您需要 登录 才可以下载或查看，没有账号？注册
x
本帖最后由 执此一念 于 2022-1-7 11:49 编辑
环境艺术家 Miha Maruško 分享了受古代建筑启发的新巴比伦场景的详细分解，彻底解释了照明和纹理处理过程，并向我们展示了场景是如何组装的。
介绍
My name is Miha Maruško, I’m a self-taught Environment Artist from Slovenia and I'm currently studying Media Communications in my hometown Maribor. Besides my studies, I’ve been expanding my knowledge in environment art. Over the past few years, I’ve spent a lot of my time mastering various programs to catch up with the industry standard.
我的名字是 Miha Maruško，我是一名来自斯洛文尼亚的自学环境艺术家，目前在我的家乡马里博尔学习媒体传播。除了我的学习，我一直在扩展我在环境艺术方面的知识。在过去的几年里，我花了很多时间来掌握各种程序，以赶上行业标准。
Sadly, I have no industry experience yet. I made quite a few personal projects that reflect my knowledge and skills, but a lot of them have been shelved from my ArtStation portfolio page since they don’t reflect my current skills in creating environments. Now, I stand with my 2 latest pieces New Babylon and Unresting Watermills
遗憾的是，我还没有行业经验。我制作了很多反映我的知识和技能的个人项目，但其中很多已从我的 ArtStation 作品集页面上搁置，因为它们没有反映我当前在创建环境方面的技能。现在，我支持我的 2 件最新作品 New Babylon 和 Unresting Watermills。
入门
I’ve always wanted to create an environment that features a dome. Immediately after finishing my previous project, I started to develop new ideas, that would surpass the work I've done before. Since the previous project was successful, I got confident and knew that I wanted to make an original structure of an immense scale. Something that would combine various architectural styles, something that would stand out.
我一直想创造一个以圆顶为特色的环境。完成我之前的项目后，我立即开始开发新的想法，这将超越我之前所做的工作。由于之前的项目是成功的，我变得自信并且知道我想要制作一个巨大规模的原始结构。将各种建筑风格结合起来的东西，会脱颖而出的东西。
Another thing that was important in my concept was that the architecture had to make sense. For instance, the placement of basic elements such as windows must have had their own meaning in the general layout of the building. I didn’t want towers just to spring out only for the sake of composition. My goal was to place them for both the reasons of composition and architectural meaning.
在我的概念中，另一件重要的事情是架构必须有意义。例如，窗户等基本元素的放置在建筑物的总体布局中肯定有其自身的意义。我不希望塔只是为了构图而冒出来。我的目标是出于构图和建筑意义的原因放置它们。
With that in mind, I started to develop concepts that would feature the main dome. The very first idea I had was to put a dome on a tower-like structure. That was just one of many concepts, that I didn't use, eventually. I created many other iterations that ended up being canned before I settled down with the idea of a classic palace with a dome.
考虑到这一点，我开始开发以主圆顶为特色的概念。我的第一个想法是在塔状结构上放置一个圆顶。这只是我最终没有使用的众多概念之一。我创造了许多其他的迭代，最终在我确定一个带有圆顶的经典宫殿的想法之前被罐头。
I wasn’t satisfied until my inner “gut feeling” was excited to work on the project. It’s hard to describe this emotion but I believe all artists will understand what I’m talking about. I usually know that I’ve created a decent concept when I start to feel excitement over a simple sketch or even a grasp visualization in my head.
直到我内心的“直觉”对这个项目的工作感到兴奋时，我才感到满意。这种情绪很难描述，但我相信所有艺术家都会明白我在说什么。通常，当我开始对简单的草图甚至脑海中的掌握可视化感到兴奋时，我就知道我已经创建了一个不错的概念。
And having that feeling, at the end of August, I created the basic foundations of my next environment art project which would set New Babylon in motion.
