在ZBrush, Substance 3D Painter和UE5中创建精灵吟诗人
本帖最后由 孟中子 于 2023-9-16 11:17 编辑Hugo Sena has shared the working process behind the Elf Bard project, discussing the workflow on the character's body, outfit, and harp and explaining how the lighting was set up in Unreal Engine 5.
Hugo Sena分享了精灵吟游诗人项目背后的工作流程，讨论了角色身体、服装和竖琴的工作流程，并解释了如何在虚幻引擎5中设置光照。
Introduction
Hey, my name is Hugo Sena and I'm a Senior 3D Character Artist. It's funny because I started the whole art path somewhat late at the age of 17. I wanted to be an astrophysicist, then a game reviewer until I learned you could work as a developer.
Skillwise, it's mostly training and taking courses when I have the time and money. I worked on a few projects, from some really indie to a bit bigger. The last published project was Necromunda: Underhive Wars.
介绍
嘿，我的名字是雨果·塞纳，我是一名高级3D角色艺术家。这很有趣，因为我在17岁时开始了整个艺术道路。我想成为一名天体物理学家，然后成为一名游戏评论员，直到我了解到你可以成为一名开发人员。
在技能方面，当我有时间和金钱时，主要是培训和参加课程。我做过一些项目，从一些真正的独立项目到更大的项目。最后出版的项目是Necromunda：Underhive Wars。
The Elf Bard Project
After my last job, I went on a soul-searching path to figure out what kind of style I wanted to pursue and where I wanted to go as a character artist. I have always been inspired by Japanese and Korean character design, so I decided to move in that direction. I went on ArtStation and looked at all the artists with that style that I could find. Then, I looked at the artists those people were following to go even deeper. All in all, I think I saw thousands of designs until I stumbled uponElf Bard by Thatlight. I immediately fell in love with the character and knew I wanted to model her.
精灵吟游诗人计划
在我上一份工作之后，我开始了自我反省，想弄清楚我到底想要追求什么样的风格，以及作为角色艺术家我想去哪个国家发展，由于我一直受到日本和韩国角色设计的启发，所以我决定朝那个方向前进，我一直有在 ArtStation活跃，查看所有具有我能找到的那种风格的艺术家，然后，顺藤摸瓜查看那些人正在关注的艺术家以进行更深入的研究，总而言之，我想我看到了成千上万的设计，直到我偶然发现了Thatlight 的 Elf Bard，我立刻爱上了这个角色，并且想要创作同款3D的角色。
Elf Bard by Thatlight
For reference, it was pretty much the usual. I gathered a bunch of concepts that I liked in the style of the Bard and gathered some anatomy references. Then, I collected specific item references like boots, pouches, and harps. I also had a group of references for the style and quality that I was aiming for.
参考图收集阶段，没什么好说的，我收集了一堆我喜欢的巴德风格的概念，并收集了一些解剖学参考资料，然后，我收集了特定的物品参考资料，例如靴子、小袋和竖琴，我也有一组关于我所追求的风格和质量的参考资料。
To prepare for this, I first worked on a fan art bust of FFXII Fran to improve the quality of my workflow regarding hair, skin, and lighting.
为此，我首先制作了 FFXII Fran 的粉丝艺术半身像，以提高我在头发、皮肤和灯光方面的工作流程的质量保证。
The Head and Face
For the face, I followed my standard workflow. I started with a sphere instead of a base mesh because I feel it's easier to tailor the face how I want. I spent quite a while getting the style right, especially around the eyes since they are bigger than an average realistic human.
Once I finished the sculpt, I ZWrapped it onto a retopologized head and projected details from an HD sculpt I bought on 3DScanStore. This gave me a good amount of skin details and a good base to start the albedo. From there, I added more details by hand onto the sculpt. However, all the color changes were done later in Substance Painter.
For the eyes, I used Epic's Unreal eyes. Their eye shader is really good and doesn't need much work once you get a feel for it. The only important thing is fitting the eyeball, the tear line mesh, and the Eyeshadow mesh to get the correct look once in-engine.
For the hair, I did a pass in ZBrush to see how it would look and flow. Then, I drew curves on it in Maya and converted them to XGen guides. Afterward, I started working on the haircut using the standard XGen workflow.
