Introduction
Hiya! My name is Deevya Patel and I am a recent graduate from the University of the Arts London where I studied Game Arts.
介绍
嗨！我的名字是Deevya Patel，我是伦敦艺术大学（University of the Arts London）的应届毕业生，在那里我学习了游戏艺术。

Project goals

Over the course of my degree, it was obvious that environment art was the thing that just got me going, so for my Final Major Project in my last year of University, I decided to take everything I learned and create Project Gateway. This production spanned about 6 months, 3 months for research and idea testing, and the final 3 for actual production.
项目目标

在我的学位课程中，很明显，环境艺术是让我前进的东西，所以在我大学最后一年的最后一个专业项目中，我决定把我学到的一切，创建Project Gateway。这次生产持续了大约6个月，3个月用于研究和想法测试，最后3个月用于实际生产。

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Inspirations

As a huge horror fan, it made sense to create a space inspired by some of my favourite games and movies, Outlast and Texas Chainsaw Massacre to name a few. The actual idea of a morgue came from a show I watched last summer though, The Chilling Adventures Of Sabrina The Teenage Witch. The morgue in their basement had a beautiful 1950s aesthetic and was often showcased in sickeningly green light with pops of orange. The contrast of cool and warm lighting absolutely sold me on the atmosphere, and I set out to create a space shaped after all these inspirations!
启示

作为一个超级恐怖迷，创造一个受我最喜欢的游戏和电影启发的空间是有道理的，这些游戏和电影，Outlast和Texas Chainsaw Massacre仅举几例。停尸房的实际想法来自我去年夏天看过的一部电视剧《少女女巫萨布丽娜的寒战冒险》。他们地下室的太平间具有20世纪50年代的美丽美学，经常在令人作呕的绿色灯光下展示，并带有橙色的流行。冷暖灯光的对比绝对让我在氛围上大吃一惊，我开始在所有这些灵感之后创造一个形状的空间！

My aim for this environment was to tell the story of a Doctor hanging on to his last bits of sanity.

After failing to treat his patients, he decides to mutilate and tinker with their corpses to prove his whacky theories. I really wanted the narrative to be consistently reinforced throughout the space, through the assets, textures and even lighting, so coming up with a rich backstory for the character who inhabits the space was a good starting point. He is a collector, a psychopath and well…just unhinged.
我对这种环境的目标是讲述一个医生坚持他最后的理智的故事。

在未能治疗他的病人后，他决定肢解并修补他们的尸体，以证明他的古怪理论。我真的希望叙事在整个空间中不断得到加强，通过资源，纹理甚至照明，所以为居住在这个空间的角色想出一个丰富的背景故事是一个很好的起点。他是一个收藏家，一个精神病患者，而且...只是不合时宜。

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The concept


A concept by Sigachev on ArtStation really caught my eye, it had the same warm and cool contrast that I loved from the morgue from Sabrina the Teenage Witch, and the entire space echoed a creepy vibe. I decided to merge the two concepts, by creating a 1950’s interpretation of Sigachevs concept. This was a bit of a challenge, as I needed to entirely change some aspects of the concept, but a good starting point for me was just breaking down the visual hierarchy of the scene by looking at the forms and then seeing where I could go. A lot of these questions were filled out during my blockout and initial stages, which I discuss later.
概念


Sigachev在ArtStation上的一个概念真正引起了我的注意，它具有与我从《少女女巫萨布丽娜》（Sabrina the Teenage Witch）的停尸房中喜欢的温暖和凉爽的对比，整个空间都回荡着令人毛骨悚然的氛围。我决定将这两个概念合并，通过创建1950年代对Sigachevs概念的解释。这有点挑战，因为我需要完全改变概念的某些方面，但对我来说，一个好的起点就是通过查看形式来打破场景的视觉层次结构，然后看看我能去哪里。这些问题中的很多都是在我的封锁和初始阶段填写的，我稍后会讨论这些问题。

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References and research

Like with every project, I started off with a mood board of concepts to pull from, and various pictures for different assets I was making. I really love working from real-world reference too though, as getting to observe the materials in real life helps so much during the texturing phase. I was lucky enough to be able to visit an Old Operating Theatre near London Bridge, which provided a plethora of primary references and good tidbits to add in. Getting inspired by just feeling the cluttered nature of the space was amazing too.

Not only is it nice to have that extra level of reference, but sometimes I used the photos I took and applied them directly onto models later on, like with the medicine boxes etc. With a few generators stacked on top, it was easy to get them to blend with the other textures.
参考和研究

像每个项目一样，我从一个情绪板开始，从概念中提取，以及我正在制作的不同资产的各种图片。我也非常喜欢从现实世界的参考中工作，因为在纹理化阶段观察现实生活中的材料有很大帮助。我很幸运能够参观伦敦桥附近的一家旧手术室，它提供了大量的主要参考资料和好的花絮。仅仅通过感受空间的杂乱性质而获得灵感也令人惊叹。

不仅有额外的参考水平是件好事，而且有时我会使用我拍摄的照片，并在以后直接将它们应用到模型上，比如药盒等。顶部堆叠了几个生成器，很容易让它们与其他纹理混合。

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Software

Personally, I don’t mind bouncing around between software if it means I can get a specific function done really well in different places.
软件

就个人而言，我不介意在软件之间蹦蹦跳跳，如果这意味着我可以在不同的地方很好地完成特定功能。

I started off making my tileable textures in Substance Designer, and also some in Quixel Mixer as I love the procedural elements it has to offer. All models were modelled in Maya, some high poly sculpts were occasionally made in ZBrush. For cloth elements, I used Marvelous Designer and then cleaned up topology and transferred UVs over in Maya.

