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本帖最后由 秋令6689 于 2022-4-8 16:59 编辑
New Babylon – Environment Breakdown – Miha Maruško
新巴比伦 – 环境细分 – 米哈·马鲁什科
Introduction
Hey there! I’m Miha Maruško. An environment artist that originates from Slovenia. I’m currently studying Communications in Media, but I felt like I’m not pursuing my dreams, so I decided to focus on pursuing my vision of becoming an environment artist.
介绍
嘿！我是Miha Maruško。来自斯洛文尼亚的环境艺术家。我目前正在学习媒体传播，但我觉得我没有追求我的梦想，所以我决定专注于追求成为一名环境艺术家的愿景。
It all started as a hobby back in 2012 when Far Cry 3 came out, I was addicted to the amazing map editor and its community. After posting dozens of maps in both Far Cry 3 & 4 I decided I want to chase the “real deal”, so I started to learn various programs that would enrich my knowledge of environment art. After I learned all of the basics and expanded my knowledge even further, I focused on creating enormous environments that are full of life with my primary objective being composition and balance.
这一切都始于2012年《孤岛惊魂3》问世时的爱好，我对令人惊叹的地图编辑器及其社区上瘾。在《孤岛惊魂3》和《孤岛惊魂4》中发布了数十张地图后，我决定要追逐"真正的交易"，所以我开始学习各种程序，以丰富我对环境艺术的了解。在我学习了所有基础知识并进一步扩展了我的知识之后，我专注于创造充满生机的巨大环境，我的主要目标是构图和平衡。
In the past, I was mostly focused on creating small but detailed environments, so I always desired to create a scene that would represent immense scale with impressive architecture. it was a lifelong dream of mine to create an environment that would feature a dome-like structure.
过去，我主要专注于创建小而详细的环境，所以我一直希望创建一个场景，以令人印象深刻的建筑来代表巨大的规模。这是我毕生的梦想，创造一个具有圆顶状结构的环境。
Because, what’s more grandeur than a dome present in architecture? That way I developed the concept further in my head and I later sketched it up in my notebook. New Babylon was a project where I left my comfort zone, especially with the desired deadline. I finished my previous project at the end of August. About 3 days after finishing and publishing “Unresting Watermills” I started to model my first modular pieces for at the time called “Project: Paradise Lost”.
因为，还有什么比建筑中的圆顶更宏伟的呢？通过这种方式，我在脑海中进一步发展了这个概念，后来我在笔记本上勾勒出了它。《新巴比伦》是我离开舒适区的一个项目，尤其是在预期的截止日期之前。我在八月底完成了我之前的项目。在完成并出版"Unresting Watermills"大约3天后，我开始为当时名为"Project： Paradise Lost"的第一个模块化作品建模。
As for the deadline, I knew I wanted to finish and publish the project right before December, so I set my goal on the 29th of November. That way I can focus on my university tasks later in December when I’m not skipping school and making environment art.
至于截止日期，我知道我想在12月之前完成并发布项目，所以我将目标定在11月29日。这样，我就可以在12月晚些时候专注于我的大学任务，那时我不会逃学和制作环境艺术。
References/Inspiration
Since I was little, I always adored the so-called “adventure movie” formula. Franchises like Indiana Jones, the Adventures of Tintin comic book series, Uncharted, Tomb Raider, etc. showed me how much I like, and cherish good adventure stories. That way I always wanted to create something to capsulate my love for those franchises.
参考/灵感
从小，我就一直很喜欢所谓的"冒险电影"公式。像印第安纳琼斯，丁丁历险记漫画书系列，神秘海域，古墓丽影等特许经营权向我展示了我有多喜欢，并珍惜好的冒险故事。通过这种方式，我一直想创造一些东西来概括我对这些特许经营权的热爱。
In my past work, I was focused on creating small but detailed environments, so New Babylon presented itself as a big challenge. I knew it would take a long time to complete but I was excited and highly motivated on working on my project. I also wanted to challenge myself and I focused on creating the environment as I go. I was also careful not to include any other references over time since I didn’t want the style to suddenly change.
