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在 Maya、Substance 和 UE5 中创建废弃隧道
Emiel Sleegers 分享了 Abandoned Tunnel 项目背后的工作流程，谈到了资产创建过程，并解释了为什么选择虚幻引擎 5 作为这个项目。
Introduction
Hi there! My name is Emiel Sleegers, I am a Senior 3D Environment Artist and the owner of FastTrackTutorials. I have been working in the game industry for a little over 7 years. During this time, I have worked for Playground Games (Forza Horizon 3) and Ubisoft (The Division + DLC, Unannounced project). I currently work as a freelance artist for my own company which is named FastTrackTutorials. We focus on creating high-quality, real-time tutorial courses on how to create 3D art for games.
介绍
你好呀！我的名字是 Emiel Sleegers，我是一名高级 3D 环境艺术家，也是 FastTrackTutorials 的所有者。我在游戏行业工作了 7 年多一点。在此期间，我曾为 Playground Games（Forza Horizo​​n 3）和 Ubisoft（The Division + DLC，未公布项目）工作。我目前在我自己的名为 FastTrackTutorials 的公司担任自由艺术家。我们专注于创建有关如何为游戏创建 3D 艺术的高质量实时教程课程。
Now for some shameless self-promotion, if you want to learn how to create environments like this and much more, then make sure to follow our Discord to stay updated on our tutorial releases.
现在进行一些无耻的自我宣传，如果您想学习如何创建这样的环境等等，请务必关注我们的 Discord以随时了解我们的教程版本。
The Abandoned Tunnel Project
Due to my limited free time, I only get to make a large personal project around once a year. I am personally a huge fan of The Last Of Us and Naughty Dog in general. So, with this environment, I wanted to see if I can get close to Naughty Dog's quality while still learning a bunch of new things and of course having fun.
废弃隧道工程
由于我的空闲时间有限，我每年只能做一个大型的个人项目。我个人是 The Last Of Us 和 Naughty Dog 的超级粉丝。所以，在这个环境下，我想看看我是否可以在学习一堆新东西的同时，也能在玩得开心的同时接近顽皮狗的品质。
When I decided I wanted to do a post-apocalyptic environment I turned on my PS4, loaded up The Last Of Us, and looked at all their amazing concept art that is included in the game. After a while, I found the following concept and decided that it would become my main reference image.
当我决定要做一个后世界末日的环境时，我打开了我的 PS4，加载了 The Last Of Us，并查看了游戏中包含的所有令人惊叹的概念艺术。一段时间后，我发现了以下概念，并决定将其作为我的主要参考图像。
I really liked the contrast between light and darkness, and I felt that creating all this destruction would be a nice challenge for me. Especially to do it with the limited time I had.
我真的很喜欢光明与黑暗的对比，我觉得创造所有这些破坏对我来说是一个很好的挑战。尤其是在我有限的时间里做这件事。
After I found my main reference image, I simply went through the classic reference gathering process. Finding lots of reference images on tunnels, collapsed buildings, and ceilings, finding individual object references, and finding material references. Pro tip: have a look at artreference.org if you need material and object reference.
在找到我的主要参考图像后，我简单地完成了经典的参考收集过程。在隧道、倒塌的建筑物和天花板上找到大量参考图像，找到单个对象参考，并找到材料参考。专业提示：如果您需要材料和对象参考，请查看artreference.org。
Composition
When starting this environment there were a few key focus points that I had to keep in mind. The first one was that I simply did not have the time to create a huge environment, therefore I had to put clear priorities, and this is what I did. For example, this environment is highly modular (except for the collapsed hole) meaning I had to create fewer pieces.
作品
在开始这种环境时，我必须牢记几个关键的重点。第一个是我根本没有时间创造一个巨大的环境，因此我必须明确优先事项，这就是我所做的。例如，这个环境是高度模块化的（除了倒塌的洞），这意味着我必须创建更少的碎片。
The second one is that I made the environment work only for my camera angles. As soon as you would change the angle of the camera you will see that the environment simply ends.
