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本帖最后由 她说- 于 2021-9-17 11:17 编辑
使用Reallouch的角色创造者和iClone创建一个程式化的角色 ---By Julian Santiago
Step 1: Base Mesh Creation in Character Creator
步骤1：字符创建器中的基本网格创建
I begin making this character in Character Creator. You can modify the default character by either clicking and drag on various parts of the character’s body or by using the sliders in the Modify panel. At this stage, the most important thing to remember is to get the proportions of your character right. Things like the placements of the joints and the lengths of the body parts should all be done inside Character Creator so that the character can be animated in iClone without issue. Once you are done, export an OBJ file to be edited in ZBrush. Note that you will need a 3DXchange Pro or Pipeline license to perform this step. An ObjKey file will be generated along with the OBJ file which will be needed in bringing the edited character back into Character Creator.
我开始在角色创造者中塑造这个角色。您可以通过单击和拖动字符主体的各个部分或使用“修改”面板中的滑块来修改默认字符。在这个阶段，最重要的是记住你的角色比例是正确的。像关节的放置和身体各部分的长度都应该在角色造物主内部完成，这样角色就可以在iClone中被动画化，而不会有问题。完成之后，导出一个OBJ文件，以便在ZBrush中编辑。请注意，执行此步骤需要3 DXChangPro或管道许可证。OBJ文件将与OBJ文件一起生成ObjKey文件，而OBJ文件是将编辑后的字符带回字符创建者中所需的文件。
Starting work on the character with Character Creator
用字符创建者开始角色的工作
Step 2: Editing in ZBrush
步骤2：用ZBrush编辑
In ZBrush, I edit the mesh to match the design. I don’t add any subdivision levels at this point and I use mostly the Move and the Move Topological brushes in shaping the mesh. At this stage, I pay close attention to the silhouette of the character and the various lines and curves of the design. Remember that you should not be editing the proportions of the model at this stage. Also take note that editing the facial features could cause the facial animation morphs to break, but this is an easy enough problem to fix in a later step.
在ZBrush中，我编辑网格以匹配设计。我不添加任何细分水平在这一点，我主要使用移动和移动拓扑刷在形成网格。在这个阶段，我密切关注人物的轮廓和设计的各种线条和曲线。请记住，在这个阶段，您不应该编辑模型的比例。还要注意的是，编辑面部特征可能会导致面部动画变形中断，但这是一个很容易解决的问题，可以在后面的步骤中修复。
Editing the Character in Brush
用笔刷编辑人物
Step 3: The High-Resolution Character Sculpt
第三步：高分辨率字符造型
Subdividing a model in ZBrush makes unintended changes to the zero-level mesh and this isn’t something that we want. Before making any subdivisions, I first store a morph target of the current mesh by pressing StoreMT under Morph Target. I then subdivide the mesh until I have enough resolution to get all the details that I want. Once I have enough subdivisions, I go down to the lowest subdivision level and press Switch under Morph Target to return to the unedited low-resolution mesh. Now, if you increase your subdivision levels, you will see that it now conform better to the shape of our original mesh. You can now sculpt the high-resolution details.
细分ZBrush中的模型，对零级网格进行意外的更改，这不是我们想要的。在进行任何细分之前，我首先通过在MorphTarget下按StoreMT来存储当前网格的变形目标。然后再细分网格，直到我有足够的分辨率得到所有我想要的细节。一旦我有足够的细分，我下降到最低细分级别，并按下开关下的变形目标返回到未经编辑的低分辨率网格。现在，如果你增加你的细分水平，你会看到它现在更符合我们的原始网格的形状。你现在可以雕刻高分辨率的细节了。
Remember to store a morph target before subdividing
切记在细分前要存储一个变形目标。
The high-resolution sculpt of the head
头部的高分辨率雕刻
Step 4: Preparing the UVs for Baking
第4步：为烘焙做好UV的准备
To properly bake the normal maps of the body in ZBrush, we need to make sure that each set of faces assigned to different materials occupy separate UV tiles. Import your character into your 3D application which in my case is Blender. Go into edit mode. In the material properties, you will see a list of materials. If you select one of the materials in the list and press the Select button, you will select the components of the mesh that are assigned to the highlighted material. With these components selected, you can move them to a different tile in the UV/image editor.
