使用Maya, Fusion 360和Arnold创建闪亮的红色法拉利
本帖最后由 DiGiToTo 于 2022-4-7 21:26 编辑Creating a Shiny Red Ferrari in Maya, Fusion 360 & Arnold使用Maya, Fusion 360和Arnold创建闪亮的红色法拉利
Introduction介绍
Hi everyone, my name is Ian Tan and I’m a 21-year-old freelance 3D Artist and Designer based in Singapore. I specialize in the creation of hard-surface models and designs for commercials and VFX.大家好，我的名字是Ian Tan，我是一个21岁新加坡的自由3D艺术家和设计师。我专门从事硬表面模型的创作和商业广告和视觉特效的设计。
I got my diploma in Animation in 2020. After that, I took various freelance projects here and there. I have created hero models for projects such as the Razer DeathAdder 2 and Razer Viper Mini commercials while doing work for Masonry Studios. I am currently working as a freelance designer and modeler for a few upcoming NFT projects.我在2020年拿到了动画专业的毕业证书。在那之后，我到处参加各种自由职业项目。我为《Razer DeathAdder 2》和《Razer Viper Mini》广告等项目创建了英雄模型，同时为圬工工作室工作。我目前作为一名自由设计师和几个即将到来的NFT项目的建模者工作。
I have spent a lot of my free time improving my skills by self-studying and seeking out feedback otherwise.我花了很多空闲时间通过自学和寻求反馈来提高我的技能。
My fascination with mechanical objects began early, I remember sketching robots and making an AK47 and a bow out of Lego when I was young.我对机械物体的迷恋很早就开始了，我记得我小时候画过机器人草图，用乐高积木做过AK47和弓。
It’s only in the past year or so that I got into automobiles. Something about the way the smooth flowing lines and plane changes on a car body masking the complicated inner-workings to create a masterpiece of art and engineering really sits well with me.我是在过去一年左右才开始从事汽车行业的。汽车车身上平滑流畅的线条和平面变化掩盖了复杂的内部工作原理，创造了一件艺术和工程杰作，这让我非常满意。
The Ferrari 330 P4 Project法拉利330 P4项目
I set out to recreate the historical Ferrari 330 P4 and its internal pieces in CG. I wanted to understand the inner workings of a combustion engine automobile and improve my modeling, texturing, and set dressing skills at the same time. Knowing more about automobiles also feeds into my designs.我开始重建历史上的法拉利330 P4和它的内部部件在CG。我想了解内燃机汽车的内部工作原理，同时提高我的建模、纹理和渲染技巧。更多地了解汽车也有助于我的设计。
The Ferrari 330 P4 was a legendary line of vehicles, part of an intense rivalry with Ford’s GT40. The P4 got 1st, 2nd, and 3rd places in the 1967 24 Hours of Daytona in counter to Ford’s 1st, 2nd, and 3rd finishers in the 1966 24 Hours of Le Mans. The P4 has also been called the most beautiful vehicle ever made.法拉利330 P4是传奇车型，是福特GT40的有力竞争对手。P4在1967年的《代托纳24小时》中获得了第一、第二和第三名，而福特在1966年的《勒芒24小时》中获得了第一、第二和第三名。P4也被称为有史以来最漂亮的汽车。
I modeled the vehicle in Maya and Fusion 360, textured it in Substance 3D Painter, and rendered it using Arnold.我使用Maya和Fusion 360中建立车辆的模型，在Substance 3D Painter中添加了纹理，并使用Arnold进行渲染。
References参考文献Here’s what sort of images I searched for in the creation of this project.以下是我在创建这个项目时所寻找的图片。
Images to look for (modeling).要寻找的图像(建模)。
1. Blueprints. These can be found from sites like this one or from scale model websites. Blueprints help greatly in the initial placement of curves and getting the proportions right.1. 蓝图。这些可以在像本网站或模型网站上找到。蓝图对曲线的初始位置和正确的比例有很大的帮助。
2. Photographs of the real vehicle. If you’re creating a limited run racecar that has small differences between each model, it can be a good idea to collect as many images from one model number and group them together, collect images from another number and group those together as well. This will allow you to notice the differences between each model and integrate each feature as you deem fit.2. 真实车辆的照片。如果你正在创建一个有限运行的赛车，并减少每个模型之间的差异，从一个型号收集尽可能多的图像可能是一个好主意，然后将它们组合在一起。从另一个数字收集图像，再将它们组合在一起。这将允许您注意到每个模型之间的差异，并根据您认为合适的情况集成每个特性。
