使用 Blender、ZBrush 和 Substance 3D Painter 重现Chris Pratt 作为 Marvel 的星爵
本帖最后由 孟中子 于 2023-9-16 13:43 编辑Fan Zhang shared the workflow behind the Star-Lord project, explained the texturing process, and talked about achieving a character's likeness.
张帆分享了星爵项目背后的工作流程，讲解了贴图制作过程，并谈到了实现角色的相似性。
Introduction
My name is Fan Zhang, I am a Senior Concept Artist and Art Director. My passion for art was ignited during my childhood when I was captivated by various works of fiction such as Transformers, StarCraft, Red Alert and Quake 3, etc. Those fascinations led me to attend art classes, where I received training in drawing and watercolor techniques. During high school, I devoted almost three hours a day to practicing portrait and still life painting, which helped me to establish a strong foundation in art.
In 2004, I was admitted to the China Central Academy of Fine Art in Beijing, where I bought my first tablet, an Intuos 3. This marked the beginning of my journey as a concept designer. I designed various characters after playing games like or how Warhammer 40k, Battlefield, and Call of Duty, and watching movies and reading novels and comics. I learned Maya and how to make animation at that time. I pursued a bachelor’s degree in Digital Media, specializing in Entertainment Design.
介绍我叫张帆，资深概念美术师兼艺术总监。我对艺术的热情是在我童年时被各种小说如变形金刚、星际争霸、红色警戒和雷神之锤 3 等所吸引而点燃的。这些迷恋促使我参加了艺术课程，在那里我接受了绘画和水彩技巧的培训. 高中期间，我每天花近三个小时练习肖像画和静物画，这帮助我打下了坚实的艺术基础。2004年，我考入北京的中央美术学院，在那里我买了我的第一台平板电脑影拓3。这标志着我作为概念设计师的旅程开始了。在玩过战锤 40k、战地风云和使命召唤等游戏，以及看电影和阅读小说和漫画后，我设计了各种角色。那个时候学了Maya，学了动画制作。我攻读了数字媒体学士学位，专攻娱乐设计。
In 2009, I was employed by the Fantasy Art magazine as an editor and later as an art director. That job offered me the chance to interview many top creators in the game and movie industries worldwide, including John Howe, Greg Broadmore, Jordu Schell, and many super-talented masters. These experiences were eye-opening and helped me to figure out the direction of my career.
In 2011, I began pursuing a master’s degree at the Academy of Art University in San Francisco, where I received high-quality training from many instructors, most of whom come from the industry. The course covered all aspects of visual development from concept to game engine.
Then, as a freelance Concept Artist, I worked for various clients, including Activision and Microsoft. Later, I worked on a mobile game called Rebel Fire. In 2016, I joined a VR game company where I worked on a game called Stardust. In 2018, I led an art team in an AR glasses company called Nreal, where we created several series of game demos and showcases on our first-generation AR glasses platform, finally winning the Best of CES 2019 award. Since 2020, I have been leading an art team to develop a new mobile game using Unreal Engine 5.
2009年，我被《奇幻艺术》杂志聘为编辑，后来担任艺术总监。那份工作让我有机会采访了全球游戏和电影行业的许多顶级创作者，包括 John Howe、Greg Broadmore、Jordu Schell 和许多超级天才大师。这些经历让我大开眼界，帮助我找到了自己的职业方向。2011年，我开始在旧金山艺术大学攻读硕士学位，在那里我得到了很多导师的高质量培训，其中大部分来自行业。该课程涵盖了从概念到游戏引擎的视觉开发的所有方面。然后，作为一名自由概念艺术家，我为各种客户工作，包括 Activision 和 Microsoft。后来，我参与了一款名为Rebel Fire的手机游戏。2016 年，我加入了一家 VR 游戏公司，在那里我开发了一款名为Stardust的游戏。2018 年，我在一家名为 Nreal 的 AR 眼镜公司带领一个艺术团队，在我们的第一代 AR 眼镜平台上创建了多个系列的游戏演示和展示，最终获得了 Best of CES 2019 奖。自 2020 年以来，我一直在带领一个美术团队使用虚幻引擎 5 开发一款新的手机游戏。
The Star-Lord Project
Star-Lord, performed by Chris Pratt, is my favorite superhero due to his charming personality, sarcastic sense of humor, strategic skills, and charismatic leadership.
