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Introduction
介绍
Hi everyone. My name is Andrii Berezin and I am from Ukraine. I have been in the CG industry for more than 5 years and I can say that I found my calling in this field. I started my route with photogrammetry, then for me as a beginner, it was important to get a primary quick result. The scans gave me that. This process of creating 3D models gives the maximum level of realism by which I am personally delighted.
大家好。我的名字是 Andrii Berezin，来自乌克兰。我已经在 CG 行业工作了 5 年多，我可以说我在这个领域找到了自己的使命。我从摄影测量开始我的路线，然后对于我作为初学者来说，快速获得主要结果很重要。扫描结果告诉了我。这个创建 3D 模型的过程提供了最大程度的真实感，我个人对此很高兴。
When all this began, there were very few tutorials and it was necessary to collect information bit by bit. During my studies, I met wonderful guys who helped me, I am very glad that we are friends now.
这一切开始的时候，教程还很少，需要一点一点的收集资料。在我学习期间，我遇到了帮助我的好人，我很高兴我们现在是朋友。
I have participated in several projects dedicated to the preservation of the national cultural and historical heritage of Ukraine. It was a voluntary activity that gave me very necessary experience. After that, I began cooperation with international companies, in which I was getting specialized in photorealistic digital human photogrammetry reconstruction and creation, optimized 3D game engine-ready prop and character assets. Due to the terms of the contracts, I was not allowed to add the projects I was working on to my portfolio. So I had to find time for personal projects and development as an artist.
我参与了几个致力于保护乌克兰国家文化和历史遗产的项目。这是一项志愿活动，给了我非常必要的经验。之后，我开始与国际公司合作，专注于逼真的数字人体摄影测量重建和创作，优化 3D 游戏引擎就绪的道具和角色资产。由于合同条款，我不被允许将我正在从事的项目添加到我的投资组合中。所以我必须腾出时间进行个人项目和作为艺术家的发展。
The Headstone Angel Project
墓碑天使计划
A few years ago, I visited Lviv. My aim was to get more knowledge about local sculptors creating in directions of late romanticism and realism. A huge number of ancient sculptures inspiring me were presented in the historical and cultural museum-reserve of national importance "Lychakiv Cemetery". The cemetery was opened in 1786. It is one of the oldest existing cemeteries in Europe and Ukraine.
几年前，我访问了利沃夫。我的目标是更多地了解当地雕塑家在晚期浪漫主义和现实主义方向上的创作。在国家级重要历史文化博物馆保护区“Lychakiv Cemetery”中展示了大量启发我的古代雕塑。墓地于 1786 年开放。它是欧洲和乌克兰现存最古老的墓地之一。
The angel sculpture stood far away from the hiking trails, I noticed it accidentally and could not pass by. The shapes, cuts, and finishes of the stone, as well as the dramatic story skillfully conveyed in sculpture by the famous sculptor Julian Markowski (1846-1903) could not leave me indifferent to this diamond.
天使雕塑站在远足小径的很远的地方，我无意中注意到它，无法经过。宝石的形状、切割和饰面，以及著名雕塑家 Julian Markowski (1846-1903) 在雕塑中巧妙传达的戏剧性故事，都无法让我对这颗钻石无动于衷。
The sculpture was overgrown with grass and other vegetation, and this greatly interfered with the shooting conditions. Moreover, a variety of curly plants passed directly up the stone, and in some places, weeds grew from crevices and depressions. Of course, this all a bit complicated the process of obtaining a high-quality scan. I remember I took a broom, forceps, and other necessary tools and spent several active hours carefully tidying up the monument and the territory around.
雕塑上长满了草和其他植物，极大地干扰了拍摄条件。此外，各种卷曲的植物直接从石头上掠过，在一些地方，杂草从裂缝和凹陷中生长出来。当然，这一切都使获得高质量扫描的过程变得有些复杂。我记得我带着扫帚、镊子和其他必要的工具，花了几个小时的活动时间仔细整理纪念碑和周围的领土。
After cleaning the monument, I got to work using a Canon 750D SLR camera with 24mm and 50mm lenses. Photo scanning took place in the open sky with dynamic lighting changes, I had to change the camera settings frequently. It was important to take photos of the object in scattered light in order to minimize the number of shadows, especially to exclude sharp shadows and, accordingly, their display on the diffuse. The sun was hiding behind clouds, and at this time, I was in a hurry to take as many photos as possible.
清理完纪念碑后，我开始使用带有 24 毫米和 50 毫米镜头的佳能 750D 单反相机。照片扫描是在开阔的天空中进行的，具有动态的照明变化，我不得不经常更改相机设置。重要的是要在散射光下拍摄物体的照片，以尽量减少阴影的数量，尤其是要排除尖锐的阴影，从而排除它们在漫反射上的显示。太阳躲在云层后面，这个时候，我急着拍尽可能多的照片。
Due to the haste and other inconveniences of the land associated with the terrain, I got a lot of blurry pictures. This resulted in 534 photos in total, 439 of them of acceptable quality that I selected in Lightroom. I always work with RAW images to maximize the control and quality customization of Exposure, Contrast, Highlights (down), and Shadows (up).
