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本帖最后由 七月纪旅。 于 2022-8-9 14:44 编辑
Introduction
介绍
With a background in Computer Science, Fine Art, and Graphic Design, I am currently in my final term as a student at Think Tank Online, focusing on VFX 3D characters. Learning a new medium is challenging, and I enjoy sharing my journey to help other artists achieve success. As a citizen of the globe, I’ve lived on 3 continents and received much of my artistic inspiration from nature. I believe that learning and exploration should span a lifetime.
我拥有计算机科学、美术和平面设计的背景，目前正在 Think Tank Online 的最后一个学期，专注于 VFX 3D 角色。学习一种新的媒介是具有挑战性的，我喜欢分享我帮助其他艺术家取得成功的旅程。作为全球公民，我生活在三大洲，并从大自然中获得了许多艺术灵感。我相信学习和探索应该跨越一生。
I grew up mesmerized by the movies of Steven Spielberg and George Lucas. When you’re a kid, imagination is the only limitation, and somehow those two never grew out of that. I had to be a part of it! After a long and windy road, I found the VFX path by attending Think Tank Training Centre. Coming in, I had no knowledge of the programs or pipeline. But, with the help of mentors and peers, I have achieved my dream of becoming a 3D artist and I'm now able to do what I love. I'd especially like to thank Raffael Frank for guiding me through this project.
我从小就被史蒂文·斯皮尔伯格和乔治·卢卡斯的电影迷住了。当你还是个孩子的时候，想象力是唯一的限制，不知何故，这两个人从来没有摆脱过这种限制。我必须参与其中！经过漫长而多风的道路，我通过参加智库培训中心找到了视觉特效路径。进来时，我对程序或管道一无所知。但是，在导师和同龄人的帮助下，我实现了成为 3D 艺术家的梦想，现在我可以做自己喜欢的事情了。我要特别感谢 Raffael Frank 指导我完成这个项目。
The Mad Mouse
疯老鼠
The concept was inspired by Lidia Vives's work “Mad Mouse.” She has many creative photographs on her website. The main focus of this project was to study anatomy and facial expressions and be able to sculpt details as realistic as possible.
这个概念的灵感来自 Lidia Vives 的作品“Mad Mouse”。她的网站上有很多创意照片。该项目的主要重点是研究解剖学和面部表情，并能够尽可能逼真地雕刻细节。
Photography by Lidia Vives：
Lidia Vives 摄影：
3D model in black & white：
黑白 3D 模型：
The project was created using Maya, ZBrush, Wrap, Mudbox, XGen, Mari, Marvelous Designer, V-Ray, Photoshop, and PureRef.
该项目是使用 Maya、ZBrush、Wrap、Mudbox、XGen、Mari、Marvelous Designer、V-Ray、Photoshop 和 PureRef 创建的。
Reference images collected in PureRef
PureRef 中收集的参考图像
References
参考
The most challenging part of this project was capturing the likeness. Since the concept has a very strong expression and the pose is not neutral, it can be hard to get the likeness and maintain the correct anatomy.
这个项目最具挑战性的部分是捕捉相似之处。由于该概念具有非常强烈的表达力并且姿势不是中性的，因此很难获得相似性并保持正确的解剖结构。
When tackling a project like this, think about these things:
在处理这样的项目时，请考虑以下事项：
High-resolution images (it’s not a must, but the higher the resolution, the better it is to see the details).
高分辨率图像（不是必须的，但分辨率越高，越能看到细节）。
Multiple angles of the reference.
参考的多个角度。
Consider the lighting (shadows can be helpful to determine the shape of certain areas).
考虑照明（阴影有助于确定某些区域的形状）。
Software like PureRef can be useful to collect all images in one place.
PureRef 之类的软件可用于在一处收集所有图像。
Sort the images by category so it is easier to navigate when needed.
按类别对图像进行排序，以便在需要时更容易导航。
Collect images that are shot with a longer focal length lens (85 and up). For example, red carpet images are great. A shorter focal length causes distortion and you will have a hard time matching a face accurately. However, you can still use some close-up pictures to see skin details.
