制作“大鵬屋”

了解自由3D藝術(shù)家Nicolas Morlet是如何用ZBrush、3ds Max和Photoshop來(lái)創(chuàng)建他的“大鵬屋”的。

Learn how freelance 3D artist Nicolas Morlet created his "House on the Roc" image using ZBrush, 3ds Max, and Photoshop...

步驟1:創(chuàng)建basemesh

我使用標(biāo)準(zhǔn)原畫(huà)封閉了3ds Max中的主要形狀，然后我在一些部件上添加了更多的多邊形，比如拱門(mén)、窗戶和巖石，以便在使用ZBrush之前進(jìn)行更多的控制。每一塊都是獨(dú)立的，我用GoZ插件作為3ds Max和ZBrush之間的橋梁來(lái)導(dǎo)出所有的元素。

Step 1: Creating the basemesh

I blocked out the principal shapes in 3ds Max with standard primitives, then I added more polygons on some parts like the arches, windows and rocks for more control before going to ZBrush. Each piece is individual and I used GoZ plugin as a bridge between 3ds Max and ZBrush to export all the elements.

步驟二:在ZBrush中雕刻細(xì)節(jié)

我對(duì)暴雪的圖形3D風(fēng)格不太熟悉，所以我做了一些研究，發(fā)現(xiàn)了邁克爾維森特(Michael Vicente)的出色作品，就像《星球》(Orb)在風(fēng)暴中的英雄，這是我在雕塑過(guò)程中的參考。在ZBrush中，每個(gè)元素都被組織在一個(gè)不同的子工具中，從上到下(云、房子、巖石和水)，保持邏輯層次與插圖的視覺(jué)閱讀。

Step 2: Sculpting details in ZBrush

I was not familiar with Blizzard's graphic 3D styles, so I did some research and found awesome works by Michael Vicente, like "Orb" on heroes of the storm, which was my reference during the sculpting process. In ZBrush, each element is organized in a different SubTool from top to bottom (cloud, house, rocks, and water) keeping a logical hierarchy with the visual reading of the illustration.

第三步:制造泡沫

我把部分被淹沒(méi)的巖石留下，作為一個(gè)地標(biāo)，然后我復(fù)制了水網(wǎng)，刪除了底座，開(kāi)始在瓶蓋上工作。我用MaskPen畫(huà)了泡沫，在Polygroups中，我用的是用波蘭設(shè)置成1的面具。有了這些不同的聚類(lèi)，我選擇了泡沫的內(nèi)部部分，我將其分離為一個(gè)網(wǎng)格，刪除了隱藏的組。

Step 3: Making the foam

I left the partially submerged rocks visible as a landmark then I duplicated the water mesh, deleted the base and started working on the cap. I drew the foam with MaskPen and in Polygroups I used Group Masked with Polish set to 1. With these different Polygroups , I selected the inner part of the created foam and I isolated it as one mesh by deleting the hidden groups.

步驟4:雕刻魚(yú)類(lèi)

我從Dynamesh球體開(kāi)始，用聚光燈來(lái)雕刻魚(yú)的主要形狀。第一次使用CurveQuadFill畫(huà)筆為鰭，它非常有效。一旦你準(zhǔn)備好了模型，就開(kāi)始變形，在選定的軸上集中注意力。一旦完成，你就會(huì)得到一條干凈的魚(yú)。

Step 4: Sculpting fishes

I started from Dynamesh Sphere and used SpotLight to sculpt the main shape of the fish. First time using CurveQuadFill brush for the fins and it is very efficient. Once you have the model ready, go to Deformation and use Bend by paying attention on the selected axis. Once that's done, you get a fish with a clean curve.

第五步: 組成

在設(shè)置文檔分辨率之后，現(xiàn)在是定義該組合的時(shí)候了。ZAppLink在存儲(chǔ)視圖時(shí)很有用，當(dāng)你在雕刻時(shí)，你可以很容易地繞過(guò)你的模型，然后通過(guò)點(diǎn)擊相應(yīng)的插槽(Cust1,Cust2)來(lái)恢復(fù)你的視圖。我重新縮放并移動(dòng)了一些元素，直到我對(duì)合成滿意為止。

Step 5: Composition

After setting up the document resolution it is time to define the composition. ZAppLink is useful to store a view and you can easily move round your model while you are sculpting, then get back your view by clicking the corresponding slot (Cust1, Cust2). I re-scaled and moved some elements until I was satisfied with the composition.

步驟6:紋理和陰影

我在ZBrush中直接創(chuàng)建了紋理，為這一場(chǎng)景繪制了Polypaint，這是房子和巖石的基本材料，是云層的光影和泡沫，是魚(yú)的反射塑料，是水的綠色玻璃(Matcap)。你可以在Pixologic的下載中心找到GreenGlass Matcap。要獲得透明度，選擇它，然后點(diǎn)擊顯示屬性/ BPR設(shè)置，然后激活BPR透明陰影，并設(shè)置BPR可見(jiàn)性。不要忘記激活透明度，渲染>渲染屬性>透明。您還可以通過(guò)BPR透明設(shè)置來(lái)優(yōu)化效果。

Step 6: Texturing & Shading

I created the textures directly in ZBrush with Polypaint for this scene, a Basic material for the House and the Rock, Skinshade for the clouds and the foam, ReflectivPlastic for the fishes and GreenGlass (Matcap) for the water. You can find the GreenGlass Matcap on the Pixologic's download center. To get transparency with a SubTool, select it and go to Display Properties / BPR Settings, then activate BPR Transparent Shading and set the BPR Visibility as you want. Don't forget to activate transparency in Render > Render properties > Transparent. You can also refine the effect with BPR transparency settings.

第七步:照明和BPR通行證

這個(gè)場(chǎng)景的燈光很簡(jiǎn)單。兩盞燈，右邊的主燈和右下角的第二盞燈。Daniel Bystedt的《ZBrush 4 R2中的BPR呈現(xiàn)工作流》是很有指導(dǎo)意義的，幫助我建立了BPR通行證。

Step 7: Lighting & BPR passes

The lighting in this scene is very simple. Two lights, a main light on the right side and the second light on the bottom-left side of the image. The tutorial "BPR Rendering Workflow in ZBrush 4 R2" by Daniel Bystedt is instructive and helped me a lot setting up BPR passes.

第八步:ps合成

一旦我完成了所有的BPR通行證，我就把它們放在Photoshop中，然后開(kāi)始合成。如果你不知道如何在Photoshop中編輯BPR，我建議你看一下拉斐爾格拉塞蒂的視頻。通過(guò)使用一些調(diào)整圖層，如水平，色相/飽和度，曲線，顏色平衡…我添加了最后的觸摸。謝謝你閱讀這篇文章，我希望它對(duì)你有用。

Step 8: Photoshop compositing

Once I have rendered all the BPR passes needed, I put them together in Photoshop and started the compositing. If you have no ideas about how to compose BPR passes in Photoshop, I advise you to take a glance at Rafael Grassetti videos. By using some adjustment layers like Level, Hue/Saturation, Curves, Color Balance... I added the final touches. Thank you for reading this making of and I hope it has been useful to you.