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在 ZBrush、Substance 和 UE5 中创建一个幽灵般的吸血鬼巢穴 Jared Lewin 向我们展示了 The Raven King 的地穴是如何创建的，分享了资产工作流程，并解释了为什么选择虚幻引擎 5 用于这个项目。 Introduction My name is Jared Lewin and I am an environment artist at Arkane Studios currently working on Redfall. Before Arkane I worked for Gunfire Games on Darksiders 3 and Remnant From the Ashes.
介绍 我的名字是 Jared Lewin，我是 Arkane Studios 的环境艺术家，目前正在为 Redfall 工作。在 Arkane 之前，我为《暗黑血统 3》和《灰烬重生》的 Gunfire Games 工作。
So, the Crypt of The Raven King environment was a fun challenge. I keep a hard drive of environment “sketches” where I am constantly blocking out new ideas with graybox iterations. These are usually very basic because they are made before I have a full story idea fleshed out. This particular environment was a graybox I made around December of last year over an hour or two. In graybox form, it was really just a casket shape floating in a position much like the final. I put that gray box to rest for a while and didn’t figure out the story for it until more recently.
因此，The Crypt of The Raven King 环境是一个有趣的挑战。我保留了环境“草图”的硬盘驱动器，在那里我不断地用灰盒迭代来阻止新想法。这些通常是非常基本的，因为它们是在我有一个完整的故事想法充实之前制作的。这个特殊的环境是我在去年 12 月左右用一两个小时制作的灰盒。在灰盒形式中，它实际上只是一个漂浮在与决赛非常相似的位置的棺材形状。我把那个灰色的盒子搁置了一会儿，直到最近才弄清楚它的故事。
The story really began to take form when I asked myself two questions. Where would you lock away a vampire and what would a visually distinct vampire lord look like?
当我问自己两个问题时，故事才真正开始成形。你会把吸血鬼关在哪里，一个视觉上与众不同的吸血鬼领主会是什么样子？
As an Environment Artist, the first question was the easy one. The second one I was determined to answer in a very challenging way. I wanted to define this vampire lord by his casket. The answer to both of those questions created the results of the final image that you see. There is an intimidating vampire lord locked in a coffin buried deep within an ancient crypt. The very last part of this idea was figuring out the “now”. As in what is happening in the crypt at this very moment. The story follows someone that thought it would be a good idea to awaken this vampire in pursuit of gaining eternal life. That’s not quite how it worked out for them though, and that’s where the story-telling of the blood comes in. After I figure the story out I will collect all of my references and start the assets.
作为环境艺术家，第一个问题很简单。第二个我决心以一种非常具有挑战性的方式来回答。我想通过他的棺材来定义这个吸血鬼领主。这两个问题的答案创造了您看到的最终图像的结果。有一个令人生畏的吸血鬼领主被锁在一个埋在古老地穴深处的棺材里。这个想法的最后一部分是弄清楚“现在”。就像此刻在地穴中发生的事情一样。故事讲述了一个人认为唤醒这个吸血鬼以追求永生是个好主意。然而，这对他们来说并不是那么有效，这就是讲述血腥故事的地方。在我弄清楚故事之后，我将收集我所有的参考资料并开始制作资产。
Asset Workflow All of my assets are started in Maya in a blockout form so that I can check their scale. After I am happy with the blockout I go straight into ZBrush and finish the asset modeling completely. The low poly is made in Maya and the UVs are generated there as well. After that is complete I take the assets into Substance 3D Painter where I use materials that I have made in Substance 3D Designer to texture the assets. This is the same workflow I use for all of my assets. My tileables are made completely in SD.
资产工作流程 我的所有资产都以封锁形式在 Maya 中启动，以便我可以检查它们的规模。在我对封锁感到满意后，我直接进入 ZBrush 并完全完成资产建模。低多边形是在 Maya 中制作的，UV 也是在那里生成的。完成后，我将资产放入 Substance 3D Painter，在那里我使用我在 Substance 3D Designer 中制作的材料来纹理资产。这与我用于所有资产的工作流程相同。我的 tileables 完全是在 SD 中制作的。
The Casket The casket was a challenging prop because it had to stand in for the main villain of the piece. All of the skulls and ornaments were made directly in ZBrush. More organic shapes like the skull relied mostly on traditional organic modeling techniques while some of the more geometric or man-made elements of the casket were made using ZModeler and then sculpted towards the end to add imperfections.
