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本帖最后由 她说- 于 2021-9-15 17:34 编辑
About the Author, Alvaro Claver
关于作者，阿尔瓦罗·克劳弗
I am a Spanish 3D artist with a background in Fine Arts and Photography. I worked as a cameraman and photographer in several movies and short film productions and also as a Photography Director in some of them. I have traveled around the world several times, both for pleasure and for work recording documentaries for the Spanish television. So far I have lived in 5 different countries and I had fun in every single one of them, even when working as a paparazzi in London for a year!
我是一位西班牙3D艺术家，有美术和摄影的背景。我曾在几部电影和短片制作中担任摄影师和摄影师，并在其中一些影片中担任摄影主任。我周游世界好几次，既为了娱乐，也为了工作，为西班牙电视台录制纪录片。到目前为止，我已经住在5个不同的国家，我在其中的每一个国家都玩得很开心，甚至在伦敦当dog仔队一年的时候也是如此！
Very recently, I have graduated from Think Tank Training Centre and specialized in texturing and 3D modeling. Being trained under one of the best texture artists in the world, Justin Holt, I am now ready to go where there be dragons.
最近，我从智库培训中心毕业，专业是纹理和三维造型。在世界上最好的纹理艺术家之一贾斯汀·霍尔特的指导下，我现在已经准备好去哪里有龙了。
I love learning as much as teaching and, whenever I have time, I also mentor students. This way l am giving something back to the good karma I’ve got so far while enjoying doing it.
我和教书一样热爱学习，每当我有时间的时候，我也会指导学生。这样的话，我就会在享受这样做的同时，回馈到目前为止我所拥有的好结果。
The making of APEX The Robot
机器人APEX的研制
I created this piece for my demo reel. I contacted Dan Jones, the artist who created the original physical Apex robot sculpture, and asked him if I could digitally recreate it. He agreed, so I flew to California to meet him. I was lucky to be able to take photos and shoot video from the original, which is a luxury you don’t usually have when you work on a big production.
我为我的演示卷创建了这个片段。我联系了丹·琼斯(DanJones)，这位艺术家创造了最初的Apex机器人雕塑，并问他我能否以数字方式再现它。他同意了，所以我飞到加利福尼亚去见他。我很幸运能够从原作中拍下照片和拍摄视频，这是一种你通常不会拥有的奢侈品，当你在一个大的生产上工作的时候。
I was responsible for modeling, texturing, lighting, shading, animation and comp… basically everything! I already knew that I needed the photos in order to create masks for projecting detail in Mari, so choosing the right lens was critical. I also gathered references for the different parts and materials to help with modeling and look dev.
我负责建模，纹理，照明，阴影，动画和comp…。基本上一切！我已经知道，我需要照片，以创造面具，以突出细节，所以选择正确的镜头是至关重要的。我还收集了不同零件和材料的参考资料，以帮助建模和外观开发。
After gathering the reference material I was able to start modeling APEX. This part was fairly straight forward. I had to make sense of topology in every moment, and keep an eye on the volumes and shapes.
在收集了参考资料之后，我开始对APEX进行建模。这部分相当直截了当。我必须弄清楚每一刻的拓扑结构，并密切关注体积和形状。
For unwrapping the UVs I grabbed a cup of tea (no, beer doesn’t make you more productive) and listened to my favorite music with a good pair of headphones. I like it as most of it is a mechanical process, but there is a fair amount of problem solving. It takes some time, but it’s a crucial step for preparing the mesh for texturing. There are many things to consider, like how much resolution will you need depending on the size on screen, proportion consistency among meshes, and the orientation in the UV space.
为了打开UVS，我拿了一杯茶(不，beer不能让你更有效率)，用一副很好的耳机听我最喜欢的音乐。我喜欢它，因为它大部分是一个机械的过程，但有相当数量的问题解决。这需要一些时间，但这是准备纹理网格的关键一步。有很多事情要考虑，比如你需要多少分辨率取决于屏幕上的大小，网格之间的比例一致性，以及在UV空间中的方向。
In my case I distributed all the parts across 63 UDIM tiles, ordering them in rows by material. All maps are in 4k.
在我的例子中，我把所有的部分都分发给了63个UDIM瓷砖，按材料一排排地订购。所有地图都在4K内。
Now my favorite part of the whole process: texturing. I used Mari as it’s the most widely used texturing software in the movie industry. Plus it works like magic and allows me to work in an organized and non destructive way.在整个过程中，我最喜欢的部分是：纹理。我使用了Mari，因为它是电影业使用最广泛的纹理软件。此外，它像魔术一样工作，并允许我以一种有组织和非pohuaixing的方式工作。
My workflow involved creating multiple channels for every material including diffuse, specular, glossiness, and bump. Some of the objects in the scene, like the main body piece, have 4 different layers: an aluminium base, black patina on top of it, and then two more paint layers – cream and red. It is very important to plan in advance for this! I had to create multiple black and white masks in Photoshop to achieve a layering similar to the reference.
