Introduction
Hi everyone! My name is Michalina Gąsienica-Laskowy, but most people know me as Miszla. I started learning 3D graphics very early – I was lucky enough to discover Blender when I was 10 and since then, I have been regularly playing around with it. The progress was plodding since I was just a kid recreating YouTube tutorials in my free time, but midway through high school I realized it could be something I do professionally. I started researching more about workflows and learning various software. I had the opportunity to work for two companies, where I met inspiring people from the industry. Their passion gave me confidence that I was on the right track. I found my current college – Howest DAE in Belgium – and I decided to move there from Poland and pursue a career as a 3D artist.
介绍
大家好！我的名字是Michalina Gąsienica-Laskowy，但大多数人都知道我是Miszla。我很早就开始学习3D图形 - 我很幸运地在10岁时发现了Blender，从那时起，我一直在玩它。由于我只是一个在空闲时间重新创建YouTube教程的孩子，因此进展缓慢，但是在高中中途，我意识到这可能是我专业上做的事情。我开始研究更多关于工作流程和学习各种软件的知识。我有机会在两家公司工作，在那里我遇到了来自该行业的鼓舞人心的人。他们的热情给了我信心，相信我走在正确的轨道上。我找到了我现在的大学——比利时的Howest DAE——我决定从波兰搬到那里，从事3D艺术家的职业。



The Sprucetuck Project
One of my favorite courses this year was about creating environments in Unreal Engine 5. For our finals, we were given a free hand when it came to a scene we would like to recreate – everything complex enough was allowed. I probably spent as much time on ArtStation looking through all the amazing concepts as I spent on the actual project. After all this research, I chose Darek Zabrocki’s concept. I've followed Mr. Zabrocki for a while already and I’m a big fan of his work.
云杉项目
今年我最喜欢的课程之一是关于在虚幻引擎5中创建环境的。对于我们的决赛，当涉及到我们想要重现的场景时，我们得到了一个自由的手 - 所有足够复杂的事情都是允许的。我可能花在ArtStation上的时间与在实际项目上花费的时间一样多，可以查看所有令人惊叹的概念。经过所有这些研究，我选择了Darek Zabrocki的概念。我已经关注扎布罗基先生一段时间了，我是他作品的忠实粉丝。

This artwork especially spoke to me. It's incredibly complex, yet it doesn’t use too many unique elements that I would have to model as separate assets. It’s also vastly different from my other portfolio pieces. And first and foremost – it’s a beautiful image.
这件艺术品特别适合我。它非常复杂，但它没有使用太多我必须建模为单独资源的独特元素。它也与我的其他投资组合有很大不同。首先，也是最重要的一点——这是一幅美丽的图像。



References
After I took a thorough look, I realized how challenging it would be to execute this piece. The design was so unique it was hard for me to find any related references. My first instinct was to look for fishing villages, but none of them had any similarity to the architecture in the concept. And since most of the shot was far away from the camera the details were just smartly put brush strokes, modeling-wise I couldn’t base myself only on the concept.
引用
在我彻底看了一眼之后，我意识到执行这件作品是多么具有挑战性。设计是如此独特，以至于我很难找到任何相关的参考资料。我的第一个直觉是寻找渔村，但它们都与概念中的建筑没有任何相似之处。由于大部分镜头都远离相机，细节只是巧妙地画笔，在建模方面，我不能只基于这个概念。

A breakthrough came when a friend of mine told me to check out one Chinese town – Wuzhen. It was exactly what I was looking for. I found a YouTube video of a 1,5-hour long walk around the town and I took a lot of screenshots from it. Now some of the more ambiguous parts of the concept finally had a real-life counterpart and I was able to identify parts to model.
一个突破来了，我的一个朋友告诉我去看看一个中国小镇——乌镇。这正是我想要的。我在YouTube上发现了一个1.5小时在镇上散步的视频，我从中截取了很多截图。现在，这个概念中一些更模糊的部分终于有了现实生活中的对应物，我能够识别出要建模的部分。

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Modeling
I started with a simple blockout to try to match up camera settings with the concept. I made basic models of individual buildings in Blender and put them in Unreal Engine. For scale reference, I used a free model by Emily Blane from Sketchfab. Because of a time constraint to finish this project, I feel like I moved from this stage a bit too quickly. I was afraid I would get stuck on it and in the end, some composition lines do not work as well as they do on the concept and I did get a few tangents as well. If I made this project again, I would probably spend even more time on the blockout and play with the camera a bit longer to avoid these types of errors.
建 模
我从一个简单的封锁开始，试图将相机设置与概念相匹配。我在Blender中制作了单个建筑的基本模型，并将它们放在虚幻引擎中。为了便于比例参考，我使用了 Sketchfab 的 Emily Blane 的免费模型。由于完成这个项目的时间有限，我觉得我从这个阶段移开得有点太快了。我担心我会被困在它上面，最后，一些构图线在概念上效果不如它们，我也得到了一些切线。如果我再次制作这个项目，我可能会花更多的时间在封锁上，并花更长的时间玩相机以避免这些类型的错误。

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When it came to decorating, I knew I would need a lot of planks and I didn't want to place them all individually. Following the advice of my teacher, I created a blueprint tool to place assets along the spline with randomly picked meshes, location, rotation, and scale. It was a great choice since at the end of the project I placed over 200 of those blueprint actors in the scene.
在装饰方面，我知道我需要很多木板，我不想把它们都单独放置。根据老师的建议，我创建了一个蓝图工具，以使用随机选取的网格、位置、旋转和缩放沿样条放置资源。这是一个很好的选择，因为在项目结束时，我在场景中放置了200多个这样的蓝图演员。

I used them for all the plank walls, docks, poles, barriers, roof supports, and many more. I can’t imagine how big of a time saver it was. One of the biggest lessons I left the project with is knowledge of Instanced Static Meshes. It’s a way of telling the engine that the meshes that were placed via blueprints are indeed the same mesh, which reduces draw calls tremendously. I don’t have much experience in blueprints, so I wasn’t really aware of its potential, and the tool I created uses normal Static Meshes. It still works for cinematic purposes, which is what this scene was created for, but changing it to instanced mesh would make working in the scene much smoother.
我将它们用于所有木板墙，码头，杆，障碍物，屋顶支撑等等。我无法想象它能节省多少时间。我给项目留下的最大教训之一是实例化静态网格体的知识。这是一种告诉引擎通过蓝图放置的网格确实是同一网格的方式，这大大减少了绘制调用。我在蓝图方面没有太多经验，所以我并没有真正意识到它的潜力，我创建的工具使用正常的静态网格体。它仍然适用于电影目的，这就是创建此场景的目的，但将其更改为实例化网格将使场景中的工作更加流畅。

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Creating the Planks Asset Pack
It took me a few attempts before I made a plank asset pack that worked well enough for the project. On my first try, I sculpted them in ZBrush, decimated them a bit, unwrapped them with Blender’s automatic unwrap tools, and textured them with a smart material in Substance 3D Painter. What I got didn’t work for the buildings, but I still used them to build the docks.
创建木板资源包
我花了几次尝试才制作了一个对项目足够好的木板资源包。在我第一次尝试时，我在ZBrush中雕刻了它们，将它们摧毁了一点，用Blender的自动解包工具解开了它们，并在Substance 3D Painter中使用智能材质对它们进行了纹理处理。我得到的东西对建筑物不起作用，但我仍然用它们来建造码头。

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You can notice a very generic white dusty pattern on it. Since I decided to build up the whole scene with only a couple of planks, I didn’t want it to be too obvious. Using the Unreals Material Layers system, I overlaid some white and orange spots on top. It’s noticeable in a closeup, but it has a big impact on the scene as a whole.
你可以注意到它上面有一个非常普通的白色灰尘图案。由于我决定只用几块木板来构建整个场景，我不希望它太明显。使用虚幻材质图层系统，我在顶部叠加了一些白色和橙色的斑点。这在特写镜头中很明显，但它对整个场景有很大的影响。