带着这种感觉，在八月底，我为我的下一个环境艺术项目奠定了基础，这将使新巴比伦动起来。
目标和灵感
I had several goals for my project: 我的项目有几个目标：
- Creating a structure that features a dome;
- 创建一个以圆顶为特色的结构；
- Creating a structure that combines architecture;
- 创建一个结合建筑的结构；
- Creating a scene that captures that awe-inspiring moment which you can usually see in the later chapters of an adventure movie;
- 创建一个场景，捕捉通常在冒险电影的后面章节中看到的令人敬畏的时刻；
- Creating a scene that features dense foliage but still contains the “desert atmosphere”.
- 创建一个以茂密的树叶为特色但仍包含“沙漠氛围”的场景。
- Maya: for modeling and UV mapping;
- Maya：用于建模和 UV 映射；
- Substance 3D Painter: for texturing;
- Substance 3D Painter：用于纹理；
- Substance 3D Designer: for material creation;
- Substance 3D Designer：用于材料创建；
- Marmoset Toolbag 4: for baking;
- Marmoset Toolbag 4：用于烘焙；
- Blender: for foliage creation, rock creation, and sculpting;
- Blender：用于树叶创作、岩石创作和雕刻；
- ZBrush: for foliage creation, rock creation, and sculpting;
- ZBrush：用于树叶创作、岩石创作和雕刻；
- Photoshop: for foliage creation, color correction, and postproduction;
- Photoshop：用于树叶创作、色彩校正和后期制作；
- Unreal Engine 4: for rendering and presenting.虚幻引擎 4：用于渲染和呈现。
I started with my basic composition with rough sketches in my university notebook. I knew I wanted the dome in the center, so everything else would draw the main attention of the image.
我从我的大学笔记本上的粗略草图开始我的基本构图。我知道我想要圆顶在中心，所以其他一切都会吸引图像的主要注意力。
One of the biggest inspirations in terms of concepts was the movie Alexander (2004). The scenes where Alexander’s army marches into Babylon are stunning. Not to mention that the interior sets are just jaw-dropping.
在概念方面最大的灵感之一是电影亚历山大（2004）。亚历山大的军队进军巴比伦的场景令人惊叹。更不用说内部设置令人瞠目结舌。
In general, I love watching historical films, (that’s my father’s fault). They probably served as the biggest inspiration. I don’t think I need to say this, but I probably watched Raiders of the Lost Ark and The Last Crusade around 20-30 times each. Games such as Uncharted 4 and Uncharted: Lost Legacy also really inspired me. Playing these games is like experiencing Raiders all over again. Every little corner is furnished with such care that it’s hard to move along the levels since I’m stuck in photo mode every 10-15 minutes.
总的来说，我喜欢看历史电影，（那是我父亲的错）。他们可能是最大的灵感。我想我不需要这么说，但我大概看了《失落的方舟攻略》和《最后的远征》大约 20-30 次。Uncharted 4 和 Uncharted: Lost Legacy 等游戏也给了我很大的启发。玩这些游戏就像重新体验攻略。每个小角落都经过精心布置，很难沿着关卡移动，因为我每 10 到 15 分钟就会陷入照片模式。
封锁和组成
I used one of the Paragon characters models to measure my general height of the building since I didn’t want to lose my sense of scale. It was important not to lose track of proportions as the scene is really large, so I regularly checked if the windows are realistic in terms of scale.
我使用 Paragon 人物模型之一来测量建筑物的总体高度，因为我不想失去比例感。重要的是不要忘记比例，因为场景真的很大，所以我定期检查窗户在比例方面是否真实。
I first started with the dome blockout, which I finished relatively quickly. I was thinking whether I even should blockout the dome since I knew the general layout of the main elements of the environment.
我首先从圆顶封闭开始，我完成得相对较快。因为我知道环境的主要元素的总体布局，所以我在考虑是否应该将圆顶封闭起来。
The very first step was designing and visualizing modular pieces that would be present in both the dome and the palace. The palace mainly features a vertical modular piece that is present on both the left and right wings of the building. I was careful not to keep the repetitive nature of baroque architecture which I broke with overgrown moss and foliage.