The Body, Outfit, and Harp
I knew the body and all the accessories were going to be a challenge. As my personal workflow is always evolving, I wanted to try a new way of doing it. One thing I was sure of since the beginning of the project was that I didn't want to rig her and needed to pose her quite early in the process. This would also require me to sculpt most of everything without symmetry, but that's something I was willing to go with.
The body had a base mesh from which I worked on, so this would take care of retopo and UV from the beginning. I started by working on a T-pose to get far enough that posing it wouldn't be too much of an issue. I also worked on the pants, boots, shirt, sleeves, and collar since they were the "symmetrical" garment in the character.
头和脸
对于脸部，我遵循我的标准工作流程，我从一个球体而不是一个基础网格开始，因为我觉得它更容易按照我想要的方式定制脸部，我花了很长时间来调整样式，尤其是眼睛周围，因为它们比一般的现实人类的大。
完成造型后，我将其 ZWrapped 到重新拓扑的头部上，并投影我在 3DScanStore 上购买的高清造型的细节。这给了我大量的皮肤细节和初始反照率的良好基础，从那里开始，我在造型上手工添加了更多细节。但是，所有颜色更改都是后面在 Substance Painter 中完成的。
对于眼睛，我使用了 Epic Games的UE去做，他们的眼部着色器非常好，不需要太多的人为调整。唯一重要的是调整眼球、泪线网格和眼影网格，以便在虚幻引擎中获得想要的视觉效果。
对于头发，我在 ZBrush 中做了一个通道，观察它的外观和流动性，然后，我在 Maya 中在其上绘制曲线并将它们转换为 XGen 导向。之后，我开始使用标准 XGen 工作流程进行理发。
身体、装备和竖琴
我知道身体和所有配件都将是一个挑战，由于我的个人工作流程一直在不断学习，我想尝试一种新的方式来做这件事，从项目一开始我就确定的一件事是我不想操纵她，需要在这个过程的早期摆好姿势，这也需要我在不对称的情况下雕刻大部分东西，但这是我提前有过心理预期愿意接受的。
身体有一个我用来处理的基础网格，所以这将从一开始就处理重拓扑和 UV，我开始研究 T 型姿势，以达到想要的合理的姿势，不会有太大问题，我还设计了裤子、靴子、衬衫、袖子和衣领，因为它们是角色中的“对称”服装。
Once far enough, I set up the character in the pose of the concept using Transpose Master in ZBrush. I subdivided the clothing a bit and sent everything to Marvelous Designer to use the simulation on the clothing. This helped me get realistic folds super fast without the need to do much in MD or ZBrush and provided a great base to start detailing.
完成以上步骤，我使用 ZBrush 中的 Transpose Master 将角色设置为概念图的姿势，我将衣服细分了一下，然后将所有东西都发送给 Marvelous Designer，以便在衣服上使用模拟，这帮助我超快地获得逼真的折叠，而无需在 MD 或 ZBrush 中做很多事情，并为开始细节设计提供了一个很好的基础。
With all of this done, the concept was posed, and the base attire was on, it was time to start all the accessories. I decimated the model and sent everything to Blender. While the rest of the project was done in Maya, there were two tools in Blender that I knew would help me better. The edge crease option combined with the subdivision modifier would help me model all the hard surface elements in a non-destructive way because I could crease it at different values and instantly see the subdivided result.
The way I did it was to set up the concept as a reference plane and start modeling accessories by essentially tracing them on the concept.
完成所有这些工作后，概念被提出，基本服装也穿上了，是时候开始所有配件了。我摧毁了模型并将所有内容发送给Blender。虽然项目的其余部分是在Maya中完成的，但我知道Blender中有两个工具可以帮助我更好。边缘折痕选项与细分修改器相结合将帮助我以非破坏性方式对所有硬表面元素进行建模，因为我可以在不同的值下折痕并立即看到细分结果。
我这样做的方法是将概念设置为参考平面，并通过基本上在概念上跟踪配件来开始建模配件。
Blender allows for vertex extrusion so it felt like drawing my base shape on top of it, which was great to keep the fidelity of the original concept.
Once I had a plane of the shape of the accessory, I'd add a solidify modifier for thickness and would work a bit on it to correct the perspective issue you can get when tracing from the concept. This looks like a lot of steps, but it felt very natural. The same process was used for most of the harp. The only thing difficult was to determine which shape would be separated, and the shapes hidden by the body.
For the music paper, I used a different trick. I created a Bezier curve in Blender and made a spiral shape. Then, I used the curve option to give an extrude to it, and when I had the look I wanted, I converted it to a mesh.
