上海起点CG教育制作基地 官方博客 – CGBegin.com

Binah was a difficult and long time consumming project. It was a great challenge for me, technically and artistically. Binah is the third sephirah of the  tree of life in cabbala. After reading many texts about the tree of life, I wrote some sentences describing my vision of Binah:
（Binah是一个艰巨且耗时的项目。对我来说是一个的巨大挑战，不管是技术上还是艺术上。Binah是cabbala的生命之树的第三个sephirah.读过很多关于生命之树的文字后，我写下了描述我自己心目中的Binah的一些句子）

She is the third sephira in the tree of Life.
She channels the torrent of energy of Chokmah.
She is the one who creates Life…
She gives Life to all things…
She gives Death too…
She is the dark protector of Life and Death.
（她是生命之树的第三个sephira.
她引导Chokmah能量的洪流。
她能创造生命。
她能赋予所有东西生命。
她也能赋予死亡。
她是生命和死亡的暗黑保护者。）

After this process of describing the character I thought about my inspirations and the graphical style I want to create. I wanted Binah to have a soft, pale skin, with some details only in the eyes, mouth and hand areas. She wears a long dark robe, and drapery, and I wanted her hairs to be in the continuity of her robe style. Finally, I wanted her to have a dark, cold and enigmatic glance.
（角色描述完后，我开始考虑我想创作的图象风格。我希望Binah有柔软且苍白的皮肤，只有眼睛、嘴巴和手周围有一些细节。她穿了一件暗色的长袍，还有花饰，我还希望她的长发能吻合长袍的风格。最后，我希望她有黑暗的，冷酷和高深莫测的一瞥。）

For the dress, I use procedural approach in fact. (I was discovering Houdini at the same time …). First I modelised a polygonal patch with few polygons and unwrapped it directly with planar projection.
(衣饰方面，我实际上使用的是程序的方法。我先建立一个只有很少面的面片然后直接用平面映射展开uv。)

Then I add  it an EditPoly modifer to give his main shape. As you can see, the object keeps its uvs. Now It’s time to use procedural approach further to detail it.
(然后加上Editpoly编辑器编辑形体。就象你看到的，物体保持了它的uv。现在是到时候使用程序方法进一步给它细节了。)

Then I add  it an EditPoly modifer to give his main shape. As you can see, the object keeps its uvs. Now It’s time to use procedural approach further to detail it.
(然后加上Editpoly编辑器编辑形体。就象你看到的，物体保持了它的uv。现在是到时候使用程序方法进一步给它细节了。)
Generaly, I add a Meshsmooth/Turbosmooth modifier on top of this hierarchy. And I add a noise modifier too with soft selection on vertices. This create little chaotic turbulences that make the fabric more natural.
（一般我会在编辑堆栈的最高层级加一个网格光滑或涡轮光滑。然后加一个噪波编辑器作用在被软选择的点上，产生了一点点的不规则使布料看起来更加自然。）

Of course there will some little coorections about uvs, and the falloff selection pour the noise modifier, but I prefer to do drapery so, because it is much easier than modeling the drapery and unwrapp it directly.
（当然在uv上会有一点点的变形，而且噪波编辑器也影响了被软选择的部分。但我还是倾向这种方法，因为这种方法比建好布料再展开uv要容易的多。）

As you can see, this is the same object deformed, and the uvs did’nt changed,  there was only a few corrections to it, and to reselect the vertices in the second EditPoly modifier for the falloff and the noise modifier. Hair were modeled in the same way, and received opacity maps for rendering. I like a lot to put the details more and more accurate on the models, because it makes them really react to the lighting of the scene. So I don’t usually use tricks on texture maps to replace the details of the model. I skinned and rigged the body of Binah to set her in pose. The dress and the other accessories were modeled on the posed body. I spent a lot of time searching the good pose, to give Binah a lot of personnality. Posing is a great way to make a 3D character alive, much more than a realistic rendering.
(就象你看到的，这是同一物体的变形，uv几乎没有变，只有一点点的变形。在第二个editpoly上重新软选择了顶点从而影响到了渐变和噪波修改器。头发也用相同的方法建模，带不透明贴图。我喜欢在模型上增加细节且使模型尽量精确，因为这能使它们真正的受场景光线的影响。所以我没有使用贴图方面的技巧去代替模型上的细节。我给binah蒙皮绑定后设置了姿势。衣服和其它的饰品都是在设定姿势后建上去的。我花了很多的时间寻找一个好的姿势，让binah看上去更加有个性。摆姿使3d角色看上去有生命感，而不光光只是真实的渲染。)

