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Introduction
Hi! My name is Alexander and I’m a self-taught 3D Artist. I think I can call myself a Vehicle Artist since I mostly make cars. I prefer a Game Dev-oriented pipeline with baking normal maps from high-poly meshes.
介绍
你好！我的名字是亚历山大，我是一个自学成才的3D艺术家。我想我可以称自己为车辆艺术家，因为我主要制造汽车。我更喜欢面向游戏开发的管道，其中包含从高多边形网格中烘焙法线贴图的功能。
Goals
I decided to make a model of Range Rover Classic, because there are not too many models of it and I wanted to make a well-known SUV. I didn’t set myself strict limitations on polycount or texel density. I just wanted to do my best in making this as realistic as possible along with other aspects. I love abandoned environments and especially cars in them so I made them very rusty and dirty.
目标
我决定制作一款揽胜经典车型，因为它的车型不多，我想制作一款知名的SUV。我没有对多边形计数或纹素密度设置严格的限制。我只是想尽我所能使这与其他方面尽可能现实。我喜欢被遗弃的环境，尤其是其中的汽车，所以我让它们变得非常生锈和肮脏。
Software
I use 3DS Max for modeling and unwrapping, Substance Painter for baking and texturing, Marmoset Toolbag for rendering and ImageModeler for placing cameras based on photos. And ofcourse a little bit of Photoshop here and there.
软件
我使用3DS Max进行建模和拆包，使用Substance Painter进行烘焙和纹理处理，使用Marmoset Toolbag进行渲染，并使用ImageModeler根据照片放置相机。当然，这里和那里有一点点Photoshop。
References
Recently I discovered, myself a good source for car photos –
This is a car auction site and there are tons of cars, each of which, has tons of good quality photos, for example, at this moment there are 250 Range Rovers and many of them have about 250 photos each.
引用
最近我发现，我自己是汽车照片的一个很好的来源 - http://www.bringatrailer.com/
这是一个汽车拍卖网站，有大量的汽车，每个汽车都有大量高质量的照片，例如，目前有250辆Range Rovers，其中许多都有大约250张照片。
Setting Up the Scene with ImageModeler
ImageModeler is a piece of software that reconstructs where the cameras were when the shots were taken and which settings they had when the given photos were shot. Firstly, you need several photos of an object from different angles. The minimum amount for a good result for a car is 5 photos taken from the angles shown below. But the more, the better. I used 12.
Then I loaded these images into the ImageModeler and started placing locators.
使用 ImageModeler 设置场景
ImageModeler是一款软件，可以重建拍摄时相机的位置以及拍摄给定照片时的设置。首先，您需要从不同角度拍摄几张物体的照片。汽车获得良好效果的最小数量是从下面显示的角度拍摄的5张照片。但越多越好。我用了12。
然后，我将这些图像加载到 ImageModeler 中并开始放置定位器。
To place locators you need to find spots that are visible on 3 or more photos simultaneously. Typically, those are corners on parts like doors, fenders, bonnet and small things like wipers nozzles, screws, etc. Don’t place locators on the wheels or other parts that can be moved between photos unless you are sure that they didn’t.
要放置定位器，您需要同时查找在 3 张或更多照片上可见的点。通常，这些是门，挡泥板，发动机盖等零件上的角落，以及雨刮器喷嘴，螺钉等小东西。请勿将定位器放在车轮上或可在照片之间移动的其他部件上，除非您确定它们没有。
To create a new locator you need to hold CTRL (the cursor turns green) and click where you want to place it. In the example below, I placed a new locator on the corner of the door. This point is visible on 5 images so I switch to each image and place this locator (without holding CTRL). When the cursor is white that means you are placing an existing locator. When the locator is placed on each image for each part – find another spot for a new locator.
要创建新的定位器，您需要按住 CTRL（光标变为绿色）并单击要放置定位器的位置。在下面的示例中，我在门的角落放置了一个新的定位器。此点在 5 张图像上可见，因此我切换到每个图像并放置此定位器（不按住 CTRL）。当光标为白色时，表示您正在放置现有定位器。将定位器放置在每个零件的每个影像上时 – 为新定位器查找另一个点。
Also, don’t place locators too close to each other. For example, if you found 2 good spots but the distance between them is about 2cm – use only one of them.