第二个是我让环境只适用于我的相机角度。只要您改变相机的角度，您就会看到环境刚刚结束。
For example, here is a different angle of the environment:
例如，这里是环境的不同角度：
And the third one was that I made sure to save some time by spending less time on objects the camera never gets close to, like the bus, cars, and the smaller ceiling hole in the back.
第三个是我通过减少在相机永远不会靠近的物体上花费的时间来确保节省一些时间，例如公共汽车，汽车和后面较小的天花板孔。
Doing these things gave me a perfect balance between being able to finish this environment without getting a burnout and still getting a nice result that shows off my workflows and skill level.
做这些事情让我在能够完成这个环境而不会倦怠和仍然获得一个展示我的工作流程和技能水平的好结果之间取得了完美的平衡。
Architecture
建筑学
For this environment I used the following tools:
对于这个环境，我使用了以下工具：
Maya+ZBrush for all the modeling
Maya+ZBrush 用于所有建模
SpeedTree for all the foliage creation
用于所有树叶创建的 SpeedTree
Unreal Engine 5 to set up the environment
虚幻引擎 5 设置环境
Substance Painter+Designer for all textures and materials
适用于所有纹理和材料的 Substance Painter+Designer
Let’s go over the environment construction and split it up into 3 parts.
让我们回顾一下环境构建并将其分为 3 个部分。
1、The structural pieces
1、结构件
2、The destroyed pieces
2、被摧毁的碎片
3、The additional assets
3、额外资产
For the structural pieces, I created modular walls, pillars, and ceiling pieces. These are nothing special and simply have a tillable material on them.
对于结构件，我创建了模块化墙、柱子和天花板件。这些没有什么特别的，只是上面有可耕种的材料。
I then used decals on the walls and pillars to enhance them a lot more and have full control of the storytelling. These are decals like leaks, moss, and ivy vines.
然后我在墙壁和柱子上使用贴花来进一步增强它们并完全控制讲故事。这些是像泄漏、苔藓和常春藤藤蔓这样的贴花。
Because the environment has a lot of dark parts, this was actually a big timesaver as I did not have to bother making them perfect and adding decals.
因为环境有很多暗部，这实际上节省了很多时间，因为我不必费心使它们完美并添加贴花。
The collapsed ceiling. This is a big one and took the most skill and effort to create. The collapsed ceiling is made up out of 2 parts, the collapsed ceiling part and the rubble on the floor. These are the only 2 assets that are not modular although I still managed to also use them for the small hole in the back.
倒塌的天花板。这是一个很大的，需要最多的技巧和努力来创造。倒塌的天花板由两部分组成，倒塌的天花板部分和地板上的碎石。这些是仅有的 2 个非模块化资产，尽管我仍然设法将它们用于背面的小孔。
Here you can see the ceiling model as a standalone:
在这里，您可以将天花板模型视为独立的：
I am currently creating a tutorial course on how to create destruction like this, but here is a quick overview. First, I created a rough blockout so that I was sure the composition looked good.
我目前正在创建一个关于如何像这样创建破坏的教程课程，但这里有一个快速概述。首先，我创建了一个粗略的遮挡，以确保构图看起来不错。
I split the ceiling up into 3 parts and then I used a Maya plugin called PullDownIt to fracture my mesh into more realistic pieces. Splitting it up into 3 pieces just makes it more manageable for the next steps.
我将天花板分成 3 部分，然后使用名为 PullDownIt 的 Maya 插件将我的网格分解为更逼真的部分。将其拆分为 3 块只会使其在后续步骤中更易于管理。
The next step was to take it to ZBrush, throw on DynaMesh, and then sculpt the edges to make them look more organic. After this, I used a combo of the Surface tool and Masking to give the edges an extra broken-up feel.
