用ZBrush、Substance 3D Painter和UE5中创建赛博朋克角色
Mohammad Asraf has revealed the detailed breakdown of his recent project, Unit Hypolita: Angela, discussed the modeling, face sculpting in ZBrush, texturing process in Marmoset Toolbag 4, and explained how lighting and posing were set up in UE5.
Mohammad Asraf透露了他最近的项目“Unit Hypolita： Angela”的详细分解，讨论了建模、ZBrush中的面部雕刻、Marmoset Toolbag 4中的纹理过程，并解释了UE5中如何设置光照和姿势。
Introduction 介绍
Hello, my name is Mohammad Asraf, I’m a 3D Character Artist from Kathmandu, Nepal, and I’m currently working as a Freelance Character Artist for Keos Masons. I’ve been freelancing for them for almost 5 years now and worked on projects like Medal of Honor: Above and Beyond, Horizon Forbidden West, Gotham Knights, PUBG New State, Outlast Trials and a few unannounced ones.
你好，我的名字是Mohammad Asraf，我是来自尼泊尔加德满都的3D角色艺术家，我目前是Keos Masons的自由角色艺术家。我已经为他们做自由职业了将近 5 年，并参与了《荣誉勋章：超越》、《地平线禁忌西部》、《哥谭骑士》、《绝地求生新州》、《Outlast Trials》等项目。
In the case of Project Hypolita, I found this fantastic design by Rodrigo Idalino and set two key objectives. First and foremost, I wanted to optimize and speed up my Hardsurface workflow by using only ZBrush to create all the Hard Surface parts. As for the second objective, I wanted to use Unreal Engine to render the character.
在Hypolita项目中，我发现了Rodrigo Idalino的这个奇妙设计，并设定了两个关键目标。首先，我想通过仅使用 ZBrush 来创建所有硬表面零件来优化和加快我的硬表面工作流程。至于第二个目标，我想使用虚幻引擎来渲染角色。
References参考
I was inspired by titles such as the Halo series, Mass Effect Andromeda, the Crysis series, Doom Eternal, Cyberpunk, the Guardians of the Galaxy game, Iron Man movies and amazing artworks made by artists like Mike Andrew Nash, Marco Plouffe, Cedric Seaut, Frederic Daoust, Patrick van Rooijen and Georg Uebler, just to name a few individuals whose work resonated with me.
我的灵感来自《光环》系列、《质量效应仙女座》、《孤岛危机》系列、《毁灭战士永恒》、《赛博朋克》、《银河护卫队》游戏、钢铁侠电影以及迈克·安德鲁·纳什、马可·普劳夫、塞德里克·肖特、弗雷德里克·道斯特、帕特里克·范·鲁伊恩和乔治·尤布勒等艺术家制作的令人惊叹的艺术作品，仅举几个人的作品引起了我的共鸣。
Modeling 建模
I began by blocking out Angela's anatomy with Base Mesh Bundle from Vincent Ménier and then adjusted the anatomy to be more athletic, taller, and muscular to meet the body type I wanted for Angela. The main aim was to focus on the anatomical silhouettes of the body, forms, and shapes rather than the details because the suit would cover the entire body. When I'm satisfied with the body, I move on to blocking out the suit.
我首先用文森特·梅尼尔（Vincent Ménier）的Base Mesh Bundle遮挡了安吉拉的解剖结构，然后调整了解剖结构，使其更具运动性，更高，肌肉发达，以满足我想要的安吉拉体型。主要目的是关注身体的解剖轮廓，形式和形状，而不是细节，因为西装将覆盖整个身体。当我对身体感到满意时，我会继续挡住西装。
The suit's blockout is entirely made with DynaMesh. Using multiple Polygroups and SubTools, or occasionally in a single mesh. This is when Polypaint comes in handy to visualize the design concept early on. Also, during the blockout, there is no need to be really clean with all the pieces. For example, the neck plate bottom is not too clean because it is hidden when everything is put together.
