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本帖最后由 秋令6689 于 2022-5-17 15:35 编辑
The Hunter – Character Breakdown – Jean Zoudi 猎人 – 角色分解 – 让·祖迪
Introduction Hi! My name is Jean Zoudi, I’m a french 3D character artist. First of all, I would like to thank GamesArtist for the opportunity to talk about my work. I try to work on personal projects whenever I have time to, I think it’s very important to experiment, develop skills, optimize workflow and I believe personal projects are the best way to do all of this while having fun! 介绍 你好！我的名字是Jean Zoudi，我是一名法国3D角色艺术家。首先，我要感谢GamesArtist给我机会谈谈我的工作。 只要有时间，我就会尝试从事个人项目，我认为尝试，发展技能，优化工作流程非常重要，我相信个人项目是在玩乐的同时完成所有这些工作的最佳方式！ About the project Bloodborne is in my opinion the greatest game ever made, it is a masterpiece both in terms of art and gameplay. Since the game came out 6 years ago, and after Bluepoint’s amazing remake of Demon’s Souls, I was wondering what Bloodborne could look like if it was remade for next-gen consoles. I wanted to recreate iconic characters, Lady Maria and the Hunter came out to be the best match for this project. So I started off by creating “Lady Maria of the 关于项目 在我看来，《Bloodborne》是有史以来最伟大的游戏，无论是在艺术上还是在游戏玩法上，它都是一部杰作。自从这款游戏在6年前问世以来，在Bluepoint对《恶魔之魂》的惊人重制之后，我想知道如果它被重制为下一代游戏机， Bloodborne会是什么样子。我想重现标志性的角色，玛丽亚夫人和猎人是这个项目的最佳匹配。因此，我开始创作“玛丽亚夫人” Astral Clocktower” which you can find here: And I moved on to the Hunter, Bloodborne’s main protagonist. Here’s how I approached this character’s creation. 我转到了《血源》的主角猎人身上。以下是我如何创作这个角色。 References Every project starts with gathering references, obviously, the game was my main one, but I also used Andres Zambrano great fanart: 引用 每个项目都从收集参考资料开始，显然，游戏是我的主要游戏，但我也使用了Andres Zambrano伟大的粉丝艺术：https://www.artstation.com/artwork/gJyqwQ I have Figma’s articulated miniature of the Hunter which came in handy to get every angle right. 我有Figma的猎人铰接式微缩模型，它派上用场，使每个角度都正确。 Blocking This character has a lot of different clothes and straps, so I started off by creating a blockout for every object in the outfit, and I used Marvelous Designer for the loose clothes: The coat and the pants. 阻塞 这个角色有很多不同的衣服和肩带，所以我开始为服装中的每个物体创建一个遮挡，我用Marvelous Designer来制作宽松的衣服：外套和裤子。 I never go too far in details in MD, I only use it as a base for my sculpt to get the main shapes and folds. 在MD中，我从不走得太远，我只用它作为我的雕塑的基础，以获得主要的形状和褶皱。 For the little chains, I went for the curve brushes in Zbrush, a tool I recommend using that lets you have good control over this kind of intricate meshes. Every other clothes have been made in Zbrush with Extracts and hand-sculpting. The hard surface parts like the forearms protections, buttons or straps were modeled in Maya and imported in Zbrush. 对于小链条，我选择了Zbrush中的曲线画笔，我建议使用这种工具，可以让您很好地控制这种复杂的网格。 所有其他衣服都是用Zbrush用提取物和手工雕刻制作的。前臂保护装置、按钮或肩带等硬表面部件采用玛雅风格，采用 Zbrush 进口。 Sculpting Once I get my blocking looking right, I start subdividing and sculpting secondary forms and folds. For this project, I wanted to have all the details directly in Zbrush, even if it’s not very optimized because it requires displaying a lot of polygons. 雕刻 一旦我的块看起来正确，我就开始细分和雕刻次要形式和褶皱。对于这个项目，我想直接在Zbrush中拥有所有细节，即使它不是很优化，因为它需要显示很多多边形。 But it gave me a better idea of the final result before texturing. I always use layers when sculpting tertiary forms and details. For the clothing, I usually create a layer for the overall pattern (like leather or textile), another layer for the small folds, one for the stitches and a last one for the damages and wear. I didn’t spend too much time on the face because it will be hidden behind the scarf and the hat, so I just went for a generic face and some skin alphas. 但它让我在纹理制作之前对最终结果有了更好的了解。在雕刻第三种形式和细节时，我总是使用层次。对于服装，我通常为整体图案（如皮革或纺织品）创建一层，为小褶皱创建另一层，为针脚创建一层，最后一层用于损坏和磨损。我没有花太多时间在脸上，因为它会隐藏在围巾和帽子后面，所以我只是选择了一张普通的脸和一些皮肤阿尔法。 