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Introduction
Hi there! My name’s Sahaar and I’m a 3D Artist based in Canada. I’ve always had a very deep passion for games which probably started when I went to my neighbor’s house and watched in glory as he was playing the first Spider-man movie tie-in game on the PS2.
介绍
嘿，你好！我的名字是Sahaar，我是加拿大的3D艺术家。我一直对游戏有着非常深厚的热情，这可能始于我去邻居家，看着他在PS2上玩第一款蜘蛛侠电影合作游戏。
I’m very fortunate to say that I managed to materialize this passion for the games industry into a career pathway and pursue my dreams with 3D art. The first steps to achieving this dream were when I took a 3-year 3D Animation program at a college in Toronto.
我很幸运地说，我设法将这种对游戏行业的热情转化为职业道路，并通过3D艺术追求我的梦想。实现这个梦想的第一步是当我在多伦多的一所大学参加为期3年的3D动画课程时。
By my final term, I was absolutely certain that I wanted to specialize in Environment Art so I took it upon myself to find a more specialized program/course after I graduated from college; that could help me sharpen my skills to Industry standards and help elevate my work.
到我的最后一个学期，我绝对确定我想专攻环境艺术，所以我在大学毕业后自己找到了一个更专业的课程/课程。这可以帮助我将技能提高到行业标准，并帮助提升我的工作。
From there on out it’s been a long journey of training and learning to get to where I currently am, and here’s the funny thing. It never stops! I’ve worked on a series of projects and developed various workflows that ultimately led to my most recent Darkroom Environment Project. I’m really fortunate and grateful to have Game Artists give me a platform to break down my work here!
从那时起，这是一段漫长的训练和学习之旅，以达到我现在的位置，这是一件有趣的事情。它永远不会停止！我参与了一系列项目，并开发了各种工作流程，最终导致了我最近的暗室环境项目。我真的很幸运，也很感激游戏艺术家给我一个平台来分解我在这里的工作！
References/Inspirations
I went on a Horror gaming binge last summer with games like Resident Evil: Village, Dead Space and Alan Wake. I always find that when I’m in a slump in regard to my work, I get my motivation and inspiration for the next project, from visual mediums that I either play or watch. That’s how I narrowed down what I wanted to do with my next environment.
参考/灵感
去年夏天，我参加了恐怖游戏狂欢，比如《生化危机：村庄》、《死亡空间》和《艾伦威克》。我总是发现，当我的工作陷入低迷时，我会从我玩或看的视觉媒介中获得下一个项目的动力和灵感。这就是我缩小了下一个环境想要做什么的方式。
I started creating a mood board of the atmosphere and tones that I wanted to establish with my artwork and remembered the Darkroom save room from Resident Evil 2. I then looked all over Artstation for a Darkroom Environment and found that no one really took the initiative to create a full environment out of the idea.
That was a win in my book because my environment could stick out and be unique. I consider it a very important factor to make something that no one has seen before. I feel like it garners intrigue and interest compared to something that we’ll marvel at for a couple of minutes and move on since we’re so used to seeing something like a bedroom or a sci-fi hallway.
我开始创建一个气氛和色调的情绪板，我想用我的作品来建立，并记住了《生化危机2》中的暗室保存室。然后，我在整个Artstation中寻找暗室环境，发现没有人真正主动创造一个完整的环境。
这在我的书中是一个胜利，因为我的环境可以脱颖而出，独一无二。我认为这是一个非常重要的因素，可以制作以前没有人见过的东西。我觉得它与我们会惊叹几分钟并继续前进的东西相比，它引起了好奇心和兴趣，因为我们已经习惯了看到卧室或科幻走廊之类的东西。
I took a lot of inspiration from multiple environments on Artstation and started filling my mood board with references to what I wanted to emulate during the production of this scene.
我从Artstation上的多个环境中汲取了很多灵感，并开始在我的情绪板上填充我想在这个场景制作过程中模仿的内容。
Blockout
After a little more research, I started taking notes of all the assets that l had to model in the scene and started creating the most rudimentary block out with primitive shapes and meshes in 3Ds max just so that I could get an idea of scale, width, density and perspective. I can’t emphasize how crucial it is to really get a good understanding of this stage in your production pipeline. You want to absolutely ensure that every model is the correct scale to an average human and real-world reference.
封锁
经过更多的研究，我开始记下我必须在场景中建模的所有资源，并开始在3Ds max中使用原始形状和网格创建最基本的块，以便我可以了解比例，宽度，密度和透视。我不能强调在生产管道中真正了解这个阶段是多么重要。您希望绝对确保每个模型都与普通人类和现实世界的参考值是正确的比例。
If you’re attempting to create a realistic environment, having an abnormally large or microscopically small asset will stick out like a sore thumb and bring an uncanny feeling to your entire art piece. Please get real-life/world dimensions to every asset that you make, no matter how small or insignificant they seem. It will not only make your work better but this practice will make you a better artist. I thought about what I’d like to showcase and work on during the early stages of development.
