老鼠的制作

“概念階段不應(yīng)該被忽視，因?yàn)檫@里的任何錯(cuò)誤步驟都會(huì)出現(xiàn)在下一個(gè)階段�！�
"The concept phase shouldn't be overlooked, since any mis-steps here will show up in the next ones"

The image concept

We wanted each rat to have its own personality, including fur and eye color, to avoid any kind of image staleness. At the studio we have a Cartoon Department that was fundamental in developing the gestures and actions of each character. The concept phase shouldn't be overlooked, since any mis-steps here will show up in the next ones, just like all the modeling and shading work won't cover up for any weak ideas during the early image planning stage.

There was a need for laborious research due to the realistic effect we were trying to achieve. Besides a thorough study of rodent anatomy including tails, skin, eyes, teeth and nails, we needed a convincing environment. A quick walk around the block with a camera in hand can be very surprising, and creating your own textures very rewarding for the complete control it brings to the image planning stage. An ever-expanding reliable texture library can never be a bad thing, too.

形象概念

我們希望每只老鼠擁有自己的個(gè)性，包括毛皮和眼睛的顏色，以避免任何形象的陳舊。 在工作室，我們有一個(gè)卡通部門(mén)，是開(kāi)發(fā)每個(gè)角色的手勢(shì)和動(dòng)作的根本。 概念階段不應(yīng)該被忽視，因?yàn)檫@里的任何錯(cuò)誤步驟都會(huì)在下一個(gè)階段出現(xiàn)，就像所有的建模和著色工作都不會(huì)掩蓋早期圖像規(guī)劃階段的任何虛弱的想法。

由于我們?cè)噲D實(shí)現(xiàn)的現(xiàn)實(shí)效果，需要進(jìn)行費(fèi)力的研究。 除了仔細(xì)研究包括尾巴，皮膚，眼睛，牙齒和指甲在內(nèi)的嚙齒動(dòng)物解剖，我們需要一個(gè)令人信服的環(huán)境。 用手中的相機(jī)快速走動(dòng)，可以非常驚奇，并且創(chuàng)建自己的紋理非常有益于其對(duì)圖像規(guī)劃階段的完整控制。 一個(gè)不斷擴(kuò)大的可靠的紋理庫(kù)也不會(huì)是一件壞事。

Modeling in Blender

The rats and sewer were modeled in Blender 2.49 with a few touch-ups in ZBrush 4 for hands and eyelid wrinkles. The bricks that appear where the wall has fallen were made from the photos taken in the previous step. Once we edited the texture, we used it to create the 3D bricks by displacing them from a mapped plane in 3ds Max.

No camera on earth could recreate the forced perspective effect we wanted for the image, so the whole sewer was modeled in straight planes. We then used a Lattice Modifier to distort the whole scenario at once, with the benefit that all mapped textures would be following the same distortion, creating a coherent image.

在Blender建模

大鼠和下水道在Blender 2.49中進(jìn)行了建模，在ZBrush 4中進(jìn)行了幾次修補(bǔ)，用于手和眼瞼皺紋。 出現(xiàn)在墻壁下方的磚塊是由上一步拍攝的照片制成的。 一旦我們編輯了紋理，我們就使用它來(lái)通過(guò)將它們從3ds Max中的映射平面中移出來(lái)來(lái)創(chuàng)建3D磚。

地球上沒(méi)有相機(jī)可以重現(xiàn)我們想要的圖像的強(qiáng)制透視效果，所以整個(gè)下水道被建模在平面上。 然后，我們使用格子修改器一次性扭曲整個(gè)場(chǎng)景，具有所有映射紋理將遵循相同的失真的優(yōu)點(diǎn)，創(chuàng)建一致的圖像。

Creating the fur

Despite all the hard work that goes into every detail of the illustration, the fur was essential to sell the believability of the image, so we took it with special care.

In addition to creating a height map texture that would be generated in 3ds Max, we modeled small planes (to be later converted into Splines) that would dictate the flow and direction of the hairs. It's important to have in mind a hierarchy of Splines: the fur that will be generated later will take into account the order in which the Splines were created and the direction of the extrusion from the original vertices. We were also careful to model the rats with an even topology, so that the fur generated from their bodies' vertices ended uniformly.

