Goals

First of all, I wanted to improve my skills in modelling, texturing and lighting so I was looking for a concept that I knew had a lot of assets to model and also had nice textures.

Since I have a background in photography and film, I’m always looking for projects that would look cinematic and have a nice atmosphere.
目标

首先，我想提高我在建模，纹理和照明方面的技能，所以我正在寻找一个概念，我知道有很多资源可以建模，并且还有很好的纹理。

由于我有摄影和电影的背景，我一直在寻找看起来像电影一样并且气氛良好的项目。

I also feel like every environment I create needs to tell a story so whoever sees it needs to feel interested and wants to know more, that’s why when I saw the concept made by , I knew right away that it would be an amazing piece to create in 3D.

Finally, since I’m a 3D student building my portfolio, I knew that I needed to create a piece that can showcase my skills in as many aspects as I could.
我也觉得我创造的每个环境都需要讲述一个故事，所以无论谁看到它都需要感到感兴趣并想知道更多，这就是为什么当我看到https://www.artstation.com/fus制作的概念时，我马上就知道这将是一个令人惊叹的3D作品。

最后，由于我是一名3D学生，正在构建我的投资组合，我知道我需要创建一个可以在尽可能多的方面展示我的技能的作品。

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Software

Maya was used to model everything in the scene and Zbrush was used to sculpt the details and create the displacement maps for some of the assets. Also, I used Marvelous Designer to create and simulate some of the fabrics and curtains are seen around the scene.

Everything was textured in Substance Painter and the scene was rendered in V-Ray. Photoshop was used to create some decals and alphas to use while texturing and also for compositing.
软件

Maya 用于对场景中的所有内容进行建模，Zbrush 用于雕刻细节并为某些资源创建置换贴图。此外，我还使用Marvelous Designer来创建和模拟场景周围看到的一些织物和窗帘。

一切都在Substance Painter中进行了纹理处理，场景在V-Ray中渲染。Photoshop用于创建一些贴花和alpha，以便在纹理和合成时使用。

References/Inspiration

Since this was my final project for the Advanced Term at Think Tank Online, I knew that I had to challenge myself even more than the last time. I had around 15 weeks to get everything done so I also needed to be realistic in terms of time.

A couple of weeks before I started the project, I was watching some VFX Breakdown videos and I stumbled across one from Goodbye Kansas for the cinematic trailer of “Overkill’s The Walking Dead“ game and I was amazed by the quality of their work. After a couple of days, I found Wojtek Fus on Artstation, who was the concept artist for this project and saw the concepts for the trailer, that’s when I decided that is what I wanted to make.

I knew that it was going to be a challenge but I loved how cinematic the scene was and also how great it was in terms of storytelling. It had all the things I was looking for, there was going to be a lot of modelling involved, texturing, lighting and comp too.

Also, I felt really motivated since I’ve been a big fan of The Walking Dead for years now and having the chance to prove myself by creating a project based on that universe felt like a lot of fun.
参考/灵感

由于这是我在智库在线的高级学期的最后一个项目，我知道我必须比上次更加挑战自己。我有大约15周的时间来完成所有工作，所以我也需要在时间方面保持现实。

在我开始这个项目的几周前，我正在看一些VFX Breakdown视频，我偶然发现了一个来自再见堪萨斯州的“Overkill's The Walking Dead”游戏的电影预告片，我对他们的工作质量感到惊讶。几天后，我在Artstation上找到了Wojtek Fus，他是这个项目的概念艺术家，并看到了预告片的概念，就在那时我决定这就是我想做的。

我知道这将是一个挑战，但我喜欢这个场景的电影效果，以及它在讲故事方面有多棒。它有我一直在寻找的所有东西，将涉及很多建模，纹理，照明和合成。

此外，我感到非常有动力，因为我多年来一直是《行尸走肉》的忠实粉丝，并且有机会通过创建一个基于该宇宙的项目来证明自己，感觉很有趣。

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Scene Breakdown

The first step to create this project was to make a complete breakdown of the scene, this was a crucial step to make sure that I had everything organized and ready. I went into Photoshop and started painting over the concept, I divided it into 5 categories:
场景分解

创建这个项目的第一步是彻底分解场景，这是确保我一切都井井有条并准备就绪的关键一步。我进入Photoshop并开始绘制这个概念，我将其分为5类：

Main Environment Assets
Hero Props
Principal Assets
Secondary Assets
Tertiary Assets
Once I made the breakdown, I knew which assets I’ll have to spend more time on, this helped me to manage my time in a better way.
主要环境资产
英雄道具
主要资产
次要资产
第三产业资产
一旦我进行了细分，我就知道我必须花更多的时间在哪些资产上，这有助于我以更好的方式管理我的时间。

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Asset Breakdown

Now that the scene breakdown is ready is time to start looking at every asset seen in the concept and create a list to have a full understanding of how much work I’ll have to put in each one of them.

Here’s where the scene breakdown helps a lot because it allows me to decide which assets are more important than others.
资产明细

现在场景分解已经准备就绪，是时候开始查看概念中看到的每个资产，并创建一个列表，以充分了解我必须在每个资产中投入多少工作。

在这里，场景分解有很大帮助，因为它允许我决定哪些资产比其他资产更重要。

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Reference Searching

Before I start blocking out the scene, I like to spend some time looking at references for every asset detailed in the list made in the asset breakdown. Up to this point I like to consider the preproduction stage of the project.

Here’s where PureRef turns into your best friend, I created a black project and started getting images from google and pasting them in the canvas. I spent more time on the hero props and principal assets because I knew they were going to be closer to the camera so I had to get the modelling and texturing right.
参考文献搜索

在我开始屏蔽场景之前，我想花一些时间查看资产细分列表中详细列出的每个资产的参考。到目前为止，我喜欢考虑项目的预生产阶段。

这就是PureRef成为你最好的朋友的地方，我创建了一个黑色项目，并开始从谷歌获取图像并将其粘贴到画布中。我花了更多的时间在英雄道具和主要资产上，因为我知道它们会更接近镜头，所以我必须正确地进行建模和纹理。

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Perspective Matching

Here’s where I actually started working in maya and getting the 3d work ready. For me this is one of the hardest steps in every project, however I made a lot of research regarding real life scales of emergency rooms in hospitals and started from there.