为了在ZBrush正确地烘焙身体的正常地图，我们需要确保分配给不同材料的每一组面都占用单独的UV瓷砖。导入您的字符到您的3D应用程序，在我的情况下是搅拌机。进入编辑模式。在材料属性中，您将看到一个材料列表。如果选择列表中的材料之一并按“选择”按钮，则将选择分配给突出显示的材料的网格组件。通过选择这些组件，您可以在UV/图像编辑器中将它们移动到不同的瓷砖中。
Blender does not have the proper UI to handle multiple UV tiles, but you can still accomplish this by moving your UVs by the number of pixels of the image assigned to the selected components. If no image is applied, it will assume a texture size of 256. With your components selected, unlink the texture by pressing the ‘x’ button in the UV/image editor.
搅拌器没有适当的UI来处理多个UV瓷砖，但您仍然可以通过将UV移动到指定给选定组件的图像像素数来实现这一点。如果没有应用图像，则假设纹理大小为256。选择组件后，按UV/图像编辑器中的“x”按钮解除纹理链接。
To move the selected UVs to the UV tile directly to the right of the main tile, press ‘G’ to activate the grab tool, press ‘X’ to constrain movement to the x-axis, and then press ‘256’ to move the UVs to a separate UV tile. You can move the other UVs to other UV tiles by moving them in x using values that are multiples of 256 (512,1024,2048,etc.). Once you have done this, you can bring this model back into ZBrush.
若要将选定的UV直接移动到主瓷砖的右侧，请按“G”以激活抓取工具，按“X”键限制移动到x轴，然后按“256”键将UV移动到单独的UV瓷砖上。通过使用256倍的值(512、1024、2048等)，您可以将其他UV移动到其他UV瓷砖。一旦你这样做了，你可以把这个模型带回ZBrush。
The fixed UV layout
固定UV布局
Step 5: Transfering UVs
第5步：转让无人驾驶汽车
When importing the corrected UVs into ZBrush, it would be best to import it as a separate tool and then transfer the UVs to your main model using the UV master plugin. With your corrected UV model selected, go to Zplugin>UV Master>Copy UVs. Now select your main model and press Paste UVs under UV Master. You can now bake your normal maps using the Multi Map Exporter. It will save out multiple normal maps that correspond to the UV tiles that you set in the previous step.
当导入修正后的UVS到ZBrush时，最好将其作为一个单独的工具导入，然后使用UV主插件将UV导入到您的主模型中。选择正确的UV型号，转到Zplugin>UV主>复制UVS。现在选择您的主要型号，并按下粘贴UV母版。现在，您可以使用多地图导出程序来烘焙您的普通地图。它将保存与您在前一步中设置的UV瓷砖对应的多个普通映射。
Use UV Master to copy and paste UVs
使用UV母版复制和粘贴UVS
Use Multi Map Exporter to bake the normal maps
使用多个地图导出器烘焙普通地图
Step 6: Back to Character Creator
第6步：返回角色创建者
Export an OBJ from ZBrush. Back in Character Creator, go to Create>Morph Slider to bring up the Morph Slider menu. For your Source Morph, select Default Morph. For the Target Morph, select File and load your OBJ in the dialogue box underneath. In the Checksum File Path, you will need to load the ObjKey file that was created when you first exported your model from Character Creator. You can also use the Morph Name text box to assign a custom name to your slider. Click OK and the slider should be created in the Morphs panel.
