MAKING OF “Go Home Late (Tokyo 2007)”
由專筑網韓平,劉慶新編譯
Lê Anh Nhan 是越南的一位3d藝術家。他在大學里學習建筑設計五年,在大學四年級的時候他開始對3dmax&V-Ray開始感興趣并開始學習鉆研。大學畢業后,他始終對于CGI充滿熱情,所以他也一直跟隨著ArchVIZ 不斷學習。今天,我非常榮幸與你們分享他最杰出的作品“東京2007”幕后的制作過程,該作品也是他送給他妻子的一個禮物。下面就把制作過程分享給大家。
Lê Anh Nhan is a 3d Artist from Vietnam. He studied 5 years in the university of architectural design, and got interested and use 3dsmax & V-Ray during his 4th year there. His passion for CGI got him to follow ArchVIZ after the university. Today I’m very happy to share with you all the process behind his AMAZING work – Tokyo 2007, done as a tribute for his wife. Enjoy!
Introduction/簡介
大家好!
首先,我非常感謝Ronen給我這個機會和你們一起分享“晚歸(東京2007)”效果圖的制作方法,我十分榮幸。
在效果圖的制作方面,我僅有兩年的經驗。在這里與大家分享的所有東西都是我自己摸索出來的,我沒有參加過專業的培訓課程,只利用網絡進行學習。
如有不對之處,還望大家多多包涵,也歡迎大家指正。
下面就讓我們從該項目的靈感談起吧。
Hi, everybody!
I’ll start with thanking Ronen for giving me this opportunity to share with you the method used for “Go Home Late (Tokyo 2007)”. It is a great honor for me.
I only have 2 years experience in the profession. All the things I am sharing with you here I have learned by myself, without training courses, just study on the internet. It may contain flaws, so pay attention to this fact. I hope everyone can sympathize with me.
Let’s start with the inspiration behind the project.
Inspiration/靈感
我為什么要做這張圖片呢?
我剛剛結婚,每晚我都在等待很晚下班回家的妻子。我非常愛我的妻子,我想為她做些什么事情。因此,我開始在其他藝術家的作品中尋找靈感,慶幸地是我身邊有很多值得學習的優秀作品。
當我看到有杰出的3d藝術家Gleb Alexandrov制作的“大城市的感官刺激”渲染圖時,我知道這就是我想要的。
Why did I create this image?
I just got married and each evening I waited for my wife coming back home late after work. Since I love her very much, I wanted to do something for her. I look for inspiration in the works of others artists which, thankfully, there are many of around us to learn from.
It was a coincidence when I saw the work “Big City Sensory Overstimulation” which was performed by Gleb Alexandrov, a very talented artist.
此外,從Cornelius Dammrich發布的名為“52HZ”的作品中,我也備受啟發。
And I was even more inspired when Cornelius Dammrich published the work “52HZ“.
我承認,我非常喜歡這兩張圖片。
我也決定制作類似的作品,甚至與它們相同,但是用我自己的方法。由于商業工作也快到了交圖的時間,我幾乎沒有時間來做這個。我每周只有8個小時來做這個,而且建模和材質貼圖也不是我的強項。但是我在觀察周邊事物上很在行,所以我開始從該項目所需要的參考圖片做起。
I confess, I was addicted to these two images.
I’ve decided to do something similar, also “crazy” like them but in my way. Due to commercial work deadlines, I had very little time to do it. I had only 8 hours a week to do it, and modeling and texturing are not my strengths. I am the best at observing everything around us. So let’s start with my references in this project.
References/參考
我認為這是非常重要的一部分。人們總是會天馬行空的進行各種想象,但是我們必須與我們周圍的實際結合,這也需要我們花一些時間理解它們,并將它們轉化成我們的圖片。在做事之前,我通常會仔細觀察,了解其本質,然后再開始制作。
以下就是我非常喜歡的一些參考。
I think this is the most important part. Human imagination is wonderful, but we must connect what we do with the reality around us, which takes the time to understand in a way we can translate to our images. Before doing something, I often observe carefully, understand the nature of it, then I start drawing.
Here are some references that I love…
3d Modeling/3d 建模
這對于我來說是非常耗時的一個部分。
在這張圖片中,我希望能準確表達這個小巷建筑的當前的狀況。從建筑,電器設施的位置,甚至電線都與實際保持一致。一開始我就利用了照相機和cubes,這樣是我的工作習慣,這可以使得后期的工作更加簡單。
This is the most time-consuming part for me.
On this image, I want to do exactly with the current state of the buildings in this small alley. From architecture and location of electrical equipment, even the way matching electrical wiring must be the reality. To start with a camera and the cubes. I always do that because it helps my job easier.