我的工作流程包括为每一种材料创建多个通道，包括扩散、镜面、光泽度和凹凸。场景中的一些物体，比如主体部分，有四个不同的层次：一个铝基，上面是黑色的帕蒂纳，然后再加上两层油漆--奶油和红色。提前计划是非常重要的！我不得不创造多重黑白面具在Photoshop中实现一层类似的参考。
Rendering with V-Ray for Maya
用V射线绘制玛雅
For APEX the Robot my renderer clearly had to be V-Ray for Maya for its realistic imagery, fast rendering, and responsive look development.
对于机器人APEX，我的渲染器显然必须是V射线代表玛雅其真实的形象，快速的渲染，和反应的外观发展。
APEX has metals, wood, plastic, fabric, glass, and many other complex materials. For the shaders I used both the default V-Ray material (VRayMtl) and blend material (VRayBlendMtl).
先端有金属，木材，塑料，织物，玻璃，和许多其他复杂的材料。对于着色器，我使用了默认的V射线材质(VRayMtl)和混合材料(VRayBlendMtl)。
Don’t underestimate the power of the basic VRayMtl. It is extremely powerful and you can recreate virtually any material with it.
不要低估基本的VRayMtl的力量。它非常强大，你几乎可以用它重建任何材料。
I can’t stress enough how important it is to name a material as soon as you create it. For the naming convention I use description_VRay_MTL, and description_VRayBLEND_MTL. I tend to capitalize when it’s a group or, in this case, a blend material holding other shaders inside. Save yourself time and headaches by having a clear naming convention you can easily recognize when using the Hypershade. Name your linked files, too as you might be able to share them between shaders. Otherwise you will end up with a long list of “fileXX”, and you will not know what is what.
我怎么强调都没有足够的重要，它是多么重要，命名的材料，一旦你创造它。对于命名约定，我使用Description_VRay_MTL和Description_VRayBLEND_MTL。我倾向于资本化，当它是一个团体，或者，在这种情况下，一个混合材料，容纳其他着色器在里面。使用Hypershade时，您可以很容易地识别出一个清晰的命名约定，从而节省您的时间和头痛。命名您的链接文件，因为您可能可以共享它们之间的着色器。否则，您将得到一长串“fileXX”，您将不知道什么是什么。
In the basic parameters, I only use the Diffuse Color and Amount fields. I set the diffuse, and if I’m using a plain grey color instead of a map, I use the Amount for finessing it. Stay away from Opacity here, and use Refraction instead.
在基本参数中，我只使用漫射颜色和数量字段。我设置了漫射，如果我用的是普通的灰色，而不是地图，我用它的数量来修饰它。远离这里的不透明度，用折射代替。
For reflection parameters, I always use GGX microfacet distribution for the Brdf (Bidirectional Reflectance Distribution Function). This is proven to have one of the best specular distribution models, with a short peak in the highlight, and a long tail in the falloff.
对于反射参数，我总是使用GGX微面分布作为Brdf(双向反射分布函数)。这被证明有一个最好的镜面分布模型，一个短的峰值在高光，一个长的尾巴在下降。
If you are working with a physically based workflow and creating metal, plug your color map into Reflection Color, leave Diffuse Color black, or close to black.
如果您正在使用基于物理的工作流程并创建金属，请将您的颜色地图插入反射颜色，留下漫射颜色黑色或接近黑色。
It is great to create layered shaders with the blend material, and to be able to control it with masks. Bear in mind that here layers are named coats, and the order is inversed compared to Photoshop, so the base will be on top. Also remember to plug the black and white masks into the blend amount section below every new coat or layer: black means no effect so it will show the coats or layers underneath.
创建分层着色器是很棒的。共混材料能够用面具控制它。请记住，这里的层被命名为外套，与Photoshop相比，顺序是倒转的，所以底部将位于顶部。还记得把黑白面具塞到每一层或每一层下面的混合量部分：黑色意味着没有效果，所以它会显示下面的外套或层。
The new denoiser pass in V-Ray 3.5 for Maya works a charm. You can increment the threshold in the image sampler slightly and it will remove some of that annoying noise. Auto works from the get go, but don’t forget to play with the parameters in the attribute editor. Give it a try, and see if you can add it to your workflow.
