“残雪败桥”3d场景制作过程解析

We added a bump to show damage, and a weight material to trim the texture. With these tricks we got the same effect with a simple cylinder, but with a more efficient 3d model and less polygons. Finally some specular was added to the material.

The next screenshot, shows the model with its texture and a reference about their labels.

我们加一个凹凸制作破损,一个材质权重来修剪贴图。通过这些技巧,我们用一个圆柱得到了同样的效果,更高效,更节约面数。最后为材质加一些反射。

下图展示的是带材质的模型和参数参考。

 

DUSTBIN IN CINEMA 4D

C4D中的桶

TESTING THE DUST BIN INSIDE THE SCENE:

在场景测试桶的效果:

GRAFFITI

 

涂鸦

Other elements were textured, and we made successive tests to achieve the desired results.

Some screenshots of the process:

 

Test ground with graffiti included, first test of damage on the beams.

为其他元素添加材质,并且连续测试直到达到满意效果。

 

制作过程中的一些截屏:

 

测试有涂鸦的地面,并且首次测试桥梁上的破损。

Testing ground graffiti: It was eventually hidden by snow, but was textured just the same.

测试地面涂鸦:它最终被雪盖住了,但是也给了材质。

(地面+涂鸦)

Clean indoor tests, no shrubs, or vegetation, only a few leaves and a bit of “hair” (grass) in the boards.

简洁的测试,没有灌木,没有植被,只有一些叶子和“毛发”(草地)在桥板上。

Tests graffiti, glass.

测试涂鸦和玻璃。

BROKEN GLASS

破损的玻璃

Here, you can see a test with the glass broken with a texture effect.

这里,你可以看到加材质的破损玻璃效果。

LIGHTING AND SETTINGS

灯光设置

We used a GI Environment map (both cloudy and night). We didn’t use any physical light for general lighting. The scene also contains several artificial lights that illuminate the upper structure of the bridge and the lower corridor.

In all cases, they are area lights except for the cloudy scene. The standard configuration of these lights was:

我们使用全局光环境贴图(多云和夜晚)。我们没用任何的物理灯光作为一般照明。场景中有一些人造光源来照亮桥的上部结构和下部通道。

除了多云的环境,其他都是面光源。

灯光的基础设置:

 

(area light 面光源)

During the process, we did several lighting tests. Different lighting situations were proposed for the scene, specifically these three: DAY, CLOUDY AND NIGHT.

在制作过程中,我们做了一些灯光测试。我们为场景创建不同的灯光环境,尤其是下面这三种:白天,多云和夜晚。

 

Examples of the work in progress :

测试中的一些效果:

With the snowy scene chosen, we discovered that day lighting did not work as we wanted, so the two options that we considered were cloudy and night.

选择雪的场景之后,我们发现白天的灯光不是我们想要的,所以多云和夜晚成为两个选择。

In the process we were not sure which one was better and which one could evoke more emotion. We loved the night shot, so we didn’t waste the opportunity to present both.

在这个过程中我们不知道哪个更好,哪个更能激发情感。我们喜欢晚上的镜头,所以我们没浪费机会,两个场景都去展示。

 

An example of the previous study of both illuminations, before the final process:

最终渲染前对于两种照明的研究范例:

GENERAL SETTINGS

全局设置

For the rest of the settings, we applied a MAP + LIGHT CACHE IRRADIANCE.

In both cases, the settings were the same, the only thing that varied was the GI main map.

Some screenshots of the general configuration of IRR + LC:

剩下的设置里,我们使用贴图+灯光缓存的方法。

两种情况中,设置是相同的,唯一不同的是全局照明贴图。

发光贴图和灯光缓存的设置截屏:

POST-PRODUCTION

后期

This part was the “twist” ending to the scene. In this process, we did several important steps that dressed the image.

这一部分是对场景的“扭转”。我们进行重要的几部来美化图像。

 

The common elements for both images were added, like the birds flying, or background + sky. Obviously in this case they should have different highlights.

共同的元素已经添加到两张图上,像飞鸟,或者背景+天空。显然他们应该有各自的亮点。

 

Despite working all 3d vegetation through proxies, we finally decided to replace it with a background of snow covered trees in both cases.

虽然所有的3D植被都是用代理制作,但是我们最终决定两种方案都将背景替换为有雪覆盖的树。

 

Small elements were inserted, although barely noticeable. They are the fog, the snow, and the tree sticking out of the top.

小东西被放了进去,尽管它们并不显眼。它们是雾、雪和伸出顶端的树枝。

 

There were many retouching steps in this process and many options and tools used. We used different programs and combined their results.

They adjusted exposure values, brightness, contrast, hue, saturation, levels, color balance, chromatic aberration, vignette, focus, and blur.

在后期中我们修改了很多,也用了很多选项和工具。我们使用不同的程序共同组成最终的结果。

其中包括对于曝光度、亮度、对比度、色相、饱和度、色阶、色彩平衡、色散、虚光、焦点和模糊的调整。

 

 

Some screenshots of the post-production process:

后期处理过程中的截图:

 

3回复“残雪败桥”3d场景制作过程解析"

  1. 于玲说道:

    好棒好棒

  2. 赤子说道:

    ths!

  3. yurrt说道:

    感谢分享!

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