第一步是设计和可视化将出现在圆顶和宫殿中的模块化部件。宫殿的主要特点是一个垂直的模块化部件，它出现在建筑物的左右翼上。我小心翼翼地不保持巴洛克式建筑的重复性，我打破了长满苔藓和树叶的东西。
When I was satisfied with my dome, I started adding other elements to the scene that would bring the whole palace to life. At the time I didn’t know how I was going to handle the roof that’s not on the dome. I wanted to feature a roof that’s similar to Versailles. But I later decided that I really dig the overgrown look of the roof. While designing, I put a lot of thought into how I’d make the roof more varied.
当我对我的穹顶感到满意时，我开始在场景中添加其他元素，让整个宫殿都栩栩如生。当时我不知道如何处理不在圆顶上的屋顶。我想设计一个类似于凡尔赛宫的屋顶。但我后来决定，我真的挖掘了屋顶杂草丛生的外观。在设计时，我对如何使屋顶更加多样化进行了很多思考。
In terms of composition, I really focused on making the dome the so-called “stage” of the whole environment. It’s the main attraction of the piece, so I wanted to focus on lighting, composition, architecture, and vibrant colors of the roof to drag the viewers' attention to the center towards the dome.
在构图方面，我真的很专注于让圆顶成为整个环境的所谓“舞台”。这是这件作品的主要吸引力，所以我想专注于屋顶的灯光、构图、建筑和鲜艳的色彩，将观众的注意力吸引到圆顶的中心。
Another thing that happens to be completely accidental was the inclusion of the golden ratio in my main shot. To be honest, I did not plan for it to appear in the main shot. And it’s even weirder that it aligns so perfectly: the obelisk, the balconies, and the surrounding silhouette matches perfectly with it.
另一件完全偶然的事情是在我的主要镜头中加入了黄金比例。老实说，我并没有打算让它出现在主镜头中。更奇怪的是，它如此完美地对齐：方尖碑、阳台和周围的轮廓与它完美匹配。
What I did practice though, was the constant mirroring of the main shot. A technique that’s usually present in drawing, turned out to be a helpful tool in balancing the shot and achieving the desired goal.
不过，我确实练习的是主镜头的不断镜像。一种通常出现在绘图中的技术，结果证明是平衡拍摄和实现预期目标的有用工具。
场景的架构
New Babylon features around 3 or 4 different architectural styles. These are mainly: European Baroque, Architecture of Ancient Egypt, Mesopotamian foundations of Babylon, and a bit of Arabic Architecture.
新巴比伦拥有大约 3 或 4 种不同的建筑风格。这些主要是：欧洲巴洛克风格、古埃及建筑、巴比伦的美索不达米亚基础和一些阿拉伯建筑。
The main building, as well as the dome, are mainly influenced by the European Baroque with a tad of Greek architecture the way how the entrance is presented. The Dome is mainly built with European architecture in mind, but it features a roof that originates from various Mosques.
主楼和圆顶主要受欧洲巴洛克风格的影响，入口的呈现方式带有一点希腊建筑。圆顶主要是为欧洲建筑而建造，但它的屋顶源自各种清真寺。
The main staircase as well as the huge obelisk in the middle reflect the fundamentals of Egyptian architecture. The Balconies on top of the building are, of course, a direct reference to the Myth of the Hanging Gardens of Babylon.
主楼梯以及中间的巨大方尖碑反映了埃及建筑的基本原理。当然，建筑物顶部的阳台直接参考了巴比伦空中花园的神话。
As I was starting to texture my modular pieces, I figured that a lot of time has passed since the great architects left New Babylon. It lays abandoned in the lush oasis in the middle of a canyon, so I made the main brick material deliberately used and worn out. I focused on the effects of moisture and rain on buildings, which I implemented with generated water ingress pouring from the top of the modular pieces. That way it looks like the building waited ages to be discovered.
当我开始对我的模块化部件进行纹理处理时，我想自从伟大的建筑师离开新巴比伦以来已经过去了很多时间。它被遗弃在峡谷中间郁郁葱葱的绿洲中，所以我故意使用和磨损了主要的砖材料。我专注于潮湿和雨水对建筑物的影响，我通过从模块化部件的顶部浇灌生成的进水来实现。这样看来，这座建筑等待了很长时间才被发现。
In the later stages, I also added my own custom-made moss decal, which really enhanced different variations on the surface of the dome and palace. For the mentioned details, I mainly used Substance 3D Painter and Substance 3D Designer where I constructed the materials and the main Opacity Maps.
