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本帖最后由 执此一念 于 2021-11-10 13:28 编辑
在 Maya 和 UE4 中设计法国乡村场景
Vincent Boichut 谈论了使用 Maya、虚幻引擎和 Substance Painter 创建 3D 景观的过程，并分享了他最喜欢的教程和工具包，这些教程和工具包帮助他设计了令人叹为观止的法国乡村风格作品。
Introduction
My name is Vincent, I am 23 years old, and I live in the south of France. I studied Game Art at ESA Games from 2016 to 2019 and graduated in 2020. In the meantime, I had the opportunity to start a 6-month internship at Force Field, a VR-oriented game studio based in Amsterdam. I then had the chance to join Station Interactive, a Swedish studio that has worked on various games including Little Big Planet. At Station Interactive, I worked as a Character Artist on Sackboy: A Big Adventure and as an Environment Artist on a project that got canceled. This was a great experience, and I definitely fell in love with the Swedish landscapes and the special atmosphere, but France was calling my name and I had to return home. So for approximately 6 months, I have been working as a 3D freelancer, at the moment I am working with Pendulo Studios on a super cool project I cannot even talk about yet.
介绍
我叫文森特，今年 23 岁，住在法国南部。我于 2016 年至 2019 年在 ESA Games 学习游戏艺术，并于 2020 年毕业。同时，我有机会在位于阿姆斯特丹的 VR 游戏工作室 Force Field 开始为期 6 个月的实习。然后我有机会加入了 Station Interactive，这是一家瑞典工作室，曾参与过包括 Little Big Planet 在内的各种游戏。在 Station Interactive，我在 Sackboy: A Big Adventure 中担任角色艺术家，并在一个被取消的项目中担任环境艺术家。这是一次很棒的经历，我确实爱上了瑞典的风景和特殊的氛围，但法国正在呼唤我的名字，我不得不回家。所以大约 6 个月以来，我一直是一名 3D 自由职业者，
Creating the French Countryside House
This scene was a bit special for me, as this is a part of a bigger project we are currently working on with my girlfriend, Jenny Mati. So it was definitely easier than my usual workflow, as we were able to talk and give each other feedback while moving forward. For the house architecture, she was inspired by one of Hyunsu Cha's concepts, and we knew we wanted to have that feeling of a big lonely house in the middle of nowhere, during a hot summer. I think she translated the idea we had really well, and it helped me a lot to build that base I could rely on to make it 3D. We used a lot of references, especially for the house's structures, the vegetation colors, and the specific lighting we wanted.
创建法国乡村住宅
这个场景对我来说有点特别，因为这是我们目前正在和我的女朋友Jenny Mati合作的一个更大项目的一部分。所以这绝对比我通常的工作流程更容易，因为我们能够在前进的同时互相交谈和提供反馈。对于房屋建筑，她的灵感来自于Hyunsu Cha 的一个概念，我们知道我们想要在炎热的夏天在偏僻的地方拥有一座孤独的大房子的感觉。我认为她很好地诠释了我们的想法，它帮助我建立了一个我可以依靠的基础来制作 3D。我们使用了很多参考资料，尤其是房屋的结构、植被颜色和我们想要的特定照明。
Speaking of composition and framing, we talked a lot about it and had a precise idea of what we wanted before starting anything. We wanted that dirt path to lead the eye of the spectator to the main house. As she was already using 3D for the illustration, I already had a basis to use, some sort of a blockout I could use to get the size and proportions right and have an idea about how to approach the different parts of the house and the final composition.
说到构图和取景，我们谈了很多，并且在开始任何事情之前对我们想要的有一个准确的想法。我们希望这条土路将观众的目光引向主屋。因为她已经在使用 3D 来绘制插图，所以我已经有了一个可以使用的基础，我可以使用某种遮挡来获得正确的尺寸和比例，并知道如何处理房屋的不同部分和最终作品。
I imported the blockout my girlfriend did in Maya and used it as a base to model different parts. It was extremely useful to see how I would break the house into different elements and what parts could share the same textures or be duplicated to avoid wasting time.
我导入了我女朋友在 Maya 中所做的遮挡，并将其用作建模不同部分的基础。看看我如何将房子分成不同的元素以及哪些部分可以共享相同的纹理或被复制以避免浪费时间，这非常有用。
I did not create any high-poly model for the assets, as the final render was going to be quite stylized, I knew I could get away with a couple of well-placed bevels and putting more emphasis on textures.