As a developer who wants to handle every aspect of game development, I also have experience in hard surface and creature modeling. I do always feel excited about new tools and methods. My current project involves achieving two goals: first, creating a photorealistic character as a showcase version (which we're going to talk about in this interview). Second, make a playable version in Unreal Engine 5 using the MetaHuman standard (I'm about to do this for the next step).
星爵计划由克里斯普拉特饰演的星爵是我最喜欢的超级英雄，因为他迷人的个性、讽刺的幽默感、战略技巧和有魅力的领导能力。作为一名想要处理游戏开发各个方面的开发人员，我在硬表面和生物建模方面也有经验。我总是对新的工具和方法感到兴奋。我目前的项目涉及实现两个目标：首先，创建一个逼真的角色作为展示版本（我们将在本次采访中讨论）。其次，使用 MetaHuman 标准在虚幻引擎 5 中制作一个可玩版本（我将在下一步中这样做）。
To begin this project, I collected tutorials and watched various videos on YouTube to determine my workflow. One tutorial that was particularly helpful was Kent Trammell's "Human: Realistic Portrait Creation with Blender."
为了开始这个项目，我收集了教程并在 YouTube 上观看了各种视频以确定我的工作流程。一个特别有用的教程是 Kent Trammell 的“人：用 Blender 创作逼真的肖像”。
Head
To achieve a head model that closely resembles Star-Lord, I had to put in a lot of effort since I didn't have scan data from Chris Pratt. I had to spend a considerable amount of time perfecting the details to show his personality.
To accomplish this task, I used Blender, MetaHuman, ZBrush, Texturing XYZ, and Photoshop. Initially, I imported a high-poly mesh into MetaHuman to test the outcome. While the result resembled Chris Pratt to some extent, it still needed more accuracy to fit my expectations.
头部为了获得与星爵非常相似的头部模型，我不得不付出很多努力，因为我没有来自 Chris Pratt 的扫描数据。我不得不花费大量时间完善细节以展现他的个性。为了完成这项任务，我使用了 Blender、MetaHuman、ZBrush、Texturing XYZ 和 Photoshop。最初，我将一个高多边形网格导入到 MetaHuman 中以测试结果。虽然结果在某种程度上类似于 Chris Pratt，但仍需要更高的准确性才能符合我的预期。
Consequently, in order to keep the UV set of MetaHuman, I exported the mesh from the software and then projected it onto my high-poly model in ZBrush. Then I modified the accuracy and added more details. In this way at a later stage, I can import it to Unreal Engine 5 to leverage all MetaHuman’s resources for playing the character.
因此，为了保留 MetaHuman 的 UV 集，我从软件中导出网格，然后将其投影到我在 ZBrush 中的高多边形模型上。然后我修改了准确性并添加了更多细节。这样后期我可以导入到虚幻引擎5中，利用MetaHuman的所有资源来扮演这个角色。
For the eyes, I experimented with two different methods. Initially, I used node-based tools to generate eyeballs and all its affiliate structures, which worked well from a certain distance. However, upon closer inspection, I felt that the sclera and iris needed specific details. As a result, I switched to using photo texture and high-poly models for a more realistic look.
对于眼睛，我尝试了两种不同的方法。最初，我使用基于节点的工具来生成眼球及其所有附属结构，这在一定距离内效果很好。然而，经过仔细检查，我觉得巩膜和虹膜需要特定的细节。因此，我转而使用照片纹理和高模来获得更逼真的外观。
Regarding hair, I also tried two different approaches. Initially, I used the particle system, and the result was good, just a little bit too neat to be realistic. Subsequently, I switched to the new hair curve tool, available after Blender 3.3, which made the process more controllable using Geometry Nodes. However, this method required more sculpting work to shape the hair, but the result was more controllable.
关于头发，我也尝试了两种不同的方法。最初，我使用的是粒子系统，效果还不错，只是有点太整齐了，不太逼真。随后，我切换到新的头发曲线工具，在 Blender 3.3 之后可用，这使得使用几何节点的过程更加可控。但是，这种方法需要更多的雕刻工作来塑造头发，但结果更可控
Outfit
The jacket that I choose is from Avengers: Infinity War.
