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本帖最后由 毒游小行家 于 2022-3-2 10:31 编辑
大家好，我叫Vincent Dérozier，我是Eidos蒙特利尔的高级材料艺术家，我从2011年开始进入游戏行业。我曾参与过许多Ips，如《刺客信条》、《荣誉》和《不朽者Fenyx Rising》。今天，我很高兴与大家分享一些关于我最新的个人项目的细节Hello everyone, my name is Vincent Dérozier I’m a Senior Material Artist at Eidos Montreal, I’m in the game industry since 2011. I worked on many Ips such as Assassin’s Creed, For Honor and Immortals Fenyx Rising. Today I’m happy to share with you some breakdowns about my latest personal project
这个项目是一个3D环境，灵感来自东方主义绘画，如东方主义时期的《布尔萨浴场》。我一直很喜欢这种艺术主题，因为它通常描绘了宏伟的地方和生活在其中的人们之间的关系，具有很好的浪漫主义色彩。这些画不仅仅是写实，而且捕捉到了灯光的优雅，并以惊人的方式简化了铜锈。
This project is a 3D Environment, inspired by orientalist paintings such as The Bath of Bursa from Gérôme or the Bauernfeind orientalist period. I always loved this thematic of Art as it usually depicts the relation between grandiose places and people living in it with a good sense of romanticizing. Those paintings are not just realistic but capture the elegance of lighting and simplify the patina in amazing ways.
我在这里的目的也是技术性的，我想在虚幻引擎5中测试Lumen，以及我心中的一些3D配方。这个项目主要是一个沙盒，供我试验各种想法和基准。
My purpose here was also technical, I wanted to test Lumen in Unreal Engine 5, as well as some 3D recipes I had in mind. This project was mainly a sandbox for me to experiment with ideas and benchmarks.
第一步是收集许多参考资料作为灵感。我喜欢这一步，因为在这一步你总是能发现新的历史事实和令人惊奇的地方。比如法国的戴安娜神庙，亚美尼亚的奥贝利安商队，或者英国的萨默塞特罗马浴场。
The first step was to gather many references as inspiration. I love this step as it’s where you always discover new historical facts and amazing places. Like the temple of Diane in France, the Orbelian’s Caravanserai in Armenia or the roman bath of Somerset in England.[quote]
就数字而言，我最终在整个项目上花费了大约650个小时，创建了大约90个3D资产和40个材料。这是一个很大的副业，事实证明，在我的生活和世界上发生的所有事情中，它相当困难。我已经列出并计划好了一切，以优化我的业余时间。
In terms of numbers, I ended up spending around 650 hours on the entire project, creating around 90 3d assets and 40 materials. It was a big side project and proved rather difficult with everything going on, in my life and the world. I have listed and planned everything to optimize my spare time.
然后从这个清单中，我制定了一个块状计划。这对我可视化工作量有很大帮助，让我对自己需要投入多少小时有了一个大致的概念。对我来说，这是限制专业或个人项目加班的最重要步骤。我在这个项目上每周大多在午餐时间、晚上和周日工作30个小时。
Then from that listing, I fleshed out a Block Plan. It helped me a lot to visualize the workload and gave me a rough idea of how many hours I needed to put in. For me, it’s the most important step to limit overtime for professional or personal projects. I mostly worked 30 hours a week on this project during lunchtimes, evenings and Sundays.
我从最有趣的配方开始，我想要一些比平面位移更多的东西，更接地气，所以我雕刻了大约30块石头，有完整的也有破碎的。我把这些东西放在两个独立的Painter文件中烘烤，以避免十几个文件的更新。
I started with the most interesting recipe, the walls I wanted something more versatile and grounded than a plane with displacement so I sculpted around 30 stones, intact and broken ones. I baked those in two separate substance Painter files to avoid dozen of files to update.
这里有一些早期的测试，只有10个简单的石头。我想测试一下这个配方。它帮助我认识到我的规模可以更小，我需要破损的石头，一套贴纸和不同的材料来制作双色墙。
Here are some early test with only 10 simple stones. I wanted to test out the recipe. It helped me to realized my scale could be smaller, that I would need broken versions of my stones, a kit of decals and variation of my material to have the bi color wall.
用烘烤过的资产来创建建筑设置，让你可以重复使用这些资产来做转角、直线、凹面、凸面的食谱甚至是碎石。在视觉上，它可以保证一致性，因为你在任何地方使用的都是同样的石头。从生产上来说，它是一个惊人的时间拯救者，可以让你腾出一些时间来做更重要的资产。下面是我如何使用这些资产的几个例子。
Creating architectural setups with baked assets gives you the versatility to reuse those assets for a corner, straight, concave, convex recipes or even rubbles. Visually it will guarantee consistency as those are the same stones you are using everywhere. Production-wise, it’s an amazing time savior that will free you some time for more important assets.Here are a few examples of how I used those assets.
