创造托马斯·佩斯奎特的写实肖像

创造托马斯·佩斯奎特的写实肖像

Arthur Gatineau , 3D 角色艺术家

Ubisoft 的 3D 角色艺术家 Arthur Gatineau 分享了创建法国宇航员 Thomas Pesquet 的逼真肖像所使用的工作流程，谈论了使用的工具，并分享了一些关于确定肖像的技巧。

Introduction

My name is Arthur Gatineau, I’m a Character Artist currently working at Ubisoft Bordeaux on an unannounced title. I previously worked on Assassin’s Creed Valhalla, Ghost Recon Breakpoint, and Ghost Recon Wildlands.

介绍

我的名字是 Arthur Gatineau，我是一名角色艺术家，目前在 Ubisoft Bordeaux 工作，开发一个未公布的头衔。我之前曾参与过刺客信条瓦尔哈拉、幽灵行动断点和幽灵行动荒野。

To talk a little bit about my background, I started learning 3D as a self-taught artist in late 2013 and got my first job in 2015 at Unit Image, working on game cinematics. I then moved to Spain at Entropy studio where I had the chance to work as a generalist on a lot of projects, from TV ads, Spanish films, Netflix series to VR experiences. It was a fairly small company and we were only 3 guys doing 3D, so resources and knowledge were limited sometimes, but with my self-taught background, I was really used to learn and overcome production issues by myself.

说一下我的背景，我从 2013 年底开始学习 3D，作为一名自学艺术家，并于 2015 年在 Unit Image 找到了我的第一份工作，从事游戏过场动画。然后我搬到了西班牙的 Entropy 工作室，在那里我有机会在许多项目中担任通才，从电视广告、西班牙电影、Netflix 系列到 VR 体验。那是一家相当小的公司，我们只有 3 个人在做 3D，因此资源和知识有时有限，但以我自学的背景，我真的习惯于自己学习和克服制作问题。

After some time there I started to feel homesick so I went back to France where I started at Ubisoft Bordeaux in 2018.

在那里过了一段时间后，我开始想家，所以我回到了法国，我于 2018 年在育碧波尔多开始工作。

The Thomas Pesquet Project

The last time I did a likeness was back in 2016 when I modeled Milly Bobby Brown from Stranger Things. Usually, stuff that I see, listen, watch, or play drives my next piece and that was the case for this one. Thomas Pesquet is a french spationaut (a European word for astronaut) who was recently sent into space for the second time. It’s usually really mediatized and we are lucky he shares a lot of his journey throughout his social media, letting us to dream a bit! Apart from that, Thomas inspires me every day, proving that hard work and discipline are the only ways to progress and achieve your goals.

托马斯佩斯奎特项目

我上一次模仿是在 2016 年，当时我为《怪奇物语》中的米莉·鲍比·布朗建模。通常，我看到、听到、观看或播放的东西会驱动我的下一个作品，这就是这种情况。Thomas Pesquet 是一名法国宇航员（欧洲语中宇航员的意思），他最近第二次被送入太空。它通常真的是媒体化的，我们很幸运，他在社交媒体上分享了很多他的旅程，让我们做一些梦想！除此之外，托马斯每天都在激励我，证明努力工作和纪律是进步和实现目标的唯一途径。

Therefore, I decided to give it a try and see how rusty I was and how difficult this exercise is!

因此，我决定试一试，看看我是多么生疏，这个练习有多难！

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Face and Head

Gathering quality references is, not surprisingly, a crucial step for a likeness, or for any kind of project, for that matter.

脸和头

就这一点而言，收集高质量的参考资料是肖像或任何类型项目的关键步骤，这并不奇怪。

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I started with a head scan from 3DScanStore once again, which saved me a lot of hours of work. That way, I already have some details on the face, UVs, and base Diffuse. Getting the feel of the person is a long process, I also usually bring reference images in ZBrush using the spotlight and line them up with my sculpt to tweak the features.

我再次从 3DScanStore 进行头部扫描，这为我节省了大量工作时间。这样，我已经有了一些关于面部、UV 和基础漫反射的细节。获得人物的感觉是一个漫长的过程，我通常也会使用聚光灯在 ZBrush 中引入参考图像，并将它们与我的造型对齐以调整特征。

Don’t hesitate to ask for feedback from your peers as your brain can quickly think that you’re good to go while it needs some more work.

不要犹豫，向你的同龄人征求反馈，因为你的大脑会很快认为你很好，而它需要更多的工作。

The Suit

For the suit, I used a combination of techniques, starting with a very basic Marvelous Designer simulation to get the general feel of the cloth. I continued in 3ds Max with good old poly modeling for the details as I’m feeling more comfortable with it. Results were okay-ish for the upper part but were lacking quality on the bottom region. I decided to use a scan from 3DScanStore that I cleaned. I projected my Marvelous mesh on it to capture the shapes and folds from the scan.