服装我选择的夹克来自复仇者联盟：无限战争。
To begin, I imported his full-body model into Marvelous Designer and focused on getting the shape of the jacket just right. I followed the principle of starting from big shapes and structures and working down to smaller ones. Once I was satisfied with the design, I used Marvelous Designer's topology tool to retopologize the jacket. The belt, zipper, and buttons were created using Blender and ZBrush.
首先，我将他的全身模型导入 Marvelous Designer 并专注于让夹克的形状恰到好处。我遵循的原则是从大的形状和结构开始，逐步缩小到较小的形状和结构。一旦我对设计感到满意，我就使用 Marvelous Designer 的拓扑工具重新拓扑夹克。腰带、拉链和纽扣是使用 Blender 和 ZBrush 创建的。
One of the challenges I faced was the need for knowledge about real clothing design and sewing. This is an essential part of the process, especially for creating garments with complex structures. Some of the jacket's unique features contained complicated structures that overlapped and were sewn together, which was difficult for Marvelous Designer to simulate. As a result, I had to go back and forth many times to figure out which structures Marvelous Designer could understand and simulate correctly.
我面临的挑战之一是需要了解真正的服装设计和缝纫知识。这是该过程的重要组成部分，尤其是对于制作具有复杂结构的服装而言。这件夹克的一些独特之处包含重叠和缝合在一起的复杂结构，这对于 Marvelous Designer 来说是很难模拟的。结果，我不得不来回多次，才弄清楚 Marvelous Designer 可以正确理解和模拟哪些结构。
Retopology & Unwrapping
The ultimate goal of this project was to create a playable character in the engine using the MetaHuman standard. To ensure that the UV set meets the standard, I imported a body from MetaHuman into ZBrush and projected the UV set onto my high-poly model. In hindsight, I realized that it would have been easier if I had started sculpting with the MetaHuman model.
For retopology, I used Blender and Marvelous Designer.
Texturing
I utilized the color map provided by MetaHuman as a base and then modified the details and colors on it to an 8K color map to match Chris Pratt's facial features. An 8K specular map projected from Texturing XYZ would be modified to Chris Pratt’s facial features too. For the clothing texture, I used Substance 3D Painter and set up 7 different color ID settings, which allowed me to test and modify colors quickly.
重新拓扑和展开该项目的最终目标是使用 MetaHuman 标准在引擎中创建一个可玩角色。为了确保 UV 集符合标准，我从 MetaHuman 导入一个身体到 ZBrush 并将 UV 集投影到我的高模上。事后看来，我意识到如果我开始使用 MetaHuman 模型进行雕刻会更容易。 对于重新拓扑，我使用了 Blender 和 Marvelous Designer。纹理我利用MetaHuman提供的色图作为基础，然后将其上的细节和颜色修改为8K色图以匹配Chris Pratt的面部特征。从 Texturing XYZ 投影的 8K 高光贴图也将被修改为 Chris Pratt 的面部特征。对于衣服纹理，我使用了 Substance 3D Painter 并设置了 7 种不同的颜色 ID 设置，这让我可以快速测试和修改颜色。
Rendering
I use Blender's Cycles for rendering my work. Most of the lighting sources are from HDR maps. To ensure that the material and texture settings work well in any lighting situation, I set up several different HDR environments for render testing. In addition, I added one point light and one area light as additional lighting in the final rendering. For post-production, I only did some cleanup work and adjusted the canvas.
To achieve a realistic character render, I utilize different lighting setups and switch between them. This allows me to quickly identify weaknesses and areas for improvement, making it an efficient way to improve my work.