Material layer setup：
材料层设置：

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Material layer blend nodes：
材料层混合节点：

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I created a second set of planks, which were just textured cubes, but I wasn’t happy with those either. I still used them in a few spots just to add variety, but they didn’t work as a main builder of the scene. My third iteration was decent enough and I could finally start building the scene.
我创建了第二组木板，它们只是有纹理的立方体，但我对它们也不满意。我仍然在一些地方使用它们只是为了增加多样性，但它们并没有作为场景的主要构建者。我的第三次迭代已经足够好了，我终于可以开始构建场景了。

Final main asset pack：
最终主资产包：

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Another Unreal feature I learned about while creating the project was Unreal Engine's modeling tools. When I first heard about them, I didn’t give them much attention because I was skeptical about how useful they would be. I underestimated how much quicker it is to do basic modeling tasks inside of the engine. Some time into the project I decided to add some displacement from one of the wood textures I downloaded from Bridge to the planks and bevel their edges with a boolean tool. I think it helped to create some extra pop, especially in areas closer to the camera, and to separate individual planks even more. It’s a very quick and easy way to add a level of detail without leaving the engine.
我在创建项目时学到的另一个虚幻功能是虚幻引擎的建模工具。当我第一次听说它们时，我没有给他们太多的关注，因为我对它们的用处持怀疑态度。我低估了在引擎内部执行基本建模任务的速度要快得多。在项目进行一段时间后，我决定从Bridge下载的其中一个木结构纹理中添加一些位移到木板上，并使用布尔工具斜倚其边缘。我认为它有助于创造一些额外的流行音乐，特别是在靠近相机的区域，并进一步分离单个木板。这是一种非常快速简便的方法，可以在不离开引擎的情况下添加一定程度的细节。

The same plank before and after treating with Unreal Engine's modeling tools：
使用虚幻引擎建模工具处理之前和之后的相同木板：

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The Roofs
A huge part of the scene, and most importantly the scene's composition, are the roofs. They both needed to look interesting even in their large quantity and needed to fit complex shapes. To start, I sculpted 3 tiles of different sizes in ZBrush and broke each of them a bit. With those 6 tiles as a base, I put them together into a 2x2m tileable mesh. For the smaller buildings that’s pretty much all I used. For the big ones, I just duplicated the mesh around and warped it with a lattice tool.
屋顶
场景的很大一部分，最重要的是场景的构图，是屋顶。即使数量庞大，它们也需要看起来很有趣，并且需要适合复杂的形状。首先，我在ZBrush中雕刻了3个不同尺寸的瓷砖，并稍微打破了它们。以这6个瓷砖为基础，我将它们组合成一个2x2m的可瓷砖网格。对于较小的建筑物，这几乎是我使用的全部。对于大的，我只是复制周围的网格，并用晶格工具扭曲它。

Since it’s a tileable mesh, I didn’t add much dirt to it on the texture itself. I didn’t want it to look too repetitive. I created simple textures for the tiles themselves, and on the separate UV channel, I unwrapped the roof as a whole and generated some grunge masks in Substance 3D Painter – one from the dirt generator, one which is a simple AO, and a general dirt overlay. Then, inside of a Material Layers System, I multiplied the masks with some simple overlays and added more detail to them.
由于它是一个可平铺的网格，我没有在纹理本身上添加太多污垢。我不想让它看起来太重复。我为瓷砖本身创建了简单的纹理，在单独的UV通道上，我打开了整个屋顶的包装，并在Substance 3D Painter中生成了一些垃圾蒙版 - 一个来自污垢发生器，一个是简单的AO，以及一个通用的污垢覆盖层。然后，在材质层系统内部，我用一些简单的叠加层将蒙版相乘，并为其添加更多细节。

Roof asset before and after adding dirt using grunge maps：
使用垃圾贴图添加泥土之前和之后的屋顶资产：

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Material Layer Blend setup is very similar to the one I used for a general Overlay on the planks. Just instead of using two triplanar grunge textures, the primary one is a grunge map with baked masks.
材质层混合设置与我用于在木板上进行一般叠加的设置非常相似。与其使用两个三边颓废纹理，不如使用带有烘焙面具的颓废贴图。

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For the tops of the roofs, I looked at reference pictures from Wuzhan roofs and replicated those. I made another asset pack which also includes smaller props and poles I used for buildings and dock supports.
对于屋顶的顶部，我查看了五zan屋顶的参考图片并复制了这些图片。我制作了另一个资产包，其中还包括我用于建筑物和码头支撑的较小的道具和杆子。

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Unique Assets
With the planks and roofs in place, combined with the tool to place them, I was able to build 90% of the scene already, though there were still a few more unique assets I had to create that were important to put the scene together.
独特的资产
有了木板和屋顶，再加上放置它们的工具，我已经能够构建90%的场景，尽管我还需要创建一些更独特的资源，这些资源对于将场景组合在一起非常重要。

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The boat is a focus point in the scene as a whole. Instead of making a photorealistic rowing boat, I decided to focus more on matching the shape with the one from the concept and the colors with the ones that were already present in the scene. Because of the angle of the shot, I didn’t have to make a too detailed inside either. I used a straightforward assets workflow, modeling in Blender and texturing in Substance 3D Painter.
船是整个场景中的焦点。我决定不制作逼真的划艇，而是更多地关注将形状与概念中的形状相匹配，并将颜色与场景中已经存在的颜色相匹配。由于镜头的角度，我也不必在里面做太详细。我使用了一个简单的资源工作流程，在Blender中建模，在Substance 3D Painter中纹理化。

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The net I created by making a simple cloth simulation in Marvelous Designer. I tucked corners to the underside of the buildings and simulated it with the Wool preset. It’s not a perfect fishing net shape, but it did the job since it’s pretty far away from the camera and partially hidden behind the poles. I used a net pattern as the opacity mask and scaled unwrap to match the scale correctly. In Blender, I adjusted the shape a bit more to make it more rounded using proportional editing. I didn’t generate a color nor a roughness map, those are just single values.
我在Marvelous Designer中通过制作简单的布料模拟而创建的网。我把角落塞到建筑物的下面，并用羊毛预设来模拟它。它不是一个完美的渔网形状，但它完成了这项工作，因为它离相机很远，部分隐藏在杆子后面。我使用净图案作为不透明度蒙版，并缩放展开以正确匹配比例。在Blender中，我调整了形状，使其使用比例编辑更加圆润。我没有生成颜色或粗糙度贴图，这些只是单个值。

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For the chimney, I used textures displacement. I downloaded bricks and a pavement texture from Bridge, made a simple chimney shape based on the concept, and applied a Displace modifier to it. Before I moved on, I checked in the engine if the scale of the bricks looks good in the scene and adjusted UVs in Blender if necessary. After I was happy with the scale, I applied the modifier and went over the edges with a Scrape tool in Sculpting mode in Blender to get rid of the jagged edges. The sculpting tools are a reason why I didn’t displace them in Unreal itself. Those inside Blender are great for simple tasks like that.
对于烟囱，我使用了纹理位移。我从Bridge下载了砖块和路面纹理，根据这个概念制作了一个简单的烟囱形状，并对其应用了置换修改器。在我继续前进之前，我检查了引擎中积木的比例在场景中是否看起来不错，并在必要时调整了Blender中的UV。在我对比例感到满意之后，我应用了修改器，并在Blender的雕刻模式下使用刮擦工具越过边缘，以摆脱锯齿状的边缘。雕刻工具是我没有在虚幻引擎中取代它们的原因之一。Blender内部的那些非常适合这样的简单任务。

Chimneys with and without displacement：
带排量和不带位移的烟囱：

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Modifying Existing Assets
The rest of the assets I used either come from the Megascans library or an Eastern European Pack that comes together with the Creative Shrimp’s Photogrammetry Course. Combined with the modeling tools, Megascans give much more freedom. I was able to take some seemingly useless assets and boolean out the parts that interest me.
修改现有资源
我使用的其余资源要么来自Megascans库，要么来自与Creative Shrimp's Photogrammetric课程一起提供的东欧包。 结合建模工具，Megascans提供了更多的自由。我能够拿走一些看似无用的资产，并找出我感兴趣的部分。

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Assembling the Scene
I started going over the blockout and putting down planks and floors in place of cubes. Here is what the first iteration of buildings looked like after I just placed the planks I had.
组装场景
我开始翻越街区，放下木板和地板代替立方体。以下是我刚刚放置木板后建筑物的第一次迭代的样子。

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As you can see, for the foreground dock, I decided to use some scaled-up branches from Megascans. My assets didn’t work as well from up close. The ground patch and grass from the right are also from Megascans.

