卡通版孫悟空的制作

最初的想法

 Original idea

當(dāng)我在電腦上尋找靈感的時(shí)候，最初的想法就出現(xiàn)了。我總是收集盡可能多的資料，我發(fā)現(xiàn)很多有才華的人都是這樣做的!我是在這里偶然發(fā)現(xiàn)了天才動(dòng)畫師和角色設(shè)計(jì)師Javi Salvador的作品。對(duì)你來說，仔細(xì)研究你的主題是很重要的。觀察它并記錄你想要模仿的東西和你想要給你自己的東西。例如，在這幅圖中，引起我注意的是悟空的設(shè)計(jì)……我喜歡它看起來和我們過去看到的有所不同，但又容易辨認(rèn)。他看起來準(zhǔn)備拯救世界!

The original idea for this image came when I was searching for inspiration on the internet. I always try to collect as many references as I can and I find a great deal of talented people all around the world by doing that! This is where I came across the work by the talented animator and character designer Javi Salvador. It is important for you to study your subject very carefully. Observe it and take notes of what you want to mimic and what you want to give your own look to. In this image, for example, what caught my attention was Goku's design... I like how it looks so different from the one we're used to see and yet so recognizable, naive and yet confident. He looks ready to save the world!

Javi Salvador的原始概念

The original concept by Javi Salvador

建模

Modeling

我就是喜歡塑造角色!這絕對(duì)是最有趣的部分! 我嘗試在ZBrush中保留我的工作流程，至少對(duì)于主模型是這樣。我總是從最基本的形狀開始，開始定義事物。通常我會(huì)拿一個(gè)球來玩，試圖找到合適的比例。這個(gè)過程通常是一個(gè)很難但很有意義的部分，因?yàn)镈ynaMesh讓我能夠非�？焖俚貙�(shí)驗(yàn)和實(shí)現(xiàn)很酷的東西。后來在這個(gè)過程中，我找了一個(gè)很棒的設(shè)計(jì)師，這使我可以輕松地做出他的衣服，無論是最初的還是最后的姿勢(shì)。

I just love modeling characters! This is definitely the most fun part! I try to keep my workflow inside ZBrush, at least for the main model. I always start off with very basic shapes to start defining things. Usually I take a sphere and play with it trying to find the right proportions. This is often a hard but very rewarding part of the process, since DynaMesh lets me experiment and achieve cool things very quickly. Later on in the process, I go to Marvelous Designer, which allows me to easily make his clothes, both for the initial and final poses.

頭部建模

Modeling the head

對(duì)于身體，我使用了丹尼威廉姆斯(又名PointPusher)的一種技術(shù)，他使用一堆多邊形來快速建立比例和外形。

For the body I use a technique I learned with Danny Williams (aka PointPusher), in which he uses a bunch of PolySpheres to quickly establish proportions and attitude.

使用PointPusher技術(shù)的gif

A gif using PointPusher's technique

身體建立

Building up the body

這些道具都很簡(jiǎn)單。最“復(fù)雜”的是石頭地面，因?yàn)槲蚁胱屗�看起來像一塊古老的石頭，所以我試著雕刻它，以幫助紋理彈出。樹和寺廟都是次要的，所以我不太注意它。

The props were all really simple. The most "complicated" thing to do was the stone ground, because I wanted it to look like an old rock, so I tried to sculpt it a bit to help the textures pop out. The trees and the temple were secondary so I paid a bit less attention to it.

場(chǎng)景道具

Scene props

uv和紋理

UVs and texturing

      我所有的UV都是使用UV Layout完成的。 我已經(jīng)為我的場(chǎng)景中的所有物體做了適當(dāng)?shù)腢V，但我只是要在這里展示，因?yàn)樗�顯示了我為幾乎所有的物體所做的事情。 對(duì)于紋理我使用Quixel的DDO，我認(rèn)為這是一個(gè)很棒的工具，可以將您的項(xiàng)目帶到另一個(gè)層次。 由于我不是很喜歡法線貼圖（至少對(duì)于非實(shí)時(shí)項(xiàng)目），我選擇了使用位移。 在渲染時(shí)間方面有點(diǎn)費(fèi)時(shí)，但它給了我想要的結(jié)果。

All my UVs were done using UV Layout. I've done proper UVs for all of the objects in my scene, but I'm just gonna showcase the ground here, since it shows what I've done for pretty much every object. For texturing I've used Quixel's DDO, which I think is an awesome tool to bring your projects to another level. Since I'm not very fond of normal maps (at least for non-real-time projects) I've chosen to stick with displacement. It's a bit more expensive in terms of render time but it gives me the result I want.

UV貼圖和紋理

UV maps and textures

場(chǎng)景組裝

 Scene assembly

一旦我完成了建模和創(chuàng)建UVs，我進(jìn)入3ds Max，開始使用相機(jī)位置和燈光。我用了兩個(gè)v - ray sunlights(一個(gè)為布景，一個(gè)為角色)，一個(gè)填充光，一個(gè)邊緣光和一個(gè)用于他眼睛的光線。在下面的圖片中，你可以看到我已經(jīng)把所有的東西都裝配好了，以便讓事情盡可能的簡(jiǎn)單和“很好地渲染”。

Once I finished modeling and creating the UVs for everything I went into 3ds Max and started playing with camera position and lights. I used two V-Ray sunlights (one for the scenery and one for the character), one fill light, one rim light and one light for his eyes. In the images below you can see I've assembled everything according to camera in order to keep things as simple and "render friendly" as I could.

人物照明的特寫鏡頭

Close-up of the character lighting

長(zhǎng)場(chǎng)景組裝和照明

Scene assembly and lighting

渲染和合成

Rendering and compositing

在這里，我使用簡(jiǎn)單的V-Ray通道來幫助我為我的項(xiàng)目建立最終的圖像。 我將美麗渲染視為需要增強(qiáng)的原始攝影，這是我試圖達(dá)到的效果，包括下面的經(jīng)過和一些照片處理，特別是天空中的云。

Here I've used simple V-Ray passes to help me establish the final mood for my project. I treat the beauty render as a raw photography that needs to be enhanced and that's what I tried to achieve, both with the passes below and some photo manipulation, especially for the clouds in the sky.

通道

Passes

最后的形象

The final image

基本完成! !我希望你喜歡閱讀這篇文章，它將會(huì)對(duì)那些尋求靈感的人有所幫助!謝謝!

That's pretty much it!! I hope you enjoy reading this making-of and it will, somehow, be useful to those who seek inspiration out there! Cheers!

最終效果

The final image