我没有为资产创建任何高多边形模型，因为最终渲染将非常风格化，我知道我可以摆脱一些放置良好的斜面并更加强调纹理。
So once I had an idea of which elements I needed, I started modelling them by groups (all the walls, then all the doors, then the windows, and so on). I reduced it as much as I could to use them as modules, I also modelled some small assets I knew I would need everywhere, like wood beams and small bricks (to break the wide emptiness on the walls), flower pots. Also, I decided to take a bit of a risk for the roof. Instead of going for a textured plane, I decided to model 5 or 6 tiles I would then duplicate in Unreal Engine, creating groups of tiles. This gave me the impression of freedom where I could create unique roof parts and give more credibility to my roofs. I did this knowing the rest of the scene was not going to be too heavy, and the scene could still run smoothly with those roofs.
所以一旦我知道我需要哪些元素，我就开始按组对它们进行建模（所有的墙，然后是所有的门，然后是窗户，等等）。我尽可能地减少它以将它们用作模块，我还对一些我知道到处都需要的小资产进行了建模，例如木梁和小砖块（打破墙壁上的空旷）、花盆。另外，我决定为屋顶冒一点风险。我决定模拟 5 或 6 个瓷砖，然后在虚幻引擎中复制，创建瓷砖组，而不是使用带纹理的平面。这给了我自由的印象，在那里我可以创建独特的屋顶部件并为我的屋顶提供更多的可信度。我这样做是知道场景的其余部分不会太重，并且场景仍然可以在这些屋顶的情况下顺利运行。
The bales of hay were also pretty tricky to make, they went through different styles and techniques, but I finally opted for the simplest one, a cylinder with a carton texture surrounded by some planes using an alpha to make it look like a messy pile of hay.
干草捆也很难制作，它们经历了不同的风格和技术，但我最终选择了最简单的一个，一个带有纸箱纹理的圆柱体，周围环绕着一些使用 alpha 的平面，使其看起来像一堆杂乱无章的干草。干草。
The rest of the assets that were going to be used outside of the main house as decorations (bike, chairs, table, fences), were modelled separately, each of them had its own textures. In the end, I also grabbed some assets from the Megascans library to add some more life to the scene and tweaked their textures a bit to make everything look more stylized.
将在主屋外用作装饰品（自行车、椅子、桌子、栅栏）的其余资产分别建模，每个资产都有自己的纹理。最后，我还从 Megascans 库中获取了一些资源，为场景增添了更多活力，并稍微调整了它们的纹理，使一切看起来更加风格化。
Vegetation was clearly my biggest challenge on this project, as I was not used to working on it and I knew it would cause me a lot of problems. 植被显然是我在这个项目中面临的最大挑战，因为我不习惯于它，我知道它会给我带来很多问题。 I first started to look into the new Runtime Virtual Texturing process inside Unreal Engine, after reading through various breakdowns of stylized scenes such as the one by Jasmin Habezai-Fekri. RVT helps your assets to blend in with the landscape. After watching a few tutorials on how to use it, I finally started to see my grass blending perfectly with the ground texture. For the grass, I started with a few planes crossing each other, and an alpha. But towards the end of the project, I decided to go for a less rounded shape which looked too cartoon-like in my opinion. I also unchecked cast shadows. RVT 可帮助您的资产与景观融为一体。在看了一些关于如何使用它的教程后，我终于开始看到我的草与地面纹理完美融合。对于草地，我从几架相互交叉的飞机和一个 alpha 开始。但是在项目结束时，我决定采用一种不太圆的形状，在我看来它看起来太卡通了。我也未选中投射阴影。
Regarding the material of the grass, I pretty much used the one described by David Holland in his breakdown of the Meadows, I loved the color variation in his grass and that beautiful wind effect he had. I added RVT to my grass and added the pixel depth offset modifier, which can be pretty close to what RVT does, but I found that the mix of the two was a great fit. The vine plants come from the Unreal marketplace pack made by letsmakecoolart, I first used them as a placeholder but I decided to keep them, as they matched the style of the scene well. The bushes and the tree material were made using LucenDev one as a basis. I loved the way his trees looked and because he released a free project file, I was able to take a look at how he worked on those. I used pretty much the same workflow that he used, removing the stuff I did not need and adding RVT, pixel depth offset, and my own alpha for the leaves. 藤蔓植物来自 letsmakecoolart制作的虚幻市场包，我首先将它们用作占位符，但我决定保留它们，因为它们与场景风格非常匹配。灌木和树木材料是使用 LucenDev one 作为基础制作的。我喜欢他的树的样子，因为他发布了一个免费的项目文件，我可以看看他是如何处理这些文件的。我使用了与他使用的工作流程几乎相同的工作流程，删除了我不需要的东西，并为叶子添加了 RVT、像素深度偏移和我自己的 alpha。 For the modeling, I first tried to use the Blender Particle System, but as I am really new to Blender, it did not really look like what I wanted. So after reading through Zurab Barisashvili’s breakdown on his The Last of Us scene, I discovered that Mash could be used to create trees and bushes in Maya. You can basically duplicate one mesh on a given surface and control how many meshes you want, as well as control rotation, variation, etc. The final trick to have a great-looking tree inside Unreal Engine is to modify its normal. There are a lot of different ways to do it, I decided to follow Romain Durand’s tutorial for this one, which is basically transferring vertex normal information from a more simplified mesh onto your bush or tree leaves. 在虚幻引擎中创建漂亮树的最后一个技巧是修改其法线。有很多不同的方法可以做到这一点，我决定按照 Romain Durand的教程来做这个，它基本上是将顶点法线信息从更简化的网格转移到你的灌木或树叶上。 The setup for the sky was not something I spent a lot of time on, I used the original sky sphere blueprint from Unreal Engine, I removed the clouds and tweaked the colors to make it look more like a French summer sky.