收集使用较长焦距镜头（85 及以上）拍摄的图像。例如，红地毯图像很棒。较短的焦距会导致失真，并且您将很难准确匹配脸部。不过，您仍然可以使用一些特写图片来查看皮肤细节。
It is important to study the facial structure before the setup of the base mesh in ZBrush. Line up the reference images using guides in Photoshop. Draw a few lines to see where the plane changes occur and where the face features line up. Pay attention to negative spaces on the profile views.
在 ZBrush 中设置基础网格之前研究面部结构非常重要。使用 Photoshop 中的参考线排列参考图像。画几条线以查看平面变化发生的位置以及面部特征排列的位置。注意配置文件视图上的负空间。
3D scan store base mesh & modified base mesh
3D 扫描存储基础网格和修改后的基础网格
Starting With a Base Mesh
从基础网格开始
You can start a base mesh from scratch in ZBrush or purchase one online. However, if you purchase a base mesh, make sure the topology is clean. Since Mad Mouse has a strong expression, it was necessary to modify the topology. Change the topology on the forehead to support the expression. Import the head mesh to Maya and retopologize using the Quad Draw tool.
您可以在 ZBrush 中从头开始创建基础网格或在线购买。但是，如果您购买基础网格，请确保拓扑是干净的。由于Mad Mouse 的表情很强烈，因此需要修改拓扑。改变额头上的拓扑以支持表情。将头部网格导入 Maya 并使用 Quad Draw 工具重新拓扑。
I recommend that if you are a beginner, try to retopologize from a ZBrush sculpt head you made from scratch. Learning how to retopologize will help you better understand the flow of the topology.
我建议如果您是初学者，请尝试从您从头开始制作的 ZBrush 雕刻头重新拓扑。学习如何重新拓扑将帮助您更好地理解拓扑的流程。
Lining Up a Base Mesh with Reference Images
将基础网格与参考图像对齐
When setting up the ZBrush scene, make sure the focal length is 85 or higher and the sculpt is in perspective mode.
设置 ZBrush 场景时，确保焦距为 85 或更高，并且雕刻处于透视模式。
There are two different methods to line up the base mesh with the reference images. The first method is to use Spotlight in ZBrush. Import the image in texture and turn on Spotlight.
有两种不同的方法可以将基础网格与参考图像对齐。第一种方法是在 ZBrush 中使用 Spotlight。导入纹理中的图像并打开 Spotlight。
Adjust the size of the reference image to match the base mesh. Once the alignment is done, save the camera.
调整参考图像的大小以匹配基础网格。对齐完成后，保存相机。
ZBrush Spotlight：
ZBrush 聚光灯：
To save camera views that are aligned with the reference image, go Draw > Channels > Store camera. Tip: Save as project in order to save the cameras. Saving as ZTool will not save the cameras. However, once alignment is done, there's no need to save it as project.
要保存与参考图像对齐的相机视图，请转到 Draw > Channels > Store camera。提示：另存为项目以保存摄像机。保存为 ZTool 不会保存相机。但是，一旦对齐完成，就无需将其保存为项目。
The second method is using the See-through tool in ZBrush. It is located on the top right. Place an image behind ZBrush and scroll See-through between 1 and 100 and line up the base mesh with the image behind. Use this method to do a quick check while sculpting. Save the camera with this method using the Store camera if needed.
第二种方法是使用 ZBrush 中的透视工具。它位于右上角。在 ZBrush 后面放置一个图像并在 1 到 100 之间滚动 See-through 并将基础网格与后面的图像对齐。雕刻时使用此方法进行快速检查。如果需要，使用存储相机使用此方法保存相机。
ZBrush's See-through：
ZBrush的透视:
The base mesh should stay at the lowest polycount while lining up.
基本网格在排列时应保持在最低多边形数。
Be aware that everything looks absolutely terrible for a while and it is perfectly normal. The goal at the beginning stage is to get the shapes and silhouette of the mesh to look like the reference image, so check all the angles. You will be able to tell if the base mesh matches the concept image by zooming out far throughout the alignment process while working on different angles.
