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本帖最后由 晚来风急 于 2022-8-25 11:27 编辑
Introduction
My name is Enrique Mateo-Sagasta and I’m a Sr. Creature Modeler at Industrial Light & Magic. I have been passionate about movies since I was a kid, but I didn’t always have my career path clear in mind. Actually, before studying 3D, I finished my Law degree in Madrid, the city where I was born. After that, I did a small course to learn Maya. Then I worked for a communication agency where I did marketing and some 3D. It was then I decided to complete my 3D education and try to do this for a living. I packed my things and moved to Canada to study at Vancouver Film School.
Once I finished my one-year program, I was hired at Electronic Arts first to work on FIFA and Rainmaker and then – on the Barbie DVDs series. Yes, Barbie, I will always be thankful to that company because thanks to that job, I met some incredible great artists who I remained friends with until today. Secondly, the company did the paperwork for me so I was able to get my permanent residency in Canada.
介绍
我的名字是Enrique Mateo-Sagasta，我是Industrial Light & Magic的一名高级生物建模师。我从小就对电影充满热情，但我的职业道路并不总是清晰。实际上，在学习3D之前，我在我出生的城市马德里完成了我的法律学位。在那之后，我做了一个小课程来学习玛雅。然后我在一家传播机构工作，在那里我做营销和一些3D。就在那时，我决定完成我的3D教育，并试图以此为生。我收拾好东西，搬到加拿大温哥华电影学院学习。
一旦我完成了为期一年的课程，我就被艺电录用，先是参与FIFA和Rainmaker的工作，然后是芭比娃娃DVD系列。是的，芭比娃娃，我将永远感谢那家公司，因为多亏了这份工作，我遇到了一些令人难以置信的伟大艺术家，直到今天我一直和他们成为朋友。其次，公司为我做好了文书工作，所以我能够在加拿大获得永久居留权。
After that, I jumped to VFX and was hired by Zoic, where I was working on TV shows (Zoo and Once Upon a Time) where I made my way up, from a generalist to one of the principal character artists. It was really fun to work there. Once I gained enough experience, I wanted to finally work on movies, and I got hired at Method Studios (Framestore today) where I had the chance to work on X-Men (new mutants), Ford vs Ferrari, Men in Black International, Dr. Sleep, The Witches, and the Christmas Chronicles.
在那之后，我跳槽到VFX，并被Zoic聘用，在那里我从事电视节目（《动物园》和《从前有座灵剑山》）的工作，在那里我从一名多面手晋升为主要角色艺术家之一。在那里工作真的很有趣。一旦我获得了足够的经验，我终于想从事电影工作，我被Method Studios（今天的Framestore）雇用，在那里我有机会参与X战警（新变种人），福特与法拉利，黑衣人国际，睡眠博士，女巫和圣诞编年史。
The Dwarf Project
Most of the projects I start are speed sculpts for practice. And most of them end like that, as a fast sculpt in ZBrush. By doing this, I practice how to lock primary and secondary forms fast. Those are the key elements for a believable character. Details will come afterward if you want to push it further, but you can't get a good sculpt if your proportions and secondary shapes are off.
I based the Snow Dwarf on a concept from a great concept artist called Ivan Dedov, but I was not trying to make it exactly the same.
矮人计划
我开始的大多数项目都是用于练习的速度雕塑。他们中的大多数都像那样结束，作为ZBrush的快速雕塑。通过这样做，我练习了如何快速锁定主要和次要表单。这些是可信角色的关键要素。如果你想进一步推动它，细节就会随之而来，但是如果你的比例和次要形状不对，你就无法获得一个好的雕塑。
我基于一位名叫伊万·德多夫（Ivan Dedov）的伟大概念艺术家的《雪矮人》，但我并没有试图让它完全相同。
I started it during my vacation on my iPad in the Forger app.
我在假期期间在Forger应用程序中的iPad上开始了它。
After blocking something I was happy with, it was time to move it to ZBrush to polish the whole thing. There, I was able to improve my sculpt by fixing the main proportions and secondary shapes.
在阻止了我满意的东西之后，是时候把它移到ZBrush来打磨整个东西了。在那里，我能够通过固定主要比例和次要形状来改善我的雕塑。
After that, I did the UVs of the geo from the iPad. I decided to keep only one UDIM for the whole head and use 8k maps from ZBrush.