下一步是将它带到 ZBrush，投入 DynaMesh，然后雕刻边缘，使它们看起来更有机。在此之后，我使用了 Surface 工具和 Masking 的组合来赋予边缘额外的破碎感。
Now at this point, I was a bit lazy and just used Decimation Master to optimize my models because if I had to retopo them by hand it would have taken multiple full-time days. Finally, once you have your high poly version and low poly version all you must do is give the low poly some UV's and bake the mesh. I did the baking in Marmoset Toolbag 4.
在这一点上，我有点懒惰，只是使用 Decimation Master 来优化我的模型，因为如果我必须手动重新拓扑它们将需要多个全职天。最后，一旦你有了你的高模版和低模版，你所要做的就是给低模一些 UV 并烘焙网格。我在 Marmoset Toolbag 4 中烘焙。
Now comes the interesting part, I created a shader in Unreal that allows me to choose where I want to have my clean concrete texture, my broken concrete texture, a texture variation with cracks, and even where I want to have dirt. These masks are simply painted in Substance Painter and thrown in the RGBA channels of a texture.
现在是有趣的部分，我在 Unreal 中创建了一个着色器，它允许我选择我想要的干净混凝土纹理、破碎的混凝土纹理、带有裂缝的纹理变化，甚至我想要有污垢的地方。这些蒙版只是在 Substance Painter 中绘制，然后扔到纹理的 RGBA 通道中。
I could show you what it looks like, but it would look a bit silly:
我可以向你展示它的样子，但它看起来有点傻：
As you can see the image makes no sense but basically red means clean concrete, pink means cracked concrete, and the rest is a world space UV damaged concrete.
如您所见，图像毫无意义，但基本上红色表示干净的混凝土，粉色表示开裂的混凝土，其余的是世界空间紫外线损坏的混凝土。
Then it is just a matter of adding some planes that have a rebar texture on them with a mask.
然后只需添加一些带有遮罩的带有钢筋纹理的平面即可。
And once you put it all together you will get this as the end result:
一旦你把它们放在一起，你会得到这个作为最终结果：
The floor part has been created the same way only it then has moss decals added on top to give it that mossy feel. And it has some extra debris clumps and a thin tarmac layer.
地板部分的创建方式相同，只是在顶部添加了苔藓贴花，使其具有苔藓的感觉。它有一些额外的碎片团块和一层薄薄的柏油碎石层。
Additional assets. I will keep this one short and sweet. The unique assets mostly have been baked from high poly to low poly and then simply textured in Substance Painter. I have almost no experience in creating cars, so I treated them as distant objects meaning that the quality is a little bit less.
附加资产。我会保持这个简短而甜蜜的。独特的资产大多是从高多边形烘焙到低多边形，然后在 Substance Painter 中简单地纹理化。我几乎没有制造汽车的经验，所以我把它们当作遥远的物体，这意味着质量会差一点。
Vegetation
For the foliage, I used mostly SpeedTree, except for some of the water lilies, which are simple planes with a texture on them.
对于树叶，我主要使用 SpeedTree，除了一些睡莲，它们是带有纹理的简单平面。
Because I was going for a very specific look, I made part of the ivy plants bespoke based on the collapsed roof and the rest is more generic.
因为我想要一个非常具体的外观，我根据倒塌的屋顶定制了一部分常春藤植物，其余的则更通用。
Here is an example of one of the bespoke ivy plants. I used a workflow that I developed myself where I first create a trunk and along with that some branches. I then rotate the trunk 90 degrees and place it in the location I want. Finally, I add some smaller branches and with both the bigger and smaller branches I add a magnet force along with gravity to pull them down.
这是定制常春藤植物之一的示例。我使用了自己开发的工作流程，首先创建了一个主干以及一些分支。然后我将后备箱旋转 90 度并将其放置在我想要的位置。最后，我添加了一些较小的分支，并在较大和较小的分支上添加了磁力和重力以将它们拉下。
Here you can see what it is supposed to look like:
在这里你可以看到它应该是什么样子：
After this is done, I add some basic leaves that use a leaf texture. You will learn how to do this in most introduction tutorials to SpeedTree. And I activated high-quality collision on the leaves to not make them intersect.