制作毛皮

盡管畫(huà)面的每一個(gè)細(xì)節(jié)都做了艱苦的工作，但毛皮對(duì)于銷(xiāo)售圖像的可信度至關(guān)重要，所以我們非常小心。

除了創(chuàng)建將在3ds Max中生成的高度貼圖紋理之外，我們還可以建立將要求頭發(fā)的流動(dòng)和方向的小平面（稍后轉(zhuǎn)換為樣條）。 重要的是要考慮到樣條的層次結(jié)構(gòu)：稍后生成的毛皮將考慮到創(chuàng)建樣條線的順序和原始頂點(diǎn)的擠出方向。 我們還小心地用均勻的拓?fù)浣�模大鼠，使得從其身體頂點(diǎn)生成的毛皮一致地結(jié)束。

"The order of the Splines affected the direction of the fur, so extra care was taken to make it as close as possible to the concept of the image"
“樣條的順序影響了毛皮的方向，所以特別注意使它盡可能接近圖像的概念”

Hair generation

We used the native Hair & Fur plug-in for this part. The hair orientation was done after careful placement of geometry (planes) that had their edges extracted and converted into Splines. The order of the Splines affected the direction of the fur, so extra care was taken to make it as close as possible to the concept of the image. With some test renders we were able to correct and further adjust the hair orientation and size through the Splines.

In order to distinguish one rat from another we used a different configuration in each fur and some specific body parts, such as head, eyebrows and cheeks in a different geometry to allow for better control. Hair Styling was used when a specific adjustment was needed.

發(fā)型

這部分我們使用了本地的Hair＆Fur插件。 頭發(fā)取向是在仔細(xì)放置幾何（平面）后將其邊緣提取出來(lái)并轉(zhuǎn)換成樣條的。 花鍵的順序影響了毛皮的方向，所以特別注意使它盡可能接近圖像的概念。 通過(guò)一些測(cè)試渲染，我們能夠通過(guò)花鍵校正和進(jìn)一步調(diào)整頭發(fā)的方向和尺寸。

為了區(qū)分一只老鼠與另一只老鼠，我們?cè)诿總�(gè)毛皮和一些特定的身體部位，如不同幾何形狀的頭部，眉毛和臉頰中使用了不同的配置，以便更好地控制。 當(dāng)需要進(jìn)行具體調(diào)整時(shí)，使用發(fā)型。

Lighting I

The lighting was a bit tricky; we wanted to make a dark, damp environment that contrasted with the brightly lit street outside, while at the same time lighting the rats from below in an ethereal way. We first lit the environment and then the rats. To do that, we started to place V-Ray lights to simulate the light from the sun and sky while at the same time trying to make the image's details readable.

A small light was placed to simulate the warm rays of the sun, to make the shadows a bit sharper, and the blue sky light was achieved through a combination of a Dome light from outside and 2 V-Ray light planes to simulate scatter inside the sewer. We then added the rats and foreground pipes to see how everything was coming together and noticed that some parts were too dark and not noticeable. A third V-Ray light plane was then created to better simulate the sky light on the rats and make their silhouettes stand before the background.

照明1

照明有點(diǎn)棘手; 我們想要做一個(gè)黑暗，潮濕的環(huán)境，與外面的明亮的街道形成鮮明對(duì)比，同時(shí)以低調(diào)的方式從下面點(diǎn)亮老鼠。 我們首先照亮環(huán)境，然后點(diǎn)亮老鼠。 為了做到這一點(diǎn)，我們開(kāi)始放置V-Ray燈來(lái)模擬太陽(yáng)和天空的光，同時(shí)試圖使圖像的細(xì)節(jié)可讀。

放置一個(gè)小燈來(lái)模擬太陽(yáng)的溫暖的光線，使陰影更清晰，藍(lán)天的光線通過(guò)外部的圓頂光和2個(gè)V-Ray光平面的組合來(lái)實(shí)現(xiàn)，以模擬內(nèi)部的散射 下水道。 然后，我們添加了老鼠和前景管，看看一切都在一起，注意到一些部分太暗，不明顯。 然后創(chuàng)建第三個(gè)V-Ray光平面，以更好地模擬大鼠的天空光，并使其剪影在背景之前站立起來(lái)。

Lighting II

A counter light was also placed on the ground level pointed upwards, to simulate the light bouncing and make some details in the pipes a bit clearer. Two lights were also created to better illuminate the foreground pipes. Every light had shadows except the counter light. In regards to the light coming from below the rats, three small V-Ray light planes were created and placed to make both the left, middle and right main rats stand equally and have proper specular reflections. To achieve the ethereal feel we wanted, all three didn't cast shadows.