step2：texture
（第二步：贴图）

A good lighting can’t be done if you only bet on radiosity and HDRI lighting. According to me, the best way to lighten a scene is the do like a real photographer will do. Using the 3 point light technique.
（如果你仅仅依赖全局光和hdri，就不会有好的灯光。对我来说，好的照亮场景的方法应该是和一个真正的摄影师的方法是一样的。使用3点照明技术。)

I first setup three Area lights in my scene : (我先在场景里设置3个面光源)
- one Key Light;  (一个主光)
- one Fill Light    (一个补光)
- one Rim Light.  （一个轮廓光）
I tweak these lights until I get a good base lighting on my character.
（设置参数直到我得到一个好的基础灯光。）

Then I put a HDRI dome light, to avoid Black areas in my picture : I generaly set the intensity of this DomeLight very low. Finally, I put some white constant shaded planes around my character to fill the areas that remains too dark. These planes help to create nice reflexions on reflexive objects too. During this process, I always tweak the intensity of my lights to keep my lighting ratio at the same value (Intensity of Key Light / Intensity of Fill Light). I always try to use warms colors for the Key Light and cold colors for the Fill Light too. For the eyes, I always create two point lights, including only the eyes, and controling only their specularity. It allows me more control on the specularity of the eyes. Here is the light setting of my final scene. For the Rim Light, I duplicate the spot to make if softer.
（然后我设置一个hdri天光，避免在图像里出现死黑区域：一般我会把天光的强度设置的非常低。最后，我在角色周围布置了一些反光板来照亮仍然很黑的区域。这些反光板也能在有反射的物体上产生很好的反射。在此过程中，我经常会设置灯光的强度来保持光比不变（主光强度/补光强度）。我经常尝试暖色调的主光和冷色调的补光。眼睛方面，我经常建两个点光源，仅仅对眼睛产生高光。它使我能更好的控制眼睛上的高光。这是我最后场景的灯光设置。我复制了轮廓光让它更柔和。）

Texturing/Shading :
(贴图/材质)

The skin : I wanted Binah to have a cold pale porcelain skin. So, I choose to put details only in caracteristic areas:
(皮肤：我希望Binah的皮肤是苍冷精致的。所以，我选择只在几个区域添加细节)
the eyes      眼睛
the mouth    嘴巴
the hands    手
The rest of skin remains really simple, with only subtle variations on it. Here is some example of the diffuse texture for the skin
（其它地方的皮肤很简单，只有一些细微的变化。这里是皮肤漫反射贴图的一些样本。）

use the SSS Fast Skin Material from MentalRay to render the skin. I putted the diffuse texture in the Unscattered Diffuse Color and the Epydermal (Top) Layer Scatter Color slots. Then I putted a warmer version of the diffuse texture in the Subdermal Layer Scatter Color.For the Back Surface Scatter Color, I didn’t putted some textures, and kept the redish color.
(我使用mentalray的SSS Fast Skin材质渲染皮肤。我把漫反射贴图放在 Unscatteted diffuse color和Epydermal(top) layer scatter color上，然后我把漫反射贴图的暖色版本放在Subdermal layer scatter color上。Back surface scatter color上，我没有放置任何贴图，保持了红色。)
I use a specular map, reflexion map, and bump map(pictures below from left to right) for her skin, too.The dark areas of the reflexion map aren’t really black. It allows my skin shader always reflect some light from the environment, even where the skin doesn’t seem to be reflective. The bump map is really subtle as you can see. The details are mainly around lips and eyes area (again to make contrasts on her skin).
(我还使用了一张高光贴图、反射贴图和凹凸贴图赋予皮肤。反射贴图的黑色部分其实并不全黑。它使我的皮肤材质能够反射一些旁边环境的光线，甚至是那些看起来并没有反射的皮肤。就象你看到的，凹凸贴图很微弱。细节主要围绕嘴唇和眼睛区域（再次和皮肤形成对比）。)