在后期，我还添加了自己定制的苔藓贴花，这确实增强了圆顶和宫殿表面的不同变化。对于提到的细节，我主要使用 Substance 3D Painter 和 Substance 3D Designer，在那里我构建了材料和主要的不透明贴图。
I initially started with planning and creating main modular pieces that would be featured in the dome as well as in the palace below. After that, I mainly had fun creating and implementing various modular pieces. I think I got my idea of modular pieces back in the day when I played Far Cry 4: Map Editor. At the time, when the game came out the editor really gave me a vast understanding of what a quality modular piece should look like and what’s possible to achieve with just a few objects.
我最初开始规划和创建主要的模块化部件，这些部件将在圆顶和下面的宫殿中展示。在那之后，我主要享受创建和实现各种模块化部分的乐趣。我想我在玩《孤岛惊魂 4：地图编辑器》的那一天就有了模块化部件的想法。当时，当游戏出来时，编辑器真的让我对高质量的模块化作品应该是什么样子以及仅用几个对象就可以实现的效果有了广泛的了解。
植被 The vegetation used in my environment I purely made myself. Since I live in Slovenia, which is in the middle of Europe, I had to improvise and use vegetation that’s native to our own forest flora.
在我的环境中使用的植被是我自己制作的。由于我住在欧洲中部的斯洛文尼亚，我不得不即兴创作并使用我们自己的森林植物群中的原生植被。
Nevertheless, eventually, I chose various leaves that seemed like they could belong in a semi-tropical setting. If they didn’t look exotic enough, I modified them a bit in Photoshop and gave them a rather unique look that was based on real tropical plants.
然而，最终，我选择了似乎属于亚热带环境的各种叶子。如果它们看起来不够异国情调，我会在 Photoshop 中对它们进行一些修改，并赋予它们一种基于真正热带植物的相当独特的外观。
I regularly took trips into my local forest (I live about 30 seconds away from it). I usually took a giant plastic panel with me where I safely stored the desired foliage and brought it home.
我经常去我当地的森林旅行（我住在离它大约 30 秒的地方）。我通常随身携带一个巨大的塑料面板，在那里我安全地存放所需的树叶并将其带回家。
To take the cleanest possible photo of my leaves and plants I made a mini photo studio in my basement. After taking the photo, I polished and cleaned it up in Photoshop to create my base color texture. Later I used it as a reference to sculpt a high-poly version of some of the plants.
为了拍出最干净的树叶和植物照片，我在地下室做了一个迷你照相馆。拍完照片后，我在 Photoshop 中对其进行抛光和清理，以创建我的基色纹理。后来我用它作为参考来雕刻一些植物的高模版本。
I also generated a Normal Map based on the plants' base-color texture which I combined with my sculpted Normal. That way it gave the foliage depth and another layer of real-world detail which originates from various veins that are on the Albedo texture. I prepared a short gallery featuring BTS screenshots and various other shots which I didn’t feature in the final post since they lack in detail and quality, but showcase various other foliage at work.
我还根据植物的基色纹理生成了法线贴图，并将其与雕刻的法线相结合。通过这种方式，它提供了树叶深度和另一层真实世界的细节，这些细节源自反照率纹理上的各种静脉。我准备了一个简短的画廊，其中包含 BTS 屏幕截图和其他各种镜头，因为它们缺乏细节和质量，所以我没有在最后的帖子中展示它们，但展示了各种其他工作中的树叶。
岩石
I sculpted the high poly models of the rocks in Blender since I have a big and vast library of natural rock brushes at disposal there. I first started to collect references of various desert cliffs. It was also important to me to plan the cliffside environment in advance, so I knew how many rocks I’d use in my environment.