To bake and render asset sheets, I used Marmoset Toolbag as I find the painting skew and offset options in there to be magical!  All assets were then textured in Substance Painter and the scene was assembled and rendered out in Unreal Engine 4.27.
我开始在Substance Designer中制作可平铺纹理，并在Quixel Mixer中制作一些纹理，因为我喜欢它必须提供的程序元素。所有模型都是用玛雅人建模的，偶尔用ZBrush制作一些高多边形雕塑。对于布料元素，我使用了Marvelous Designer，然后清理了拓扑结构并在Maya中转移了UV。

为了烘焙和渲染资源表，我使用了Marmoset Toolbag，因为我发现其中的绘画倾斜和偏移选项很神奇！然后，所有资源都在Substance Painter中进行纹理处理，场景在虚幻引擎4.27中进行组装和渲染。

Blockout and refining

As I was going to be putting a 1950’s twist on the concept, the blockout stage was really important to see how assets from that time era would come together. Initially, I really wanted large med lights on top of the autopsy tables, but it was obvious that it was just too much clutter from evaluating my blockouts. I spent most of my time looking at grey box models actually because the biggest thing I’ve learned over the course of my degree is: that if it doesn’t work in the grey box, it really won’t work down the line.
封堵和精炼

由于我打算对这个概念进行1950年代的扭曲，因此封锁阶段对于了解那个时代的资产将如何组合在一起非常重要。最初，我真的很想在尸检表的顶部放置大型医疗灯，但很明显，评估我的障碍物太混乱了。我花了大部分时间研究灰盒模型，实际上，因为我在攻读学位的过程中学到的最重要的事情是：如果它在灰色盒子中不起作用，那么它真的不会起作用。

Although it can feel unsatisfying looking at untextured grey blobs, it was important to just have faith in the larger picture and trust the process.

Moving forward I decided to stick mostly to the composition of the concept, but replace some of the furniture to be more dated to sell the 1950’s look, for example, the silhouette of the taps on the autopsy tables. Its small design elements like this which I think subtly date the place.
虽然看着没有纹理的灰色斑点可能会让人感到不满意，但重要的是要对更大的图景有信心并信任这个过程。

展望未来，我决定主要坚持这个概念的组成，但更换一些家具以更过时，以出售1950年代的外观，例如，尸检表上水龙头的轮廓。它像这样的小设计元素，我认为巧妙地确定了这个地方的日期。

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Modelling and sculpting assets

This scene had a lot of unique assets to bring together, so I had made a list of the largest/ most important ones and worked my way down to set dressing bits that wouldn’t be seen as much. I really wanted to let the clutter and mess of assets form the story of a heavily used workspace, so I really went all out with my list of assets. Most of the assets were inspired by the ones seen in the morgue from Sabrina the Teenage Witch, others were taken from the concept.
建模和雕刻资源

这个场景有很多独特的资产可以汇集在一起，所以我列出了最大/最重要的资产，并努力设置那些不会被看到太多的敷料。我真的很想让杂乱无章的资产形成一个大量使用的工作空间的故事，所以我真的全力以赴地列出我的资产列表。大多数资产的灵感来自《少女女巫萨布丽娜》在停尸房中看到的资产，其他资产则取自这个概念。

For my hero assets, I typically started with a basic mesh modelled in Maya and used ZBrush sculpt in high poly damage, which is then baked. I use the exact techniques broken down by Dylan Abrtnathy in his free typewriter tutorial, using UV seams to isolate edges in ZBrush and then using the deformation tools to focus the damage there. I highly recommend that tutorial for anyone looking for a free start-to-finish example on making a high-quality asset.
对于我的英雄资产，我通常从以玛雅为模型的基本网格开始，然后在高多边形伤害中使用ZBrush雕刻，然后将其烘焙。我使用Dylan Abrtnathy在他的免费打字机教程中分解的确切技术，使用UV接缝来隔离ZBrush中的边缘，然后使用变形工具将损坏聚焦在那里。我强烈推荐该教程给任何寻找免费的从头到尾的例子来制作高质量资产的人。

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UV

With my UVs, there wasn’t anything special I was doing, just trying to pack them neatly together and allowing an appropriate amount of texel density for the important assets. Most of my hero props used 4k textures, and most of the smaller assets such as tools and bottles all ended up sharing a texture set.
紫外线

对于我的UV，我并没有做任何特别的事情，只是试图将它们整齐地包装在一起，并为重要资产提供适当数量的纹理密度。我的大多数英雄道具都使用4k纹理，大多数较小的资源（如工具和瓶子）最终都共享一个纹理集。

Texturing

The exciting part! Texturing for me is the most enjoyable and rewarding part of the pipeline, I love giving assets a bit of story by considering how they may have been handled. A lot of the techniques I discuss next are directly from Jason Ord’s tutorial on texturing a realistic hand drill on ArtStation. I follow it almost religiously and have found his techniques to completely level up my texturing skills.
纹理