这里有一个屏幕，可以直观地看到雕刻的石头的再分配。你可以在墙壁、拱门、碎石和杂物上看到它们。(拱门的内部是用两块墙石组成的多重材料，加上顶点涂料驱动的灰泥）。
Here is a screen to visualize the sculpted stone’s repartition. You can see them on the walls, arches, rubbles and also clutters. (The interior of the arches were made with a multi-material of 2 wall stones, with added stucco driven by vertex paint)
我把石头的雕刻和纹理保持得很简单，因为我知道我将在它上面添加额外的贴花层。我创建了一套简单的颜色飞溅、灰尘、污垢、水甚至是裂缝的贴花。它帮助我添加了最后一层额外的铜锈，并将每一个资产联系在一起，而不会感觉到各实例之间的重复。
I kept the stones sculpt and texturing simple, as I knew I would add extra layers of decals on top of it. I created a set of decals of simple color splashes, dust, dirt, water and even cracks. It helped me add the final extra layer of patina and linked every asset together without feeling repetition between the instances.
简单地说，这有点像在你的贴图之外，用引擎中的贴花来替代铜绿的通行证。这里是最终场景的概览，你可以看到贴花。
To make it simple it’s a bit like taking the patina pass outside your texturing and replacing it with decals in the engine. Here is an overview of the final scene where you can see the decals.
当我对墙上的食谱感到满意时，我开始在地面上工作。通常，这些是一个环境中最重要的部分。在找到合适的方案之前，我搜索了许多图案和强度的量。我想要一些简单的东西，能与哑光的垂直墙面形成对比。一些丰富的东西，但不会抢了风头，但又能与整体结构很好地搭配。这是一个早期的测试，以找到整体的结构。
When I was happy with the wall recipe I started working on the grounds. Usually, those are the most important part of an environment. I searched many patterns and volumes of intensity before finding the right one. I wanted something simple that would contrast with the matte vertical walls. Something rich but that would not steal the show and yet go well with the overall structure. Here is an early test to find the overall structure.
有了支撑和贴花，我可以拥有比墙壁更微妙的东西，并通过混合添加一些变化。所以我创建并烘烤了4个地板模块，用专门的材料来获得一个很好的接地的铜锈，并为每个地板创建了一个破碎的变化，在我想要的地方画上裂纹。每个模块都在3DSMax中建模，然后在Substance Designer中烘烤和纹理。
With the propping and decals, I could have something more subtle than the walls and add some variations with the blend. So I created and baked 4-floor modules with a dedicated material to have a nice grounded patina, and a broken variation for each to paint cracks where I wanted. I also created variations to break the tiling.[size=1.13]Each one was modelled in 3DSMax, then baked and textured in Substance Designer
对于纹理，我选择了简单明了的东西，材料分层。我创建了自己的弹珠，与Substance Source中的一些弹珠和扫描库中的泥土混合在一起，以准确地确定我想要的外观。这使我能够快速迭代，并保持一切紧凑和简单。
For the texturing, I went for something simple and straightforward, material layering. I created my own marbles, mixed them with some from Substance Source and dirt from a scan library to nail exactly the look I wanted. It allowed me to iterate quickly and keep everything tight and simple.
然后我复制我的物质来创建一个破碎的版本。这个是完全一样的，但是上面有裂缝，驱动一些额外的泥土分层。以下是我在4个破碎的地板版本上重新使用的裂缝设置的截图。
I then duplicate my substance to create a broken version. This one was exactly the same but with cracks on top driving some extra dirt layering.Here is a screenshot of the cracks setup I reuse on my 4 broken floor versions.
对于纹理，我选择了简单明了的东西，材料分层。我创建了自己的弹珠，与Substance Source中的一些弹珠和扫描库中的泥土混合在一起，以准确地确定我想要的外观。这使我能够快速迭代，并保持一切紧凑和简单。
For the texturing, I went for something simple and straightforward, material layering. I created my own marbles, mixed them with some from Substance Source and dirt from a scan library to nail exactly the look I wanted. It allowed me to iterate quickly and keep everything tight and simple.
一旦你有了一个材料的两种状态，普通的和破损的，你就可以把它们插入一个由顶点颜色驱动的多材料中。这样，你就可以在你想显示每种状态的地方进行绘画。
Once you have two states of a material, the regular and the broken one, you can plug those in a multi-material driven by vertex color. That way you will be able to paint where you want to reveal each state.