There was a lot of back and forth here because I wasn’t able to match it exactly as it was shown in the concept, however I knew that I couldn’t spend much time in this so I got it as close as possible and moved on.
透视匹配

这是我真正开始在maya中工作并准备好3D工作的地方。对我来说，这是每个项目中最困难的步骤之一，但是我对医院急诊室的真实生活规模进行了大量的研究，并从那里开始。

这里有很多来回，因为我无法完全匹配它的概念中显示的内容，但是我知道我不能花太多时间在这个方面，所以我尽可能地接近它并继续前进。

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Blockout

Once I matched the perspective of the scene, I moved on to the blockout stage, here I began using polygon primitives to populate the scene and give a brief look at how it was going to look. Details are not important at this stage so the models are made really quick.

In the blockout stage I usually import the male human model from the content browser to have an idea of the size of the assets. It’s really important to get the real-world scale of everything so it looks correct in the final render.
封锁

一旦我匹配了场景的视角，我就进入了遮挡阶段，在这里我开始使用多边形基元来填充场景，并简要介绍一下它的外观。在这个阶段，细节并不重要，所以模型制作得非常快。

在封锁阶段，我通常从内容浏览器中导入男性人类模型，以了解资产的大小。获得所有内容的真实世界比例非常重要，这样它在最终渲染中看起来是正确的。

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Modelling/Sculpting

To be able to model more easily I used references for every asset in the scene. This helped to get everything organized and later it would be much easier to LookDev once the textures are ready. So, I have one file for the main scene and a lot of new files, one for every asset.
建模/雕刻

为了能够更轻松地建模，我对场景中的每个资源都使用了引用。这有助于组织一切，以后一旦纹理准备就绪，LookDev就会容易得多。因此，我有一个用于主场景的文件和许多新文件，每个资源一个。

Once I finish modelling, I import the references into the main scene and start placing them where the blockout meshes were. Using references is really helpful since you can update the models in the Reference Editor once you’re finished with the reference file.
完成建模后，我将参考导入主场景，并开始将它们放置在遮挡网格所在的位置。使用引用非常有用，因为一旦完成引用文件，您就可以在参考编辑器中更新模型。

To have a clear understanding of how the assets will look I create a basic lighting pass, in this case I knew right away that the main lighting source will be the ceiling tiles so I created a couple V-Ray Rect Lights to light everything.

I used Maya to model every asset in the scene with the exception of the corpse bag, curtains and towels, they were made in Marvelous Designer, for those assets I quadrangulated the mesh before exporting, then I import them into their own maya scene, I make sure that the UV’s are packed correctly and export them to start sculpting the details in Zbrush.

Once I’m happy with the details sculpted in Zbrush I created displacement maps in .exr files to use them in Vray and getting as much details as I could.
为了清楚地了解资源的外观，我创建了一个基本的照明通道，在这种情况下，我立即知道主要光源将是天花板瓷砖，所以我创建了几个V-Ray Rect光源来照亮一切。

我使用Maya对场景中的每个资源进行建模，除了尸体袋，窗帘和毛巾，它们是用Marvelous Designer制作的，对于这些资源，我在导出之前对网格进行了四边形，然后将它们导入到他们自己的maya场景中，我确保UV正确包装并导出它们以开始在Zbrush中雕刻细节。

一旦我对Zbrush中雕刻的细节感到满意，我就在.exr文件中创建了置换图，以便在Vray中使用它们，并尽可能多地获取细节。

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UVs/Texturing

The UV’s is a straight forward step, the only thing I took into consideration was the texel density of the assets. Once again, I take a look into the asset breakdown and knowing that I’ll have four hero assets I started working on them, also, since they were the biggest, I wanted to get them done first.

In the concept the only asset that’s close to the camera is the bodybag with the stretcher, the hospital bed, monitor and isolation unit are not close, however I wanted to create a turntable render so I decided to give them more texel density.
UV/纹理

UV是一个直接的步骤，我唯一考虑的是资产的纹理密度。再一次，我看了一下资产细分，知道我将有四个英雄资产，我开始研究它们，而且，因为它们是最大的，我想先完成它们。

在概念中，唯一靠近相机的资产是带有担架的腰包，医院病床，监视器和隔离单元不靠近，但是我想创建一个转盘渲染，所以我决定给它们更多的纹理密度。

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All of the texturing was made in Substance Painter and my workflow is really simple. First of all, I create groups in the Maya outliner for every material I have in the asset, then I give them their own UDIM making sure everything is organized. After that I create a master group containing all of the materials with their groups and call it “assetName_lp” to make clear that’s the low poly asset. Then I duplicate the main group and smooth it a couple of times, this group is called “assetName_hp” to make sure it’s the high poly.
所有纹理都是在Substance Painter中完成的，我的工作流程非常简单。首先，我在 Maya 大纲中为资产中的每个材料创建组，然后为他们提供自己的 UDIM，确保所有内容都井井有条。之后，我创建了一个包含所有材质的主组及其组，并将其称为“assetName_lp”，以明确这是低多边形资产。然后我复制主组并平滑几次，这个组称为“assetName_hp”，以确保它是高多边形。

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Once they’re ready I export each one into separate .fbx files, naming them accordingly. Then I import the low poly one into Substance Painter and bake all of the maps. For all of the main assets I used 4k textures.
一旦它们准备就绪，我将每个文件导出到单独的.fbx文件中，并相应地命名它们。然后，我将低多边形导入到Substance Painter中并烘烤所有地图。对于所有主要资源，我都使用了4k纹理。

Texturing in Painter is amazing, I always start making a small breakdown of the base materials of the asset, then I think about the rest of the layers. For example, for the bodybag I knew I would have a lot of plastic, metal and rubber. Once I create the base for those materials, I start layering the rest of the details.

This concept had a lot of chaos all around so I knew that blood and dirt will have to be all around the scene. Also, smart masks are amazing when texturing in Painter, they give you a great starting point, after that having a nice set of stencils and alphas will be really helpful to get all the details needed in the assets.
Painter中的纹理是惊人的，我总是开始对资产的基础材料进行小的分解，然后考虑其余的图层。例如，对于腰包，我知道我会有很多塑料，金属和橡胶。一旦我为这些材料创建了基础，我就开始对其余细节进行分层。

这个概念周围有很多混乱，所以我知道现场必须到处都是血和污垢。此外，在Painter中纹理化时，智能蒙版非常棒，它们为您提供了一个很好的起点，之后拥有一组漂亮的模板和alpha将非常有助于获得资源所需的所有细节。

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When texturing the bigger assets like the floor or the ceiling I first thought about creating modular pieces, so basically, I would have to texture one of the tiles and then duplicate it all over, however this gave me a really uniform and fake result. Finally, I decided to import the whole asset and give every tile their own space in the UDIMS, making this made sure that I could give every detail I wanted without having repeating patterns all over.