棺材 棺材是一个具有挑战性的道具，因为它必须代表作品的主要反派。所有的头骨和装饰品都是直接在 ZBrush 中制作的。像头骨这样更有机的形状主要依赖于传统的有机建模技术，而棺材的一些几何或人造元素是使用 ZModeler 制作的，然后在最后进行雕刻以添加缺陷。
Overall this piece took around three weeks on and off. As a professional game dev, there are some days where I’ve been working in ZBrush for the entire day before even getting to work on my personal projects so I prefer to switch to working on Substance 3D Designer or something other than ZBrush instead. But from the first designs to the final textured asset the casket did add up to around two and a half weeks including the time I took off to do other things for the project. This turnaround is a bit slower and more concentrated than some other props I created for the project, but I think it was important to really make sure the design felt both plausible and intimidating in a way that wasn’t cartoonishly Halloween.
总的来说，这件作品断断续续地花了大约三周的时间。作为一名专业的游戏开发者，在开始我的个人项目之前，有些日子我已经在 ZBrush 工作了一整天，所以我更喜欢转而使用 Substance 3D Designer 或 ZBrush 以外的其他东西。但是从最初的设计到最终的纹理资产，棺材确实加起来大约两个半星期，包括我为项目做其他事情的时间。与我为该项目创建的其他一些道具相比，这种转变要慢一点，也更集中，但我认为真正确保设计以一种不是卡通风格的万圣节方式既合理又令人生畏是很重要的。
Texturing All of the scene’s textures were created in either Substance 3D Painter or Substance 3D Designer. The assets were unique bakes in Painter that were textured using materials I created in Designer. The materials I made in Designer include two types of stone, one type of grout, one type of metal, and all decals including blood/stains. Using these materials I create blends in Painter using masks and baked maps to get 85-90% of the way there. I then collapse this down into multiple smart materials.
纹理 所有场景的纹理都是在 Substance 3D Painter 或 Substance 3D Designer 中创建的。这些资产是 Painter 中独特的烘焙，使用我在 Designer 中创建的材料进行了纹理化。我在 Designer 中制作的材料包括两种类型的石头，一种类型的水泥浆，一种类型的金属，以及包括血/污渍在内的所有贴花。使用这些材料，我使用蒙版和烘焙贴图在 Painter 中创建混合，以达到 85-90% 的效果。然后我将其折叠成多种智能材料。
For example, I created a smart material that was the basic stone material. It blended between grout and stone based on an ID map, then applied all dirt, edge highlights, and gradients based off of baked maps. The last 5-10% were hand-painted maps that included all custom details. I repeated this process for all of the wood and the metal as well. 90% of the assets in the scene were created using either the stone, metal, or wood smart material.
例如，我创建了一种智能材料，它是基本石材。它基于 ID 贴图在灌浆和石头之间进行混合，然后基于烘焙贴图应用所有污垢、边缘高光和渐变。最后 5-10% 是包含所有自定义细节的手绘地图。我也对所有的木材和金属重复了这个过程。场景中 90% 的资产是使用石头、金属或木材智能材料创建的。
The casket was textured in Painter using my wood smart material and my metal smart material. These smart materials took the baked maps from the casket and generated a majority of the texture work. I handpainted the details like custom stains, some places where rough wood was showing through, a small amount of rust discoloration, and details similar to these. One of the most complicated surfaces was actually the stone. It made up such a large percent of the scene so it had to be very good. The base material was made in Designer and really relied on bringing out the small reads that are characteristic of the type of crypts that I was referencing.
使用我的木质智能材料和金属智能材料在 Painter 中对棺材进行了纹理处理。这些智能材料从棺材中取出烘焙贴图并生成大部分纹理工作。我手绘了一些细节，比如定制的污渍，一些粗糙的木头显示出来的地方，少量的锈色，以及类似的细节。最复杂的表面之一实际上是石头。它占了场景的很大一部分，所以它必须非常好。基础材料是在 Designer 中制作的，并且真正依赖于带出我所引用的隐窝类型特征的小读数。
The reason that was so hard was that when you really observe that sort of stone closely, it forms interesting shapes and peculiarities over time. The challenge is that you have to capture all of the unique aspects of the stone while keeping it functioning as a tiling material. The next big goal with that stone was finding the perfect roughness. I put a lot of thought into what the surface of the stone would be like after existing underground for so long. The trick was to pick up that surface profile in the roughness. I think the rest of the details are just nice to have and help the final look, but the really important part is the natural formations and capturing them in the Height Map and the Roughness.