如果你试图创造一个逼真的环境，拥有一个异常大或微观小的资产会像一个疼痛的拇指一样突出，给你的整个艺术作品带来一种不可思议的感觉。请为您制作的每件资产提供现实生活/世界维度，无论它们看起来多么小或微不足道。它不仅会让你的作品更好，而且这种做法会让你成为一个更好的艺术家。我想到了在开发的早期阶段我想展示和工作的东西。
With a rough block out started, I could start to visualize the focal point of my composition with the sink in the corner. I set up my main wide-angle with the help of a camera in 3ds max and started to build my scene with all my camera angles in mind. Once I filled the scene with my primary and secondary props, I thought that I could start putting together a scene in Unreal for grey boxing and setting up first-pass lighting.
随着一个粗略的块开始，我可以开始想象我的构图的焦点，水槽在角落里。我在3ds max相机的帮助下设置了我的主广角，并开始在考虑所有相机角度的情况下构建我的场景。一旦我用我的主要和次要道具填满了场景，我想我就可以开始在虚幻中为灰色拳击制作一个场景，并设置一次性照明。
Once I completed my proxy models, I spent some time using my camera angles to define the focal point of the composition and use the theory of directional spacing to lead the viewer’s eyes to that focal point. Your scene density ( the number of props and busyness on either side of the scene), spacing and colours play a huge role in defining this point.
Here you can see that the ventilation unit takes up a major portion of the ceiling space and it directly leads to the sink in the corner. My main source of light in the scene is placed on my focal point and the assets on either side of the room are hidden in shadow.
完成代理模型后，我花了一些时间使用相机角度来定义构图的焦点，并使用方向间距理论将观众的眼睛引导到该焦点。您的场景密度（场景两侧的道具数量和繁忙程度），间距和颜色在定义这一点方面起着巨大的作用。
在这里，您可以看到通风装置占据了天花板空间的主要部分，并直接通向角落的水槽。我在场景中的主要光源被放置在我的焦点上，房间两侧的资源隐藏在阴影中。
Modelling Workflows
Setting manageable goals is a skill I’ve forced myself to work on when it comes to projects of this scope. For environment projects, I like to make sure that all my tasks are laid out and organized in a precise and efficient manner. I achieve this by creating lists for myself. Lists on Notepad or my phone’s note app on the tasks that I’ve got left or assets that I still need to model. I think implementing a step like this in your projects is absolutely crucial to avoiding burnout and fatigue.
Since you’re creating a scene bit by bit, there’s so much work to do. Creating a specific task for the day with set deadlines ensures that you can work at manageable pacing and accomplish something at the end of the day no matter how insignificant it might seem in the grander scope of things.
建模工作流
设定可管理的目标是我强迫自己在这个范围的项目中努力的一项技能。对于环境项目，我喜欢确保我的所有任务都以精确有效的方式进行布局和组织。我通过为自己创建列表来实现这一点。记事本或手机的笔记应用上的列表，列出我剩余的任务或仍需要建模的资产。我认为在你的项目中实施这样的步骤对于避免倦怠和疲劳绝对至关重要。
由于您正在一点一点地创建场景，因此有很多工作要做。在设定的截止日期下为当天创建一个特定的任务，可以确保你可以以可管理的节奏工作，并在一天结束时完成一些事情，无论它在更大的范围内看起来多么微不足道。
Once I managed to block my scene out, I started remodelling all the props to create the final pass iterations for each asset. I use 3DS Max so my pipeline is fairly traditional to that of a game production pipeline. I’d start with all the big and prominent assets of the scene. I’ll classify these as the primary assets. Things like the table, steel chairs, sink, heavy shelf, lockers, etc. were the priority before I could move on and work on additional props. Most of these assets were created using a mid-poly FWN workflow so that I could save time and pump out satisfactory models without bouncing from one software package to another regularly although there were certain props where I had to go about the traditional method of generating a high poly mesh and baking the details down to a low poly iteration.
一旦我设法阻挡了我的场景，我就开始重新塑造所有的道具，为每个资源创建最终的通道迭代。我使用3DS Max，所以我的管道与游戏制作管道相比相当传统。我会从场景中所有重要而突出的资产开始。我将把它们归类为主要资产。像桌子，钢椅，水槽，沉重的架子，储物柜等东西是我继续前进并制作其他道具之前的首要任务。这些资源中的大多数都是使用中多边形FWN工作流程创建的，这样我就可以节省时间并抽出令人满意的模型，而无需定期从一个软件包跳到另一个软件包，尽管在某些道具中，我必须采用传统的方法来生成高多边形网格并将细节烘焙到低多边形迭代。
For things like screws in certain fixtures or grooves and panelling in a couple of pieces. I’d create a high poly asset with all these surface details, then generate a low poly mesh due to 3DS’s max’s modifier stack and then go on to UV Unwrap each component. I would take my models into Marmoset Toolbag 3 for baking as I had more control over several parameters of the process compared to doing it in Substance Painter or 3DS Max itself. Then I’d generate my baked maps and transfer over all my files into Substance Painter for texturing. I took 3 days on each asset where each day would consist of a specific stage in my workflow. I handled my assets this way to ensure that I could keep pace and do something different each day to avoid getting fatigued. Day 1 would consist of creating a high poly and low poly asset, I would tackle unwrapping and baking on the second day; and then leave the third day for texturing, revisions and engine integration.