之后，我从iPad上做了地理的UV。我决定只为整个头部保留一个UDIM，并使用ZBrush的8k地图。
Once I had good geo with UVs and was happy with the primary and secondary shapes, I duplicated them into ZTool. From that moment on, one would be the expression where I break the symmetry, and the other one I would use to create the details through HD geometry in ZBrush taking full advantage of the symmetry.
Something important to check before you move to any sort of detail is the scale of your character in the software you are going to render the whole thing. Skin shader is scale sensitive as are many other attributes inside any 3D package, so you want to keep the proportions as similar to real life as possible. With the basic geo in Maya ready, I threw a dome light in Arnold and started playing with different HDRI maps and camera positions. This way, I built the connection between Maya and ZBrush and kept updating the Maya file from there. This also gave me a break from the modeling stage and I could play with lighting to see what the best way to lit the character is to show off the forms.
一旦我对UV有了很好的地理环境，并且对主要和次要形状感到满意，我就会将它们复制到ZTool中。从那一刻起，一个是我打破对称性的表达式，另一个是我用来通过ZBrush中的HD几何体创建细节的表达式，充分利用对称性。
在你移动到任何类型的细节之前，需要检查的一件重要事情是你要渲染整个事情的软件中角色的规模。皮肤着色器与任何 3D 包中的许多其他属性一样，对比例敏感，因此您希望尽可能保持与现实生活相似的比例。在Maya中的基本地理区域准备就绪后，我在Arnold中放置了一个圆顶灯，并开始使用不同的HDRI地图和摄像机位置。通过这种方式，我在Maya和ZBrush之间建立了连接，并从那里不断更新Maya文件。这也让我从模特阶段休息了一下，我可以玩光，看看点亮角色的最佳方式是什么来炫耀形式。
Going back to ZBrush, I started on the fine details in the symmetrical ZTool. For this part, I used HD geometry and custom-made alphas to add pores and wrinkles. I used the DamStandard brush a lot at this stage as well as a set of free brushes from the artist Raphael Souza.
回到ZBrush，我开始在对称的ZTool中寻找精细的细节。对于这一部分，我使用了高清几何体和定制的alpha来添加毛孔和皱纹。在这个阶段，我经常使用DamStandard画笔，以及艺术家Raphael Souza的一套免费画笔。
Facial Expressions
Most of my practices are busts or faces, and for those to be interesting, they need to look alive. The way to do this is through interesting facial expressions. Facial expressions are controlled by a set of muscles in our face, there are lots of them, and they drive the movement of our eyebrows, mouth, eyelids, etc. I think the key for a good facial expression is asymmetry and the way the skin stretches or compresses.
面部表情
我的大多数练习都是半身像或面孔，为了让那些有趣，他们需要看起来活着。做到这一点的方法是通过有趣的面部表情。面部表情由我们脸上的一组肌肉控制，有很多肌肉，它们驱动我们的眉毛，嘴巴，眼睑等的运动。我认为良好的面部表情的关键是不对称以及皮肤拉伸或压缩的方式。
With the dwarf, for instance, one eye is more open than the other, and that translates into more wrinkles in the forehead area above the more open eye. There is an asymmetrical smile that is causing the wrinkles on one of the cheeks to be more pronounced. All this doesn’t seem much once the beard is in place, but without it, the face would not look as alive. Of course, gathering a great number of references is key.
例如，对于侏儒，一只眼睛比另一只眼睛更开放，这转化为更睁开的眼睛上方的前额区域有更多的皱纹。有一个不对称的微笑，导致其中一个脸颊上的皱纹更加明显。一旦胡须就位，所有这些似乎都不多，但如果没有它，脸部看起来就不会那么活泼。当然，收集大量参考资料是关键。
Painting in ZBrush
I think what makes skin believable in GG is a combination of things. The first one is the sculpted detail. This has double importance since it also influences how the light affects the reflection on the skin. The rougher the detail, like in the cheek area, the less glossy the reflection will be. On other parts where we can find less detail, like the cartilage area in the ear or the nose, the reflection will be glossier.
The second important part is the reflection and glossiness of the skin, which is not only related to the sculpted detail but also to the oiliness of the skin. The forehead and nose areas are more glossy due to more skin oil concentrated in these parts.