此外，不要将定位器放置在彼此太近的位置。例如，如果您发现了2个好点，但它们之间的距离约为2厘米-仅使用其中一个。
Keep placing locators until ImageModeler shows the “calibration successful” message. You can add more locators to achieve a more accurate calibration.
继续放置定位器，直到 ImageModeler 显示“校准成功”消息。您可以添加更多定位器以实现更准确的校准。
As you can see each image on the bottom bar is marked with a little green square in the corner. That means all images are successfully tied to each other. If only some images are marked green – continue to place locators or check if existing placed correctly. For some reason even if you do everything right the ImageModeler, it can fail to calibrate anyway. In that case, try to find a different set of photos and try again. Yep, that can take some time.
如您所见，底部栏上的每个图像都在角落里标有一个小的绿色正方形。这意味着所有图像都成功地相互关联。如果只有部分影像标记为绿色 ， 请继续放置定位器或检查现有影像是否正确放置。出于某种原因，即使您对了ImageModeler所做的一切，它也可能无法校准。在这种情况下，请尝试查找一组其他照片，然后重试。是的，这可能需要一些时间。
I ended up with 42 locators. In my case, it’s clearly seen that the car remains untouched between photos, so I placed locators on some stones on the ground and the building in front of the car.
After that – export the scene to a .fbx file and then import this file into your 3d software – 3ds Max in my case. The imported file will look like this (red dummies are locators):
我最终得到了42个定位器。就我而言，很明显，汽车在照片之间保持不变，所以我在地面上的一些石头和汽车前方的建筑物上放置了定位器。
之后 - 将场景导出到.fbx文件，然后将此文件导入3d软件 - 在我的情况下为3ds Max。导入的文件将如下所示（红色假人是定位器）：
Group everything together then rotate and scale to make it properly oriented.
On the top left corner of the viewport select one of the cameras then enable 2d Pan Zoom Mode. In the viewport configuration setting change the background to the image corresponding to the camera.
将所有内容组合在一起，然后旋转和缩放以使其正确定向。
在视口的左上角，选择其中一个摄像机，然后启用 2d 平移缩放模式。在视口配置设置中，将背景更改为与摄像机对应的图像。
My set up is like this, 3 viewports and the last one I left for orthographic view:
我的设置是这样的，3个视口和我留给正交视图的最后一个视口：
Modeling
Talking about the highpoly model – nothing special here, just regular modeling for subdivision. I’m trying to keep everything in quads, but sometimes it’s fine to use some tris or n-gons. I see some people think that triangles are totally illegal and evil but it’s not that bad. I usually leave triangles if I can’t find a quick solution to turn them into quads, after subdivision, there are not too many distortions. Also sometimes n-gons behave better than tris.
建 模
谈论高聚模型 - 这里没什么特别的，只是细分的常规建模。我试图将所有内容都保持在四边形中，但有时使用一些tris或n-gons是可以的。我看到有些人认为三角形是完全非法和邪恶的，但它并没有那么糟糕。如果我找不到快速解决方案将它们变成四边形，我通常会留下三角形，在细分之后，没有太多的扭曲。有时n-gons比tris表现得更好。
Some parts like brake calipers, transmission and part of an axle, shown above are made using booleans and retopology modifier. The result still required some manual adjustments and the mesh is pretty dense but it’s good enough for baking.
For the interior, I usually make the same scene setup as the exterior, only with fewer cameras (usually 3-4). I model everything visible on photos – dash, steering wheel, console, then bring everything to the same scene with the exterior and try to match them. Then do the rest of the interior mostly by eye. In the image below you can see that for the seats and the floor I made only simple placeholders to preserve the position. The seats itself was made separately and then placeholders were replaced with them.