For the dress fabric, I mainly used the Oren Nayar Blinn shader from 3DSMax. One of the tricks I often use for fabrics is to put a Fresnel Falloff map in the self-illumination slot of my material.Then I tweak its intensity curve to get the results I want. I do the same for the bump slot.It allows me to have some variations for the bump of my surface. Moreover I always put some reflexion map on fabrics (except the soft ones).
(衣服饰上我主要使用3DSMax的Oren Nayar Blinn材质。有一个技巧就是我经常会给布料材质在自发光通道上加一个菲涅尔渐变贴图。然后我调整它的强度曲线得到我想要的结果。凹凸贴图上也是如此，这样我就能在布料表面的凹凸上有一些变化。此外，我经常会给布料添加反射贴图（除非是很软的那种）。)

（下图中，你可以看到不同颜色混合的一个例子。在这里我使用了红色的漫反射，蓝色的第一高光层，白色第二高光层。）

（下面这张图里我在相同的场景里排除了那些泛光灯。区别是很明显的。在这里你可以理解在使用这篇教程里描述的技术是多么的重要。）

Tip 1: If you go to use many Mr Omni’s for an object because you want to create many different specular highlights, you will risk creating a less visible shadow of an object. In this case it is necessary to use Ambient/Occlusion to avoid this problem.

（提示1：如果你要给一个物体使用大量的MR泛光灯，因为你希望创建大量的高光，物体的阴影将变得不可见。 此时你需要使用Ambient/Occlusion 来解决这个问题。）   
Tip 2: If you have other objects in the scene that have normal materials and have NOT to be affected by the Omni’s, remember to exclude them from the Omni’s with the exclude button from the modify panel. ”R2t&X[9  
（提示2：如果你在场景里其他的物体是正常的材质，不希望被泛光灯影响，记得在修改面版里将其排除掉。）

You can find the information for the illumination & render settings in other Florence Design Academy tutorials.

（你可以在佛罗伦萨设计学院的教程里找到照明和渲染的设置。）

I hope you have enjoyed this tutorial.
（我希望你喜欢这篇教程。）

（3.进入贴图卷展栏，给反射通道指定“光线追踪”贴图。它会在这个材质上对场景里的其他物体进行真实的反射。反射数量应该在85到100之间（镜面反射必须是100）。）

Very often you need to have a environment which reflects on your object to achieve a good rendering. A good reflection will give a touch of realism to your object and will describe better organic shapes. But what if we don’t have any other object in the scene that can reflect on our model? UeCi{ W  
（通常你需要为反射指定一个环境以达到更好的渲染效果。一个好的反射将给你的物体添加真实性，并能呈现更好的结构形态。但是如果我们的场景中没有任何其他物体，那么在我们的模型上究竟能反射些什么呢？）

We will use a FAKE reflection. This kind of technique simulates to have an environment reflected on surfaces which in reality does not exist in your scene. In fact we will use a simple image to create a Fake reflection.  
（我们将使用一种模拟反射。这种技术模拟实际上并不存在于场景中的环境在物体表面上的反射。其实，我们使用一张简单的图像就能模拟反射。）

After you have insert RAYTRACE in the reflection map you will see that the material editor is showing new settings. This are the settings of the raytrace panel (on the right side of the material editor you can see written RAYTRACE instead of standard). Like in the image below go to assign to the NONE button in BACKGROUND a BITMAP.

（在你将光线追踪指定到反射贴图通道以后，你将看到材质编辑器显示出新的属性。这是光线追踪贴图的设置面板（右侧是贴图浏览器，你可以看到标为“raytrace”的材质在标准材质的上面）。如下图所示，给背景栏里的NONE按钮指定一张位图。）

After this step you will see that the material editor is showing you the settings of the Bitmap panel. Normally you must reduce the output amount of the fake reflection (this is the setting which will make more or less visible the image that you choose as fake reflection). To make the image “less visible” you must go to “Output” where in the “output amount” slot you must put a value which is a little bit smaller than 1 (for example 0,7). Normally the standard number 1 is too high as value.