Having color breakup in the textures was a key step in the texturing process for the assets, since the scene had a lot of chaos, I knew that the assets couldn’t look new so making sure I had breakups gave a nice touch to everything. Also, having surface imperfections in the roughness channel was essential, I got a pack of tileable surface imperfections online and used them all around the scene, however it’s important to not overuse them.
在对地板或天花板等较大的资产进行纹理处理时，我首先想到的是创建模块化部分，所以基本上，我必须对其中一块瓷砖进行纹理处理，然后将其复制到整个瓷砖上，但是这给了我一个非常统一和虚假的结果。最后，我决定导入整个资源，并在UDIMS中为每个磁贴提供自己的空间，从而确保我可以提供我想要的每个细节，而不会到处都是重复的模式。

纹理中的颜色分解是资源纹理化过程中的关键步骤，因为场景有很多混乱，我知道资源看起来并不新鲜，所以确保我有分解给一切带来了很好的触感。此外，在粗糙度通道中具有表面缺陷是必不可少的，我在网上获得了一堆可平铺的表面缺陷，并在现场使用它们，但是重要的是不要过度使用它们。

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To save some time on the assets that were far away from the camera I used basic V-Ray shaders since the details were not going to be seen from the render camera and also, I wasn’t planning to create a turntable for them.

I created the decals and alphas in Photoshop, once again is really important to have all of your files organized into their own folders. Most of my textures were downloaded from  and .
为了节省一些时间在远离摄像机的资源上，我使用了基本的V-Ray着色器，因为从渲染摄像机看不到细节，而且，我不打算为它们创建转盘。

我在Photoshop中创建了贴花和alpha，再次将所有文件组织到自己的文件夹中非常重要。我的大部分纹理都是从 http://www.textures.com/和https://quixel.com/megascans/home。

Look Dev

This is where using references becomes a really useful way of managing this kind of environment. Once I finished texturing the assets in Painter, I exported them into their own folder and went back to Maya.

I knew that in the final scene everything would have a blue tint, however, the assets need to look good in neutral lighting without color grading. In each of the reference scenes, I created a V-Ray Dome Light and used a neutral HDRI to have a basic view of the textures, then I created a couple of V-Ray Rect Lights to enhance the lighting and make sure that the asset will be nicely exposed.
查找开发

这就是使用引用成为管理这种环境的一种非常有用的方式的地方。在 Painter 中完成对资源进行纹理处理后，我将它们导出到它们自己的文件夹中，然后返回到 Maya。

我知道在最后一个场景中，一切都会有蓝色，但是，资源需要在没有调色的中性照明下看起来不错。在每个参考场景中，我创建了一个V-Ray Dome Light并使用中性HDRI来获得纹理的基本视图，然后我创建了几个V-Ray Rect光源来增强照明并确保资源将很好地曝光。

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Once I have the lighting setup ready, I started importing the textures, I always make this while having Painter open in another window so I can make changes right away.

Time to start plugging every texture into the shader.

Now it’s a matter of taking a close look into the asset and start analyzing what is working and what isn’t, when you identify an issue you go back to Painter, fix it, export the textures into the same folder to overwrite them and render again, the asset will update automatically with the new textures.

My advice here is to take your time with the hero props or main assets in the scene, making sure that the textures are looking the way you want is what’s going to take the environment to the next level.
一旦我准备好了照明设置，我就开始导入纹理，我总是在另一个窗口中打开Painter的同时进行导入，以便我可以立即进行更改。

是时候开始将每个纹理插入着色器了。

现在，您需要仔细查看资源并开始分析哪些有效，哪些无效，当您发现问题时，您可以返回Painter，修复它，将纹理导出到同一文件夹中以覆盖它们并再次渲染，资源将使用新纹理自动更新。

我在这里的建议是花时间在场景中使用英雄道具或主要资产，确保纹理看起来符合你想要的方式，这将把环境提升到一个新的水平。

Lighting

Lighting was one of the most important aspects of this project. From the moment I saw the concept I knew that the lighting had to be top-notch. Lighting is what gives the mood of the scene and in this case, it’s what drives you through some of the key elements of the composition.
照明

照明是该项目最重要的方面之一。从我看到这个概念的那一刻起，我就知道照明必须是一流的。灯光是赋予场景氛围的东西，在这种情况下，它是推动你完成构图的一些关键元素的原因。

The first thing I did was a lighting breakdown in Photoshop, just to draw over the concept and identify the main light sources to have a clear idea of where to start. The main and most obvious lights are the ceiling ones and from the modelling stage, I knew where they were since they are different panels from the ceiling tiles so getting the first lights in place was not a problem.

However, the light was too plain and boring, also it didn’t help showcase the texturing of the assets. This is where I started thinking more in detail about the smaller light sources.
我做的第一件事是Photoshop中的照明故障，只是为了绘制概念并确定主要光源，以便清楚地知道从哪里开始。主要和最明显的灯光是天花板的，从建模阶段，我知道它们在哪里，因为它们是与天花板瓷砖不同的面板，所以让第一盏灯到位不是问题。

然而，光线过于平淡和无聊，也无助于展示资产的纹理。这就是我开始更详细地思考较小光源的地方。

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One of the first things I did to enhance the mood of the environment was to use the V-Ray Environment Fog. Right away it gave a completely different result from the first test. I would advise to read the Chaos Group article about this atmospheric effect:https://docs.chaos.com/display/VMAX/VRayEnvironmentFog
为了增强环境的情绪，我做的第一件事就是使用V-Ray环境雾。它立即给出了与第一次测试完全不同的结果。我建议阅读混沌组关于这种大气效应的文章：https://docs.chaos.com/display/VMAX/VRayEnvironmentFog

I started playing with the settings until I got to a point where I was happy.
我开始玩这些设置，直到我达到一个我很高兴的地步。

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After I finished placing the main lights I went to the smaller ones, this is the ones that help you highlight specific parts of the scene. Also, a smaller breakdown of these lights was helpful to start placing them.
完成放置主光源后，我转到较小的光源，这是帮助您突出显示场景特定部分的光源。此外，这些灯的较小故障有助于开始放置它们。

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Rendering

When it comes to rendering there are a couple of things to keep in mind. One of the most important things is to set up the AOVs or render elements to work on your compositing.

