在ZBrush&Maya中创建克里斯·海姆斯沃斯（雷神）的3D肖像
本帖最后由 孟中子 于 2023-9-15 17:28 编辑Marius Pörsel has shared the working process behind the Chris Hemsworth project, detailed how the character's head, face, and hair were made, and explained how rendering in Arnold was done.
Marius Pörsel分享了Chris Hemsworth项目背后的工作流程，详细介绍了角色的头部，脸部和头发是如何制作的，并解释了Arnold的渲染是如何完成的。
IntroductionMy
name is Marius Pörsel, and I am an Asset Artist which includes Character/Creature, Hardsurface Assets as well as Environments.
Over the course of my career, I've had the opportunity to work on some incredible projects, including Ant-Man 3: Quantumania, Thor: Love and Thunder, and Spiderman: No Way Home, just to name a few.
Ever since I was young, I have been deeply curious about the natural world and everything around me. I spent a lot of time observing my surroundings and trying to understand how things worked. This deep curiosity and passion for understanding the world around me led me to the world of 3D, where I found a perfect combination of my interests with also a passion for technology, problem-solving, and mathematics.
To me, 3D is a medium with infinite possibilities, where real-life physics and nature can be brought to life in breathtaking detail. I have always been particularly fascinated by the art of creating realistic and accurate Characters and Creatures.
It's this passion for my work that motivates me every day, driving me to push the boundaries of what's possible in the world of 3D.
介绍
我的名字是Marius Pörsel，我是一个模型师，其中包括角色/生物，硬面资产以及环境。在我的职业生涯中，我有机会参与了一些令人难以置信的项目，包括《蚁人3:量子狂乱》、《雷神:爱与雷霆》和《蜘蛛侠:无路可归》等等。
从小，我就对自然世界和周围的一切充满好奇。我花了很多时间观察周围的环境，试图理解事物是如何运作的。这种深刻的好奇心和对了解周围世界的热情使我进入了3D的世界，在那里我发现了我的兴趣与对技术，解决问题和数学的热情。
对我来说，3D是一种具有无限可能性的媒介，现实生活中的物理和自然可以以惊人的细节呈现出来。我一直特别着迷于创造现实和准确的人物和生物的艺术。正是这种对工作的热情每天激励着我，驱使着我去挑战3D世界的极限。
The Chris Hemsworth Project
Always with the aspiration to constantly improve myself and with the desire to learn new things, I attended the highly recommended Character Creation Course of Kris Costa. The course includes a wealth of knowledge from his experience on how forms and colors can be used and combined to replicate a human character – in his course with a focus on the human head/face.
To complete this project, I decided to create Chris Hemsworth, as I really like his roles in movies and how he brings his own personality to his performances. There are a lot of references/photos of him on the internet, so I collected several ones of the same age and preferably shot with the same camera, as the focal length can vary a lot.
Due to the focal length issue, I tried to reference general anatomy as best as possible and sculpt significant features of his face. I decided to sculpt him with a facial expression, which made things a lot harder for me, as there were not many different photos with the same facial expression.
However, I persisted with this choice, as I felt that it made the sculpture more engaging and allowed me to gain a better understanding of how muscles and fat in the face move to convey an expression.
克里斯·海姆斯沃斯 项目
怀着不断提高自己的愿望和学习新事物的愿望，我参加了Kris Costa的角色创作课程，该课程包括了他经验中的大量知识，即如何使用结合形式和颜色来复制一个人类角色--在他的课程中，重点是人类的头部/面部。
为了完成这个项目，我决定创造克里斯·海姆斯沃斯，因为我真的很喜欢他在电影中的角色，以及他如何在表演中融入自己的个性。网上有很多他的参考资料/照片，所以我收集了几张相同年龄的照片，最好是用同一台相机拍摄的，因为焦距会有很大的不同。
Head and Face
To begin, I started with a basic cube shape and used Dynamesh to sculpt the rough anatomy of a human face, with a focus on getting the proportions and anatomy correct.
Next, I added the eyes and other characteristic features of the face, without worrying too much about the likeness just yet. To ensure that the sculpture looked accurate from different angles, I brought it into Maya and tested it with various camera settings, as the camera settings in ZBrush can sometimes be confusing.
Once I was satisfied with the overall proportions and sculpted features, such as the hooded eyes and mouth, I reprojected my Dynamesh onto a retopologized mesh with UVs. From there, I focused more on the likeness of the person based on reference photos and added skin details using HD-Geometry to achieve a higher resolution for specific parts without the need for excessive subdivision.
As all the details were sculpted by hand without any scans, I created my own human pore and saved it as an alpha to be able to place them manually. For the finer details, I used a combination of tweaked ZBrush-alphas with several brushes. The eyes were handled separately with one geometry for the iris with sculpted detail on it and one for the eyeball.
