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本帖最后由 执此一念 于 2022-2-12 16:36 编辑
使用 700 个资产以 3D 方式重建哈利波特的洞穴
让我们从 Patryk Urbaniak 以 3D 形式分解美丽的哈利波特场景开始 2022 年。
Intro 介绍
Hello everyone! My name is Patryk Urbaniak and I am currently working as a Look Development Lead at ScanlineVFX. A lot of stuff has changed since the last time we talked. I got semi addicted to drinking hot chocolate and collecting Pokemon cards. The movie Dune has finally been released, where I could see my assets on the big screen and I finally was able to finish my last personal piece "The Burrow" which I would like to talk to you about. 大家好！我叫 Patryk Urbaniak，目前在 ScanlineVFX 担任外观开发主管。自从我们上次谈话以来，很多事情都发生了变化。我对喝热巧克力和收集口袋妖怪卡上瘾了。电影沙丘终于上映了，我可以在大银幕上看到我的资产，我终于完成了我想和大家谈谈的最后一部个人作品“陋居”。
The Boy Who Lived 一个住在。。。的男孩
I saw the first Harry Potter movie when I was 9 and I still remember the feeling that it gave me. I remember being speechless for hours after the movie, digesting what I saw. Trying to understand if it's all possible, if it's all real. I had no idea that this movie and that one evening is going to decide what I will do with my life moving forward. Since I started to understand what graphic design, 3d modeling, or art in general is, I always wanted to be a part of the team creating effects for the Harry Potter series. Unfortunately, I never fulfilled that small dream of mine that I had since I was just a kid. I have decided that it is the right time to pay my tribute to what shaped me as an artist and what was with me those countless nights when I was questioning if magic is real. 我 9 岁的时候看了第一部哈利波特电影，我仍然记得它给我的感觉。我记得看完电影后几个小时无言以对，消化我所看到的。试图了解这一切是否可能，如果这一切都是真的。我不知道这部电影和那个晚上会决定我将如何继续我的生活。自从我开始了解平面设计、3d 建模或一般艺术是什么以来，我一直想成为哈利波特系列特效制作团队的一员。不幸的是，我从来没有实现我从小就拥有的那个小梦想。我决定现在是时候向我作为艺术家的塑造以及在我质疑魔法是否真实的无数夜晚表达我的敬意。
References 参考
I started with watching movies (for the 10th time!) and making time stamps of certain shots and I gathered all of them to create a set of references. Then I started looking for documentaries, breakdowns, articles and witness cameras of the sequences where we could see Weasley's home and I started sketching all of it in my head. I was wondering what kind of details I would like to have there, how big the environment should I cover, where to put a few easter eggs. My first 3d layout also had a botanical garden and a place outside, close to the garage to practice potion making! 我从看电影开始（第 10 次！）并为某些镜头制作时间戳，然后我收集所有这些以创建一组参考。然后我开始寻找可以看到韦斯莱家的纪录片、故障、文章和目击镜头，我开始在脑海中勾勒出所有这些场景。我想知道我想要在那里有什么样的细节，我应该覆盖多大的环境，在哪里放几个复活节彩蛋。我的第一个 3d 布局也有一个植物园和一个外面的地方，靠近车库练习魔药制作！
Modeling 700 Assets 建模 700 个资产
It's possible because each and every element of that house is an asset of itself. The window box was made using wood-working blueprints and joints with screws or nails. Each plank or wood piece was modeled separately, then bent and put in a place where it could fit. I didn't scale the objects themselves. If the scale was too big or too small I changed each part separately to not skew the texture or break the visual appearance of an asset. So if you would sum up all of the wood, planks, nails, screws, the glue between the window frame and the glass itself, stained glass, metallic frames, handles, doors, vent windows, dreamcatchers, railing, roof tiles, chimneys, brooms, elements from which the car is build, undercarriage, stones, rocks, debris and every single piece of the interior like curtains, drapes, glasses, pots, lights, jars, flower pots, cups, rakes, all of the junk around the home. 这是可能的，因为那所房子的每一个元素都是它自己的资产。窗框是使用木工蓝图和螺钉或钉子连接制成的。每块木板或木块都单独建模，然后弯曲并放在适合的地方。我没有缩放对象本身。如果比例太大或太小，我会分别更改每个部分，以免扭曲纹理或破坏资产的视觉外观。所以如果你总结所有的木头、木板、钉子、螺丝、窗框和玻璃本身之间的胶水、彩色玻璃、金属框架、把手、门、通风窗、捕梦网、栏杆、屋顶瓦片、烟囱，扫帚、制造汽车的元素、起落架、石头、岩石、碎片和内部的每一件单品，如窗帘、窗帘、玻璃、锅、灯、罐子，