完成后，我添加了一些使用叶子纹理的基本叶子。您将在大多数 SpeedTree 介绍教程中学习如何执行此操作。我在叶子上激活了高质量的碰撞，使它们不相交。
Here is another example where I did it for a more generic ivy plant:
这是我为更通用的常春藤植物所做的另一个示例：
So, as you can see place your trunk and big branches, add Magnet and smaller branches. Play with the settings and gravity, add some leaves with collision turned on, and then before export, hide your trunk and the first level of branches.
所以，正如你所看到的，放置你的树干和大树枝，添加磁铁和小树枝。使用设置和重力，添加一些打开碰撞的叶子，然后在导出之前，隐藏你的树干和第一层树枝。
Once this is done, I export it to Unreal Engine. In this case, I kept the smaller branches as actual geometry to save time however if you would be making this for a game I recommend baking down the smaller branches into planes with a mask as it is much more optimized.
完成后，我将其导出到虚幻引擎。在这种情况下，我将较小的分支保留为实际几何图形以节省时间，但是如果您要为游戏制作它，我建议将较小的分支烘焙成带有遮罩的平面，因为它更加优化。
For the grass and other plants, they all use basic SpeedTree workflows where you throw a leaves node right away on your core tree and then along with a texture manipulate it to get the result you want:
对于草和其他植物，它们都使用基本的 SpeedTree 工作流程，您可以立即在核心树上放置一个叶子节点，然后与纹理一起对其进行操作以获得您想要的结果：
Of course, it is easy for me to say all this but SpeedTree is a program with a huge amount of settings, Although FastTrackTutorials does not yet have a dedicated foliage tutorial I do have a tutorial where I explain how to use SpeedTree to create grass, bushes, trees, and other ground plants.
当然，这一切对我来说很容易，但 SpeedTree 是一个具有大量设置的程序，虽然 FastTrackTutorials 还没有专门的植物教程，但我确实有一个教程，我解释了如何使用 SpeedTree 创建草，灌木、树木和其他地面植物。
Texturing
纹理
All the tillable textures are created using Substance Designer. I am using these materials mostly on the larger assets like the walls, debris, and roads.
所有可耕种的纹理都是使用 Substance Designer 创建的。我主要在较大的资产上使用这些材料，例如墙壁、碎片和道路。
However, although these materials work fine for the environment, I am not happy with them yet as a Material Artist, so I will revisit them later and improve them, stay tuned for that.
然而，虽然这些材料对环境很好，但作为一个材料艺术家，我对它们并不满意，所以我稍后会重新审视它们并改进它们，请继续关注。
To be honest I did nothing special in Substance Designer for these so all I can do here is another shameless self-promotion and tell you that if you follow this tutorial you will learn every single technique I used to create these types of materials at the same quality level.
老实说，我在 Substance Designer 中没有为这些做任何特别的事情，所以我在这里只能做另一个无耻的自我宣传，并告诉您，如果您遵循本教程，您将同时学习我用来创建这些类型材料的每一种技术质量水平。
The traffic cones, traffic signs, and cars are all using unique textures that I have textured inside of Substance Painter. I shall only cover one of them as the process is pretty much the same for all the other models. Let’s have a look at our traffic sign, as you can see I had both high poly and low poly versions of this sign that I baked down in Marmoset Toolbag.
交通锥、交通标志和汽车都使用了我在 Substance Painter 中制作的独特纹理。我将只介绍其中一个，因为所有其他模型的过程几乎相同。让我们来看看我们的交通标志，正如你所看到的，我在 Marmoset Toolbag 中烘焙了这个标志的高多边形和低多边形版本。
After this was done, I went straight into Substance Painter and started to define my base materials.
Once I did that, I simply used some fill layers to paint in dirt and add extra roughness information and I polished the material based on my scene.