After the first iteration, it was time to add some more wonkiness. I went over every building to detail it more, made the planks even more random, and broke up the big ones into multiple small ones. Here you see how big of a difference it made for the foreground building, with only just adding more planks and exaggerating their rotation.
如您所见，对于前景扩展坞，我决定使用Megascans中的一些放大分支。我的资产在近距离观察时效果不佳。右边的地面和草地也来自Megascans。

在第一次迭代之后，是时候添加更多的怪癖了。我仔细检查了每栋建筑，以更详细地描述它，使木板更加随机，并将大木板分解成多个小板。在这里，您可以看到它对前景建筑产生了多大的差异，只是增加了更多的木板并夸大了它们的旋转。

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When it was time to detail the roofs, I realized that straight roofs won’t work for middle-sized buildings. I decided to bend them with a spline actor. It did add the additional level of wonkiness I needed, but it also did something I wasn’t aware of – automatically disabled Nanite for those meshes since Nanite doesn’t support any type of deformation. Unreal’s modeling tools came to the rescue once again. I just quickly generated a bent version of this asset and replaced splined meshes with it.
当需要对屋顶进行细节设计时，我意识到直屋顶不适用于中型建筑。我决定用样条演员弯曲它们。它确实增加了我需要的额外不稳定程度，但它也做了一些我不知道的事情 - 自动禁用了Nanite的那些网格，因为Nanite不支持任何类型的变形。虚幻的建模工具再次拯救了我们。我只是快速生成了此资源的弯曲版本，并用它替换了花键网格。

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When it comes to the big roofs, they are the tips I just kitbashed from a lot of beams put together. From afar, they look like they flow between each other smoothly, while in reality, those are just straight parts mashed up together.
当谈到大屋顶时，它们是我刚刚从许多梁放在一起的提示。从远处看，它们看起来彼此之间流畅地流动，而实际上，它们只是混在一起的直线部分。

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Some of the roofs are broken up on the concept. With the modeling tools, I was able to easily boolean out the holes from the roofs I already placed and add planks on top of them to create the break-down look.
一些屋顶在概念上被打破。使用建模工具，我能够轻松地从我已经放置的屋顶上布尔出孔，并在其顶部添加木板以创建分解外观。

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I felt like all the detailed grunge maps were giving a bit too much noise to the roofs themselves. To help that, I used photo scanned paper pieces from the Eastern European asset pack. I chose them because I already had them imported and they have nice irregular shapes, but they also could be a custom-made non-uniform plane with color on top. I placed them here and there to add some more areas of rest on the roofs.
我觉得所有详细的垃圾地图都给屋顶本身带来了太多的噪音。为了帮助实现这一点，我使用了东欧资产包中的照片扫描纸片。我之所以选择它们，是因为我已经进口了它们，它们具有漂亮的不规则形状，但它们也可以是定制的非均匀平面，顶部有颜色。我把它们放在这里和那里，以便在屋顶上增加一些休息区域。

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Notice that the walls of the roof parts are also made out of this paper asset. Based on the concept, I couldn’t say what material it would be but I think the simple paper nicely mimics the feel those areas had. If you take a close look at the final piece, you can see that the hanging cloth in the midground is, as well, a piece of cardboard.
请注意，屋顶零件的墙壁也是由此纸质资源制成的。基于这个概念，我不能说它会是什么材料，但我认为这篇简单的论文很好地模仿了这些区域的感觉。如果你仔细观察最后一块，你可以看到中间的挂布也是一块纸板。

Cardboard everywhere：
纸板无处不在：

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I made sure to place some planks on the back of those roofs to create the interesting silhouette that’s also present in the concept.
我确保在这些屋顶的背面放置一些木板，以创造有趣的轮廓，这也存在于概念中。

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I made a few iterations on the bridge as well. At first, I tried to mimic its look with the Megascans branches, but it looked way too irregular compared to the rest of the scene. In the end, I just went directly with what I was able to read from the concept. Using another custom Spline tool, I tried to recreate the flowing lines that were seen there. That tool not only copies the asset around but also makes them follow the curve’s angle to make it blend nicer with the edge of the shot and add some interesting silhouette. I also covered the right side with ivy.
我也在桥上做了几次迭代。起初，我试图用Megascans分支来模仿它的外观，但与场景的其余部分相比，它看起来太不规则了。最后，我只是直接使用我从概念中能够读到的东西。使用另一个自定义样条工具，我试图重新创建在那里看到的流线。该工具不仅可以复制资源，还可以使它们跟随曲线的角度，使其与镜头边缘更好地融合，并添加一些有趣的轮廓。我还用常春藤覆盖了右侧。

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The background bits are kitbashed using the Megascans assets. I downloaded some trunks and put them together creating the giant branch that nicely rounds up the composition.
背景位是使用 Megascans 资源进行基打。我下载了一些树干，并将它们放在一起，创建了一个巨大的树枝，很好地圆润了构图。

Background branch from up close：
近距离背景分支：

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The trees in the back are also from Megascans. The shapes on the sides are just a plant pack (also from Megascans) that’s scattered on the side using the tool I used to scatter the planks. I made sure they’re the highest LOD and are using just a simple black material color material with no Translucency.
后面的树木也来自Megascans。侧面的形状只是一个植物包（也来自Megascans），它使用我用来散布木板的工具散落在侧面。我确保它们是最高的LOD，并且只使用一种没有半透明性的简单黑色材料。

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The Smoke Effects
With all the assets in place, it was time to add some fog cards. I used a simple unlit material with transparency and a noise texture I found on the internet and blurred. Following the idea from the concept, the ones that separate the buildings I tinted blue and the ones on the edges of the composition I left white.
烟雾效应
有了所有的资产，是时候添加一些雾卡了。我使用了一种简单的未照明材料，具有透明度和噪音纹理，我在互联网上找到了并模糊了。按照概念的想法，那些将我染成蓝色的建筑物分开的建筑物和我留下白色的构图边缘的建筑物。

Fog cards material：
雾卡材质：

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To create smoke going out of the chimney, I used the Niagara system. It’s the same noise texture I used for the fog cards, just not blurred, with applied wind force and initial velocity up. It also scales up with a lifetime, starts and finishes transparent, and is less emissive in the beginning – it makes it look darker when it just comes out of the chimney, just like in real life. I exposed a scale parameter so I could easily change the size of it for different sources.
为了制造从烟囱冒出的烟雾，我使用了Niagara系统。这与我用于雾卡的噪声纹理相同，只是没有模糊，施加了风力和初始速度。它还随着一生的放大，开始和结束都是透明的，并且在开始时不那么发光 - 当它刚从烟囱出来时，它看起来更暗，就像在现实生活中一样。我公开了一个比例参数，以便我可以轻松地针对不同的源更改它的大小。

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I used the same Niagara system for the fog flowing on top of the water. I just disabled the emission change I mentioned and modified the scale curve. Below you can see the difference between the scene with and without the fog.
我使用相同的Niagara系统来处理在水面上流动的雾气。我只是禁用了我提到的发射变化并修改了比例曲线。在下面，您可以看到有雾和没有雾的场景之间的差异。

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The Water
The water is just a plane with a panning normal map on top. I made it pan in two opposite directions so it doesn’t look like it’s flowing anywhere specific.
水
水只是一个平面，顶部有一个平移的法线地图。我让它在两个相反的方向上平移，这样它看起来就不会在特定的地方流动。