Even the garage had tools and furniture inside as I wanted to create a shot with a camera inside and another one looking at the house from the broken garage door glass which had webbing from a spider. All of that as a sum was close to 700 assets. I prepared UVs for only about 20% of the elements as I tried to texture a lot of stuff with the use of triplanar nodes and Maxon Noises which are very powerful in Redshift. For all the models and UV's I used 3DS Max 2016 and in terms of the details for my asset workflow, always start simple. 甚至车库里面也有工具和家具，因为我想用里面的相机拍摄一张照片，另一张从破碎的车库门玻璃上看房子，玻璃上有蜘蛛网。所有这些总和接近 700 项资产。我只为大约 20% 的元素准备了 UV，因为我试图使用在 Redshift 中非常强大的三平面节点和 Maxon Noises 来纹理很多东西。对于我使用 3DS Max 2016 的所有模型和 UV，就我的资产工作流程的细节而言，总是从简单开始。
The complexity of the scene grows exponentially. Always start from a broad scale and proportions. Make sure your asset has proper dimensions and never start detailing before you know exactly how close you'll be to this element. I always catch myself subdividing the model for the third time just to add some fancy creases and half an hour later I barely see it in the camera. Don't be like me, think twice before subdividing! 场景的复杂性呈指数级增长。总是从广泛的规模和比例开始。确保您的资产具有适当的尺寸，并且在您确切知道您与该元素的接近程度之前永远不要开始详细说明。我总是发现自己第三次细分模型只是为了添加一些漂亮的折痕，半小时后我几乎看不到它在相机中。不要像我一样，细分前三思！
Materials 材料
Before I prepared all the materials I did prepare a light rig for my work. I made sure all of the lighting HDR textures I wanted to use are converted to acesCG as this time I planned not to render in sRGB color space. When I had my lookdev template ready and even a simple box looked realistic in the framebuffer I knew it was the right time to start shading. I always try to use plausible values when creating materials. Using Substance Painter and its PBR workflow helps a ton with values as metal and base color and balanced under the hood by the app. 在准备所有材料之前，我确实为我的工作准备了一个轻型装备。我确保我想使用的所有光照 HDR 纹理都转换为 aceCG，因为这次我计划不在 sRGB 颜色空间中进行渲染。当我准备好我的 lookdev 模板，甚至一个简单的盒子在帧缓冲区中看起来很逼真时，我就知道是时候开始着色了。在创建材料时，我总是尝试使用合理的值。使用 Substance Painter 及其 PBR 工作流程可以帮助大量的金属和基色值，并通过应用程序在引擎盖下进行平衡。
As for working directly in Redshift on things like car paint or using seamless textures and triplanar projections, I try to work on each channel separately and then work on all of them as a sum in beauty. As I explained before, the house itself is not an asset per se. It's a collection of almost 250 assets. Because I had 16 walls separately created, as well as almost 140 planks from which I just simply assembled the whole house. The building was finished in a month and just because I was approaching it by small steps at a time. I had to finish the door, so I finished the door. I had to create a wobbly glass and stained glass so I made sure this asset looked realistic on its own. 至于直接在 Redshift 中处理汽车油漆或使用无缝纹理和三平面投影等内容，我尝试分别处理每个通道，然后将它们作为美感的总和处理。正如我之前解释过的，房子本身并不是资产。它是近 250 项资产的集合。因为我单独创建了 16 堵墙，还有将近 140 块木板，我只是简单地组装了整个房子。这座建筑在一个月内完工，只是因为我一步一步地接近它。我必须完成门，所以我完成了门。我必须创造一个摇晃的玻璃和彩色玻璃，所以我确保这个资产本身看起来很逼真。
When I had a collection of 40 assets in my scene and each one of them was looking realistic all I had to do was place them one on another or close to each other to make a bigger construct. It's like one of those new techniques to build a house, have you heard of it? Instead of it being built brick by brick, the company transports big premeasured/prefabricated walls and just welds them together in a few weeks, it's so fun and easy! 当我的场景中有 40 个资产的集合并且每个资产看起来都很逼真时，我所要做的就是将它们放在另一个或彼此靠近以制作更大的构造。这就像建造房屋的新技术之一，您听说过吗？该公司不是一砖一瓦地建造，而是运输大型预测量/预制墙，然后在几周内将它们焊接在一起，既有趣又容易！
Vegetation 植被