我在 Blender 中雕刻了岩石的高多边形模型，因为我有一个庞大而庞大的天然岩石画笔库可供使用。我首先开始收集各种沙漠悬崖的参考资料。提前规划悬崖边的环境对我来说也很重要，所以我知道在我的环境中我会使用多少岩石。
I used a few Megascans assets to fill out the empty spaces in-between and to add a tad of scanned objects to the scene which enhanced a lot of details on the side of the canyon.
我使用了一些 Megascans 资产来填充中间的空白空间，并在场景中添加一点扫描对象，这增强了峡谷一侧的许多细节。
材料和纹理
After borrowing a few ancient architecture books from the library, I got a grasp of how beautifully crafted roofs are featured on various mosques. I later conceptualized my own versions and decided to go with a shiny blue color that stands out from the whole shot.
从图书馆借了几本古建筑书籍后，我了解了各种清真寺的屋顶制作精美。后来我构思了我自己的版本，并决定采用从整个镜头中脱颖而出的闪亮蓝色。
Since I already made a brick material I improvised and changed the already made material to generate tiles instead of bricks. At first, I only used the material to test the color balance of the roof. But by the end, it really grew on me. And as a bonus, I didn’t need to create entirely new material, since at the time I still wasn’t sure how I was going to balance my work with the deadline I set.
由于我已经制作了砖块材料，因此我即兴创作并更改了已经制作的材料以生成瓷砖而不是砖块。一开始，我只用材料来测试屋顶的色彩平衡。但到最后，它真的在我身上成长。作为奖励，我不需要创建全新的材料，因为当时我仍然不确定如何在我设定的截止日期前平衡我的工作。
I first started to bend towards European roof styles, but the roof just didn’t stand out. The small and elegant details that I added with SP lost their details at great distances and the pattern turned into a big blob rather than staying true to its form.
我最初开始倾向于欧洲屋顶风格，但屋顶并不突出。我用 SP 添加的小而优雅的细节在很远的地方丢失了细节，图案变成了一个大斑点，而不是保持其形状。
Another great thing that I learned while building the palace was the effect of range and texture filtering on the environment. Naturally, props lose their details at long-range distances, that's why it’s important to adapt texturing and your art direction, so your building props still look great at long distances. The roof demonstrates this perfectly.
我在建造宫殿时学到的另一件很棒的事情是范围和纹理过滤对环境的影响。自然，道具在远距离会丢失细节，这就是为什么调整纹理和您的艺术方向很重要的原因，因此您的建筑道具在远距离仍然看起来很棒。屋顶完美地展示了这一点。
You can see how the roof looks considerably less noticeable with the golden cross details. The best method to discover texture patterns like this is probably by trial and error and by material exploration.
您可以看到屋顶的金色十字细节看起来不那么明显。发现这种纹理图案的最佳方法可能是通过反复试验和材料探索。
The architecture on the roof of the left and right section of the palace changes exclusively to the classic Babylon architecture which is made with only one Trim Sheet which I created with the help of Maya and Substance 3D Painter.
宫殿左右部分屋顶上的建筑完全变成了经典的巴比伦建筑，该建筑仅由我在 Maya 和 Substance 3D Painter 的帮助下创建的一张 Trim Sheet 制成。
Assembling the Final Scene 组装最终场景
The most important question that I asked myself while making New Babylon is “What’s actually important in my environment and what’s not?” I paid a lot of attention to parts of the environment that I knew would be in the frame and made sure to put extra pressure to perfect those parts. For the objects far in the distance, I didn’t pay that much attention since they’re being viewed from afar. With the time that had left, it wouldn’t be possible to perfect everything to my liking, so I improvised and focused on the parts that truly mattered.
我在制作 New Babylon 时问自己的最重要的问题是“在我的环境中什么是真正重要的，什么不是？” 我非常关注我知道会出现在画面中的环境部分，并确保施加额外的压力来完善这些部分。对于远处的物体，我没有太注意，因为它们是从远处观察的。随着时间的流逝，不可能按照我的喜好来完善所有内容，因此我即兴创作并专注于真正重要的部分。
When it comes to scattering and placing vegetation, I set myself to look at real-life references rather than paintings or already made in-game environments. Mother nature is usually the best reference when it comes to placing overgrown foliage. I primarily focused on how placement influences the playable area. With that, I deliberately used a reference that stretches out of games.
