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Introduction
介绍
Hello! I am Tyler Oliver, a 3rd-year student at Solent University, UK! I am just finishing up my degree and starting to look for junior positions. You can find my contacts and learn more about me here.
你好！我是英国索伦特大学三年级学生 Tyler Oliver！我刚刚完成学位并开始寻找初级职位。您可以在这里找到我的联系人并了解更多关于我的信息。
I have always wanted to work in games, albeit first as a coder – I took computing in secondary school and computer science at college alongside my Media course which I took because it had a couple of game-related units, and I was interested in the regular media units doing cinematography and graphic design. This is where I really discovered 3D art, as we had a unit to create a sci-fi corridor in Maya, and I fell in love with it from there!
我一直想从事游戏工作，尽管最初是作为一名编码员——我在中学学习计算机和大学计算机科学以及我参加的媒体课程，因为它有几个与游戏相关的单元，而且我对从事电影摄影和平面设计的常规媒体单位。这是我真正发现 3D 艺术的地方，因为我们有一个部门可以在 Maya 中创建一个科幻走廊，我从那里爱上了它！
I think that it is fair to say that despite being enrolled in University, I have built most of my skills in 3D in my own time, taking courses, and watching YouTube and ArtStation learning. I believe that University is more of structured support for your learning, where the lecturers guide your learning more so than teach you everything you need to know – at least that has been my experience.
我认为可以公平地说，尽管进入了大学，但我在自己的时间、参加课程、观看 YouTube 和 ArtStation 学习方面已经建立了大部分 3D 技能。我相信大学更多的是为你的学习提供结构化的支持，讲师指导你的学习比教你需要知道的一切——至少这是我的经验。
I found that the biggest impact on my learning however was joining a few Discord communities, namely the DiNusty Empire and Experience Points Discord channels. These are huge channels full of extremely talented and experienced artists who share their work, critique each other’s work, and offer advice and guidance to each other, and I have met some awesome people there who have helped me so much over the last year.
然而，我发现对我的学习影响最大的是加入了一些 Discord 社区，即 DiNusty Empire 和 Experience Points Discord 频道。这些巨大的频道充满了非常有才华和经验丰富的艺术家，他们分享他们的作品，互相批评，互相提供建议和指导，我在那里遇到了一些很棒的人，他们在过去一年里给了我很多帮助。
I have done a fair few projects before this one as it is my Final Major Project at University, so I have probably created around six unique environments as part of my course. However, I do a lot of personal work outside of university too, such as all of my Substance 3D Designer posts on my ArtStation, as I believe doing personal work outside of your studies can really set you apart from the competition and help boost your skills at an increased rate.
在这个项目之前我已经完成了一些项目，因为这是我在大学的最后一个主要项目，所以我可能创造了大约六个独特的环境作为我课程的一部分。但是，我在大学之外也做了很多个人工作，比如我在 ArtStation 上的所有 Substance 3D Designer 帖子，因为我相信在学习之外做个人工作真的可以让你在竞争中脱颖而出并帮助提高你的技能以增加的速度。
Recently I had the honor of teaching a 2-hour intro to Substance 3D Designer workshop at my university, where I went over all the basics of the software, breaking down some simple example materials and common techniques used, the annotated document can be downloaded for free here.
最近我有幸在我的大学教授了一个 2 小时的 Substance 3D Designer 研讨会介绍，在那里我了解了软件的所有基础知识，分解了一些简单的示例材料和常用技术，注释文档可以下载在这里免费。
The Oasis Temple Project
绿洲寺项目
So the Oasis Temple really started as a fascination with creating a grand scene, with a huge archway. I really don’t know where this idea came from as I hadn’t been playing any games like this or seen any movies which are where I normally get inspired, but I then started searching artstation for any and everything related to big fantasy archways. Over this period I must have saved around 100 concepts, all very similar until I found the concept Architecture Exploration by Quentin Mabille.
所以绿洲寺真正开始是为了创造一个宏伟的场景，一个巨大的拱门。我真的不知道这个想法是从哪里来的，因为我没有玩过任何这样的游戏，也没有看过任何我通常会从中获得灵感的电影，但随后我开始在 artstation 中搜索与大型幻想拱门相关的所有内容。在此期间，我必须保存大约 100 个概念，在我找到Quentin Mabille 的 Architecture Exploration概念之前，它们都非常相似。
The grand archway, surrounded by rocks and the water entrance immediately resonated with me, and I started breaking it down straight away and planning my project around it. In doing so I researched real-life examples as close to this concept as possible, the most famous of which being Petra in Jordan.
被岩石和入水口包围的宏伟拱门立即引起了我的共鸣，我立即开始将其分解并围绕它计划我的项目。在这样做的过程中，我研究了尽可能接近这个概念的现实生活中的例子，其中最著名的是约旦的佩特拉。
From there I started altering the scene to be located in a climate more accurate to what we currently have in real life, opting to use materials like sandstone rather than what I had assumed to be limestone in the concept. This change impacted the color pallet of the concept quite drastically, giving me access to much warmer tones, whilst still being able to keep the colder tones in the water, and eventually the interior. I wanted to exaggerate the colors of the water too, to push the fantastical feel of the scene, and I really liked the colors of this concept by Oksana Dobrovolska which has vibrant greens and blues.