照明2

反射燈也放置在向上指向的地面上，以模擬光彈跳，并使管道中的一些細(xì)節(jié)更清晰。 還創(chuàng)建了兩個(gè)燈，以更好地照亮前景管道。 每個(gè)燈都有陰影，除了反光。 對(duì)于來(lái)自大鼠下方的光，創(chuàng)建和放置三個(gè)小的V-Ray光平面，以使左，中，右主大鼠均勻地平放并具有適當(dāng)?shù)溺R面反射。 為了達(dá)到我們想要的飄渺感覺(jué)，這三個(gè)人都沒(méi)有投下陰影。

Texturing the background

After setting the lighting, the background materials were detailed. We wanted to convey a wet, dirty environment. Since it was very dark and we wanted to show some details, every material had a slight reflection, even the concrete and bricks. In order to have more control over them, they had Fresnel activated in the reflections; and most had high IORs.

The wet walls had water running down in some spots, so in order to make that effect visible, the materials were very reflective and had a black-and-white texture applied to the Reflection Glossiness slot. We also rendered some high reflections for the foreground pipes, to later edit them in the areas that we wanted.

紋理背景

設(shè)置照明后，背景資料詳細(xì)。 我們想傳達(dá)一個(gè)潮濕，骯臟的環(huán)境。 由于它非常黑暗，我們想展示一些細(xì)節(jié)，每一種材料都有輕微的反思，甚至是具體的磚塊。 為了更好地控制它們，他們?cè)诜瓷渲屑せ盍朔颇��? 大多數(shù)都有很高的IOR。

潮濕的墻壁在某些地方有水流下來(lái)，所以為了使這種效果可見(jiàn)，這些材料是非常反射的，并且具有施加到反射光澤槽的黑白質(zhì)地。 我們還對(duì)前景管道進(jìn)行了一些高度的反思，以便稍后在我們想要的地區(qū)進(jìn)行編輯。

"The textures on the hands, ears and noses were tailor made for each model, so no dirty pattern would be recognizable"
“手，耳朵和鼻子上的紋理是為每個(gè)模型量身定制的，因此，沒(méi)有骯臟的模式將是可識(shí)別的”

SSS textures

For the skin, we decided to apply an SSS material with 2 layers of textures: one sub-dermal, with veins and hints of bones, and a top layer with a lot of dirt and scratches. This was particularly important to get the final aspect of dirty and slimy skin. This couldn't feel too plastic or it wouldn't be icky enough. The textures on the hands, ears and noses were tailor made for each model, so no dirty pattern would be recognizable.

SSS紋理

對(duì)于皮膚，我們決定使用2層紋理的SSS材料：一層亞皮膚，帶有靜脈和骨骼的提示，以及頂層有很多污垢和劃痕。 這對(duì)于弄臟和粘糊糊的皮膚的最后方面尤其重要。 這聽(tīng)起來(lái)不太可塑，或者不夠好。 手，耳朵和鼻子上的紋理是為每個(gè)模型量身定制的，因此，沒(méi)有骯臟的模式將是可識(shí)別的“。

SSS skin parameters1

An essential part while considering SSS is scene units: in our scene, the main rats had approximately 6 inches. We did some skin materials with slightly different settings for the following parts: bodies, hands, ears, tongues, tails and noses. A very important aspect of these materials was the scatter radius setting. For the parts where the SSS effect needed to be more apparent (such as ears and hands) a bigger radius was chosen (4cm and 3cm, respectively). The bodies had a lower radius (0,5cm), for a more subtle effect.

SSS皮膚參數(shù)1

考慮到SSS的一個(gè)重要部分是場(chǎng)景單元：在我們的場(chǎng)景中，主要的大鼠有約6英寸。 對(duì)于以下部分，我們做了一些皮膚材料略有不同的設(shè)置：身體，手，耳朵，舌頭，尾巴和鼻子。 這些材料的一個(gè)非常重要的方面是散射半徑設(shè)置。 對(duì)于SSS效應(yīng)需要更明顯的部位（如耳朵和手），選擇較大的半徑（分別為4cm和3cm）。 身體的半徑較�。�0.5厘米），更為微妙。

SSS skin parameters2

The previous textures were then applied to the diffuse color and SSS color slots. In order to have a more realistic effect and to enhance the forms, trace reflections was activated. The diffuse amount was tuned and ended in 0.8 in all of the materials, in order to make a good balance between the diffuse and subsurface textures and colors. A procedural bump was created to make the skin more realistic through a Cellular map independent of UVs. We also put it in the specular amount slot this same map with more contrast to further break the specular lighting.

