漫畫(huà)效果制作

在本教程中，我將介紹渲染階段，從ZBrush中的自定義著色器創(chuàng)建到Photoshop中不同渲染過(guò)程的組合。

In this tutorial I will cover the rendering stage, from custom shader creation in ZBrush to the composition of the different render passes in Photoshop.

ZBrush中的自定義著色器

我在ZBrush中使用了一些自定義著色器，以便為角色的每個(gè)部分都獲得正確的材質(zhì)：頭發(fā)和夾克，衣服的菲涅耳，護(hù)目鏡和機(jī)器人部件的金屬等等。 當(dāng)您熟悉ZBrush材質(zhì)修改器時(shí)，這是一個(gè)基本的工作流程，您只需要改變鏡面反射類型和數(shù)量即可獲得所需的效果，就像使用任何其他渲染軟件包（V-Ray，KeyShot等）一樣。

Custom shaders in ZBrush

I used some custom shaders in ZBrush in order to get the right material for each part of the character: anisotropic for his hair and jacket, fresnel for clothes, metal for the goggles and droid parts, etc). It's a basic workflow when you're familiar with the ZBrush Materials modifier, you just have to change the specular type and amount to get the effects that you want, like with any other render package (V-Ray, KeyShot, etc).

草圖通道

對(duì)于這個(gè)渲染傳遞，我使用了ZBrush中的sketch04材料，將其作為默認(rèn)設(shè)置。我只是調(diào)整了Photoshop的亮度/對(duì)比度，將混合模式設(shè)置為柔光。

Sketch pass

For this render pass, I used the sketch04 materials in ZBrush, leave it as default . I just tweaked the Brightness/Contrast in Photoshop and set the blending mode to Soft Light.

ZBrush Posterize

對(duì)于這一步，我在ZBrush中使用了Posterize效果。 我用Skin材質(zhì)填充所有的SubTools（保留默認(rèn)的修改器），然后去材料混合器的子調(diào)色板，設(shè)置Posterize為93，Outline為1，Depth為90.最后，我把3D Posterize設(shè)置為50 ZBrush渲染屬性。

ZBrush Posterize

For this step, I used the Posterize effect in ZBrush. I filled all my SubTools with the Skin material (leaving the modifiers as default), then went to the Materials Mixer sub-palette and set Posterize to 93, Outline to 1 and Depth to 90.Finally, I set the 3D Posterize to 50 in the ZBrush Render properties.

ZBrush Posterize 渲染

當(dāng)Posterize效果設(shè)置完成后，我用BPR在ZBrush中完成了這個(gè)過(guò)程。 我在Photoshop中將此傳遞設(shè)置為Overlay的混合模式。

ZBrush Posterize render

When the Posterize effect settings were done, I rendered this pass in ZBrush with BPR. I used this pass in Photoshop with the blending mode set to Overlay.

ZBrush輪廓渲染

對(duì)于這個(gè)渲染過(guò)程，我使用了ZBrush中的Outline（大綱）材質(zhì)和默認(rèn)設(shè)置。 我只是在Photoshop中倒置它，并將混合模式設(shè)置為乘。

ZBrush Outline render

For this render pass, I used the Outline material in ZBrush, with the default settings. I just inverted it in Photoshop and set the blending mode to Multiply.

梯度

在這個(gè)階段，我只是在Photoshop中添加了漸變，將混合模式設(shè)置為疊加，并將不透明度略微降低到70％。 我用這個(gè)漸變把觀眾的眼睛聚焦在我角色的頭部和軀干上。

Gradient

At this stage, I just added a gradient in Photoshop, set the blending mode to Overlay and reduce the opacity slightly to 70%. I used this gradient to focus the viewer's eyes to the head and torso of my character.

大綱

我在Photoshop中添加了一個(gè)輪廓線，以增強(qiáng)我角色渲染的2D效果。

Outline

I added an outline to the silhouette in Photoshop to enhance the 2D feeling of my character's render.

背景創(chuàng)建和最終修改

在背景中，我使用了原始龍珠漫畫(huà)中可能會(huì)看到的一些效果。 為了達(dá)到這種“速度”效果，我在3ds Max中渲染了一個(gè)圓柱線框架，并在Photoshop中將它用于兩個(gè)不同的圖層以添加變化。 為了實(shí)現(xiàn)這個(gè)“舊紙”的背景，我使用了一個(gè)漸變坡道，并填充了一個(gè)圓形圖案的圖層，并將不透明度設(shè)置得非常低。 我調(diào)整了更多的亮度/對(duì)比度，如護(hù)目鏡和劍的一些部分。

Background creation and final touchup

For the background I used some effects that we might see in the original Dragon Ball manga. To do this kind of ?speed' effect, I rendered a cylinder wireframe in 3ds Max and used it in Photoshop on two different layers to add variety. To achieve this ?old paper' look in the background, I used a gradient ramp and filled a layer with a circle pattern and set the opacity very low. I tweaked some parts like the goggles and the sword with more Brightness/Contrast.