从ZBrush出口OBJ。返回角色造物主，转到Create>Morph Slider以打开Morph Slider菜单。对于源形态，选择默认形态。对于“目标形态”，选择“文件”并在下面的对话框中加载OBJ。在校验和文件路径中，您需要加载在首次从字符创建器导出模型时创建的ObjKey文件。还可以使用Morph Name文本框为滑块分配自定义名称。单击OK，滑块应在变形面板中创建。
Before setting your new slider to 100, first select Actor in the Morphs panel and press Reset. This will reset all your sliders to 0. Set your newly created slider to 100 and you should see the edits that you created in ZBrush applied to your character.
在将新滑块设置为100之前，首先在变形面板中选择Actor，然后按Reset。这将将所有滑块重置为0。将新创建的滑块设置为100，您将看到您在ZBrush中创建的编辑应用于您的角色。
Step 7: Texturing the Body
第7步：贴身
Characters from Character Creator have multiple materials assigned to different parts of the body each with their own set of textures. To make custom textures for the head and body, I chose to use Blender’s Texture Paint mode as it has the ability to paint across multiple materials. From Character Creator, I once again exported the body as an OBJ file and imported that into Blender. The OBJ loads with the materials from Character Creator already assigned, which is convenient. With the character selected, switch to Texture Paint mode to begin texturing. For this character, I chose to modify the default textures instead of starting from scratch. In keeping with the stylized design, I painted out most of the skin details leaving only subtle color variations.
字符造物主的字符有多个材料分配到身体的不同部分，每一个都有自己的纹理集。为了为头部和身体定制纹理，我选择使用Blender的纹理绘制模式，因为它具有跨多种材质的绘制能力。从角色创建者，我再次导出身体作为一个OBJ文件，并将它导入搅拌机。OBJ装载了已经分配的字符创建者的材料，这是很方便的。选择字符后，切换到纹理绘制模式以开始纹理处理。对于这个字符，我选择修改默认的纹理，而不是从头开始。为了符合风格化的设计，我画出了大部分的皮肤细节，只留下微妙的颜色变化。
Step 8: High-Resolution Clothes
第八步：高分辨率服装
It is now time to start working on the clothes. There are two workflows that you can use to create clothes for Character Creator. If you have 3DXchange Pipeline, you can export an FBX of your custom character and build your clothes around that. If you don’t have 3DXchange Pipeline, you can still create clothes using the template files provided by Reallusion. I will be demonstrating the workflow that uses templates. You can find the template files by following this link.
现在是开始做衣服的时候了。有两个工作流可以用来为角色创建者创建衣服。如果你有3 DXChanged管道，你可以导出一个FBX的自定义字符，并建立您的衣服围绕这一点。如果您没有3DXChange管道，您仍然可以使用Reallation提供的模板文件创建衣服。我将演示使用模板的工作流。您可以通过以下方式找到模板文件按照这个链接.
I start out by importing the Female.obj mesh into ZBrush.
我首先将Female.obj网格导入到ZBrush中。
I then build the clothes around this template using the many powerful tools available in ZBrush, such as Extract, Dynamesh, and Zremesher. The clip brushes are particularly useful for cleaning extracted sub tools and the Clay Buildup and Standard brushes are good for sculpting cloth details.
然后，我使用ZBrush中提供的许多强大工具，例如提取器、DynaMesh和Zremesher，围绕这个模板构建衣服。剪辑刷是特别有用的清洁提取子工具和粘土堆积和标准刷是很好的雕刻布细节。
Step 9: Retopology
步骤9：重新拓扑
Decimate your high-resolution meshes using the Decimation Master plugin and export them as OBJ files. Back in Blender, I load the decimated mesh and create the low-resolution mesh using Blender’s retopology tools such as face snapping and the shrinkwrap modifier.