在細化我們的模型之前,我想跟大家分享一個經驗,也許大部分人都知道這個,就是對于3d模型中所有鋒利的邊緣我們可以進行倒角。這樣就與我們在現實生活中看到的相似。這樣也使我們建立的模型具有可信度。
說實話,我覺得3d建模是最漫長的過程,因為它需要很多的細節。如果有必要的話,你也可以在最后加一層霧氣。只要創建你需要的細節,這是我一直秉承的信條(當今,360’s和VR技術越來越流行,這也有助于使大家的場景更加真實。)
在這個場景中有17個建筑。我在3dsmax中進行建模。有一些侵蝕的細節需要利用ZBrush筆刷,具體你們可以參考下面這張圖片。
Prior to the model in detail, I would like to share with you an experience which seems everyone knows. All the sharp edges in this 3d model have a “chamfer” on them. It helps with picking up the important highlights on edges we do see in real life. Making everything to be more believable.
I always keep in mind that, to be truthful, even the furthest part of the 3d model, needs this level of detail. You can decide to cover it with fog later if need be. Just have the detail built in for when you need it. That’s just how I trained myself (and today with 360’s becoming more popular as well as VR it will make your scenes more ready for it).
There are 17 buildings in the scene. I modeled them in 3dsmax. There are erosion details demanding the use of ZBrush. You can see this in the image below.
下面是我制作的混凝土侵蝕細節的具體過程。
And this is an example of how I make the concrete details eroded.
我將以下三種筆刷在ZBrush中進行塑形。
I used the 3 brushes below to sculpt in Zbrush.
實際上的柳樹幾乎是光禿禿的。由于巷子越來越窄,它的部分樹枝還被鋸斷了。我在SpeedTree中利用三種不同的模型創建了這棵柳樹。
你可以在Youtube搜到很多SpeedTree的使用教程。
另外,我也利用 GrowFX創建了柳葉。
The Willow, in fact, is very bare. It has truncated branches because the alley is too narrow for growing. I modeled the willows in SpeedTree with 3 different models.
You can see instructions on how to use SpeedTree on Youtube, there are many tutorials about it.
I created the leaves with GrowFX.
彎曲的葉片是很重要的,因為它們會有特別的高亮顯示,尤其是在雨后,十分必要。
Incurvation of the leaf is very important, it helps with having specular highlights, which is necessary when it have just stopped raining.
3dsmax中的最終成果。
Results in 3dsmax…
葉片上的雨珠是利用MultiScatter進行分布的。
我還手動在電線上分布了一些雨滴,雖然幾乎看不到,但是為了營造雨后的氛圍,還是有必要創建的。
這就是我在3dsmax中建的最后的模型。
Raindrops on my leaf are distributed with MultiScatter.
I had to manually distribute raindrops deposited on the wire. It is difficult to recognize. But it is necessary to create the mood after the rain.
This is the model created in 3dsmax…
下面我會跟大家提幾個特殊模型的創建方法。
我想跟你們分享是我如何建塑料包裝模型的方法。
我怕使用了3dsmax中的MassFx,按照物理學的原理,使它能夠像布一樣懸掛起來。
I will just mention some specific models further.
I want to share with you how I modeled the plastic packaging.
I used MassFx of 3dsmax and made it hang down like cloth in accordance with the rules of physics.
然后利用ZBrush增加褶皺細節。
And added sculptural details in ZBrush.
這個垃圾填埋廠和雨傘的模型建立相似。
Similar to landfills and umbrellas.
以下這些是一些小酒館的概念。
And here are some concepts of pubs.
一些電器的模型。
Some models of electronics.
我希望一切真實的細節都有,我也希望一切都能保持高度的真實。場景中沒有虛構,否則我會非常難受。
I wanted all to be really detailed. I want it to be true to reality. There is no deception, otherwise, I will feel very uncomfortable!
Texture & Materials/紋理貼圖和材質
在這個部分,我只想提幾個主要組件的設置。
這個部分要求你有一定的實際觀察。我在PS中對于我的紋理貼圖進行了不同的混合模式的調整。這部分最大的挑戰,也是耗費我時間最多的應該是廣告牌的設置。因為我是越南人,我對日本的文化了解不多。所以,我的目標是希望廣告牌上的文字正確,而且其貼圖的分辨率能夠大于4000。所以我決定在PS中手動添加,再進行調整。
In this part, I just mention some main components.
This is the part required your actual observations a lot. I do my texturing in photoshop with different blending modes. The biggest obstacle, which took most of my time is billboards. Because I am in Vietnam, I don’t know anything about Japan. Meanwhile, my intention was that the texts on the billboard will be accurate and textures resolution must be greater than 4000 pixels. So I’ve decided to do it manually in Photoshop and render them all.
建石墻模型非常耗時。在最后成圖的場景中我有一面很長的石墻。為了避免石頭的重復,我不得不創建了26種不同的石頭模型。
Modeling the stone wall was very time-consuming. With the camera angle of the picture, it required having a very long stone wall in view. To avoid repetition of stones I had to create 26 unique stone models.