The vegetation workflow was very demanding as it was very hard for me to build up a proper relation to the scale without breaking the realistic appearance. Imagine you have a certain tree, but it's actually a little bit smaller than expected and you would like to make it bigger for a frame. If you scale the tree, the bark and patterns of the bark will remain the same, but the scale of the leaves in correlation to the branches or twigs will change. If you would compare the leaf size of a 50 meters oak tree to a leaf size of a 2 meters young oak tree, both leaves would be the same size. 植被工作流程要求很高，因为我很难在不破坏真实外观的情况下建立与比例的适当关系。想象一下，您有一棵树，但它实际上比预期的要小一点，并且您希望将其放大以适应框架。如果缩放树，树皮和树皮图案将保持不变，但与树枝或树枝相关的叶子的比例会发生变化。如果您将 50 米橡树的叶子大小与 2 米年轻橡树的叶子大小进行比较，则两片叶子的大小相同。
The hardest part of making a good and realistic environment is the scale of a particular type of tree compared to the other greenery. Each time I needed to scale the tree, I had to do it manually for each part of it. I couldn't just take one global gizmo and make it smaller as it would break the visual scale. The more points of realistic reference I created, the easier it was to subconsciously read it as possible to exist. 营造良好和逼真的环境最困难的部分是与其他绿色植物相比特定类型树木的规模。每次我需要缩放树时，我都必须为它的每个部分手动完成。我不能只采用一个全局 Gizmo 并将其缩小，因为它会破坏视觉比例。我创造的现实参考点越多，就越容易下意识地阅读它尽可能存在。
I prepared the grass by having a few different types of it. One grass around the home, one around the lake, wild grass, one short but dry on the quidditch field. I also had a few types of grain prepared for the fields and around 7 different types of trees. To create all the scattering and all the systems around the scatter I used Forest Pack. This is the best scattering system for 3DS Max out there, period. My biggest problem with it was my own inability to plan for my scatters. The scene was growing from 200 meters wide to 300, 400, and 500 meters wide. I wish I would know right from the start where it began and where I would end my scene so I could account better for all the settings, but the moment I started playing with a lot of specific options it was too late for me to get back. I promised myself to create an isolated training scenario for better control in the future. Practice makes perfect! 我准备了几种不同类型的草。家周围一草，湖边一草，野草，魁地奇球场上一株矮小但干枯的草。我还为田地准备了几种谷物和大约 7 种不同类型的树木。为了创建所有散射和散射周围的所有系统，我使用了 Forest Pack。这是目前 3DS Max 最好的散射系统。我最大的问题是我自己无法计划我的分散。场景从200米宽扩大到300米、400米和500米宽。我希望我从一开始就知道它从哪里开始以及我将在哪里结束我的场景，这样我就可以更好地考虑所有设置，但是当我开始玩很多特定选项的那一刻，我回来已经太晚了. 我承诺自己会创建一个孤立的训练场景，以便将来更好地控制。熟能生巧！
Assembling The Environment 组装环境
I started with a very simple layout and a few planes and I used Zbrush to add definition to the ground. I added a pond and some ground irregularities and exported all of this as a geometry. I utilized vertex colors and masking for the ground to make a few different materials for the roads, grass, and area around the house. It was very simple to just paint the mesh with R G B colors and to extract that information later on with a vertex color node to use as a matte for shader blending. The scattering of the rocks, pebbles, debris, and other stuff was also handled by Forest Pack. I created a set of shapes and added them as an area for scattering, you can also "feather" out transitions with scale or density when they will come close to the edge of that spline. It's very helpful and looks quite realistic at the end. 我从一个非常简单的布局和几个平面开始，我使用 Zbrush 为地面添加定义。我添加了一个池塘和一些不规则的地面，并将所有这些导出为几何图形。我利用顶点颜色和地面遮罩为道路、草地和房子周围的区域制作了几种不同的材料。使用 RGB 颜色绘制网格并稍后使用顶点颜色节点提取该信息以用作着色器混合的遮罩非常简单。Forest Pack 还负责处理散落的岩石、鹅卵石、碎片和其他东西。我创建了一组形状并将它们添加为散射区域，当它们接近该样条的边缘时，您还可以“羽化”具有比例或密度的过渡。这非常有帮助，最后看起来很现实。
Rendering 渲染
I really do like Redshift, specifically for how the renders look, for how easy it is to work with their framebuffer, and how stable it is. To be honest I started this scene in V-Ray GPU but I had some issues with memory and displacements. Also, not everything is supported in V-Ray GPU so even though it's a great engine I had to start and stop the IPR quite often which made me realize there is a little bit of fighting going on between me and the software. 我真的很喜欢 Redshift，特别是渲染的外观、使用帧缓冲区的容易程度以及它的稳定性。老实说，我在 V-Ray GPU 中开始了这个场景，但我在内存和位移方面遇到了一些问题。此外，V-Ray GPU 并非支持所有内容，因此即使它是一个出色的引擎，我也必须经常启动和停止 IPR，这让我意识到我和软件之间存在一些争执。