3. Scale models. These can be an option if you’re missing some views from actual photographs. These are useful for providing information on the layout of the model. However, they can be misleading if replicated 1 to 1 as the fillets and bevels on them are typically enlarged compared to the real thing.3. 比例模型。如果你错过了实际照片中的一些景色，这是一个选择。这些对于提供有关模型布局的信息非常有用。但是，如果以1:1的比例复制，它们可能会产生误导，因为它们上面的圆角和斜面通常会比真实的东西放大。
4. Images/diagrams for specific parts. Even after collecting images of the real vehicle and the scale models, you might still need images of specific parts. Examples include images of the brake disc and brake calipers, fire extinguisher, wheel rim, and tires.4. 特定部件的图像/图表。即使在收集了真实车辆和比例模型的图像后，您可能仍然需要特定部件的图像。例子包括：刹车盘和刹车卡钳，灭火器，轮辋和轮胎的图像。
5. Inspiration. Images that allow you to envision how the final result will turn out can also be collected. These can be movie screenshots, car photos/renders, or just images that give you a sense of the emotion that you want the final piece to have. A sort of mood board, if you will.5. 灵感。可以让你想象出最终结果的图像也可以被收集。这些可以是电影截图，汽车照片/渲染，或只是图像，给你一种情感的感觉，你想要的最终作品。一种情绪板，如果你愿意的话。
Images to look for (texturing).要寻找的图像(纹理)。
I think it’s important to first come up with a backstory by asking yourself questions of what the object has been through. Did it just complete a 24-Hour race? Is it brand new from the factory? Where has it been? Any specific details it would have? This will facilitate the search for more relevant references and make the textures more interesting overall.我认为很重要的一点是，首先要想出一个背景故事，问自己这件物品经历了什么。它刚刚完成了24小时的赛跑吗?这是从工厂买的全新的吗?它到哪里去了?有什么具体的细节吗?这将有助于搜索更多相关的参考资料，并使纹理更有趣的整体。
Material-specific. After breaking down the materials that are needed for the project, close-up images of each specific material with the correct finish should be collected. For example, anodized aluminum, carbon-coated steel, ABS, ASA, and PVS (plastics) were some materials I used in this project. High-res images of vehicles are really good for this, so it's great if you can find those.1. Material-specific。在分解了项目所需的材料之后，应该收集每个特定材料的特写图像，并进行正确的处理。例如，阳极氧化铝，碳涂层钢，ABS, ASA和PVS(塑料)是我在这个项目中使用的一些材料。高分辨率的车辆图像非常适合这个，所以如果你能找到它们就太好了。
Weathering references. My intention with the vehicle was to make it look like it has been driven for a couple of days on the track, so it would have a light to moderate amount of breakup. I searched for high-res images of racecars that had just completed rallies for this purpose. I found a really nice set of photographs of a Ford vehicle that had just completed a 24-Hour race. It has thousands of flies splattered on the front, scratched-up headlights, and dirt scattered in really specific patterns on the rear and sides. That really influenced how I would texture the vehicle later on.2. 风化引用。我对这辆车的意图是让它看起来像是在赛道上开了好几天的车，这样它就会有轻微到中等程度的破裂。为了这个目的，我搜索了刚刚完成拉力赛的赛车的高分辨率图像。我发现了一组非常漂亮的福特汽车的照片，它刚刚完成了24小时的比赛。它的正面溅满了成千上万只苍蝇，车灯被刮花了，车尾和两侧还撒满了灰尘。这真的影响了我后来如何制作车辆的纹理。
Modeling建模
Modeling with curves 建模与曲线
I started modeling by setting up the blueprint images and drawing NURBS curves to match the contours of the vehicle. At this point, I also used the photographs collected to reference where the peaks and valleys of the various plane changes were.我开始建模时，首先设置蓝图图像和绘制NURBS曲线来匹配车辆的轮廓。在这一点上，我也用收集到的照片来参考各种平面变化的峰谷。
After the curves were in place, I created a plane and snapped it to the curves created. I created a low poly yet accurate representation of the vehicle using the curves as a guide at this point. I was constantly making sure the surfaces looked good and accurate when viewed in 3D. I paid close attention to the size of the fillets and the bevels in place.在曲线就位后，我创建了一个平面，并将其捕捉到所创建的曲线。在这一点上，我使用曲线作为指导，创建了一个低模多边形但精确的车辆。我不断地确保在3D中看到的表面看起来很好和准确。我密切关注圆角和斜角的大小。