用于某些固定装置或凹槽中的螺钉以及几块镶板之类的东西。我会使用所有这些表面细节创建一个高多边形资源，然后由于3DS的max的修饰器堆栈而生成一个低多边形网格，然后继续UV解开每个组件。我会把我的模型放入Marmoset Toolbag 3进行烘焙，因为与在Substance Painter或3DS Max本身中进行相比，我对该过程的几个参数有更多的控制。然后，我会生成烘焙的地图，并将所有文件传输到Substance Painter中以进行纹理处理。我花了3天时间处理每个资产，其中每天将包括工作流程中的特定阶段。我以这种方式处理我的资产，以确保我可以跟上步伐，每天做一些不同的事情，以避免疲劳。第1天将包括创建一个高多边形和低多边形资产，我将在第二天解决解包和烘焙问题;然后离开第三天进行纹理，修订和引擎集成。
It’s a tedious process because of how slow this step is in the entire process of creating an environment. You are responsible for almost everything here and you want to take your time with it so that you can ensure a level of quality and high fidelity with each aspect of your project. I slowly chipped away at each prop and followed the three-day workflow with all the primary assets.
这是一个繁琐的过程，因为在创建环境的整个过程中，此步骤非常缓慢。您几乎负责这里的一切，并且希望花时间使用它，以便您可以确保项目各个方面的质量和高保真度。我慢慢地砍掉了每个道具，并按照为期三天的工作流程处理所有主要资产。
After finishing all the primary assets, I moved on to the secondary props that would be scattered and seen in the scene. These include Hero assets that were specifically made for the darkroom environment. Things like the CRT Monitor, Photo Enlarger, Computer, File Boxes, Photo Development Equipment, Desk Fan, etc.
在完成所有主要资产后，我转到了次要道具，这些道具将被分散并在场景中看到。其中包括专门为暗室环境制作的英雄资产。诸如CRT显示器，照片放大器，计算机，文件盒，照片开发设备，台式风扇等。
I followed references that I had gathered in my pure ref file and started by blocking out the primary shapes of each object. I personally feel that the best way to create highly detailed props is to follow and get your primary shapes in first. Take this Photo Enlarger for example.
我遵循我在纯 ref 文件中收集的引用，并从阻止每个对象的主要形状开始。我个人认为，创建高度详细的道具的最佳方法是遵循并首先获得您的主要形状。以此照片放大器为例。
I started with a primitive block out on my first pass. The body solely consists of modified boxes and cylinders and one spline for the handle-like fixture on the right. Once I get all my shapes in, I start to further adjust and refine the model.
我从第一次通过的原始块开始。主体仅由经过修改的盒子和圆柱体以及右侧手柄状夹具的一个花键组成。一旦我完成了所有的形状，我就开始进一步调整和完善模型。
This step is where I added my support loops, and bevels/chamfers and modified the topology for things like the holes and fixture plates.
I then move on to add the fine detail with the screws and subdivide the mesh to generate a high poly asset.
在此步骤中，我添加了支撑环、斜面/倒角，并修改了孔和夹具板等拓扑结构。
然后，我继续使用螺钉添加精细细节，并细分网格以生成高多边形资产。
ModellingWorkflow_Printmaker_Model_BlockoutPhase
When I was satisfied with the result, all I had to do was duplicate the mesh, and remove the turbo smooth modifier and any other topology dense modifier to start optimizing the mesh for a low poly iteration.
当我对结果感到满意时，我所要做的就是复制网格，并删除涡轮平滑修改器和任何其他拓扑密集修饰符，以开始优化网格以进行低多边形迭代。
I reduced the tri count significantly from an estimated 260,878 to 6,519 triangles. I applied the same principle to several assets like the CRT Monitor and Computer so that I could have less burden-heavy assets in the environment.
我将三角形数从估计的 260，878 个显著减少到 6，519 个三角形。我将相同的原则应用于多个资产，如 CRT 监视器和计算机，以便我可以在环境中拥有负担较少的资产。
Texturing
Texturing is one of my favourite parts of a work pipeline. You are the master of your narrative and have the power to bring life to a computer-generated object through texturing. You can make a TV look like it’s seen better days or you could go the extra mile and really thrash/grunge it up to show its decrepit and dilapidated condition in a fictional world.
纹理
纹理是我最喜欢的工作流程之一。你是叙事的主人，有能力通过纹理为计算机生成的物体带来生命。你可以让电视看起来像是看到了更好的日子，或者你可以加倍努力，真正地打击/垃圾，以展示它在虚构世界中破旧和破旧的状况。
It is important to think about the attributes of your environment before delving into texturing your props. What type of environment are you creating? What’s the temperature? How does the environment affect the assets? Is there moisture buildup?
Is your environment set in a musty old basement? Or is it set in a sanitary office? Keeping these notes in mind is critical to creating props
and assets that look like they belong in your environment and homogenize well with the foreground to create a balanced composition.