在 ZBrush 中绘画
我认为在GG中使皮肤可信的是多种因素的组合。第一个是雕刻细节。这具有双重重要性，因为它也影响光线如何影响皮肤上的反射。细节越粗糙，如脸颊区域，反射的光泽度就越低。在我们可以找到较少细节的其他部位，例如耳朵或鼻子中的软骨区域，反射将更有光泽。
第二个重要部分是皮肤的反射和光泽度，这不仅与雕刻的细节有关，还与皮肤的油腻有关。由于更多的皮肤油集中在这些部位，前额和鼻子区域更有光泽。
The last thing that makes skin believable is the color variation on the diffuse or albedo map. I like to do everything by hand, so I don’t use scan data on my personal projects. For the skin, I started with neutral skin color. After that, I picked one of the tiniest alphas in ZBrush, a very small dot. I set up the brush to Spray and under the properties of the standard brush, I turn down the color variation setting to 0.1.
使皮肤可信的最后一件事是漫反射或反照率地图上的颜色变化。我喜欢手动完成所有操作，因此我不会在个人项目中使用扫描数据。对于皮肤，我从中性肤色开始。在那之后，我选择了ZBrush中最小的阿尔法之一，一个非常小的点。我将画笔设置为“喷涂”，在标准画笔的属性下，我将颜色变化设置调低至 0.1。
This gave me small variations of the color I had picked. That color variation is the key to painting skin. There are 3 regions on the face with slightly different tones. The forehead is more yellowish because of the bone contact. The cheeks and eyes are pinker due to more flesh and blood running in the area, and, in the case of men, the jaw area is slightly bluish due to the hair growing underneath.
这给了我选择的颜色的微小变化。这种颜色变化是绘制皮肤的关键。脸上有3个区域，色调略有不同。由于与骨骼接触，前额更淡黄色。由于该区域有更多的血肉流动，脸颊和眼睛更粉红色，并且在男性的情况下，由于下面长出的头发，下颌区域略带蓝色。
Painting in ZBrush also gives the advantage to paint in HD within the HD geometry, so the resolution is quite crazy. The other clear advantage is to paint and sculpt at the same time so you can give volume and paint little veins, moles, and pimples, for instance.
The Hair
When it comes to hair, I still have a lot to learn to be able to give any lessons here. But I first use geo to block the hair volumes in ZBrush. This is very useful when it comes to achieving likenesses, for instance. It really helps to get the feel of the person you are trying to replicate.
在ZBrush中绘画也具有在HD几何体中以HD绘制的优势，因此分辨率非常疯狂。另一个明显的优点是同时绘画和雕刻，这样你就可以给出体积，例如，画出小静脉，痣和粉刺。
头发
说到头发，我还有很多东西要学才能在这里上课。但我首先使用geo来阻止ZBrush中的头发体积。例如，在实现相似性时，这非常有用。它确实有助于获得您试图复制的人的感觉。
Then, in ZBrush, I sometimes use Fibermesh so that later I can export curves and have a strong base for my guides in Maya (I didn’t use Fibermesh for this project). Once in Maya, I use XGen. I used the legacy one for long hair characters and the interactive one for pretty much the rest.
It is very important to have the right number of guides to define a hairstyle. When it comes to beard or fur, the number of guides is not as crucial. I try to keep it as simple as possible and work with the guides first, sculpting them and shaping them the way I want, applying clumps next and noise afterward as modifiers. Sometimes, two different kinds of noise with different frequencies and amplitude are needed to get the desired result.
然后，在ZBrush中，我有时会使用Fibermesh，以便以后我可以导出曲线，并为Maya中的指南提供强大的基础（我没有在这个项目中使用Fibermesh）。一旦进入玛雅，我就使用XGen。我使用遗留的那个用于长发角色，并使用交互式的用于几乎所有其余的角色。
拥有正确数量的指南来定义发型非常重要。当谈到胡须或毛皮时，导游的数量并不那么重要。我尽量让它尽可能简单，首先使用指南，按照我想要的方式雕刻它们并塑造它们，接下来应用团块，然后应用噪音作为修饰符。有时，需要两种不同频率和幅度的噪声才能获得所需的结果。
I added a sculpt attribute at the end to sculpt the hair itself this time. This way, you can create your flyaways and polish the whole thing, since you have full control of each hair individually.
这次我在末尾添加了一个雕刻属性来雕刻头发本身。通过这种方式，您可以创建自己的飞扬并抛光整个头发，因为您可以完全控制每根头发。
The Skin Shader in Arnold
The SSS in Arnold is very easy to work with and it gives amazing results. I use the aiStandardSurface material with subsurface turned on to 1. I set it up to RandomWalk2, and then set up the scale. This value is usually between 0.3-0.34 in a real-life scale model of a human head. This value changes based on the size of your model.