Water material nodes：
水材料节点：

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At first, I thought to make the water translucent and enable ray tracing for translucency. The only translucent elements in the scene were water and windows, so I figured it’d be a good choice for such good-looking water. Here is one of the early screenshots of what it looked like.
起初，我想让水半透明，并启用光线追踪以获得半透明。场景中唯一的半透明元素是水和窗户，所以我认为对于这种好看的水来说，这是一个不错的选择。这是它的外观的早期屏幕截图之一。

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However, after I added the smoke, it started creating issues. Smoke also needs to be translucent, and I have lots of overlapping sprites that no reasonable amount of bounces can handle. Because of it, I decided to leave the water opaque and use ray-traced reflections instead of Lumen reflections for it. Lumen works amazingly, especially its real-time global illumination, but it doesn't work well for cinematic purposes for mirror-like surfaces. Here you can see what Lumen water looks like.
但是，在我添加烟雾后，它开始产生问题。烟雾也需要是半透明的，我有很多重叠的精灵，没有合理数量的反弹可以处理。正因为如此，我决定让水保持不透明，并使用光线追踪反射而不是流明反射。Lumen的效果令人惊叹，尤其是它的实时全局照明，但它不适用于镜面表面的电影用途。在这里你可以看到流明水的样子。

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And what the water with ray-traced reflections looks like.
以及带有光线追踪反射的水是什么样子的。

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The only difference between that screenshot and the final is the color of the water that I tweaked later. The effect is not as good as the translucent one, but being able to scatter the fog around was more important.
该屏幕截图与最终截图之间的唯一区别是我稍后调整的水的颜色。效果不如半透明效果好，但能够将雾散射到周围更为重要。

The Mice
The biggest feedback I was getting at this stage is that it still pretty much feels like a ghost town. I scattered some village props along the scene, but they weren’t that visible and even though they added nice detail, they didn’t solve the problem. I needed to have some characters in the scene. I am not a character artist by any means and I only had a day more to finish the project, so I asked my friends if they had a few hours to spare and help me out with it. The sculpt was started by Hugo Colauto and when he ran out of time, it was finished off by Mari Gallet. Here’s what I got from them.
老鼠
在这个阶段，我得到的最大反馈是，它仍然感觉像一个鬼城。我沿着场景散布了一些乡村道具，但它们不是那么明显，即使它们添加了漂亮的细节，它们也没有解决问题。我需要在场景中有一些角色。无论如何，我都不是一个角色艺术家，我只有一天的时间来完成这个项目，所以我问我的朋友，他们是否有几个小时的空闲时间来帮助我。雕塑是由雨果·科劳托（Hugo Colauto）开始的，当他用完时间时，它由Mari Gallet完成。这是我从他们那里得到的。

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It was way more detailed than I needed! I quickly unwrapped it and painted some very simple shading.
它比我需要的更详细！我迅速打开包装，画了一些非常简单的阴影。

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After that, I imported it to Mixamo and downloaded some animations. Some of them are goofy, but I found them funny and left them in the scene.
之后，我将其导入Mixamo并下载了一些动画。其中一些很傻，但我发现它们很有趣，并把它们留在了场景中。

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The Lighting
The lighting setup is the simplest one. It’s just one directional light. I did add some spot lamps during the process, but in the end, I deleted all of them as I felt they didn't add anything. The only one left is the one that shines on the foreground rocks.
照明
照明设置是最简单的。它只是一个定向光。在此过程中，我确实添加了一些聚光灯，但最终，我删除了所有这些灯，因为我觉得它们没有添加任何东西。唯一剩下的一个是照在前景岩石上的那个。

Color Grading
The last part to put it all together was the color grading. Early in the project, I tried to match up colors from the concept with Unreal Engine’s color grading, but I couldn’t get sufficient results. I decided to try out the color grading with LUTs. It was my first time using that technique and I find it way more natural than grading with Unreal’s tools. After that, I still modified the look a bit inside of Unreal’s post-processing volume. Here’s the difference before and after with just the LUT adjustments.
颜色分级
最后一个把它们放在一起的部分是颜色分级。在项目的早期，我试图将概念中的颜色与虚幻引擎的色彩分级相匹配，但我无法获得足够的结果。我决定尝试使用 LUT 进行颜色分级。这是我第一次使用这种技术，我发现它比使用虚幻工具调色更自然。在那之后，我仍然在虚幻的后期处理卷中修改了一下外观。以下是仅通过LUT调整之前和之后的差异。

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Conclusion
Starting the project was incredibly hard. I kept looking at the concept and didn’t know where to start. I knew the blockout wasn’t perfect, and when I started assembling the planks, they didn’t feel right. I kept telling myself that it’s easier to iterate than create something perfectly from the start, so I decided to trust the process and approach just one thing at a time. I was jumping around the scene constantly and changing different small things. After a few days of hacking away at it, it started getting shaped and I grew more confident in what I wanted to add. My biggest takeaway from this project is to trust your process and the skills you already have.
结论
启动这个项目是非常困难的。我一直在看这个概念，不知道从哪里开始。我知道封锁并不完美，当我开始组装木板时，他们感觉不对劲。我一直告诉自己，迭代比从一开始就完美地创建一些东西更容易，所以我决定信任这个过程，一次只做一件事。我不停地在现场跳来跳去，改变不同的小东西。经过几天的黑客攻击，它开始成形，我对我想要添加的内容越来越有信心。我从这个项目中得到的最大收获是相信你的过程和你已经拥有的技能。

Some assets, like the roof shapes, were iterated multiple times over the course of the project. If I had known about the modeling tools from the start, it would have been way easier to get the right shape straight away. I also modeled some assets only to not use them at all after realizing how easily you can manipulate Megascans assets with the modeling tools. And I used normal Static Meshes instead of Instanced Static Meshes to scatter props around the scene. My second big takeaway is that it’s okay to learn during the process and you don’t need to know everything before you start the project. It’s okay to replace what you had with better solutions – it’s not wasted time.
某些资源（如屋顶形状）在项目过程中被多次迭代。如果我从一开始就知道建模工具，那么立即获得正确的形状会容易得多。我还对一些资源进行了建模，只是在意识到使用建模工具操作Megascans资源是多么容易之后，根本不使用它们。我使用普通的静态网格体而不是实例化静态网格体来分散场景周围的道具。我的第二大收获是，在这个过程中学习是可以的，在开始项目之前，你不需要知道一切。用更好的解决方案取代你所拥有的是可以的 - 这不是浪费时间。

I used to always make all my assets the “proper” way. I was making sure everything is properly aligned and perfectly placed. This project is the opposite of that. My third takeaway is to not be afraid to mash stuff together. If something looks good, it’s good. I could’ve modeled my walls, I could’ve modeled roofs completely separately, exactly how they look. But I had a limited amount of time, mashing together some cardboard and planks is a lot easier and no one can tell that at first sight.
我曾经总是以“适当”的方式使我的所有资产。我确保一切都正确对齐并完美地放置。这个项目正好相反。我的第三个收获是不要害怕把东西捣碎。如果某样东西看起来不错，那就好了。我本可以对我的墙壁进行建模，我可以完全单独地对屋顶进行建模，就像它们的外观一样。但是我的时间有限，把一些纸板和木板捣碎起来要容易得多，而且一见钟情就没人能分辨出来。

Overall, it was the biggest project I'd worked on so far and I will make sure I will bring those lessons to my next projects.
总的来说，这是我迄今为止最大的项目，我将确保我将把这些经验教训带到我的下一个项目中。

Last but not least, a big thank you to all my friends that helped me during this project, who kept motivating me to push the project further, gave me feedback, helped me out with the mice, and showed me some of the Unreal Engine features I talked about here. You’re the best!
最后但并非最不重要的一点是，非常感谢在这个项目中帮助我的所有朋友，他们不断激励我进一步推动项目，给我反馈，帮助我解决老鼠问题，并向我展示了我在这里谈到的一些虚幻引擎功能。你是最好的！