在深入研究道具纹理之前，考虑环境的属性非常重要。您正在创建什么类型的环境？温度是多少？环境如何影响资产？是否有积水？
您的环境是否设置在发霉的旧地下室中？还是设置在卫生办公室？牢记这些音符对于创建看起来属于您的环境的道具
和资产至关重要，并且与前景均匀化以创建平衡的构图。
With my Darkroom environment, I wanted to establish a very specific type of atmosphere. There are puddles of water on the floor and sink, a couple of wet floor signs and a mop next to the sink. These
elements indicate that this place requires a regular wipe-down. There’s water damage, leaky pipes and cracks in the ceiling indicating that this room hasn’t been well maintained for some time.
With peeling paint and moisture, you get heavy grime on the walls. Some of these elements are grounded in reality, but you can also just push them to fit the narrative, atmosphere and tone of your environment and take your work up a notch.
在我的暗室环境中，我想建立一种非常特殊的氛围。地板和水槽上有水坑，几个湿地板标志和水槽旁边的拖把。这些
元素表明这个地方需要定期擦拭。有水损坏，管道漏水和天花板上的裂缝，表明这个房间已经有一段时间没有得到很好的维护。
随着油漆剥落和水分的出现，墙壁上会沾染出沉重的污垢。其中一些元素是以现实为基础的，但你也可以推动它们以适应你环境的叙事，氛围和基调，并让你的工作更上一层楼。
So keeping all these things in mind, I went on to create and texture all my props. I start with applying all my base fills and materials before adding any actual details. Two things that I believe increase the level of detail and add realism to your props are accurate grunge passes and surface variation.
因此，牢记所有这些事情，我继续创作和制作我所有的道具。在添加任何实际细节之前，我从应用所有基础填充物和材料开始。我相信有两件事可以提高细节水平，并为你的道具增添真实感，那就是准确的垃圾道和表面变化。
Take your time with it, look at your references and see where the dirt spots start. Where the dust is most visible, where would you most likely see fingerprints? Build up each level of detail with multiple grunge/detail passes and several layers.
花点时间，看看你的参考文献，看看污垢点从哪里开始。在灰尘最明显的地方，您最有可能在哪里看到指纹？使用多个垃圾/细节通道和多个图层来构建每个细节级别。
These are a couple of tips that my friend Dylan Abernethy taught and mentored me on when I was a student at Game Arts Academy. They’ve been mainstays in my texturing workflow ever since!
这些是我的朋友迪伦·阿伯内西（Dylan Abernethy）在我还是游戏艺术学院（Game Arts Academy）学生时教给我和指导的几个技巧。从那以后，它们一直是我纹理工作流程中的中流砥柱！
● Adding surface variation to your models is an essential step in the texturing process and mastering this will bring an elevated level of detail, polish and realism to your assets. This variation can come from tweaking and adding additional colours to flat bases and this additional detail is classified as colour variation.
● 为模型添加表面变化是纹理加工过程中必不可少的一步，掌握这一点将为您的资产带来更高的细节、美化和真实感。这种变化可能来自调整和添加额外的颜色到平坦的基地，这个额外的细节被归类为颜色变化。
This type of detail really brings out some weight and believability in an asset’s albedo values.
这种类型的细节确实在资产的反照率值中带来了一些权重和可信度。
Nothing is a pure colour in real life. If you use the colour sampler/eyedropper tool for your reference, none of the colours you see will have absolute values like 0,0,1 or something similar to this case. These subtle differences in hues will bring about more depth of profile in your assets.
在现实生活中，没有什么是纯粹的颜色。如果您使用颜色采样器/吸管工具作为参考，则您看到的任何颜色都不会具有绝对值，例如0，0，1或类似这种情况。这些色调的细微差异将为您的资产带来更深层次的轮廓。
The way I accomplish this effect is by adding a fill layer to my layer stack and disabling every option/preset channel aside from colour. I then choose a colour that I think is complementary to the most dominant colours in my model. Next, add a black mask and add a fill layer to said black mask. Add a procedural map that is fairly subtle in overlaying the layer. My go-to’s are usually the cloud maps or some of the numbered grunge maps. I tweak the values to my liking and then set the layer settings to multiply.
实现此效果的方法是向图层堆栈添加填充图层，并禁用除颜色之外的每个选项/预设通道。然后，我选择一种我认为与我的模型中最主要的颜色相辅相成的颜色。接下来，添加黑色蒙版并向所述黑色蒙版添加填充层。添加一个在叠加图层时相当微妙的程序映射。我的首选通常是云图或一些编号的垃圾地图。我根据自己的喜好调整了这些值，然后将图层设置设置为乘法。
Surface Variation
Surface variance can also be added through roughness alteration. This process entails painting over details that would usually stick out under light and then tweaking your roughness parameters. This could be dust, smudges, a build-up of grime, dirt, scratches, etc.
表面变化
也可以通过粗糙度改变来增加表面方差。这个过程需要在光线下通常会突出的细节上绘画，然后调整粗糙度参数。这可能是灰尘，污迹，污垢，污垢，划痕等的积聚。
Nothing is really in pristine condition except for the moment it’s freshly out of a box. Look around your surroundings, pick up something on your table and hold it up against some light.