阿诺德的皮肤着色器
阿诺德的SSS非常容易使用，它给出了惊人的结果。我使用aiStandardSurface材质，将地下打开为1。我将其设置为RandomWalk2，然后设置了比例。在人头的真实比例模型中，此值通常介于 0.3-0.34 之间。此值根据模型的大小而变化。
The map that I paint in ZBrush is plugged into the subsurface color. The radius color is usually peachy more than red and I don’t map this attribute. For the glossiness of the skin, I have a map that makes the nose and forehead areas glossier than the rest. Nothing too fancy since I leave the sculpt done in ZBrush to break up the surface and also affect the reflection.
我用 ZBrush 绘制的地图已插入到地下颜色中。半径颜色通常比红色更像桃色，我不映射此属性。对于皮肤的光泽度，我有一个地图，使鼻子和前额区域比其他区域更有光泽。没有什么太花哨的，因为我在ZBrush中完成了雕刻，以打破表面并影响反射。
For the tattoos, I used a duplicate of the skin and made it darker and a little bluish by using a Color Correction node. Then I used a layer shader where I had the original skin and on top I put the darker skin revealed by a mask that I made in Photoshop (to get the patterns) and polished in ZBrush afterward to finish up the map. This gave me more control and freedom over the look of the tattoos without having to include them on the albedo map.
对于纹身，我使用了皮肤的副本，并使用颜色校正节点使其更暗，有点蓝。然后，我使用了一个图层着色器，其中我有原始皮肤，在顶部，我放置了我在Photoshop中制作的蒙版所揭示的较暗的皮肤（以获取图案），然后在ZBrush中抛光以完成地图。这使我对纹身的外观有了更多的控制和自由，而不必将它们包含在反照率地图上。
Lighting & Final Touches
For the lighting, I start with different HDRI maps and played with them, at the same time I update the albedo and displacement maps from ZBrush. This way, you make sure your skin works under different lighting conditions. I rotate them and see what was a good fit for my model and what lighting worked better to reveal the forms and also add some mood to the scene and try to make it a little bit more interesting.
照明和最后的润色
对于照明，我从不同的HDRI地图开始并使用它们，同时我更新了ZBrush的反照率和位移地图。通过这种方式，您可以确保您的皮肤在不同的照明条件下工作。我旋转它们，看看什么适合我的模型，什么照明效果更好，以揭示形式，并为场景添加一些情绪，并试图让它更有趣一点。
Once I've found something good with the HDRI map, I push it with some area lights (key, fill, and rim) and then decrease the intensity of the HDRI. For close-up portraits like this one, using area lights adds a little bit more mood.
一旦我发现 HDRI 地图有一些好东西，我就用一些区域光源（键、填充和边缘）推动它，然后降低 HDRI 的强度。对于像这样的特写人像，使用区域灯光可以增加更多的情绪。
As final retouches, I use Procreate on my iPad to add some Bloom to the image to help the lighting and also touch up the colors and the contrast very slightly to get the desired final look.
作为最后的修饰，我在iPad上使用Procreate为图像添加一些Bloom以帮助照明，并且还非常轻微地修饰颜色和对比度，以获得所需的最终外观。
Conclusion
My advice for future artists is first, you have to be passionate about what you do. That really makes the difference. And if character creation is your passion, then try to save some time for personal projects and practice as much as you can. You will never learn enough and there is always new technology coming up every year to improve your pipelines. Don’t forget traditional arts or other disciplines, like digital painting, it will make you a more complete artist. And always try to compare your work to the best out there to keep pushing yourself to reach that level, but don’t forget to also look back and see what you have achieved: seeing progress in your work will keep you going.
结论
我对未来艺术家的建议是，首先，你必须对自己的工作充满热情。这确实带来了不同。如果角色创作是你的激情所在，那么试着为个人项目节省一些时间，并尽可能多地练习。你永远不会学到足够的知识，每年都会有新技术出现来改善你的管道。不要忘记传统艺术或其他学科，如数字绘画，它会让你成为一个更完整的艺术家。总是试着把你的工作与最好的工作进行比较，以不断推动自己达到这个水平，但不要忘记回顾过去，看看你已经取得了什么成就：看到你工作的进步会让你继续前进。
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