从那里开始，我开始改变场景，使其所处的气候更接近我们目前在现实生活中的情况，选择使用砂岩等材料，而不是我在概念中假设的石灰石。这种变化极大地影响了概念的调色板，让我可以使用更温暖的色调，同时仍然能够将冷色调保持在水中，最终保持在室内。我也想夸大水的颜色，以增强场景的梦幻感，我真的很喜欢Oksana Dobrovolska 的这个概念的颜色，它有鲜艳的绿色和蓝色。
Whenever I start a scene, I normally do a quick paint-over of the concept, trying to break it down into its individual elements, what can be re-used, what will use tiling textures or trim sheets, and what will need to be unique. Here is an example paint-over I did for this scene, roughly planning the individual elements of the scene and how often they appear, as I knew modularity would be a huge deal to keep this scene in scope.
每当我开始一个场景时，我通常会快速绘制概念，尝试将其分解为各个元素，可以重复使用的内容，将使用平铺纹理或修剪表的内容以及需要使用的内容独特的。这是我为这个场景所做的一个示例绘制，粗略地规划了场景的各个元素以及它们出现的频率，因为我知道模块化对于保持这个场景在范围内非常重要。
For the interior of the scene, I really didn’t have any singular concept that I followed, which looking back on the project I massively regret as it meant I was wasting a lot of time iterating the layout and design choices, rather than having a set in stone plan from the beginning. That’s not to say it was without reference though! I had a huge array of reference for the architecture and lighting of the interior, ranging from Byzantine temples to Roman ruins, and gothic cathedrals. I wanted to mix and match these different architectural styles to not have them conform to one specific style/period but to help emphasize the fantasy element of the scene.
对于场景的内部，我真的没有遵循任何单一的概念，回顾这个​​项目我非常后悔，因为这意味着我浪费了很多时间来迭代布局和设计选择，而不是有一个从一开始就设定了石头计划。这并不是说它没有参考！我对室内的建筑和照明有大量的参考资料，从拜占庭式的寺庙到罗马的废墟，再到哥特式的大教堂。我想混合和匹配这些不同的建筑风格，而不是让它们符合一种特定的风格/时期，而是帮助强调场景的幻想元素。
Here is my final reference board, made using PureRef, where I stored my concepts, breakdowns, architectural, prop, material and lighting references, as well as handy cheat sheets like PBR value color pickers.
这是我使用 PureRef 制作的最终参考板，我在其中存储了我的概念、故障、建筑、道具、材料和照明参考，以及 PBR 值颜色选择器等方便的备忘单。
Modeling and Blockout
建模和封锁
I generally use the same tools for every scene, and this one was no different:
我通常对每个场景都使用相同的工具，这次也不例外：
Modeling & Unwrapping – 3ds Max
建模和展开 - 3ds Max
Sculpting – ZBrush
雕刻 – ZBrush
Texturing – Substance 3D Painter for unique textures, Substance 3D Designer for Tileables
纹理 – 用于独特纹理的 Substance 3D Painter，用于 Tileables 的 Substance 3D Designer
Baking – Painter/Designer, but I recently started using Marmoset Toolbag 4
烘焙 – 画家/设计师，但我最近开始使用 Marmoset Toolbag 4
Cloth – Marvelous Designer for base simulation, ZBrush for cleanup and extra detailCloth – Marvelous Designer 用于基础模拟，ZBrush 用于清理和额外细节
Engine – UE4.26
引擎 – UE4.26
The first thing to do when making a scene, after you have all your references and a solid plan, is to start blocking it out. This normally comes in stages for me, I do a very simple cubes and primitives blockout, focusing on the position and scale of assets. I then go a bit further and do shapes pass, where I block in rough shapes of assets, for example, I would model a rough archway and import it into UE4 to use instead of the cube I had placed.
制作场景时要做的第一件事是，在您拥有所有参考资料和可靠的计划之后，开始屏蔽它。这对我来说通常是分阶段进行的，我做了一个非常简单的立方体和基元封锁，专注于资产的位置和规模。然后，我走得更远一点，做形状传递，在这里我以粗略的形状阻挡资产，例如，我将建模一个粗糙的拱门并将其导入 UE4 以代替我放置的立方体使用。
I then sometimes go a step further and do a more detailed blockout, doing quick blockouts of individual props, and adding simple base colors to meshes. This is useful as it can reinforce your plan of what you need to make, and also these blockouts don’t go to waste, most of the time you can then use your blockout meshes as a base for you to make your final assets.
然后我有时会更进一步，做更详细的遮光，对单个道具进行快速遮光，并为网格添加简单的基色。这很有用，因为它可以加强您需要制作的计划，而且这些遮蔽物不会浪费，大多数时候您可以使用遮蔽物网格作为制作最终资产的基础。
The modeling in this scene was actually very simple. Once I had broken down the scene and planned all the assets I needed, I noted that there were really only a small handful of assets to make, and the trick here was reusing them modularly in a way that didn’t get too repetitive and cause art fatigue – which was my biggest worry with this scene.