Introduction
Hi everyone! My name is Michalina Gąsienica-Laskowy, but most people know me as Miszla. I started learning 3D graphics very early – I was lucky enough to discover Blender when I was 10 and since then, I have been regularly playing around with it. The progress was plodding since I was just a kid recreating YouTube tutorials in my free time, but midway through high school I realized it could be something I do professionally. I started researching more about workflows and learning various software. I had the opportunity to work for two companies, where I met inspiring people from the industry. Their passion gave me confidence that I was on the right track. I found my current college – Howest DAE in Belgium – and I decided to move there from Poland and pursue a career as a 3D artist.
介绍
大家好！我的名字是Michalina Gąsienica-Laskowy，但大多数人都知道我是Miszla。我很早就开始学习3D图形 - 我很幸运地在10岁时发现了Blender，从那时起，我一直在玩它。由于我只是一个在空闲时间重新创建YouTube教程的孩子，因此进展缓慢，但是在高中中途，我意识到这可能是我专业上做的事情。我开始研究更多关于工作流程和学习各种软件的知识。我有机会在两家公司工作，在那里我遇到了来自该行业的鼓舞人心的人。他们的热情给了我信心，相信我走在正确的轨道上。我找到了我现在的大学——比利时的Howest DAE——我决定从波兰搬到那里，从事3D艺术家的职业。



The Sprucetuck Project
One of my favorite courses this year was about creating environments in Unreal Engine 5. For our finals, we were given a free hand when it came to a scene we would like to recreate – everything complex enough was allowed. I probably spent as much time on ArtStation looking through all the amazing concepts as I spent on the actual project. After all this research, I chose Darek Zabrocki’s concept. I've followed Mr. Zabrocki for a while already and I’m a big fan of his work.
云杉项目
今年我最喜欢的课程之一是关于在虚幻引擎5中创建环境的。对于我们的决赛，当涉及到我们想要重现的场景时，我们得到了一个自由的手 - 所有足够复杂的事情都是允许的。我可能花在ArtStation上的时间与在实际项目上花费的时间一样多，可以查看所有令人惊叹的概念。经过所有这些研究，我选择了Darek Zabrocki的概念。我已经关注扎布罗基先生一段时间了，我是他作品的忠实粉丝。

This artwork especially spoke to me. It's incredibly complex, yet it doesn’t use too many unique elements that I would have to model as separate assets. It’s also vastly different from my other portfolio pieces. And first and foremost – it’s a beautiful image.
这件艺术品特别适合我。它非常复杂，但它没有使用太多我必须建模为单独资源的独特元素。它也与我的其他投资组合有很大不同。首先，也是最重要的一点——这是一幅美丽的图像。



References
After I took a thorough look, I realized how challenging it would be to execute this piece. The design was so unique it was hard for me to find any related references. My first instinct was to look for fishing villages, but none of them had any similarity to the architecture in the concept. And since most of the shot was far away from the camera the details were just smartly put brush strokes, modeling-wise I couldn’t base myself only on the concept.
引用
在我彻底看了一眼之后，我意识到执行这件作品是多么具有挑战性。设计是如此独特，以至于我很难找到任何相关的参考资料。我的第一个直觉是寻找渔村，但它们都与概念中的建筑没有任何相似之处。由于大部分镜头都远离相机，细节只是巧妙地画笔，在建模方面，我不能只基于这个概念。

A breakthrough came when a friend of mine told me to check out one Chinese town – Wuzhen. It was exactly what I was looking for. I found a YouTube video of a 1,5-hour long walk around the town and I took a lot of screenshots from it. Now some of the more ambiguous parts of the concept finally had a real-life counterpart and I was able to identify parts to model.
一个突破来了，我的一个朋友告诉我去看看一个中国小镇——乌镇。这正是我想要的。我在YouTube上发现了一个1.5小时在镇上散步的视频，我从中截取了很多截图。现在，这个概念中一些更模糊的部分终于有了现实生活中的对应物，我能够识别出要建模的部分。

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Modeling
I started with a simple blockout to try to match up camera settings with the concept. I made basic models of individual buildings in Blender and put them in Unreal Engine. For scale reference, I used a free model by Emily Blane from Sketchfab. Because of a time constraint to finish this project, I feel like I moved from this stage a bit too quickly. I was afraid I would get stuck on it and in the end, some composition lines do not work as well as they do on the concept and I did get a few tangents as well. If I made this project again, I would probably spend even more time on the blockout and play with the camera a bit longer to avoid these types of errors.
建 模
我从一个简单的封锁开始，试图将相机设置与概念相匹配。我在Blender中制作了单个建筑的基本模型，并将它们放在虚幻引擎中。为了便于比例参考，我使用了 Sketchfab 的 Emily Blane 的免费模型。由于完成这个项目的时间有限，我觉得我从这个阶段移开得有点太快了。我担心我会被困在它上面，最后，一些构图线在概念上效果不如它们，我也得到了一些切线。如果我再次制作这个项目，我可能会花更多的时间在封锁上，并花更长的时间玩相机以避免这些类型的错误。

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When it came to decorating, I knew I would need a lot of planks and I didn't want to place them all individually. Following the advice of my teacher, I created a blueprint tool to place assets along the spline with randomly picked meshes, location, rotation, and scale. It was a great choice since at the end of the project I placed over 200 of those blueprint actors in the scene.
在装饰方面，我知道我需要很多木板，我不想把它们都单独放置。根据老师的建议，我创建了一个蓝图工具，以使用随机选取的网格、位置、旋转和缩放沿样条放置资源。这是一个很好的选择，因为在项目结束时，我在场景中放置了200多个这样的蓝图演员。

I used them for all the plank walls, docks, poles, barriers, roof supports, and many more. I can’t imagine how big of a time saver it was. One of the biggest lessons I left the project with is knowledge of Instanced Static Meshes. It’s a way of telling the engine that the meshes that were placed via blueprints are indeed the same mesh, which reduces draw calls tremendously. I don’t have much experience in blueprints, so I wasn’t really aware of its potential, and the tool I created uses normal Static Meshes. It still works for cinematic purposes, which is what this scene was created for, but changing it to instanced mesh would make working in the scene much smoother.
我将它们用于所有木板墙，码头，杆，障碍物，屋顶支撑等等。我无法想象它能节省多少时间。我给项目留下的最大教训之一是实例化静态网格体的知识。这是一种告诉引擎通过蓝图放置的网格确实是同一网格的方式，这大大减少了绘制调用。我在蓝图方面没有太多经验，所以我并没有真正意识到它的潜力，我创建的工具使用正常的静态网格体。它仍然适用于电影目的，这就是创建此场景的目的，但将其更改为实例化网格将使场景中的工作更加流畅。

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Creating the Planks Asset Pack
It took me a few attempts before I made a plank asset pack that worked well enough for the project. On my first try, I sculpted them in ZBrush, decimated them a bit, unwrapped them with Blender’s automatic unwrap tools, and textured them with a smart material in Substance 3D Painter. What I got didn’t work for the buildings, but I still used them to build the docks.
创建木板资源包
我花了几次尝试才制作了一个对项目足够好的木板资源包。在我第一次尝试时，我在ZBrush中雕刻了它们，将它们摧毁了一点，用Blender的自动解包工具解开了它们，并在Substance 3D Painter中使用智能材质对它们进行了纹理处理。我得到的东西对建筑物不起作用，但我仍然用它们来建造码头。

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You can notice a very generic white dusty pattern on it. Since I decided to build up the whole scene with only a couple of planks, I didn’t want it to be too obvious. Using the Unreals Material Layers system, I overlaid some white and orange spots on top. It’s noticeable in a closeup, but it has a big impact on the scene as a whole.
你可以注意到它上面有一个非常普通的白色灰尘图案。由于我决定只用几块木板来构建整个场景，我不希望它太明显。使用虚幻材质图层系统，我在顶部叠加了一些白色和橙色的斑点。这在特写镜头中很明显，但它对整个场景有很大的影响。