某些部件（如制动钳、变速箱和车轴的一部分）（如上所示）是使用布尔值和拓扑修饰符制成的。结果仍然需要一些手动调整，网格非常密集，但它足以烘焙。
对于里面，我通常进行与外部相同的场景设置，只是摄像机较少（通常为3-4）。我对照片上可见的所有内容（仪表板，方向盘，控制台）进行建模，然后将所有内容与外部带到同一场景中，并尝试匹配它们。然后主要通过眼睛做其余的里面。在下图中，您可以看到，对于座椅和地板，我只制作了简单的占位符来保持位置。座位本身是分开的，然后占位符被替换成它们。
One of my favorite parts is modeling wheels. For the rim, I use the plane with the photo as a reference. In many rims, spokes count matches screw counts like 8 spokes and 4 screws or 10 spokes and 5 screws. In that case, it’s easy to make only a segment with 2 spokes and 1 screw hole and copy them radially. But this car’s rim has 3 spokes and 5 screw holes, so I modeled 1/6 segment without screw holes (red on the image), mirrored it (green on the image) welded them together and copied this part 2 times radially.
我最喜欢的部分之一是造型轮。对于轮辋，我使用带有照片的飞机作为参考。在许多轮辋中，辐条数量与 8 个辐条和 4 个螺钉或 10 个辐条和 5 个螺钉等螺钉数量相匹配。在这种情况下，很容易只制作一个具有2个辐条和1个螺钉孔的段，并径向复制它们。但是这辆车的轮辋有3个辐条和5个螺丝孔，所以我模拟了1/6段没有螺丝孔（图像上的红色），镜像它（图像上的绿色）将它们焊接在一起，并径向复制了这个部分2次。
After that, I subtracted screw holes with booleans and like before used the Retopology modifier.
For making a tire I start with a basic cylindric shape around the rim. I then add some patterns to the side. Usually, there should be things like a manufacturer name or some sort of technical information, but I prefer not to make this kind of thing cause this would require having a whole side of the tire be unwrapped as a single chunk. So I prefer to save some UV space and unwrap only one-quarter of the tire and then copy it.
之后，我用布尔值减去螺钉孔，就像之前使用Retopology修饰符一样。
为了制造轮胎，我从轮辋周围的基本圆柱形开始。然后，我在侧面添加一些图案。通常，应该有制造商名称或某种技术信息之类的东西，但我宁愿不做这种事情，因为这需要将轮胎的整个侧面作为单个块打开包装。因此，我更喜欢节省一些紫外线空间，只打开四分之一的轮胎，然后复制它。
For a protector, I make a repeating part of the pattern (shown below) and copy in a row multiple of 4 times – 32 in this case. Then I wrap it around the base of the tire with a Bend modifier.
I also decided to add the small cuttings as floating geometry instead of fully modeling them, so later I can use it for baking ID Map and paint those details on texture.
对于保护器，我制作了模式的重复部分（如下所示），并在一行中复制4倍 - 在这种情况下为32倍。然后，我用Bend修饰符将其缠绕在轮胎底部。
我还决定将小插条添加为浮动几何图形，而不是完全建模，因此稍后我可以使用它来烘焙ID Map并在纹理上绘制这些细节。
Unwrapping
I don’t use any special tools for retopology and in most cases don’t use highpoly without subdivision as the base for lowpoly. I create lowpoly mesh from scratch manually so there is nothing interesting to talk about.
展开
我不使用任何特殊的工具进行拓扑，并且在大多数情况下不使用没有细分的高聚作为低聚的基础。我从头开始手动创建低聚网格，因此没有什么有趣的可谈论的。
When the lowpoly mesh is done – the next step is to set smoothing groups. I’m trying not to make too many hard edges but still avoid too noticeable shading issues. Note that hard edges should have UV seams.
After that, I unwrap the lowpoly model. I use a separate texture set for the body, interior, and undercarriage with wheels and glass. Let’s take the undercarriage texture set for example.
低聚网格完成后 ， 下一步是设置平滑组。我试图不做太多的硬边，但仍然避免太明显的阴影问题。请注意，硬边应有紫外线接缝。
之后，我解开了低聚模型。我为车身，内饰和起落架使用单独的纹理集，带有轮子和玻璃。让我们以起落架纹理集为例。
For unwrapping, I use the standard Unwrap UVW modifier. I start with placing seams on all hard edges then add some more seams to make the shapes of UV chunks more convenient for packing.