The scene was rendered at 4K resolution with V-Ray.

One of my favorite render elements from V-Ray is the Light Mix. This is what helped me get to the final result. Basically, what this allows you is to have complete control of the light intensity, color and more from inside the V-Ray Frame Buffer. However, where I mostly used it was in comp.

When the render is finished you can save all of your render elements in different files, so for every one of the lights, I had a separate file which I used later.
渲染

在渲染方面，有几件事要记住。最重要的事情之一是设置AOV或渲染元素以处理合成。

该场景是使用 V-Ray 以 4K 分辨率渲染的。

我最喜欢的V-Ray渲染元素之一是Light Mix。这就是帮助我获得最终结果的原因。基本上，这允许您从V-Ray帧缓冲器内部完全控制光强度，颜色等。但是，我最常使用它的地方是在comp中。

渲染完成后，您可以将所有渲染元素保存在不同的文件中，因此对于每个光源，我都有一个单独的文件，稍后使用。

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Compositing

At this point, I was almost finished with the project but in compositing is where you take it to the next level. All of my compositings were made in Photoshop, the first thing I did was to import the final render, without any post-processing into the canvas.

It’s really important to think about where you’re going with the compositing, keep the concept or references on the side and start breaking them down. I usually start with the main AOVs, specular, self-Illumination and reflect. I placed them on top of the render and applied a Screen blending mode, then I control the intensity of each layer with the opacity value and masked parts where I don’t want them to affect.
合成

在这一点上，我几乎完成了这个项目，但在合成中，你可以把它提升到一个新的水平。我所有的合成都是在Photoshop中完成的，我做的第一件事就是导入最终的渲染，而不对画布进行任何后期处理。

考虑合成的去向，将概念或引用放在一边并开始分解它们非常重要。我通常从主要的AMO开始，镜面，自发光和反射。我将它们放在渲染的顶部并应用了屏幕混合模式，然后使用不透明度值和不希望它们影响的遮罩部分来控制每个图层的强度。

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Then I moved on to the Light Mix Pass. I imported the lights that I wanted to give more intensity and again, used a Screen blending mode to stack them on top of the render. This was really helpful to give more focus to certain parts of the composition, to be honest, this is a matter of testing what works and what doesn’t until you feel confident with the lighting pass.
然后我转到了Light Mix Pass。我导入了我想要提供更大强度的光源，然后再次使用屏幕混合模式将它们堆叠在渲染的顶部。这确实有助于将更多注意力放在构图的某些部分，说实话，这是一个测试哪些有效，哪些无效的问题，直到您对照明通过充满信心。

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Once I was happy with the lighting, I started color correcting the scene, using Adjustment Layers in Photoshop and placing them on top of the lighting.
一旦我对光照感到满意，我就开始对场景进行颜色校正，使用Photoshop中的调整图层并将其放置在光照的顶部。

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Then I started getting the smaller details in, like the Godrays from the lights in the ceiling, this was made with an IES Brush in Photoshop.
然后我开始把较小的细节放进去，比如天花板上的灯光上的Godrays，这是用Photoshop中的IES画笔制作的。

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One of the last steps was to color grade the scene, looking at the original concept it had a blue tint all over so that’s the direction I wanted to take. I used the Camera Raw Filter to color grade everything, having a clear understanding of the concept helped me to identify the colors of the highlights and shadows so the Split Toning section is where most of the work was made, however, in this stage you can also tweak the saturation, luminance and hue of specific colors in the scene.

Also, to have a cinematic look I used a little bit of grain and some dust overlays, these are small details but they give you that extra detail.
最后的步骤之一是对场景进行颜色分级，看看最初的概念，它到处都是蓝色色调，所以这就是我想采取的方向。我使用Camera Raw Filter对所有内容进行颜色分级，对概念的清晰理解帮助我识别高光和阴影的颜色，因此拆分色调部分是大部分工作的地方，但是，在此阶段，您还可以调整场景中特定颜色的饱和度，亮度和色调。

另外，为了有一个电影般的外观，我使用了一点点颗粒和一些灰尘叠加层，这些都是小细节，但它们给你额外的细节。

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One final step I decided to make is to create cinematic shots with depth of field, for this I used the Z-Depth render element from V-Ray and used a Lens Blur filter in Photoshop, this allowed me to create the blurry effect you get when using some lenses in real life.
我决定做的最后一步是创建具有景深的电影镜头，为此，我使用了V-Ray的Z-Depth渲染元素，并在Photoshop中使用了镜头模糊滤镜，这使我能够创建在现实生活中使用某些镜头时获得的模糊效果。

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Conclusion

Time management was incredibly important to finish this project, having a schedule to follow helped me a lot to get things moving, even though there were some days where I felt I had no motivation I pushed myself and I’m happy with the result.

This project allowed me to improve my workflow, modelling techniques, texturing, sculpting, lighting and compositing in an incredible way.

Creating this project was something I felt I had to do, it was an incredible challenge to achieve and I couldn’t be happier with the result. As a student I know I have a lot of things to learn but it’s great to have such a supportive community of artists that help each other to get better.

Finally, I’d like to thank my supervisor, colleagues and classmates that helped me through the process.
结论

时间管理对于完成这个项目非常重要，有一个时间表可以遵循，这帮助了我很多事情，即使有几天我觉得我没有动力，我推动自己，我对结果感到满意。

这个项目使我能够以令人难以置信的方式改进我的工作流程，建模技术，纹理，雕刻，照明和合成。

创建这个项目是我觉得我必须做的事情，这是一个令人难以置信的挑战，我对结果感到非常高兴。作为一名学生，我知道我有很多东西要学，但拥有这样一个相互支持的艺术家社区，互相帮助，变得更好，真是太好了。

最后，我要感谢我的导师，同事和同学，他们帮助我完成了整个过程。

Goals

First of all, I wanted to improve my skills in modelling, texturing and lighting so I was looking for a concept that I knew had a lot of assets to model and also had nice textures.

