日本咖啡馆-长野敦子-双语
本帖最后由 姑娘出息点 于 2022-8-24 17:13 编辑Introduction
Hi, I am Atsuko Nagano. I am working in the video game, CG animation, and VFX industry. Recently, I have participated in the production of Fantastic Beast: The Secrets of Dumbledore and Elden Ring. I started playing with 3D art when I was in university. I got my basic knowledge from my first job. However, when I decided to commit to the CG animation/VFX industry, I started to self-learn from YouTube, by reading books and official documents. I also attended some online workshops.
介绍
嗨，我是长野敦子。我在视频游戏，CG动画和VFX行业工作。最近，我参与了《神奇动物：邓布利多的秘密》和《艾尔登环》的制作。我在大学时就开始玩3D艺术。我从第一份工作中获得了基本知识。然而，当我决定致力于CG动画/视觉特效行业时，我开始通过阅读书籍和官方文件从YouTube上自学。我还参加了一些在线研讨会。
The Cafe Block Project
In the past, I pursued realistic art pieces with high detail and I really wanted to challenge stylized art. It is also a good time to learn something new. I had never used Arnold before, so I chose it to render. When I was in Japan, I really liked traditional Japanese houses that were renovated into cafes and shops, they are adorable. I was also inspired by Mateusz Urbanowicz’s "Tokyo Storefront".
咖啡馆街区项目
过去，我追求细节丰富的写实艺术作品，我真的很想挑战风格化的艺术。这也是学习新东西的好时机。我以前从未使用过 Arnold，所以我选择它来渲染。当我在日本的时候，我真的很喜欢传统的日本房子，这些房子被改造成咖啡馆和商店，它们很可爱。我也受到了Mateusz Urbanowicz的“Tokyo Storefront”的启发。
Doodles I draw before starting the project and references：
我在开始项目之前绘制的涂鸦和参考：
Modeling
I put a time limit of about a month for myself to create the entire set. The main challenge was the stylized surfacing with Arnold. I started by blocking and setting camera angles to determine which area to be focused on. After the main geo, like the wall, ground, trees, bushes, and roof, were blocked out, I quickly moved on to texturing, lookdev, and lighting. I did some RnD with Houdini at the same time. The process was back and forth between these phases.
After the direction of style was decided, it was time to tell a story by adding small props.
For example, a couch for customers, a cup left on it, a water tap in the alley, signs, etc.
I created oversize props intentionally to emphasize the diorama feeling (for example, gutter/pipes). This process needs to be handled carefully. All the assets still need to respect the real-world scale, only selective items should be adjusted.
建 模
我给自己设定了大约一个月的时间限制来创建整个集合。主要的挑战是阿诺德的风格化表面。我从阻挡和设置相机角度开始，以确定要聚焦的区域。在主要地理区域（如墙壁、地面、树木、灌木丛和屋顶）被遮挡后，我很快转向纹理、测绘和照明。我同时与Houdini一起做了一些RnD。该过程在这些阶段之间来回切换。
在确定了风格方向之后，是时候通过添加小道具来讲故事了。
例如，顾客沙发，上面留下的杯子，小巷里的水龙头，标志等。
我故意制作了超大道具，以强调立体模型的感觉（例如，排水沟/管道）。这个过程需要谨慎处理。所有资产仍然需要尊重现实世界的规模，只有选择性项目应该调整。
Unwrapping
The UV was done by Maya's UV toolkit since I hadn't decided what the final render size would be. I set texel density to 4096 = 4m (about 10.24pixel/unit) just in case. I also paid attention to the UV orientation. It should respect the direction of the texture pattern in most cases. I sorted the direction of the wooden door from the example image. It followed the same direction as an actual door structure so it would be much easier to manage in Substance 3D Painter.
展开
UV是由Maya的UV工具包完成的，因为我还没有决定最终的渲染大小。为了以防万一，我将纹素密度设置为4096 = 4m（约10.24像素/单位）。我还注意了紫外线的方向。在大多数情况下，它应该尊重纹理图案的方向。我从示例图像中对木门的方向进行了排序。它遵循与实际门结构相同的方向，因此在Substance 3D Painter中管理起来要容易得多。
Texturing
I used PBR textures from Substance 3D Assets, Megascans, and Textures.com as the base for my stylized textures. They were all created in the PBR metal/rough workflow in Substance 3D Painter.
I sculpted the street tiles in ZBrush and combined the tileable textures with geometry assets to get natural-looking bump details.