I smoothed the mesh and then added details after settling on the major form changes of the vehicle. A good rule of thumb is to only smooth as much as the detail requires. Keeping topology as low as possible at this stage will allow you to make form changes quickly and without much hassle.我对网格进行了平滑处理，然后在确定车辆的主要形式变化后添加细节。一个好的经验法则是，只在细节要求的范围内平滑。在这个阶段尽可能地保持拓扑结构的低密度将允许您快速地更改表单，而不会遇到太多麻烦。
Wheels 轮子
With modeling tire and wheel rims, it’s all about finding the repeating pattern, modeling it once, and duplicating it around. I often used duplicate special with instances selected in Maya while modeling.建模轮胎和车轮轮辋，这是所有关于寻找重复的模式，建模一次，并复制它。建模时，我经常对Maya中选定的实例使用特殊复制。
Andreas Ezelius has a great series on YouTube explaining his process of modeling cars with curves and modeling wheels, which goes into a lot more detail. Andreas Ezelius在YouTube上有一个很棒的系列，解释了他用曲线和车轮建模汽车的过程，其中有很多细节。
I decided early on that I would potentially show close-up shots of the headlights, wheels, the rear components, the steering wheel, and the fire extinguisher, so I paid extra attention when modeling to make sure all the fillets/bevels were accurate, all the details were in place and also added slight imperfections to the mesh during the modeling process.我很早就决定，我可能会展示头灯，车轮，后部组件，方向盘和灭火器的特写镜头，所以我在建模时格外注意，以确保所有的圆角/斜面都是准确的，所有的细节都在适当的位置，并在建模过程中给网格添加了一些小的瑕疵。Anatomy of a combustion engine vehicle内燃机汽车的解剖
After I modeled the body panels, the exterior glass parts, and the wheels, I looked at the specific part in one of the breakaway views and looked for it on the internet to try to figure out what it is and what it does. And then, through that, I got a complete picture of how everything fits together.在我对车身面板、外部玻璃部件和轮子建模之后，我在一个分离视图中查看了具体的部分，并在互联网上寻找它，试图弄清楚它是什么，它是干什么的。然后，通过这些，我得到了一个完整的画面：所有的东西是如何组合在一起的。
YouTube channels Engineering Explained, Donut Media, The Engineering Mindset, the HowACarWorks website, Wikipedia, sites of various car manufacturers like Porsche have been instrumental in improving my understanding of how vehicles work.YouTube频道Engineering Explained, Donut Media, The Engineering Mindset, HowACarWorks网站，维基百科，各种汽车制造商的网站，比如保时捷，都有助于我更好地理解汽车是如何工作的。
A very brief overview of the anatomy of the P4对P4的解剖结构做一个简单的概述
This is not an extensive resource by any means and only covers the main components and their basic functions. More research is required to derive more complete understanding of automobiles.这绝不是一种广泛的资源，只包括主要组成部分及其基本功能。要对汽车有更全面的了解，还需要进行更多的研究。
UVs & Unwrappinguv和展开
I used UDIMs for this project and separated the tiles according to their relative positions. Objects in the middle group were in their own rows, objects on the left and right were on other rows. I decided on this over separating the UV tiles by materials because it would make it easier to split texturing into different painter files and tackle each region as its own little project. This is the process Jay Machado taught in his Hard-Surface Modeling course on CGMA.我在这个项目中使用了udm，并根据它们的相对位置将贴图分开。中间一组的对象在它们自己的行中，左边和右边的对象在其他行中。我决定将UV贴图按材质分开，因为这样可以更容易地将纹理分割到不同的画家文件中，并将每个区域作为自己的小项目。这是Jay Machado在CGMA的硬面建模课程中教授的过程。Texturing纹理
I used the backstory created for texturing to guide my thought process. I also logically broke down the materials into the layers used. For example, for the car paint, the base layer would be aluminum, followed by a layer of primer, then the car paint and a layer of clear coat. Breakup in the form of sand, dirt, and dead bugs came after that. I then attempted to recreate each of these layers using references to help with specifics. Here’s a rough breakdown I made before texturing.我使用纹理创建的背景故事来指导我的思维过程。我还逻辑地将材料分解为使用的层。例如，对于汽车油漆，基层会是铝，然后是一层底漆，然后是汽车油漆和一层透明的涂层。之后以沙子、泥土和死虫子的形式解体。然后，我试图使用引用来重新创建这些层，以帮助解决细节问题。这是我在制作纹理之前做的一个粗略的分解。