对于天花板上的Muqarnas图案，我以硬面的方式创建了一个基础网格。创建一个简单的网格，可以进行涡轮平滑处理。我解开了它的Uvs，复制它并弯曲它来创建一个大的天花板模块。
For the Muqarnas patterns in the ceiling, I created a base mesh in a hard surface manner. Creating a simple mesh that could be turbosmoothed. I unwrapped its Uvs, duplicate it and bend it to create a big ceiling module.
在设计器中，我在UVs上画了一个形状，然后从我的网格中提取。然后用它创建了一个可铺设的高度图图案。我完成了青铜和氧化的分层，就像我在地板上分层材料的方式一样。
In Designer, I drew a shape on the UVs, I then extracted from my mesh. Then created a tileable heightmap pattern from it. I finished by layering bronze and oxidation the same way I layered my materials on the floors.
它给了我一个简单的材质，与我的UV相匹配，在场景的上部做了一些技巧。
It gave me a simple material matching my UVs and doing the tricks in the upper part of the scene.
我想要3个不同的油灯，一个悬挂着，一个打开着，一个破碎着。为了获得更多的质量价值，我可以对每一个油灯进行雕刻和烘烤，但这在我的拍摄中几乎看不到，而且是浪费时间。相反，我采用了一个工具包的方法。我创造了一盏灯，并在这三个阶段重复使用它。
I wanted 3 different oil lamps, one hanging, one open and one broken. For more quality value I could have sculpted and baked each one but it would have been barely visible in my shots and a waste of time. Instead, I went with a kit approach. I created one lamp and reused it for those 3 stages.
为了赢得更多的时间，我用修饰板材料制作了一些部件，一些元素被烘烤。
To win a bit more time I created some parts with a trim sheet material and some elements were baked This way I was using the best of those recipes depending on my needs.
对于修饰片材料，我只是把材料和网眼设计成有素面、中空面和修饰，而不觉得太过人工。
For the trim sheet material, I just designed the material and the mesh to have plain surfaces, hollowed surfaces and trims without feeling too artificial.
饰片材料是在Designer中制作的，就像天花板和花瓶材料一样。首先是高度图，然后根据它进行材料分层。为了保持一致性，我又重新使用了我在Designer中制作的青铜和古铜色SBSAR。
The trim sheet Material was made in Designer, like the ceiling and vase materials. Heightmap first then material layering according to it. For consistency, I reused again the same Bronze and Patina SBSAR I made in Designer.
我在Painter中重新创建了同样的设置，用于烘烤资产。将相同的SBSAR分层，以获得一起工作的元素。
I recreated the same setup in Painter for the baked assets. Layering the same SBSAR to obtain elements that work together.
对于窗帘，对我来说最有效的方式是Marvelous Designer。这是我使用过的最简单和最有趣的软件之一。窗帘的缝制模式非常简单，只需几根线就能迅速变得非常戏剧化。
For the curtains, the most efficient way to go for me is Marvelous Designer. One of the simplest and funniest software I have worked with. Curtains have very simple sewing patterns and can quickly be very dramatic with few tacks.
应用在窗帘上的材料非常简单明了。一个简单的形状被用来创建几个交错在一起的线。我为底色和自定义蒙版创建了3种颜色变化，以便在场景中进行快速混合传递。
The material applied to the curtain was very straightforward. A simple shape is used to create several threads interlaced together. I created 3 color variations for the base color and custom masks to do a quick blend pass in the scene.
在某些时候，我想为画面中心的灯后面的框架添加一点颜色。我想起了我的一个参考资料中的这些惊人的蓝色瓷砖，认为它可以很好地填充拱门并增加一点色彩。
At some point, I wanted to add a bit of color to the frame behind the lamp in the center of the image. I remembered these amazing blue tiles in one of my references and thought it would work well to fill the arch and add a bit of color.
这幅奇妙的画与我的场景有不同的配色方案，但尝试与其中的一个表面相匹配，真的很有趣。
This fantastic painting has a different color scheme than my scene but it was really interesting to try to match one of those surfaces.
这个材料真的很有趣，因为它很简单，但却给了很多机会去做微妙的细节和变化。基色的大部分技巧来自AO和厚度。图表概述。
This Material was really fun to do as it is pretty simple but gives a lot of opportunity for subtle detailing and variations. Most of the tricks in the base color come from the AO and Thickness.Graph overview:
图案和中间形状 Pattern and Mid Shapes
表层和孔隙率
Surfacing and Porosity
基础颜色
Base Color
我最喜欢的场景之一当然是狮子。我想做一个非常古典的狮子，可以在大马士革中带有一些罗马式的扭曲。我在这里和那里挑选了一些元素来创造一些不会太天真或现代的东西。对于解剖学来说，母狮的雕塑真的很有帮助，因为它们没有狮子的鬃毛。
形象雕塑是如此轻松，这里有一些我的参考资料。
One of my favorite pieces of the scene was certainly the lions. I wanted to do a very classical lion that could be in Damas with some roman twist to it. I picked elements here and there to create something that would not be too naive or modern. For the anatomy lioness sculptures were really helpful as they don’t have the lion’s mane.