请注意，在一段时间内一切看起来都非常糟糕，这是完全正常的。开始阶段的目标是让网格的形状和轮廓看起来像参考图像，因此检查所有角度。您将能够通过在对齐过程中在不同角度进行操作时将其缩小到远处来判断基础网格是否与概念图像匹配。
The base mesh will not line up perfectly, so think about the location of the eyes, nose, mouth, and ears and don’t worry about matching them exactly to the image. Nobody’s face is symmetrical. You will eventually break the symmetry to add details.
基础网格不会完美对齐，因此请考虑眼睛、鼻子、嘴巴和耳朵的位置，不要担心它们与图像完全匹配。没有人的脸是对称的。您最终将打破对称性以添加细节。
Polypainted eyeballs in ZBrush:
ZBrush中的Polypainted眼球:
Placing the eyeballs and painting in iris color using polypaint in ZBrush will help to tell if the face is looking the way it is supposed to.
在 ZBrush 中使用 polypaint 放置眼球并绘制虹膜颜色将有助于判断脸部是否看起来像它应该的样子。
Clothing in Marvelous Designer
Marvelous Designer 中的服装
Import an A pose base mesh to Marvelous Designer as an Avatar. A good way to speed up the process of creating clothing is to use a shirt from the Modular configurator. Use a base shirt and modify it to fit the concept blouse.
将 A 姿势基础网格作为 Avatar 导入 Marvelous Designer。加快服装制作过程的一个好方法是使用模块化配置器中的衬衫。使用基础衬衫并对其进行修改以适合概念衬衫。
Retopologizing and UV Mapping
重新拓扑和 UV 映射
Once the head base mesh is in a good shape in ZBrush, export the head to Maya and retopologize if needed, and then UV the head. To UV clothing, you can use a great tutorial on ArtStation by Derrick Sesson called "Marvelous Designer retopology toolkit for Maya." This tool is helpful for retopologizing the clothing that is imported from Marvelous Designer.
一旦头部基础网格在 ZBrush 中的形状良好，将头部导出到 Maya 并根据需要重新拓扑，然后对头部进行 UV 处理。对于 UV 服装，您可以使用 Derrick Sesson 在 ArtStation 上的一个很棒的教程，名为“Marvelous Designer retopology toolkit for Maya ”。此工具有助于重新拓扑从 Marvelous Designer 导入的服装。
UV for the head:
头部紫外线:
Process of transferring UV for clothing:
为衣服转移紫外线的过程:
Wrapping the Head and Transferring the Details
包裹头部并传递细节
R3DS Wrap was used to transfer the skin details. Textures were purchased on the 3D scan store website. Their textures are scanned from human models, so the skin looks realistic. When picking a texture, consider the skin color and age of the person so that it will match the look of your concept.
R3DS Wrap用于传输皮肤细节。纹理是在 3D 扫描商店网站上购买的。它们的纹理是从人体模型中扫描出来的，因此皮肤看起来很逼真。选择纹理时，请考虑人的肤色和年龄，以使其与您的概念外观相匹配。
Tutorials on how to use R3DS Wrap can be found here. If you are a student, they offer a free student license (Buy>Student).
可以在此处找到有关如何使用 R3DS Wrap 的教程。如果您是学生，他们会提供免费的学生许可证（购买>学生）。
Wrapping 3D mesh:
包裹 3D 网格:
Mudbox was used to transfer all the maps. Select UVs & Maps > Extract Texture Maps > New Operation.
Mudbox 用于传输所有地图。选择 UV 和贴图 > 提取纹理贴图 > 新操作。
The Target Model is the one that was sculpted in ZBrush and the Source model is the one that was wrapped in R3DS Wrap.