I scale up or down on some of the UV chunks depending on their visibility and the number of details they will contain on texture. For example, I scaled up the front side of the rim (and the tire too) to get more texel density, because this side is always clearly visible, I also scaled down the backside to save some UV space, because this side remains mostly invisible.
对于展开，我使用标准的“展开 UVW”修饰符。我从在所有硬边上放置接缝开始，然后添加更多接缝，以使UV块的形状更便于包装。
我根据某些 UV 块的可见性以及它们在纹理上包含的细节数量来放大或缩小某些 UV 块。例如，我放大了轮辋的前侧（以及轮胎）以获得更多的纹理密度，因为这侧总是清晰可见，我还缩小了背面以节省一些紫外线空间，因为这一侧几乎不可见。
For the sake of saving UV space, it’s also good to detect all repetitive meshes or parts of the mesh and unwrap each of them individually. In this case, I unwrapped and textured only the rear axle and then copied it to the front. Same with drive shafts, trailing links (there are 4 of them and all have the same UVs) and many others. Parts of the frame and the bottom are mirrored. For springs unwrapped only one turn of the spring and then copied vertically a few times.
为了节省UV空间，检测所有重复的网格或网格的一部分并单独展开每个网格也是很好的。在这种情况下，我只解开后轴的包装和纹理，然后将其复制到前轴。驱动轴，拖曳连杆（其中有4个，并且都具有相同的UV）和许多其他轴相同。框架和底部的部分被镜像。对于弹簧，只打开弹簧的一圈，然后垂直复制几次。
Baking
Preparing the highpoly for baking, I apply materials with contrasting colors to different parts to bake them into an ID map later, I then move the parts away from each other. There is a proper modern way of avoiding baking artifacts whilst parts are close to each other or intersecting parts without moving them – that’s adding “_low” and “_high” suffixes to object’s names but I prefer the good old one with moving.
烘
准备烘焙的高聚物，我将具有对比色的材料应用于不同的部分，以便稍后将它们烘焙成ID图，然后将这些部分彼此分开。有一种适当的现代方法可以避免在零件彼此靠近或相交零件而不移动它们的情况下烘烤工件 - 那就是在对象名称中添加“_low”和“_high”后缀，但我更喜欢移动的旧后缀。
The next step is making the cage. I take a copy of the lowpoly mesh and make cuts near the sharp edges (almost like support loops for the highpoly). I then push it, until it covers the highpoly fully. In some places adjusting the cage moving vertices manually and making quick testing bakes.
下一步是制作笼子。我复制了低聚网格，并在锋利的边缘附近进行切割（几乎就像高聚的支撑环）。然后我推动它，直到它完全覆盖高聚物。在某些地方，手动调整笼子移动顶点并进行快速测试烘烤。
Also, since I move parts from each other I lose ambient occlusion in some places so I add pieces of lowpoly meshes (green on the example below) near those parts to restore AO.
此外，由于我彼此移动零件，因此在某些地方会失去环境光遮蔽，因此我在这些零件附近添加了低聚网格（以下示例为绿色）以恢复AO。
Before exporting the lowpoly mesh, it should be triangulated. Different software triangulates differently so if you imported quad mesh to Substance Painter it will triangulate one way and then you import this same mesh to the game engine – it can triangulate another way and the normal map baked in SP will display incorrectly. So don’t let the software decide how to triangulate and triangulate it yourself before baking.
在导出低聚网格之前，应对其进行三角化。不同的软件三角化方式不同，因此，如果您将四重网格导入到Substance Painter，它将以一种方式进行三角测量，然后将相同的网格体导入游戏引擎 - 它可以以另一种方式进行三角测量，并且在SP中烘焙的法线贴图将无法正确显示。因此，不要让软件在烘焙之前自行决定如何对其进行三角测量和三角化。
By the way, in case you forgot how to triangulate the mesh and it’s already baked and textured – SP has an option to export the mesh to be triangulated.