Since I have a background in photography and film, I’m always looking for projects that would look cinematic and have a nice atmosphere.
目标

首先，我想提高我在建模，纹理和照明方面的技能，所以我正在寻找一个概念，我知道有很多资源可以建模，并且还有很好的纹理。

由于我有摄影和电影的背景，我一直在寻找看起来像电影一样并且气氛良好的项目。

I also feel like every environment I create needs to tell a story so whoever sees it needs to feel interested and wants to know more, that’s why when I saw the concept made by , I knew right away that it would be an amazing piece to create in 3D.

Finally, since I’m a 3D student building my portfolio, I knew that I needed to create a piece that can showcase my skills in as many aspects as I could.
我也觉得我创造的每个环境都需要讲述一个故事，所以无论谁看到它都需要感到感兴趣并想知道更多，这就是为什么当我看到https://www.artstation.com/fus制作的概念时，我马上就知道这将是一个令人惊叹的3D作品。

最后，由于我是一名3D学生，正在构建我的投资组合，我知道我需要创建一个可以在尽可能多的方面展示我的技能的作品。

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Software

Maya was used to model everything in the scene and Zbrush was used to sculpt the details and create the displacement maps for some of the assets. Also, I used Marvelous Designer to create and simulate some of the fabrics and curtains are seen around the scene.

Everything was textured in Substance Painter and the scene was rendered in V-Ray. Photoshop was used to create some decals and alphas to use while texturing and also for compositing.
软件

Maya 用于对场景中的所有内容进行建模，Zbrush 用于雕刻细节并为某些资源创建置换贴图。此外，我还使用Marvelous Designer来创建和模拟场景周围看到的一些织物和窗帘。

一切都在Substance Painter中进行了纹理处理，场景在V-Ray中渲染。Photoshop用于创建一些贴花和alpha，以便在纹理和合成时使用。

References/Inspiration

Since this was my final project for the Advanced Term at Think Tank Online, I knew that I had to challenge myself even more than the last time. I had around 15 weeks to get everything done so I also needed to be realistic in terms of time.

A couple of weeks before I started the project, I was watching some VFX Breakdown videos and I stumbled across one from Goodbye Kansas for the cinematic trailer of “Overkill’s The Walking Dead“ game and I was amazed by the quality of their work. After a couple of days, I found Wojtek Fus on Artstation, who was the concept artist for this project and saw the concepts for the trailer, that’s when I decided that is what I wanted to make.

I knew that it was going to be a challenge but I loved how cinematic the scene was and also how great it was in terms of storytelling. It had all the things I was looking for, there was going to be a lot of modelling involved, texturing, lighting and comp too.

Also, I felt really motivated since I’ve been a big fan of The Walking Dead for years now and having the chance to prove myself by creating a project based on that universe felt like a lot of fun.
参考/灵感

由于这是我在智库在线的高级学期的最后一个项目，我知道我必须比上次更加挑战自己。我有大约15周的时间来完成所有工作，所以我也需要在时间方面保持现实。

在我开始这个项目的几周前，我正在看一些VFX Breakdown视频，我偶然发现了一个来自再见堪萨斯州的“Overkill's The Walking Dead”游戏的电影预告片，我对他们的工作质量感到惊讶。几天后，我在Artstation上找到了Wojtek Fus，他是这个项目的概念艺术家，并看到了预告片的概念，就在那时我决定这就是我想做的。

我知道这将是一个挑战，但我喜欢这个场景的电影效果，以及它在讲故事方面有多棒。它有我一直在寻找的所有东西，将涉及很多建模，纹理，照明和合成。

此外，我感到非常有动力，因为我多年来一直是《行尸走肉》的忠实粉丝，并且有机会通过创建一个基于该宇宙的项目来证明自己，感觉很有趣。

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Scene Breakdown

The first step to create this project was to make a complete breakdown of the scene, this was a crucial step to make sure that I had everything organized and ready. I went into Photoshop and started painting over the concept, I divided it into 5 categories:
场景分解

创建这个项目的第一步是彻底分解场景，这是确保我一切都井井有条并准备就绪的关键一步。我进入Photoshop并开始绘制这个概念，我将其分为5类：

Main Environment Assets
Hero Props
Principal Assets
Secondary Assets
Tertiary Assets
Once I made the breakdown, I knew which assets I’ll have to spend more time on, this helped me to manage my time in a better way.
主要环境资产
英雄道具
主要资产
次要资产
第三产业资产
一旦我进行了细分，我就知道我必须花更多的时间在哪些资产上，这有助于我以更好的方式管理我的时间。

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Asset Breakdown

Now that the scene breakdown is ready is time to start looking at every asset seen in the concept and create a list to have a full understanding of how much work I’ll have to put in each one of them.

Here’s where the scene breakdown helps a lot because it allows me to decide which assets are more important than others.
资产明细

现在场景分解已经准备就绪，是时候开始查看概念中看到的每个资产，并创建一个列表，以充分了解我必须在每个资产中投入多少工作。

在这里，场景分解有很大帮助，因为它允许我决定哪些资产比其他资产更重要。

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Reference Searching

Before I start blocking out the scene, I like to spend some time looking at references for every asset detailed in the list made in the asset breakdown. Up to this point I like to consider the preproduction stage of the project.

Here’s where PureRef turns into your best friend, I created a black project and started getting images from google and pasting them in the canvas. I spent more time on the hero props and principal assets because I knew they were going to be closer to the camera so I had to get the modelling and texturing right.
参考文献搜索

在我开始屏蔽场景之前，我想花一些时间查看资产细分列表中详细列出的每个资产的参考。到目前为止，我喜欢考虑项目的预生产阶段。

这就是PureRef成为你最好的朋友的地方，我创建了一个黑色项目，并开始从谷歌获取图像并将其粘贴到画布中。我花了更多的时间在英雄道具和主要资产上，因为我知道它们会更接近镜头，所以我必须正确地进行建模和纹理。

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Perspective Matching

Here’s where I actually started working in maya and getting the 3d work ready. For me this is one of the hardest steps in every project, however I made a lot of research regarding real life scales of emergency rooms in hospitals and started from there.