这个场景的建模其实很简单。一旦我分解了场景并规划了我需要的所有资产，我注意到实际上只有一小部分资产需要制作，这里的诀窍是以不会过于重复和导致的方式模块化重用它们艺术疲劳——这是我对这个场景最大的担忧。
One way I tackled this was by using unique sculpts almost like Lego blocks to build my scene. I started out by sculpting a few variations of stone bricks, which I then decimated down to a low poly, unwrapped, and baked (I only planned to use the Normal Map from the bake, and combine in engine with tiling textures). Now I had 7 variations of stone bricks (each with unique 6 sides, so 42 unique faces), which I could then use to build my assets. This could be done in the engine, stacking bricks one by one, but it wouldn’t be efficient in terms of draw calls. So instead, I exported my blockout from UE4 as an FBX to take into 3ds Max and started stacking the bricks up there, into individual assets.
我解决这个问题的一种方法是使用类似于乐高积木的独特造型来构建我的场景。我首先雕刻了一些石砖的变体，然后将其分解为低多边形，展开并烘焙（我只打算使用烘焙中的法线贴图，并在引擎中结合平铺纹理）。现在我有 7 种不同的石砖（每一种都有独特的 6 面，因此有 42 个独特的面），然后我可以用它们来构建我的资产。这可以在引擎中完成，将砖块一一堆叠，但在绘制调用方面效率不高。因此，我将 UE4 中的遮蔽物作为 FBX 导出到 3ds Max 中，然后开始将砖块堆叠到单独的资产中。
An example of this is the stairs, which are 1 FBX file, built up of a bunch of brick models. Another example is the main archway, which again is built up of a bunch of brick models, with some of its own unique meshes added too, but all exported as one file to reduce draw calls in the engine. I used this method as well for the docks of the scene, sculpting a couple of planks, this time with full textures rather than just the Normal Map.
一个例子是楼梯，它是 1 个 FBX 文件，由一堆砖块模型组成。另一个例子是主拱门，它也是由一堆砖块模型构成的，还添加了一些自己独特的网格，但全部导出为一个文件以减少引擎中的绘制调用。我也将这种方法用于场景的码头，雕刻了几块木板，这次使用完整的纹理而不仅仅是法线贴图。
Another big feature of the exterior is the cliff faces. For these, I used Megascans cliff assets. I decided to use these as they were the perfect fit for the scene, and with a project this size in a 9-week period, I would be sacrificing quality to completely make everything myself. I wasn’t sure about using these, but I spoke to many industry artists who all agreed that using Megascans in your portfolio work is completely fine, as long as it isn’t the sole focus of the scene, and you don’t claim to have made them yourself!
外部的另一个大特征是悬崖面。对于这些，我使用了 Megascans 悬崖资产。我决定使用这些，因为它们非常适合场景，并且在 9 周内完成一个如此规模的项目，我会牺牲质量来完全自己制作所有东西。我不确定是否使用这些，但我与许多行业艺术家交谈过，他们都同意在你的作品集中使用 Megascans 是完全可以的，只要它不是场景的唯一焦点，而且你没有声称自己做的！
The only other 3rd-party asset I used for this scene was the human base mesh, which was used to simulate cloth over for the characters in the scene, as well as in the statue meshes. For these statue assets, I created a simple cloth simulation in Marvelous Designer and exported it to ZBrush. From here I masked off elements I wanted to move, such as the arms, and simply rotated them with a soft falloff on the mask to not mess up the shape too much. I then went in and used ZBrush's Cloth brushes, which turned out to work excellently for my needs. These tools allow you to quickly add folds, pinches, and drag your mesh around whilst it behaves like cloth.
我用于此场景的唯一其他 3 方资源是人体基础网格，用于模拟场景中角色以及雕像网格中的布料。对于这些雕像资产，我在 Marvelous Designer 中创建了一个简单的布料模拟并将其导出到 ZBrush。从这里我遮住了我想移动的元素，比如手臂，然后简单地旋转它们，在遮罩上进行柔和的衰减，以免过多地弄乱形状。然后我进去使用了 ZBrush 的布刷，结果证明它非常适合我的需要。这些工具允许您快速添加折叠、捏合和拖动网格，同时它的行为就像布一样。
The only other mesh in the scene with an interesting modeling method would be the chandeliers. For these, I knew they were radially symmetrical, so I only needed to make about a quarter of the mesh, and just bend and symmetry it. This also allowed me to only unwrap 1 quarter of it, and have the rest sharing the UV space, effectively quartering the amount of texture resolution I needed to keep the same amount of detail. Once I had the main chandelier made, I simply cut it apart into pieces I thought could be re-used for different variations, and KitBashed together wall-mounted and free-standing versions.