渲染我使用 Blender 的 Cycles 来渲染我的作品。大多数光源来自 HDR 贴图。为了确保材质和纹理设置在任何照明情况下都能正常工作，我设置了几个不同的 HDR 环境来进行渲染测试。此外，我在最终渲染中添加了一个点光和一个区域光作为附加照明。对于后期制作，我只做了一些清理工作并调整了画布。为了实现逼真的角色渲染，我使用不同的照明设置并在它们之间切换。这使我能够快速识别弱点和需要改进的地方，使其成为改进我工作的有效方法。如果需要做到更好的一个效果，小编也十分推荐大家使用云渲染农场来帮你完成工作！
Conclusion
I spent a total of around 300 hours completing this project. This included learning new software and the functions such as Blender (50 hours), Marvelous Designer (40 hours), Substance 3D Painter (20 hours), ZBrush (30 hours), and MetaHuman. The main challenge I faced was learning too many new tools in one project. Even after completing all the tutorials, I still had to spend additional time testing different settings and results to become more familiar with each tool. I made some mistakes during the process, which is the cost for a better result.
Another challenge was achieving the character's likeness, which relied on understanding human anatomy and having a solid art foundation. Although there is a Blender add-on called FaceBuilder that allows modelers to achieve likeness more quickly, I opted to sculpt it myself to challenge my skills.
To aspiring 3D character artists, I recommend focusing on foundational training, especially in anatomy, proportions, and materials. With strong foundational skills, every tool will become easier to use, and you can achieve your goals more efficiently. Don't be afraid to experiment and take risks with your tools. For example, as a Maya user, learning Blender gave me a lot of inspiration and insights to modify my workflow.
Additionally, developing your concept and design skills will help you become a better artist beyond just mastering the tools.
最后结论我总共花了大约 300 个小时来完成这个项目。这包括学习新软件和功能，例如 Blender（50 小时）、Marvelous Designer（40 小时）、Substance 3D Painter（20 小时）、ZBrush（30 小时）和 MetaHuman。我面临的主要挑战是在一个项目中学习太多新工具。即使在完成所有教程后，我仍然需要花费额外的时间来测试不同的设置和结果，以更加熟悉每个工具。我在过程中犯了一些错误，这是为了更好的结果所付出的代价。另一个挑战是实现角色的相似性，这依赖于对人体解剖学的理解和扎实的艺术基础。虽然有一个名为 FaceBuilder 的 Blender 附加组件可以让建模者更快地获得相似度，但我还是选择自己雕刻它来挑战我的技能。对于有抱负的 3D 角色艺术家，我建议专注于基础培训，尤其是解剖学、比例和材料方面的培训。有了强大的基础技能，每一个工具都会变得更容易使用，你可以更高效地实现你的目标。不要害怕使用你的工具进行试验和冒险。例如，作为 Maya 用户，学习 Blender 给了我很多灵感和见解来修改我的工作流程。 此外，发展你的概念和设计技能将帮助你成为一名更好的艺术家，而不仅仅是掌握工具。
使用Blender、ZBrush和Substance 3D Painter重现Chris Pratt作为Marvel的星爵，需要一定的时间和努力。在这个项目中，我花了大约300个小时来完成。其中包括学习新软件和功能，如Blender（50小时）、Marvelous Designer（40小时）、Substance 3D Painter（20小时）、ZBrush（30小时）和MetaHuman。这个项目面临的主要挑战是在一个项目中学习太多新工具。即使完成了所有的教程，我仍然需要额外的时间来测试不同的设置和结果，以更加熟悉每个工具。在这个过程中，我也犯了一些错误，但这是为了获得更好的结果所付出的代价。
另一个挑战是实现角色的相似性，这要求对人体解剖学有深入的理解，并具备扎实的艺术基础。尽管有一个名为FaceBuilder的Blender附加组件可以帮助建模师更快地实现相似度，但为了挑战自己的技巧，我选择自己雕刻模型。
对于立志成为3D角色艺术家的人来说，我建议专注于基础培训，特别是解剖学、比例和材质方面的培训。拥有坚实的基础技能后，每个工具都会变得更容易使用，你可以更高效地实现自己的目标。不要害怕尝试和冒险，通过与工具的实践来提升自己的能力。例如，作为Maya用户，学习Blender给我带来了很多启发和见解，改进了我的工作流程。
此外，培养概念和设计技能也将使你成为一名更出色的艺术家，超越单纯掌握工具的层面。
——微元素 × GPT，助力游戏开发，CG创作的无限可能！ LZ真是人才
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