Blender允许顶点挤压，所以感觉就像在上面绘制我的基本形状，这对于保持原始概念的保真度非常有用。
一旦我有了配件形状的平面，我就会添加一个厚度的凝固修改器，并会对其进行一些处理，以纠正从概念跟踪时可能遇到的透视问题。这看起来像很多步骤，但感觉很自然。大多数竖琴都使用了相同的过程。唯一困难的是确定哪个形状将被分离，以及身体隐藏的形状。
对于音乐纸，我使用了不同的技巧。我在Blender中创建了一个贝塞尔曲线，并制作了一个螺旋形状。然后，我使用曲线选项对它进行拉伸，当我获得所需的外观时，我将其转换为网格。
All of the belts were done in ZBrush using a plane, dynamic subdivision with a thickness, and the bend curve transform. When everything was where it belonged, I collapsed all of it and started working on detailing.
所有皮带都是在ZBrush中使用平面，具有厚度的动态细分和弯曲曲线变换完成的。当一切都属于它时，我把所有的东西都折叠起来，开始研究细节。
Retopology and Unwrapping for Texturing
Everything was done in Maya. Retopology was a long process since the character had tons of elements. Thankfully, with preparation before going into the high poly, it wasn't too complicated. The head and body were already retopoed and UVed, so this was taken care of already.
纹理的重新拓扑和UV
一切都在 Maya 中完成，重新拓扑是一个漫长的过程，因为角色有很多元素，值得庆幸的是，在进入 high poly 之前进行了准备，它并不太复杂，头部和身体已经重新拓扑并进行了UV处理，所以这已经被处理好了。
One mistake I made was that, for some reason, the base subdivision and the UVs of the small elements broke at one point in ZBrush, so I had to redo everything. Using Reconstruct Subdiv, I was able to get back to the second-lowest subdivision, but I still needed to UV them.
我犯的一个错误是，由于某种原因，基础细分和小元素的 UV 在 ZBrush 中的某一点破裂，所以我不得不重做所有事情，使用 Reconstruct Subdiv，我能够回到第二低的细分，但我仍然需要对它们进行 UV。
Now, the retopologized mesh is not as tight and soundproof as what I would do in production because it was mainly a static portfolio piece, and some of the elements are way too high, which made my polycount skyrocket.
Texturing
As stated before, the eyes are made using Epic's own eye shader, so the only thing I had to tweak was the iris and some of the shader settings.
For the skin, I already had a nice base using the 3D Scan Store model, so I just had to paint some areas I felt needed better care, and then I started working on the makeup. I specifically made it more metallic to help see it better, even though it's pretty much covered by the hair.
现在，重新拓扑的网格不像我在一开始所做的那样紧密，因为它主要是一个静态组合件，并且一些元素太高了，这使得我的多边形数量面数猛增。
纹理
如前所述，眼睛是使用UE自带的眼部着色器制作的，所以我唯一需要调整的是虹膜和一些着色器设置。
对于皮肤，我已经使用 3D Scan Store 模型有了一个很好的基础，所以我只需要画一些我觉得需要更好护理的区域，然后我就开始化妆了，我特地让它更具金属感，以帮助更好地看到它，即使它几乎被头发覆盖了。
The body skin was made by tiling some of the face's skin on it to get the overall color right, and then it was mostly me painting it in Substance 3D Painter.
Textures for the attire were done through trial and error. I always start with a base from the concept color and then add details. I often work by having a different layer for each map.
身体皮肤是通过平铺一些面部皮肤来获得整体颜色的，然后主要是我在Substance 3D Painter中绘制它。
服装的质地是通过反复试验完成的，我一般从概念颜色的基础开始，然后添加细节，我经常通过为每张地图设置不同的图层来工作。
Even though it makes the file bigger, I feel I have more control over how I mask them since masking is not per channel.
尽管它使文件更大，但我觉得我可以更好地控制我如何屏蔽它们，因为屏蔽不是按通道进行的。
For the harp and everything that's gold, I started with a gold base and then slowly built up the material to add more details. It's a combination of various metals with masks so that I can have slightly different hues and height details depending on the roughness. It feels less "realistic," but to me, it felt better than a simple gold material. The same technique can be used on bare metallic parts.