There was a lot of back and forth here because I wasn’t able to match it exactly as it was shown in the concept, however I knew that I couldn’t spend much time in this so I got it as close as possible and moved on.
透视匹配

这是我真正开始在maya中工作并准备好3D工作的地方。对我来说，这是每个项目中最困难的步骤之一，但是我对医院急诊室的真实生活规模进行了大量的研究，并从那里开始。

这里有很多来回，因为我无法完全匹配它的概念中显示的内容，但是我知道我不能花太多时间在这个方面，所以我尽可能地接近它并继续前进。

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Blockout

Once I matched the perspective of the scene, I moved on to the blockout stage, here I began using polygon primitives to populate the scene and give a brief look at how it was going to look. Details are not important at this stage so the models are made really quick.

In the blockout stage I usually import the male human model from the content browser to have an idea of the size of the assets. It’s really important to get the real-world scale of everything so it looks correct in the final render.
封锁

一旦我匹配了场景的视角，我就进入了遮挡阶段，在这里我开始使用多边形基元来填充场景，并简要介绍一下它的外观。在这个阶段，细节并不重要，所以模型制作得非常快。

在封锁阶段，我通常从内容浏览器中导入男性人类模型，以了解资产的大小。获得所有内容的真实世界比例非常重要，这样它在最终渲染中看起来是正确的。

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Modelling/Sculpting

To be able to model more easily I used references for every asset in the scene. This helped to get everything organized and later it would be much easier to LookDev once the textures are ready. So, I have one file for the main scene and a lot of new files, one for every asset.
建模/雕刻

为了能够更轻松地建模，我对场景中的每个资源都使用了引用。这有助于组织一切，以后一旦纹理准备就绪，LookDev就会容易得多。因此，我有一个用于主场景的文件和许多新文件，每个资源一个。

Once I finish modelling, I import the references into the main scene and start placing them where the blockout meshes were. Using references is really helpful since you can update the models in the Reference Editor once you’re finished with the reference file.
完成建模后，我将参考导入主场景，并开始将它们放置在遮挡网格所在的位置。使用引用非常有用，因为一旦完成引用文件，您就可以在参考编辑器中更新模型。

To have a clear understanding of how the assets will look I create a basic lighting pass, in this case I knew right away that the main lighting source will be the ceiling tiles so I created a couple V-Ray Rect Lights to light everything.

I used Maya to model every asset in the scene with the exception of the corpse bag, curtains and towels, they were made in Marvelous Designer, for those assets I quadrangulated the mesh before exporting, then I import them into their own maya scene, I make sure that the UV’s are packed correctly and export them to start sculpting the details in Zbrush.

Once I’m happy with the details sculpted in Zbrush I created displacement maps in .exr files to use them in Vray and getting as much details as I could.
为了清楚地了解资源的外观，我创建了一个基本的照明通道，在这种情况下，我立即知道主要光源将是天花板瓷砖，所以我创建了几个V-Ray Rect光源来照亮一切。

我使用Maya对场景中的每个资源进行建模，除了尸体袋，窗帘和毛巾，它们是用Marvelous Designer制作的，对于这些资源，我在导出之前对网格进行了四边形，然后将它们导入到他们自己的maya场景中，我确保UV正确包装并导出它们以开始在Zbrush中雕刻细节。

一旦我对Zbrush中雕刻的细节感到满意，我就在.exr文件中创建了置换图，以便在Vray中使用它们，并尽可能多地获取细节。

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UVs/Texturing

The UV’s is a straight forward step, the only thing I took into consideration was the texel density of the assets. Once again, I take a look into the asset breakdown and knowing that I’ll have four hero assets I started working on them, also, since they were the biggest, I wanted to get them done first.

In the concept the only asset that’s close to the camera is the bodybag with the stretcher, the hospital bed, monitor and isolation unit are not close, however I wanted to create a turntable render so I decided to give them more texel density.
UV/纹理

UV是一个直接的步骤，我唯一考虑的是资产的纹理密度。再一次，我看了一下资产细分，知道我将有四个英雄资产，我开始研究它们，而且，因为它们是最大的，我想先完成它们。

在概念中，唯一靠近相机的资产是带有担架的腰包，医院病床，监视器和隔离单元不靠近，但是我想创建一个转盘渲染，所以我决定给它们更多的纹理密度。

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All of the texturing was made in Substance Painter and my workflow is really simple. First of all, I create groups in the Maya outliner for every material I have in the asset, then I give them their own UDIM making sure everything is organized. After that I create a master group containing all of the materials with their groups and call it “assetName_lp” to make clear that’s the low poly asset. Then I duplicate the main group and smooth it a couple of times, this group is called “assetName_hp” to make sure it’s the high poly.
所有纹理都是在Substance Painter中完成的，我的工作流程非常简单。首先，我在 Maya 大纲中为资产中的每个材料创建组，然后为他们提供自己的 UDIM，确保所有内容都井井有条。之后，我创建了一个包含所有材质的主组及其组，并将其称为“assetName_lp”，以明确这是低多边形资产。然后我复制主组并平滑几次，这个组称为“assetName_hp”，以确保它是高多边形。

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Once they’re ready I export each one into separate .fbx files, naming them accordingly. Then I import the low poly one into Substance Painter and bake all of the maps. For all of the main assets I used 4k textures.
一旦它们准备就绪，我将每个文件导出到单独的.fbx文件中，并相应地命名它们。然后，我将低多边形导入到Substance Painter中并烘烤所有地图。对于所有主要资源，我都使用了4k纹理。

Texturing in Painter is amazing, I always start making a small breakdown of the base materials of the asset, then I think about the rest of the layers. For example, for the bodybag I knew I would have a lot of plastic, metal and rubber. Once I create the base for those materials, I start layering the rest of the details.

This concept had a lot of chaos all around so I knew that blood and dirt will have to be all around the scene. Also, smart masks are amazing when texturing in Painter, they give you a great starting point, after that having a nice set of stencils and alphas will be really helpful to get all the details needed in the assets.
Painter中的纹理是惊人的，我总是开始对资产的基础材料进行小的分解，然后考虑其余的图层。例如，对于腰包，我知道我会有很多塑料，金属和橡胶。一旦我为这些材料创建了基础，我就开始对其余细节进行分层。

这个概念周围有很多混乱，所以我知道现场必须到处都是血和污垢。此外，在Painter中纹理化时，智能蒙版非常棒，它们为您提供了一个很好的起点，之后拥有一组漂亮的模板和alpha将非常有助于获得资源所需的所有细节。

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When texturing the bigger assets like the floor or the ceiling I first thought about creating modular pieces, so basically, I would have to texture one of the tiles and then duplicate it all over, however this gave me a really uniform and fake result. Finally, I decided to import the whole asset and give every tile their own space in the UDIMS, making this made sure that I could give every detail I wanted without having repeating patterns all over.

