Project Overview: Hunter 角色制作流程

Project Overview: Hunter 角色制作流程
翻译:层层(本站翻译小组成员)

原文:http://www.3dtotal.com/


 

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。

 

Introduction

简介

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:

在这个项目概览中我将为大家展示我制作Hunter模型的整个工作流程,分享其中有趣的部分,希望这对您有用。以下是整篇文章涵盖的内容。

 

1. Inspiration and Reference

灵感和参考

2. Modeling

模型

3. Textures and Materials

材质和贴图

4. Lighting

灯光

5. Rendering

渲染

Compositing in Photoshop

Ps合成

7. Animation

动画

8. Conclusion

总结

 

Inspiration

灵感

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.

我这个角色是为《质量效应》创作的,但是我没有完全遵循设定。我的角色非常接近Crysis创造的角色,但却是女性版本。

 

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.

一开始我就知道我想要的是“穿纳米铠甲的性感角色”。我到各种网站搜集参考来完善我的想法。同样我也看一些电影,来帮助我找灵感。在建模之前收集参考非常重要,可以避免之后的工作无从下手。

These are my inspiration and reference images

这些是激发我灵感的参考图片

 

Modeling

建模

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.

我打算只在3ds Max里完成整个基础建模,而不使用其他软件或者插件。以前我经常用ZBrush来完成这一步,但这次我决定用一种不同的技术来提高能力。

 

Base mesh created in 3ds Max

3ds Max里的基础建模

 

After I had created the base mesh, I did just a little bit of deforming in ZBrush.

完成基础模型之后,我只在ZBrush里做了一些修正。

 

 

Deforming in ZBrush

在ZBrush中塑形

 

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

最终模型

 

Textures and Materials

材质和贴图

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.

我也经常为反射加HDR贴图, 这样比单独依靠环境反射更能得到真实的金属质感。

 

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.

铠甲磨损和皮质的部分,我是用一些污点素材在ps里绘制。

 

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.

我在3ds Max里展UV,而大多数贴图像脸部和花纹图案都是在ps里制作的。

 

 

Some of the materials and textures used

用到的一些材质和贴图

 

Lighting

灯光

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

所有六盏灯,两两一组分为三组

The settings I used for the lights

灯光设置

 

A clay render, just showing the lighting

展示灯光的白模渲染

 

Rendering

渲染

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.

因为一些材质非常繁杂,要耗时很长来渲染,所以我将渲染测试的设置调得非常低。这是一个很好的习惯,可以提高制作速度;剩下的就是要等待渲染了。我用默认的草稿设置来进行渲染测试,并且渲染小尺寸的图像。

 

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。

 

Render configuration

渲染设置

 

Compositing in Photoshop

Ps中合成

For the compositing, I worked with the final render with some passes (AO, Alpha).

用最终渲染出来的层来合成(AO,Alpha等)。

 

 

hese are the final shots and some additional images

这是最终镜头和一些附加图片

 

Animation

动画

I also made an animation for the helmet, just to show how it would open and close: https://vimeo.com/59767917

我为头盔做了动画,展示它开合的过程:https://vimeo.com/59767917

 

Conclusion

总结

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

感谢您阅读这篇文章。展示我工作流程的一部分对我来说是一个机会。如果大家对文章或者我的其他作品有任何问题,欢迎访问www.facebook.com/christopherarts

 

Good luck!

祝君好运!

 

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