Project Overview: Hunter 角色制作流程
Originally created for a Mass Effect-style challenge, Christopher Parnian went off brief to create this sexy, armored woman instead!
一开始是为《质量效应》创作，最终Christopher Parnian 却制作出这一穿铠甲的性感女性。
In this project overview I’m going to show you an overview of the workflow that I used for my Hunter model. I’ll try to share the interesting parts about this project and I hope that you find what I say useful. Here are the sections I’ll be covering:
1. Inspiration and Reference
3. Textures and Materials
Compositing in Photoshop
I created this character for a challenge and the rule was to create a character that would fit into the Mass Effectuniverse, but I didn’t follow that rule exactly! My character is very similar to Crysis’s character, but a female version.
I knew from the beginning that I wanted to create a “sexy character in a nano suit and armor”. I started by gathering references from various websites to complete my ideas. I watched some movies too, to help me find some inspiration. I think it’s a good idea to collect references before going onto the modeling stage so you won’t be confused later.
These are my inspiration and reference images
I intended to do the whole modeling process in 3ds Max and not to use any secondary or plug-in software. When modeling, I usually work on a base geometry in ZBrush, but this time I decided to use a different technique to help increase my ability.
Base mesh created in 3ds Max
After I had created the base mesh, I did just a little bit of deforming in ZBrush.
Deforming in ZBrush
When I was content with the shape, I went back into Max and did some modeling by using the Graphite modeling tools and the retopologizing technique. I have experience with Maya, XSI, ZBrush and Topogun too, and in my opinion it’s better to use ZBrush or Topogun for retopologizing because the polygons will snap on the surface very well.
对造型满意之后，我返回到Max中用Graphite工具和拓扑技术完善模型。这些我同样用Maya, XSI, ZBrush 和 Topogun做过，在我印象中，ZBuash或者Topogun在这方面做得更好，因为多边形会在表面贴合的很好。
Final model, render to be rendered
Textures and Materials
I used the mental ray Arch and Design material and SSS system for this project, as they are very good at portraying metal materials. The Arch and Design materials have some good preset settings with which you can create all sorts of realistic materials. These are a good starting point from which to create your custom setups.
我用mental ray渲染器的Arch and Design材质和sss材质为模型附材质，因为它们很容易反应金属质感。通过Arch and Design的材质预设你可以创造出各种真实的材质。这是自定义设置的一个好的起点。
I also used an HDR image in the reflection map slot, which helped greatly in achieving realistic metals instead of relying only on the environment reflections.
The Arch and Design materials dramatically increased the render times, but I think the end result was worth the wait.
Arch and Design材质会大幅度增加渲染时间，但是我想最终效果会值得这样的等待。
For scratched and weathered parts of the armor, I painted alphas with some other dirty textures in Photoshop.
For UV unwrapping I used the UV Editor in 3ds Max and most of the textures such as the face and patterns were created in Photoshop.
Some of the materials and textures used
I only used three groups of lights, and each group had two lights for the whole scene. Also, I used mr sky portal lights to give me the smooth shadows I wanted.
我只用三组灯光，每一组为场景打两盏灯。我还会使用mental ray的sky portal lights制作我想要的平滑的阴影效果。
The entire lighting rig, consisting of six lights in three groups
The settings I used for the lights
A clay render, just showing the lighting
Because some of the materials were quite heavy and took a long time to render, I set my render test settings to a very low quality. This is always good practice and will speed up your workflow; the last thing you want to be doing is waiting around for test renders. I used the default draft settings for the tests and kept the render size small.
Once I was happy with my render and the lighting looked reasonable, I moved on to a larger render. This render had slightly increased settings such as bounce and final gather rays cast.
当我对渲染和灯光满意之后，我将渲染更大的图像。这次渲染将稍微提高渲染设置，例如bounce和final gather rays cast。
Compositing in Photoshop
For the compositing, I worked with the final render with some passes (AO, Alpha).
hese are the final shots and some additional images
I also made an animation for the helmet, just to show how it would open and close: https://vimeo.com/59767917
I would like to thank you for reading this project overview. This has been an opportunity for me to show a little of my workflow. If anyone has any questions about this overview or any of my other artworks then feel free to contact me at www.facebook.com/christopherarts