SSS皮膚參數(shù)2

然后將以前的紋理應(yīng)用于漫反射色和SSS色槽。 為了具有更逼真的效果和增強(qiáng)形式，啟動(dòng)了痕跡反射。 漫反射量在所有材料中被調(diào)諧并以0.8結(jié)束，以便在漫射和地下紋理和顏色之間形成良好的平衡。 創(chuàng)建了一個(gè)程序性的凸起，通過(guò)獨(dú)立于UV的細(xì)胞圖，使皮膚更加逼真。 我們還把它放在鏡面上的這個(gè)相同的地圖上，更多的對(duì)比度，進(jìn)一步打破鏡面照明。

Rendering

The final image size was very large (9000 pixels wide) and so we needed a renderer that would be able to capture the amount of details with enough speed. We opted for V-Ray for all the renders. When the lighting was set, we surprisingly didn't need indirect lighting, so a good amount of speed was achieved through that.

When setting the renders, we divided the render in some parts to make the image as editable as possible: the outside street (buildings, pole), the background, the furthest rats, the scenery rats (which were interacting with it), the middle-ground rats, the main rats (the 4 big ones) and the foreground pipes.

For the fur, we tried mental ray but in the end went for V-Ray, since the fur rendered with more information. Every fur was rendered separately from the rats to allow a better degree of editing. The fur had different passes, one of them allowing for selection of hairs when in Photoshop. We rendered 2 distinct Light Select passes (to separate the background lights from the ones from below), Specular, Wire Color and Reflect Glossiness passes (the latter 2 being the selection passes).

渲染

最終的圖像尺寸非常大（寬度為9000像素），因此我們需要一個(gè)能夠以足夠速度捕獲細(xì)節(jié)數(shù)量的渲染器。我們?yōu)樗�有的渲染選擇了V-Ray。當(dāng)照明設(shè)置時(shí)，我們驚奇地不需要間接照明，所以通過(guò)這種方式實(shí)現(xiàn)了很高的速度。

在設(shè)置渲染時(shí)，我們?cè)谝恍┎糠种蟹指钿秩荆�使圖像盡可能可編輯：外部街道（建筑物，桿），背景，最遠(yuǎn)的老鼠，風(fēng)景老鼠（與之相互作用），中間主要老鼠（4只大鼠）和前列腺管。

對(duì)于毛皮來(lái)說(shuō)，我們嘗試了mental ray，但最終還是進(jìn)行了V-Ray，因?yàn)槊�皮呈現(xiàn)出更多的信息。每只皮毛與老鼠分開(kāi)渲染，以便更好地進(jìn)行編輯。毛皮有不同的通行證，其中一個(gè)允許在Photoshop中選擇頭發(fā)。我們渲染了兩個(gè)不同的光選擇（將背景光與下面的光分開(kāi)），鏡面，線條顏色和反射光澤度通過(guò)（后兩個(gè)是選擇遍）。

Rendering passes

An important aspect when choosing render passes is information. Even weird render elements can end in interesting results. Another important part is time. Every render pass adds a bit to the final render time.

We did a lot of tests with low res renders in order to choose which of them were best suited for editing. For the environment we rendered Diffuse, different lighting passes, different shadow passes, light select passes (to separate the front blue light from the other lights), different Reflection passes, Specular and ZDepth passes.

The rats were rendered with two lighting setups: the background and below lights. They had the same passes of the environment plus the SSS and Reflection Filter passes. Both the rats and the environment had two Ambient Occlusion renders, with different radius values.

渲染通行證

選擇渲染過(guò)程的一個(gè)重要方面是信息。 即使是古怪的渲染元素也可以結(jié)束有趣的結(jié)果。 另一個(gè)重要的部分是時(shí)間。 每個(gè)渲染通道都會(huì)添加到最終渲染時(shí)間。

我們用低分辨率渲染進(jìn)行了大量測(cè)試，以選擇其中最適合編輯的測(cè)試。 對(duì)于環(huán)境，我們渲染了漫射，不同的照明通過(guò)，不同的陰影通過(guò)，光選通道（將前藍(lán)光與其他燈分開(kāi)），不同的反射通道，高光和Z深度通過(guò)。

老鼠用兩個(gè)照明設(shè)置渲染：背景和下面的燈。 他們有相同的環(huán)境通行證加上SSS和反射過(guò)濾器通行證。 大鼠和環(huán)境都有兩個(gè)環(huán)境遮擋渲染，半徑不同。

Scene detailing

Small webs between the sewer pipes and mold on the walls were added using textures extracted from the photos taken in Step 2. The smaller cracks were made using 2 Curve Adjustment Layers (one for darkening and the other for lighting the image). Putting two brushstrokes together ? one on each layer mask ? created a naturalistic bevel effect.