To start the texturing process, I used 3D scans from Quixel Megascans or photographs as a base before adding layers of color, roughness, and height breakup on top and creating a smart material to be used throughout the project. Some examples are shown below.在开始纹理处理之前，我使用了来自Quixel Megascans或照片的3D扫描作为基础，然后在顶部添加颜色层、粗糙度和高度分解，并创建一个智能材料，用于整个项目。下面展示了一些例子。I also made use of stencils to add specific breakup patterns to parts of the vehicle. For example, on the front of the vehicle, since I wanted the vehicle to look like it has been driven for a couple of days, I painted on bugs splattered across the front, as per Arvid Schneider's suggestion. I found images of splattered bugs on cars on the internet, created a black and white mask out of them, and used it as a stencil to add breakup to the front regions in Substance 3D Painter.我还利用模板给汽车零件添加特定的分解图案。例如，在汽车的前部，因为我想让汽车看起来像是已经被驾驶了几天，所以我按照Arvid Schneider的建议，在汽车前部画上了喷溅的虫子。我在网上找到了汽车上喷溅的臭虫的图像，用它们创建了一个黑白蒙版，并用它作为模板在Substance 3D Painter的前端区域添加了分裂。
Jason Ord has a fantastic tutorial on ArtStation, where he shows how he uses stencils in his texturing workflow.Jason Ord在ArtStation上有一个很棒的教程，在那里他展示了他如何在他的纹理工作流程中使用模板。
Texturing is definitely not a one-and-done process. It requires many passes going between Substance 3D Painter and the render engine. So it’s important to have high iteration speed (fast render settings or real-time applications) as well as critical feedback (from yourself or others) so you can get through the phase where everything looks bad quickly. The Pareto Principle comes into play here. Spend 20% of the time getting to 80% of the result, and the remaining 80% of time finessing the textures so that it looks as good as possible.纹理绝对不是一个一劳永逸的过程。它需要在Substance 3D Painter和渲染引擎之间进行多次传递。所以拥有较高的迭代速度(快速渲染设置或实时应用程序)以及批评性反馈(来自你自己或他人)是非常重要的，这样你就可以快速度过一切看起来很糟糕的阶段。帕累托法则在这里起了作用。花20%的时间得到80%的结果，剩下的80%的时间处理纹理，让它看起来尽可能好。
I also received feedback from Kirill Chepizhko about the scale of my textures being too large and too intense, which made me realize that paying attention to the scale of details is super important for making an object look realistic and of the correct size.我还收到了Kirill Chepizhko关于我的纹理比例太大和太密集的反馈，这让我意识到关注细节的比例对于使一个对象看起来真实和大小正确是非常重要的。
Lighting照明
For my lighting setup while texturing, I used the same HDRI in Arnold as I used in Substance 3D Painter.对于我的灯光设置，我在Arnold中使用了和在Substance 3D Painter中相同的HDRI。
When lighting your final images, it’s paramount to consider what your intention is with each image. Is it to showcase the entire object? Is there a specific area you wish to highlight? Then consider how you can execute that with the variety of lighting tools at your disposal. For these renders, I really wanted to show off the forms of the car. Therefore, I tried to make sure the forms were easy to read, plane changes were evident, and that regions of the car were neither too bright nor too dark.当你为最终的图像照明时，最重要的是考虑你对每张图像的意图。是为了展示整个物体吗？你有没有特别想强调的地方？然后考虑如何使用各种照明工具来实现这一点。对于这些渲染，我真的想炫耀汽车的形式。因此，我试图确保表格易于阅读，平面变化明显，汽车的区域既不太亮也不太暗。
For the final lighting, I opted to place the vehicle in a CG version of the Batcave from Nolan's Batman trilogy (don’t ask why). The CG environment helped get some nice reflections onto the car, and reflections of the ceiling tiles of the car body inadvertently helped create guiding lines, which in turn helped to guide the eye between the front and the back of the vehicle. I also made sure to brighten the wheel rims to get a nice metallic sparkle in the renders.对于最终的灯光，我选择将车辆放在诺兰的蝙蝠侠三部曲(不要问为什么)中蝙蝠洞的CG版本中。CG环境有助于在汽车上获得一些漂亮的反射，车身天花板的反射无意中帮助创建了引导线，这反过来有助于引导车辆前后之间的视线。我还确保了车轮边缘变亮，以在渲染中获得漂亮的金属光泽。