令人兴奋的部分！对我来说，纹理是管道中最令人愉快和最有价值的部分，我喜欢通过考虑如何处理它们来给资产一点故事。我接下来讨论的很多技术都直接来自Jason Ord关于在ArtStation上纹理化逼真的手钻的教程。我几乎虔诚地遵循它，并发现他的技术完全提升了我的纹理技能。

The main things I did to speed up this part of the workflow was to create a sheet of stencils and alphas. Sometimes I used real-world photographs I took, or sometimes I just found images on Textures.com and levelled them out to get black and white details. This is particularly great for stamping on things like rust, as hand-painting that can be quite time-consuming. I had a lot of metals in my scene, so creating a rust effect with depth and layers was important. I used anchor points in Substance Painter to dynamically add things in like the “rust bleed” and dripping parts. It sets up a non-destructive material in case I need to make tweaks in the future (which is pretty much always the case).
为了加快这部分工作流程，我所做的主要事情是创建一个模板和 Alpha 工作表。有时我使用我拍摄的真实世界照片，或者有时我只是在 Textures.com 上找到图像并将它们调平以获得黑白细节。这对于在生锈之类的东西上冲压特别好，因为手绘可能非常耗时。我的场景中有很多金属，因此创建具有深度和图层的锈蚀效果非常重要。我在Substance Painter中使用锚点来动态添加诸如“生锈出血”和滴水部件之类的东西。它设置了一个非破坏性的材料，以防我将来需要进行调整（几乎总是如此）。

Another part of the texturing process is going back and forth between Substance Painter and UE4 because textures always look so different. A really great tip from William Faucher seriously reduced the time I wasted tweaking materials, by simply plugging in the ACES colour LUT into Substance Painters viewport. You can find that tutorial here: https://www.youtube.com/watch?v= ... nnel=WilliamFaucher
纹理处理过程的另一部分是在Substance Painter和UE4之间来回切换，因为纹理看起来总是如此不同。威廉·福彻（William Faucher）的一个非常棒的提示大大减少了我浪费在调整材料上的时间，只需将ACES颜色LUT插入Substance Painters视口即可。你可以在这里找到那个教程：https://www.youtube.com/watch?v= ... nnel=WilliamFaucher

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Megascans

As I neared the end of the project, adding in decals and set dressing bits was sped up a lot by accessing the Megascans library. I actually ended up creating a blend material for the floor by mixing different concrete megascan materials together. The material that it kicks out is super flexible, which allows for things like puddles, which I then just vertex painted in. I think time saves like this definitely gave me more time to polish up on other important aspects such as lighting.
巨型扫描

当我接近项目结束时，通过访问Megascans库，添加贴花和设置修整位的速度大大加快了速度。实际上，我最终通过将不同的混凝土巨型扫描材料混合在一起来为地板创建了一种混合材料。它踢出的材料非常灵活，它允许像水坑这样的东西，然后我只是顶点画进去。我认为这样的时间节省肯定会让我有更多的时间来完善其他重要方面，例如照明。

Lighting and colour grading

Lighting is the part of the environment process that I struggle with most, and it is especially important in horror scenes. Looking at the concepts, the lighting is the main element that infuses the scene with its uncomfortable feeling, so it was important to get it right. I decided to once again analyze the light sources in the scene, and try to just replicate this as best as I could in my scene.
照明和颜色分级

照明是我最纠结的环境过程，在恐怖场景中尤为重要。从概念来看，照明是给场景注入不舒服感的主要元素，所以把它做好是很重要的。我决定再次分析场景中的光源，并尝试在我的场景中尽可能地复制它。

Horror lighting is all about contrast, so it became a matter of trying to achieve this without having extremely dark shadows. I would often look at my scene in just black and white to see if the values in my scene had enough contrast and if it helped draw attention to the focal points of my scene. Once I thought I achieved these main points, I dotted around some spotlights to get some poppy highlights on assets.
恐怖照明完全是关于对比度的，所以试图在没有极暗阴影的情况下实现这一目标就成了一个问题。我经常以黑白方式查看我的场景，看看我的场景中的值是否有足够的对比度，以及它是否有助于将注意力吸引到场景的焦点上。一旦我认为我实现了这些要点，我就点缀在一些聚光灯周围，以获得一些关于资产的罂粟花亮点。

Once I had my lights set up, the last step was colour grading. I try to keep this very subtle, as adding things like strong tints/bloom is something that can be overdone really quickly. I mostly fiddle with the slope, toe and shoulder values which just control your mid, darkest and lightest values. If necessary, I play around with the global parameters to add a bit of tint to the gain and offset.
一旦我设置好了灯光，最后一步就是调色。我试图保持这种非常微妙的方式，因为添加像强烈色调/花朵这样的东西可以很快地过度使用。我主要摆弄斜坡，脚趾和肩膀的值，它们只控制你的中间，最暗和最亮的值。如有必要，我会使用全局参数来为增益和偏移添加一些色调。

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Character

My main final product for my University project was actually a short cinematic, I absolutely love how they show the environment off in a new light. It’s an opportunity to tell the story of your space using a completely new lens and so I wanted to take full advantage of it.
字符