当谈到散射和放置植被时，我让自己看看现实生活中的参考，而不是绘画或已经制作的游戏环境。在放置杂草丛生的树叶时，大自然通常是最好的参考。我主要关注放置如何影响可玩区域。有了这个，我特意使用了一个超出游戏范围的参考。
Besides real-life references, I also used the collection of Paradise Lost Illustration since they feature fantastic silhouettes together with breathtaking compositions. I think this can especially be seen at both the left and right sides of the main shot.
除了现实生活中的参考，我还使用了失乐园插图集，因为它们具有梦幻般的轮廓和令人惊叹的构图。我认为这尤其可以在主镜头的左右两侧看到。
What really helped me here was envisioning the so-called “playable area”. That way I focused primarily on the quality of objects in that area, but still maintained a standard for views in the distance.
在这里真正帮助我的是设想所谓的“可玩区域”。通过这种方式，我主要关注该区域内物体的质量，但仍然保持了远处景观的标准。
灯光
I set myself a goal to create an environment that would be easy on the eye, even if it features a ton of details. That way I created an environment that’s driven by both soft and hard lighting, so the viewer gets to experience drastic changes between both lit and unlit contrasts.
我给自己设定了一个目标，即创造一个让人赏心悦目的环境，即使它具有大量细节。通过这种方式，我创建了一个由软光和硬光驱动的环境，因此观众可以体验到亮光和暗光对比之间的剧烈变化。
I got my main inspiration from various photos of domes that are lit by the rising or setting sun. Since the dome is a layered and eroding structure, the shadows bend with each layer as they wrap themselves around the tower. That way the light creates an interesting balance between the present colors.
我的主要灵感来自于被日出或日落照亮的穹顶的各种照片。由于圆顶是一个分层的侵蚀结构，当它们环绕塔身时，阴影随着每一层而弯曲。这样，光线在当前颜色之间创造了一个有趣的平衡。 Another important theme that I focused on was guiding the player/viewer. Even though New Babylon isn’t featured in a game I still wanted to convey urgency to communicate with the player/viewer and guide them through the environment. I wanted to push views towards the dome as well as the main staircase that leads to the entrance of the building. Sure, they’re both in the middle of the shot which conveys a sense of urgency, but I wanted to give an extra hint at the way how the sun creates various lines and silhouettes with the help of colors and silhouettes.
我关注的另一个重要主题是引导玩家/观众。尽管 New Babylon 没有出现在游戏中，但我仍然想传达与玩家/观众交流并引导他们穿越环境的紧迫性。我想将视线推向圆顶以及通向建筑物入口的主楼梯。当然，他们都在镜头中间，传达了一种紧迫感，但我想额外暗示太阳如何借助颜色和轮廓创造出各种线条和轮廓。
When it comes to the difference between shadows and sunlight, I deliberately placed the cliffside behind the palace, so that shadows hide parts in favor of composition. Here’s an out-of-bounds look of the environment. I helped myself a lot with various placed planes to create artificial shadows to balance the composition.
说到阴影和阳光的区别，我特意把宫殿后面的悬崖边，让阴影隐藏了部分，有利于构图。这是环境的越界外观。我用各种放置的平面帮助自己创造了人造阴影来平衡构图。
Speaking of shots like these, I think it’s always nice to get a grasp on how the scene looks outside of the general spectacular screenshot. In general, noclipping your way out of maps/levels reveals a whole mountain of information, and I think it can really help when you get the idea that the “out of bounds” areas aren’t really that important. Besides, it's fun to look at how the whole project is actually made.
说到这样的镜头，我认为了解场景在一般壮观的屏幕截图之外的外观总是很好的。一般来说，从地图/关卡中剔除您的方法会显示大量信息，我认为当您意识到“越界”区域并不是那么重要时，这真的很有帮助。此外，看看整个项目是如何实际制作的也很有趣。
If I go back to lighting, it was important for me to convey a strong difference between the shadows and the lighted areas. That way I could better expose various silhouettes which are crucial for creating excellent compositions. I decided to rather use baked lighting since it gave me more freedom to fake various indirect lighting and it wouldn’t be so taxing on the whole scene.