抽取您的高分辨率网格使用抽取主插件和导出他们作为OBJ文件。回到搅拌机，我加载抽取网格，并创建低分辨率网格使用搅拌器的润肤工具，如面部抢修和收缩包装改良剂。
Step 10: Hair
第10步：头发
Hair for use in Character Creator has two parts: the hair strips and the scalp. The scalp can be created by duplicating the faces of the head and the hair strips are just simple polygon strips are arranged and textured to form the main part of the hair. All the hair strips and the scalp must be combined into a single object. The hair strips and the scalp should also be assigned separate materials.
用于人物造物主的头发有两部分：发条和头皮。头皮可以通过复制头部的面部而产生，而这些发带只是简单的多边形条，排列和纹理构成头发的主要部分。所有的发带和头皮必须合并成一个单一的对象。头发条和头皮也应分配单独的材料。
The two parts of the hair: the scalp and the strips
头发的两部分：头皮和发带。
Step 11: UV Mapping the Clothes
第11步：紫外线映射衣服
When UV mapping clothes, you want to place the seams where the seams on a real piece of clothing will be. You can assign a grid texture to your objects to see if there is any texture stretching.
当紫外线映射衣服时，你想把接缝放在真正的衣服上的接缝处。您可以为对象分配网格纹理，以查看是否存在纹理拉伸。
The UV layout of the shirt
衬衫的紫外线布局
Use grid textures to test for stretching
使用网格纹理测试拉伸
Step 12: Baking Normal Maps (Part 1)
第12步：烘烤正常地图(第1部分)
I am going to be using Substance Painter to bake the normal maps of the clothes. I prepare the high-resolution and the low-resolution meshes inside Blender. The high-resolution shirt has separate meshes for the sleeves, the collar, and the vest. This will make baking the normal maps easier for us. Give each mesh and appropriate name and append “_high” to the end of it.
我要用颜料烘焙衣服的普通地图。我在搅拌机里准备高分辨率和低分辨率的网格。高分辨率衬衫有不同的网眼袖子，衣领和背心。这将使我们更容易烘焙正常的地图。给出每个网格和适当的名称，并在其末尾附加“_High”。
Name the high-resolution meshes appropriately
适当地命名高分辨率网格。
I create a special, low-resolution mesh for baking. While the final low-resolution mesh will be a single object, I split up the bake mesh to match the separation of the parts of the high-resolution mesh. Once the mesh has been split up, name them in a similar way to the high-resolution meshes but this time, append “_low” to the end. For example, if the high-resolution sleeves are called “sleeves_high,” then the low-resolution sleeves should be called “sleeves-low.” Lastly, make sure that the same material is assigned to all low-resolution meshes. Once this is done, select all the high-resolution objects and export them to an FBX file. Do the same for the low-resolution objects.
我为烘焙制作了一个特殊的、低分辨率的网格。虽然最终的低分辨率网格将是一个单一的对象，我分裂了烘焙网格，以匹配分离的部分高分辨率的网格。一旦网格被分割，以类似于高分辨率网格的方式命名它们，但这一次，在末尾添加“_low”。例如，如果高分辨率袖子被称为“袖子_高”，那么低分辨率袖子应该称为“袖子-低”。最后，确保相同的材料被分配到所有的低分辨率网格.完成后，选择所有高分辨率对象并将它们导出到FBX文件中。对于低分辨率的物体也要这样做。
Do the same for the low-resolution meshes
对于低分辨率网格也是如此。
Step 13: Baking Normal Maps (Part 2)
第13步：烘烤正常地图(第2部分)
In Substance Painter, create a new project and load your low-resolution mesh. In the Texture Set Settings, press the Bake Textures button to bring up the Baking menu. Make sure that only the Normal Map option is checked and load your high-resolution mesh into the High Definition Meshes window. For the Match option, select By Mesh Name so that only the details from similarly named meshes will be baked (sleeves to sleeves, collar to collar, etc.). Press Bake Textures to generate the normal map. If there are artifacts in your mesh, you can increase or decrease the values for frontal and rear distance. You can also bake other maps, such as ID maps for easy selection, using this process.
