在植物上工作
所有植物都是使用 Photoshop、Substance Alchemist 和 SpeedTree 制作的。
During the pandemic walking in nature is a good way to feel better and to resource ourselves. When I started the project, I decided to combine both passions and chose to take some plants from which I picked some leaves with different looks per species
在大流行期间，在大自然中散步是一种让自己感觉更好并获得资源的好方法。当我开始这个项目时，我决定结合这两种激情，并选择了一些植物，我从中挑选了一些不同物种的叶子
I took pictures on a flat surface of each leaf and using Photoshop, I made atlases with an alpha channel then went in Substance Alchemist to extract textures from atlases. SA is an amazing software that allows you to get a decent result quickly depending on your picture quality.
我在每片叶子的平面上拍照并使用 Photoshop，我制作了带有 alpha 通道的地图集，然后进入 Substance Alchemist 从地图集中提取纹理。SA 是一款了不起的软件，可让您根据图片质量快速获得不错的结果。
Then I used SpeedTree to model all the plants.
然后我使用 SpeedTree 对所有植物进行建模。
Texturing the Scene
The scene is composed of 4 main textures — Wood, Metal, Terracotta, and plants.
纹理场景
场景由 4 种主要纹理组成 - 木材、金属、兵马俑和植物。
I wanted to have the wood looking old, varnished, and patinated so I started by choosing many references for old wooden furniture.
我想让木头看起来很旧，涂过漆并涂上古色，所以我开始为旧木制家具选择许多参考资料。
I found a good quality walnut picture which I turned into material using SA. After exporting this texture in Substance Painter, I added different layers simulating dark patina in cavities, varnish, veins, wood pores, etc.
我找到了一张质量很好的胡桃木图片，我用 SA 把它变成了材料。在 Substance Painter 中导出此纹理后，我添加了不同的图层来模拟空腔、清漆、纹理、木孔等中的深色古色。
This smart material has been used on all wooden assets. I was doing modifications for each prop by painting small details, adding cracks or some dirt, anything that pushes more the storytelling.
这种智能材料已用于所有木制资产。我通过绘制小细节，添加裂缝或一些污垢，任何能推动讲故事的东西来对每个道具进行修改。
I textured all the terracotta pots in the same Substance file, to have visibility on the global look of my assets.
我在同一个 Substance 文件中对所有赤土陶罐进行了纹理处理，以了解我的资产的全局外观。
I wanted to have a large diversity of textures on these assets keeping a natural look. The terracotta tiled ground is a texture made with Substance Designer.
我希望在这些资产上拥有大量不同的纹理，以保持自然的外观。赤土瓷砖地面是用 Substance Designer 制作的纹理。
The drapery with the two characters came from a real drapery I found while I was visiting the gorgeous "Hameau de la Croze'', located in the Gorges du Tarn in France.
带有两个角色的帷幔来自我在参观位于法国塔恩峡谷的华丽“Hameau de la Croze”时发现的真实帷幔。
It was well-spread, so it was easier to take a picture of its texture. Using Substance Alchemist I extracted all maps, cropping the input picture, adjusting its color, etc.
它传播得很好，所以更容易拍下它的质地。我使用 Substance Alchemist 提取了所有贴图、裁剪输入图片、调整其颜色等。
Then I modeled the drapery with Marvelous Designer, using the exact same proportions so that the borders correctly fit.
然后我用 Marvelous Designer 为窗帘建模，使用完全相同的比例，以便边框正确适合。
I used pretty much the same workflow to create the carpet. Its texture is a pattern from an old sofa. I took a picture trying to correctly frame the pattern and then I extracted all maps and cleaned the connection on the edges of the picture using different layers as a clone patch effect with Substance Alchemist. Once it was done, I simply modeled the carpet using marvelous and exported everything to SP.
我使用几乎相同的工作流程来创建地毯。它的质地是旧沙发的图案。我拍了一张照片，试图正确地构图图案，然后我提取了所有贴图，并使用不同的图层清理了图片边缘的连接，作为 Substance Alchemist 的克隆补丁效果。 完成后，我简单地使用 marvelous 为地毯建模并将所有内容导出到 SP。
I tilled the pattern base material up, so it fits the carpet size and did modifications to the offset so the pattern is symmetrical to the edges of the carpet. I painted carpet borders trying to reproduce the same style as the central pattern. As the input image is green and yellow and my scene is globally brown and green, I changed its color using a compared mask so the ground could highlight other props. I chose a blue to have a good contrast of complementarity with the rest of the scene, without being more visible than the stone.
我将图案基材向上翻开，使其适合地毯尺寸，并对偏移量进行修改，使图案与地毯边缘对称。我画了地毯边框，试图重现与中央图案相同的风格。由于输入图像是绿色和黄色，而我的场景全局是棕色和绿色，我使用比较蒙版更改了它的颜色，以便地面可以突出显示其他道具。我选择蓝色是为了与场景的其余部分形成良好的互补对比，但又不会比石头更明显。
Composition
I used the cabinet as the centerpiece of the scene and built the diorama around it. The shapes of large objects are supported by smaller objects which themselves are supported by even smaller objects. The scene itself is composed in the form of a triangle divided into four parts. I thought of each part of this environment as multiple little scenes with their own stories. The first one is the table, where preparations are made. The chair is staggered, the book opened and a key on it to keep the book open on the right page, the herbalist will come back soon. The second is the cabinet, heavy objects are stored in the lower part of it, taking those out creates marks in the texture of the cabinet and I used the top part as a bookshelf. I think that dividing elements into multiple parts makes the environment more readable as long as everything is coherent. The top part of the triangle is the first thing that catches your eye, and which lets you read the scene freely down from one side to another. The left side of the scene is the resting area, a calm and green place to read a book. I thought of the back of the cabinet as if it was a storage room, the unused cabinet door is stored here with used containers on the chair.
