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本帖最后由 执此一念 于 2022-1-10 10:58 编辑
在 3ds Max 和 Omniverse Create 中创建详细的复古房间
Andrew Averkin 向我们介绍了 Storyteller 项目背后的工作流程，分享了为该项目编写的故事，并谈到了在 Omniverse Create 中的工作。
Introduction 介绍
Hello, my name is Andrew Averkin, and I am a Lead Environment Artist of the creative team at NVIDIA. A few words about my background. I was born and grew up in Ukraine, in Odessa, in a family of artists, sculptors, writers, and musicians. When I was a child, I liked drawing, writing poetry, and music. I remember a huge amount of paper on my table, full of adventure stories and pictures, filled with fantasy worlds, fairy tale creatures, and characters, their adventures and travels! That’s how the journey of my art began. 大家好，我叫 Andrew Averkin，是 NVIDIA 创意团队的首席环境美术师。说几句我的背景。我在乌克兰的敖德萨出生和长大，在一个由艺术家、雕塑家、作家和音乐家组成的家庭中。当我还是个孩子的时候，我喜欢绘画、写诗和音乐。我记得我桌上有一大堆纸，满是冒险故事和图片，充满了奇幻世界、童话中的生物和人物，他们的冒险和旅行！我的艺术之旅就这样开始了。 At that time, my TV was full of Hollywood movies which influenced my becoming an artist as well! A little later, when I had my first consoles – Dendy and Sega – and then my first PC, I began to dive deeper and deeper into the world of computer games. I remember these amazing days when I would meet with my brother and our friends every weekend, and we played our favorite board and computer games. And that’s how my journey to the world of CG began. 那时，我的电视里全是好莱坞电影，这也影响了我成为一名艺术家！不久之后，当我拥有我的第一台游戏机——Dendy 和 Sega——以及我的第一台 PC 时，我开始越来越深入地潜入电脑游戏世界。我记得那些美好的日子，我每个周末都会与我的兄弟和我们的朋友见面，我们玩我们最喜欢的棋盘和电脑游戏。我的 CG 世界之旅就这样开始了。
I worked for quite a long time in the advertising and architectural visualization industry where I got really good experience and basics of CG. Then I was super lucky to meet amazing people from Blur Studio where I started my career as a 3D Environment Artist. I worked on a number of game cinematics, such as The Elder Scrolls Online: Greymoor, PUBG, Love, Death & Robots Season 1 and 2, Destiny 2 Rally The Troops, Destiny 2 Last Call, Middle Earth: Shadow of Mordor, Far Cry 4 and 5, Halo 2 Anniversary, Halo Wars 2, Dark Souls 2, Tom Clancy's Rainbow Six Siege, League of Gods Movie, King of Glory, Honor of Kings, Arena of Valor, and many more. 我在广告和建筑可视化行业工作了很长时间，在那里我获得了非常好的 CG 经验和基础知识。然后我非常幸运地遇到了来自 Blur Studio 的优秀人才，在那里我开始了我作为 3D 环境艺术家的职业生涯。我参与了许多游戏动画的制作，例如上古卷轴OL：Greymoor、PUBG、Love、Death & Robots 第 1 季和第 2 季、Destiny 2 Rally The Troops、Destiny 2 Last Call、Middle Earth: Shadow of Mordor、Far Cry 4 和 5、光环 2 周年纪念日、光环战争 2、黑暗之魂 2、汤姆克兰西的彩虹六号围攻、众神联盟电影、王者荣耀、王者荣耀、英勇竞技场等等。 I was also very lucky to work with great people from Axis as a Props Artist where I also took part in several game cinematics, such as New World, Avowed, Deathloop, Magic The Gathering: Zendikar Rising, Magic The Gathering: Throne of Eldraine, The Walking Dead: Saints & Sinners, The Elder Scrolls Online: Summerset, Warhammer 40000: Dawn of War 3, Destiny: Rise of Iron.