由于土地的匆忙和其他与地形相关的不便，我得到了很多模糊的照片。这总共产生了 534 张照片，其中 439 张质量可以接受，我在 Lightroom 中选择。我总是使用 RAW 图像来最大化曝光、对比度、高光（向下）和阴影（向上）的控制和质量自定义。
From my experience with photogrammetry software, Agisoft Metashape gives the best diffuse map result and RealityCapture gives a good mesh quality. But taking into account the characteristics of the scan object, I decided to limit myself to using only Agisoft Metashape.
根据我使用摄影测量软件的经验，Agisoft Metashape 提供了最佳的漫反射贴图结果，而 RealityCapture 提供了良好的网格质量。但考虑到扫描对象的特性，我决定限制自己只使用 Agisoft Metashape。
Above, you can see the results of aligned photos in Agisoft Metashape – point cloud from the data. Blue rectangles are the places from which the photos were taken. Here, you can observe that the shooting conditions were influenced by trees, fences, and tombstones around.
上图，您可以在 Agisoft Metashape 中看到对齐照片的结果——来自数据的点云。蓝色矩形是拍摄照片的地方。在这里，您可以观察到拍摄条件受到周围树木、栅栏和墓碑的影响。
Sculpting
雕刻
After the Build Mesh process, we can see the result of the reconstruction. Due to the lack of information, some places in the geometry of the object were left not demonstrated. There are several reasons: features of the geometry of the object and the absence of shots from height.
在构建网格过程之后，我们可以看到重建的结果。由于缺乏信息，物体几何形状中的一些地方没有被展示出来。有几个原因：物体的几何特征和没有从高处拍摄。
We turn to clean up in ZBrush. The overall result seems to be good enough but not ideal. Preparing the model for retopology, I removed the extra parts of the mesh, used Close Holes, and, for further convenience with the topology, used DynaMesh, reducing the Active Points of the model from 10M to 200K.
我们转而在 ZBrush 中进行清理。总体结果似乎足够好，但并不理想。为重新拓扑准备模型，我删除了网格的额外部分，使用了 Close Holes，并且为了进一步方便拓扑，使用了 DynaMesh，将模型的活动点从 10M 减少到 200K。
To get an optimized low model, the retopology process in manual mode would take about 10-12 hours, according to my estimate, and I decided that it would be right to save this time and change the topology automatically. So, I used ZRemesher for automatic retopology and used Polypaint to influence mesh density in the right places of the model.
为了得到一个优化的低模型，根据我的估计，手动模式下的重新拓扑过程大约需要 10-12 个小时，我认为节省这个时间并自动更改拓扑是正确的。因此，我使用 ZRemesher 进行自动重新拓扑，并使用 Polypaint 来影响模型正确位置的网格密度。
After the final correction of the received low model topology and the elimination of mesh defects, I began the process of cleaning the mesh. I got 5SDiv levels and Project geometry from the scan to each of them. It may also be useful to enable Morph Target before this procedure.
在对收到的低模型拓扑进行最终修正并消除网格缺陷后，我开始了清理网格的过程。我从扫描中得到了 5SDiv 关卡和投影几何。在此过程之前启用变形目标也可能很有用。
It helped me to fix artifacts after Project. The smooth brush also does an excellent job in this particular situation. There are many similar problems throughout the entire geometry, some are quickly eliminated and others have to be tinkered with. The process of cleaning the sculpt with the sculpting tools was long, I worked hard at every SDiv level.
它帮助我在 Project 之后修复了工件。光滑的刷子在这种特殊情况下也做得很好。整个几何结构中存在许多类似的问题，有些问题很快就消除了，有些则需要修补。使用雕刻工具清理雕刻的过程很长，我在每个 SDiv 级别都努力工作。
To do this, I collected specific support material in PureRef, which significantly helped me to feel the shapes and restore them. Looking at the references made the work easier and clearer.
为此，我在 PureRef 中收集了特定的支持材料，这极大地帮助了我感受形状并恢复它们。查看参考资料使工作更容易和更清晰。
Model cleanup results：
模型清理结果：
The sculpture forms had to be restored and edited. Most attention should have been paid to the face, toes, and fingers, as well as drapery. To achieve a high-quality result, I worked out each fold of clothes from the first SDiv levels to the last.
雕塑形式必须修复和编辑。大部分注意力应该放在面部、脚趾和手指以及窗帘上。为了获得高质量的结果，我计算了从第一个 SDiv 级别到最后一个级别的每一层衣服。
Texturing
纹理
Next, I used RizomUV to create the UV and moved to Build Texture in Agisoft Metashape. I should add that for a better generation of the diffuse map, it is worth using a high poly model. But even in this case, the result will require edits and corrections.