目标模型是在 ZBrush 中雕刻的模型，源模型是在 R3DS Wrap 中包裹的模型。
Transferring maps in Mudbox:
在 Mudbox 中传输地图:
Texturing in Mari:
Mari中的纹理:
After transferring the maps, make corrections on the skin in Mari. Some pore details around the eyes and nose area can get messy. Use the Paint Through tool to make the changes.
转移地图后，对 Mari 中的皮肤进行更正。眼睛和鼻子区域周围的一些毛孔细节可能会变得凌乱。使用 Paint Through 工具进行更改。
Masking and posing in ZBrush
在 ZBrush 中遮罩和摆姿势
Posing in ZBrush
在 ZBrush 中摆姿势
There are many ways to pose a mesh. However, the simplest and quickest way was to do it in ZBrush. Polygroup the mesh, up the resolution of the mesh before posing, mask and move using the Rotate Tool and the Move Tool. When you are moving body parts, make sure to place a pivot on joints. Think about how the body parts move. Use anatomy references to see where the joints are. It doesn’t have to be accurate but it will help you to retain the overall shape of the mesh.
有很多方法可以构成网格。然而，最简单、最快捷的方法是在 ZBrush 中进行。使用旋转工具和移动工具对网格进行多组化，在摆姿势、遮罩和移动之前提高网格的分辨率。当您移动身体部位时，请确保在关节上放置一个枢轴。想想身体部位是如何移动的。使用解剖学参考来查看关节的位置。它不一定要准确，但它会帮助您保持网格的整体形状。
Don’t worry too much about messing up the mesh. You will have to fix it anyway in Maya and ZBrush, so focus more on matching the pose as much as possible. Once the pose is made, export the mesh to Maya and use Blend Shape and Delta Mush tools to fix the volume and shape issues caused by posing.
不要太担心弄乱网格。无论如何，您都必须在 Maya 和 ZBrush 中修复它，因此更多地关注尽可能匹配姿势。完成姿势后，将网格导出到 Maya 并使用 Blend Shape 和 Delta Mush 工具来修复姿势引起的体积和形状问题。
Blend Shape and Delta Mush in Maya
在 Maya 中混合形状和 Delta Mush
Here are the steps to using Blend Shape and Delta Mush:
以下是使用 Blend Shape 和 Delta Mush 的步骤：
Export neutral pose and modified mesh to Maya.
将中性姿势和修改后的网格导出到 Maya。
Select the neutral mesh and then modified mesh. Go to Deform > Blend shape > Select the modified mesh > In the channel box/Layer editor, Blend shape = 1.
选择中性网格，然后修改网格。转到变形 > 混合形状 > 选择修改后的网格 > 在通道框/图层编辑器中，混合形状 = 1。
Go to Deform > Delta Mush > Select the modified mesh > Use Envelope to change the strength of the Delta Mush influence & smoothing iteration.
转到变形 > Delta Mush > 选择修改后的网格 > 使用 Envelope 更改 Delta Mush 影响和平滑迭代的强度。
Fix any issues caused by posing in ZBrush and continue to sculpt and refine the details.
修复在 ZBrush 中摆姿势引起的任何问题，并继续雕刻和细化细节。
Sculpting in ZBrush
在 ZBrush 中雕刻
There are a few brushes you can use to sculpt an organic mesh: ClayBuildup, Standard, Move, DamStandard, hPolish, Elastic, and Inflate. However, these are basic brushes, so explore different brushes and alphas as well.
您可以使用一些画笔来雕刻有机网格：ClayBuildup、Standard、Move、DamStandard、hPolish、Elastic 和 Inflate。然而，这些是基本的画笔，所以也要探索不同的画笔和 alpha。
The DamStandard brush is great for folds and wrinkles. The most important thing to remember while sculpting a head and hand is that the skin is quite bumpy and uneven. The skin is sitting on top of bones, muscles, and fat, so try not to make the surface too smooth.
DamStandard 刷子非常适合褶皱和皱纹。雕刻头部和手部时要记住的最重要的事情是皮肤非常凹凸不平。皮肤位于骨骼、肌肉和脂肪之上，因此尽量不要使表面过于光滑。
Daniel Boschung has a website that shows close-up skin details of different people. The great thing about his website is that you can zoom in very close and be able to see micro details. It is very helpful to see how skin texture is in different areas and also see the directionality of pores and wrinkles.