如果我回到照明，传达阴影和照明区域之间的强烈差异对我来说很重要。这样我就可以更好地曝光各种轮廓，这对于创作出色的作品至关重要。我决定更喜欢使用烘焙照明，因为它让我可以更自由地伪造各种间接照明，而且不会对整个场景造成太大影响。
I highly recommend turning your screenshots into the black and white (or mono) perspective. That really gives you a whole new perspective on how well you’re balancing the composition, colors and understanding the values of your shots.
我强烈建议将您的屏幕截图转换为黑白（或单色）视角。这确实为您提供了一个全新的视角，让您了解如何平衡构图、色彩和理解镜头的价值。
Global Illumination also played a big part in the whole scene. Desert cliffs are usually bright since they feature beige, light-brown, and yellowish colors which are perfect for reflecting sunlight further and further. Automatic Global Illumination generated from the engine was fine at first. But to achieve the desired cinematic effect I had to add fake GI at certain areas.
Global Illumination 在整个场景中也起到了很大的作用。沙漠悬崖通常是明亮的，因为它们具有米色、浅棕色和黄色，非常适合将阳光反射得越来越远。引擎生成的自动全局照明起初很好。但是为了达到理想的电影效果，我不得不在某些区域添加假 GI。
After careful evaluation, I also decided to put artistry over realism and pushed various shadows for the sake of composition. Cloud shadows were super important for pushing realism, so I created a custom light propagation volume which I designed in Photoshop and applied it to my directional light. With it, I made the transition from light to shadow on cliffs softer and easier on the eye.
经过仔细评估，我也决定将艺术性置于现实主义之上，为了构图而推动各种阴影。云阴影对于推动真实感非常重要，所以我创建了一个自定义的光传播体积，我在 Photoshop 中设计了它并将其应用于我的定向光。有了它，我在悬崖上从光到阴影的过渡更柔和，更容易在眼睛上。
I think we all agree that God's rays are super nice, but only in the right and healthy amount. I was really careful when I implemented them into the scene. Since I didn’t want to hide the details of the scene, I played with the fog setting quite a bit.
我想我们都同意上帝的光芒非常好，但只有在正确和健康的数量上。我真的很小心，当我实现了他们到现场。由于我不想隐藏场景的细节，我玩了很多雾设置。
My biggest help in balancing the scenes in terms of color correction was comparing them on different devices. I generally trust my main monitor the most when it comes to colors, but at the same time, I have no idea how others might see the environment since we all have differently calibrated settings. Besides, a lot of viewers will see my art on a mobile device which has its own limitations.
我在色彩校正方面平衡场景的最大帮助是在不同设备上比较它们。在颜色方面，我通常最信任我的主显示器，但与此同时，我不知道其他人会如何看待环境，因为我们都有不同的校准设置。此外，很多观众会在有其局限性的移动设备上看到我的艺术。
That way I took notice of changes on quite a few devices: my main monitor, my second monitor, my TV which is also hooked up to my PC, and my phone. Once I was satisfied with all of them, I knew that the colors would be somewhat universal across all devices. In the end, I took around 360 images from all of the scenes, just to get the right one in terms of temperature, saturation, sharpness, contrast, etc.
通过这种方式，我注意到了很多设备的变化：我的主显示器、我的第二个显示器、我的电视（也连接到我的电脑）和我的手机。一旦我对所有这些都感到满意，我就知道所有设备的颜色都会有些通用。最后，我从所有场景中拍摄了大约 360 张图像，只是为了在温度、饱和度、锐度、对比度等方面找到合适的图像。 I recommend this video to anyone that’s even remotely interested in lighting or environment art. Boon and the interviewer capture the whole point of lighting and put it in a bottle that is only 90 minutes long. Nothing was more important than conveying the grand importance of lighting in my environment since I believe it contributes hugely to the presentation of any scene or object. And I’d say presentation counts as much as 90% of the quality in any environment.