纹理
我使用来自 Substance 3D Assets、Megascans 和 Textures.com 的 PBR 纹理作为风格化纹理的基础。它们都是在 Substance 3D Painter 的 PBR 金属/粗糙工作流程中创建的。
我在ZBrush中雕刻了街道瓷砖，并将可平铺纹理与几何资源相结合，以获得自然的凹凸细节。
The original material is from Substance 3D Assets. Its high complexity makes it noisy for my asset. I kept some major but removed minor details and made sure that the painting styles and the number of details are all in sync across the whole asset.
I chose to work on assets that cover major areas first, like the wall and roof tiles. I put my references to the side of the screen comparing them with the render and adjusting the color palette accordingly. This iteration was repeated until I was satisfied. Thank you, Patrick CN Wong, for giving me advice on the color palette and texture creation.
原始材质来自 Substance 3D Assets。它的高度复杂性使它对我的资产来说很嘈杂。我保留了一些主要但删除了次要细节，并确保整个资产的绘画风格和细节数量都是同步的。
我选择首先处理覆盖主要区域的资产，例如墙壁和屋顶瓦片。我将引用放在屏幕的一侧，将它们与渲染进行比较，并相应地调整调色板。重复这个迭代，直到我满意为止。谢谢你，Patrick CN Wong，给我关于调色板和纹理创作的建议。
Houdini
Houdini was a powerful tool in my workflow. Even its simple functions gave me more adaptation. I used Houdini to create small assets like concrete blocks, bamboo curtains, roof tiles, and the cloth sign. The non-linear workflow allowed me to make adjustments if the assets didn't fit the scene. Here are some examples of the workflow:
胡迪尼
Houdini是我工作流程中一个强大的工具。即使是它的简单功能也给了我更多的适应性。我使用Houdini来创建小资产，如混凝土块，竹帘，屋顶瓦片和布标。非线性工作流程允许我在资源不适合场景时进行调整。以下是工作流的一些示例：
Pipes
Create a curve.
Use a Group node to select points and assign the selection to the group.
Copy geo to selected points’ group.
The bamboo curtains were created in the same way.
管道
创建曲线。
使用“组”节点选择点并将选择指定给组。
将 geo 复制到所选点的组。
竹帘也是以同样的方式制作的。
Concrete Blocks
The following Houdini trick is shown in Masaya Sugimura’s workshop.
Convert base geo to VDB
Convert VDB to polygon
Boolean steps 1 and 2
混凝土砌块
以下Houdini技巧在Masaya Sugimura的工作室中展示。
将基本地理位置转换为 VDB
将 VDB 转换为多边形
布尔步骤 1 和 2
Rendering
In the beginning, I tried using photo-based HDRI, but it couldn’t give me the result I wanted. I found some Painted Anime Skies HDRIs, they create unique vivid lighting. Adding directional and rim lights emphasized the mood, and area lights emitting from objects like signs and lamps supported storytelling.
Using the tilt-shift lens effect in post-production is the key to enhancing the diorama feature to the asset.
渲染
一开始，我尝试使用基于照片的HDRI，但它不能给我我想要的结果。我发现了一些彩绘动漫天空HDRI，它们创造了独特生动的照明。添加定向和边缘灯强调了情绪，而标志和灯具等物体发出的区域光支持了讲故事。
在后期制作中使用移轴镜头效果是增强资产立体模型功能的关键。
I used Z-Depth pass on ZDefocus and Defocus nodes in Nuke to control the focus area.
我在Nuke的ZDefocus和Defocus节点上使用Z-Depth pass来控制对焦区域。
I also wanted to add the chromatic aberration effect. In order to achieve it, I decomposed the image to RGB and shifted the colors along the edges. Fumi Sugawara developed a Nuke node structure that helped me to achieve the final image.
我还想添加色差效果。为了实现这一目标，我将图像分解为RGB，并沿着边缘移动颜色。Fumi Sugawara开发了一个Nuke节点结构，帮助我实现了最终图像。
Conclusion
The main challenge of this project was to finish it within the time limit even if I might not have been completely satisfied. We artists have lots of ideas and inspirations, but this passion dies quickly, which results in a lot of unfinished personal projects. However, if the projects are finished and they can be put in my portfolio or if I can move on to my next piece with the experience, I gain from them.
结论
这个项目的主要挑战是在时间限制内完成它，即使我可能并不完全满意。我们艺术家有很多想法和灵感，但这种激情很快就消失了，这导致了许多未完成的个人项目。但是，如果项目已经完成，并且可以将它们放入我的投资组合中，或者如果我可以凭借经验继续我的下一部分，我会从中受益。
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