作品
我使用橱柜作为场景的核心，并围绕它建造了立体模型。大物体的形状由较小的物体支撑，而小物体本身又由更小的物体支撑。场景本身以三角形的形式组成，分为四个部分。我认为这个环境的每个部分都是具有自己故事的多个小场景。第一个是桌子，在那里做准备。椅子错开，书打开了，上面有一把钥匙可以让书在正确的页面上打开，草药师很快就会回来。第二个是柜子，下半部分放重物，拿出来会在柜子的质感上留下痕迹，我把上半部分当成了书架。我认为将元素分成多个部分会使环境更具可读性，只要一切都是连贯的。三角形的顶部是最先吸引您眼球的部分，它可以让您从一侧到另一侧自由地阅读场景。场景的左侧是休息区，一个安静而绿色的看书的地方。我把柜子的背面想象成一个储藏室，闲置的柜门存放在这里，椅子上放着用过的容器。
Post-Production
I wanted to try creating and lighting a diorama in UE4 using ray-tracing.
后期制作
我想尝试使用光线追踪在 UE4 中创建和照明立体模型。
I tried to keep a natural look by bringing many lighting details using props reflections, highlighting its edges, etc. I have even highlighted some shiny objects to help with the composition of the scene, like the lighting around the cauldrons, the chair with metallic decorations, and the stone, which helps the eye to be attracted at some points of interest in the scene.
我试图通过使用道具反射带来许多照明细节，突出其边缘等来保持自然外观。我什至突出了一些闪亮的物体来帮助场景的构图，例如大锅周围的照明，带有金属装饰的椅子和石头，这有助于在场景中的某些兴趣点吸引眼球。
I also added fog which helped me to give more ambiance to the scene. Most of the lights are not volumetric. One volumetric PointLight with a very low brightness above the scene illuminates the environment and the fog itself, giving the impression that the fog does only appear on the scene, following its shape. The two other volumetric lights are above the opened book and the cauldron. For both of them, I modified the source radius/length and added a high volumetric value. With those settings, I simulated the kind of god-rays which aren't available with ray-tracing features.
我还添加了雾，这有助于我为场景提供更多氛围。大多数灯不是体积的。场景上方亮度非常低的一个体积点光源照亮了环境和雾本身，给人的印象是雾只是按照其形状出现在场景中。另外两个体积灯位于打开的书和大锅上方。对于他们两个，我修改了源半径/长度并添加了一个高体积值。通过这些设置，我模拟了光线追踪功能无法使用的那种上帝光线。
I worked with ray-tracing features, adjusting the sampling, using brute force ray-tracing GI, messing with reflections and translucency, etc. Not a lot of tweaking went into color grading, the lights were generally enough to give the look I wanted for the scene.
我使用光线追踪功能，调整采样，使用强力光线追踪 GI，处理反射和半透明等。没有太多的调整进入颜色分级，灯光通常足以提供我想要的外观现场。
The one at the top of the book, combined with the post-process bloom, is here to give the book a magical aspect. As the table scene is built around this book, it was important for me to make it even more visible. It's pretty much the same thing with the cauldron, but in this case, it was more to simulate the kind of steam coming from the mixture. I made it less strong to make sure the book was still more visible.
书顶部的那个，结合后期处理的绽放，在这里给这本书一个神奇的方面。由于桌子场景是围绕这本书构建的，因此让它更加明显对我来说很重要。这与大锅几乎相同，但在这种情况下，更多的是模拟来自混合物的蒸汽类型。我降低了强度以确保这本书仍然更加明显。
I played with a slight warm-cold contrast. The right side of the scene is warmer than the left side, which is more fixed, even if nothing in the scene is animated.
我演奏了轻微的冷暖对比。场景的右侧比左侧更暖和，更固定，即使场景中没有任何动画。
CGMA Mentorship and Courses
I took the course
Intro to Production Modeling to learn about modeling workflows to help me create better and more believable props. My CGMA mentor taught me to think about the shapes of my models.
CGMA 指导和课程
我参加了
生产建模介绍课程，以了解建模工作流程，以帮助我创建更好、更可信的道具。我的 CGMA 导师教我思考模型的形状。
Most of the feedback I had was coming from a little community of friends named "the edge flow community" without whom I would never have been able to push my work to this point. I would like to thank all of them starting with our former teacher and friend who is now our mentor
Hassen Samaali and all my friends and members of the community —
Benoit Chemin, my mate with whom my 3D journey started,
Adrien Luvisutto, and
Etienne Gounot. Don't forget to have a look at my friends' portfolios, they're all great!
我的大部分反馈来自一个名为“边缘流社区”的小朋友社区，没有他们，我将永远无法将我的工作推进到这一点。我要感谢他们所有人，首先是我们以前的老师和朋友，现在是我们的导师
Hassen Samaali，以及我所有的朋友和社区成员——
Benoit Chemin，我的 3D 之旅的伙伴，
Adrien Luvisutto和
Etienne Gounot . 别忘了看看我朋友的作品集，他们都很棒！
You can find the link to my portfolio
here. I will be happy if this article helps anybody gets better at creating a scene.
你可以在
这里找到我的投资组合的链接。如果这篇文章能帮助任何人更好地创建场景，我会很高兴。
Thank you for reading!
感谢您的阅读！
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