顺便说一句，如果您忘记了如何对网格进行三角化，并且它已经烘烤并已着色 - SP可以选择导出网格以进行三角化。
As a nice final touch, it’s good to check what the triangulated model looks like in facets mode. Especially at the corners and curved surfaces. Does it concave or convex where it should be. The example below shows another car model where this is more obvious.
作为一个很好的最后一步，最好检查三角化模型在刻面模式下的外观。特别是在角落和弯曲的表面。它是否在它应该在的地方凹陷或凸起。下面的示例显示了另一种更明显的汽车模型。
Finally, I throw this all into Substance Painter and bake.
最后，我把这些都扔进物质画家那里烘烤。
Texturing
I start texturing with the body of the car. Firstly I set up clean base materials for paint, plastic, metallic parts, etc. In most cases, they are just fille layers without any texture. For simulating holes on the surface like in the vent on the bonnet I use a fill layer with absolute black color in albedo, roughness and metallic parameters set to 1. Such material reacts least of all to light and creates the illusion of a hole. Those “holes” should stay on top of other layers so layers with dirt will not cover them.
纹理
我开始用车身做纹理。首先，我为油漆，塑料，金属零件等设置了干净的基材。在大多数情况下，它们只是没有任何纹理的填充层。为了模拟表面上的孔，例如发动机盖上的通风口中的孔，我使用具有绝对黑色的反照率，粗糙度和金属参数设置为1的填充层。这种材料对光的反应最小，并产生孔的错觉。这些“洞”应该留在其他层的顶部，这样有污垢的层就不会覆盖它们。
Next is to paint damage. For scratches, I create a fill layer with roughness to 1 and other parameters disabled. Then I add a black mask and put some standard grunges to it. Basically, it’s multiple “Grunge Scratches Rough” on top of each other in linear dodge (add) mode with different transparency values, offsets, rotations, scales and seeds. Using a Light generator I make the paint on horizontal surfaces a little faded. Also, this time I decided to paint over some areas where the white primer appeared through paint.
接下来是油漆损坏。对于划痕，我创建了一个粗糙度为 1 且禁用了其他参数的填充图层。然后我加了一个黑色的面具，并在上面放了一些标准的垃圾。基本上，它是多个“垃圾刮擦粗糙”在线性减淡（添加）模式下相互叠加，具有不同的透明度值，偏移，旋转，缩放和种子。使用光发生器，我使水平表面上的油漆有点褪色。另外，这次我决定在白色底漆通过油漆出现的一些区域上绘画。
Making the rust, I take standard “Rust Fine” material and begin building the mask. Every time I texture rust I try to experiment a little more, but the core of the process remains the same. I start by manually painting the areas where the paint is chipped and rust has appeared using a standard brush with a circular shape. I then apply filters – multiple Blur Slopes with different settings to achieve a more chipped look and Histogram Scan to get hard borders. The Histogram Scan filter is also good for mixing multiple noises. Some of the shapes I create are this way. I then fix it manually by painting in Subtract or Add mode.
生锈后，我采用标准的“Rust Fine”材料并开始构建面具。每次我给生锈纹理做点，我都会尝试做更多的实验，但这个过程的核心保持不变。我首先使用圆形的标准画笔手动绘制油漆碎裂和生锈的区域。然后，我应用滤镜 - 具有不同设置的多个模糊斜率以实现更碎裂的外观，并应用直方图扫描以获得硬边框。直方图扫描过滤器也适用于混合多个噪声。我创建的一些形状就是这样。然后，我通过在“减法”或“添加”模式下绘画来手动修复它。
To get the effect of peeling paint around the rust spots I create a fill layer with only the Height parameter enabled and use a copy of the mask I described before with the blur filter on top. I put this layer under the rust layer and change the height blending mode of rust to Normal.
为了获得在锈斑周围剥落油漆的效果，我创建了一个仅启用 Height 参数的填充图层，并使用我之前描述的蒙版的副本，并在顶部使用模糊滤镜。我把这一层放在防锈层下面，把锈的高度混合模式改成正常。
In a similar way, I create a yellowish tint on paint around the rust – copying the rust mask and blurring it.