我大学项目的主要最终产品实际上是一个短片，我非常喜欢他们以新的视角展示环境的方式。这是一个使用全新镜头讲述您的空间故事的机会，因此我想充分利用它。

The original concept has 2 characters placed in the scene, and I really thought they add a lot to the environment, so I decided that placing a crazy doctor in mine would really just tie the place together. I found the model of the crazy doctor on the unreal marketplace, by ZectorLab. It came with animations, but for some bits, I imported some Mixamo animations to get him to move the way I wanted. He also happens to look like a character from Outlast who cuts off the players fingers, so happy coincidence!
最初的概念在场景中放置了2个角色，我真的认为他们为环境增添了很多，所以我决定在我的身上放置一个疯狂的医生真的只是把这个地方联系在一起。我在虚幻市场上找到了ZectorLab的疯狂医生的模型。它附带了动画，但对于一些位，我导入了一些Mixamo动画，让他按照我想要的方式移动。他也碰巧看起来像《Outlast》中的一个角色，他砍掉了玩家的手指，所以巧合！

Animation

Personally, the main thing that made my environment feel like a realistic space inhabited by a character was adding in the animations. Seeing his creepy hunched walk and erratic movements just sells the story for me. This is where the Unreal Engines sequencer came in handy, I used the weighted blending of animations and keyframes to move the character around the scene.
动画

就个人而言，让我的环境感觉像一个角色居住的现实空间的主要因素是添加动画。看到他令人毛骨悚然的驼背走路和不稳定的动作，对我来说只是卖了这个故事。这就是虚幻引擎音序器派上用场的地方，我使用动画和关键帧的加权混合来在场景中移动角色。

I used the camera switch from first to third person to tell the story of a poor snooper who didn’t make it out. It was also my first time playing around with camera shakes, this can be quite jarring when overdone, but again William Faucher has an amazing tutorial on how to tastefully add this in.
我用相机从第一人称切换到第三人称来讲述一个可怜的窥探者没有成功的故事。这也是我第一次玩相机抖动，当过度使用时，这可能会非常刺耳，但William Faucher再次有一个关于如何高雅地添加这个的惊人教程。

Link to the cinematic: https://www.youtube.com/watch?v=tLQyPtq38zQ&ab_channel=xyz
链接到电影：https://www.youtube.com/watch?v=tLQyPtq38zQ&ab_channel=xyz

Tutorial here: https://www.youtube.com/watch?v= ... nnel=WilliamFaucher
此处的教程：https://www.youtube.com/watch?v= ... nnel=WilliamFaucher

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Rendering


In the past, I would just render out of sequencer, but the difference in quality I saw after using the Movie Render Queue was amazing. Once again, William Faucher discusses several settings you can create a rendering preset with to get clean results, particularly things like the anti-aliasing. I also used his tips on making Unreal look more cinematic, tutorials are linked below.
渲染


过去，我只是在音序器之外进行渲染，但是使用电影渲染队列后，我看到的质量差异是惊人的。William Faucher 再次讨论了几个设置，您可以使用这些设置创建渲染预设来获得清晰的结果，尤其是抗锯齿等设置。我还使用了他关于使虚幻看起来更具电影感的提示，教程链接如下。


Tutorials here:https://www.youtube.com/watch?v= ... nnel=WilliamFaucher https://www.youtube.com/watch?v= ... nnel=WilliamFaucher
此处的教程：https://www.youtube.com/watch?v= ... nnel=WilliamFaucher https://www.youtube.com/watch?v= ... nnel=WilliamFaucher


Conclusion

This project took all the learning I had done during my time at University and even pushed me to learn more. Trying to translate a concept into 3D is quite a challenge, it often requires adjusting and playing around to make forms work, but I learned so much about how to keep testing different solutions to make a space come together. As well as improving on general technical skills, this project pushed me as a person too, trying to keep going even when I really didn’t have faith in the project anymore is hard, as every artist probably understands.
结论

这个项目吸收了我在大学期间所做的所有学习，甚至促使我学习更多。试图将一个概念转化为3D是一个相当大的挑战，它通常需要调整和摆弄才能使表单工作，但我学到了很多关于如何不断测试不同的解决方案以使空间组合在一起的知识。除了提高一般的技术技能外，这个项目也推动了我作为一个人，即使我真的不再对这个项目有信心，也很难坚持下去，因为每个艺术家都可能理解。

All in all, I’m really glad that this project is the one that speaks about my progress over the last 3 years.
总而言之，我真的很高兴这个项目是讲述我过去3年进步的项目。

I also want to say a huge, huge thank you to my tutor, Luca Risino, who supported me every step of the way for my entire final year. He not only helped me grow as an artist but also just as a person. Also want to say thank you to Dan Sonley, who gave me invaluable advice during our talk at the Grads in Games final day, as well as Jason Ord for inspiring this entire project and providing amazing resources that helped me level up! 🙂

Thank you for reading.
我还想对我的导师卢卡·里西诺（Luca Risino）说一声谢谢，她在我最后一年的每一步都支持我。他不仅帮助我成长为一名艺术家，也帮助我成长为一个人。还要感谢Dan Sonley，他在我们在奥运会毕业生最后一天的演讲中给了我宝贵的建议，以及Jason Ord激励了整个项目，并提供了惊人的资源，帮助我升级了！🙂