场景中唯一具有有趣建模方法的其他网格是枝形吊灯。对于这些，我知道它们是径向对称的，所以我只需要制作大约四分之一的网格，然后弯曲和对称。这也允许我只展开其中的四分之一，并让其余部分共享 UV 空间，有效地将保持相同细节量所需的纹理分辨率量减半。一旦我制作了主枝形吊灯，我只需将它切成我认为可以重复用于不同变化的部分，然后将 KitBashed 壁挂式和独立式版本组合在一起。
Texturing Workflow
纹理工作流程
So when planning this scene I knew it could easily fall out of scope if I created a lot of unique textures, and therefore I needed to make heavy use of trim sheets and Tileable textures. With this in mind, I had planned to create:
所以在规划这个场景时，我知道如果我创建了很多独特的纹理很容易超出范围，因此我需要大量使用装饰板和 Tileable 纹理。考虑到这一点，我计划创建：
Sandstone
砂岩
Sandstone Bricks
砂岩砖
Exterior Trim Sheet
外饰板
Interior Trim Sheet
内饰板
Wooden Trim Sheet
木制装饰板
These alone, when combined with the unique brick sculpt normal map, probably textured about 80% of the entire scene. Initially, this obviously caused a lot of art fatigue, so I had to think of ways to break up these surfaces on a large scale, without having obvious seams between meshes. The way I decided to tackle this was using world-aligned masks overlayed on my tiling textures.
仅这些，当与独特的砖雕法线贴图结合使用时，可能对整个场景的 80% 左右进行了纹理处理。最初，这显然引起了很多艺术疲劳，所以我不得不想办法大规模地分解这些表面，而网格之间没有明显的接缝。我决定解决这个问题的方法是使用覆盖在我的平铺纹理上的世界对齐蒙版。
This is a method that I had first noticed in the Spiderman PS4 games, and to learn more about I messaged Nestor Carpintero who worked on these games, and explained that they had used world aligned grunge masks on top of their tiling textures, to add large scale variation to the huge brick wall surfaces of the buildings. He also stated that the modular brick assets also used world-aligned textures.
这是我在蜘蛛侠 PS4 游戏中第一次注意到的一种方法，为了了解更多信息，我给这些游戏的开发者 Nestor Carpintero 发了消息，并解释说他们在平铺纹理上使用了世界对齐的垃圾蒙版，以添加大建筑物巨大的砖墙表面的尺度变化。他还表示，模块化积木资产也使用了世界对齐的纹理。
Setting this up in UE4 is actually very simple. You just need to create a material that has all your regular tiling textures set up (I had my tiling textures also using world aligned, but they don’t have to be), and then you use the WorldAlignedTexture node, with a mask texture as the input. You can then take that to add, multiply, or as a mask for a Lerp node, to add variation to your Base Color, and even Roughness Maps.
在 UE4 中进行设置实际上非常简单。您只需要创建一个设置了所有常规平铺纹理的材质（我的平铺纹理也使用世界对齐，但它们不必如此），然后使用 WorldAlignedTexture 节点，蒙版纹理为输入。然后，您可以将其添加、相乘或作为 Lerp 节点的蒙版，为您的基本颜色甚至粗糙度贴图添加变化。
As I briefly mentioned, I had set up my master material for tiling textures to use world aligned projection, which allowed me to not have to worry about seams when using modular assets, massively speeding up production, and allowing for easy iteration of surfaces. This does come at an extra cost to having regularly mapped UV coordinate textures, but I found that the benefits heavily outweighed the slight performance cost – and this is a technique used in many games in my research.
正如我简要提到的，我已经设置了用于平铺纹理的主材质以使用世界对齐投影，这让我在使用模块化资产时不必担心接缝，大大加快了生产速度，并允许轻松迭代表面。这确实需要定期映射 UV 坐标纹理的额外成本，但我发现好处远远超过了轻微的性能成本——这是我研究中许多游戏中使用的一种技术。
Creating my tiling textures was a very enjoyable process for me, as I personally enjoy working in Substance 3D Designer using procedural methods to create textures. Because of my love for it, I decided to create all of my tileable surfaces, trim sheets, variation masks, and decals in Substance 3D Designer, only really using Painter for very unique meshes like the chandeliers, books and the boats, as well as the hand-painting RGB packed masks.
创建平铺纹理对我来说是一个非常愉快的过程，因为我个人喜欢在 Substance 3D Designer 中使用程序方法创建纹理。因为我对它的热爱，我决定在 Substance 3D Designer 中创建我所有的可平铺表面、装饰板、变化蒙版和贴花，只真正使用 Painter 来制作非常独特的网格，例如枝形吊灯、书籍和船，以及手绘 RGB 包装蒙版。
The sandstone material was relatively simple to make and mainly consisted of combining different noises in interesting ways. I almost always work with SD to create a Height Map first, and from there use it to create a Normal Map, and AO, as well as a Curvature Map. I then use the Curvature Map as a base for my Albedo Map, combining it with various different grunges and masks to get the final result.
砂岩材料的制作相对简单，主要包括以有趣的方式组合不同的噪音。我几乎总是先使用 SD 来创建高度贴图，然后使用它来创建法线贴图、AO 以及曲率贴图。然后，我使用曲率贴图作为我的反照率贴图的基础，将其与各种不同的垃圾和蒙版相结合以获得最终结果。
When working in SD it is extremely important to have good references, particularly well lit and non-edited. This is because you don’t want to be sampling information that isn’t accurate to real life. To help with this, I recommend using Megascans as a heavy reference, particularly for the Albedo Maps of your textures. Once you have made your Curvature Map, you can plug it into a gradient editor, and use the ‘pick gradient’ tool to drag your cursor over a Megascans base Color Map, of the same material you are making, to sample the scanned base color into your own material. I find this to be a much more accurate way of working, rather than trying to color pick from references, as they will always have some lighting information affecting the colors.