新Maya的V射线3.5中的去噪传递很有魅力。您可以在图像采样器中稍微增加阈值，这样就可以消除一些烦人的噪音。AUTO从GET开始工作，但不要忘记使用属性编辑器中的参数。尝试一下，看看是否可以将它添加到您的工作流中。
If you save your renders in multichannel EXR you will have all your passes in one file for every frame. You can easily shuffle them out in Nuke with the shuffle node when comping.
如果将呈现保存在多通道EXR中，则每个帧的所有传递都将在一个文件中。你可以很容易地洗牌他们在努克与洗牌节点时，复合。
For lighting, I used a classical set up: an HDR very similar to the location where I took the photos, and a couple more area lights to subtly highlight specific points. As I used a white backdrop to take the photos in San Diego, I created a bounce light with the GI (Global Illumination) on the back of the figure. This came very handy to cache a fly-through pass on the very first frame of each camera and then load it for the rest of the sequence.
对于照明，我使用了一个经典的设置：一个非常类似于我拍摄照片的位置的HDR，以及几个更多的区域灯来微妙地突出特定的点。当我在圣迭戈用白色背景拍摄照片时，我在图的背面创建了一个带有GI(GlobalIllumation)的反射光。这非常方便地缓存了每架相机的第一帧上的一次穿越，然后为其余的序列加载它。
For the image sampler, I went with adaptive and kept an eye on the subdivision threshold, setting it to something around 0.001 for production quality. I used Triangle with the default settings for anti-aliasing to achieve a good balance between sharpness and removing jagged edges. This filters work in a sub-pixel level, and is much more accurate than applying filters afterwards over the rendered image.
对于图像采样器，我采用了自适应的方法，并关注细分阈值，将其设置在大约0.001左右，以保证生产质量。我使用三角形与默认设置的抗混叠，以实现锐利和消除锯齿边缘之间的良好平衡。这种过滤器在亚像素级工作，比事后在渲染的图像上应用过滤器要精确得多。
I was lucky to have access to more computers, so I used distributed rendering and lowered the render time from around 70 to 10 minutes per frame. Don’t forget to check “Transfer missing assets,” so that all the maps get used by all the machines.
我很幸运能有更多的电脑，所以我用分布式绘制并将渲染时间从每帧70分钟降低到10分钟左右。不要忘记检查“转移丢失的资产”，以便所有的地图都被所有的机器使用。
The final touch
最后的触摸
Once all the renders were finished it was time to comp all the passes in Nuke, one of my favorite pieces of software. A slight color adjustment, defocus, and a background did the trick perfectly. It’s always a pleasure to work with Nuke, as the possibilities are endless if you have the proper render passes. In my case, I had the renders in multi map open exr files, which made it very easy to shuffle all the passes directly from the read node.
一旦所有的渲染都完成了，是时候对我最喜欢的软件之一Nuke中的所有传球进行比较了。轻微的颜色调整，离焦，和背景完美地发挥了作用。与Nuke一起工作总是一件愉快的事情，因为如果你有合适的渲染传球的话，这种可能性是无穷无尽的。在我的例子中，我在多个地图中打开了EXR文件的呈现，这使得直接从读取节点洗牌所有的传递变得非常容易。
After comping, I edited the video in Premiere, keeping an eye on timing and rhythm. I already had a couple of music pieces selected, so I used the one that fit the theme. Finally I added the titles and created a brief animation for the credits. It was nice to see APEX come to life!
在比较之后，我编辑了Premiere的视频，关注时间和节奏。我已经选了几首曲子，所以我用了一首适合这个主题的曲子。最后，我添加了标题，并为学分制作了一个简短的动画。很高兴看到APEX出现！
Chaos Group recently released V-Ray 3.5 for Maya with some awesome new features such as: adaptive lights – a new lighting algorithm that speeds up rendering in scenes with many lights; V-Ray IPR – new in-process IPR starts instantly, updates faster and uses less memory; alSurface material – general-purpose shader by Anders Langlands with layered SSS and glossy fresnel reflections popular for skin; GPU improvements and more. You can watch the recording of the V-Ray 3.5 for Maya release webinar to learn how you can use the new features.
混沌集团最近发布了一些令人敬畏的新特性，比如：自适应灯光--一种新的照明算法，可以在多个灯光的场景中加速渲染；V-Ray IPR--新的进程中的IPR--快速启动，更新速度更快，内存更少；AndersLangland的普通材质着色器，具有分层SSS和流行于皮肤的清新反射；GPU的改进和更多的使用。你可以看MAYA发行Webinar V射线3.5的录制了解如何使用新功能。
If you want to give the product a test run you can download a fully functional trial of V-Ray 3.5 for Maya, free of charge.
如果您想让产品进行测试运行，可以下载一个功能齐全的玛雅V射线3.5的软件，免费。
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