Figurative sculpts are so relaxing, here are some of my refs.
对于雕塑本身来说，它是非常简单的，我从球体开始，我变形和完善，试图保持一切简单。没有什么花哨的东西，只是移动，粘土堆积。捏紧和修剪光滑的边界。在添加任何其他元素之前，我先做了身体、头部和腿部，把所有东西都放在独立的聚能组里，以便于工作。
For the Sculpt itself, it was pretty straightforward, I started from spheres I deformed and refined, trying to keep everything simple. Nothing fancy just Moves, Clay build Up. Pinch and Trim Smooth Border. I worked the body, head and legs before adding any other elements, keeping everything with separate polygroups to work easily.
当我完成后，我复制了我的狮子，并开始用切片选择工具在其中砍伐，以创建破碎的部分。每一个都是动态的，并重新雕刻以削去边缘，用中间的形状填充切口。
When I finished it I duplicate my lion and start chopping in it with the slice selection tools to create the broken parts. Each one is dynameshed and resculpted to chip the edges and fill the cuts with mid shapes.
狮子和破碎的狮子都是在Painter中烘烤和纹理的。它允许我创建我的分层，将其分组并作为智能垫在另一个版本上重新使用。它保证了良好的一致性，使你赢得了一些宝贵的时间。我再次保持了简单的纹理，以避免实例之间的平铺感，并给贴花通道留出空间。
The Lion and Broken Lion were both baked and textured in Painter. It allows me to create my layering, group it and reuse it as a smart mat on the other version. It guarantees good consistency and makes you win some precious time. Again I kept the texturing simple to avoid a tiling feeling between instances and give room to the decal pass.
最后，我导入了每个元素的烘烤版本和它们的具体材料。这给了我很大的灵活性，因为我可以重复使用完整的狮子，但也可以将破碎的部分作为形象化的瓦砾。我甚至可以把一些破碎的元素放回去以创造更多的变化。
In the end, I imported the baked version of each element with their specific materials. It gave me a lot of flexibility as I was reusing the full lions but also the broken part as figurative rubbles. It was even possible to put some broken elements back to create even more variations.
当我开始玩音序器的时候，我意识到在门上投入更多的时间会很有趣。我再次以模块化的方式创建了闸门，以重复使用闸门本身和场景中的碎石等元素。
When I started playing with the sequencer I realized it would be interesting to invest more time in the Gate. I created the Gate in a modular manner again to reuse elements on the gate itself and in the scene as rubbles.
我创建了几个石头、木头、破损的表面的字母，但也有一个装饰，在ZBrush中快速进行。我的木头字母。
I created several alphas of stone, wood, broken surfaces but also a decoration to go quickly in ZBrush. My wood alphas:
My iron Alphas:
门楣的装饰。
The Gate Decoration for the Lintel:
它允许我在削去边缘和添加细节之前快速地充实我的雕塑。
It allowed me to quickly flesh out my sculpt before chipping edges and adding details.
然后，像狮子一样，我在Painter中烘烤和分层我的材料，创建最终的材料。为了提高效率，我在一个SPP中为每个元素、门、道具和石头都使用了一个UDIM。
Then, like the Lions, I baked and layered my materials in Painter to create the final material. To be more efficient I worked everything in one SPP using one UDIM for each element, door, props and stone.
一旦所有的东西都烤好了，我就创建了资产的最终版本，用独立的元素来创建一个带有石门楣、钉子和铁铰链的两扇门。
Once everything was baked I created the final version of the asset, playing with the separate elements to create a two-door Gate with a stone lintel, nails and iron hinges.
总而言之，这是一个了不起的项目，我在其中获得了很多乐趣。我想做一个受Gerome启发的环境，因为我在《刺客信条启示录》中做过Rhodes的souk，我是应该的。虚幻引擎5是一个令人惊奇的野兽，它使艺术家得到了前所未有的自由，即使在像叶子这样的阿尔法材料上有很大的障碍，我也等不及他们的下一次更新。 我希望这个项目明细能给你们中的一些人提供一些个人项目的想法。如果有什么不清楚或不够详细的地方，请随时联系我们。
All in all, it was an amazing project and I had so much fun on it. I wanted to do an environment inspired by Gerome since I worked on Rhodes’s souk on Assassin’s Creed Revelations, I was due. The Unreal Engine 5 is an amazing beast, freeing the Artist like never and even with a big hiccup on alpha material like foliage I can’t wait for their next update. I hope this project breakdown will give some of you a few ideas for your personal projects. Feel free to reach out if something was not clear or detailed enough.
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