Having color breakup in the textures was a key step in the texturing process for the assets, since the scene had a lot of chaos, I knew that the assets couldn’t look new so making sure I had breakups gave a nice touch to everything. Also, having surface imperfections in the roughness channel was essential, I got a pack of tileable surface imperfections online and used them all around the scene, however it’s important to not overuse them.
在对地板或天花板等较大的资产进行纹理处理时，我首先想到的是创建模块化部分，所以基本上，我必须对其中一块瓷砖进行纹理处理，然后将其复制到整个瓷砖上，但是这给了我一个非常统一和虚假的结果。最后，我决定导入整个资源，并在UDIMS中为每个磁贴提供自己的空间，从而确保我可以提供我想要的每个细节，而不会到处都是重复的模式。

纹理中的颜色分解是资源纹理化过程中的关键步骤，因为场景有很多混乱，我知道资源看起来并不新鲜，所以确保我有分解给一切带来了很好的触感。此外，在粗糙度通道中具有表面缺陷是必不可少的，我在网上获得了一堆可平铺的表面缺陷，并在现场使用它们，但是重要的是不要过度使用它们。

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To save some time on the assets that were far away from the camera I used basic V-Ray shaders since the details were not going to be seen from the render camera and also, I wasn’t planning to create a turntable for them.

I created the decals and alphas in Photoshop, once again is really important to have all of your files organized into their own folders. Most of my textures were downloaded from  and .
为了节省一些时间在远离摄像机的资源上，我使用了基本的V-Ray着色器，因为从渲染摄像机看不到细节，而且，我不打算为它们创建转盘。

我在Photoshop中创建了贴花和alpha，再次将所有文件组织到自己的文件夹中非常重要。我的大部分纹理都是从 http://www.textures.com/和https://quixel.com/megascans/home。

Look Dev

This is where using references becomes a really useful way of managing this kind of environment. Once I finished texturing the assets in Painter, I exported them into their own folder and went back to Maya.

I knew that in the final scene everything would have a blue tint, however, the assets need to look good in neutral lighting without color grading. In each of the reference scenes, I created a V-Ray Dome Light and used a neutral HDRI to have a basic view of the textures, then I created a couple of V-Ray Rect Lights to enhance the lighting and make sure that the asset will be nicely exposed.
查找开发

这就是使用引用成为管理这种环境的一种非常有用的方式的地方。在 Painter 中完成对资源进行纹理处理后，我将它们导出到它们自己的文件夹中，然后返回到 Maya。

我知道在最后一个场景中，一切都会有蓝色，但是，资源需要在没有调色的中性照明下看起来不错。在每个参考场景中，我创建了一个V-Ray Dome Light并使用中性HDRI来获得纹理的基本视图，然后我创建了几个V-Ray Rect光源来增强照明并确保资源将很好地曝光。

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Once I have the lighting setup ready, I started importing the textures, I always make this while having Painter open in another window so I can make changes right away.

Time to start plugging every texture into the shader.

Now it’s a matter of taking a close look into the asset and start analyzing what is working and what isn’t, when you identify an issue you go back to Painter, fix it, export the textures into the same folder to overwrite them and render again, the asset will update automatically with the new textures.

My advice here is to take your time with the hero props or main assets in the scene, making sure that the textures are looking the way you want is what’s going to take the environment to the next level.
一旦我准备好了照明设置，我就开始导入纹理，我总是在另一个窗口中打开Painter的同时进行导入，以便我可以立即进行更改。

是时候开始将每个纹理插入着色器了。

现在，您需要仔细查看资源并开始分析哪些有效，哪些无效，当您发现问题时，您可以返回Painter，修复它，将纹理导出到同一文件夹中以覆盖它们并再次渲染，资源将使用新纹理自动更新。

我在这里的建议是花时间在场景中使用英雄道具或主要资产，确保纹理看起来符合你想要的方式，这将把环境提升到一个新的水平。

Lighting

Lighting was one of the most important aspects of this project. From the moment I saw the concept I knew that the lighting had to be top-notch. Lighting is what gives the mood of the scene and in this case, it’s what drives you through some of the key elements of the composition.
照明

照明是该项目最重要的方面之一。从我看到这个概念的那一刻起，我就知道照明必须是一流的。灯光是赋予场景氛围的东西，在这种情况下，它是推动你完成构图的一些关键元素的原因。

The first thing I did was a lighting breakdown in Photoshop, just to draw over the concept and identify the main light sources to have a clear idea of where to start. The main and most obvious lights are the ceiling ones and from the modelling stage, I knew where they were since they are different panels from the ceiling tiles so getting the first lights in place was not a problem.

However, the light was too plain and boring, also it didn’t help showcase the texturing of the assets. This is where I started thinking more in detail about the smaller light sources.
我做的第一件事是Photoshop中的照明故障，只是为了绘制概念并确定主要光源，以便清楚地知道从哪里开始。主要和最明显的灯光是天花板的，从建模阶段，我知道它们在哪里，因为它们是与天花板瓷砖不同的面板，所以让第一盏灯到位不是问题。

然而，光线过于平淡和无聊，也无助于展示资产的纹理。这就是我开始更详细地思考较小光源的地方。

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One of the first things I did to enhance the mood of the environment was to use the V-Ray Environment Fog. Right away it gave a completely different result from the first test. I would advise to read the Chaos Group article about this atmospheric effect:https://docs.chaos.com/display/VMAX/VRayEnvironmentFog
为了增强环境的情绪，我做的第一件事就是使用V-Ray环境雾。它立即给出了与第一次测试完全不同的结果。我建议阅读混沌组关于这种大气效应的文章：https://docs.chaos.com/display/VMAX/VRayEnvironmentFog

I started playing with the settings until I got to a point where I was happy.
我开始玩这些设置，直到我达到一个我很高兴的地步。

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After I finished placing the main lights I went to the smaller ones, this is the ones that help you highlight specific parts of the scene. Also, a smaller breakdown of these lights was helpful to start placing them.
完成放置主光源后，我转到较小的光源，这是帮助您突出显示场景特定部分的光源。此外，这些灯的较小故障有助于开始放置它们。

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Rendering

When it comes to rendering there are a couple of things to keep in mind. One of the most important things is to set up the AOVs or render elements to work on your compositing.