接下来，我使用 RizomUV 创建 UV 并移至 Agisoft Metashape 中的 Build Texture。我应该补充一点，为了更好地生成漫反射贴图，值得使用高多边形模型。但即使在这种情况下，结果也需要编辑和更正。
There are a lot of artifacts, in many places, there is a blur of textures. I generated a 16K diffuse map, and, to achieve high quality, used Mari tools.
有很多文物，很多地方，有一个模糊的纹理。我生成了一张 16K 的漫反射贴图，为了获得高质量，我使用了 Mari 工具。
At this stage, I do the main work on editing textures in Mari with the Clone Stamp tool and also frequently use the ability to project some areas from the photos to the problem areas of the texture. It may be quite enough to get a good result in the association of these two tools.
在这个阶段，我主要使用克隆图章工具在 Mari 中编辑纹理，并且还经常使用将照片中的某些区域投影到纹理问题区域的功能。在这两个工具的关联中获得一个好的结果可能已经足够了。
It is also crucial to pay attention to the shadows and darkened areas of the texture. They had to be brightened as much as possible. It is now easier to create the rest of the textures for the model using the already good Diffuse texture.
注意纹理的阴影和变暗区域也很重要。他们必须尽可能地被照亮。现在使用已经很好的漫反射纹理更容易为模型创建其余纹理。
For example, if you need a High Pass texture to get fine detail and the high poly model didn’t look overly polished and unnaturally clean, this texture is easy enough to get in Photoshop.
例如，如果您需要一个高通纹理来获得精细的细节，并且高多边形模型看起来没有过度抛光和不自然的干净，那么这个纹理很容易在 Photoshop 中获得。
Continuing using ZBrush and importing the resulted texture as a Displacement map, I get the desired detail for the model. It was necessary to use Layers and Morph Target again to better control the application of the map. Now, the high poly model can be considered fully completed. And, after baking the Normal map, Cavity map, and AO, I move on to the render.
继续使用 ZBrush 并将生成的纹理导入为置换贴图，我得到了模型所需的细节。有必要再次使用图层和变形目标来更好地控制地图的应用。现在，可以认为高多边形模型已完全完成。而且，在烘焙了法线贴图、腔体贴图和 AO 之后，我继续进行渲染。
Lighting
灯光
Above, I tried to show the stages of the lighting setup and the types of sources of light in the Marmoset Toolbag that were used for the final render. First of all, I decided on the main source of light and its intensity and then moved on to choosing the right angle. The choice of secondary filling lights and their types required constant experimentation. I tried many options and consulted with friends each time setting up the lighting differently.
上面，我试图展示照明设置的各个阶段以及 Marmoset Toolbag 中用于最终渲染的光源类型。首先，我决定了主要光源及其强度，然后继续选择正确的角度。二次补光灯及其类型的选择需要不断的实验。我尝试了很多选择，每次设置不同的照明时都咨询了朋友。
The drama of the sculpture was disposed to general contrasting lighting, but I decided to play precisely on the contrast of warm and cold tones. I tried to achieve the effect of bright lunar mystical lighting by getting the balance between many different types of sources and their settings.
雕塑的戏剧性倾向于一般的对比照明，但我决定精确地发挥冷暖色调的对比。我试图通过在许多不同类型的光源及其设置之间取得平衡来实现明亮的月球神秘照明效果。
At the same time, I tried to make the shaded areas of the image more readable. The right light solutions are very important to me in the rendering process. They can make the final result spectacular and interesting by focusing the viewer's attention on the main thing in the object.
同时，我尝试使图像的阴影区域更具可读性。在渲染过程中，正确的灯光解决方案对我来说非常重要。通过将观众的注意力集中在对象中的主要事物上，它们可以使最终结果变得壮观而有趣。
I tried to make the most of the capabilities of Marmoset Toolbag for minimal post-production and I hope I managed to give some interesting color effects to this final render.
我试图充分利用 Marmoset Toolbag 的功能来进行最少的后期制作，我希望我能够为最终渲染提供一些有趣的色彩效果。
Conclusion
结论
That was my workflow on this project. There were no main challenges here because I knew what I was doing well. But as a beginner, I would probably have encountered difficulties ranging from photography skills and special settings for the photo equipment to the correct lighting setting for the render. To make the results of photogrammetry to be of acceptable quality, I tried to delve into each stage of the pipeline and conducted many different experiments. But in general, everything consists of simple and even elementary things, it's just that there are a lot of them in the beginning.
这就是我在这个项目上的工作流程。这里没有主要挑战，因为我知道自己做得很好。但作为初学者，我可能会遇到困难，从摄影技巧和照片设备的特殊设置到渲染的正确照明设置。为了使摄影测量的结果具有可接受的质量，我尝试深入研究流程的每个阶段并进行了许多不同的实验。但总的来说，一切都是由简单甚至基本的东西组成的，只是一开始就有很多。
I hope you’ve found something interesting and useful in this article. Thank you for reading and I wish you to have good weather for photogrammetry, guys!
我希望你在这篇文章中发现了一些有趣和有用的东西。感谢您的阅读，祝你们摄影测量有个好天气，伙计们！
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