天空的设置不是我花很多时间的事情，我使用了虚幻引擎的原始天空球体蓝图，去除了云层并调整了颜色，使其看起来更像法国夏日的天空。
For the clouds, I used the awesome SkyCard pack by DF Productions and tweaked them to look stylized and fit the scene and the sky better. Those clouds can be affected by the sunlight direction, you can tweak pretty much anything, from density to shadow colors, I highly recommend them. 对于云，我使用了 DF Productions 出品的 SkyCard 包，并对其进行了调整，使其看起来更加风格化，更适合场景和天空。这些云会受到阳光方向的影响，你可以调整几乎任何东西，从密度到阴影颜色，我强烈推荐它们。 I also added an Exponential Height Fog to improve the atmospheric perspective, using the following settings :
我还添加了指数高度雾以改善大气透视，使用以下设置：
When it comes to the wind/falling leaf effect, I learned it from a really amazing tutorial made by Rimaye. I am not going to break it down here, because he does it much better anyway. 说到风/落叶效果，我是从 Rimaye 制作的一个非常棒的教程中学到的。我不会在这里分解它，因为无论如何他做得更好。 The chimney smoke was made using the Niagara Visual Effects System, it basically spawns a ribbon with a long lifetime that fades over time.
烟囱烟雾是使用 Niagara 视觉效果系统制作的，它基本上会产生一条寿命长的丝带，随着时间的推移逐渐消失。 The lighting of the scene is pretty basic, I wanted to keep it really simple and dynamic. It is basically one yellow-tinted directional light that creates that warm and cozy atmosphere you can feel at the end of the summer here in France. I switched the shadow filter sharpen to 1 for my directional light, once again I learned it from David Holland's breakdown of the Meadows, it gives the shadow a more cartoony look, it is a small detail but it is always nice to have. I then added spotlights and some point lights here and there to brighten up the shadows.
场景的照明非常基本，我想让它非常简单和动态。它基本上是一种黄色的定向灯，营造出温暖舒适的氛围，您可以在法国的夏末感受到。我将定向光的阴影过滤器锐化切换到 1，我再次从 David Holland 对 Meadows 的细分中学到了它，它使阴影看起来更卡通，这是一个小细节，但总是很高兴。然后我在这里和那里添加了聚光灯和一些点光源来照亮阴影。
There is almost no post-production, except for a small AO adjustment and I also lightened up the shadows a bit and added a smooth vignette to the main camera.
几乎没有后期制作，除了一个小的 AO 调整，我还稍微调亮了阴影并为主摄像机添加了一个平滑的小插图。
This project took me around a month and a half to complete as I was working on it on and off after work and during the weekends. 这个项目花了我大约一个半月的时间来完成，因为我在下班后和周末都在做这个项目。
I learned a lot of new stuff while working on this, reading through various breakdowns and watching tutorials. The main challenges I encountered were the creation of vegetation and keeping the overall scene credible and coherent.
在研究这个的过程中，我学到了很多新东西，阅读了各种故障和观看教程。我遇到的主要挑战是创建植被并保持整体场景的可信度和连贯性。
Creating this scene was a big step forward for me and took me quite a lot of energy, but it was definitely worth it in the end.
创作这个场景对我来说是向前迈出的一大步，耗费了我很多精力，但最终还是值得的。
I would like to thank all the amazing artists that helped me through the process, thanks to their tutorials I was able to lead my project in the right direction. Thanks to Jenny Mati who created the original concept and helped me with her feedback and her different perspective.
我要感谢所有帮助我完成整个过程的出色艺术家，感谢他们的教程，我能够将我的项目引导到正确的方向。感谢 Jenny Mati 创造了最初的概念，并在她的反馈和她不同的观点方面帮助了我。
I also have to thank the community for all the unexpected love they gave me. And finally, thanks to 80 Level for the interview, I hope it will be useful to someone as all the 80 Level breakdowns were to me.
我还要感谢社区给我的所有意想不到的爱。最后，感谢 80 级的采访，我希望它对某人有用，因为所有 80 级故障都是对我而言的。 |
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