在 SD 中工作时，拥有良好的参考资料非常重要，尤其是光线充足且未经编辑的参考资料。这是因为您不希望对与现实生活不准确的信息进行抽样。为了解决这个问题，我建议使用 Megascans 作为重要参考，特别是对于纹理的反照率贴图。制作曲率贴图后，您可以将其插入渐变编辑器，并使用“选择渐变”工具将光标拖到与您制作的材料相同的 Megascans 基础颜色图上，以对扫描的基础颜色进行采样进入你自己的材料。我发现这是一种更准确的工作方式，而不是尝试从参考中挑选颜色，因为它们总是会有一些影响颜色的照明信息。
Everything that was made from sandstone, in some parts used the base sandstone material I made, whether it was in engine combining materials, or directly in SD, calling the base sandstone graph to build other textures from, like the sandstone bricks.
所有由砂岩制成的东西，在某些部分都使用了我制作的基础砂岩材料，无论是在引擎中组合材料，还是直接在 SD 中，调用基础砂岩图来构建其他纹理，例如砂岩砖。
The trim sheets in the scene were also made completely in Substance 3D Designer, using a plug-in node and technique called The Ultimate Trim. This is a technique that was developed for Sunset Overdrive, and basically consists of creating all your trim sheets with the exact same layout, so they can be swapped out with other trim sheets with no issues, for an easy variation. The technique can be looked into more here.
场景中的修剪表也是完全在 Substance 3D Designer 中制作的，使用了名为 The Ultimate Trim 的插件节点和技术。这是为 Sunset Overdrive 开发的一种技术，基本上包括创建具有完全相同布局的所有装饰板，因此它们可以毫无问题地与其他装饰板交换，以便轻松变化。该技术可以在这里查看更多。
The main benefit of this technique for me was the custom Substance 3D Designer node and the 3ds max plug-in that was made for it. These tools allow you to easily author a trim sheet into set pixel segments, and then place the UVs of your mesh into the same set segments, scaling the UV shells to fit perfectly.
这种技术对我的主要好处是自定义 Substance 3D Designer 节点和为其制作的 3ds max 插件。这些工具使您可以轻松地将修剪表创作到设置的像素段中，然后将网格的 UV 放置到相同的设置段中，缩放 UV 壳以完美匹配。
Below is the ultimate trim node for SD, which as you can see lets you define trim sheet segment heights in pixels, and automatically generates a Normal Map of the segments with a 45-degree bevel. For these trim sheets, I didn’t use the Normal Map but instead enabled the option to create a mask output for each trim section, which I can then use in my graph to combine all my trim sheet patterns easily, ensuring that each section fits perfectly the right amount of pixels – so when I get to use the 3ds Max UV plug-in, it’s as simple as one click to align UVs to the correct trim segment.
下面是 SD 的最终修剪节点，如您所见，它可以让您以像素为单位定义修剪表段高度，并自动生成具有 45 度斜角的段的法线贴图。对于这些修剪表，我没有使用法线贴图，而是启用了为每个修剪部分创建蒙版输出的选项，然后我可以在我的图表中使用它来轻松组合所有修剪表图案，确保每个部分都适合完美的像素数量——所以当我开始使用 3ds Max UV 插件时，只需单击一下即可将 UV 对齐到正确的修剪段。
Creating the trim sheets was a mix of methods. For some more simple parts, I completely created the patterns in SD, using the shape nodes as a base, and then deforming and tiling from there.
创建装饰板是多种方法。对于一些更简单的部分，我在 SD 中完全创建了图案，使用形状节点作为基础，然后从那里变形和平铺。
For the more complex trims, I made use of pre-made alphas, that I had purchased on the ArtStation Marketplace, and slightly adjusted them to fit my needs.
对于更复杂的装饰，我使用了我在 ArtStation Marketplace 上购买的预制 alpha，并稍微调整了它们以适应我的需要。
These Height Maps were then combined together, using transforms and blends with the ultimate trim masks as an Opacity Map.
然后将这些高度贴图组合在一起，使用变换和混合与最终的修剪蒙版作为不透明度贴图。
For the rest of the trim, it is the same process repeated with different pattern inputs. Them, once I had all the base heights of the unique shapes, I combined them with the Height Map of my sandstone material and blended the Normal Map of the trim sheet and base sandstone together.
对于其余的修剪，使用不同的模式输入重复相同的过程。他们，一旦我有了独特形状的所有基本高度，我将它们与我的砂岩材料的高度贴图结合起来，并将装饰板和基本砂岩的法线贴图混合在一起。
From here it was just like texturing a regular material, layering different colors and grunges using the Curvature Map as a starting point, adding edge highlights and dirt with masks, and adding some variation to the repeating elements with a flood fill to Random Greyscale node.
从这里开始，它就像对常规材质进行纹理化，使用曲率贴图作为起点对不同的颜色和垃圾进行分层，使用蒙版添加边缘高光和污垢，并使用泛滥填充到随机灰度节点为重复元素添加一些变化。
Assembling the Scene
组装场景
For the exterior of the scene, I simply tried to match the composition of the concept as much as possible, as I felt it already had a very strong composition. What helped with this is having an understanding of how cameras work in real life. I have recently gotten into photography, and whilst still being very much an amateur, I have a decent understanding of focal length, which allowed me to line up the camera in a way that has the same perspective as the concept.