向任何对灯光或环境艺术感兴趣的人推荐这个视频。Boon 和采访者捕捉到了整个照明点并将其放入只有 90 分钟长的瓶子中。没有什么比在我的环境中传达照明的巨大重要性更重要的了，因为我相信它对任何场景或物体的呈现都有巨大的贡献。我想说，在任何环境中，演示文稿都占质量的 90%。
Main Challenges and Lessons Learned 主要挑战和经验教训
The whole environment took me around 14 weeks to complete. By far, the most time-consuming step was balancing the contrast on every shot and general color correction. My goal was to make a fully-fledged environment that would be compatible and worthy of a screenshot from almost all angles. That turned out to be a huge waste of time and probably not a good idea since I cut out a lot of the content and spent a lot of time focusing on details that didn’t end up in any of the screenshots.
整个环境花了我大约 14 周的时间来完成。到目前为止，最耗时的步骤是平衡每个镜头的对比度和一般的色彩校正。我的目标是创建一个完全兼容的环境，并且几乎可以从所有角度进行截图。结果证明这是一种巨大的时间浪费，而且可能不是一个好主意，因为我删掉了很多内容并花了很多时间专注于没有出现在任何屏幕截图中的细节。
I really wanted to avoid unnecessary cut content with careful time management and regular quality checkups, but I couldn’t avoid it in order to maintain quality. Despite the cut content and wasting quite a few hours of work I’m glad I made mistakes like that, and I feel more prepared for my next upcoming project.
我真的很想通过仔细的时间管理和定期的质量检查来避免不必要的剪辑内容，但为了保持质量我无法避免。尽管削减了内容并浪费了相当多的工作时间，但我很高兴我犯了这样的错误，而且我为下一个即将到来的项目做好了准备。
Speaking of silly ideas, to make New Babylon on my desired deadline I had to regularly skip school and ignore university tasks quite a lot. I can’t emphasize this enough: don’t be like me and manage time properly and don’t skip school!
说到愚蠢的想法，为了在我希望的截止日期前制作新巴比伦，我不得不经常逃学，并且经常忽略大学任务。我再怎么强调都不为过：不要像我一样好好管理时间，不要逃学！
What really drove me to finish it so quickly was probably my own determination towards my own deadline. I had a strong motivation for creating the desired environment and I’m still surprised how I maintained and held my discipline to create almost everything on time. If I hadn’t reached my goal at the desired time, I worked overtime until I wasn’t satisfied with the results.
真正促使我如此迅速完成它的可能是我自己对自己的截止日期的决心。我有创建理想环境的强烈动机，我仍然惊讶于我如何保持并坚持我的纪律，以按时创建几乎所有的东西。如果我没有在期望的时间达到我的目标，我就会加班加点，直到我对结果不满意为止。
保持动力
When it comes to creating huge scenes like New Babylon, I have a few tips on how to maintain your motivation: celebrate the little victories, like finishing a modular piece, being satisfied with the blockout, or finally applying your final_final_final.png Normal Map to an object and being satisfied with the result. I think small things like that drove me throughout my project. Regularly checking my own progress shots before going to bed also helped my confidence in finishing the project.
当谈到创建像 New Babylon 这样的大场景时，我有一些关于如何保持动力的提示：庆祝小胜利，比如完成一个模块化的作品，对封锁感到满意，或者最终将你的 final_final_final.png 法线贴图应用到一个对象并对结果感到满意。我认为这样的小事情推动了我整个项目。睡前定期检查自己的进度照片也有助于我完成项目的信心。
Another tip that I’d like to share with anyone who can relate to my current situation in finding your own path: dare to explore, dare to ask, and don’t be shy like I was back in the day. At times I still have a bit of a problem with self-esteem but I’m slowly turning around and exploring a lot more in terms of relations and forging connections with other artists and developers.
我想与任何可以与我目前的情况相关的人分享另一个提示，以找到自己的道路：敢于探索，敢于提问，不要像回到过去那样害羞。有时我仍然有一些自尊心的问题，但我正在慢慢地转过身来，在与其他艺术家和开发者的关系和建立联系方面进行更多探索。
END
| 
评分