完成后，我直接进入 Substance Painter 并开始定义我的基础材料。
一旦我这样做了，我就简单地使用一些填充层来绘制污垢并添加额外的粗糙度信息，然后我根据我的场景对材质进行抛光。
This is how the material has been built up:
这是材料的构建方式：
Assembling the Scene
组装场景
Building the scene inside of Unreal Engine was not too difficult. I started with a blockout as always and after that, it was a simple matter of slowly placing the props. In terms of composition, it really helped that I was following a concept art image which gave me the chance to know right away what type of composition I needed to hit.
在虚幻引擎中构建场景并不太难。我和往常一样从布块开始，然后就是慢慢放置道具的简单问题。在构图方面，我跟随概念艺术图像真的很有帮助，这让我有机会立即知道我需要拍摄哪种类型的构图。
For the foliage I placed it all by hand except for the grass, I used the foliage paint feature inside of Unreal for the grass. The reason I placed so much by hand is that I wanted to have 100% control over all the placement.
对于树叶，除了草之外，我都是手工放置的，我使用了虚幻引擎中的树叶绘制功能来绘制草。我手工放置这么多的原因是我想对所有的放置有 100% 的控制。
The water itself is a blueprint that I got from the Unreal Marketplace. But I pretty much turned off every setting except for the base water and the wavey Normal Map details. The decals are placed using the built-in decal system and the roads use vertex painting to paint between clean and broken tarmac materials.
水本身是我从虚幻市场获得的蓝图。但我几乎关闭了所有设置，除了基础水和波浪法线贴图细节。贴花使用内置贴花系统放置，道路使用顶点绘画在干净和破损的柏油碎石材料之间进行绘制。
As you can see there is not all that much going on. Once you have your final models and decide on an angle it is just a simple matter of placement. There is a lot going on with the lighting however that makes this environment work, but I will go over that a bit later.
正如你所看到的，并没有发生太多的事情。一旦你有了最终的模型并决定了一个角度，这只是一个简单的放置问题。然而，照明有很多事情可以使这个环境起作用，但我稍后会详细介绍。
Luckily, I saved many images of my progress giving me the ability to create this gif that exactly shows you how the environment came together:
幸运的是，我保存了许多我的进度图像，使我能够创建这个 gif，它可以准确地向您展示环境是如何组合在一起的：
Rendering and Lighting
渲染和照明
I love the new Unreal Engine 5! I mostly decided to use Unreal Engine 5 because of the new Lumen System. It makes the lighting so quick and easy, and also just in general I did not want to bother with lightmaps, so it felt only natural to create this environment in UE5 with the new improved real-time lighting systems.
我喜欢新的虚幻引擎 5！由于新的流明系统，我主要决定使用虚幻引擎 5。它使光照变得如此快速和简单，而且总的来说，我不想打扰光照贴图，所以在 UE5 中使用新改进的实时光照系统创建这种环境感觉很自然。
As for the lighting, because I wanted to go for a very specific look, I have quite a few lights in my scene. First of all, we have a normal Directional Light, this will control most of the lighting in my scene.
至于灯光，因为我想要一个非常具体的外观，所以我的场景中有很多灯光。首先，我们有一个普通的定向光，这将控制我场景中的大部分照明。
Unfortunately, the new virtual shadows in UE5 do not yet support subsurface scattering which was something I really wanted to use for my foliage, because of this I used the old shadow method, which was a bit of a shame, but it still looked good. I then used area lightings to tweak the brightness in some spots, especially around the ivy.
不幸的是，UE5 中的新虚拟阴影尚不支持次表面散射，这是我真正想用于我的树叶的东西，因此我使用了旧的阴影方法，这有点遗憾，但它仍然看起来不错。然后我使用区域照明来调整某些地方的亮度，尤其是在常春藤周围。
On top of these lights, I used an Unreal Marketplace plugin for the godrays which makes it as simple as placing a plane and it will add the godrays.
在这些灯光之上，我为 Godrays 使用了一个 Unreal Marketplace 插件，这使得它就像放置一架飞机一样简单，它会添加 Godrays。
For the post effects, in UE5 you will need to do a lot less tweaking on the post effects to get something looking good because Lumen takes care of most things. Sure, I added some vignette and grain and boosted up my GI settings, but the thing that made the biggest impact was the color grading. I used DaVinci Resolve for the first time to create a LUT and it was amazing.