对于场景的外观，我只是尽可能地匹配概念的构图，因为我觉得它已经有很强的构图了。对此有所帮助的是了解相机在现实生活中的工作方式。我最近开始接触摄影，虽然我还是个业余爱好者，但我对焦距有相当的了解，这让我能够以与概念相同的视角排列相机。
From here I adjusted the positioning of my assets such as the boats to try and get some more foreground elements in the frame, as well as give a sense progression throughout the scene, as the boats get smaller as they travel closer to the temple, helping sell the depth and scale better. As you can see below, I have used the rule of thirds/golden ratio as a starting point for the composition, and then adjusted it slightly to my liking – these guides are not designed to be the perfect end solution, but instead, a good starting point for you to work on from there.
从这里我调整了我的资产（例如船）的位置，以尝试在框架中获得更多的前景元素，并在整个场景中提供一种感觉，因为船越靠近寺庙越小，有助于更好地销售深度和规模。正如您在下面看到的，我使用三分之二/黄金比例规则作为构图的起点，然后根据自己的喜好对其进行微调——这些指南并非旨在成为完美的最终解决方案，而是一个很好的您从那里开始工作的起点。
For the interior, I had no concept to work from, and therefore chose to rely on the tried and test rule of thirds for my camera setups. Having the statue be the main focal element, I tried to line up a secondary focal element that falls close to the line of thirds. Having harmony in the architecture, and the repetition of the arches is also a common architectural trick to lead the eye towards something, which I used to help draw the focus to the end of the hallway. The use of leading lines is a technique that can be applied to almost every scene in some way, and is another great way to draw attention to a focal point - I also added fake god ray assets into the scene to help direct the eye to the statue.
对于内部，我没有工作的概念，因此选择依赖久经考验的三分法来设置我的相机。让雕像成为主要焦点元素，我试图排列一个接近三分线的次要焦点元素。在建筑中保持和谐，拱门的重复也是一种常见的建筑技巧，可以将视线引向某物，我用它来帮助将焦点吸引到走廊的尽头。引导线的使用是一种可以以某种方式应用于几乎每个场景的技术，并且是另一种吸引焦点的好方法——我还在场景中添加了假神射线资产，以帮助将视线引导到焦点上。雕像。
One thing I knew for sure going into the interior of the scene, was I wanted books and candles all over the place, and placing thousands of assets by hand was going to take forever, and also not be a performant option with thousands of draw calls. A huge tool that every artist who uses UE should know about, is blueprints. These can be used for all sorts of things, but for an artist, there are a few main uses – creating asset ‘prefabs’ and creating procedural asset tools.
在进入场景内部时我肯定知道的一件事是，我想要到处都是书和蜡烛，而手工放置数千个资产将需要很长时间，而且也不是一个具有数千个绘图调用的高性能选项. 每个使用 UE 的艺术家都应该知道的一个巨大工具是蓝图。这些可以用于各种各样的事情，但对于艺术家来说，有一些主要用途——创建资产“预制件”和创建程序资产工具。
The ‘prefabs’ blueprints are essentially blueprints that contain no code, just pre-placed assets that make placing repeating details much easier, as you can place as many meshes as you want into one BP, and then place that BP in the level and have all your meshes pre-placed where you want. Another upside to this is the iteration, as you can then adjust the BP after you have placed a bunch, and those changes will propagate across all the existing BPs placed in the scene, so you don’t have to go and adjust thousands of candles in your scene if you want it to be slightly moved, or add an extra mesh, etc. Below is an example of how I used these in my scene.
“预制”蓝图本质上是不包含代码的蓝图，只是预先放置的资产，使放置重复细节变得更加容易，因为您可以在一个 BP 中放置任意数量的网格，然后将该 BP 放置在关卡中并拥有您所有的网格都预先放置在您想要的位置。另一个好处是迭代，因为您可以在放置一堆之后调整 BP，这些更改将传播到场景中放置的所有现有 BP，因此您不必去调整数千根蜡烛如果您希望它稍微移动，或者添加额外的网格等，请在您的场景中使用。下面是我如何在场景中使用它们的示例。
Then there are BPs that contain code, well nodes to either run during the placement of the mesh (Construction Script) or whilst the game is running (Event Graph). The construction script BPs can be a very powerful tool to learn as they can allow you to add randomness and procedural workflows to automate what can become very time-consuming tasks.
然后是包含代码的 BP，井节点可以在放置网格（构造脚本）期间或在游戏运行时（事件图）运行。构建脚本 BP 可以是一个非常强大的学习工具，因为它们可以让您添加随机性和程序性工作流程，以自动化可能变得非常耗时的任务。
Kay Volbeda kindly helped me a bunch with the blueprints in the scene and created a BP that took an array input of meshes (in this case various books) and added an instance of a random mesh, for the number of times specified in a user variable. The BP can be added to your scene here to check out. You can see these BPs in action on my ArtStation post!
