科技效果制作教程

彼得braeley演示他如何遵循原則的使用基本規(guī)則、角度和形狀創(chuàng)建自己的形象。

eter Braeley demonstrates how he followed the basic rules of principles, perspective and shapes to create his image, Sacrifice.

步驟01：縮略圖和阻塞

Step 01: Thumbnail and blocking

我正在瀏覽我的日常縮略圖畫(huà)，并開(kāi)始畫(huà)畫(huà)。 我從非常松散的大形狀開(kāi)始，把焦點(diǎn)放在圖像的中心，帶有一個(gè)球體和角色。 我又一次知道，這是關(guān)注的焦點(diǎn)所在，以及這將如何影響其余的形象。

I was going through my daily thumbnail paintings and started painting away. I started off with very loose big shapes, focusing in on the center of the image with a sphere and character. Again I knew that this is where the center of attention is going to be and how that is going to affect the rest of the image.

我沒(méi)有花太多時(shí)間在這個(gè)縮略圖上。 老實(shí)說(shuō)，我已經(jīng)進(jìn)入了下一個(gè)階段，因?yàn)槲曳浅Ｅd奮，這部戲?qū)⑷绾窝葑儭?于是我開(kāi)始封鎖形狀，找出某些物體和興趣在哪里。 只是保持簡(jiǎn)單，最后對(duì)我來(lái)說(shuō)很好。

I didn't spend a lot of time on this thumbnail; honestly I was already jumping into the next step because I was so excited how this piece was going to turn out. So I started blocking out the shapes and figuring out where certain objects and interests are going to play; just keeping things simple works well for me at the end.

步驟02：計(jì)劃、前景和背景

Step 02: The plan, perspective and background

在這一步的過(guò)程中，我想讓觀眾感覺(jué)他們沉浸在場(chǎng)景中，好像相機(jī)是第三的視角，下一秒是故事的結(jié)局，讓觀眾站在邊緣，想知道接下來(lái)會(huì)發(fā)生什么。這是這件事的既定計(jì)劃。

During the process of this step I wanted to the viewer to feel as if they were immersed in the scene, as if the camera was a third point of view and that the next second would be the aftermath of the story leaving the viewer on edge and wanting to know what would happen next. That was the set plan on this piece.

然后，我畫(huà)了一個(gè)簡(jiǎn)單的透視網(wǎng)格來(lái)幫助我理解焦點(diǎn)，給畫(huà)面一種平衡感和重量感。起初我的想法是在后臺(tái)有一個(gè)破壞性的城市，你在室內(nèi)向外看，但我覺(jué)得太忙了，所以我在船上添加了一個(gè)更好的空間和講故事的空間感。

Then I laid out a simple perspective grid just to help me with the focal point and give a sense of balance and weight to the image. At first I had the idea of having a destructive city in the background and you're in an interior looking out, but it felt too busy for me so I added in ships to give a better sense of space and room for storytelling.

步驟03:背景填充和細(xì)節(jié)

Step 03: Background fill and details

當(dāng)我決定把背景改為這浩瀚的天空時(shí)，我加了船，讓更多的注意力集中在中心焦點(diǎn)上。我加了些云彩，天空和彩繪在一些填充顏色的場(chǎng)景中，以確保它不是太強(qiáng)大。

Once I decided to change the background into this vast sky I added the ships to allow more attention on the centre focal point. I added some clouds, sky and painted in some fill color into the scene for believability, make sure it's not too empowering.

我用簡(jiǎn)單的基本形狀和一些基本的繪畫(huà)來(lái)畫(huà)船。我給更大更近的船只添加了紋理;一些較小的船只將一些天空填滿，將它們送入太空。我也開(kāi)始在現(xiàn)場(chǎng)添加一些火和碎片。這給了我一個(gè)機(jī)會(huì)，在場(chǎng)景中增加更多的戲劇和創(chuàng)作沖突。我一直盯著這個(gè)球，它是多么的空，所以是時(shí)候繼續(xù)前進(jìn)了。

I painted the ships with simple basic shapes and some base painting. I added textures to the bigger and closer ships; some of the smaller ships had some sky fill pushing them back further into space. I also started adding some fire and debris into scene. This gave me a chance to add more drama and create conflict in the scene. I kept staring at the sphere and how empty it was, so it was time to move on.

步驟04:球體

Step 04: The sphere

這很有趣;我想讓這個(gè)球體看起來(lái)像有機(jī)的，溫和的，但機(jī)械的和授權(quán)的。我做的第一件事是用一個(gè)核心陰影和光填充來(lái)填充它，讓它更有深度。我開(kāi)始在球體的外部和內(nèi)部中心工作，添加一個(gè)紋理，給我重復(fù)的形狀和機(jī)械的外觀。我也復(fù)制了中心的圖層。

This was a lot of fun to do; I wanted the sphere to look like it was organic, gentle, yet mechanical and empowering. The first thing I did was fill it with a core shadow and light fill just to give it some depth. I started working on the outer part and inner center of sphere, adding a texture that gave me repetitive shapes and a mechanical look. I also duplicated the layer for the center as well.

我把外緣涂上了藍(lán)色，為有機(jī)的吸引力增添了一層堅(jiān)韌的質(zhì)感;我也開(kāi)始掩蔽這個(gè)球體，讓它看起來(lái)有破損和腐爛。然后我把注意力集中在燈光效果上，讓它看起來(lái)生動(dòng)活潑，反應(yīng)靈敏。

I painted the outer rim with a teal blue color and added a gritty texture for the organic appeal; I also started masking out the sphere to make it look damaged and decayed. Then I focused on painting in the lighting effects to make it look alive and responsive.