在我过去的工作中，我专注于创造小而详细的环境，所以新巴比伦将自己视为一个巨大的挑战。我知道这需要很长时间才能完成，但我很兴奋，并且非常积极地从事我的项目。我也想挑战自己，我专注于创造环境。我也小心翼翼地避免随着时间的推移包括任何其他引用，因为我不想让风格突然改变。
Here are the key concepts and goals I held onto:
– Create a palace in the middle of the desert/canyon;
– The palace must feature a dome;
– It lays abandoned in the canyon which was overgrown with various flora, creating an oasis;
– The palace must feature loads of architectural styles giving it a unique look;
– When the workers abandoned the palace they left the wooden frames, giving the impression
以下是我所坚持的关键概念和目标：
– 在沙漠/峡谷中间建造一座宫殿;
– 宫殿必须有一个圆顶;
- 它被遗弃在峡谷中，峡谷中长满了各种植物，创造了一片绿洲;
– 宫殿必须具有大量的建筑风格，使其具有独特的外观;
– 当工人们抛弃宫殿时，他们留下了木制框架，给人留下的印象是
That the palace is still under construction. I was very fortunate in life since my mother likes to travel, and she always took me with her. I had the pleasure of seeing the Pyramids, various Egyptian and Middle Eastern temples and Stunning North African architecture which gave me enormous amounts of inspiration. Besides traveling I always liked looking deeper and discovering the rich history behind ancient ruins. Before creating and assigning the name “New Babylon” to the environment I even borrowed and later bought 2 history
books which helped me a lot with developing certain parts of the palace.
宫殿仍在建设中。我一生中非常幸运，因为我的母亲喜欢旅行，她总是带我一起去。我有幸看到了金字塔，各种埃及和中东寺庙以及令人惊叹的北非建筑，这给了我大量的灵感。除了旅行，我总是喜欢更深入地观察和发现古代遗址背后的丰富历史。在创建和分配"新巴比伦"这个名字之前，我甚至借了2本历史书，后来买了2本历史
书，这对我开发宫殿的某些部分有很大帮助。
Blockout/Modelling
屏蔽/建模
At first, I started planning on how I’m going to use modular pieces in both the dome and the rest of the palace. At First, I deliberately made them both sided. The original plan was that the whole environment is going to feature a breathtaking inside shot at the ceiling of the dome. The dome would be lit up from the inside from the incoming sunlight, that way it would create a bright and varied inside of the building.
起初，我开始计划如何在圆顶和宫殿的其余部分使用模块化部件。起初，我故意让他们都站在一边。最初的计划是，整个环境将在穹顶的天花板上拍摄一个令人叹为观止的内部镜头。穹顶将从入射的阳光从内部照亮，这样它将在建筑物内部创造一个明亮而多样的氛围。
Sadly, I cut that whole part of the plan and decided, it would be for the best if I demonstrate my abilities only on the outside of the dome. That being said, I didn’t let the dream die completely and still featured an inside shot from one of the lower balconies. But on the contrary, I had the liberty of having 2 sides on each modular piece, which meant I could reuse it much more efficiently and without notice.
可悲的是，我削减了计划的整个部分，并决定，如果我只在穹顶的外部展示我的能力，那将是最好的。话虽如此，我并没有让梦想完全消失，并且仍然从较低的阳台之一拍摄了内部镜头。但恰恰相反，我可以自由地在每个模块化部件上有2个侧面，这意味着我可以更有效地重复使用它，而无需通知。
Shortcuts like these were more or less crucial for completing New Babylon until December and I’m glad I got some insight on how to work more efficiently and quicker with the same level of quality.
像这样的捷径对于在12月之前完成新巴比伦或多或少至关重要，我很高兴我对如何在相同质量水平下更高效，更快速地工作有了一些见解。
The whole concept revolved around balconies and progressive elevation towards the palace. Just general progressive erosion of the architecture allowed me to really play with the lighting and shadows with the sunlight direction I choose. I aimed for the “sunset atmosphere” but at the end, I landed somewhere in the middle of noon and sunset. That way I took the liberty to feature nice and orange light bleeding that’s usually present in both morning and evening.
整个概念围绕着阳台和逐步抬高到宫殿。只是建筑的一般渐进侵蚀使我能够真正地用我选择的阳光方向来玩弄光影。我的目标是"日落气氛"，但最后，我降落在中午和日落的某个地方。通过这种方式，我冒昧地展示了通常在早晨和晚上都存在的漂亮和橙色的出血。
Sculpting
For sculpting rocks, I mainly used Blender and I later refined the details in ZBrush. Since I have a vast and varied library of brushes at disposal there, I made sure to look at desert cliffside references as much as I could.
雕刻
对于雕刻岩石，我主要使用Blender，后来我在ZBrush中改进了细节。由于我在那里有一个庞大而多样的画笔库，我确保尽可能多地查看沙漠悬崖边的参考资料。
My low poly version was created by decimating the high poly version. Since program generation doesn’t always work the way you want, I ironed the messy areas of the assets in Maya where I also optimized the core asset. I made sure that all of my objects maintained a reasonable tris count.