我非常想營造雨后小路的感覺。
我花了兩天的時間觀察它。幸運地,我住的地方經常下雨。這個方法解釋起來有一點復雜。首先,我在3dsmax中建了一個簡單的小路模型,然后利用ZBrush增加一些細節。位移貼圖是在ZBrush和PS中創建的。反射貼圖也類似。
以下是具體案例。
The road after the rain was my obsession.
It took me 2 days to observe it. Luckily, where I live there is much rain. It is quite complicated to explain. I started with a simple path model in 3dsmax, then the model is detailed in ZBrush. Displacement map was created in ZBrush and photoshop. Reflection map is similar.
Here is an example.
我制作的小路就像剛下過一個小時的雨,所以水坑不是很多,主要出現在道路的凹槽和裂縫處。
I did the road as if it was an hour after the rain… so the puddle is very limited, mainly appear in the grooves and cracks on the road.
最令我困惑的是材質。
暗部+濕瀝青+淺色調=???
它像不像燈光下的金屬?這真是很危險,很難讓人相信這是真實的道路。在濕瀝青和金屬材料之間的邊界是非常單薄的。因此我在設置道路材質的時候需要格外小心。
下面有幾個我的參考圖片。
What makes me most confused is the material.
Darkness + Wet Asphalt + Light Colors = ???
Is it not like metal under the lights? It is very dangerous, very difficult to let others believe that it is an actual path. The boundary between the wet asphalt and metal material is very fragile. I was very careful when setting up the road material.
These are pictures taken in my references…
它真的跟金屬很相似么?
潮濕的混凝土,潮濕的道路線和潮濕的瀝青都是完全不同的材質。我創建了一個α貼圖來區分這三種材質。在大多數情況下,我都使用V-Ray混合模式,對于小路也不例外。
我采用的道路材質為:(潮濕的瀝青層1+潮濕的瀝青層2+水坑裂縫+水坑接觸線和混凝土)+(濕線+水坑)+(潮濕混凝土+混凝土上的水坑)
這是材質路徑的圖例。
下圖是第一個分支圖。
Is it pretty similar to metal?
Wet concrete, wet lines and wet asphalt are completely different materials. I created an alpha map to differentiate the three materials. I mainly use V-Ray blend in most cases, the path is no exception.
This is my recipe of road materials : (wet asphalt level 1 + wet asphalt level 2 + puddles in the cracks + puddles exposed the line and the concrete) + (wet line + puddles on the line) + (wet concrete + puddles on the concrete)
Here is a diagram of the material of the path.
This is the first branch of the diagram.
為了避免重復,我設置了三個版本的道路。還在道路上增加了一些汽油的印記這樣能夠使這條路在燈光下看起來更吸引人。
以下就是最終的效果。
I created three versions of the road to avoid duplication. Add a bit of oil spilled on the road so as to the road look more attractive under the lights.
And the result is…
潮濕石頭材質的一個案例
An example of the wet stone material.
我通常也使用V-Ray的混合功能來設置生銹的金屬材料。
I often use V-Ray blend for rust metal materials too.
Lighting/燈光設置
這是我最喜歡的部分!
這決定了整個圖片的整體基調。這是我的燈光設置。
使用一個球形燈和一個來自Peter Guthrie的HDRI燈光。
以下就是燈光的一些具體設置。
This is my favorite part!
It is critical in the creation of the mood of the image. This is my lighting setup.
Use 1 Dome light + 1 HDRI from Peter Guthrie.
These are my light settings…
三盞路燈和五個燈泡(一個已經燒壞了)。沒有什么秘密可言,對于每個燈泡我都設置了一個V-Ray燈。
我想著重提下怎么設置燈籠。燈籠的照度范圍很窄,它只能反射到相鄰的物體。
下圖是燈籠的內部結構。
3 streetlights and 5 bulbs (1 bulb has burnt). Nothing is a secret here, I only use 1 V-Ray Light sphere for a bulb. And here are the setting…
I will mention how to set up my lantern light. Operating range of lantern light is quite narrow, it only affects the objects near it.
The interior structure of the lamp.
這些是標識燈的設置。
These are the sign lights settings…
你可以在之后的視頻中看到設置燈光的順序。
You can see the video below for sequences setting my light.
Render Setup/渲染設置
我使用了V-Ray渲染器來創建這個圖片(我猜這應該是最普遍使用的渲染工具)。它既快速又容易操作,而且我想未來的一段時間我還會使用它的。這就是我通常會使用的相機和渲染設置。
我想這應該是非�;A的。
I used the V-Ray render engine to create this image (which is the most common tool I guess). It is fast and easy to handle! And I think in the future I will still use it. This is the camera settings and render that I usually use.
Pretty basic, I think so.
以下是最后的效果圖。
Below is the final render…
Post Production/后期制作
請隨時查看制作過程視頻。
Please feel free to check out the making-of video…
感謝你們閱讀這篇教程文章,我希望您能夠在這里找到一些感興趣或者有用的東西。
Thank you for reading this “making-of” article and I hope you found some interesting and useful advice in it!
出處:本文譯自www.ronenbekerman.com/,轉載請注明出處。
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