Kay Volbeda 好心地帮了我一堆场景中的蓝图，并创建了一个 BP，它接受网格的数组输入（在本例中为各种书籍）并添加了一个随机网格的实例，其次数在用户变量中指定. 可以在此处将 BP 添加到您的场景中进行检查。您可以在我的 ArtStation 帖子中看到这些 BP 的运行情况！
From here I created another variation to have stacked books, which works very similarly, but with some more controls for random position and rotation as they didn’t need to be aligned horizontally. I also created another BP for my candles, which takes an input number to spawn a certain amount of candles in a defined radius. This allowed me to easily scatter random clumps of candles around the scene.
从这里我创建了另一个变体来堆叠书籍，它的工作方式非常相似，但有更多的随机位置和旋转控件，因为它们不需要水平对齐。我还为我的蜡烛创建了另一个 BP，它采用输入数字在定义的半径内生成一定数量的蜡烛。这使我可以轻松地将随机的蜡烛团散布在场景中。
Lighting and Rendering.
照明和渲染
UE4 is an amazing engine, and I would strongly recommend any artist to work in it, particularly when aiming for realism. That is not to say you can’t achieve similar or better results in other engines, but the tools that come free with UE4 out of the box, are extremely powerful, and let you start focusing on the art instantly, whilst everything just works. I also find it to be very artist-friendly, whereas other engines may require you to have more knowledge in coding to create your own tools that UE4 just has already. With that in mind, UE5 being released now is extremely exciting, and I will be moving on to it next for my upcoming personal projects, using the new workflows, in particular nanite.
UE4 是一个了不起的引擎，我强烈推荐任何艺术家使用它，尤其是在追求真实感时。这并不是说您无法在其他引擎中获得类似或更好的结果，而是 UE4 开箱即用的免费工具非常强大，让您立即开始专注于艺术，而一切正常。我还发现它对艺术家非常友好，而其他引擎可能需要您有更多的编码知识才能创建自己的 UE4 已经具备的工具。考虑到这一点，现在发布的 UE5 非常令人兴奋，接下来我将继续使用新的工作流程，尤其是 nanite，为我即将到来的个人项目继续使用它。
The lighting in this scene is almost fully baked. Due to the nature of the scene being a grand interior with very little direct lighting, it would have been extremely hard if not impossible to achieve a similar level of quality without baking lighting, unless you were using techniques such as RTXGI or Lumen in UE5, which neither of those was an option to me. Baking lighting also allowed me to not have to worry about the number of light sources I have in the scene, as I was using static lights which have no runtime cost, other than the lightmaps being stored in memory. This was a big factor to consider as I had many candles in the scene, scattered throughout, and they would have had lots of overlap which would incredibly affect the performance of the project. I did have some lights stationary rather than static to allow me to make them flicker in real-time, as well as having some light functions on certain lights.
此场景中的照明几乎完全烘焙。由于场景的本质是一个宏大的内部，几乎没有直接照明，如果没有烘焙照明，即使不是不可能达到类似的质量水平也是非常困难的，除非你在 UE5 中使用 RTXGI 或 Lumen 等技术，这两个都不是我的选择。烘焙光照也让我不必担心场景中的光源数量，因为我使用的静态光照没有运行时成本，除了存储在内存中的光照贴图。这是一个需要考虑的重要因素，因为我在场景中有很多蜡烛，分散在各处，它们会有很多重叠，这会极大地影响项目的性能。
The lighting in the scene isn’t very complex. The exterior is primarily lit by a directional light and skylight. I made sure to increase the directional light's indirect lighting intensity, to get some nice bounce lighting in the shadows, and to raise them from being harsh, dark shadows. I also added some subtle blue moveable point lights near the water, to fake bounce lighting from the water, as translucent materials didn’t seem to contribute to the light bake. On these lights, I took the nodes from my water material that created caustics and copied them over to a new material to be used as a light function. This allowed me to have these lights project the caustics of the water onto the walls of my temple and added some more visual interest. Below is an exaggerated example to show the effect more clearly.
场景中的照明不是很复杂。外部主要由定向灯和天窗照明。我确保增加定向光的间接照明强度，在阴影中获得一些不错的反弹照明，并从刺眼的黑暗阴影中提升它们。我还在水边添加了一些微妙的蓝色可移动点灯，以假装来自水中的反射光，因为半透明材料似乎对光烘烤没有贡献。在这些灯光上，我从创建焦散的水材质中提取节点，并将它们复制到新材质以用作灯光功能。这让我可以让这些灯光将水的焦散投射到我寺庙的墙壁上，并增加了一些视觉趣味。下面是一个夸张的例子，可以更清楚地展示效果。
Here is the light function material:
这里是光功能材料：
For the interior of the scene, as mentioned before, I build a set of blueprints for all my light sources. These blueprints contained the light source asset (normally a chandelier and candles), individual static lights for each candle, set to a very low value and radius, and then a much larger and more intense static or stationary light. The reason I sometimes used stationary lights for these blueprints, is partly for the ability to cast dynamic shadows on moveable objects such as the characters walking through the scene in the video, but also for the ability to add flickering to the lights. To do this I added a simple timeline in the blueprint, that directly controlled the light intensity of the main light, giving a subtle flickering effect.