以类似的方式，我在铁锈周围的油漆上创造了淡黄色的色调 - 复制锈蚀面具并模糊它。
In the big rusty spots near the bottom, I painted a few holes which look like rusted through metal. The mask is created as before with manual painting and applying a Blur Slope filter.
在靠近底部的大锈迹斑中，我画了几个洞，这些洞看起来像是通过金属生锈的。蒙版与以前一样通过手动绘画和应用“模糊斜率”滤镜进行创建。
To paint leaks from rust spots I use 2 ways. One is just stamping them with alpha found somewhere on the internet. The second is to make a spot with the brush and smear it down with the Smudge tool. To make the central part of the leak brown-orange and the outer parts yellow I copy the whole layer then shrink the mask down with levels and change the color. While experimenting this time I decided to add a third copy of the layer with bright orange color. Here is what I get:
要从锈斑中涂漆泄漏，我使用2种方法。一个只是用在互联网上的某个地方找到的alpha来盖章。第二种是用刷子做一个点，然后用涂抹工具涂抹。为了使泄漏的中心部分变成棕橙色，外部部分变为黄色，我复制了整个图层，然后用水平缩小了蒙版并更改了颜色。在这次进行实验时，我决定添加该图层的第三个副本，颜色为明亮的橙色。这是我得到的：
In addition to those rust spots, I make other types of rust. Don’t really know how to properly describe it. Something like surface rust. Same as before I make yellow-tinted paint around the rust. This is what the mask consists of:
除了那些锈斑，我还会制造其他类型的锈迹。真的不知道如何正确地描述它。像表面生锈一样的东西。和以前一样，我在铁锈周围制作黄色的油漆。这是面具的组成：
The last step is dirt and dust. First of all, I use the good old Dirt generator but I make it barely noticeable. In this case, I set the Dirt Level parameter to 0.4 so it doesn’t stand out too much. However, it was still too much dirt on the grill, so I erased it a bit by adding Paint in Subtract mode and painted over any unwanted areas. It’s always good to not fully rely on generators and grunge and to make manual adjustments.
最后一步是污垢和灰尘。首先，我使用旧的污垢发生器，但我使它几乎不明显。在本例中，我将 Dirt Level 参数设置为 0.4，因此它不会太突出。但是，烤架上的污垢仍然太多，所以我通过在减法模式下添加Paint并在任何不需要的区域上绘画来擦除它。不要完全依赖发电机和垃圾乐并进行手动调整总是好的。
The next layer is ground dirt. I took BnW Spots noise and put Warp and Highpass filters on top and increased contrast witch Levels. To make dirt appear less on the top I multiplied the mask by Gradient Linear alpha in planar projection.
下一层是地面污垢。我采用了BnW Spots噪声，并将翘曲和高通滤镜放在顶部，并增加了对比度女巫级别。为了使顶部的污垢看起来更少，我将蒙版乘以平面投影中的渐变线性 alpha。
Besides that, I manually painted 2 additional layers of bottom dirt with slightly different colors to add more variation.
除此之外，我还手动绘制了另外2层颜色略有不同的底部污垢，以添加更多变化。
To the sides, I painted some leaks with standard Drips Top alpha and put Warp on top. I decreased this layer’s intensity of albedo and roughness to make them barely visible.
在侧面，我用标准的Drips Top alpha画了一些泄漏，并把Warp放在上面。我降低了这一层的反照率强度和粗糙度，使它们几乎看不见。
On the horizontal surfaces, I wanted to reproduce the effect of dried-up drops of rain in the dust. Firstly I put some spots with planar projection then blurred them a bit and applied Gradient Curve filter with Triangular preset selected to make stains hollow. To break the shapes a little I added Blur Slope.
在水平表面上，我想重现灰尘中干涸的雨滴的效果。首先，我用平面投影放置一些斑点，然后模糊它们，并应用梯度曲线滤镜，选择三角形预设以使污渍中空。为了稍微打破形状，我添加了模糊坡度。
I also recently found out that an interesting leaking effect can be achieved when applying Blur Slope with Position generator in Custom Noise input to some spots.