The scene was rendered at 4K resolution with V-Ray.

One of my favorite render elements from V-Ray is the Light Mix. This is what helped me get to the final result. Basically, what this allows you is to have complete control of the light intensity, color and more from inside the V-Ray Frame Buffer. However, where I mostly used it was in comp.

When the render is finished you can save all of your render elements in different files, so for every one of the lights, I had a separate file which I used later.
渲染

在渲染方面，有几件事要记住。最重要的事情之一是设置AOV或渲染元素以处理合成。

该场景是使用 V-Ray 以 4K 分辨率渲染的。

我最喜欢的V-Ray渲染元素之一是Light Mix。这就是帮助我获得最终结果的原因。基本上，这允许您从V-Ray帧缓冲器内部完全控制光强度，颜色等。但是，我最常使用它的地方是在comp中。

渲染完成后，您可以将所有渲染元素保存在不同的文件中，因此对于每个光源，我都有一个单独的文件，稍后使用。

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Compositing

At this point, I was almost finished with the project but in compositing is where you take it to the next level. All of my compositings were made in Photoshop, the first thing I did was to import the final render, without any post-processing into the canvas.

It’s really important to think about where you’re going with the compositing, keep the concept or references on the side and start breaking them down. I usually start with the main AOVs, specular, self-Illumination and reflect. I placed them on top of the render and applied a Screen blending mode, then I control the intensity of each layer with the opacity value and masked parts where I don’t want them to affect.
合成

在这一点上，我几乎完成了这个项目，但在合成中，你可以把它提升到一个新的水平。我所有的合成都是在Photoshop中完成的，我做的第一件事就是导入最终的渲染，而不对画布进行任何后期处理。

考虑合成的去向，将概念或引用放在一边并开始分解它们非常重要。我通常从主要的AMO开始，镜面，自发光和反射。我将它们放在渲染的顶部并应用了屏幕混合模式，然后使用不透明度值和不希望它们影响的遮罩部分来控制每个图层的强度。

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Then I moved on to the Light Mix Pass. I imported the lights that I wanted to give more intensity and again, used a Screen blending mode to stack them on top of the render. This was really helpful to give more focus to certain parts of the composition, to be honest, this is a matter of testing what works and what doesn’t until you feel confident with the lighting pass.
然后我转到了Light Mix Pass。我导入了我想要提供更大强度的光源，然后再次使用屏幕混合模式将它们堆叠在渲染的顶部。这确实有助于将更多注意力放在构图的某些部分，说实话，这是一个测试哪些有效，哪些无效的问题，直到您对照明通过充满信心。

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Once I was happy with the lighting, I started color correcting the scene, using Adjustment Layers in Photoshop and placing them on top of the lighting.
一旦我对光照感到满意，我就开始对场景进行颜色校正，使用Photoshop中的调整图层并将其放置在光照的顶部。

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Then I started getting the smaller details in, like the Godrays from the lights in the ceiling, this was made with an IES Brush in Photoshop.
然后我开始把较小的细节放进去，比如天花板上的灯光上的Godrays，这是用Photoshop中的IES画笔制作的。

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One of the last steps was to color grade the scene, looking at the original concept it had a blue tint all over so that’s the direction I wanted to take. I used the Camera Raw Filter to color grade everything, having a clear understanding of the concept helped me to identify the colors of the highlights and shadows so the Split Toning section is where most of the work was made, however, in this stage you can also tweak the saturation, luminance and hue of specific colors in the scene.

Also, to have a cinematic look I used a little bit of grain and some dust overlays, these are small details but they give you that extra detail.
最后的步骤之一是对场景进行颜色分级，看看最初的概念，它到处都是蓝色色调，所以这就是我想采取的方向。我使用Camera Raw Filter对所有内容进行颜色分级，对概念的清晰理解帮助我识别高光和阴影的颜色，因此拆分色调部分是大部分工作的地方，但是，在此阶段，您还可以调整场景中特定颜色的饱和度，亮度和色调。

另外，为了有一个电影般的外观，我使用了一点点颗粒和一些灰尘叠加层，这些都是小细节，但它们给你额外的细节。

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One final step I decided to make is to create cinematic shots with depth of field, for this I used the Z-Depth render element from V-Ray and used a Lens Blur filter in Photoshop, this allowed me to create the blurry effect you get when using some lenses in real life.
我决定做的最后一步是创建具有景深的电影镜头，为此，我使用了V-Ray的Z-Depth渲染元素，并在Photoshop中使用了镜头模糊滤镜，这使我能够创建在现实生活中使用某些镜头时获得的模糊效果。

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Conclusion

Time management was incredibly important to finish this project, having a schedule to follow helped me a lot to get things moving, even though there were some days where I felt I had no motivation I pushed myself and I’m happy with the result.

This project allowed me to improve my workflow, modelling techniques, texturing, sculpting, lighting and compositing in an incredible way.

Creating this project was something I felt I had to do, it was an incredible challenge to achieve and I couldn’t be happier with the result. As a student I know I have a lot of things to learn but it’s great to have such a supportive community of artists that help each other to get better.

Finally, I’d like to thank my supervisor, colleagues and classmates that helped me through the process.
结论

时间管理对于完成这个项目非常重要，有一个时间表可以遵循，这帮助了我很多事情，即使有几天我觉得我没有动力，我推动自己，我对结果感到满意。

这个项目使我能够以令人难以置信的方式改进我的工作流程，建模技术，纹理，雕刻，照明和合成。

创建这个项目是我觉得我必须做的事情，这是一个令人难以置信的挑战，我对结果感到非常高兴。作为一名学生，我知道我有很多东西要学，但拥有这样一个相互支持的艺术家社区，互相帮助，变得更好，真是太好了。

最后，我要感谢我的导师，同事和同学，他们帮助我完成了整个过程。