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在 Substance 和 V-Ray 中创建博物馆场景
环境艺术家 Kyle Steward 向我们展示了如何使用 ZBrush、Substance Designer 和 V-Ray 将 2D 概念转换为 3D 环境。
Introduction My name is Kyle Steward, and I am a student at Gnomon School of Visual Effects, Games & Animation where I am studying to be an Environment Artist. I recently finished up my project “Museum” and am thrilled to share a breakdown of how I arrived at the final piece.
介绍 我的名字是 Kyle Steward，我是 Gnomon 视觉效果、游戏和动画学院的一名学生，我正在学习成为一名环境艺术家。我最近完成了我的项目“博物馆”，很高兴能分享我是如何完成最终作品的细分。
Early Stages Our assignment for the class was to recreate a 2D concept into a 3D environment in five weeks. Enter, Rado Markovic. His concept, Museum, was on my desktop for most of 2018, so I knew my first choice right away, plus I’ve been itching to do something overgrown.
早期阶段 我们在课堂上的任务是在五周内将 2D 概念重新创建到 3D 环境中。进入，拉多马尔科维奇。他的概念博物馆在 2018 年的大部分时间里都在我的桌面上，所以我马上就知道了我的第一选择，而且我一直渴望做一些杂草丛生的事情。
I was working on a pretty tight deadline with other classes on my plate, so I had to manage my time carefully. I cannot stress how important it is to keep your schedule organized when balancing several projects and allotting time toward different responsibilities. I spent a few hours on my first day searching through images that matched closely with the concept because I didn’t want to stray too far from it. My reference included props, textures, and a hard drive worth of moss growth.
我的工作时间非常紧迫，我的盘子里还有其他课程，所以我必须小心地管理我的时间。在平衡多个项目并将时间分配给不同的职责时，我不能强调保持日程安排的重要性。第一天我花了几个小时搜索与概念紧密匹配的图像，因为我不想偏离它太远。我的参考资料包括道具、纹理和值得苔藓生长的硬盘。
Blockout I imported Rado’s concept as a backplane and the blockout began. The first thing I wanted to knock out was the staircase. Starting with that would assist in judging the scale for the rest of the scene. To further help with scale, I imported Unreal Engine’s mannequin which is close to 180 cm in height, and matched him to the character from the concept. With that, it was easier to set up my camera angle and focal length.
阻挡 我将 Rado 的概念导入为背板，然后开始封锁。我首先想撞倒的是楼梯。从那开始将有助于判断场景其余部分的比例。为了进一步帮助缩放，我导入了虚幻引擎的接近 180 厘米高的人体模型，并将他与概念中的角色相匹配。有了这个，设置我的相机角度和焦距就更容易了。
There wasn’t much time for iteration so blockout was a quick phase for me, and I would go as far as to say my “blockout” skipped a few steps. That helped me in the long run, giving me more time to focus on the details I was unsure I’d have time for but desperately wanted to add. I spent a little extra time when blocking out the props to make them closer to the final model.
迭代的时间不多，所以封锁对我来说是一个快速阶段，我什至可以说我的“封锁”跳过了几步。从长远来看，这对我有帮助，让我有更多时间专注于我不确定是否有时间但又非常想添加的细节。我花了一些额外的时间来遮挡道具，使它们更接近最终模型。
Modeling Guilty! I’ve spent too long shunning one of Maya’s most powerful toolsets. Curves played a big part in building my structures and props. The ability to go back and adjust the curve in a nearly non-destructive manner was an eye-opener.
造型 有罪！我花了很长时间避开 Maya 最强大的工具集之一。曲线在构建我的结构和道具方面发挥了重要作用。能够以几乎无损的方式返回并调整曲线的能力令人大开眼界。
After getting into curve tools, I went through my asset list and set out on a model creation spree, focusing on objects that would benefit specifically from using this method and the functions it offers, primarily Revolve. It ended up being a good time saver plus resulted in good topology, so it’s win-win. Otherwise, everything was modeled from scratch aside from vegetation, but more on that later.