在实质上，画家，创建一个新的项目，并加载您的低分辨率网格。在“纹理集设置”中，按“烘焙纹理”按钮以打开“烘烤”菜单。确保只检查“普通地图”选项，并将高分辨率网格加载到“高清晰度网格”窗口中。对于匹配选项，按网格名称选择，这样只有来自同名网格的细节才会被烘焙(袖子到袖子，衣领到项圈，等等)。按烘烤纹理生成法线图。如果你的网格中有伪影，你可以增加或减少正面和后方距离的数值。您还可以使用此过程烘烤其他映射，例如ID映射，以便于选择。
The setting for baking normal maps in Substance Painter
物质素描法向图的烘焙方法
The normal maps applied to the low-resolution shirt
适用于低分辨率衬衫的普通地图
Step 14: Texturing the Clothes
第14步：给衣服上色
To make the clothes ready for painting inside Substance Painter, assign a different material for each piece of clothing and name it appropriately. This will make it easy to select the different texture sets for painting inside Substance Painter. Select all the objects and export them as an FBX file.
要使衣服准备好在物质画家内部绘画，为每件衣服分配不同的材料，并适当地命名它。这将使它很容易选择不同的纹理集内绘画的物质画家。选择所有对象并将其导出为FBX文件。
In Substance Painter, create a new project and load in your mesh. Load your previously baked maps into Substance painter by dragging them into the texture shelf. To load them into the appropriate texture set, select your desired texture set and drag your maps to the appropriate slots in the TextureSet Settings. Using the pre-made materials that come with Substance Painter is a good place to start, but make sure to edit them and add your own hand painted details to better fit your design. It is this step that I add in some smaller details like stitches on the seams. The embroidery patterns were created in Photoshop and were used as a layer mask in Substance Painter.
实质上，请创建一个新项目并在网格中加载。把你以前烤过的地图拖到纹理架子上，把它们装入物质油漆机。若要将它们加载到适当的纹理集中，请选择所需的纹理集，并将映射拖到“纺织品集设置”中的适当槽中。使用预先制作的材料，随着物质画家是一个很好的地方开始，但确保编辑他们，并添加您自己的手绘细节，以更好地适应您的设计。这一步，我加入了一些较小的细节，如缝缝。刺绣图案是在Photoshop中创建的，并被用作一层蒙版。
Texturing the clothes in Substance Painter
粉刷衣服的质感
Step 15: Binding the Clothes
第15步：包扎衣服
To bring custom clothes into Character Creator, you will need to bind the clothes to one of the provided FBX files. Because I started with the Female.obj file, I’m going to bind the clothes to the Female.fbx file. If your 3D program has a method for copying weights, it would be best to copy over the skin weights from the body to the clothes. You may still need to manually edit the weights, but it is a good starting point.
要将自定义服装带入角色创建者，您需要将衣服绑定到所提供的FBX文件之一。因为我从Female.obj文件开始，所以我将把衣服绑定到Female.fbx文件。如果你的3D程序有一种复制重量的方法，最好将皮肤重量从身体复制到衣服上。您可能仍然需要手动编辑权重，但这是一个很好的起点。
Copy the weights from the body mesh whenever possible
只要有可能，就从身体网中复制重量。
Step 16: Exporting the FBX
步骤16：导出FBX
To export the FBX, select all the clothes and everything that was imported from the FBX. Go to File>Export>Fbx. In the Export, FBX options to the left, check Selected Objects in the main section to export only the selected objects. Go to the Armatures section and uncheck Add Leaf Bones. With these options, Blender should generate a file that Character Creator will accept. For those using other 3D programs, make sure that you are exporting to FBX 2012 as this is the version that is most compatible with Character Creator.
