制作海盜

費(fèi)利佩巴西（Felipe Bassi）帶領(lǐng)我們創(chuàng)造了他的3D版本的Brett Bean的海盜。

Felipe Bassi takes us through the creation of his 3D version of Brett Bean's Pirate.

Introduction

I chose the awesome concept made by Brett Bean as a feature in my modeling reel. The first time I saw the image I knew that I was going to model it and so when I started to choose concepts for my reel - that was instantly my choice.

In this Making Of, I will show the steps I took to create this character. I like this workflow because of the freedom that gives me to focus on the artistic part of the modeling in the early steps. At the first stage the only thing I worry about is good silhouette, posture and nice shapes - all the technical parts like topology and UVs are in a completely different stage of the process.

介紹

我選擇了Brett Bean制作的令人敬畏的概念，作為我的造型卷軸中的一個功能。 我第一次看到這個形象，我知道我要模擬它，所以我開始為我的卷軸選擇概念 。

在這個作品中，我將展示我創(chuàng)建這個角色所采取的步驟。 我喜歡這個工作流程，因?yàn)樵谠缙诘牟襟E中，我將自己的焦點(diǎn)放在了建模的藝術(shù)部分。 在第一階段，我唯一關(guān)心的是好的輪廓，姿勢和漂亮的形狀 - 所有的技術(shù)部分，如拓?fù)浜蚒Vs都處于完全不同的階段。

Step 1: Sketch in ZBrush

I started with ZSphere inside ZBrush. The main objective at this stage is to get the right proportions and posture. Even in a neutral pose, with the right posture you can determine what kind of personality the character has.

步驟1：在ZBrush里素描

我在ZBrush中開始使用ZSphere。 這個階段的主要目標(biāo)是獲得正確的比例和姿勢。 即使在一個中立的姿勢，以正確的姿勢，你可以確定什么樣的個性的角色。

Step 2: Sculpting the main shapes

After I got a good silhouette I started to separate the pieces and sculpt the main shapes. At this stage I didn't need fine details, but things like folds in the clothes are important since it was going to be on the topology later on. Here's my final sketch read ready for re-topology.

步驟2：雕刻主要形狀

在我得到一個很好的剪影后，我開始分開這些部分并雕刻出主要的形狀。 在這個階段，我不需要細(xì)節(jié)，但像衣服上的褶皺一樣重要，因?yàn)樗鼘⒃诤竺娴耐負(fù)浣Y(jié)構(gòu)上展開。 這是我的最終草圖閱讀準(zhǔn)備重新拓?fù)洹?/p>

Step 3: Retopology

It was then time for the technical stuff that I was talking about in the introduction. I always start with the body, since all the clothes go on top of the body, so for me it makes more sense to model in this order. At this stage I paid extra attention to the topology as this character was designed for animation. I retopologize all the pieces.

步驟3：重塑

那么在介紹中我正在談?wù)摰募夹g(shù)方面是時(shí)候了。 我總是從身體開始，因?yàn)樗�有的衣服都放在身體的頂部，所以對我而言，按照這個順序進(jìn)行建模更有意義。 在這個階段，我特別關(guān)注拓?fù)�，因�(yàn)檫@個角色是為動畫設(shè)計(jì)的。 我重新整理了所有的作品。

Step 4: Finalize Retopology in 3ds Max

It was then time for the technical stuff that I was talking about in the introduction. I always start with the body, since all the clothes go on top of the body, so for me it makes more sense to model in this order. At this stage I paid extra attention to the topology as this character was designed for animation. I retopologize all the pieces.

步驟4：完成3ds Max中的Retopology

那么在介紹中我正在談?wù)摰募夹g(shù)方面是時(shí)候了。 我總是從身體開始，因?yàn)樗�有的衣服都放在身體的頂部，所以對我而言，按照這個順序進(jìn)行建模更有意義。 在這個階段，我特別關(guān)注拓?fù)�，因�(yàn)檫@個角色是為動畫設(shè)計(jì)的。 我重新整理了所有的作品。

Step 5: UVs

This was the tedious part of the work. I prefer to use a UV Layout as it's easy and fast, and so perfect for this kind of work. There's no trick to make UVs, just make sure that is no overlapping and stretching on them and you will be fine. I made five UV shells.