During compositing, I like to work with Photoshop’s Camera Raw Filter to tweak values, add vignettes, brighten regions to bring attention to, and darken regions to detract attention from. Again, carefully consider what’s important to show in the image and make use of value to help you to achieve that. Final touches in the form of LUTs, Depth of Field, Lens Distortion, Chromatic Aberration, and Film Grain were added after that.在合成过程中，我喜欢使用Photoshop的相机原始数据滤镜来调整值，添加晕影，使区域变亮以引起注意，并使区域变暗以转移注意力。再次，仔细考虑什么是重要的，以显示在图像中，并利用价值来帮助你实现这一点。在此之后，添加了LUTs、景深、镜头失真、色差和胶片颗粒等形式的最后润色。
Alex Senechal has a great tutorial on the fundamentals of lighting and compositing, which helped me view lighting in a more methodical manner.Alex Senechal有一个关于灯光和合成基础的很棒的教程，它帮助我以一种更有条理的方式来看待灯光。
Composition
I’m no expert at composition by any means, but here’s a breakdown of one of my final renders' composition to give you an insight into my thought process.不过，我在构图方面都不是专家，但这里有一张我最终渲染的构图的分解图，可以让你深入了解我的思维过程。
1. The eye will immediately be drawn to the rear headlights and rear wheels region, as they have the highest detail, color intensity of the whole image, and is close to the center of the image.1. 眼睛将立即被吸引到后大灯和后轮区域，因为他们有最高的细节，整个图像的颜色强度，并接近图像的中心。
2. The eye will jump to the text or the front wheel next. These are regions of high contrast.2. 眼睛会跳到文本或前轮下。这些区域的对比度很高。
3. The curves of the car help guide the flow of the eye between the front and the back.3. 汽车的曲线有助于引导眼睛在前面和后面之间的流动。
4. The lines on the ceiling help push the eye across the composition. A slight blur and gradient also make it less visually important.4. 天花板上的线条有助于推动视线穿过构图。轻微的模糊和渐变也使它在视觉上不那么重要。
5. The ground is darkened and blurred slightly to bring attention to the visually striking car.5. 地面是暗的和模糊的轻微，以引起注意的视觉冲击的汽车。
Conclusion总结
When creating personal projects, pushing at least one aspect of it further than I have ever gone, learning new tools and skills in the process has helped me improve my work over time. Also, having people better than you who can give you feedback has been tremendous in opening my eyes to avenues in which my work can be improved. You will be surprised who you can reach if you just ask nicely. 在创建个人项目时，至少将其中的一个方面向前推进，在这个过程中学习新的工具和技能帮助我不断完善自己的工作。此外，拥有比我更优秀的人能够给我提供反馈，这极大地开阔了我的眼界，使我的工作能够得到改进。如果你友好地请求，你会惊讶地发现你可以联系到谁。
I also think that there’s an important distinction that can be made for personal projects. Smaller scale, higher volume projects can allow one to rapidly improve a certain skill, putting the reps in to make it truly intuitive. Larger scale, lower volume projects can be good as portfolio pieces, bringing all the practice you have done together into one complete piece.我也认为对于个人项目来说有一个重要的区别。规模更小、容量更大的项目可以让玩家快速提高某种技能，让别人参与进来，使其更加直观。规模较大、容量较小的项目可以作为作品集的一部分，将您所做的所有实践结合在一起，成为一个完整的部分。
The 3D model of the Ferrari can be downloaded on my Gumroad for free.法拉利的3D模型可以在我的Gumroad上免费下载。
I would like to thank Arti and the 80 Level team for the opportunity to work on this article.我要感谢Arti和80 Level团队给我机会来撰写这篇文章。
Big thanks to Ong Jun An for assistance with the UVs of the internals, Andreas Ezelius for the inspiration, Michael Wilde, Arvid Schneider, Kirill Chepizhko, Steffen Hampel, Ivan Lim, and many others for their invaluable feedback.非常感谢王军安在内部uv方面的帮助，Andreas Ezelius的灵感，Michael Wilde, Arvid Schneider, Kirill Chepizhko, Steffen Hampel, Ivan Lim，和许多其他人的宝贵反馈。
Ian Tan, 3D ArtistIan Tan, 3D艺术家
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