Baking/Texturing Once the high poly is done, I exported everything from Zbrush to Maya, and started setting everything up for the baking (retopo the parts where Zremesher wasn’t enough, unwrapping everything, assigning materials to texture sets, etc) 烘焙/纹理 一旦高多边形完成，我就将Zbrush的所有内容导出到Maya，并开始为烘焙设置所有内容（重新定位Zremesher不够的部分，打开所有内容，将材质分配给纹理集等） After that, I imported the low poly in Substance Painter and baked my high poly on it. It was a bit time-consuming considering all the details in the high poly but it spared me some work on the texturing and I got nice mesh maps with lots of details, especially from the curvature which I use a lot in the texturing process. 之后，我在Substance Painter中导入了低多边形，并在上面烘烤了我的高多边形。考虑到高多边形中的所有细节，这有点耗时，但它节省了我在纹理方面的一些工作，我得到了漂亮的网格贴图，有很多细节，特别是来自我在纹理过程中经常使用的曲率。 The ornaments on the protections were added in Substance Painter with alphas I created in Photoshop. 保护上的装饰品是用我在Photoshop中创建的alphas在Substance Painter中添加的。 I used Jasper Vick’s Blood smart material for the touches of blood on the character: The head texturing was pretty straightforward, classic blue/red/yellow for the different tones, some layers to add contrast and color variation and I also painted a hair cap which will be useful for hair grooming later. 头部纹理非常简单，经典的蓝色/红色/黄色用于不同的色调，一些图层以添加对比度和颜色变化，我还画了一个发帽，这将对以后的头发梳理有用。 Hair grooming At this stage, I imported my model and textures in UE5 to see if everything checks out. It can be a long back-and-forth process here, tweaking textures or modeling until it works nicely. 头发梳理 在这个阶段，我在UE5中导入了我的模型和纹理，看看是否一切都检查出来了。在这里，这可能是一个漫长的来回过程，调整纹理或建模，直到它工作正常。 Once I was happy with the result, I started hair grooming using xGen in Maya. It was a rather simple haircut so it didn’t take too long. Since the face is mostly covered, I obviously just focused on the hair that would be visible in the final render. 一旦我对结果感到满意，我就开始在Maya中使用xGen进行头发梳理。这是一个相当简单的发型，所以没有花太长时间。由于脸部大部分被遮盖，我显然只关注在最终渲染中可见的头发。 Some guides tweaking and some modifiers (3 clumpings, 1 cut, 1 coil, 3 noise) later, I exported the hair as an Alembic Cache and imported it in UE5. I find this hair workflow truly amazing and it gives great real-time results. 一些指南调整和一些修饰符（3个团块，1个剪切，1个线圈，3个噪音）之后，我将头发导出为Alembic Cache并将其导入UE5中。我发现这个头发工作流程真的很棒，它提供了很棒的实时结果。 Rendering/Lighting Then I just needed to make everything render nicely in UE. Epic Games provides awesome resources for artists, for example, I used Windwalker Echo’s eyes and skin shaders which I tweaked to match my needs. That saved me from doing lots of technical stuff I’m not as good as them at. 渲染/光照 然后我只需要在UE中使所有内容都呈现得很好。Epic Games为艺术家提供了很棒的资源，例如，我使用了Windwalker Echo的眼睛和皮肤着色器，我调整了这些着色器以满足我的需求。这使我免于做很多我不擅长的技术工作。https://www.unrealengine.com/mar ... /windwalker-echo-01 I wanted a small pedestal for the character to stand on, so I went for something reminiscent of the game: a portion of dark pavement with a puddle of blood. Starting from a displacement map, I sculpted some rocks in ZBrush, textured it and added a plane for the blood. The lighting is made of a key spotlight, a slight fill spotlight and two rim point lights. 我想要一个小基座让角色站立，所以我选择了一些让人想起游戏的东西：一段黑暗的人行道，上面有一个血坑。 从位移图开始，我在ZBrush中雕刻了一些岩石，对其进行了纹理处理，并为血液添加了一个平面。 照明由一个关键聚光灯，一个轻微的填充聚光灯和两个边缘点灯组成。 Conclusion It was a really fun project to work on, I learned a lot and especially on the clothing creation. I’m happy to have been able to create two full characters in the the Bloodborne universe was an amazing experience to work with from Software’s designs as a base, they really are masters. 结论 这是一个非常有趣的项目，我学到了很多东西，特别是在服装创作方面。我很高兴能够在Bloodborne宇宙中创建两个完整的角色，这是一个了不起的体验，从Software的设计作为基础，他们真的是大师。 Thanks again to GamesArtist, and thanks for reading, I hope you liked this little insight into my work! 再次感谢GamesArtist，并感谢您的阅读，我希望您喜欢对我的工作的这个小小的见解！
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