步驟5：UVs

這是工作繁瑣的部分。 我喜歡使用UVs布局，因?yàn)樗�很容易和快速，對于這種工作是完美的。 制作UVs是沒有任何技巧，只要確保它們不會重疊并且伸展，你可以做的很好。 我做了五個UVs外殼。

Step 6: Textures

The texturing part is one of my favorite parts of the whole process. This is when I start to see the character coming to life. For the clothes I used just Photoshop. I collected big size images and started to tweak them and add other images on top for texture, stains and small details. From that map I made a Bump, Specular and Glossiness map.

步驟6：紋理

紋理部分是我整個過程中最喜歡的部分之一。 這是當(dāng)我開始看到人物的生活。 對于我剛剛使用Photoshop的衣服。 我收集了大尺寸的圖像，并開始調(diào)整他們，并添加其他圖像在紋理，污漬和細(xì)節(jié)。 從那張地圖我做了一個凸起，鏡面和光澤圖。

Step 7: Posing

For the pose I used the ZBrush Transpose tool, it's faster and easier than making a rig inside 3ds Max.

步驟7：擺姿勢

對于我使用ZBrush Transpose工具的姿勢，它比在3ds Max中制作鉆機(jī)更快捷。

Step 8: Hair

I decided to make the hair inside ZBrush using Fibermesh. As I'd never used it before, I thought it would be a nice opportunity to test it, and think came out quite nicely. I made five different setups, one for the eyebrows, mustache, and hair, and two for the beard.

步驟8：頭發(fā)

我決定使用Fibermesh將頭發(fā)放在ZBrush內(nèi)。 就像以前從來沒有使用過的那樣，我以為這是一個很好的機(jī)會來測試它，并認(rèn)為相當(dāng)出色。 我做了五個不同的設(shè)置，一個是眉毛，胡子和頭發(fā)，兩個是胡子。

Step 9: Render

This is the point when you see if everything wells well, and your character really comes to life.

I used V-Ray for the render - it's the only render engine I've ever used so I'm quite comfortable with it. I made a basic 3-point light rig for the final shot.

步驟9：渲染

這是當(dāng)你看到一切都井井有條，你的人物真的到了生命的時(shí)候。

我使用V-Ray渲染 - 這是我曾經(jīng)使用過的唯一的渲染引擎，所以我很舒服。 我做了一個基本的3點(diǎn)輕型鉆機(jī)的最后一槍。

Step 10: Shaders

The shaders are quite simple too, as you can see. For the hair I used VRayHairMtl and to my surprise it looked good.

第10步：著色器

著色器也很簡單，你可以看到。 對于頭發(fā)我使用VRayHairMtl和我的驚喜，它看起來不錯。

Step 11: Render set up

The render setup was quite basic, and I did just a little color correction in Photoshop for the final image.

步驟11：渲染設(shè)置

渲染設(shè)置是相當(dāng)基本的，我在Photoshop中只做了一些顏色校正，以獲得最終的圖像。

Oh, something I forgot to say in the beginning - always gather references, lots of references. For modeling, texturing, and lighting, it's always useful in every step of the process.

哦，一開始我忘了說，總是收集參考文獻(xiàn)，很多參考。 對于建模，紋理和照明，在整個過程的每個步驟中始終都是有用的。

Step 12: Conclusion

This character was the first in my modeling reel and I'm pretty happy with the final piece. Every time I make a new character I learn something new, and I learned a lot of new things with this project. I hope you guys like it .

步驟12：結(jié)論

這個角色是我的造型卷軸中的第一個，我對最后一件很滿意。 每次我創(chuàng)造一個新角色，我會學(xué)到新的東西，并且我在這個項(xiàng)目中學(xué)到了很多新東西。 我希望你們喜歡它。