西装

对于西装，我使用了多种技术，从非​​常基本的 Marvelous Designer 模拟开始，以获得布料的总体感觉。我继续在 3ds Max 中使用良好的旧多边形建模来处理细节，因为我对它感觉更舒服。上部的结果还可以，但底部区域的质量较差。我决定使用我清理过的 3DScanStore 扫描。我将我的 Marvelous 网格投影在其上以捕捉扫描中的形状和折叠。

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I wanted to make high-quality patches, but couldn’t find any good textures or workflow to make them. As I don’t know Houdini for now, I ended up modeling the patches by hand by duplicating a half torus over and over. I had 5 patches to make but it took me only a day to make them all (it was also really relaxing). Once it was modeled, I just baked them down on a flat plane for rendering. I used Marmoset to bake the Displacement.

我想制作高质量的补丁，但找不到任何好的纹理或工作流程来制作它们。由于我现在不了解 Houdini，我最终通过一遍又一遍地复制半环面来手工建模补丁。我有 5 个补丁要制作，但我只用了一天就制作了它们（这也很放松）。建模后，我只是将它们放在平面上进行渲染。我用 Marmoset 来烘焙 Displacement。

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Hair

I used XGen for the hair. I was pretty straightforward since he had a cap, so I just created several XGen descriptions for the main hair, eyebrows, eyelashes, and peachfuzz. I also used XGen to add an extra layer of detail to the cap.

头发

我用 XGen 做头发。我很直接，因为他有帽子，所以我只为主要的头发、眉毛、睫毛和桃花创建了几个 XGen 描述。我还使用 XGen 为帽子添加了额外的细节层。

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I used Mari to project a face displacement from TexturingXYZ to achieve that extra bit of realism at render time. In the shader, I combined the Zdisp (details from ZBrush and the scan) with the Mari Displacement.

我使用 Mari 从 TexturingXYZ 投影面部置换，以在渲染时实现额外的真实感。在着色器中，我将 Zdisp（来自 ZBrush 和扫描的细节）与 Mari Displacement 结合起来。

Displacement setup in Maya, with R, G, and B channels split to control their intensity:

Maya 中的置换设置，R、G 和 B 通道拆分以控制其强度：

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Texturing

I had the chance to have a high-quality Diffuse Map from the scan, so I created additional Maps (Roughness and SSS) from it using Substance Painter.

纹理

我有机会从扫描中获得高质量的漫反射贴图，因此我使用 Substance Painter 从中创建了额外的贴图（粗糙度和 SSS）。

For the suit, it was very fast and easy; I combined my Zdisp with a tileable fabric Displacement Map from TexturingXYZ’s fabric collection. The diffuse is just a flat color with some noise in it (made in the shader itself). The trick to make the fabric looks more believable is to use the Sheen parameter in the aiStandardSurface shader, it adds this microfiber feel to it.

对于西装，它非常快速和容易；我将 Zdisp 与来自 TexturingXYZ 织物系列的可平铺织物置换贴图相结合。漫反射只是一种带有一些噪点的平面颜色（由着色器本身制成）。让织物看起来更可信的技巧是在 aiStandardSurface 着色器中使用 Sheen 参数，它为它添加了这种超细纤维的感觉。

Rendering

I mainly used HDRI only for the renders. For the main image, I used an HDRI with low intensity to avoid black areas on the image, I added 2 rim lights and finally a big front light with a .exr texture in it to have this ring highlight in his eyes.

渲染

我主要仅将 HDRI 用于渲染。对于主图像，我使用了低强度的 HDRI 来避免图像上出现黑色区域​​，我添加了 2 个边缘灯，最后添加了一个带有 .exr 纹理的大前灯，以在他的眼睛中突出这个环形高光。

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Once rendered, I used Photoshop and the CameraRaw filter (which is basically almost like Lightroom) to enhance the mood by tweaking parameters. I usually just play with the sliders and eyeball it until I’m happy with the results. You can add a subtle chromatic aberration and a small grain to the image to harmonize the final look.

渲染后，我使用 Photoshop 和 CameraRaw 滤镜（基本上类似于 Lightroom）通过调整参数来增强情绪。我通常只是玩滑块并观察它，直到我对结果感到满意为止。您可以为图像添加细微的色差和小颗粒以协调最终外观。

I hope you learned a few tricks from this article. You can always email me if you need more in-depth explanations.

我希望你从这篇文章中学到了一些技巧。如果您需要更深入的解释，您可以随时给我发电子邮件 。

Arthur Gatineau , 3D 角色艺术家

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很好很棒