場(chǎng)景細(xì)節(jié)

使用從步驟2中拍攝的照片提取的紋理，添加了下水道和墻壁上的模具之間的小腹板。使用2個(gè)曲線調(diào)整層（一個(gè)用于變暗，另一個(gè)用于點(diǎn)亮圖像）制成較小的裂縫。 把兩個(gè)筆刷放在一起？ 每層一層面膜？ 創(chuàng)造了一種自然的斜角效應(yīng)。

Post-production ， rats

One of the several consequences of living in a sewer is crawling among mud all day, so the rats would have to lose their fresh from render, 3D-clean appearance. A textured brush with low opacity can be used in a Solid Color Layer with a Bevel & Emboss setting. Each brushstroke will then create its own bevel effect and the low opacity will prevent the strokes from blending too fast with each other, creating a richer texture.

后期制作，大鼠

生活在下水道的幾個(gè)后果之一是在泥濘中全天爬行，所以老鼠將不得不從渲染，3D清潔的外觀中消失。 具有低透明度的紋理刷可用于具有斜角和浮雕設(shè)置的實(shí)色層中。 然后每次筆觸會(huì)產(chǎn)生自己的斜角效果，低透明度會(huì)阻止筆畫(huà)相互混合得太快，創(chuàng)造出更加豐富的紋理。

"Those are not friendly, cuddly cartoon rats so a few pieces of their ears have been bitten off in post-production as well"
“那些不友好、可愛(ài)的卡通老鼠在后期制作中也被咬掉了幾片耳朵�！�

Several areas of fur were erased, showing the skin beneath (rendered separately, actually), simulating a piece of skin or fur that could have been lost to scabies or in a fight. Those are not friendly, cuddly cartoon rats so a few pieces of their ears have been bitten off in post-production as well. Look really close and you'll find a few ticks and lice, too.

Because the ears, hands and tails were modeled separately from the main bodies, it was necessary to create a transition from these areas to the rendered fur, including the naturally sparse hairs that rats have in these areas. These extra hairs were drawn one by one to create an especially organic feel. The whiskers were drawn in Photoshop as well.

毛皮的幾個(gè)區(qū)域被抹去，顯示下面的皮膚（實(shí)際上分開(kāi)），模擬一片可能已經(jīng)丟到sc瘡或打架的皮膚或毛皮。那些不友好、可愛(ài)的卡通老鼠在后期制作中也被咬掉了幾片耳朵。 看起來(lái)真的很近，你也會(huì)發(fā)現(xiàn)幾個(gè)蜱和虱子。

因?yàn)槎�朵，手和尾巴與主體分開(kāi)建模，所以有必要從這些區(qū)域到皮毛的形成過(guò)程，包括老鼠在這些區(qū)域的天然稀疏毛發(fā)。 這些額外的頭發(fā)被逐一繪制，創(chuàng)造出特別有機(jī)的感覺(jué)。 晶須也在Photoshop中繪制。

Lighting

The volumetric light was simulated in Photoshop, to have a better control of the light sources according to the design of the ad layout, respecting areas like customer logo and slogan.

The whole environment was darkened a little to help to better define the rats' silhouette and bring them to the foreground. On the same note, a small glow was added to simulate a rim light around the rats' edges and help separate their figures from the background (create a selection of the rats, and then expand and feather this selection). We also added an atmospheric perspective to the buildings in the street to make them recede further into the background (using Curves Adjustment Layers and lowering the opacity of the sky).

燈光

在Photoshop中模擬體積光，根據(jù)廣告布局的設(shè)計(jì)，更好地控制光源，尊重客戶標(biāo)志和口號(hào)等領(lǐng)域。

整個(gè)環(huán)境變暗了一點(diǎn)，以幫助更好地界定老鼠的輪廓，并把它們帶到前景。 在同樣的注意事項(xiàng)上，添加了一個(gè)小的輝光，以模擬大鼠邊緣周?chē)�的邊緣光線，并幫助從背景中分離圖像（創(chuàng)建大鼠的選擇，然后展開(kāi)并羽化此選擇）。 我們還向街道的建筑物添加了一個(gè)大氣透視圖，使它們進(jìn)一步退化到背景中（使用曲線調(diào)整層降低了天空的不透明度）。