这套衣服的遮挡完全是用DynaMesh制成的。使用多个多组和子工具，或者偶尔在单个网格中使用。这时，Polypaint 可以派上用场，在早期将设计概念可视化。此外，在封锁期间，没有必要对所有部件进行真正清洁。例如，颈板底部不太干净，因为当所有东西放在一起时它是隐藏的。
After I am satisfied with the overall blockout of the suit, I will begin polishing each plate to make it look clean with subdivisions, proper bevels, thickness, and so on. This is the most time-intensive stage, so I recommend going slowly and steadily and analyzing a lot of references. After all the Hard Surface parts have been polished, it is time to detail.
在我对西装的整体遮挡感到满意后，我将开始抛光每个板，使其看起来干净，带有细分、适当的斜面、厚度等。这是最耗时的阶段，所以我建议缓慢而稳定地进行分析，并分析大量参考资料。在所有硬表面零件都抛光后，是时候详细介绍了。
Face Sculpt 脸部雕刻
The major thing I do before sculpting a face is set up my ZBrush scene so I can sculpt with proper perspective and match references better. I took the Basemesh from Georgian Avasilcutei and created my scene as follows:
在雕刻脸部之前，我做的主要事情是设置我的ZBrush场景，这样我就可以用适当的视角进行雕刻并更好地匹配参考。我从格鲁吉亚Avasilcutei那里获取了Basemesh，并创建了如下场景
There are three major steps:
focusing mainly on simple forms, proportions, and larger forms defining bones and muscles.
asymmetry, fat pads, and unique characteristics.
mostly pores and minute features.
这里有三个主要步骤：
主要关注定义骨骼和肌肉的简单形式、比例和较大形式。
不对称，脂肪垫和独特的特性。
主要是毛孔和微小的特征。
Also, because you will be continually fixing big shapes and forms even when tackling pores, I consider these stages to be a loop rather than a linear path to follow. So it's never an absolute rule that you cannot fix large forms when making pores. Layers are also quite helpful for multiple iterations.
此外，由于即使在处理毛孔时，您也会不断固定大的形状和形状，因此我认为这些阶段是一个循环，而不是一条线性路径。因此，在制作毛孔时无法修复大形状从来都不是绝对规则。图层对于多次迭代也非常有用。
I utilized XYZ Maps and ScanStore heads for the pore details. Here's how I went about doing the low poly for the face with MetaHuman assets. I used a method I learnt while working on the Gotham Knights project for the facial textures, so all credit goes to the wonderful artist there. I just tweaked it a little to my liking. The fundamental idea is to construct the skin under layers and then overlay a face Albedo Map on top, which can be any Albedo, XYZ, or MetaHuman one.
我使用XYZ地图和ScanStore头来获取毛孔细节。以下是我如何用MetaHuman资产为面部做低多边形。我使用了在哥谭骑士项目上学到的面部纹理方法，所以所有的功劳都归功于那里的优秀艺术家。我只是根据自己的喜好稍微调整了一下。基本思想是在层下构建皮肤，然后在上面覆盖面部反照率地图，可以是任何反照率，XYZ或MetaHuman。
Here's how the layers are made up in Substance 3D Painter for that:
以下是Substance 3D Painter中图层的组成方式：
Youtube视频链接：https://youtu.be/RVziqlbN8Fg
And because I wrapped the MetaHuman model around my sculpt, all the UVs and textures match, thus the Shader is similar.
而且因为我将MetaHuman模型包裹在我的雕塑周围，所以所有的UV和纹理都匹配，因此着色器是相似的。
Hair cards can be a frustrating and time-consuming stage, which has frequently put me off completing them, but I tried to make my process optimum this time by doing a lot of planning and organization, thanks to Sushan Mahandhar for all the ideas and suggestions during the process. So, when it comes to creating hair cards, planning is essential. Here's how I accomplished mine.