 For a few years, I worked on a personal game project called Utopia Syndrome. It is a point-and-click adventure game set in a post-apocalyptic world. 我也很幸运能与来自 Axis 的优秀人士一起担任道具美术师，在那里我还参与了一些游戏动画，例如 New World、Avowed、Deathloop、Magic The Gathering: Zendikar Rising、Magic The Gathering: Throne of Eldraine、 《行尸走肉：圣徒与罪人》、《上古卷轴OL：夏暮》、《战锤40000：战争黎明3》、《命运：钢铁崛起》。几年来，我参与了一个名为 Utopia Syndrome 的个人游戏项目。这是一款设置在后世界末日世界的点击式冒险游戏。
All these projects gave me huge experience and a lot of knowledge in the CG industry and brought me to the point where I am now. Currently, I am working as a Lead Environment Artist of the creative team at NVIDIA where we are working with the Omniverse platform on a number of great projects. 所有这些项目都给了我丰富的经验和 CG 行业的知识，并把我带到了现在的地步。目前，我在 NVIDIA 担任创意团队的首席环境艺术家，我们正在与 Omniverse 平台合作开展许多伟大的项目。
The Storyteller 讲故事的人
I would like to take you behind the Storyteller project which I did with 3ds Max and Omniverse Create. This was another fun and quick project for me that I was able to complete in a week or so. 我想带你了解我使用 3ds Max 和 Omniverse Create 完成的 Storyteller 项目。这对我来说是另一个有趣且快速的项目，我能够在一周左右的时间内完成。 I started this project by writing a short story about a writer and his daughter. The story helped me to visualize the idea in my head and gave me good ideas in what direction I should move. 我通过写一个关于作家和他女儿的短篇小说开始了这个项目。这个故事帮助我在脑海中形象化了这个想法，并给了我很好的想法，我应该朝哪个方向前进。
"Once upon a time, there lived an unknown writer and his daughter. The writer loved to write stories, but his works did not have great success. However, the writer did not despair and continued to do his favorite work. Every evening, he told his beloved daughter wonderful and magical fairy tales, which he then wrote down on paper. The daughter loved when her father read her favorite fairy tales repeatedly. Father's tales gave true joy and laughter to the writer's daughter, and this inspired the writer to continue writing and make up more tales. “从前，住着一个不知名的作家和他的女儿。作家喜欢写故事，但他的作品没有很大的成功。然而，作家并没有绝望，继续做他最喜欢的作品。每天晚上，他给心爱的女儿讲了美妙而神奇的童话故事，然后他把故事写在纸上。女儿喜欢爸爸反复读她最喜欢的童话故事。写作和编造更多的故事。 As the years passed, the writer was still not successful with his writing, but he still loved to tell his already grown-up daughter fairy tales. Over time, there were so many fairy tales written on paper that there was no place to put them, and sheets of paper literally fell out of the windows of the house where the writer and his daughter lived. 岁月流逝，作家的作品依旧没有成功，但他仍然喜欢给已经长大成人的女儿讲童话故事。久而久之，写在纸上的童话故事太多了，以至于没有地方放它们，纸片从作家和他女儿居住的房子的窗户上掉下来。 One day, grief came to the writer's house. Having fallen ill with an incurable disease, the writer died suddenly. New fairy tales were no longer born, the windows of the house faded, and the daughter's joyful laughter was no longer heard from them. 有一天，悲伤来到了作家的家里。作家患上不治之症，突然去世。新的童话不再诞生，房子的窗户褪色了，再也听不到女儿欢快的笑声。 The heartbroken daughter decided to gift her father's fairy tales to other parents so that they could read them to their children and give them joy, just as her father did. There were so many fairy tales that many children and their parents began to call the writer a real storyteller who brings happiness to children! 伤心欲绝的女儿决定把父亲的童话送给其他父母，让他们读给孩子听，给他们欢乐，就像她父亲一样。童话太多了，以至于很多孩子和他们的父母都开始称作家为真正的讲故事的人，给孩子们带来快乐！ Over time, the girl's pain went away. She realized how magical her father was. After reading his fairy tales, in every child's laugh, in every cheerful look and smile, the daughter saw her father, who gave joy not only to her but now also to other children. Since then, an unknown writer became a famous storyteller. 随着时间的推移，女孩的痛苦消失了。她意识到她的父亲是多么神奇。读完他的童话，在每一个孩子的笑声中，在每一个欢快的眼神和笑容中，女儿看到了她的父亲，父亲不仅给她带来欢乐，现在也给其他孩子带来欢乐。从此，一位不知名的作家成为了著名的说书人。 People say the storyteller's daughter is still alive and she still lives in that house. She writes fairy tales to her son, just like her father did..." 人们说说书人的女儿还活着，她还住在那所房子里。她给儿子写童话，就像她父亲一样……”