没有什么是真正处于原始状态的，除了它刚从盒子里出来的那一刻。环顾周围的环境，拿起桌子上的东西，把它放在一些光线下。
Now, these details stick out on a prominent basis. My workflow consists of adding a fill layer and enabling nothing but the roughness channel set in a range between 0.85-1.
I then create a black mask and paint over all these details manually with procedural maps and the stencil set. I’m sure there’s a more efficient way that automates this process a little more but I’ve yet to find something that fits my needs exactly. On the positive side, I do enjoy hand painting these details in myself, something about the manual labor put into your work makes the end result more validating in my eyes!
现在，这些细节在突出的基础上脱颖而出。我的工作流程包括添加填充图层，并且只启用在 0.85-1 范围内设置的粗糙度通道。
然后，我创建了一个黑色蒙版，并使用程序贴图和模板集手动绘制所有这些细节。我相信有一种更有效的方法可以使此过程更加自动化，但我还没有找到完全符合我需求的东西。从积极的方面来说，我确实喜欢自己手绘这些细节，关于投入到你工作的体力劳动中的东西使最终结果在我眼中更加有效！
Height Details and Stamps
This tip comes from a very talented friend of mine, Eric Correia. I’ve carried this tip with me throughout my texturing work and I thought that it was worth sharing with all of you.
高度细节和图章
这个提示来自我的一个非常有才华的朋友，Eric Correia。在我的纹理工作中，我一直随身携带这个技巧，我认为这值得与大家分享。
One thing recommended when adding stamped normal/height details onto your mesh whether it be engravings, embossing, indents or any other related details; is to use the Blur filter on that layer.
Your stamps look much more natural and part of the mesh when this filter is applied as it softens the transition from two different heights of surfaces.
Simply add your stamped details in a fill layer, right-click on the said layer and add a filter. Select the blur filter and reduce the value till you’re satisfied with the look and feel of the added effect.
在网格上添加冲压的正常/高度细节时，建议做一件事，无论是雕刻，压花，缩进还是任何其他相关细节;是使用该图层上的模糊滤镜。
当应用此滤镜时，您的图章看起来更自然，并且是网格的一部分，因为它可以柔化从两个不同高度的表面过渡。
只需在填充图层中添加冲压细节，右键单击所述图层并添加过滤器即可。选择模糊滤镜并减小值，直到您对添加的效果的外观感到满意为止。
Materials, Decals and Detail Pass
Back to the environment, this process is relatively straightforward. I sourced my tileable materials like the tiled floor and concrete walls from Quixel Bridge/Megascans. I then changed some of the values like the tiling, albedo, roughness, and specular and normal parameters for the instanced materials to fit my needs.
材质、贴图和细节传递
回环境，此过程相对简单。我从Quixel Bridge/Megascans采购了我的瓷砖材料，如瓷砖地板和混凝土墙。然后，我更改了实例化材质的一些值，如平铺、反照率、粗糙度以及镜面反射和法线参数，以满足我的需求。
The one additional modification that I did make myself was adding surface imperfections to the master material of these materials. This idea hearkens back to what I said above, about surface variation. Some contrast values on your materials go a long way in adding much-needed depth, personality and realism. Especially when tileable materials for walls and floors are so basic and clean in appearance. Decals and Roughness Variation help in breaking up that procedural look.
我自己做的另一个修改是在这些材料的主材料上添加表面缺陷。这个想法回到了我上面所说的，关于表面变化。材质上的一些对比度值在增加急需的深度、个性和真实感方面大有帮助。特别是当墙壁和地板的可瓷砖材料在外观上如此基本和干净时。贴花和粗糙度变化有助于打破这种程序性外观。
For the spilled water on the floor, I used the Blood Spatter decals from Quixel Bridge. To make it look more like water, I changed the albedo values to a more neutral colour and lowered the roughness and opacity values.
对于溅到地板上的水，我使用了Quixel Bridge的血溅贴花。为了使它看起来更像水，我将反照率值更改为更中性的颜色，并降低了粗糙度和不透明度值。
As per details with set dressing, I simply did a lot of research as to what devices, tools, and objects are used often in a Darkroom. I compiled all my research and references in my pure ref board and chipped away at all the small props which would enhance the environment.
根据布景穿衣的细节，我只是做了很多研究，了解暗室中经常使用哪些设备，工具和物体。我在我纯粹的参考板中汇编了我所有的研究和参考资料，并削减了所有可以改善环境的小道具。
I went above and beyond with some of the tertiary details in the scene as well. Things like the garbage bits on the floor by the sink, posters, and photos hung over the wire. Something that motivated me to keep going ahead with this project was inserting my own passion and creative juices into this environment.
我也超越了场景中的一些三级细节。像水槽旁地板上的垃圾，海报和挂在电线上的照片之类的东西。激励我继续这个项目的动力是将我自己的激情和创造力注入到这个环境中。
I feel that people tend to be more productive towards a project/endeavor that they’re personally invested in. I did the same with this darkroom where I tried to emulate the vibe and atmosphere of some of my favourite games and passions and create a scene with them. This came from multiple easter eggs, nods and shoutouts to other games and shows, and lots of other elements like the lighting and mood established in the final scene.