头部和脸部
首先，我从一个基本的立方体形状开始，并使用Dynamesh来雕刻人脸的粗略解剖，重点是获得正确的比例和解剖结构。
接下来，我添加了眼睛和脸部的其他特征，但还不用太担心相似度的问题，为了确保雕塑从不同的角度看都是准确的，我把它带入Maya，用各种相机设置进行测试，因为ZBrush中的相机设置有时会令人困惑。
一旦我对整体的比例和雕塑的特征，如蒙面的眼睛和嘴巴感到满意，我就把我的Dynamesh重新投射到一个带有UV的重拓扑网格上，从那里，我更多地基于参考照片关注人物的相似性，并使用HD-Geometry添加皮肤细节，以实现特定部位的更高分辨率，而无需过度细分。
由于所有的细节都是手工雕刻的，没有任何扫描，我创建了自己的人体毛孔，并将其保存为alpha，以便能够手动放置它们，对于更精细的细节，我使用了经过调整的ZBrush-alphas和几个刷子的组合，眼睛是单独处理的，虹膜用一个几何体，上面有雕刻的细节，眼球用一个几何体。
Hairstyle, Eyebrows, and Facial Hair
For the hair, I used XGen Core in Maya which is perfect to create specific hairstyles. One of the most significant advantages of XGen Core is the ability to use clump modifiers based on guides, which replicate the direction and flow of hair.
So based on references, I placed guides for the hairstyle, eyebrows, and lashes, and worked through the XGen workflow, using masks and modifiers to achieve a convincing result.
There are many helpful tutorials available that provide in-depth explanations of the XGen workflow for further explanations.
Texturing
The texturing process was done in ZBrush with Polypaint.
I primarily used the Standard brush with several alphas to spray in significant colors for the human face. It helped a lot to have a look at highly detailed closeup photography of human faces as references.
In addition to the Albedo, I also painted a Spec-Weight map and a Bump-Height map using a black-and-white method. Finally, I painted a mask specifically for the lips to ensure that I could color-correct them accurately and achieve a more refined look.
发型，眉毛和面部毛发
对于头发，我使用了Maya中的XGen Core，这是创建特定发型的完美工具。XGen Core最显著的优点之一是能够根据导引器使用团块修改器，它可以仿制头发的方向和流动。
因此，根据参考资料，我为发型、眉毛和睫毛放置了导引器，并通过XGen的工作流程，使用蒙版和修改器来达到令人信服的效果。
有许多有用的教程，对XGen工作流程进行了深入的解释，以进一步说明。
纹理制作
纹理制作过程是在ZBrush中使用Polypaint完成的。
我主要使用标准画笔和几个字母来喷涂人脸的重要颜色，看一下高度详细的人脸特写照片作为参考有很大的帮助。
除了反照率外，我还用黑白方法画了一张规格高度图和一张凹凸高度图，最后，我专门为嘴唇画了一个遮罩，以确保我可以准确地对它们进行颜色校正，并达到一个更精致的外观。
Rendering
So, importing everything to Maya, I used Arnold to set up the materials for the skin, eyes, and hair. While lookdeving the skin, I used a few color-correct nodes to get more contrast or saturation.
The shader of the hair was separated into two, as his hair is slightly more blonde at the tips of his front head, so I needed a mask for that. For my final rendering, I kept my light setup pretty simple – I used one key light, one fill light, and a kick light from the side.
渲染
因此，将所有东西导入到Maya，我使用Arnold来设置皮肤、眼睛和头发的材料。在对皮肤进行外观设计时，我使用了一些颜色校正节点来获得更多的对比度或饱和度。
头发的着色器被分成了两个，因为他的头发在前面的头顶上稍微有点金黄，所以我需要一个遮罩。对于我的最终渲染，我保持了我的灯光设置非常简单--我使用了一个关键的灯光，一个补光灯，和一个来自侧面的踢灯。
Main Challenges
In conclusion, I can say the biggest challenge was the facial expression as it has so much potential to look weird very quickly in case something with the deformation of the muscles is not accurate.
Maybe next time I would not start with a facial expression to prevent a bit of frustration but I am happy that I continued with it because I learned a lot about facial muscles, fat placement, and deformations.
主要挑战
总之，我可以说最大的挑战是面部表情，因为它有很大的潜力，万一肌肉的变形不准确的话，很快就会显得很奇怪。
也许下一次我不会从面部表情开始，以防止出现一点挫折感，但我很高兴我继续做下去，因为我学到了很多关于面部肌肉、脂肪位置和变形的知识。
The process of creating Chris Hemsworth's 3D portrait in ZBrush and Maya involved several steps. First, Marius Porsel focused on sculpting the head, face, and hair of the character. This required careful attention to detail and accuracy in order to capture Hemsworth's likeness. Next, he explained how rendering in Arnold was done, which involves setting up lighting, materials, and camera settings to achieve the desired look.
Marius Porsel's biggest challenge in this project was achieving realistic facial expressions. Facial muscles and their deformations had to be accurately portrayed in order to avoid the character looking strange or unnatural. Despite the challenges, he persevered and learned a lot about facial muscle structure, fat placement, and deformations in the process.
To summarize, the process involved sculpting the head, face, and hair in ZBrush and Maya, and then rendering in Arnold for the final presentation. The biggest challenge was creating accurate facial expressions, but it provided valuable learning opportunities for Marius Porsel.
——微元素 × GPT，助力游戏开发，CG创作的无限可能！
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