Material layer setup：
材料层设置：

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Material layer blend nodes：
材料层混合节点：

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I created a second set of planks, which were just textured cubes, but I wasn’t happy with those either. I still used them in a few spots just to add variety, but they didn’t work as a main builder of the scene. My third iteration was decent enough and I could finally start building the scene.
我创建了第二组木板，它们只是有纹理的立方体，但我对它们也不满意。我仍然在一些地方使用它们只是为了增加多样性，但它们并没有作为场景的主要构建者。我的第三次迭代已经足够好了，我终于可以开始构建场景了。

Final main asset pack：
最终主资产包：

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Another Unreal feature I learned about while creating the project was Unreal Engine's modeling tools. When I first heard about them, I didn’t give them much attention because I was skeptical about how useful they would be. I underestimated how much quicker it is to do basic modeling tasks inside of the engine. Some time into the project I decided to add some displacement from one of the wood textures I downloaded from Bridge to the planks and bevel their edges with a boolean tool. I think it helped to create some extra pop, especially in areas closer to the camera, and to separate individual planks even more. It’s a very quick and easy way to add a level of detail without leaving the engine.
我在创建项目时学到的另一个虚幻功能是虚幻引擎的建模工具。当我第一次听说它们时，我没有给他们太多的关注，因为我对它们的用处持怀疑态度。我低估了在引擎内部执行基本建模任务的速度要快得多。在项目进行一段时间后，我决定从Bridge下载的其中一个木结构纹理中添加一些位移到木板上，并使用布尔工具斜倚其边缘。我认为它有助于创造一些额外的流行音乐，特别是在靠近相机的区域，并进一步分离单个木板。这是一种非常快速简便的方法，可以在不离开引擎的情况下添加一定程度的细节。

The same plank before and after treating with Unreal Engine's modeling tools：
使用虚幻引擎建模工具处理之前和之后的相同木板：

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The Roofs
A huge part of the scene, and most importantly the scene's composition, are the roofs. They both needed to look interesting even in their large quantity and needed to fit complex shapes. To start, I sculpted 3 tiles of different sizes in ZBrush and broke each of them a bit. With those 6 tiles as a base, I put them together into a 2x2m tileable mesh. For the smaller buildings that’s pretty much all I used. For the big ones, I just duplicated the mesh around and warped it with a lattice tool.
屋顶
场景的很大一部分，最重要的是场景的构图，是屋顶。即使数量庞大，它们也需要看起来很有趣，并且需要适合复杂的形状。首先，我在ZBrush中雕刻了3个不同尺寸的瓷砖，并稍微打破了它们。以这6个瓷砖为基础，我将它们组合成一个2x2m的可瓷砖网格。对于较小的建筑物，这几乎是我使用的全部。对于大的，我只是复制周围的网格，并用晶格工具扭曲它。

Since it’s a tileable mesh, I didn’t add much dirt to it on the texture itself. I didn’t want it to look too repetitive. I created simple textures for the tiles themselves, and on the separate UV channel, I unwrapped the roof as a whole and generated some grunge masks in Substance 3D Painter – one from the dirt generator, one which is a simple AO, and a general dirt overlay. Then, inside of a Material Layers System, I multiplied the masks with some simple overlays and added more detail to them.
由于它是一个可平铺的网格，我没有在纹理本身上添加太多污垢。我不想让它看起来太重复。我为瓷砖本身创建了简单的纹理，在单独的UV通道上，我打开了整个屋顶的包装，并在Substance 3D Painter中生成了一些垃圾蒙版 - 一个来自污垢发生器，一个是简单的AO，以及一个通用的污垢覆盖层。然后，在材质层系统内部，我用一些简单的叠加层将蒙版相乘，并为其添加更多细节。

Roof asset before and after adding dirt using grunge maps：
使用垃圾贴图添加泥土之前和之后的屋顶资产：

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Material Layer Blend setup is very similar to the one I used for a general Overlay on the planks. Just instead of using two triplanar grunge textures, the primary one is a grunge map with baked masks.
材质层混合设置与我用于在木板上进行一般叠加的设置非常相似。与其使用两个三边颓废纹理，不如使用带有烘焙面具的颓废贴图。

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For the tops of the roofs, I looked at reference pictures from Wuzhan roofs and replicated those. I made another asset pack which also includes smaller props and poles I used for buildings and dock supports.
对于屋顶的顶部，我查看了五zan屋顶的参考图片并复制了这些图片。我制作了另一个资产包，其中还包括我用于建筑物和码头支撑的较小的道具和杆子。

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Unique Assets
With the planks and roofs in place, combined with the tool to place them, I was able to build 90% of the scene already, though there were still a few more unique assets I had to create that were important to put the scene together.
独特的资产
有了木板和屋顶，再加上放置它们的工具，我已经能够构建90%的场景，尽管我还需要创建一些更独特的资源，这些资源对于将场景组合在一起非常重要。

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The boat is a focus point in the scene as a whole. Instead of making a photorealistic rowing boat, I decided to focus more on matching the shape with the one from the concept and the colors with the ones that were already present in the scene. Because of the angle of the shot, I didn’t have to make a too detailed inside either. I used a straightforward assets workflow, modeling in Blender and texturing in Substance 3D Painter.
船是整个场景中的焦点。我决定不制作逼真的划艇，而是更多地关注将形状与概念中的形状相匹配，并将颜色与场景中已经存在的颜色相匹配。由于镜头的角度，我也不必在里面做太详细。我使用了一个简单的资源工作流程，在Blender中建模，在Substance 3D Painter中纹理化。

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The net I created by making a simple cloth simulation in Marvelous Designer. I tucked corners to the underside of the buildings and simulated it with the Wool preset. It’s not a perfect fishing net shape, but it did the job since it’s pretty far away from the camera and partially hidden behind the poles. I used a net pattern as the opacity mask and scaled unwrap to match the scale correctly. In Blender, I adjusted the shape a bit more to make it more rounded using proportional editing. I didn’t generate a color nor a roughness map, those are just single values.
我在Marvelous Designer中通过制作简单的布料模拟而创建的网。我把角落塞到建筑物的下面，并用羊毛预设来模拟它。它不是一个完美的渔网形状，但它完成了这项工作，因为它离相机很远，部分隐藏在杆子后面。我使用净图案作为不透明度蒙版，并缩放展开以正确匹配比例。在Blender中，我调整了形状，使其使用比例编辑更加圆润。我没有生成颜色或粗糙度贴图，这些只是单个值。

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For the chimney, I used textures displacement. I downloaded bricks and a pavement texture from Bridge, made a simple chimney shape based on the concept, and applied a Displace modifier to it. Before I moved on, I checked in the engine if the scale of the bricks looks good in the scene and adjusted UVs in Blender if necessary. After I was happy with the scale, I applied the modifier and went over the edges with a Scrape tool in Sculpting mode in Blender to get rid of the jagged edges. The sculpting tools are a reason why I didn’t displace them in Unreal itself. Those inside Blender are great for simple tasks like that.
对于烟囱，我使用了纹理位移。我从Bridge下载了砖块和路面纹理，根据这个概念制作了一个简单的烟囱形状，并对其应用了置换修改器。在我继续前进之前，我检查了引擎中积木的比例在场景中是否看起来不错，并在必要时调整了Blender中的UV。在我对比例感到满意之后，我应用了修改器，并在Blender的雕刻模式下使用刮擦工具越过边缘，以摆脱锯齿状的边缘。雕刻工具是我没有在虚幻引擎中取代它们的原因之一。Blender内部的那些非常适合这样的简单任务。

Chimneys with and without displacement：
带排量和不带位移的烟囱：

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Modifying Existing Assets
The rest of the assets I used either come from the Megascans library or an Eastern European Pack that comes together with the Creative Shrimp’s Photogrammetry Course. Combined with the modeling tools, Megascans give much more freedom. I was able to take some seemingly useless assets and boolean out the parts that interest me.
修改现有资源
我使用的其余资源要么来自Megascans库，要么来自与Creative Shrimp's Photogrammetric课程一起提供的东欧包。 结合建模工具，Megascans提供了更多的自由。我能够拿走一些看似无用的资产，并找出我感兴趣的部分。

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Assembling the Scene
I started going over the blockout and putting down planks and floors in place of cubes. Here is what the first iteration of buildings looked like after I just placed the planks I had.
组装场景
我开始翻越街区，放下木板和地板代替立方体。以下是我刚刚放置木板后建筑物的第一次迭代的样子。

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As you can see, for the foreground dock, I decided to use some scaled-up branches from Megascans. My assets didn’t work as well from up close. The ground patch and grass from the right are also from Megascans.