References 参考
I always use references which help me to come up with ideas and moods for my projects. So, I started looking for interior images made in retro styles, like a New York apartment filled with retro furniture, retro toys, a desk, a bookshelf, and all these nice things from the past that can tell a story. After gathering references, I usually place them into one sheet that guides me throughout the entire creation process. 我总是使用参考资料来帮助我为我的项目提出想法和情绪。所以，我开始寻找复古风格的室内图像，比如纽约公寓里摆满了复古家具、复古玩具、桌子、书架，以及所有这些可以讲述故事的过去美好事物。收集参考资料后，我通常将它们放在一张纸上，在整个创作过程中指导我。
3D Assets 3D 资产
The next step was to search for some good 3D models that would bring the mood, atmosphere, and feelings of the writer’s room to life. I didn't want to make every single piece of this project from scratch, otherwise, it would have taken me months to complete on my own. The main goal of this project was to tell the story, and it was another great chance to practice with lighting, composition, storytelling, and, of course, get more practice with Omniverse Create as well. So I bought a collection of 3D models that allowed me to complete this project and tell my story in about one week. Since the writer’s table is one of the key elements, I decided to pay more attention to details. My friend Andrey Protsenko helped me with texturing of the wooden desk in Substance 3D Painter. 下一步是寻找一些好的 3D 模型，这些模型可以将作者房间的情绪、氛围和感觉变为现实。我不想从头开始制作这个项目的每一个部分，否则，我自己要花几个月的时间才能完成。这个项目的主要目标是讲故事，这是另一个练习灯光、构图、讲故事的好机会，当然，还有更多练习 Omniverse Create 的机会。所以我买了一套 3D 模型，让我可以在大约一周内完成这个项目并讲述我的故事。由于作家的桌子是关键元素之一，我决定更加关注细节。我的朋友 Andrey Protsenko 帮助我在 Substance 3D Painter 中为木桌制作纹理。
Assembling 组装
I used 3ds Max as the main software to create this 3D scene. The best part was that while I was able to use all the tools in 3ds Max to quickly assemble the scene, I was then able to augment it with NVIDIA technologies and do the rest of the magic with Omniverse Create. 我使用 3ds Max 作为主要软件来创建这个 3D 场景。最好的部分是，虽然我能够使用 3ds Max 中的所有工具快速组合场景，但随后我能够使用 NVIDIA 技术对其进行增强，并使用 Omniverse Create 完成其余的魔术。 A few words about Omniverse – “NVIDIA Omniverse is a powerful multi-GPU real-time simulation and collaboration platform for 3D production pipelines based on Pixar's Universal Scene Description and NVIDIA RTX technology. Omniverse enables universal interoperability across different applications and 3D ecosystem vendors. It provides efficient real-time scene updates and is based on open standards and protocols. The Omniverse Platform is designed to act as a hub, enabling new capabilities to be exposed as microservices to any connected clients and applications.” 关于 Omniverse 的几句话——“NVIDIA Omniverse 是一个强大的多 GPU 实时模拟和协作平台，用于基于 Pixar 的通用场景描述和 NVIDIA RTX 技术的 3D 制作流程。Omniverse 支持跨不同应用程序和 3D 生态系统供应商的通用互操作性。它提供高效的实时场景更新，并基于开放标准和协议。Omniverse 平台旨在充当枢纽，使新功能能够以微服务的形式向任何连接的客户端和应用程序公开。” Omniverse Create is a very powerful software that can handle 3D objects and complex 3D scenes in RTX mode as well as produce stunning renders with Path Trace mode and help you to get amazing quality and realism. You can check more information about Omniverse Platform and Omniverse Create on the website. Omniverse Create 是一款功能非常强大的软件，可以在 RTX 模式下处理 3D 对象和复杂的 3D 场景，并使用路径跟踪模式生成令人惊叹的渲染，并帮助您获得惊人的质量和真实感。您可以在网站上查看有关Omniverse Platform和Omniverse Create 的更多信息。
