翻譯：層層（本站翻譯小組成員）

Posted by Jeff Mottle

作者：Jeff Mottle

uan Gayarre Calvo from GAYARRE infografía was the recent winner of the 3D Render Party 6 Competition. He’s created a detailing Making Of of his winning image for CGarchitect.

來自GAYARRE infografía 的Jeff Mottle是最近一期3DRP 6比賽的獲獎(jiǎng)?wù)?。他為CGarchitect網(wǎng)站制作了獲獎(jiǎng)作品的詳細(xì)解析教程。

INSPIRATION

靈感來源

Once we chose the point of view and the aspect of the scene, we set out to search for reference images, which help us to get as close as possible to the final idea.

在選取視角和場(chǎng)景方向時(shí)，我們搜索了很多參考圖片，這可以幫助我們接近最終想要的效果。

The fundamental keys of our image were the deterioration and the abandonment of the scene. We were looking for images that showed a feeling that we could apply to our scene. The first search was made on bridges or similar locations with some deterioration.

這幅圖的關(guān)鍵在于場(chǎng)景給人的墮落、被遺棄的感覺。我們尋找可以把感覺應(yīng)用于我們場(chǎng)景的圖片。所以我們首先尋找的是橋或者有墮落感覺的近似場(chǎng)景。

We think it could be a habitable place for animals who often use this type of place for nesting, like crows, vultures, etc.

我們覺得這將是一個(gè)適合于烏鴉、禿鷲這一類動(dòng)物經(jīng)常筑巢的地方。

So, this was the second Internet search.

所以，這是第二次搜索的成果。

After deciding that the scene would be lit with a night or evening ambiance with snow, we made a third and final search, searching dusk sunset skies, and places where the snow is present.

在確定了要使用有雪的夜晚場(chǎng)景之后，我們進(jìn)行了第三次搜索，收集了有黃昏落日的天空和有雪的場(chǎng)景。

MODELLING SNOW

雪的建模

For snow creation, we used a plugin for Cinema 4D: MagicSnow.

http:///blog/freebie/magic-snow/

我們使用C4D的MagicSnow插件做雪。

Defaults settings for Magic Snow

Magic Snow的基礎(chǔ)設(shè)置

This plugin had advantages and disadvantages. The advantages were obvious, it brought something different to the scene. The big drawback was that we had to wait a long time, as the snow fills the scene in real time. There wasn’t something like an airbrush to paint snow in the scene. We had to put snow on the different objects in the scene to see how they would appear. We also had an additional problem because the snow uses pure and simple geometry. Our computers did not like it if we tried to do the whole scene at once.

這個(gè)插件優(yōu)缺點(diǎn)并存。優(yōu)點(diǎn)顯而易見，它豐富了場(chǎng)景。但是它最大的缺點(diǎn)是耗時(shí)很長(zhǎng)，因?yàn)檠┦前凑照鎸?shí)時(shí)間填充到場(chǎng)景里的。沒有噴槍可以繪制雪。我們必須將雪放到場(chǎng)景中的不同物體上來觀察雪的形態(tài)。還有一個(gè)問題是，由于雪使用的是純粹的簡(jiǎn)單幾何體，當(dāng)我們?cè)噲D一次性為整個(gè)場(chǎng)景添加雪的時(shí)候，我們的計(jì)算機(jī)并不適應(yīng)。

We had to make it snow in pieces and then adapt the final snow geometry to the scene. The snow in the background could be less in quantity, resolution and definition.

我們必須一塊一塊的做雪并最終整合到場(chǎng)景中。背景部分的雪會(huì)有更低的質(zhì)量、分辨率和清晰度。

Finally we were able to fill the scene after multiple tests, as we did not always chose in the right values. Mainly because it was a novelty for us to use this plugin for the first time.

This video was very useful for us to understand the process:

Some screenshots of the snow process:

雖然我們偶爾會(huì)選錯(cuò)數(shù)值，但是經(jīng)過多次測(cè)試，我們最終為場(chǎng)景加上了雪。

這主要是因?yàn)槲覀冞€是第一次使用這個(gè)插件，一切都很新奇。

做雪過程中的截屏：

PUDDLE

水坑制作

Initially the puddle was an element that was going to have some prominence, because we wanted to put it in the foreground. Its inclusion in the surroundings, along with its reflection, diffusion, etc., would make it an attractive element in the scene. We sought photographic references to get ideas.

從一開始，水坑就是一個(gè)重要的元素，因?yàn)槲覀円阉旁谇熬?。它包含的?duì)于周圍環(huán)境的反射和漫反射等將會(huì)使它在場(chǎng)景中很顯眼。我們搜集了照片作為這一想法的參考。

We used geometry and tried to to replicate reality as much as possible.

我們使用幾何體，并盡可能的還原真實(shí)場(chǎng)景。

VEGETATION

植被制作

Regarding the issue of modeling vegetation, we used “hair” in Cinema4d, proxies for trees and simple 3d models for the dry trees.

植被我們使用C4D的“毛發(fā)”系統(tǒng)來制作，樹用代理，枯枝用簡(jiǎn)單的3D模型。

Background trees were placed in post-production. During the process, many vegetation tests were conducted.

背景中的樹是后期加入的。在整個(gè)過程中，我們做了很多植被的測(cè)試。

（hair毛發(fā)，proxys代理，model模型）

The trees were placed back in post-production, because we obtained more control, and we avoided having to place snow on that many trees, and also reduced the polygon count.