我觉得人们往往对他们个人投资的项目/努力更有成效。我对这个暗室也做了同样的事情，我试图模仿我最喜欢的一些游戏和激情的氛围和氛围，并与他们一起创造一个场景。这来自多个复活节彩蛋，对其他游戏和节目的点头和喊叫，以及许多其他元素，如最终场景中建立的照明和情绪。
Lighting
My lighting setup was fairly basic with the setup scene. Interiors with one primarily light are relatively easy to set up and Lumen does a lot of the heavy lifting with the new global illumination settings.
照明
我的灯光设置在设置场景中相当基本。以一个为主的照明的内饰相对容易设置，Lumen使用新的全局照明设置做了很多繁重的工作。
Since a fluorescent tube light in the corner of my scene was my primary light source, I decided to use a Rect. A light which could replicate the accurate shape, length and spread of a tube light without blowing up the scene in overwhelming brightness.
My values were set to minimal values so that the lighting was subtle and helped illuminate the contrast and details around the scene.
由于我场景角落里的荧光灯管是我的主要光源，我决定使用Rect。一种可以复制管状灯的精确形状，长度和扩散的光，而不会以压倒性的亮度吹起场景。
我的值被设置为最小值，以便照明是微妙的，并帮助照亮场景周围的对比度和细节。
To get the emissive boost that highlighted the back wall, I actually applied a separate material to the tube light mesh. When I took the tube light into Substance Painter, I made an emissive texture to showcase the light. From looking at real-world references, I noticed that the light wouldn’t illuminate the entire tube, it would actually fade out closer to the edges. It’s details like this that an artist should take note of if they attempt to make realistic environments.
为了获得突出后壁的发射增强，我实际上在管光网格上应用了单独的材料。当我将管光带入Substance Painter时，我制作了一个发光纹理来展示光线。通过查看现实世界的参考，我注意到光线不会照亮整个管子，它实际上会逐渐消失在靠近边缘的地方。像这样的细节，艺术家应该注意，如果他们试图创造逼真的环境。
I achieved this light falloff by adding a gradient filter and then painting over the emissive material with a soft brush.
When I integrated the Fluorescent Tube Light into the scene, I also made sure that I’d go into my details panel and enable the emissive boost setting to a value of 2.0 so that the emissive texture could be highlighted and stand out prominently in the scene.
我通过添加渐变滤镜，然后用软画笔在发光材料上绘画来实现这种光衰减。
当我将荧光灯管集成到场景中时，我还确保进入我的细节面板，并将自发光增强设置设置为2.0的值，以便可以突出显示发光纹理并在场景中突出显示。
I then added a Point Light right below the tube light to enhance the falloff and create some effectively cast shadows for the surrounding components of the scene. This gave a nice highlight to the back wall and gave the illusion of higher intensity to the Rect. Light without blowing out all the subtle details, reflections and light bounces.
然后，我在管光源正下方添加了一个点光源，以增强衰减，并为场景的周围组件创建一些有效的投射阴影。这为后墙提供了一个很好的亮点，并为Rect.光线提供了更高强度的错觉，而不会吹出所有微妙的细节，反射和光线反射。
I learned this next trick a couple of years ago from an amazing lighting artist, Zach Hewett. Adding an Exponential Height Fog next to your main source of lighting with really subtle values helps give it a really good sense of depth, weight and profile.
几年前，我从一位了不起的灯光艺术家扎克·休伊特（Zach Hewett）那里学到了下一个技巧。在具有非常微妙的值的主要来源旁边添加指数高度雾有助于使其具有非常好的深度，重量和轮廓感。
The fog takes your lighting information into account and creates real volumetric lighting. We refer to these rays of silhouetted light as god rays. The Exponential Height Fog illuminates the spread of the light and this tool can artistically bring out
wonders in the mood and various other storytelling aspects of your scene.
雾会考虑您的照明信息，并创建真正的体积照明。我们将这些剪影光光称为神光。指数高度雾照亮了光线的传播，这个工具可以艺术地在情绪和场景中的各种其他讲故事方面带来
奇迹。
Enable your Volumetric Shadows and the added weight with the Exponential Height Fog enhances the silhouettes of your shadows and softens the falloff of light dramatically, therefore, pushing your scene through another threshold of realism. The difference speaks for itself and I can’t recommend this trick enough!
启用体积阴影，指数高度雾增加的重量增强了阴影的轮廓，并大大软化了光线的衰减，从而推动了场景通过另一个逼真的门槛。差异不言自明，我不能推荐这个技巧！
With the lamps, I added a Spot Light and widened the inner and outer cones just enough to illuminate and highlight the edges of all the nearby props/assets on the table. The radius of the lamp head plays a big factor in how much the light from the bulb spreads out so keeping that in mind, I tweaked the size of the cones and adjusted the location of the SpotLight appropriately.
有了这些灯，我添加了一个聚光灯，并加宽了内部和外部的锥体，足以照亮和突出显示桌子上所有附近道具/资产的边缘。灯头的半径对灯泡的光扩散程度起着重要作用，因此请记住这一点，我调整了锥体的大小并适当地调整了SpotLight的位置。
I then increased the Indirect Lighting Intensity to illuminate the table and make the transition of the light much softer when it touched assets on the surface of the table. I further added an IES Texture to the light so that I could make the falloff much softer and natural.