要导出FBX，请选择从FBX导入的所有衣服和所有内容。转到File>export>FBX。在ExportFBX选项的左边，选中主部分中的选定对象，只导出选定的对象。转到电枢部分并取消勾选“添加叶子骨头”。使用这些选项，Blender应该生成一个字符创建者将接受的文件。对于那些使用其他3D程序的人，请确保您正在导出到FBX 2012，因为这是与字符创建者最兼容的版本。
In Blender, turn off Add Leaf Bones or it will cause errors in Character Creator
在混合器中，关闭“添加叶子骨头”，否则会导致字符创建程序中的错误。
Step 17: Importing the Clothes
第17步：进口衣服
Back in Character Creator, go to Create>Cloth, Hair, Acc… and select the FBX file you just exported. In the Decrypt Key File Dialogue, select the fix key file of the FBX template that you used. In my case, it is Female.fbxkey.
回到角色创造者，去创建>布，头发，acc…并选择您刚刚导出的FBX文件。在“解密密钥文件对话”中，选择使用的FBX模板的FIX密钥文件。在我的例子中，是Female.fbxkey。
Confirm your import and if it is successful, you will be presented with the Asset Import Status Report window. In this window, set the layer number of your clothing items. This will be used to determine which piece of clothing should be over another if you run collisions. You can also set the type of item you are importing, whether they be normal clothes, gloves, shoes, or hair.
确认您的导入，如果导入成功，您将收到“资产导入状态报告”窗口。在此窗口中，设置服装项目的图层编号。这将被用来确定哪一件衣服应该在另一件，如果你运行碰撞。您还可以设置进口商品的类型，无论它们是普通的衣服、手套、鞋子或头发。
Step 18: Import Errors
步骤18：导入错误
There are occasions when the import will fail to load. The common reasons for this are that the cloth item has no Uvs, they are bound to the wrong bones (check for bones with “Nub” in the name and remove their influence) or multiple meshes are bound to the head bone and are being read as hair geometry. For this character, I had to export the bandana and the hair as separate FBX files as they were causing errors during the import process.
在某些情况下，导入将无法加载。造成这种情况的常见原因是布料没有UVS，它们被绑在错误的骨头上(检查名字中有“Nabb”的骨头并消除它们的影响)，或者多个网格被绑定到头骨上，并被解读为头发几何学。对于这个字符，我必须导出班达纳和头发作为单独的FBX文件，因为它们在导入过程中会导致错误。
Step 19: Loading your Textures
步骤19：加载纹理
To load your textures into Character Creator, select your object and go to the Material section of the Modify Panel (checker icon). Select the material in the material list and go down to the Texture Settings to load the various maps that you have created.
若要将纹理加载到字符创建器中，请选择对象并转到“修改面板”的“材料”部分(检查器图标)。选择“材料”列表中的材料，然后向下转到“纹理设置”以加载您创建的各种映射。
Load your maps here
在这里加载你的地图
Step 20: Creating Clothing Templates
步骤20：创建服装模板
You can create templates from the clothes that you have created for use with other characters created with Character Creator. This step is also useful for bringing clothes that have been imported from separate FBX files into one project. Select a clothing item and In your content panel, press the Cloth button. Select the proper category for your selected object and switch over to the Custom tab. Click the “+” button at the bottom of the window to create and name your template.
您可以从已创建的衣服中创建模板，以便与用字符创建器创建的其他字符一起使用。这一步骤对于将从不同FBX文件导入的衣服带到一个项目中也很有用。选择一个服装项目，并在您的内容面板，按下布按钮。选择所选对象的适当类别并切换到“自定义”选项卡。单击窗口底部的“+”按钮创建并命名模板。
Create custom templates that can be used with other characters
创建可与其他字符一起使用的自定义模板
Step 21: Adding Clothes to your Custom Character
步骤21：为您的自定义角色添加衣服
In an earlier step, we created a morph slider for our custom character. If the source morph you used to create that slider is the same as the FBX template that you bound the clothes to, you can simply turn up the slider to 100 to apply your custom morph to the current character. If the source morph is different, you can either recreate the slider and use Current Morph as the source or start with a new file and simply drag the templates that you have created onto your custom character.