对于后期效果，在 UE5 中，您将需要对后期效果进行更少的调整以获得更好的效果，因为 Lumen 会处理大多数事情。当然，我添加了一些小插图和颗粒并提高了我的 GI 设置，但影响最大的是颜色分级。我第一次使用 DaVinci Resolve 创建 LUT，效果非常棒。
To give you an idea, here is the scene without and with color grading:
给你一个想法，这是没有和有颜色分级的场景：
Settings in DaVinci Resolve:
DaVinci Resolve中的设置：
I highly recommend looking into DaVinci Resolve, as it is much easier to get the result you want there than, for example, Photoshop.
我强烈建议您使用 DaVinci Resolve，因为它比 Photoshop 更容易获得您想要的结果。
Conclusion
结论
I worked on this environment on and off for around 2 months. Because I did not work on it full-time, it is hard for me to guess how long it truly took me, but if I had to have a guess, I would say between 100-150+ hours.
我在这个环境中断断续续地工作了大约 2 个月。因为我不是全职工作，所以我很难猜测我真正花了多长时间，但如果我必须猜测，我会说 100-150+ 小时。
In general, I learned how to better deal with lighting in UE5, how to use DaVinci Resolve and I developed some new techniques on creating destruction and ivy which were better than what I had before.
总的来说，我学会了如何更好地处理 UE5 中的光照，如何使用 DaVinci Resolve，并且我开发了一些创建破坏和常春藤的新技术，这些技术比我以前的要好。
The biggest challenge was probably how to create such detailed destruction within a reasonable time. And ironically enough creating the truck and the bus. I personally do not like making cars, so creating those were a bit of a pain but still good practice.
最大的挑战可能是如何在合理的时间内创建如此详细的破坏。具有讽刺意味的是，创造了卡车和公共汽车。我个人不喜欢制造汽车，所以制造这些汽车有点痛苦，但仍然是一种很好的做法。
Unreal Engine 5 Is amazing, and it is much more stable than I expected, I only had maybe 3 crashes, 2 of which were during screenshot creation, and the last one was a big one where it did not allow me to save so I lost around 15min of work. But this is totally worth it when getting Lumen in return. UE5 also has the new Nanite systems which I did not use but I can see it being very useful.
虚幻引擎 5 很棒，而且比我预期的要稳定得多，我大概只有 3 次崩溃，其中 2 次是在创建屏幕截图时，最后一次是大的，它不允许我保存所以我输了大约 15 分钟的工作。但这在获得 Lumen 回报时是完全值得的。UE5 也有我没有使用过的新 Nanite 系统，但我认为它非常有用。
UE5 feels very similar to UE4, sure the UI has changed and the lighting but for the rest, it is pretty much the same and even easier to use. All I would say is remember that it is still in early access, so expect some strangeness. Often relating to lighting, especially virtual shadows are a bit buggy so if you have shadow problems that are the first place to look.
UE5 感觉与 UE4 非常相似，当然 UI 和灯光都发生了变化，但其余部分几乎相同，甚至更易于使用。我只想说的是记住它仍处于抢先体验阶段，所以期待一些奇怪的东西。通常与照明有关，尤其是虚拟阴影有点问题，所以如果你有阴影问题，这是第一个看的地方。
I really enjoyed creating this project, now it is time for me to focus on creating tutorials again in which I will surely relay everything I have learned from this project. And of course, I will be doing some smaller personal projects like material and prop creation.
我真的很喜欢创建这个项目，现在是我再次专注于创建教程的时候了，我肯定会在其中传达我从这个项目中学到的一切。当然，我会做一些较小的个人项目，比如材料和道具创作。
You can visit my YouTube and ArtStation if you want to stay in touch with me or FastTrackTutorials.
如果您想与我或 FastTrackTutorials 保持联系，可以访问我的YouTube和ArtStation 。
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