然后，我增加了间接照明强度以照亮桌子，并使光线在接触桌子表面的资源时更加柔和。我进一步在光线上添加了IES纹理，以便我可以使衰减更加柔和自然。
A huge shout out to the Experience Points discord that helped me nail this part of the composition. It is an amazing 3D Art community and I highly implore you to join it if you haven’t already.
对经验值不和谐的巨大呐喊，帮助我确定了这部分构图。这是一个了不起的3D艺术社区，我强烈建议你加入它，如果你还没有。
Post Process and Final Renders
I always say that Presentation and Final Polish will at least amount to 50 percent of your project’s development time. Since this is the final stage of production, you want to absolutely ensure that every single aspect of your project meets your defined criteria of high standards. I carry this process out by making a checklist of settings, and processes that I want to work on and enable before taking my final renders.
后期处理和最终渲染
我总是说，演示和最终波兰语至少相当于项目开发时间的50%。由于这是生产的最后阶段，因此您希望绝对确保项目的每个方面都符合您定义的高标准标准。我通过制作设置清单来执行此过程，以及在进行最终渲染之前要处理和启用的流程。
LUT’s
Let’s start with LUTs. Colour grading is a very important stage during the post-production of your scene. Different Colors/Gamma settings can drastically change the mood, tone and theme of your scene. The colour palette communicates these aspects by influencing the emotional tone within a scene.
路特斯
让我们从 LUT 开始。在场景后期制作过程中，调色是一个非常重要的阶段。不同的颜色/伽玛设置可以极大地改变场景的情绪、色调和主题。调色板通过影响场景中的情感基调来传达这些方面。
I wanted to communicate feelings of isolation, mystery and coldness through my palette. I noticed that some of my references reinforced the same imagery which is why I attempted to match my own palette to theirs.
I accomplished this by taking a LUT Template into Photoshop alongside a picture of my environment and experimenting with various masks and filters like the Vibrance channel and Color Balance channels. Here are my settings
我想通过我的调色板传达孤立，神秘和冷酷的感觉。我注意到我的一些参考资料强化了相同的图像，这就是为什么我试图将我自己的调色板与他们的调色板相匹配。
为此，我将LUT模板与我的环境图片一起放入Photoshop中，并尝试各种蒙版和滤镜，如Vibrance通道和色彩平衡通道。这是我的设置
Post Production is one of my absolute favourite stages of development when working in the Unreal Engine. With some slight value tweaking, It has the potential to turn a good scene into an amazing one! I modified my lens settings, reflections and some of my gamma values to achieve a more cinematic result. These were my revised settings, As you can make out, there’s a stark difference in colours and mood.
Additionally, to sharpen the quality of the renders, I created a simple Sharpening Filter Material using awesome youtube tutorial and added that to the blendable additives option to bring out a higher resolution in texture quality.
后期制作是我在虚幻引擎中工作时最喜欢的开发阶段之一。通过一些轻微的价值调整，它有可能将一个好的场景变成一个惊人的场景！我修改了镜头设置、反射和一些伽玛值，以获得更具电影感的效果。这些是我修改后的设置，正如你所知道的，颜色和情绪有明显的差异。
此外，为了提高渲染质量，我使用https://youtu.be/9EDVPcQsyzs精彩youtube教程创建了一个简单的锐化滤镜材质，并将其添加到可混合添加剂选项中，以在纹理质量方面带来更高的分辨率。
Cinematic Capture and Final Renders
Finally, when it came time to do Cinematic Renders, there is only one person who comes to mind. is a superbly talented VFX Artist and I can’t speak any more highly of his work.
Nearly every part of my skill set that has to do with post-production, rendering and cinematics in Unreal Engine has been learned from his youtube channel.
电影捕捉和最终渲染
最后，当需要进行电影渲染时，脑海中只有一个人。https://www.youtube.com/c/WilliamFaucher/featured是一位才华横溢的视觉特效艺术家，我对他的作品赞不绝口。
我几乎所有与虚幻引擎中的后期制作、渲染和过场动画相关的技能部分都是从他的YouTube频道中学到的。
In order to get my video capture to look as cinematic as possible on a production level, I enabled and tweaked some of the settings that William Faucher heavily recommends-
为了让我的视频捕获在制作层面上看起来尽可能具有电影感，我启用并调整了William Faucher强烈推荐的一些设置-
Camera Type – 16:9 DSLR
Motion Blur – Enabled at 50 percent
Lens Flare and Bloom – The values for these parameters could be customized to your preference.
Frames per Second – 24 frames since that is the value used for film and production vs. games.
Depth Fade Distance – Though it is heavily recommended to use the sampler tool and select the focal point of your camera shot; the values for these parameters could be customized to your preference.