Omniverse Connect 全方位连接
I used Omniverse Connector for 3ds Max to export my 3D scene to the Omniverse Create app. The connector is basically a plug-in that allows you to quickly and easily convert your 3D content to USD and your materials to MDLs. NVIDIA has connectors for different software, such as 3ds Max, Maya, Blender, Cinema4D, Unreal, etc. Most of the third-party 3D models that I got had V-Ray materials assigned. But this is not a big deal because Omniverse 3ds Max Connector can handle these materials. However, if you want to get the whole control over your materials in Omniverse Create, it is better to use 3ds Max Standard or Physical materials. So first, I used a 3ds Max script called “Universal Material Converter” to convert all V-Ray materials to Standard, and then with Connector, I converted the whole project to Create. You can find more info about Omniverse Connectors here. 我使用 Omniverse Connector for 3ds Max 将我的 3D 场景导出到 Omniverse Create 应用程序。该连接器基本上是一个插件，可让您快速轻松地将 3D 内容转换为 USD 并将您的材料转换为 MDL。NVIDIA 有用于不同软件的连接器，例如 3ds Max、Maya、Blender、Cinema4D、Unreal 等。我获得的大多数第三方 3D 模型都分配了 V-Ray 材质。但这没什么大不了的，因为 Omniverse 3ds Max Connector 可以处理这些材质。但是，如果您想在 Omniverse Create 中完全控制您的材质，最好使用 3ds Max 标准或物理材质。所以首先，我使用名为“Universal Material Converter”的 3ds Max 脚本将所有 V-Ray 材质转换为标准，然后使用连接器，我将整个项目转换为 Create。在这里。
Materials 材料
NVIDIA updates all connectors and improves them to make the conversion process even smoother. However, due to some limitations, you may sometimes get an incorrect view of materials and textures, especially when you’re dealing with complex material structures full of procedural maps. To avoid this, I suggest keeping material structures as simple as possible and trying to use a PBR material workflow with a minimum set of textures. This will ensure that you will not get any weird materials in Create. However, if you face such a problem, this is not the end. You can still use a variety of built-in materials in Create with flexible and easy-to-use settings. That being said, I decided not to go back to 3ds Max to make changes there but instead, to fix the incorrectly imported materials in Create by creating new materials there from scratch. You can find more info about Omniverse Create materials here. NVIDIA 更新所有连接器并对其进行改进，以使转换过程更加顺畅。但是，由于某些限制，您有时可能会得到错误的材质和纹理视图，尤其是在处理充满程序贴图的复杂材质结构时。为避免这种情况，我建议让材质结构尽可能简单，并尝试使用具有最少纹理集的 PBR 材质工作流程。这将确保您不会在 Create 中获得任何奇怪的材料。然而，如果你面临这样的问题，这还不是结束。您仍然可以通过灵活且易于使用的设置在 Create 中使用各种内置材质。话虽如此，我决定不回到 3ds Max 在那里进行更改，而是通过从头开始创建新材料来修复 Create 中错误导入的材料。在这里。
Lighting 灯光
Omniverse Create has everything you need to make stunning and realistic lighting. It has a variety of different light sources with simple and easy controls. I wanted to make white solid lighting, the one you can see after the rain or when it's cloudy. For the ambient light, I used a Dome with one of the built-in HDRI Maps that you can find in the Sky library. I also used rectangular light behind the window to act as a light portal to brighten the indoor part of the room and provide some nice shadows. You can find more info about Omniverse Create lighting here. Omniverse Create 拥有制作令人惊叹且逼真的灯光所需的一切。它有多种不同的光源，控制简单易行。我想制作白色固体照明，在雨后或阴天时可以看到。对于环境光，我使用了带有内置 HDRI 贴图的圆顶，您可以在 Sky 库中找到该贴图。我还在窗户后面使用了矩形光作为光入口，以照亮房间的室内部分并提供一些漂亮的阴影。您可以在此处找到有关 Omniverse 创建照明的更多信息。