后期加樹的好處是我們可以更好的控制它們，可以避免在很多樹上放雪，還可以減少面數(shù)。

We kept a large percentage of foliage and shrubs. Unfortunately most of them were hidden by snow.

我們做了大量的樹葉和灌木，但是大多數(shù)都被雪擋上了。

SINGULAR 3D MODELS

特殊的3D模型

A number of elements were custom modeled for the scene.

有一些元素是為場(chǎng)景定制的模型。

BIRDS

鳥

We decided to place the crows perched on the bridge deck and generated renderings from different viewpoints.

我們決定讓烏鴉棲息在橋板上，并且多角度渲染。

We generated a specific UV map for this model. The object is sectioned into “slices” and these are used as a canvas to “paint” on the texture obtained from several photos. The realism is good close up. In the end the model is a bit off, but all the details increase the realism of the final image.

模型的UV被細(xì)致展開。物體被分成很多“切片”，它們像一個(gè)畫布一樣允許我們將照片“畫”成材質(zhì)，得到很真實(shí)的效果。最終的模型有一點(diǎn)兒糟糕，但是所有這些細(xì)節(jié)都增加了最終圖像的真實(shí)性。

DRY LEAVES

枯葉制作

As with the crow model, we used UV maps to texture the leaves. Later, we adjusted to the model. We used a projection canvas floor as a guide.

與烏鴉模型一樣，我們展UV為葉子添加材質(zhì)，然后整合到模型上。我們使用projection canvas floor（一種映射方式）作輔助。

With the 3d paint brushes in C4D we directly retouched it into the camera perspective to tune.

我們使用C4D的三維筆刷修正貼圖使之與攝像機(jī)角度吻合。

“BREAKING” THE BRIDGE

制作橋面破損

The bridge was modeled and modified slightly to give it an old weathered look.

為橋做簡(jiǎn)單的修改，使之有破舊風(fēng)化的感覺。

We first modelled all the glass areas, then using the Thraussi plugin, we broke it. It generates random cuts in the model, but unfortunately the number of polygons exceeded the power of our computer. We thought that we could gain time and realism.

我們一開始建了所有的玻璃平面，用Thraussi插件將它們破碎。在模型中產(chǎn)生了很多碎塊，但是不幸的是，模型的面數(shù)超過了計(jì)算機(jī)的承受范圍。我們認(rèn)為要花更多的時(shí)間使之更真實(shí)。

We modified the top rail stairs manually to create breaks and folds.

我們修改了上部的樓梯，手動(dòng)增加破損和裂痕。

We used a tool that appears in the latest version of Cinema 4d and previously was found in other organic modeling applications: “SCULPT”. With this tool we could bend and soften the cuts and create dents.

我們使用了一個(gè)在最新版C4D中出現(xiàn)的工具，它在之前的其他建模軟件中也出現(xiàn)過：“SCULPT(雕刻)”。我們可以用這個(gè)工具彎曲、柔化切面，創(chuàng)建凹痕。

We made major breaks manually and then refined the details later.

我們手動(dòng)添加主要的破損，稍后添加細(xì)節(jié)。

In the creation process we used several options, but some of the elements didn’t appear in the final image.

我們做了很多，但是其中一些沒有在成圖中出現(xiàn)。

In a version with less snow, the surrounding soil appeared full of small bushes and stones. We used the MoGraph, a tool to multiply and distribute copies of an object. We modeled three or four stones and three or four bushes. With the aid of this tool, we randomly copied them on the ground.

在一個(gè)雪很少的版本里，周圍地上有很多小的灌木和石頭。我們使用可以復(fù)制分散物體的工具M(jìn)oGraph。我們創(chuàng)建三四塊石頭和三四個(gè)灌木叢。在這個(gè)工具的幫助下，我們?cè)诘厣想S機(jī)擺放復(fù)制出的物體。

We used several polygon selections on the ground to make it even more random (mostly to avoid overloading the file by placing elements only where needed).

我們用一些多邊形區(qū)域使石頭和灌木更隨機(jī)（主要是將元素放到我們需要的地方，避免文件超負(fù)荷）。

TEXTURES

材質(zhì)貼圖

Due to the aspect ratio of the image, there were several items that required some special attention during texturing. Some of them were in the background or they had less prominence in the end, but they are there and we think they worked well.

由于圖像尺寸的原因，有一些物品的材質(zhì)需要格外用心。它們中的一些可能在背景中，或者并不那么重要，但是我們覺得它們?yōu)楫嬅嫣聿省?/p>

One of them was the puddle mentioned above and others were the drum, graffiti, the crows etc.

之前提到的水坑就是其中一個(gè)，還有桶、涂鴉、烏鴉等。

DUST BIN

垃圾桶

The drum was an added element at the last minute. Its texturing was based on finding an original picture and a model adaptation.

桶是在最后才加上的。先有了圖片和模型，然后上材質(zhì)。

REAL PICTURE

實(shí)物圖

CINEMA 4D RENDER:

C4D渲染效果：

The texture map was something like this:
貼圖是這樣的：

We joined two textures because the first didn’t have graffiti painted. Eventually some of the graffiti was lost on the ground by the snow.

我們將兩個(gè)材質(zhì)融合，是因?yàn)榈谝粋€(gè)沒有畫涂鴉。

最終一些涂鴉被地上的雪覆蓋了。