相机类型 - 16：9 DSLR
运动模糊 - 在50%镜头
眩光和绽放时启用 - 这些参数的值可以根据您的喜好进行自定义。
每秒帧数 – 24 帧，因为这是用于电影和制作与游戏的值。
深度淡入淡出距离 - 尽管强烈建议使用采样器工具并选择相机拍摄的焦点;这些参数的值可以根据您的喜好进行自定义。
I also followed one of his tutorials to create a simple Shaky Cam blueprint out of Unreal Engine’s preset templates. I then added this blueprint to my Cinematic Camera and rendered my video. The subtle movements and jitters in the camera add heavily to the realism aspect in my opinion since the camera establishes an element of immersion for the viewer.
Additionally, I made minor changes to my render settings when I was ready to render the camera cinematic. Here are my settings:
我还按照他的一个教程，用虚幻引擎的预设模板创建了一个简单的Shaky Cam蓝图。然后，我将此蓝图添加到我的电影摄像机中并渲染了我的视频。在我看来，摄像机中微妙的动作和抖动大大增加了现实主义方面，因为摄像机为观众建立了沉浸感的元素。
此外，当我准备好将摄像机渲染成电影时，我对渲染设置进行了微小的更改。以下是我的设置：
Post Partum and Reflections
And we’re done! Thank you for sticking to the end and going over my breakdowns. I’d like to take this chapter to reflect on my production and thank some fellow 3D Artist friends who stuck by my side and motivated me to complete this project when
产后和反思
我们完成了！谢谢你坚持到底，回顾我的崩溃。我想用这一章来反思我的制作，并感谢一些3D艺术家朋友，他们一直站在我身边，激励我完成这个项目，
I needed their support. Eanna O’Brien, Ashawn Masahir and Jansen Thorogood have been incredibly supportive of my endeavors and have been with me for the long haul of this project. Here’s to many more art journeys with you. I
couldn’t be more happier and grateful for the reception I’ve received due to this project. It’s inspiring to see so many people validate and appreciate your efforts.
我需要他们的支持。Eanna O'Brien，Ashawn Masahir和Jansen Thorogood一直非常支持我的努力，并长期陪伴我完成这个项目。这里有更多与你一起的艺术之旅。我不能
更开心，并感谢由于这个项目而收到的接待。看到这么多人验证并欣赏你的努力，真是令人鼓舞。
The art community is one of the most welcoming, nurturing and helpful communities that I’ve been a part of. So writing this breakdown feels like I’ve come full circle and I’m getting the opportunity to pay this forward to other artists out there.
艺术社区是我参与过的最热情，最有教养和最有帮助的社区之一。因此，写下这个细分感觉就像我已经走了一圈，我有机会把这个转发给其他艺术家。
There is so much more left to learn! I’d like to make the process of creating environments more efficient and automated. That process would entail much more complex master materials with multiple blending options. Foliage and organic modelling is something that I’d like to take up in the future so stay tuned for the future!
还有很多东西需要学习！我想使创建环境的过程更加高效和自动化。该过程将需要更复杂的主材料，具有多种混合选项。树叶和有机建模是我想在未来做的事情，所以请继续关注未来！
I think that I got the opportunity to learn and refine my craft in terms of building interior environments. This experience really deepened my understanding of colour palettes, focused compositions and quality in narrative storytelling via environments.
我认为我有机会在建筑室内环境方面学习和完善我的手艺。这次经历确实加深了我对调色板、重点构图和通过环境讲述叙事质量的理解。
We all grow and develop at our own paces and I always say this, “ the learning curve in an industry like ours is exponential or rather limitless. You can never reach a ceiling cap or plateau unless you choose to do so for yourself. New software and workflows will arise on a regular basis that will make your work obsolete.” Take these thoughts as a challenge to better yourself and elevate your artistic being. Learn that software, or discipline that you’ve been feeling ambivalent about taking on. Do it at your own pace and terms but do it.
我们都按照自己的节奏成长和发展，我总是这样说，“像我们这样的行业的学习曲线是指数级的，或者说是无限的。你永远无法达到天花板或高原，除非你选择为自己这样做。新的软件和工作流程将定期出现，这将使您的工作过时。把这些想法当作一个挑战，让自己变得更好，提升你的艺术性。了解您一直对采用的软件或纪律感到矛盾。按照自己的节奏和条款去做，但要去做。
Lastly, don’t compare yourself to artists out there who have years of experience under their belts.
最后，不要将自己与拥有多年经验的艺术家进行比较。
They’ve been on the same journeys as many of us and with time, established themselves as the professionals that they are today.
Instead, compare yourself to the person you were yesterday. The skills, knowledge, awareness and abilities that you had yesterday. If you see growth, it means you’re heading in the right direction!
Thank you once again for making it this far and taking an interest in my work. If you have any further questions or inquiries, please feel free to contact me via my email or on Artstation!
他们和我们许多人一样踏上了同样的旅程，随着时间的推移，他们确立了自己作为今天专业人士的地位。
相反，将自己与昨天的人进行比较。你昨天拥有的技能，知识，意识和能力。如果你看到增长，这意味着你正朝着正确的方向前进！
再次感谢您到目前为止，并对我的工作感兴趣。如果您有任何其他问题或疑问，请随时通过电子邮件或在Artstation上与我联系！
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