之所以这么难，是因为当你真正仔细观察这种石头时，它会随着时间的推移形成有趣的形状和特性。挑战在于您必须捕捉石头的所有独特方面，同时保持其作为瓷砖材料的功能。那块石头的下一个大目标是找到完美的粗糙度。在地下存在了这么久之后，石头的表面会变成什么样子，我想了很多。诀窍是在粗糙度中拾取该表面轮廓。我认为其余的细节很好，有助于最终外观，但真正重要的部分是自然地层，并在高度图和粗糙度中捕捉它们。
Choosing Between UE4 and UE5 Honestly, I didn’t really notice any challenges with the engine's new version. I feel like the UE5 is just an evolution of UE4. Everything I needed to continue my workflow was there, just with new features that made my life much easier. The biggest part of this was the lighting. As simple as it sounds, just being able to throw in some candles and have them light their spaces correctly was a huge help. And the lighting in UE5 really handles that stuff spectacularly. For the lighting, it was all candles and one off-screen Directional Light with one or two background lights. It all just worked super well with very little hassle.
在 UE4 和 UE5 之间选择 老实说，我并没有真正注意到引擎的新版本有任何挑战。我觉得UE5只是UE4的进化。继续我的工作流程所需的一切都在那里，只是新功能让我的生活变得更轻松。其中最大的部分是照明。听起来很简单，只要能够投入一些蜡烛并让它们正确地照亮他们的空间就大有帮助。UE5 中的光照处理这些东西的效果非常好。对于照明，全部是蜡烛和一个带一两个背景灯的屏幕外定向灯。这一切都非常好，几乎没有麻烦。
Rendering All of the lighting is Dynamic. The candles were just a single standard Spotlight and Point Light. An Exponential Height Fog was used and then I added a local fog using particle effects. The only post-production effect I used was a bit of film grain and a very light vignette. I really felt like if the lighting was correct I didn’t need any heavy post.
渲染 所有的照明都是动态的。蜡烛只是一个标准的聚光灯和点光源。使用了指数高度雾，然后我使用粒子效果添加了局部雾。我使用的唯一后期制作效果是一点胶片颗粒和一个非常轻的小插图。我真的觉得如果照明正确，我不需要任何沉重的帖子。
Conclusion The whole project from starting the casket to the final screenshot took about a month and a half including days off. I think the hardest thing with any personal work is really balancing professional work, personal work, and just taking time to relax. As much as I would like to live completely in ZBrush and Unreal, it’s probably not a very good idea.
结论 从开始制作棺材到最终截图的整个项目花了大约一个半月的时间，包括休息日。我认为任何个人工作最难的事情是真正平衡专业工作、个人工作和花时间放松。尽管我很想完全生活在 ZBrush 和 Unreal 中，但这可能不是一个好主意。
Time management is always harder than actual technical skills. The skills are still hard, but at this point in my professional career I learn new skills very regularly in a high-stress environment so learning new skills at home is actually quite relaxing.
时间管理总是比实际的技术技能更难。技能仍然很难，但在我职业生涯的这个阶段，我经常在高压力的环境中学习新技能，所以在家学习新技能实际上很放松。
Another bottleneck I will mention is really staying agile while iterating. It is very important to not get too attached to any element and keep thinking of the environment as a whole. There were one or two moments I did get a little too focused on one element or another and had to take a step back. For my next environment (which will actually be the exterior of this crypt)I am going to improve my pipeline further and push the next-gen elements that are present within UE5. This includes setting the scene outside to really take advantage of the weather and lighting effects and experimenting with how nature might be handled. I’m very excited to keep using UE5 and can’t wait to get started on the next scene to learn what else it has to offer.
我要提到的另一个瓶颈是在迭代时真正保持敏捷。不要太执着于任何元素并始终将环境视为一个整体，这一点非常重要。有一两个时刻我确实有点过于专注于一个或另一个元素，不得不退后一步。对于我的下一个环境（实际上是这个地穴的外部），我将进一步改进我的管道并推动 UE5 中存在的下一代元素。这包括在室外设置场景以真正利用天气和灯光效果，并尝试处理自然的方式。我很高兴继续使用 UE5，迫不及待地想开始下一个场景，了解它还能提供什么。
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