Compositions and Cameras 构图和相机
In order to present the scene and tell the story, I decided to show it from different angles. For this, I set up around 30 cameras and paid enough attention to staging the compositions to completely immerse the viewers into the story. Doing this, I felt as though people could now feel the atmosphere I was creating from various perspectives. You can find more about Omniverse Create cameras here. 为了呈现场景，讲故事，我决定从不同的角度来展示。为此，我设置了大约 30 台摄像机，并在构图上给予了足够的关注，以使观众完全沉浸在故事中。这样做，我觉得人们现在可以从不同的角度感受到我正在创造的氛围。您可以在此处找到有关 Omniverse Create 相机的更多信息。
Post-Processing 后期处理
Before rendering my final scene, I decided to add Chromatic Aberration in rendering settings and a little bit of fog to help read the depth. 在渲染我的最终场景之前，我决定在渲染设置中添加色差和一点雾来帮助读取深度。
Rendering 渲染
One of the significant advantages of Omniverse Create is its rendering capabilities, which in my opinion are absolutely astounding! I appreciate the quality, speed, and ease of use. For the final render, I used the path-traced method to get the most realistic result. I didn’t tweak rendering settings too much, I just used 1024 samples and Denoiser that helped to make the image cleaner. Some shots I rendered on my home machine which has 2 RTX A6000. However, Chase Telegin helped me to set up the rendering farm, Omniverse Farm Agent, and Omniverse Farm Agent Queue, which significantly accelerated the rendering process and let me quickly start working on the compositing process. More info about rendering is here and here. Omniverse Create 的显着优势之一是它的渲染能力，在我看来这绝对是惊人的！我很欣赏它的质量、速度和易用性。对于最终的渲染，我使用了路径追踪的方法来获得最真实的结果。我没有过多地调整渲染设置，我只是使用了 1024 个样本和有助于使图像更清晰的降噪器。我在有 2 个 RTX A6000 的家用机器上渲染了一些镜头。但是，Chase Telegin 帮助我设置了渲染农场、Omniverse Farm Agent 和 Omniverse Farm Agent Queue，这大大加快了渲染过程，让我可以快速开始合成过程。有关渲染的更多信息在这里和这里。
Compositing 合成
Chase Telegin helped me to make dust particles which he did right inside Omniverse Create. He rendered particles separately from the beauty pass and then I added them to the composing stage in After Effect. The compositing process was very simple, I just added particles, black lines and camera shake effect to imitate the film look and some nice music, that’s pretty much it. Chase Telegin 帮助我制作了他在 Omniverse Create 中所做的灰尘颗粒。他将粒子与美感通道分开渲染，然后我将它们添加到 After Effects 的合成阶段。合成过程非常简单，我只是添加了粒子，黑线和相机抖动效果来模仿电影的外观和一些好听的音乐，就这样。
Conclusion 结论
I want to say thank you to Andrey Protsenko and Chase Telegin who helped me with this project. Thank you, my team, Gavriil Klimov, Madison Huang, and Rev Lebaredian for your support, thank you, everybody, for reading this article! I hope it gave you a basic understanding of how I created The Storyteller project and how it was easy to bring it to life with the help of Omniverse Create. 我想对帮助我完成这个项目的 Andrey Protsenko 和 Chase Telegin 说声谢谢。感谢我的团队 Gavriil Klimov、Madison Huang 和 Rev Lebaredian 的支持，感谢大家阅读本文！我希望它能让您基本了解我是如何创建 The Storyteller 项目的，以及在 Omniverse Create 的帮助下如何轻松地将其变为现实。
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