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本帖最后由 秋令6689 于 2022-5-17 12:07 编辑
Bloodborne – Environment Art – Matt Cook Bloodborne – 环境艺术 – Matt Cook
Hey Everyone, My name is Matt Cook, I’m an Environment Artist from Australia, Currently working in Canada at Reflector Entertainment. Today I’m going to talk a bit about the process of making my Bloodborne fan art scene. 介绍 大家好，我叫马特·库克，我是来自澳大利亚的环境艺术家，目前在加拿大的Reflector Entertainment工作。 今天，我将谈谈制作我的Bloodborne粉丝艺术场景的过程。 Inspiration/Goal The inspiration for this scene came from playing Bloodborne, my first Soulsborne game. I was horrendous at it and died thousands of times over the course of weeks. But I eventually got the hang of it, and it became one of my favorite games. I started thinking about what it’d be like trying to bring it up to today’s standards. So I decided to give it a go. 灵感/目标 这个场景的灵感来自玩Bloodborne，这是我的第一款Soulsborne游戏。我对此感到非常可怕，并在几周内死了数千次。 但我最终掌握了它的窍门，它成为我最喜欢的游戏之一。我开始思考，如果能达到今天的标准，会是什么样子。所以我决定试一试。 Reference After finding the sewer concept. I mostly just ran around the sewers in Central Yharnam taking screenshots and sending them to myself. I also like to look at other artists’ take on a subject, which is where the Demon’s Souls remake and Ivanna Liittschwagers work came in handy. The SoulsBorne work BluePoint and Ivanna have done was really inspiring, and a great quality bar. 参考 找到下水道概念后。我主要只是在Yharnam中部的下水道里跑来跑去，截取屏幕截图并发送给自己。 我也喜欢看其他艺术家对某个主题的看法，这就是《恶魔之魂》翻拍版和伊万娜·利奇瓦格斯作品派上用场的地方。BluePoint和Ivanna所做的SoulsBorne工作真的很鼓舞人心，而且质量很高。 Blockout The first thing I do when I’m getting ready to block a scene out is to study the reference or concept, and highlight the different modular pieces I need to make. This way I can block out my modules, (making sure I’m modeling to the grid), layout the scene, and iterate to get the scale to “feel right”. 封锁 当我准备屏蔽一个场景时，我做的第一件事就是研究参考或概念，并突出我需要制作的不同模块化部分。 通过这种方式，我可以屏蔽我的模块（确保我正在对网格进行建模），布局场景，并迭代以使比例“感觉正确”。 Modeling Once I’ve finished my Blockout I’ll start modeling my final modules. Since the scene is mostly made up of brick walls, I modeled all the architectural pieces, divided the mesh to paint my vertex colours, then placed bricks over the top to give it additional depth. (side note, I have back faces on my modules to avoid any lighting bleeding). 建 模 完成 Blockout 后，我将开始对我的最终模块进行建模。由于场景主要由砖墙组成，我对所有建筑部分进行了建模，将网格分开以绘制我的顶点颜色，然后在顶部放置砖块以使其具有额外的深度。 （旁注，我的模块上有背面，以避免任何照明出血）。 UVS I like to have a UV set for my texel density, and a second UV set for any 0-1 textures. This way I can assign Map0 to my tileable textures, and Map1 to my 0-1 textures. The texel density across the scene is 1024 per meter. 电视2 我喜欢为我的纹素密度设置一个UV组，并为任何0-1纹理设置第二个UV集。 这样，我就可以将 Map0 分配给我的可平铺纹理，将 Map1 分配给我的 0-1 纹理。 整个场景的纹素密度为每米 1024。 Shaders/Materials I mostly use tileable textures, and utilize vertex colours, grunge maps, blend masks and slope functions for blending. Any assets that I want to have a sculpted feel, I would sculpt it, bake a normal map, ambient occlusion map, and curvature map, then blend them into the textures in the shader. To speed up the process and keep everything consistent, I like to have a master material instance and have it be the parent to any other material instance of that material. For example, I have the stone column material as the master instance for the stone trim, now whenever I update any parameter, it will update across all the assets made of stone. 着色器/材质 我主要使用可平铺的纹理，并利用顶点颜色，垃圾乐贴图，混合蒙版和坡度函数进行混合。 任何我想要具有雕刻感觉的资源，我都会对其进行雕刻，烘焙法线贴图，环境光遮蔽贴图和曲率贴图，然后将它们混合到着色器中的纹理中。 为了加快流程并保持一切一致，我喜欢有一个主材质实例，并让它成为该材质的任何其他材质实例的父级。例如，我将石柱材料作为石材修剪的主实例，现在每当我更新任何参数时，它都会更新所有由石材制成的资产。 Stone asset example I used a mix of mask blending and slope-based blending. 石材资产示例 我使用了面膜混合和基于斜坡的混合。 Brick wall example I used a mix of vertex colour blending and slope-based blending. 砖墙示例 我使用了顶点颜色混合和基于斜率的混合。 Decals Decals are a small thing that go a long way with environmental storytelling. All my decal textures were sourced from Textures.com 贴花 贴花是一件小事，对环境叙事有很长的路要走。 我所有的贴花纹理都来自 Textures.com Lighting Since it was my first time using Unreal 5, I wanted to experiment with Lumen and keep everything realtime. I feel the result is pretty good, especially since no baking is required. I was mainly trying to make it feel creepy like if you were playing the game you would hesitate to walk through the map. I wanted the atmosphere to feel cold, and have bright hot spots, which I pushed in the lamps and the. The setup itself is really simple, I have a skylight, directional light, spotlights coming out of the lamps, a point light to make the fire feel like it’s affecting the environment better, and a spotlight pointed at the arch to make it pop a bit. 照明 由于这是我第一次使用虚幻5，因此我想尝试使用Lumen并保持所有内容的实时性。我觉得结果非常好，特别是因为不需要烘烤。 我主要是想让它感觉令人毛骨悚然，就像如果你在玩游戏，你会犹豫是否要穿过地图。 我希望气氛感觉很冷，并且有明亮的热点，我把它推进了灯和。 设置本身非常简单，我有一个天窗，定向灯，从灯中射出的聚光灯，一个点光，使火感觉它更好地影响环境，还有一个聚光灯指向拱门，使它有点爆裂。 Outro Thank you for reading, I hope this was helpful and gave you some ideas. 奥特罗 感谢您的阅读，我希望这是有帮助的，并给你一些想法。
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