Every model was taken into Maya for retopology and then UV’ed in Maya as well. Once the UVing is done I take all of the low poly into Substance Painter and start baking. This process is organic. If I see that some of the UV’s could be better I will redo them and rebake. I like to get this part right on the front end so that I know they’re perfect by the time they get in the engine.
No real tricks here just make sure your UV’s are good.
每个模型都被带入 Maya 进行重新拓扑，然后也在 Maya 中进行 UV 处理。完成 UV 后，我将所有低多边形放入 Substance Painter 并开始烘焙。这个过程是有机的。如果我看到一些法线有机会做的更好，我会重做它们并重新烘焙。我喜欢把这部分放在前端，这样当他们进入引擎时我就知道它们是完美的。
For materials, I use base materials I make in Substance Designer and bring them into Substance Painter to texture my baked objects. These Substance Designer materials are usually pretty simple and are meant to be combined with other materials. So for example a setup might be a simple blend of Stone and Grout. After that edgewear and dirt are layered on top using baked maps. The last ten percent of the texture is hand-painted drips and leaks and small details. One big tip I’ll share for this is to make sure you check your textures in a neutral environment and not in the final scene. A good texture should work in any scene so don’t tweak to very specific views or lighting. These are some examples.
对于材质，我使用我在 Substance Designer 中制作的基础材质并将它们带入 Substance Painter 来为我的烘焙对象贴图。这些 Substance Designer 材料通常非常简单，旨在与其他材料结合使用。例如，设置可能是 Stone 和 Grout 的简单混合。之后，使用烘焙贴图将边缘磨损和污垢分层放置在顶部。纹理的最后百分之十是手绘滴漏和小细节。我将为此分享的一个重要提示是确保您在中性环境中而不是在最终场景中检查您的纹理。一个好的纹理应该适用于任何场景，所以不要调整到非常特定的视图或照明。这是一些例子。
Shaders
All of the shaders have a very basic setup using base maps exported from Substance Painter with some unique functions like tri-planar grunge or color tinting layered on top to add texture variety. There wasn’t really much more to it than that. A good texture should work on its own so if you want to layer more on top make sure the base is very strong.
着色器
所有着色器都有一个非常基本的设置，使用从 Substance Painter 导出的底图，并具有一些独特的功能，如三平面垃圾或在顶部分层的颜色着色，以增加纹理多样性。没有比这更多的了。一个好的质地应该独立工作，所以如果你想在上面叠加更多，请确保基础非常坚固。
Final Pass
The final pass was where I finished up the lighting and did most of the set dressing. The main goal with this pass was to make the space feel lived in and realistic. I also wanted to really push the mood but make the light sources feel natural. Most of that process included going down this list.
A. Candles
B. Debris
C. Decals
D. Putting these props together in the environment
E. Tweak lighting and VFX
A tip I recommend is to find tutorials that help you create the best version of certain universal props. Candles, debris, fog, etc. Once you’ve made these, save them and re-use them in all of
your environments where you can! I’ve made my fog over time and each time I re-use it and tweak it gets better. Getting these small details in is super important. A small amount of fog can make a space feel full and a flickering candle can make everything look like it has a history so it’s important not to forget these elements. All put together the elements look like this.
最后一步
最后一关是我完成照明并完成大部分布景的地方。这个通行证的主要目标是让空间感觉真实和真实。我也想真正推动情绪，但让光源感觉自然。该过程的大部分内容都包括在此列表中。
A. 蜡烛
B. 碎片
C. 贴花
D. 将这些道具放在环境中
E. 调整灯光和 VFX
我推荐的一个技巧是找到可以帮助您创建某些通用道具的最佳版本的教程。蜡烛、碎片、雾气等。制作完成后，请保存它们并在所有
环境中尽可能地重复使用它们！随着时间的推移，我已经迷上了雾，每次我重新使用它并进行调整时，它都会变得更好。获取这些小细节非常重要。少量的雾可以让空间充满感觉，而闪烁的蜡烛可以让一切看起来都有历史，所以重要的是不要忘记这些元素。所有的元素放在一起看起来像这样。
Conclusion
Overall if I could give one piece of advice it is to always put the mood and theme first. Everything in this scene is made to push the gothic feeling forwards and that’s why I think it works well. It’s important to understand the technical side but at the end of the day, our main goal as artists is to sell a mood.
结论
总的来说，如果我能给出一条建议，那就是始终把心情和主题放在第一位。这个场景中的一切都是为了推动哥特式的感觉向前发展，这就是为什么我认为它运作良好。了解技术方面很重要，但归根结底，我们作为艺术家的主要目标是推销一种情绪。
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