The thing with Redshift is that I was able to pretty much model my assets while the IPR was up and running for the whole time. I saw how the reflection is reacting to the light and how good the edge flow is in rendering in real-time without even thinking about it. When I was modeling the car I had my studio HDRI plugged into the dome. I locked the camera to a viewport window, started IPR and I modeled straight for 8 hours without the 3DS Max crashing even one time. Even when I was rendering the whole scene from 12 cameras and multiple light rigs, my machine was working for 9 days straight and it didn't crash. I really think it's a miracle as I'm working on a 2014 laptop. I have been traveling for the last 6-7 years so a workstation was never an option for me. I do plan to settle in for 2022 so if there is someone that would like to get me a powerful workstation, be my guest! wink-wink. Redshift 的问题在于，当 IPR 一直启动并运行时，我几乎可以对我的资产进行建模。我看到了反射对光线的反应，以及边缘流在实时渲染中的效果，甚至没有考虑。当我为汽车建模时，我将我的工作室 HDRI 插入了圆顶。我将相机锁定到视口窗口，启动 IPR，我直接建模了 8 小时，3DS Max 甚至一次都没有崩溃。即使我用 12 个摄像机和多个灯光装置渲染整个场景，我的机器也连续工作了 9 天，没有崩溃。我真的认为这是一个奇迹，因为我正在使用 2014 年的笔记本电脑。过去 6-7 年我一直在旅行，所以工作站对我来说从来都不是一个选择。我确实计划在 2022 年定居，所以如果有人想要给我一个强大的工作站，请成为我的客人！眨眼眨眼。
I didn't do any post-production on the renders. Pretty much 95% of the images we are able to see are straight from the frame buffer. I did use photoshop to fix a few issues where the grass was penetrating car wheels or there was a weird cut out from one bush into the tree bark. The volume atmosphere is from the Redshift Dome Light. I experimented with a lot of settings and found a proper curve for visibility. 我没有对渲染进行任何后期制作。我们能够看到的几乎 95% 的图像都是直接来自帧缓冲区。我确实使用 Photoshop 修复了一些问题，其中草穿透了车轮，或者从一棵灌木丛中切入了树皮。体积氛围来自 Redshift Dome Light。我尝试了很多设置，并找到了合适的可见性曲线。
The sad truth about the lighting is that I didn't do too much to it. Usually, when you have a render you can really dive into lighting because it's just for one particular camera angle but what I had in mind had to work regardless of the camera position. The main reason why this scene took so long is that I made sure the whole environment is going to look as good as possible without any link to the position of the camera. Of course, it doesn't mean I didn't care about how my shots are framed. I wanted to give them that proper feeling of someone holding the camera and actually being there. Playing with the lenses and point of interest. I wanted to make sure both modeling, texturing, and lookdev are as realistic as possible and I didn't want to hide anything in the shadows. This scene can be pretty much used as a benchmark for any HDRI. 关于照明的可悲事实是我没有做太多。通常，当您进行渲染时，您可以真正深入到照明中，因为它只是针对一个特定的摄像机角度，但我的想法必须与摄像机的位置无关。这个场景花了这么长时间的主要原因是我确保整个环境看起来尽可能好，而没有任何与相机位置的联系。当然，这并不意味着我不关心我的镜头是如何构图的。我想给他们一种正确的感觉，即有人拿着相机并实际在那里。玩弄镜头和兴趣点。我想确保建模、纹理和外观都尽可能逼真，而且我不想在阴影中隐藏任何东西。
Afterword 后记
It took around half a year and yes, I am very happy about the final result. There is something great about finishing a piece like this. At some point, I started to get irritated and even angry at how it looked and I started to put less and less time into it but I think I was just tired. I took some time off, watched a few "The Office" episodes, and I was back on track, less stressed, and even more motivated. When I realized that I'm just doing this to make myself happy everything was easier. I think we often forget that art should always make us feel good inside and when it's forced, you can definitely see it in the final output. 大约花了半年时间，是的，我对最终结果感到非常高兴。完成这样的作品是一件很棒的事情。在某个时候，我开始对它的外观感到恼火甚至生气，我开始投入越来越少的时间，但我想我只是累了。我休息了一段时间，看了几集“办公室”，我回到了正轨，压力减轻了，更有动力了。当我意识到我这样做只是为了让自己开心时，一切都变得容易了。我想我们经常忘记艺术应该总是让我们内心感觉良好，当它被迫时，你绝对可以在最终输出中看到它。
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