在使用曲线工具后，我浏览了我的资产列表并开始了模型创建热潮，重点关注可以从使用此方法及其提供的功能（主要是 Revolve）中受益的对象。它最终节省了大量时间，并产生了良好的拓扑结构，因此是双赢的。否则，除了植被之外，一切都是从头开始建模的，但稍后会详细介绍。
Staircase Hot off the topic of curves, my staircase would not be standing without them. After setting the general slope angle that the staircase would have, I drew out a curve along the slope. With that I was able to use MASH, which was a new tool to me, to place meshes along the curve with an adjustable quantity.
楼梯 关于曲线的话题很热门，如果没有它们，我的楼梯就不会站立。在设置楼梯的一般倾斜角度后，我沿着斜坡绘制了一条曲线。有了这个，我就可以使用 MASH，这对我来说是一个新工具，可以沿着曲线放置数量可调节的网格。
For those that don’t know, MASH is a built-in suite of tools for anything from motion graphics to procedural visual effects in Maya.
对于那些不知道的人，MASH 是一套内置工具，适用于从运动图形到 Maya 程序视觉效果的任何内容。
My need for it originated from a spline system I made in Unreal Engine which was initially for chains and eventually transitioned into a modular system I could reuse. I was a bit lost without the tools I’ve grown accustomed to in Unreal, so I researched ways to replicate my spline system and settled on MASH. Turns out it had exactly what I needed!
我对它的需求源于我在虚幻引擎中制作的样条系统，该系统最初用于链，最终转变为我可以重用的模块化系统。没有我在 Unreal 中已经习惯的工具，我有点迷茫，所以我研究了复制我的样条系统的方法并选择了 MASH。事实证明它正是我所需要的！
The banisters were placed using MASH’s curve tool while the railing and base were shaped through lattices.
栏杆是使用 MASH 的曲线工具放置的，而栏杆和底座是通过格子成型的。
Now all my curves match up with one another and flush as can be. Wrong!
现在我所有的曲线都相互匹配并尽可能地齐平。错误的！
My instructor, Max Dayan, delivered some great feedback throughout the project, in this case, the banisters. Luckily, MASH is node-based and if the mesh history is retained, a simple curve translation can fix the whole thing. Bullet dodged.
我的导师Max Dayan在整个项目中提供了一些很好的反馈，在这个例子中是栏杆。幸运的是，MASH 是基于节点的，如果保留了网格历史，一个简单的曲线平移就可以解决整个问题。子弹躲开了。
After I finalized the left side, I duplicated it over.
在我完成左侧后，我复制了它。
Sculpting For the sculpture, I began with the male bust project in ZBrush. From there I carved out a structure reminiscent of the statue from concept using a few general ones for reference. I would have loved to spend more time on it. Sculpting is not something I’ve utilized often in full scenes and I personally think the organic style that stems from it looks great. But for this one, I decided to save time and get the surface details through texturing.
雕刻 对于雕塑，我从 ZBrush 中的男性半身像项目开始。从那里，我使用一些通用的作为参考，从概念上雕刻出一个让人联想到雕像的结构。我很想花更多的时间在上面。雕刻并不是我经常在全场景中使用的东西，我个人认为源于它的有机风格看起来很棒。但是对于这个，我决定节省时间并通过纹理获得表面细节。
Texturing I began my texturing phase in Quixel Mixer where I made multiple materials to reuse and tweak across assets. Wood is a dominant texture in this scene and required a significant amount of editing per asset to make it look both similar and unique. I didn’t want the wood to come off as a slap on the material. Whether it was slight cracking, discoloration, or roughness variation, it was important to have various small touches to differentiate the material. 纹理 我在 Quixel Mixer 中开始了我的纹理阶段，在那里我制作了多种材料以在资产中重复使用和调整。木材是这个场景中的主要纹理，需要对每个资产进行大量编辑才能使其看起来既相似又独特。我不想让木头掉下来作为对材料的一记耳光。无论是轻微的开裂、变色还是粗糙度变化，重要的是要有各种细微的触感来区分材料。
After creating materials in Quixel Mixer, I imported them into Substance Painter for texturing my props and structures. A few of the props were easier to do directly in Quixel Mixer, so the workflow varied by model. Honestly, Quixel Mixer served to be a pain when texturing props. Don’t get me wrong, it’s great for creating materials with their library of scans, however, I would’ve been better off using Substance Painter in most cases. Maybe that is due to my familiarity with SP? I don’t know, just a thought.