在前面的步骤中，我们为我们的自定义角色创建了一个变形滑块。如果用于创建该滑块的源形状与绑定衣服的FBX模板相同，则只需将滑块打开为100，将您的自定义形状应用到当前字符。如果源形态不同，可以重新创建滑块并使用当前形态作为源，也可以从新文件开始，只需将创建的模板拖到自定义字符上即可。
The custom clothes on the custom character
定制字符上的定制服装
Step 22: Final Edits
步骤22：最终编辑
At this stage, you can still edit your character using morph sliders. If you want more control, you can select any mesh and in the Edit section of the modify panel activate Edit Mesh Mode. This will give you face level control over your meshes. You can use this mode to modify the shape of your meshes or hide faces that are not visible to the viewer. For this character, I hid most of the faces of the body keeping only the head, neck, and some portions of the chest.
在这个阶段，你仍然可以用变形滑块编辑你的角色。如果您想要更多的控制，您可以选择任何网格，并在修改面板的编辑部分激活编辑网格模式。这将使你的脸水平控制你的网格。您可以使用此模式修改网格的形状或隐藏查看器不可见的面孔。对于这个角色，我隐藏了身体的大部分面部，只有头部、颈部和胸部的某些部分。
You can also resolve intersecting clothes by using the Conform operation. This will calculate the collisions of your clothes based on the layer number that you have set and edit them accordingly.
您也可以通过使用符合操作来解析相交的衣服。这将计算您的衣服碰撞，根据您已经设置的层数，并相应地编辑它们。
Step 23: Fixing the Facial Animation Morphs in 3DXchange
第23步：修复3 DXchange中的面部动画
The character at this point should be ready for body animations inside iClone. Because of the edits that were done to the face in Zbrush, however, there may be a need to fix the facial morphs that are used for animation. Export an iAvatar file from Character Creator and open it in 3DXchange. Scroll down to the Face Setup section of the Modify Panel to find a list of morphs. Go through these morphs to see if any of them need to be fixed or improved to better fit your character. For characters with large eyes, there will usually be a problem with the blink morph.
此时的角色应该准备好在iClone中进行身体动画。但是，由于在ZBrush中对面部进行了编辑，所以可能需要修复用于动画的面部形状。从字符创建者导出一个iAvatar文件，并在3 DXChange中打开它。向下滚动到“修改面板”的“面板设置”部分，以找到一个形态列表。通过这些变形，看看是否需要修正或改进，以更好地适应你的性格。对于大眼睛的人物来说，眨眼的形状通常会有问题。
The eye does not close all the way
眼睛不是一直闭着的
Export the morph that you want to fix using the Export button and fix this morph in an external program.
使用导出按钮导出要修复的形状，并在外部程序中修复此形状。
Fixing the eye morph in Blender
搅拌机眼形修复
Once the edits are finished, export the new morph as an OBJ file and in 3DXchange press the Replace button to load in the edited morph. Once you are done, go to File>Export to save out a new iAvatar file. The character is now fully ready to be used inside iClone.
编辑完成后，将新的变体导出为OBJ文件，并在3 DXChange中按“替换”按钮以加载编辑后的变体。完成之后，转到File>export保存一个新的iAvatar文件。字符现在已经完全准备好在iClone中使用了。
Bringing the fixes back into 3DXchange
将修复带回到3DXChange中
Step 24: Conclusion
步骤24：结论
Following the steps above, you can create a custom character for use in iClone. This character can now be posed and animated. Here are a few renders using iClone. I gave her a prop and I even used iClone’s soft cloth physics for her hair and bandana straps.
按照上述步骤，可以创建用于iClone的自定义字符。这个角色现在可以摆姿势和动画了。下面是一些使用iClone进行呈现的方法。我给了她一个道具，我甚至用iClone的软布物理做她的头发和绷带。
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