感谢您的阅读。

Introduction
Hiya! My name is Deevya Patel and I am a recent graduate from the University of the Arts London where I studied Game Arts.
介绍
嗨！我的名字是Deevya Patel，我是伦敦艺术大学（University of the Arts London）的应届毕业生，在那里我学习了游戏艺术。

Project goals

Over the course of my degree, it was obvious that environment art was the thing that just got me going, so for my Final Major Project in my last year of University, I decided to take everything I learned and create Project Gateway. This production spanned about 6 months, 3 months for research and idea testing, and the final 3 for actual production.
项目目标

在我的学位课程中，很明显，环境艺术是让我前进的东西，所以在我大学最后一年的最后一个专业项目中，我决定把我学到的一切，创建Project Gateway。这次生产持续了大约6个月，3个月用于研究和想法测试，最后3个月用于实际生产。

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Inspirations

As a huge horror fan, it made sense to create a space inspired by some of my favourite games and movies, Outlast and Texas Chainsaw Massacre to name a few. The actual idea of a morgue came from a show I watched last summer though, The Chilling Adventures Of Sabrina The Teenage Witch. The morgue in their basement had a beautiful 1950s aesthetic and was often showcased in sickeningly green light with pops of orange. The contrast of cool and warm lighting absolutely sold me on the atmosphere, and I set out to create a space shaped after all these inspirations!
启示

作为一个超级恐怖迷，创造一个受我最喜欢的游戏和电影启发的空间是有道理的，这些游戏和电影，Outlast和Texas Chainsaw Massacre仅举几例。停尸房的实际想法来自我去年夏天看过的一部电视剧《少女女巫萨布丽娜的寒战冒险》。他们地下室的太平间具有20世纪50年代的美丽美学，经常在令人作呕的绿色灯光下展示，并带有橙色的流行。冷暖灯光的对比绝对让我在氛围上大吃一惊，我开始在所有这些灵感之后创造一个形状的空间！

My aim for this environment was to tell the story of a Doctor hanging on to his last bits of sanity.

After failing to treat his patients, he decides to mutilate and tinker with their corpses to prove his whacky theories. I really wanted the narrative to be consistently reinforced throughout the space, through the assets, textures and even lighting, so coming up with a rich backstory for the character who inhabits the space was a good starting point. He is a collector, a psychopath and well…just unhinged.
我对这种环境的目标是讲述一个医生坚持他最后的理智的故事。

在未能治疗他的病人后，他决定肢解并修补他们的尸体，以证明他的古怪理论。我真的希望叙事在整个空间中不断得到加强，通过资源，纹理甚至照明，所以为居住在这个空间的角色想出一个丰富的背景故事是一个很好的起点。他是一个收藏家，一个精神病患者，而且...只是不合时宜。

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The concept


A concept by Sigachev on ArtStation really caught my eye, it had the same warm and cool contrast that I loved from the morgue from Sabrina the Teenage Witch, and the entire space echoed a creepy vibe. I decided to merge the two concepts, by creating a 1950’s interpretation of Sigachevs concept. This was a bit of a challenge, as I needed to entirely change some aspects of the concept, but a good starting point for me was just breaking down the visual hierarchy of the scene by looking at the forms and then seeing where I could go. A lot of these questions were filled out during my blockout and initial stages, which I discuss later.
概念


Sigachev在ArtStation上的一个概念真正引起了我的注意，它具有与我从《少女女巫萨布丽娜》（Sabrina the Teenage Witch）的停尸房中喜欢的温暖和凉爽的对比，整个空间都回荡着令人毛骨悚然的氛围。我决定将这两个概念合并，通过创建1950年代对Sigachevs概念的解释。这有点挑战，因为我需要完全改变概念的某些方面，但对我来说，一个好的起点就是通过查看形式来打破场景的视觉层次结构，然后看看我能去哪里。这些问题中的很多都是在我的封锁和初始阶段填写的，我稍后会讨论这些问题。

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References and research

Like with every project, I started off with a mood board of concepts to pull from, and various pictures for different assets I was making. I really love working from real-world reference too though, as getting to observe the materials in real life helps so much during the texturing phase. I was lucky enough to be able to visit an Old Operating Theatre near London Bridge, which provided a plethora of primary references and good tidbits to add in. Getting inspired by just feeling the cluttered nature of the space was amazing too.

Not only is it nice to have that extra level of reference, but sometimes I used the photos I took and applied them directly onto models later on, like with the medicine boxes etc. With a few generators stacked on top, it was easy to get them to blend with the other textures.
参考和研究

像每个项目一样，我从一个情绪板开始，从概念中提取，以及我正在制作的不同资产的各种图片。我也非常喜欢从现实世界的参考中工作，因为在纹理化阶段观察现实生活中的材料有很大帮助。我很幸运能够参观伦敦桥附近的一家旧手术室，它提供了大量的主要参考资料和好的花絮。仅仅通过感受空间的杂乱性质而获得灵感也令人惊叹。

不仅有额外的参考水平是件好事，而且有时我会使用我拍摄的照片，并在以后直接将它们应用到模型上，比如药盒等。顶部堆叠了几个生成器，很容易让它们与其他纹理混合。

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Software

Personally, I don’t mind bouncing around between software if it means I can get a specific function done really well in different places.
软件

就个人而言，我不介意在软件之间蹦蹦跳跳，如果这意味着我可以在不同的地方很好地完成特定功能。

I started off making my tileable textures in Substance Designer, and also some in Quixel Mixer as I love the procedural elements it has to offer. All models were modelled in Maya, some high poly sculpts were occasionally made in ZBrush. For cloth elements, I used Marvelous Designer and then cleaned up topology and transferred UVs over in Maya.