（此后你可以看到材质编辑器向你显示了位图的设置面板。通常你需要降低模拟反射的输出数量（这项设置能控制你选为模拟反射的图像的可见度）。要使图像较少的出现，你需要进入“output”卷展栏，降低“output amount”（输出数量）值小于1，例如0.7。通常默认的数值1都太大了。）

In this way you can obtain really very good reflection effects. Here below you can see a sample.
（通过这种方法你可以非常好的反射效果，下图是一个例子。）

On this image you can see the reflection of the grey environment + 2 white boxes + the fake reflection

（在这张图里你可以看到灰色的环境＋2个白色的反光板＋模拟反射贴图在物体表面的反射。）

Here we have the same scene with the same settings like above. Only the image for fake reflection is different.

（这里是有着同样设置的同一个场景，惟一的不同是没有添加模拟反射贴图。）

Tip1: Remember that with Mental Ray the fake reflection is NOT visible in the material slot as preview. You must make a test rendering to see the result. （提示1：记住使用mental的话，模拟反射在材质球预览框里是不可见的。你必须做一个测试渲染才能看到结果。）

Tip 2: There are many ways to create Chrome. Another way to create Chrome is trough a RAYTRACE material (change standard with RAYTRACE in a new material slot). But the result is the same as in the standard material. 3j$,x(ua9  
（提示2：有很多方法来制作鉻合金。另一种方法是通过光线追踪材质，但是结果跟使用标准材质是一样的。）

Tip 3: A HDR image can also used as a fake reflection. HDRI renderings will be explained in other Florence Design Academy tutorials or lessons.

（提示3：HDR图像可以用于模拟反射。HDRI渲染将在其他的佛罗伦萨设计学院教程中讲解。）

Tip 4: If you want exclude an object from reflection: go to the chrome material, select raytrace that you have in the reflection maps slot. Click on the button LOCAL EXCLUDE. Now just select the objects that must be excluded from the reflection of the chrome material. This will make the selected object invisible in the Chrome material.

（提示4：如果你项将某些物体从反射中排除掉，你可以进入鉻合金材质，选择反射通道的光线追踪贴图，单击LOCAL EXCLUDE按钮，然后选择那些需要排除掉的物体。这将使所选择的物体在鉻合金材质的反射中不可见。）

Tip 5 : A mirror material is very similar to Chrome: Black diffuse colour, no specular highlights and Raytrace 100% in the reflection map. :20k6)  
（提示5：镜面材质与鉻合金很像：黑色的漫射颜色，没有高光，反射通道数量为100。）

You can find the information for the illumination & render settings in other Florence Design Academy tutorials. QmB

（你可以在其他的佛罗伦萨设计学院教程中找到关于照明和渲染的设置。）I hope you have enjoyed this tutorial.

（希望你喜欢这个教程。）

When I was satisfied with the sketch, I started work, building up the clouds. I used photo textures of clouds and I combined them to create something which I feel is very atmospheric.   
（当我对构图比较满意了，我开始构造云层。我使用了云层的照片纹理，并将其混合来制造我所感觉的氛围。）

Step Two:   
（步骤二）

 ——————————————————————————–

I started adding elements, like the water, rocks, buildings and so on, and I also used a small photographic texture combined to build the whole composition. The process was not so simple though because every layer had a different colour. To fix this, I used the Color Balance and Hue Saturation tools. I made a lot of layers with colour passes, and a painted fog was added to give the sensation of depth. But still, at this point more work was needed on the lighting and atmosphere.