步驟05：立方體

Step 05: The cubes

在這一部分，我想讓立方體成為保護(hù)球體的警告系統(tǒng)，就像蜂群保護(hù)著自己的皇后。 我開(kāi)始掩蓋邊緣，然后開(kāi)始填充黑暗和淺色的顏色，并將一些技術(shù)線路集成到機(jī)體中，以實(shí)現(xiàn)機(jī)械設(shè)計(jì)。

In this part I wanted the cubes to be a warning system that protects the sphere, like a swarm of bees protecting their queen. I started masking out the edges then I began to fill dark and light colors and some tech lines integrated into the body for that mechanical design.

我用油漆紋理進(jìn)一步深入研究，給予一些勇氣和可信度。 我必須設(shè)計(jì)每個(gè)立方體的前面給他們不同的個(gè)性，但他們?nèi)匀桓杏X(jué)作為一個(gè)單位。 最后，我專注于用紅色的眼睛照明和繪畫(huà)，看起來(lái)很警惕，我選擇去掉一些立方體，因?yàn)樗�變得壓倒性和忙碌�?然后添加額外的細(xì)節(jié)，以推動(dòng)有機(jī)的感覺(jué)。

I dive into them further with paint textures to give some grit and believability; I had to design the front of each cube to give them different personalities but so they still feel as one unit. Lastly I focus on lighting and painting in red eyes for that alert look and I made a choice to remove some cubes as it was getting overwhelming and busy. Then extra bits of detail were added to push that organic feel.

步驟06：前景

Step 06: The foreground

我決定前景將是船的內(nèi)部部分，因?yàn)槲覀兣c船舶或角色所繪制的球體之間的巨大史詩(shī)沖突。

I decide the foreground would be an interior part of the ship for our big epic conflict with the sphere drawn in by the ship or the character.

我開(kāi)始工作，確保視角是正確的。 我使用多邊形套索工具制作了一些平坦的顏色，用一些骯臟和粗糙的紋理來(lái)繪制形狀，并在左右墻上使用相同的技術(shù)。 記住不要過(guò)度填充內(nèi)部從焦點(diǎn)分心。 最后，我掩蓋了邊緣，打破了內(nèi)部的損壞和污垢的影響。 飛片和碎片也被添加進(jìn)來(lái)。

I started working the ground making sure the perspective was correct. I laid down some flat color using the Polygonal Lasso tool to make the shapes, painted in some dirty and grit textures and used the same technique on the left and right walls; keeping in mind not to over populate the interior to distract from the focal point. At the end I masked in the edges to break up the interior for that damaged and dirt effect. Flying pieces of paper and debris were added in as well.

步驟07：人物

Step 07: The character

角色是圖像的最后部分之一。 我把它著重于圖形的形狀。 然后，我使用直升機(jī)駕駛艙的照片添加了一些紋理，并將其夾在數(shù)字輪廓內(nèi)。 然后，我扭曲它，翻轉(zhuǎn)它，并將其拉伸，尋找有趣的形狀，然后在西裝上繪制。 然后我畫(huà)了靴子，在背部和胳膊上增加了噴氣背包。

The character was one of the last parts of the image. I painted right into it focusing on the shape of the figure. I then added some textures using a photo of a helicopter cockpit and clipped it inside the figures outline. Then I distorted it, flipped it and stretched it to look for interesting shapes for the suit to then paint on top. Then I worked on painting the boots, adding the jet pack light in the back and the arm as well.

我用頭部的照片參考，我用草單刷刀刷頭發(fā)。 然后我畫(huà)了一些觸摸ups和填充顏色的整體外觀。

I used a photo reference for the head and I painted the hair in with a grass single blade brush. I then painted in some touches ups with the lighting and fill color for the overall look.

步驟08：整體，潤(rùn)色和完成

Step 08: The overall, touch ups and finish

這是我最喜歡的一個(gè)階段，因?yàn)槲铱梢钥吹竭@一切都在一起。當(dāng)一切都安排好后，我就回到了背景，開(kāi)始增加激光效果，爆炸，火焰，碎片和大氣層。

This is one of my favorite stages of the piece because I get to see it all coming together. Once everything was laid in I went back to the background and started adding in lasers effects, explosions, fire, debris and atmosphere.

然后我搬到Midground，添加一個(gè)煙霧效果。另一個(gè)特別注意的角色是從他的衣服中加入灰塵顆粒和燈光，燃燒地面，引起火災(zāi)。這增加了敘事的深度。

Then I moved on to the midground, adding in a smoke effect behind the cubed robots. Some extra attention was paid to the character adding dust particles and lighting from his suit, and burning the interior of the ground causing fire. This added more depth to the narrative.

我調(diào)整的顏色平衡，亮度和對(duì)比度，以及添加一個(gè)照片過(guò)濾器層和裁剪的圖像，以達(dá)到電影的感覺(jué)。最后，我添加了一些細(xì)節(jié)細(xì)節(jié)的智能過(guò)濾器。

I played with Color Balance, Brightness and Contrast, as well as adding a Photo filter layer and cropping the image to achieve a cinematic feel. Lastly I added a Smart filter for some edge details.