To bake and render asset sheets, I used Marmoset Toolbag as I find the painting skew and offset options in there to be magical!  All assets were then textured in Substance Painter and the scene was assembled and rendered out in Unreal Engine 4.27.
我开始在Substance Designer中制作可平铺纹理，并在Quixel Mixer中制作一些纹理，因为我喜欢它必须提供的程序元素。所有模型都是用玛雅人建模的，偶尔用ZBrush制作一些高多边形雕塑。对于布料元素，我使用了Marvelous Designer，然后清理了拓扑结构并在Maya中转移了UV。

为了烘焙和渲染资源表，我使用了Marmoset Toolbag，因为我发现其中的绘画倾斜和偏移选项很神奇！然后，所有资源都在Substance Painter中进行纹理处理，场景在虚幻引擎4.27中进行组装和渲染。

Blockout and refining

As I was going to be putting a 1950’s twist on the concept, the blockout stage was really important to see how assets from that time era would come together. Initially, I really wanted large med lights on top of the autopsy tables, but it was obvious that it was just too much clutter from evaluating my blockouts. I spent most of my time looking at grey box models actually because the biggest thing I’ve learned over the course of my degree is: that if it doesn’t work in the grey box, it really won’t work down the line.
封堵和精炼

由于我打算对这个概念进行1950年代的扭曲，因此封锁阶段对于了解那个时代的资产将如何组合在一起非常重要。最初，我真的很想在尸检表的顶部放置大型医疗灯，但很明显，评估我的障碍物太混乱了。我花了大部分时间研究灰盒模型，实际上，因为我在攻读学位的过程中学到的最重要的事情是：如果它在灰色盒子中不起作用，那么它真的不会起作用。

Although it can feel unsatisfying looking at untextured grey blobs, it was important to just have faith in the larger picture and trust the process.

Moving forward I decided to stick mostly to the composition of the concept, but replace some of the furniture to be more dated to sell the 1950’s look, for example, the silhouette of the taps on the autopsy tables. Its small design elements like this which I think subtly date the place.
虽然看着没有纹理的灰色斑点可能会让人感到不满意，但重要的是要对更大的图景有信心并信任这个过程。

展望未来，我决定主要坚持这个概念的组成，但更换一些家具以更过时，以出售1950年代的外观，例如，尸检表上水龙头的轮廓。它像这样的小设计元素，我认为巧妙地确定了这个地方的日期。

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Modelling and sculpting assets

This scene had a lot of unique assets to bring together, so I had made a list of the largest/ most important ones and worked my way down to set dressing bits that wouldn’t be seen as much. I really wanted to let the clutter and mess of assets form the story of a heavily used workspace, so I really went all out with my list of assets. Most of the assets were inspired by the ones seen in the morgue from Sabrina the Teenage Witch, others were taken from the concept.
建模和雕刻资源

这个场景有很多独特的资产可以汇集在一起，所以我列出了最大/最重要的资产，并努力设置那些不会被看到太多的敷料。我真的很想让杂乱无章的资产形成一个大量使用的工作空间的故事，所以我真的全力以赴地列出我的资产列表。大多数资产的灵感来自《少女女巫萨布丽娜》在停尸房中看到的资产，其他资产则取自这个概念。

For my hero assets, I typically started with a basic mesh modelled in Maya and used ZBrush sculpt in high poly damage, which is then baked. I use the exact techniques broken down by Dylan Abrtnathy in his free typewriter tutorial, using UV seams to isolate edges in ZBrush and then using the deformation tools to focus the damage there. I highly recommend that tutorial for anyone looking for a free start-to-finish example on making a high-quality asset.
对于我的英雄资产，我通常从以玛雅为模型的基本网格开始，然后在高多边形伤害中使用ZBrush雕刻，然后将其烘焙。我使用Dylan Abrtnathy在他的免费打字机教程中分解的确切技术，使用UV接缝来隔离ZBrush中的边缘，然后使用变形工具将损坏聚焦在那里。我强烈推荐该教程给任何寻找免费的从头到尾的例子来制作高质量资产的人。

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UV

With my UVs, there wasn’t anything special I was doing, just trying to pack them neatly together and allowing an appropriate amount of texel density for the important assets. Most of my hero props used 4k textures, and most of the smaller assets such as tools and bottles all ended up sharing a texture set.
紫外线

对于我的UV，我并没有做任何特别的事情，只是试图将它们整齐地包装在一起，并为重要资产提供适当数量的纹理密度。我的大多数英雄道具都使用4k纹理，大多数较小的资源（如工具和瓶子）最终都共享一个纹理集。

Texturing

The exciting part! Texturing for me is the most enjoyable and rewarding part of the pipeline, I love giving assets a bit of story by considering how they may have been handled. A lot of the techniques I discuss next are directly from Jason Ord’s tutorial on texturing a realistic hand drill on ArtStation. I follow it almost religiously and have found his techniques to completely level up my texturing skills.
纹理