After the first iteration, it was time to add some more wonkiness. I went over every building to detail it more, made the planks even more random, and broke up the big ones into multiple small ones. Here you see how big of a difference it made for the foreground building, with only just adding more planks and exaggerating their rotation.
如您所见，对于前景扩展坞，我决定使用Megascans中的一些放大分支。我的资产在近距离观察时效果不佳。右边的地面和草地也来自Megascans。

在第一次迭代之后，是时候添加更多的怪癖了。我仔细检查了每栋建筑，以更详细地描述它，使木板更加随机，并将大木板分解成多个小板。在这里，您可以看到它对前景建筑产生了多大的差异，只是增加了更多的木板并夸大了它们的旋转。

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When it was time to detail the roofs, I realized that straight roofs won’t work for middle-sized buildings. I decided to bend them with a spline actor. It did add the additional level of wonkiness I needed, but it also did something I wasn’t aware of – automatically disabled Nanite for those meshes since Nanite doesn’t support any type of deformation. Unreal’s modeling tools came to the rescue once again. I just quickly generated a bent version of this asset and replaced splined meshes with it.
当需要对屋顶进行细节设计时，我意识到直屋顶不适用于中型建筑。我决定用样条演员弯曲它们。它确实增加了我需要的额外不稳定程度，但它也做了一些我不知道的事情 - 自动禁用了Nanite的那些网格，因为Nanite不支持任何类型的变形。虚幻的建模工具再次拯救了我们。我只是快速生成了此资源的弯曲版本，并用它替换了花键网格。

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When it comes to the big roofs, they are the tips I just kitbashed from a lot of beams put together. From afar, they look like they flow between each other smoothly, while in reality, those are just straight parts mashed up together.
当谈到大屋顶时，它们是我刚刚从许多梁放在一起的提示。从远处看，它们看起来彼此之间流畅地流动，而实际上，它们只是混在一起的直线部分。

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Some of the roofs are broken up on the concept. With the modeling tools, I was able to easily boolean out the holes from the roofs I already placed and add planks on top of them to create the break-down look.
一些屋顶在概念上被打破。使用建模工具，我能够轻松地从我已经放置的屋顶上布尔出孔，并在其顶部添加木板以创建分解外观。

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I felt like all the detailed grunge maps were giving a bit too much noise to the roofs themselves. To help that, I used photo scanned paper pieces from the Eastern European asset pack. I chose them because I already had them imported and they have nice irregular shapes, but they also could be a custom-made non-uniform plane with color on top. I placed them here and there to add some more areas of rest on the roofs.
我觉得所有详细的垃圾地图都给屋顶本身带来了太多的噪音。为了帮助实现这一点，我使用了东欧资产包中的照片扫描纸片。我之所以选择它们，是因为我已经进口了它们，它们具有漂亮的不规则形状，但它们也可以是定制的非均匀平面，顶部有颜色。我把它们放在这里和那里，以便在屋顶上增加一些休息区域。

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Notice that the walls of the roof parts are also made out of this paper asset. Based on the concept, I couldn’t say what material it would be but I think the simple paper nicely mimics the feel those areas had. If you take a close look at the final piece, you can see that the hanging cloth in the midground is, as well, a piece of cardboard.
请注意，屋顶零件的墙壁也是由此纸质资源制成的。基于这个概念，我不能说它会是什么材料，但我认为这篇简单的论文很好地模仿了这些区域的感觉。如果你仔细观察最后一块，你可以看到中间的挂布也是一块纸板。

Cardboard everywhere：
纸板无处不在：

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I made sure to place some planks on the back of those roofs to create the interesting silhouette that’s also present in the concept.
我确保在这些屋顶的背面放置一些木板，以创造有趣的轮廓，这也存在于概念中。

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I made a few iterations on the bridge as well. At first, I tried to mimic its look with the Megascans branches, but it looked way too irregular compared to the rest of the scene. In the end, I just went directly with what I was able to read from the concept. Using another custom Spline tool, I tried to recreate the flowing lines that were seen there. That tool not only copies the asset around but also makes them follow the curve’s angle to make it blend nicer with the edge of the shot and add some interesting silhouette. I also covered the right side with ivy.
我也在桥上做了几次迭代。起初，我试图用Megascans分支来模仿它的外观，但与场景的其余部分相比，它看起来太不规则了。最后，我只是直接使用我从概念中能够读到的东西。使用另一个自定义样条工具，我试图重新创建在那里看到的流线。该工具不仅可以复制资源，还可以使它们跟随曲线的角度，使其与镜头边缘更好地融合，并添加一些有趣的轮廓。我还用常春藤覆盖了右侧。

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The background bits are kitbashed using the Megascans assets. I downloaded some trunks and put them together creating the giant branch that nicely rounds up the composition.
背景位是使用 Megascans 资源进行基打。我下载了一些树干，并将它们放在一起，创建了一个巨大的树枝，很好地圆润了构图。

Background branch from up close：
近距离背景分支：

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The trees in the back are also from Megascans. The shapes on the sides are just a plant pack (also from Megascans) that’s scattered on the side using the tool I used to scatter the planks. I made sure they’re the highest LOD and are using just a simple black material color material with no Translucency.
后面的树木也来自Megascans。侧面的形状只是一个植物包（也来自Megascans），它使用我用来散布木板的工具散落在侧面。我确保它们是最高的LOD，并且只使用一种没有半透明性的简单黑色材料。

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The Smoke Effects
With all the assets in place, it was time to add some fog cards. I used a simple unlit material with transparency and a noise texture I found on the internet and blurred. Following the idea from the concept, the ones that separate the buildings I tinted blue and the ones on the edges of the composition I left white.
烟雾效应
有了所有的资产，是时候添加一些雾卡了。我使用了一种简单的未照明材料，具有透明度和噪音纹理，我在互联网上找到了并模糊了。按照概念的想法，那些将我染成蓝色的建筑物分开的建筑物和我留下白色的构图边缘的建筑物。

Fog cards material：
雾卡材质：

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To create smoke going out of the chimney, I used the Niagara system. It’s the same noise texture I used for the fog cards, just not blurred, with applied wind force and initial velocity up. It also scales up with a lifetime, starts and finishes transparent, and is less emissive in the beginning – it makes it look darker when it just comes out of the chimney, just like in real life. I exposed a scale parameter so I could easily change the size of it for different sources.
为了制造从烟囱冒出的烟雾，我使用了Niagara系统。这与我用于雾卡的噪声纹理相同，只是没有模糊，施加了风力和初始速度。它还随着一生的放大，开始和结束都是透明的，并且在开始时不那么发光 - 当它刚从烟囱出来时，它看起来更暗，就像在现实生活中一样。我公开了一个比例参数，以便我可以轻松地针对不同的源更改它的大小。

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I used the same Niagara system for the fog flowing on top of the water. I just disabled the emission change I mentioned and modified the scale curve. Below you can see the difference between the scene with and without the fog.
我使用相同的Niagara系统来处理在水面上流动的雾气。我只是禁用了我提到的发射变化并修改了比例曲线。在下面，您可以看到有雾和没有雾的场景之间的差异。

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The Water
The water is just a plane with a panning normal map on top. I made it pan in two opposite directions so it doesn’t look like it’s flowing anywhere specific.
水
水只是一个平面，顶部有一个平移的法线地图。我让它在两个相反的方向上平移，这样它看起来就不会在特定的地方流动。