在 Quixel Mixer 中创建材质后，我将它们导入到 Substance Painter 中以对我的道具和结构进行纹理化。一些道具更容易直接在 Quixel Mixer 中完成，因此工作流程因模型而异。老实说，Quixel Mixer 在纹理化道具时很痛苦。不要误会我的意思，使用他们的扫描库创建材料非常好，但是，在大多数情况下，我最好使用 Substance Painter。也许这是由于我对SP的熟悉？我不知道，只是一个想法。
For the most part, all variation was done in Substance Designer. From overlaying discoloration to roughing up surfaces, editing/mirroring masks, and displacement. I used it somewhat like I would Photoshop and chose it simply because I am comfortable and confident with the program, and iteration was fast and non-destructive.
大多数情况下，所有变化都是在 Substance Designer 中完成的。从覆盖变色到粗糙表面，编辑/镜像蒙版和置换。我使用它有点像我使用 Photoshop 并选择它只是因为我对程序感到舒适和自信，并且迭代速度快且无损。
Here is a sample floor texture from the Quixel Mixer viewport:
这是来自 Quixel Mixer 视口的示例地板纹理：
Here are basic edits made in Substance Designer:
以下是在 Substance Designer 中所做的基本编辑：
Cardboard and Paintings Is it crazy the cardboard box was my favorite asset by the end? After modeling and UV-ing both an open and closed box, I took it into Quixel Mixer where I used three different cardboard materials, complete with edge fray and decals I drew up. I felt they were still bland, so I added a little pop with blue tape.
纸板和绘画 最后，纸板箱是我最喜欢的资产，这很疯狂吗？在对一个开放式和封闭式盒子进行建模和 UV 处理后，我将它放入 Quixel Mixer，在那里我使用了三种不同的纸板材料，以及我绘制的边缘磨损和贴花。我觉得它们仍然平淡无奇，所以我用蓝色胶带添加了一点流行音乐。
As for paintings, it was an enjoyable task sifting through art to incorporate into my scene. I wanted to keep at least one from Rado’s concept as a tribute, so I hunted down the Medieval Church by Arthuris. Aside from that, I decided on a few of Rembrandt’s plus my girlfriend’s favorite, Sunflower by Van Gogh. On top of each one, I layered roughness and discoloration.
至于绘画，筛选艺术以融入我的场景是一项令人愉快的任务。我想从 Rado 的概念中至少保留一个作为致敬，所以我追捕了 Arthuris 的中世纪教堂。除此之外，我还决定了几幅伦勃朗的作品和我女朋友最喜欢的梵高的《向日葵》。在每一个的顶部，我分层粗糙和变色。
Floor and Stairs The floor was split into two-meter planes. For those, I made two tiling materials for modularity, one with light debris and another covered in moss. Each could flow seamlessly into one another. I placed decals on planes with displacement to stray away from the card effect. These range from torn-up wood pieces, rocks, and leaves.
地板和楼梯 地板被分成两米的平面。对于那些，我为模块化制作了两种瓷砖材料，一种带有轻质碎片，另一种覆盖着苔藓。每一个都可以无缝地流入另一个。我将贴花贴在有位移的平面上，以远离卡片效果。这些范围包括破碎的木片、岩石和树叶。
For the stairs, I followed the same process as most of my wooden structures, but I paid extra attention to the bottom steps blending well and appearing worn where people once walked.
对于楼梯，我遵循了与我的大多数木结构相同的过程，但我特别注意底部的台阶融合得很好，并且在人们曾经走过的地方看起来很破旧。
Vegetation For vegetation, I’m using scans from Quixel. The library was fitting for my needs and I didn’t have time to be picky since I was coming up on my last week. The integration between Bridge and Maya was also a big help in cutting downtime. I chose a few plant types and made four clusters of various plants that I could use in a modular fashion. In highly visible areas I split the clusters and individually placed what was needed.
