和開(kāi)放的內(nèi)部網(wǎng)絡(luò)段的mantrasurface著色器。我跟我的udim位移相同的流程,但這一次我將添加的節(jié)點(diǎn)模型表面的sss_clr”。
More mantraSurface shader setup
更多mantraSurface著色器設(shè)置
Step 25: Further test renders
第25步:進(jìn)一步測(cè)試
These are few settings I use for the mantraSurface shader to create skin for the body. Pictured are skin shader tests rendered with the color and displacement maps only, and finally a skin shader rendered with the color, displacement, specular and attenuation color maps.
這些是我使用的mantraSurface著色器為身體創(chuàng)建皮膚的幾個(gè)設(shè)置。 圖為僅使用顏色和位移圖渲染的皮膚著色器測(cè)試,最后使用顏色,位移,鏡面和衰減顏色映射渲染皮膚著色器。
Testing the skin shaders with a new render
使用新的渲染測(cè)試皮膚著色器
Step 26: Rendering cloth and accessories
步驟26:翻新布和配件
See pictured my render settings for the metal and leather surfaces, and some close-ups of the rendered surfaces, including the stitched border detailing and elemental motifs designed at the beginning.
請(qǐng)參見(jiàn)圖示我的金屬和皮革表面的渲染設(shè)置,以及渲染表面的一些特寫(xiě),包括開(kāi)始設(shè)計(jì)的縫合邊框細(xì)節(jié)和元素圖案。
Rendering settings and results
渲染設(shè)置和結(jié)果
Step 27: Adding facial hair
步驟27:添加面部毛發(fā)
For the beard I separately output the face as a null to use it as reference to the fur node. Now I created a geometry node, and under it, I reference the 'OUT_beard' using the Object Merge node. In this part I minimize the area more, just to keep it where the beard should be. I paint unnecessary areas and delete based on color. 
對(duì)于胡須,我單獨(dú)輸出的臉作為一個(gè)空使用它作為參照毛皮節(jié)點(diǎn),F(xiàn)在我創(chuàng)建了一個(gè)幾何節(jié)點(diǎn),在它下面,我使用對(duì)象合并節(jié)點(diǎn)引用“OUT_beard”。 在這部分我更多地減少面積,只是為了保持胡須應(yīng)該在哪里。 我畫(huà)不需要的區(qū)域,并根據(jù)顏色刪除。
I create a point node to add the normals so that the curves align with the surface's normal. I create a scatter node to scatter points on the surface. Then I duplicate the lines using 'Copy SOP' on this surface. At the end, I add a Curve Groom node, which will later be used as a guide curve. After adding Curve Groom and grooming the curve, the beard looks more flowing and natural.
我創(chuàng)建一個(gè)點(diǎn)節(jié)點(diǎn)來(lái)添加法線,使曲線與表面的正常對(duì)齊。 我創(chuàng)建一個(gè)散點(diǎn)節(jié)點(diǎn)來(lái)分散表面上的點(diǎn)。 然后我在這個(gè)表面上使用'復(fù)制SOP'復(fù)制行。 最后,我添加一個(gè)曲線新郎節(jié)點(diǎn),稍后將其用作指導(dǎo)曲線。 添加曲線新郎并梳理曲線后,胡須看起來(lái)更流暢自然。
Creating the beard
創(chuàng)建胡子
Step 28: Using fur nodes
步驟28:使用毛毯節(jié)點(diǎn)
Let's create a fur node. Under the skin tab I choose the 'OUT_beard' as skin mesh and Curve Groom as a guide. I hide the guides I created before and set the fur parameters as shown in the image. I use the color map for the tip and root color of the fur material, then set the reflection settings as pictured. The results are shown in the test render.
讓我們創(chuàng)建一個(gè)毛皮節(jié)點(diǎn)。皮膚標(biāo)簽下我選擇的out_beard '皮膚網(wǎng)格和曲線新郎為指導(dǎo)。我隱藏了之前創(chuàng)建的向?qū),并設(shè)置了如圖所示的參數(shù)。我使用的顏色貼圖的頂端和根顏色的毛皮材料,然后設(shè)置反射設(shè)置為圖。結(jié)果顯示在測(cè)試渲染中。
For the eyebrows and eyelashes, the same technique was used, but for the cloth and armor padding, no guide was needed ? just fur with a different appearance setting. With the combination of fur and cloth displacement, a nice soft cloth effect is achieved.
對(duì)于眉毛和睫毛,使用相同的技術(shù),但對(duì)于布和裝甲填充,不需要指導(dǎo)? 只是毛皮與不同的外觀設(shè)置。 隨著毛皮和布料的移動(dòng),可以獲得很好的柔軟布效果。
Using fur nodes to add softer hair and fabric
使用毛皮節(jié)點(diǎn)添加柔軟的頭發(fā)和面料

Step 29: The final render
第29步:最后的渲染
For the final image, I didn't do any pass rendering, just simple color corrections and some iris blur for close-ups in post. These renders are straight out of Houdini Mantra.
對(duì)于最終的圖像,我沒(méi)有做任何通過(guò)渲染,只是簡(jiǎn)單的顏色校正和一些虹膜模糊的特寫(xiě)鏡頭在post。 這些渲染是從Houdini Mantra直接出來(lái)的。
The finished Houdini Mantra renders
完成的Houdini Mantra呈現(xiàn)
The finished Houdini Mantra renders
完成的Houdini Mantra呈現(xiàn)
The finished Houdini Mantra renders
完成Houdini Mantra渲染

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liuhuangg

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厲害呀 ,,,牛
我來(lái)了 -liuhuangg

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大神啊

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