Daniel Boschung 有一个网站，可以显示不同人的特写皮肤细节。他的网站最棒的地方在于，您可以非常接近地放大并能够看到微观细节。了解不同区域的皮肤纹理以及毛孔和皱纹的方向性非常有帮助。
Making Hair in XGen
在 XGen 中制作头发
Draw lines of the hair flow on the concept image. This will help with where to place the guides in XGen. Once the shape of the head mesh is good, duplicate faces in 3 sections: the head scalp, eyebrows, and eyelashes. Separating them will give you more control over making hair in XGen. Make sure the UV is in 0-1 UV space and use the guides to generate the first clumping map.
在概念图像上绘制头发流线。这将有助于确定在 XGen 中放置导向的位置。一旦头部网格的形状良好，在 3 个部分复制面部：头部头皮、眉毛和睫毛。将它们分开将使您能够更好地控制在 XGen 中制作头发。确保 UV 在 0-1 UV 空间中，并使用导向生成第一个成束贴图。
Add at least two more Clumping modifiers to refine the hair.
至少再添加两个成束修改器来细化头发。
Once Clumping is working, add the Noise and Cut modifiers to change the texture of the hair. Explore other modifiers if necessary for your character.
成束工作后，添加噪波和剪切修改器以更改头发的纹理。如果您的角色有必要，请探索其他修饰符。
After adding hair to the eyelashes, add mascara crumbs by creating a small geo and use the MASH network in Maya to scatter over the eyelashes. You can also manually add the geo to the eyelashes.
在睫毛上添加头发后，通过创建一个小几何图形添加睫毛膏碎屑，并使用 Maya 中的 MASH 网络散布在睫毛上。您还可以手动将地理添加到睫毛。
Background and Rendering Set Up
背景和渲染设置
A few backgrounds were created during the process. However, they didn’t feel right with the concept, so the background from the photograph was used to composite the renders together. Remove the model using Content Aware Fill under Edit in Photoshop. It doesn’t have to be perfect in the middle since the mesh will cover the area.
在此过程中创建了一些背景。然而，他们觉得这个概念不太对劲，所以照片的背景被用来合成渲染图。使用 Photoshop 中“编辑”下的“内容感知填充”移除模型。它不必在中间完美，因为网格将覆盖该区域。
In Maya, create a render camera and set up a resolution that matches the concept photo (width and height) and turn on the Resolution gate. Insert the background image using Image plane (View>Image Plane>Import). Line up the mesh to the concept image by moving the camera. After setting up the camera, make sure to lock the camera (View>Lock camera) and move the view port by holding "\" on the keyboard.
在 Maya 中，创建一个渲染相机并设置与概念照片（宽度和高度）匹配的分辨率，然后打开分辨率门。使用图像平面（视图>图像平面>导入）插入背景图像。通过移动相机将网格与概念图像对齐。设置好摄像头后，确保锁定摄像头（查看>锁定摄像头）并按住键盘上的“\”移动视口。
Lighting Setup
照明设置
Due to the complexity of the lighting, 3 different HDRI were used to achieve the look of the photograph. Several V-Ray rect lights were also added. Each light was linked to an individual mesh to give more control over brighter and darker areas. Light linking can be found under Windows > Relationship Editors > Light Linking > Object-Centric.
由于照明的复杂性，使用了 3 种不同的 HDRI 来实现照片的外观。还添加了几个 V-Ray 矩形灯。每盏灯都链接到一个单独的网格，以更好地控制更亮和更暗的区域。灯光链接可以在 Windows > 关系编辑器 > 灯光链接 > 以对象为中心找到。
Shaders in Maya
Maya 中的着色器
Create textures in Mari and use V-Ray Al surface to add textures for the head, hand, teeth, tongue, and body. Use VRayMtl for the rest.