（我开始添加一些元素，例如水，岩石等等，我同样使用来一些照片纹理来混合以构建整个作品。这个过程不是那么容易，因为每一层都有不同的颜色。为了修正这一点，我使用色彩平衡和色相饱和度工具。我制作了大量的校色之后的图层，并绘制了一些雾来添加场景的纵深感。但是，在这里，对于光线和氛围需要做更多的工作。） 

With the uv’s created I imported the head in ZBrush to texture it. I used poly-paint for it. Really cool. Then exported the head and texture to Maya and tada.. There it is now. (Also created SSS shaders) 
（UV建好后，我将头部导入ZBrush来进行贴图。我使用了多边形绘制（ploy－paint）。真酷！然后将头部和贴图导回Maya。如下图所示，我还创建了3s的shade。）

Imported the hair into ZBrush and divide the mesh to a 3 million poly mesh and started brushing hair. After that I created a normal map to import it in Maya. Also made an texture using the same technique as with the head.
（将头发导入ZBrush，细分网格到三百万格面，然后开始雕刻头发。然后我创建了法线贴图导到Maya中。当然我用同样的技术制作了头部的贴图。）

When the head was done I thought it was time for rigging. I totally forgot that I didn’t make the hands haha. So I had to make them. Box Modeled a low res in Maya, exported to UVlayout, imported in ZBrush, start making adjustments to the mesh, and then textured it
（头部创建好之后，我想是时候绑骨骼了。我差点忘了我还没做手呢，哈哈。所以我我不得不先作他们。在maya中用box建的低模，导到UVlayout分UV，导到ZBrush调整网格，然后绘制贴图。）

And there he is. The final model. Created Subsurface Scattering for the face and hands. Now its time to rig and pose the character 
（这就是最终的模型。我给脸部和手部创建了次表面散射。现在是时候绑骨骼和摆姿势了。）

Because this character was made for a motion capture shoot, I got the rig from the motion capture studio E-Motek. I only had to bind it and of course weight paint it  
（因为这个角色是用来配合动作捕捉的，所以我从动作捕捉工作室E-Motek中获取骨骼。我仅仅进行了绑定当然还有刷权重。）

Here we are in the motion capture studio. On the left is me commanding (lol sorry man) Sander kamermans (the 3d character is called after him, because he did the acting). my fellow classmate. Thnx for the great acting man !!! 
（这里就是动作捕捉工作室了。左边的人是我，我正在命令桑德·卡莫门（3d角色是以他命名的，因为他做的动作），我的同班同学。他是一个优秀的动作者。）

Introduction 2:
（简介2）
——————————————————————————–

So the character is done. The performance also… So now I had to wait to get the data from the motion capture studio. It took them uuuuuuh… I thought 3 days. So in the spare time i wanted to create a poster from my character just for fun. To kill some time.
（角色已经完成了。任务也结束了……现在我不得不等待来自动作捕捉工作室的数据。这花了他们3天的时间。所以在空闲的时候我希望给我的角色摆个有趣的pose。算是打发时间吧。）

Saturday I was in Utrecht city (city in the Netherlands) where I saw a big poster of H&M. Its a big.. I mean.. BIG clothing shop. Full of lines of (mostly) woman fighting for the last discount articles. You have to see that, its kind of fun just to watch them going frenzy. I thought maybe its fun to make a poster just like the one H&M uses, but then with my character. So… again goggled some reference
（周六，我在Utrecht城（荷兰的一个城市）看到了一些人物的姿势。这是一个很大的时装杂志。富于线条的女人充斥着最后一页。你可以感到，即便仅仅是看着他们也会变的疯狂。我想制作一个类似的姿势应该是很有趣的。我再次收集了一些参考。）

Created a simple background, studying the lighting of the real posters from H&M to simulate the lighting. And here is the final pose of the character. Now its time to render
（制作一个简单的背景，学习H&M杂志里对真人的照明来模拟灯光。这是角色最终的姿势。接着是渲染。）

 made only two render passes. One occlusion, and a Color/specular render. Now its time to startup Photoshop for creating the final look of it. Compositing yeahhhhh : 
（我渲了两次。一个AO层，一个色彩高光层。现在可以在PS里进行最后的合成了。）

Here you can see the difference in Photoshop. Left is the color render only and on the right side the render with occlusion and color correction 
（你可以在PS里看出其中的不同。左边是单独的色彩层，右边是色彩和AO层混合并校色的结果。）

