概念設(shè)計工作流程

在本教程中，我將分解一些用于創(chuàng)建“關(guān)鍵幀”概念的技術(shù)，這些可以在項(xiàng)目的多個點(diǎn)進(jìn)行，這些可以在項(xiàng)目中進(jìn)行，以幫助展示故事，布局，分段， 和照明等。隨著項(xiàng)目的進(jìn)步，粗略的3D資產(chǎn)變得可用，所以我可以使用2D技巧，使其看起來完整和光澤！

In this tutorial I'm going to break down some of the techniques I use to create "key frame" concepts, theses can be required at multiple points in a project - to pitch the project, to help out the story, layout, staging, and lighting etc. As the project advances, rough 3D assets become available so I can jump in and use dirty 2D tricks to make it look all finished and glossy!

Story and posing with Daz

Maybe if you're amazing at drawing you can draw a character convincingly enough to convey a pose and story in a couple of minutes; unfortunately I'm not! So I use Daz as a story and posing research tool. Daz is a free program with human characters that you can pose and add clothing, light, and render etc. The only problem is that everything looks terrible by default, poses have zero weight, and clothes all look like bad party costumes, and more importantly the deformations aren't perfect, so it's up to you to use a sense of anatomy and good taste to make look cool.

Daz的故事和姿勢

也許如果你驚訝于繪畫，你可以畫出一個令人信服的字符足以在幾分鐘內(nèi)傳達(dá)一個姿勢和故事; 不幸的是我不是！ 所以我用Daz作為一個故事，構(gòu)成研究工具。 Daz是一個免費(fèi)的程序與人物，你可以構(gòu)成和添加服裝，光和渲染等。唯一的問題是，一切看起來可怕的默認(rèn)，姿勢有零重量，衣服都看起來像壞派對服裝，更重要的是 變形不完美。

3ds Max rendering

When I was working on this piece, the Daz rendering was pretty terrible, so I exported it to 3ds Max using TextureAtlas. Corona is the main render engine I use; it's really powerful and easy to learn. I duplicated some body parts, extruded them slightly and applied a glossy material to create the base for the space suit. The space station interior is created using very rough kitbash models in a circular array, and then I deleted some parts to make holes and threw in a volumetric light in the background.

3ds Max渲染

當(dāng)我在這件作品上工作時，Daz渲染非�？膳拢�所以我使用TextureAtlas將其導(dǎo)出到3ds Max。 Corona 是我使用的主要渲染引擎; 它真的很強(qiáng)大，容易學(xué)習(xí)。 我復(fù)制了一些身體部位，輕輕擠壓它們，并應(yīng)用光澤材料來創(chuàng)建太空服的底座。 空間站內(nèi)部使用非常粗糙的套件模型在圓形陣列中創(chuàng)建，然后我刪除了一些零件，在后臺投入體積光。

Designing on top of the 3D

This step took me a while because I wanted to keep the level of detail quite high and I didn't wanted to model the whole suit in 3D either; so I spent hours and hours adding cut lines, hand painting over everything. Subtle details can add a lot to the believability of the design: soft striped parts at joints for flexibility, industrial cuts, markers, sew lines, microphone holes at the neck, subtle logo on her left breast, etc. Notice how the colors changed along the way, at first I wanted the girl to be doing some emergency repairs in the station, but after the color shift it was clear she was dead.

設(shè)計在3D之上

這一步花了我一段時間，因?yàn)槲蚁氡３旨?xì)節(jié)水平相當(dāng)高，我不想在3D中對整個西裝進(jìn)行建模; 所以我花了幾個小時加上切割線，手繪在一切。 微妙的細(xì)節(jié)可以增加設(shè)計的可信度：柔軟的條紋部分在接縫處有柔軟性，工業(yè)切割，標(biāo)記，縫線，脖子上的麥克風(fēng)孔，左乳房上的微妙標(biāo)志等。注意顏色如何變化 方式，起初我想讓女孩在車站做一些緊急維修，但在顏色轉(zhuǎn)換后，很明顯她死了。

Photoshop destruction

Let's blow stuff up! This step was fairly easy but I had to keep in mind how real debris looks in order to achieve the right sense of floating debris. Basically the process involve subtracting the hull of the station by revealing the background with a layer mask, and then adding jagged destroyed edges on top. To create the small debris, I used a combination of hand-painting and dirt from a horse racing picture that I extracted with "select: color range". Final step for the debris is to blur them according to how close they are to the camera.

Photoshop破壞

 這一步相當(dāng)容易，但是我必須牢記如何真正的碎片看起來才能達(dá)到理想的浮動碎片。 基本上，這個過程包括通過用層掩碼揭示背景，然后在頂部添加鋸齒狀的破壞邊緣來減去車站的船體。 為了創(chuàng)造小碎片，我使用“選擇：顏色范圍”提取的賽馬圖片中的手繪和污垢的組合。 碎片的最后一步是根據(jù)攝像機(jī)的距離來模糊它們。

Final touches

This step makes a hell of a difference. What I usually do is add a bunch of soft light layers to create subtle lighting shifts across the image, toning down her fingers for example, boosting the highlights on her suit, sharpening the whole image, then adding chromatic aberration to make the image more vibrant and harsh looking, plus some bits of grain and dirt at the end. All of this is almost imperceptible but makes all the elements stick together.

最后的觸動

這一步讓人感到有些不一樣。 我通常會做的是添加一束柔和的光線，以便在圖像上形成微妙的照明，例如，調(diào)整她的手指，提高她的西裝亮點(diǎn)，銳化整個圖像，然后增加色差，使圖像更加活躍 和粗糙的外觀，加上一些顆粒和污垢在最后。 所有這些都是幾乎不可察覺的，但使所有的元素粘在一起。