头发可能是一个令人沮丧和耗时的阶段，这经常让我无法完成它们，但这次我试图通过做大量的计划和组织来使我的流程达到最佳状态，感谢 Sushan Mahandhar 在此过程中的所有想法和建议。因此，在创建头发时，计划是必不可少的。这是我完成我的成就的方式。
Youtube视频链接：https://youtu.be/JuCUBxDBubY
Also, because hair is an iterative process, it is always beneficial to create it in a way that allows all the alterations when needed. I did numerous iterations, testing it continuously in Unreal Engine, adjusting the volumes in ZBrush.
此外，由于头发是一个迭代过程，因此在需要时允许所有更改的方式创建头发总是有益的。我进行了多次迭代，在虚幻引擎中不断测试它，在ZBrush中调整音量。
Youtube视频链接：https://youtu.be/sQ6cg2Newvs
The Hair shader is then set up using Paragon shader, which is free to download and use. I just changed their maps with mine, and all the maps were easily baked inside Coiffure. Just be sure to experiment with the PixelDepthOffset settings if you have any strange problems with the hair.
然后使用Paragon着色器设置头发着色器，该着色器可免费下载和使用。我只是用我的地图改变了他们的地图，所有的地图都很容易在Coiffure中烘烤。只要一定要尝试PixelDepthOffset设置，如果你对头发有任何奇怪的问题。
UVs
One thing I would recommend is to create shortcuts for all the repeated tasks and tools used during retopology, such as cut, weld, bridge, collapse, loop, and so on, to make the process much faster. This is how I tackled most of the suit's retopology and UVs:
我建议的一件事是为重新拓扑期间使用的所有重复任务和工具（例如切割、焊接、桥接、折叠、循环等）创建快捷方式，以使该过程更快。这就是我处理大部分套装的重新拓扑和UV的方式：
Baking and Texturing 烘焙与贴图制作
To bake all of my assets, I utilized Marmoset Toolbag 4. If you match the naming for your high and low poly meshes, for example, armour_high and armour_low, and use the Quick Loader to load the meshes, Marmoset Toolbag 4 will also automatically organize your mesh.
为了烘焙我的所有资源，我使用了 Marmoset Toolbag 4。如果您匹配高多边形和低多边形网格的命名（例如，armour_high和armour_low），并使用快速加载器加载网格，Marmoset Toolbag 4 也将自动组织网格。
For the suit's textures, I designed all of my ID maps so I could instance the textures throughout all of my texture sets and only emissive and some dirt maps are unique. I also have my Tonal map set to ACES to match my Unreal Engine scene.
对于套装的纹理，我设计了我所有的 ID 贴图，这样我就可以在所有纹理集中实例化纹理，只有自发光贴图和一些污垢贴图是独一无二的。我还将色调贴图设置为ACES，以匹配我的虚幻引擎场景。
Here are the layers created using Substance 3D Painter. My major goal was to have a lot of contrast in terms of color and roughness so that each element could stand out.
以下是使用Substance 3D画家创建的图层。我的主要目标是在颜色和粗糙度方面有很大的对比度，以便每个元素都能脱颖而出。
https://youtu.be/rbbrQXG48ko
https://youtu.be/eZhFTqTjk5U
https://youtu.be/67jiyfswGVA
Posing 摆造型
Because I don't know much about rigging, all the poses were created in ZBrush Tpose Master. For this project, I created four postures that were influenced by different things.
因为我对绑定了解不多，所以所有的姿势都是在ZBrush Tpose Master中创建的。在这个项目中，我创建了四种受不同事物影响的姿势。
Pose A: I was influenced by studio photographs.
姿势A：我受到工作室照片的影响。
Pose B:I was influenced by superhero flying postures.
姿势B：我受到超级英雄飞行姿势的影响。
Pose C: I was influenced by Overwatch, particularly this one
姿势C：我受到了《守望先锋》的影响，尤其是这个
Pose D: I was influenced by a back shot image from a superhero movie.