Water material nodes：
水材料节点：

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At first, I thought to make the water translucent and enable ray tracing for translucency. The only translucent elements in the scene were water and windows, so I figured it’d be a good choice for such good-looking water. Here is one of the early screenshots of what it looked like.
起初，我想让水半透明，并启用光线追踪以获得半透明。场景中唯一的半透明元素是水和窗户，所以我认为对于这种好看的水来说，这是一个不错的选择。这是它的外观的早期屏幕截图之一。

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However, after I added the smoke, it started creating issues. Smoke also needs to be translucent, and I have lots of overlapping sprites that no reasonable amount of bounces can handle. Because of it, I decided to leave the water opaque and use ray-traced reflections instead of Lumen reflections for it. Lumen works amazingly, especially its real-time global illumination, but it doesn't work well for cinematic purposes for mirror-like surfaces. Here you can see what Lumen water looks like.
但是，在我添加烟雾后，它开始产生问题。烟雾也需要是半透明的，我有很多重叠的精灵，没有合理数量的反弹可以处理。正因为如此，我决定让水保持不透明，并使用光线追踪反射而不是流明反射。Lumen的效果令人惊叹，尤其是它的实时全局照明，但它不适用于镜面表面的电影用途。在这里你可以看到流明水的样子。

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And what the water with ray-traced reflections looks like.
以及带有光线追踪反射的水是什么样子的。

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The only difference between that screenshot and the final is the color of the water that I tweaked later. The effect is not as good as the translucent one, but being able to scatter the fog around was more important.
该屏幕截图与最终截图之间的唯一区别是我稍后调整的水的颜色。效果不如半透明效果好，但能够将雾散射到周围更为重要。

The Mice
The biggest feedback I was getting at this stage is that it still pretty much feels like a ghost town. I scattered some village props along the scene, but they weren’t that visible and even though they added nice detail, they didn’t solve the problem. I needed to have some characters in the scene. I am not a character artist by any means and I only had a day more to finish the project, so I asked my friends if they had a few hours to spare and help me out with it. The sculpt was started by Hugo Colauto and when he ran out of time, it was finished off by Mari Gallet. Here’s what I got from them.
老鼠
在这个阶段，我得到的最大反馈是，它仍然感觉像一个鬼城。我沿着场景散布了一些乡村道具，但它们不是那么明显，即使它们添加了漂亮的细节，它们也没有解决问题。我需要在场景中有一些角色。无论如何，我都不是一个角色艺术家，我只有一天的时间来完成这个项目，所以我问我的朋友，他们是否有几个小时的空闲时间来帮助我。雕塑是由雨果·科劳托（Hugo Colauto）开始的，当他用完时间时，它由Mari Gallet完成。这是我从他们那里得到的。

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It was way more detailed than I needed! I quickly unwrapped it and painted some very simple shading.
它比我需要的更详细！我迅速打开包装，画了一些非常简单的阴影。

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After that, I imported it to Mixamo and downloaded some animations. Some of them are goofy, but I found them funny and left them in the scene.
之后，我将其导入Mixamo并下载了一些动画。其中一些很傻，但我发现它们很有趣，并把它们留在了场景中。

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The Lighting
The lighting setup is the simplest one. It’s just one directional light. I did add some spot lamps during the process, but in the end, I deleted all of them as I felt they didn't add anything. The only one left is the one that shines on the foreground rocks.
照明
照明设置是最简单的。它只是一个定向光。在此过程中，我确实添加了一些聚光灯，但最终，我删除了所有这些灯，因为我觉得它们没有添加任何东西。唯一剩下的一个是照在前景岩石上的那个。

Color Grading
The last part to put it all together was the color grading. Early in the project, I tried to match up colors from the concept with Unreal Engine’s color grading, but I couldn’t get sufficient results. I decided to try out the color grading with LUTs. It was my first time using that technique and I find it way more natural than grading with Unreal’s tools. After that, I still modified the look a bit inside of Unreal’s post-processing volume. Here’s the difference before and after with just the LUT adjustments.
颜色分级
最后一个把它们放在一起的部分是颜色分级。在项目的早期，我试图将概念中的颜色与虚幻引擎的色彩分级相匹配，但我无法获得足够的结果。我决定尝试使用 LUT 进行颜色分级。这是我第一次使用这种技术，我发现它比使用虚幻工具调色更自然。在那之后，我仍然在虚幻的后期处理卷中修改了一下外观。以下是仅通过LUT调整之前和之后的差异。

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Conclusion
Starting the project was incredibly hard. I kept looking at the concept and didn’t know where to start. I knew the blockout wasn’t perfect, and when I started assembling the planks, they didn’t feel right. I kept telling myself that it’s easier to iterate than create something perfectly from the start, so I decided to trust the process and approach just one thing at a time. I was jumping around the scene constantly and changing different small things. After a few days of hacking away at it, it started getting shaped and I grew more confident in what I wanted to add. My biggest takeaway from this project is to trust your process and the skills you already have.
结论
启动这个项目是非常困难的。我一直在看这个概念，不知道从哪里开始。我知道封锁并不完美，当我开始组装木板时，他们感觉不对劲。我一直告诉自己，迭代比从一开始就完美地创建一些东西更容易，所以我决定信任这个过程，一次只做一件事。我不停地在现场跳来跳去，改变不同的小东西。经过几天的黑客攻击，它开始成形，我对我想要添加的内容越来越有信心。我从这个项目中得到的最大收获是相信你的过程和你已经拥有的技能。

Some assets, like the roof shapes, were iterated multiple times over the course of the project. If I had known about the modeling tools from the start, it would have been way easier to get the right shape straight away. I also modeled some assets only to not use them at all after realizing how easily you can manipulate Megascans assets with the modeling tools. And I used normal Static Meshes instead of Instanced Static Meshes to scatter props around the scene. My second big takeaway is that it’s okay to learn during the process and you don’t need to know everything before you start the project. It’s okay to replace what you had with better solutions – it’s not wasted time.
某些资源（如屋顶形状）在项目过程中被多次迭代。如果我从一开始就知道建模工具，那么立即获得正确的形状会容易得多。我还对一些资源进行了建模，只是在意识到使用建模工具操作Megascans资源是多么容易之后，根本不使用它们。我使用普通的静态网格体而不是实例化静态网格体来分散场景周围的道具。我的第二大收获是，在这个过程中学习是可以的，在开始项目之前，你不需要知道一切。用更好的解决方案取代你所拥有的是可以的 - 这不是浪费时间。

I used to always make all my assets the “proper” way. I was making sure everything is properly aligned and perfectly placed. This project is the opposite of that. My third takeaway is to not be afraid to mash stuff together. If something looks good, it’s good. I could’ve modeled my walls, I could’ve modeled roofs completely separately, exactly how they look. But I had a limited amount of time, mashing together some cardboard and planks is a lot easier and no one can tell that at first sight.
我曾经总是以“适当”的方式使我的所有资产。我确保一切都正确对齐并完美地放置。这个项目正好相反。我的第三个收获是不要害怕把东西捣碎。如果某样东西看起来不错，那就好了。我本可以对我的墙壁进行建模，我可以完全单独地对屋顶进行建模，就像它们的外观一样。但是我的时间有限，把一些纸板和木板捣碎起来要容易得多，而且一见钟情就没人能分辨出来。

Overall, it was the biggest project I'd worked on so far and I will make sure I will bring those lessons to my next projects.
总的来说，这是我迄今为止最大的项目，我将确保我将把这些经验教训带到我的下一个项目中。

Last but not least, a big thank you to all my friends that helped me during this project, who kept motivating me to push the project further, gave me feedback, helped me out with the mice, and showed me some of the Unreal Engine features I talked about here. You’re the best!
最后但并非最不重要的一点是，非常感谢在这个项目中帮助我的所有朋友，他们不断激励我进一步推动项目，给我反馈，帮助我解决老鼠问题，并向我展示了我在这里谈到的一些虚幻引擎功能。你是最好的！