我最近还发现，在自定义噪声输入中将带有位置生成器的模糊斜率应用于某些点时，可以实现有趣的泄漏效果。
For the dust, I used the same techniques. For a more interesting look I removed large chunks of dust with the brush. To make a top-down projection I use the Light generator.
对于灰尘，我使用了相同的技术。为了获得更有趣的外观，我用刷子去除了大块灰尘。为了进行自上而下的投影，我使用光发生器。
All the same for the interior and others. The only new thing for the interior is that there are lots of buttons with icons or text on the dashboard and for things like that, I take an image, make it grayscale in Photoshop and try to adjust levels so that the text and icons become white and the background is black. It rarely will work with just levels, most of the time it needs to be manually fixed.
内饰和其他方面都是一样的。内饰的唯一新东西是仪表板上有很多带有图标或文本的按钮，对于类似的东西，我拍摄了一张图像，在Photoshop中将其设置为灰度，并尝试调整级别，使文本和图标变为白色，背景为黑色。它很少只适用于关卡，大多数时候需要手动修复。
I send the result to SP and use it as alpha. When I need to make multicolored icons, I create a folder and stamp my alpha in its mask then I put inside this folder Fill Layers with colors that I need and paint needed areas in their masks.
我将结果发送给SP并将其用作alpha。当我需要制作多色图标时，我会创建一个文件夹并在其蒙版中标记我的alpha，然后我放入此文件夹中，用我需要的颜色填充图层，并在其蒙版中绘制所需的区域。
Rendering
I use Marmoset Toolbag for rendering – it’s the perfect tool for rendering game assets in my opinion. It’s super simple and intuitive.
渲染
我使用Marmoset Toolbag进行渲染 - 在我看来，它是渲染游戏资产的完美工具。它超级简单直观。
Before setting up the lighting I set all the rendering quality-related settings to high values. In the camera settings, I prefer to change the Linear tone mapping to ACES and decrease the field of view to 20 (rendering interior I change FOV to 90). I also add a tiny bit of bloom and a vignette. And so the model doesn’t float in the air I add a shadow catcher.
在设置光照之前，我将所有与渲染质量相关的设置都设置为高值。在相机设置中，我更喜欢将线性色调映射到ACES并将视野减小到20（渲染里面我将FOV更改为90）。我还添加了一点点绽放和小插曲。所以模型不会漂浮在空中，我添加了一个阴影捕捉器。
Next up is placing lights. I didn’t follow some lightning rules or something like that – just “painted” with warm yellow and cold blue lights. And a few neutral whites.
In Photoshop I quickly made the following image and set it as a skylight.
接下来是放置灯。我没有遵循一些闪电规则或类似的东西 - 只是用温暖的黄色和冷蓝色的灯光“涂”。还有一些中性的白人。
在Photoshop中，我迅速制作了下图并将其设置为天窗。
Next, I started adding light sources. The first one is bright and warm the second and the third are cold to make a nice contrast. The last 2 are neutral white, one is to make a subtle gradient on the side of the car and the other is to highlight the front part which was too dark.
接下来，我开始添加光源。第一个是明亮和温暖的，第二个和第三个是冷的，以形成一个很好的对比。最后2个是中性白色，一个是在汽车侧面做一个微妙的渐变，另一个是突出前部太暗的部分。
This is how the scene looks like:
场景是这样的：
All the other renders are made by the same principle.
As the last step, I bring the images to Photoshop and see if messing around with levels or adjusting saturation could make them any better. And apply sharpness of course.
所有其他渲染都是按照相同的原理制作的。
作为最后一步，我将图像带到Photoshop，看看弄乱级别或调整饱和度是否可以使它们变得更好。当然，还要应用锐度。
Conclusion
That’s basically it! Hope you found any useful information here and thanks for stopping by.
结论
基本上就是这样！希望您在这里找到任何有用的信息，并感谢您的光临。
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