姿势D：我受到了超级英雄电影中一个反拍图像的影响。
Rendering and Lighting 渲染和灯光
I rendered with UE5. I used the Epic MetaHuman Scene as a starting point but personalized it to fit my scene. I begin by importing a cylinder from 3ds Max into UE. I subdivide the cylinder 2-3 times and invert the normals.
我用UE5渲染。我使用Epic MetaHuman场景作为起点，但对其进行了个性化以适合我的场景。我首先将圆柱体从 3ds Max 导入到 UE 中。我将圆柱体细分 2-3 次并反转法线。
https://youtu.be/R0HSG0j3ZTw
Nothing special for post-processing, just some Bloom and Exposure changes. Just be sure to check the Lumen Gl Final Gather Quality because it might generate these lines when rendering.
后期处理没有什么特别之处，只是一些泛光和曝光的变化。请务必检查流明 Gl 最终聚集质量，因为它可能会在渲染时生成这些线条。
I make some color grading with the camera's LUTs because I like working with unique ones rather than global ones. Here are the camera and LUT settings. For the LUTs, I utilized the Amplify LUT set. Finally, I utilized Movie Render Queue to render out all the photos.
我用相机的LUT进行一些颜色分级，因为我喜欢使用独特的LUT而不是全局的LUT。以下是摄像机和LUT设置。对于LUT，我使用了Amplify LUT设置。最后，我使用影片渲染队列来渲染所有照片。
Conclusion 总结
I would tell aspiring artists that this is a long marathon that will take time. The progress is not a linear growth curve and there will be days when they are in the valley of suck. Persistence, patience, and hard work all contribute to your growth. Ask for feedback and learn to accept. Filter that feedback, devote time to your fundamentals, lighting, anatomy, composition,. Spend time learning good topology, efficient faster workflows for the technical stages like retopo, UVs, and bakes because character art is never 100% sculpting, it includes many other technical things, and don't forget about your physical and mental health.
我会告诉有抱负的艺术家，这是一场漫长的马拉松，需要时间。进展不是线性增长曲线，总有一天他们会陷入吮吸谷。坚持、耐心和努力工作都有助于你的成长。寻求反馈并学会接受。过滤反馈，花时间研究您的基础知识、照明、解剖学、构图。花时间学习良好的拓扑结构，高效更快的技术阶段工作流程，如retopo，UV和烘焙，因为角色艺术从来都不是100%雕刻的，它包括许多其他技术的东西，不要忘记你的身心健康。
In the end, I worked on the project on and off for nearly a year, trying out new ideas and redoing old ones. Because of my work and personal life, I had to go weeks without touching it, and finding the inspiration and interest to continue during the project's valley of suck periods was the most tough personal hurdle. However, it feels amazing to finally upload a personal creation after such a lengthy period.
最后，我断断续续地在这个项目上工作了将近一年，尝试新的想法并重做旧的想法。由于我的工作和个人生活，我不得不几个星期不碰它，在项目的低谷时期找到灵感和兴趣继续是最艰难的个人障碍。然而，在如此漫长的时间之后终于上传个人作品感觉很棒。
I'd like to thank Marianna Liubimova, Gabriele Floris, Ventsislav Nachev, Jonathan Riley, and Michael Sydoriadis for their constructive feedback, Patrick van Rooijen and KeosMasons on Twitch for all the hard surface workflow ideas, as well as everyone on these Discord servers: Donpolygon server, Baidukova's class, and the CharacterArt server, to name a few. Thank you guys for the interview opportunity. I hope this breakdown is helpful.
我要感谢Marianna Liubimova，Gabriele Floris，Ventsislav Nachev，Jonathan Riley和Michael Sydoriadis的建设性反馈，感谢Twitch上的Patrick van Rooijen和KeosMasons的所有硬表面工作流程想法，以及这些Discord服务器上的每个人：Donpolygon服务器，Baidukova的类和CharacterArt服务器，仅举几例。谢谢你们的采访机会。我希望这种细分对您有所帮助。
哇，不错呀 好帖，来顶下 小手一抖，积分到手！ 我们先定一个小目标~比如一天挖一吨元素币
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