“戰(zhàn)士”的3D細(xì)分

在這個(gè)細(xì)分中，我會(huì)盡我所能地解釋制作這個(gè)項(xiàng)目背后的過程。 從收集參考到最終的渲染和合成開始。 我希望你覺得這對(duì)你有幫助。

In this breakdown I will explain as best as I can the processes behind making this project. Starting with gathering references through to the final rendering and compositing. I hope you find it helpful.

收集參考

任何項(xiàng)目中最重要的部分是找到能激勵(lì)你的東西，并在整個(gè)創(chuàng)作過程中保持動(dòng)力。你需要大量的參考資料。我從這些參考圖像中獲取靈感，創(chuàng)造出一種復(fù)雜而細(xì)致的分層裝甲。

Gathering references

The most important part of any project is to find something that will inspire you and keep you motivated throughout the creative process. You need plenty of references of what you are studying to. I took my inspiration from these reference images to create a complex and detailed layered armor.

裝甲建模和雕刻和UV映射

在收集參考圖像和原始資料之后，開始對(duì)整個(gè)事物進(jìn)行建模。 在Maya里，我開始制作我的基座，我決定讓這個(gè)角色高7.5頭，而不是8頭，這是一個(gè)實(shí)驗(yàn)。 在阻擋身體后，我開始用軀干來包裹盔甲，這有助于放置其他部位，手臂，腿部和腰部。 在轉(zhuǎn)移到ZBrush之前，我確定要對(duì)整個(gè)裝甲進(jìn)行UV映射; 不幸的是在雕刻過程中，我有多個(gè)文件損壞和失敗，這導(dǎo)致我重新做了大量的盔甲，也驅(qū)使我根據(jù)他們的位置拆分ZBrush文件到五個(gè)不同的部分。 我使用各種雕刻技術(shù)和畫筆來獲得裝甲上的細(xì)節(jié)紋理，包括標(biāo)準(zhǔn)畫筆和Ryan Kingslien的alpha。

Armor modeling & sculpting and UV mapping

After gathering the reference images and source materials it was time to start modeling the whole thing. In Maya I started by making my base body place holder and I decided that I would make this character 7.5 heads tall instead of 8, as a bit of an experiment. After blocking the body I started layering up the armor starting with the torso which helped when placing the other parts, arms, legs, and waist. Before moving to ZBrush, I made sure to UV map the whole armor; unfortunately during the sculpting process I had multiple file corruptions and failures which led me to redo big portions of the armor and also drove me to split the ZBrush file into five different sections according to their placement. I used a variety of sculpting techniques and brushes to get the detailed textures on the armor, including the Standard brush and Ryan Kingslien's alphas.

臉部雕刻

隨著盔甲的雕刻和質(zhì)感，我已經(jīng)準(zhǔn)備好去做面部建模，通常從低分辨率的基礎(chǔ)網(wǎng)開始移動(dòng)的分辨率和細(xì)節(jié)。 和以前一樣，我必須確保UVs達(dá)到我需要的分辨率。 如圖所示，我使用了里克貝克（Rick Baker）的一些alpha，還有一些我制作的alpha和一些標(biāo)準(zhǔn)的ZBrush刷子。

Face sculpting

With the armor sculpted and textured I was ready to move on modeling the face, as usual starting from low resolution base mesh moving up the resolution as well as details. And as before I had to make sure that UVs are up to the resolution that I need. As shown I have used some of Rick Baker's alphas, some other alphas I made and some Standard ZBrush brushes.

地圖提取，MARI設(shè)置，紋理

雕刻完成后，我開始提取我需要的地圖來幫助在MARI中繪制紋理。 我創(chuàng)建了AO地圖來指導(dǎo)我，還根據(jù)細(xì)節(jié)創(chuàng)建了切片，撕裂和顏色變化。 我用矢量位移，32位浮點(diǎn)位移和法線貼圖（生成AO）。 我繪制的地圖：漫反射，規(guī)范，并從提取的地圖中獲得中頻，高頻細(xì)節(jié)。

Map extractions, MARI setup, Texturing

After the sculpting was done I started extracting the maps I needed to help with painting my textures in MARI. I created AO maps to guide me, and also created the chip offs, torn offs and color variations based on details. I used Vector displacements, 32bit float displacements and normal maps (to generate AO). Maps I painted: Diffuse, Spec and already have the Mid, High frequency details from the extracted maps.

梳理

為了梳理毛發(fā)，我喜歡使用Maya nHair和ZBrush FiberMesh轉(zhuǎn)換成曲線，用于修飾如眉毛和睫毛的細(xì)部。 圖像顯示了我使用多個(gè)Maya頭發(fā)系統(tǒng)將頭發(fā)添加到這個(gè)角色的方法的細(xì)節(jié)。

Grooming

For grooming I like to use Maya nHair and ZBrush FiberMesh converted to curves for the finer parts of the grooming such as the eyebrows and eyelashes. The image show a breakdown of my approach to adding hair to this character using multiple Maya hair systems.

陰影和lookDev

我必須創(chuàng)建一個(gè)輕便的平臺(tái)來滿足我的需求，讓我的角色看起來更有個(gè)性，并在不同的光照條件下展示給我著色器的貢獻(xiàn)。

Shading and lookDev

I had to create a light rig that served my needs for Look Dev my character and show me the shader contribution under different light conditions.

渲染通道

在所有的建模、紋理和燈光下，我轉(zhuǎn)移到Nuke設(shè)置合成的渲染通道和圖層。

Render passes

With everything modeled, textured and lit to my liking I moved on to Nuke to setup the render passes and layers for compositing.