对于竖琴和所有金色的东西，我从金色底座开始，然后慢慢构建材质以添加更多细节，它是各种金属与遮罩的组合，因此我可以根据粗糙度获得略微不同的色调和高度细节，它感觉不那么“逼真”，但对我来说，感觉比简单的黄金材料要好。相同的技术可用于裸露的金属部件。
The hair is an XGen groom imported into Unreal Engine. Most of the color is done by shading in real-time, and it looks awesome even though it's heavy in terms of performance. The shading itself was done using a tutorial by Nick Rutlinh.
头发是导入虚幻引擎的 XGen 修饰，大部分颜色是通过实时着色完成的，即使在性能方面很重，它看起来也很棒。阴影本身是使用Nick Rutlinh的教程完成的。
Rendering
Rendering was done in Unreal Engine 5. Even though I'm always tempted to go with Arnold and the like, at the end of the day, I'm a game artist, and I want to try to push my work in real-time as far as I can.
I tried a lot of different lighting, but in the end, I stuck with a basic setting of a front light, a rim light, one specifically for the SSS, and an environment map to debunk some of the shadows.
渲染
渲染是在 Unreal Engine 5 中完成的，尽管我总是很想用 Arnold 之类的渲染器渲染，但归根结底，我是一名游戏美术师，我想尝试实时渲染。
我尝试了很多不同的灯光设置，但最后，我坚持使用一个基本设置，包括一个前灯、一个边缘灯（一个专门用于 SSS）和一个环境贴图来消除一些阴影。如果需要做到更好的一个效果，瑞云农场小编也十分推荐大家使用云渲染农场来完成工作！
I usually used rectangle shadows since they are the most customizable, and I don't forget to turn on ray-traced shadows for some really soft shadows. I also play with the shadow bias until I get something satisfying.
I went back to it and tried to get something like a Rembrandt ambiance with very soft lights and shadows, though I'm not sure how good it looks.
我通常使用矩形阴影，因为它们是最可定制的，而且我不会忘记为一些非常柔和的阴影打开光线追踪阴影。
我还玩影子偏见，直到我得到满意的东西。
I hardly use any post-processing apart from the depth of field and bloom.
我回到它并尝试使用非常柔和的灯光和阴影来获得类似伦勃朗氛围的东西，尽管我不确定它看起来有多好。
The best way for lighting, in my opinion, is to find real-life references from photographers. If you want to make a cool portrait, you can find tons of incredible photographers out there. Same for full-body shots. Find fashion shots, magazines, and the like. But in the end, it's a lot of trial and error. I would render screenshots one day only to scrap them the next day after some rest.
除了景深和光晕，我几乎不使用任何后期处理。
在我看来，最好的打光方式是从摄影师那里找到现实生活中的参考，如果你想拍一张很酷的肖像，你可以在那里找到很多令人难以置信的摄影师，全身照也一样。查找时尚照片、杂志等，但最终，这只是大量的参考。
Main Challenges
The project took me a very long time, close to a year because I was working on it very off and on. I could spend weeks without touching it due to my work/life balance.
The main challenge, in my opinion, was sticking to it until the end. It's easy to get lost or discouraged on a long project, and I'm glad I was able to finish it.
Some advice I could give is: don't worry if it looks bad. It always looks bad at first, for everybody. I always share my WIPs so people can see how the project evolved along the way.
Another piece of advice would be: take your time. It's not a race; it's a marathon. If you plan to work on a character for the rest of your work life, that means you have that much time to also get better. Burning yourself out to try and be the best will only make you tired too fast.
主要挑战
这个项目花了我很长时间，将近一年，因为我一直在断断续续地工作，由于我的工作/生活平衡，我可以花几个星期不碰它。
在我看来，主要的挑战是坚持到最后，在一个漫长的项目中很容易迷失或灰心，我很高兴我能够完成它。
我可以给的一些建议是：如果它看起来一团糟，请不要灰心也不用担心，对于每个人来说，一开始总是看起来很糟糕。
The main challenges in this project were the long duration and maintaining motivation. It took close to a year to complete, as the artist worked on it sporadically due to work-life balance. The key advice given is not to worry if the initial results look bad, as this is a common experience for everyone. Sharing work-in-progress (WIP) updates can help others see the progress made along the way. Additionally, it is recommended to take one's time and view it as a marathon rather than a race. Trying to become the best quickly can lead to burnout, so it's important to pace oneself and focus on improvement over the long term.
——微元素 × GPT，助力游戏开发，CG创作的无限可能！
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