植被 对于植被，我使用 Quixel 的扫描。图书馆很适合我的需要，自从我上周开始工作以来，我没有时间挑剔。Bridge 和 Maya 之间的集成对减少停机时间也有很大帮助。我选择了几种植物类型并制作了四组不同的植物，我可以以模块化方式使用它们。在高度可见的区域，我拆分了集群并单独放置了需要的东西。
Moss A big factor in the overall look was moss. I chose to not bake it directly into the textures, rather use masks and a separate moss material inside of Maya to blend them together. This allowed more control over the whole scene and as a bonus, if I desired in the future, I could turn it into a Winter scene by swapping out the moss material for snow. On top of the moss texture, I created a layer of V-Ray fur to provide some depth and directionality to the moss that was missing from the flat texture. To stay away from uniformity, I created a length mask with various values that faded toward the edge so the moss tapers off.
苔藓 整体外观的一个重要因素是苔藓。我选择不将它直接烘焙到纹理中，而是在 Maya 内部使用蒙版和单独的苔藓材料将它们混合在一起。这样可以更好地控制整个场景，并且作为奖励，如果我将来需要，我可以通过将苔藓材料换成雪来将其变成冬季场景。在苔藓纹理的顶部，我创建了一层 V-Ray 毛发，为平面纹理中缺少的苔藓提供一些深度和方向性。为了避免均匀性，我创建了一个带有各种值的长度遮罩，这些遮罩朝向边缘逐渐消失，因此苔藓逐渐变细。
Lighting The only reference I used was Rado’s original piece. For rendering, I used V-Ray. The lighting is made from purely rectangle lights utilizing directionality, temperature, and volumetric fog. I used an image downloaded from HDRI Haven outside with high exposure and a warm light cast on it to fake outdoors. The volumetric rays were achieved through V-Ray fog which I exported as a separate render element so it could be adjusted individually in post-production.
灯光 我使用的唯一参考是 Rado 的原创作品。对于渲染，我使用了 V-Ray。照明由纯矩形灯制成，利用方向性、温度和体积雾。我使用了一张从 HDRI Haven 下载的高曝光图像，并在其上投射了温暖的光线，以假装在室外。体积射线是通过 V-Ray 雾实现的，我将其作为单独的渲染元素导出，以便可以在后期制作中单独调整。
For post-production, aside from the fog, I rendered ambient occlusion, material ID, and Z-depth. Photoshop was my choice for post-software. Ambient occlusion was useful for darkening up those corners a bit that appeared too flat. Material ID was handy for slight color tweaks to individual assets and brightening up focal points without affecting the entire render. Finally, I used Z-depth to create a light lens blur in the foreground.
对于后期制作，除了雾之外，我还渲染了环境光遮蔽、材质 ID 和 Z 深度。Photoshop 是我的后期软件选择。环境遮挡对于使那些看起来太平的角落变暗很有用。材质 ID 可方便地对单个资产进行轻微的颜色调整，并在不影响整个渲染的情况下照亮焦点。最后，我使用 Z-depth 在前景中创建了一个光镜头模糊。
Conclusion I’m pleased with how smooth the project went overall. From iteration to feedback, it flowed smoothly. I believe getting off to a quick start played a big factor in shaping the final piece.
结论 我对整个项目的顺利进行感到满意。从迭代到反馈，流程顺畅。我相信快速开始是塑造最终作品的重要因素。
The biggest struggle I faced was coming to grips with offline rendering. I’ve been spoiled by real-time and an environment this scale is not something I’ve done before in an offline renderer. Too much time was spent waiting on renders to check minor changes, a habit I need to break.
我面临的最大困难是掌握离线渲染。我已经被实时和这种规模的环境宠坏了，这不是我以前在离线渲染器中做过的事情。花太多时间等待渲染来检查细微的变化，我需要改掉这个习惯。
Tips for Creating Atmosphere Atmospheric scenes are driven by lighting. My environment relies heavily on it to deliver the feeling I intended. Volumetrics contribute greatly to as well but don’t overdo it. It varies by scene type but always notice the small details in your environment. In my case, the lighting, dust particles, and overgrowth play primary roles in telling the museum’s story. Otherwise, it’s just another museum.
营造氛围的技巧 大气场景由照明驱动。我的环境在很大程度上依赖于它来传递我想要的感觉。体积也有很大的贡献，但不要过度。它因场景类型而异，但始终注意环境中的小细节。就我而言，灯光、灰尘颗粒和过度生长在讲述博物馆的故事中起着主要作用。否则，它只是另一个博物馆。
Thanks so much and stay safe. Keep creating!
非常感谢并保持安全。继续创造！
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