在 Mari 中创建纹理并使用 V-Ray Al 表面为头部、手部、牙齿、舌头和身体添加纹理。其余的使用 VRayMtl。
The face is made with 3 different shaders and they are layered by lipstick, eye shadow, and skin, in that order.
脸部由 3 种不同的着色器制成，它们按顺序由口红、眼影和皮肤分层。
To achieve a natural look of the skin, VRayAlSurface was used. Make sure to change the SSS mix amount to 1 for a proper light scattering to work.
为了获得自然的皮肤外观，使用了 VRayAlSurface。确保将 SSS 混合量更改为 1，以使适当的光散射起作用。
Since the blouse is see-through, model a bra and use a V-ray two-sided material to make the blouse transparent.
由于这件衬衫是透明的，因此对胸罩进行建模并使用 V 射线双面材料使衬衫透明。
Adding Extra Details on the Mickey Ears and Tie
在米奇耳朵和领带上添加额外的细节
Not having enough details will make the 3D model look CG and not realistic. However, too much detail can overwhelm the viewers and move their eyes away from the area of focus. Remember when adding extra details, they should be subtle and support the hero area/asset without disrupting the focus and storytelling.
没有足够的细节会使 3D 模型看起来 CG 并且不真实。然而，过多的细节会使观众不知所措，并将他们的视线从焦点区域移开。请记住，在添加额外细节时，它们应该是微妙的并支持英雄区域/资产，而不会破坏焦点和讲故事。
Making the Mickey ears texture:
制作米奇耳朵纹理：
Create a height map using Substance 3D Designer. How to create the map can be found in the tutorial video “Creating Velvet Texture in Substance Designer" by Filip Hodas. Use the height map in Maya as VRay displacement.
使用 Substance 3D Designer 创建高度图。如何创建贴图可以在 Filip Hodas 的教程视频“在 Substance Designer 中创建 Velvet Texture ”中找到。在 Maya 中使用高度贴图作为 VRay 置换。
Adding dust:
添加灰尘：
Use the Layered shader node to add the dust on top of the tie shader. Make sure to lower the intensity of the dust color so it is subtle on the black tie.
使用分层着色器节点在领带着色器顶部添加灰尘。确保降低灰尘颜色的强度，使其在黑色领带上显得微妙。
Final Renders
最终渲染
When the project is close to the end stage, it requires minor fixes. Don’t underestimate this crucial step. Even tiny changes can make a huge difference. Use the History section A|B in the V-Ray Frame Buffer window to compare the current rendering and the previous ones.
当项目接近结束阶段时，需要进行一些小修复。不要小看这关键的一步。即使是微小的变化也会产生巨大的影响。使用 V-Ray Frame Buffer 窗口中的 History 部分 A|B 来比较当前渲染和之前的渲染。
Tip: right-click the saved image to note the changes you made so you can go back to the settings that look best.
提示：右键单击保存的图像以记录您所做的更改，以便您可以返回到看起来最好的设置。
Making a 3D character is not a linear process. Once the rendering starts, you will need to go back and forth between ZBrush and Maya to refine details on the face and clothing. ZBrush tends to make the skin details more pronounced. However, Subsurface scattering during rendering will lose some of the details if it’s not sculpted enough in ZBrush.
制作 3D 角色不是一个线性过程。渲染开始后，您将需要在 ZBrush 和 Maya 之间来回切换以细化面部和服装的细节。ZBrush倾向于使皮肤细节更加明显。但是，如果在 ZBrush 中雕刻不够，渲染过程中的次表面散射会丢失一些细节。
From this point on, you have all basic meshes and the setup is done. Now, it is all about fixing and adding more details and constantly comparing the concept and real-world references. The key to making things realistic in CG is to pay close attention to the real world and try to mimic that.
从这一点开始，您拥有所有基本网格并且设置完成。现在，一切都是为了修复和添加更多细节，并不断比较概念和现实世界的参考。在 CG 中使事物变得逼真的关键是密切关注现实世界并尝试模仿它。
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