And here is the final render with the logo and price tag . Isn’t it cheap for such a nice shirt haha 
（这是最终的渲染，还有价格标签。这件漂亮的T恤可不便宜。）

Introduction:
（简介）
——————————————————————————–

Alright lads, here is a little making of from my Emo Character called Sander.
（一个健康的少年，这是一篇关于制作我的EMO角色桑德的教程。）
——译者注：EMO是指人，缩写是从EMOTIONAL EMOTIVE 之类的，是说人的性格很古怪，古怪性格的人! 就是神经质，也说男的GAY 的那种。

It all started on Queens day when I and a friend (micha) saw some ‘Emo’ people walking down the street. Have to say I am not into that kind of style, but it’s a style really good for caricatures. It’s easy to tell someone how an ‘Emo’ looks like, so it is really good for translating it to a 3d character (or any other medium). So I made a sketch in my little sketchbook.
（那是在皇后日的那天，我和我的朋友（米查）看见一个“EMO”少年走在大街上。当然，我不是那种人，但这的确是一个很好的漫画形象。这样很容易告诉别人一个“EMO”是什么样的，所以最好将它转换成3d角色。然后我在我的小速写本上画下了它的草图。）

I draw this simple drawing of an ‘Emo’ character in my little sketchbook that I got with me all the time. Not knowing what to do with it but just draw it for fun, maybe someday it becomes something (and yes I’m not that good at drawing so don’t laugh ha ha).
（我在随身携带小本上简单的画下了这“EMO”角色。当时并没有明确的目的，仅仅是画着玩，也许什么时候会有用。我不擅长画画，让大家见笑了。）

At school we got an assignment to make a 3d character that we going to use for a motion-capture shoot. I was looking for a concept for a character and found my stupid drawing. I thought it could be fun to make that in 3d. So I collected some reference from Google, and created this reference sheet before making the final sketch 
（在学校我得到一个任务，制作一个3d角色来配合动作捕捉系统使用。我开始寻找合适的角色，然后找到了我那个傻乎乎的草图。我想用3d做出来应该很有趣的吧。所以我从google上收集了一些参考资料，然后在绘制最终的草图前创建了这个参考板。）

And there he is. A front and side view painted in Photoshop. Took me 2 days ha ha. Have to practice more on my drawing skills. But it’s good enough to get an overall idea of the character 
（这就是了，在PS中绘制了前视和侧视图。这花了我2天的时间。看来要多练习画画了。但这对获取角色的整体印象已经足够了。）

After a while I created the low resolution version of the body and head. All the body parts where started from cylinders en just modeled the overall shape. Inserted some loops where I want some clothing folds. But nothing fancy yet 
（然后我创建了身体和头部的低模。所有的身体部分是从一个圆柱开始的，仅仅调整了一下总的形体。然后在我希望有褶皱的部分加入一些环行线。这没什么好说的。）

Here are some close-ups when smoothed 
（这是光滑之后的衣服。）

I have a hard time making heads out of nothing from polys. In ZBrush I don’t have to worry on the technical aspects of modeling, pure creative. So I exported the head from Maya to ZBrush to get sculpting. In ZBrush I created in an hour or so this simple head and thought it looks ok 
（从一个什么都没有的多边形开始构建头部是一个艰难的时期。在ZBrush中我不必担心建模的技术问题，仅仅是创造。所以我将头部从Maya中倒入ZBrush来进行雕刻。在Zbrush中我花了一个小时来创建了这个简单的头，如下图所示。）

When the modeling was done, I exported the different body parts as OBJ’s. I imported those files in UV layout to simply create uv-maps!!!! What a nice program. Some stretching going on around the mouth but its good enough for ZBrush. If there are no overlapping then its good.
（建模完成之后，我将这些不同的身体部件以OBJ格式导出。我将这些文件导入UV layout来创建UV贴图！！！真棒的一个程序。在嘴部周围有一些拉伸，但这对ZBrush来说已经够好了。如果没有重叠那就完美了。）