对于场景的内部，如前所述，我为所有光源构建了一组蓝图。这些蓝图包含光源资产（通常是枝形吊灯和蜡烛）、每个蜡烛的单独静态灯、设置为非常低的值和半径，然后是更大、更强烈的静态或固定灯。我有时为这些蓝图使用固定灯光的原因，部分是因为能够在可移动对象上投射动态阴影，例如视频中穿过场景的角色，还因为能够为灯光添加闪烁。为此，我在蓝图中添加了一个简单的时间线，直接控制主光的光强度，产生微妙的闪烁效果。
To get a nice, moody atmosphere on the inside, I used the fog cards from Unreal Engine's example project called Blueprints. These are simple blueprints that have translucent fog material on them, and you can place them throughout the scene to create a foggy atmosphere. These were subtle, but when overlapped throughout the scene, work well to create a nicer atmosphere.
为了在内部营造一种美好、喜怒无常的氛围，我使用了来自 Unreal Engine 示例项目 Blueprints 的雾卡。这些是简单的蓝图，上面有半透明的雾材质，您可以将它们放置在整个场景中以营造雾气氛围。这些是微妙的，但是当在整个场景中重叠时，可以很好地营造更好的氛围。
I also created a very simple Niagara system to have little dust particles floating around the scene.
我还创建了一个非常简单的 Niagara 系统，让场景周围漂浮着少量灰尘颗粒。
Post-processing for the scene was all done in-engine using a post-process volume actor. I actually used 2 actors, one for the interior and one for the exterior, as I found I needed more localized control. The main settings I touched on for these were exposure, slope and toe, film grain, and indirect lighting intensity, as well as adding a post-process material to sharpen the scene slightly, to push the finer details a little.
场景的后期处理都是在引擎中使用后期处理体积 Actor 完成的。我实际上使用了 2 个演员，一个用于内部，一个用于外部，因为我发现我需要更多的本地化控制。我涉及的主要设置是曝光、坡度和脚趾、胶片颗粒和间接照明强度，以及添加后期处理材料以略微锐化场景，以稍微推动更精细的细节。
These settings allowed me to create a more cinematic feel, adding more contrast in the scene with slope and toe, overlaying a film grain effect to add the illusion of being shot on a real camera. I didn’t do any color grading to the scene, as I felt it wasn’t necessary as I managed to achieve the desired look through lighting and atmospherics, as well as the simple post-process controls.
这些设置让我能够创造出更具电影感的感觉，在场景中添加更多的斜率和脚趾对比度，叠加胶片颗粒效果以增加在真实相机上拍摄的错觉。我没有对场景进行任何颜色分级，因为我觉得没有必要，因为我设法通过照明和大气以及简单的后期处理控制来实现所需的外观。
And here were the final bake settings, set to production quality. Note that I didn’t do my test bakes on these settings, go much lower to speed up iteration, then start increasing when you have a set up you are happy with.
这是最终的烘焙设置，设置为生产质量。请注意，我没有在这些设置上进行测试烘焙，降低很多以加快迭代速度，然后在您满意的设置时开始增加。
Conclusion
结论
This was a huge project, putting together all the skills I have learned over the last 3 years at university. That being said, I probably learned more from this project alone than I have from any other, purely from the fact that the scope of the project meant I was having to use so many different techniques and workflows, that I may have known about before but not actually put into use.
这是一个巨大的项目，汇集了我在过去 3 年在大学里学到的所有技能。话虽如此，我可能从这个项目中学到的东西比从其他任何项目中学到的都多，纯粹是因为项目的范围意味着我必须使用许多不同的技术和工作流程，我之前可能知道但没有实际投入使用。
One of the biggest challenges for this scene was scope, and not having a concrete plan for the interior. For a lot of the production of this scene, there was actually a third room past the main corridor stairs, which led to a prayer room where the statues were. This idea had to eventually be scrapped, and I pulled the statues into the main room, which not only saved me from having to create a third room but also drastically improved the composition of that main room.
这个场景的最大挑战之一是范围，并且没有针对内部的具体计划。对于这个场景的很多制作，实际上有第三个房间经过主走廊的楼梯，通向一个祈祷室，雕像所在的地方。这个想法最终不得不被放弃，我把雕像拉进了主房间，这不仅让我不必创建第三个房间，而且大大改善了那个主房间的构成。
Because of this, I would advise everyone to make sure they have a very fleshed out blockout, detailing the layout of the entire scene, as well as ensuring the scale of each asset feels correct when compared to a human scale reference, and then to break down their blockout into individual meshes and textures, and what can be re-used, as well as what can be split into modular meshes. I would also advise students and people going for entry-level positions against creating huge scenes to prove their skills, and more to focus on creating smaller scope scenes that they will be able to focus on details with, and more importantly – finish without getting burned out, or bored of the same project!
正因为如此，我建议大家确保他们有一个非常充实的遮挡，详细说明整个场景的布局，以及确保每个资产的比例在与人类比例参考相比时感觉正确，然后打破将它们的块划分为单独的网格和纹理，以及可以重复使用的内容，以及可以拆分为模块化网格的内容。我还建议学生和入门级职位的人不要创建巨大的场景来证明他们的技能，而更多地专注于创建更小的范围场景，他们将能够专注于细节，更重要的是 - 完成而不被烧毁出去，或者对同一个项目感到无聊！
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