令人兴奋的部分！对我来说，纹理是管道中最令人愉快和最有价值的部分，我喜欢通过考虑如何处理它们来给资产一点故事。我接下来讨论的很多技术都直接来自Jason Ord关于在ArtStation上纹理化逼真的手钻的教程。我几乎虔诚地遵循它，并发现他的技术完全提升了我的纹理技能。

The main things I did to speed up this part of the workflow was to create a sheet of stencils and alphas. Sometimes I used real-world photographs I took, or sometimes I just found images on Textures.com and levelled them out to get black and white details. This is particularly great for stamping on things like rust, as hand-painting that can be quite time-consuming. I had a lot of metals in my scene, so creating a rust effect with depth and layers was important. I used anchor points in Substance Painter to dynamically add things in like the “rust bleed” and dripping parts. It sets up a non-destructive material in case I need to make tweaks in the future (which is pretty much always the case).
为了加快这部分工作流程，我所做的主要事情是创建一个模板和 Alpha 工作表。有时我使用我拍摄的真实世界照片，或者有时我只是在 Textures.com 上找到图像并将它们调平以获得黑白细节。这对于在生锈之类的东西上冲压特别好，因为手绘可能非常耗时。我的场景中有很多金属，因此创建具有深度和图层的锈蚀效果非常重要。我在Substance Painter中使用锚点来动态添加诸如“生锈出血”和滴水部件之类的东西。它设置了一个非破坏性的材料，以防我将来需要进行调整（几乎总是如此）。

Another part of the texturing process is going back and forth between Substance Painter and UE4 because textures always look so different. A really great tip from William Faucher seriously reduced the time I wasted tweaking materials, by simply plugging in the ACES colour LUT into Substance Painters viewport. You can find that tutorial here: https://www.youtube.com/watch?v= ... nnel=WilliamFaucher
纹理处理过程的另一部分是在Substance Painter和UE4之间来回切换，因为纹理看起来总是如此不同。威廉·福彻（William Faucher）的一个非常棒的提示大大减少了我浪费在调整材料上的时间，只需将ACES颜色LUT插入Substance Painters视口即可。你可以在这里找到那个教程：https://www.youtube.com/watch?v= ... nnel=WilliamFaucher

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Megascans

As I neared the end of the project, adding in decals and set dressing bits was sped up a lot by accessing the Megascans library. I actually ended up creating a blend material for the floor by mixing different concrete megascan materials together. The material that it kicks out is super flexible, which allows for things like puddles, which I then just vertex painted in. I think time saves like this definitely gave me more time to polish up on other important aspects such as lighting.
巨型扫描

当我接近项目结束时，通过访问Megascans库，添加贴花和设置修整位的速度大大加快了速度。实际上，我最终通过将不同的混凝土巨型扫描材料混合在一起来为地板创建了一种混合材料。它踢出的材料非常灵活，它允许像水坑这样的东西，然后我只是顶点画进去。我认为这样的时间节省肯定会让我有更多的时间来完善其他重要方面，例如照明。

Lighting and colour grading

Lighting is the part of the environment process that I struggle with most, and it is especially important in horror scenes. Looking at the concepts, the lighting is the main element that infuses the scene with its uncomfortable feeling, so it was important to get it right. I decided to once again analyze the light sources in the scene, and try to just replicate this as best as I could in my scene.
照明和颜色分级

照明是我最纠结的环境过程，在恐怖场景中尤为重要。从概念来看，照明是给场景注入不舒服感的主要元素，所以把它做好是很重要的。我决定再次分析场景中的光源，并尝试在我的场景中尽可能地复制它。

Horror lighting is all about contrast, so it became a matter of trying to achieve this without having extremely dark shadows. I would often look at my scene in just black and white to see if the values in my scene had enough contrast and if it helped draw attention to the focal points of my scene. Once I thought I achieved these main points, I dotted around some spotlights to get some poppy highlights on assets.
恐怖照明完全是关于对比度的，所以试图在没有极暗阴影的情况下实现这一目标就成了一个问题。我经常以黑白方式查看我的场景，看看我的场景中的值是否有足够的对比度，以及它是否有助于将注意力吸引到场景的焦点上。一旦我认为我实现了这些要点，我就点缀在一些聚光灯周围，以获得一些关于资产的罂粟花亮点。

Once I had my lights set up, the last step was colour grading. I try to keep this very subtle, as adding things like strong tints/bloom is something that can be overdone really quickly. I mostly fiddle with the slope, toe and shoulder values which just control your mid, darkest and lightest values. If necessary, I play around with the global parameters to add a bit of tint to the gain and offset.
一旦我设置好了灯光，最后一步就是调色。我试图保持这种非常微妙的方式，因为添加像强烈色调/花朵这样的东西可以很快地过度使用。我主要摆弄斜坡，脚趾和肩膀的值，它们只控制你的中间，最暗和最亮的值。如有必要，我会使用全局参数来为增益和偏移添加一些色调。

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Character

My main final product for my University project was actually a short cinematic, I absolutely love how they show the environment off in a new light. It’s an opportunity to tell the story of your space using a completely new lens and so I wanted to take full advantage of it.
字符

我大学项目的主要最终产品实际上是一个短片，我非常喜欢他们以新的视角展示环境的方式。这是一个使用全新镜头讲述您的空间故事的机会，因此我想充分利用它。

The original concept has 2 characters placed in the scene, and I really thought they add a lot to the environment, so I decided that placing a crazy doctor in mine would really just tie the place together. I found the model of the crazy doctor on the unreal marketplace, by ZectorLab. It came with animations, but for some bits, I imported some Mixamo animations to get him to move the way I wanted. He also happens to look like a character from Outlast who cuts off the players fingers, so happy coincidence!
最初的概念在场景中放置了2个角色，我真的认为他们为环境增添了很多，所以我决定在我的身上放置一个疯狂的医生真的只是把这个地方联系在一起。我在虚幻市场上找到了ZectorLab的疯狂医生的模型。它附带了动画，但对于一些位，我导入了一些Mixamo动画，让他按照我想要的方式移动。他也碰巧看起来像《Outlast》中的一个角色，他砍掉了玩家的手指，所以巧合！

Animation

Personally, the main thing that made my environment feel like a realistic space inhabited by a character was adding in the animations. Seeing his creepy hunched walk and erratic movements just sells the story for me. This is where the Unreal Engines sequencer came in handy, I used the weighted blending of animations and keyframes to move the character around the scene.
动画

就个人而言，让我的环境感觉像一个角色居住的现实空间的主要因素是添加动画。看到他令人毛骨悚然的驼背走路和不稳定的动作，对我来说只是卖了这个故事。这就是虚幻引擎音序器派上用场的地方，我使用动画和关键帧的加权混合来在场景中移动角色。

I used the camera switch from first to third person to tell the story of a poor snooper who didn’t make it out. It was also my first time playing around with camera shakes, this can be quite jarring when overdone, but again William Faucher has an amazing tutorial on how to tastefully add this in.
我用相机从第一人称切换到第三人称来讲述一个可怜的窥探者没有成功的故事。这也是我第一次玩相机抖动，当过度使用时，这可能会非常刺耳，但William Faucher再次有一个关于如何高雅地添加这个的惊人教程。

Link to the cinematic: https://www.youtube.com/watch?v=tLQyPtq38zQ&ab_channel=xyz
链接到电影：https://www.youtube.com/watch?v=tLQyPtq38zQ&ab_channel=xyz

Tutorial here: https://www.youtube.com/watch?v= ... nnel=WilliamFaucher
此处的教程：https://www.youtube.com/watch?v= ... nnel=WilliamFaucher

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Rendering


In the past, I would just render out of sequencer, but the difference in quality I saw after using the Movie Render Queue was amazing. Once again, William Faucher discusses several settings you can create a rendering preset with to get clean results, particularly things like the anti-aliasing. I also used his tips on making Unreal look more cinematic, tutorials are linked below.
渲染


过去，我只是在音序器之外进行渲染，但是使用电影渲染队列后，我看到的质量差异是惊人的。William Faucher 再次讨论了几个设置，您可以使用这些设置创建渲染预设来获得清晰的结果，尤其是抗锯齿等设置。我还使用了他关于使虚幻看起来更具电影感的提示，教程链接如下。


Tutorials here:https://www.youtube.com/watch?v= ... nnel=WilliamFaucher https://www.youtube.com/watch?v= ... nnel=WilliamFaucher
此处的教程：https://www.youtube.com/watch?v= ... nnel=WilliamFaucher https://www.youtube.com/watch?v= ... nnel=WilliamFaucher


Conclusion

This project took all the learning I had done during my time at University and even pushed me to learn more. Trying to translate a concept into 3D is quite a challenge, it often requires adjusting and playing around to make forms work, but I learned so much about how to keep testing different solutions to make a space come together. As well as improving on general technical skills, this project pushed me as a person too, trying to keep going even when I really didn’t have faith in the project anymore is hard, as every artist probably understands.
结论

这个项目吸收了我在大学期间所做的所有学习，甚至促使我学习更多。试图将一个概念转化为3D是一个相当大的挑战，它通常需要调整和摆弄才能使表单工作，但我学到了很多关于如何不断测试不同的解决方案以使空间组合在一起的知识。除了提高一般的技术技能外，这个项目也推动了我作为一个人，即使我真的不再对这个项目有信心，也很难坚持下去，因为每个艺术家都可能理解。

All in all, I’m really glad that this project is the one that speaks about my progress over the last 3 years.
总而言之，我真的很高兴这个项目是讲述我过去3年进步的项目。

I also want to say a huge, huge thank you to my tutor, Luca Risino, who supported me every step of the way for my entire final year. He not only helped me grow as an artist but also just as a person. Also want to say thank you to Dan Sonley, who gave me invaluable advice during our talk at the Grads in Games final day, as well as Jason Ord for inspiring this entire project and providing amazing resources that helped me level up! 🙂

Thank you for reading.
我还想对我的导师卢卡·里西诺（Luca Risino）说一声谢谢，她在我最后一年的每一步都支持我。他不仅帮助我成长为一名艺术家，也帮助我成长为一个人。还要感谢Dan Sonley，他在我们在奥运会毕业生最后一天的演讲中给了我宝贵的建议，以及Jason Ord激励了整个项目，并提供了惊人的资源，帮助我升级了！🙂

感谢您的阅读。