我的低多边形版本是通过大量删除高多边形版本创建的。由于程序生成并不总是按照您想要的方式工作，因此我在Maya中解决了资源的混乱区域，我还优化了核心资源。我确保我的所有对象都保持合理的tris计数。
Uving
After modeling, I always manage my UVs manually. In the past, I tried using other external programs that handle UV unwrapping for the artist. But I find it important that I gain experience and learn the fundamentals of Uv-ing and the correct ways of shell placement.
紫外线
建模后，我总是手动管理我的UV。过去，我尝试使用其他外部程序来处理艺术家的UV展开。但我发现获得经验并学习Uv-ing的基础知识以及正确的外壳放置方式非常重要。
I personally do all my unwrapping internally in Maya, but I occasionally use Blender to map objects that I deliberately created for my Trim sheet, since I know I’ll be faster and maintain the same efficiency this way.
我个人在Maya内部完成所有解包，但我偶尔会使用Blender来映射我故意为我的Trim工作表创建的对象，因为我知道我会更快并保持相同的效率。
Materials
Every material and texture for the modular pieces was created in Substance designer as well as in Substance painter. The trick was really to create one universal material and use it throughout all my modular pieces. That way I avoided unnecessary color correction on separate modular pieces.
材料
模块化作品的每种材料和纹理都是在Substance设计师和Substance painter中创建的。诀窍实际上是创建一种通用材料，并将其用于我所有的模块化部件中。通过这种方式，我避免了在单独的模块化部件上进行不必要的色彩校正。
I’d also like to point out that creating materials was pretty much a process that I executed right after the main blockout.
For this project, I made a “Babylon trim sheet”. It was inspired mainly by the scenes from the movie Alexander (2004) when Alexander finally arrives in Babylon and conquers it. It was super fun and exciting making this trim sheet and I made sure that continuation is present on all sides.
我还想指出，创建材料几乎是我在主封锁之后立即执行的过程。
为了这个项目，我做了一个"巴比伦装饰板"。它的灵感来自电影亚历山大（2004）中的场景，当时亚历山大最终到达巴比伦并征服了它。制作这张装饰板非常有趣和令人兴奋，我确保所有侧面都有延续。
Texturing/Substance
With fundamental materials made I set on creating textures for my modular pieces. It was important for me to include as much detail as possible. Maintaining quality throughout all my props was a must.
纹理/实质
有了基本的材料，我开始为我的模块化作品创建纹理。对我来说，尽可能多地包含细节非常重要。保持我所有道具的质量是必须的。
After making the base brick material I started adding various details that would enrich my modular pieces. Since it’s been ages since New Babylon stands abandoned, I made sure to include various damage to my modular pieces.
在制作基砖材料后，我开始添加各种细节，以丰富我的模块化作品。由于新巴比伦站被遗弃已经很久了，我确保对我的模块化作品进行各种损坏。
I used Marmoset Toolbag 4 for all my baking. It’s extremely quick, highly efficient and it allows you to test the result in mere seconds. That way I could discard and correct my mistakes as quickly as I can change and adjust settings incredibly quickly in Marmoset.
A common factor on abandoned structures is Water ingress, which I implemented with the liquid generator. I made sure that each modular asset is generated correctly and according to reference.
我使用Marmoset Toolbag 4进行所有烘焙。它非常快速，高效，可让您在短短几秒钟内测试结果。这样，我就可以丢弃和纠正我的错误，就像我可以在Marmoset中非常快速地更改和调整设置一样快。
废弃结构的一个常见因素是水进入，我用液体发生器实现了它。我确保每个模块化资产都是根据参考正确生成的。
Shaders/Technical
For my landscape material to look as best as it can I make sure to use various tessellation techniques combined with parallax occlusion. I primarily use tessellation if the pattern of the material isn’t as detailed as rocks. For instance, sand is the perfect candidate since it features space between every small dune, which means that it will be hard to spot the edges of the tessellation. I also mapped tessellation to the movement of my viewport since I wanted to save performance.
着色器/技术
为了让我的景观材料看起来尽可能好，我确保使用各种镶嵌技术与视差遮挡相结合。我主要使用镶嵌，如果材料的图案不像岩石那样详细。例如，沙子是完美的候选者，因为它在每个小沙丘之间都有空间，这意味着很难发现镶嵌的边缘。我还将曲面细分映射到视口的移动，因为我想节省性能。
Polish/Final pass
Polishing and the very final stages of creation are probably the hardest and the most intense parts of creating a game environment. I won’t lie, the last few weeks were full of self-doubt and incredible tension which continued to the very moment I pressed “publish” in the Artstation post.
波兰语/最终通过
打磨和创作的最后阶段可能是创造游戏环境最困难和最激烈的部分。我不会撒谎，过去几周充满了自我怀疑和难以置信的紧张，这种紧张一直持续到我在Artstation帖子中按下"发布"的那一刻。
The most difficult and time staking task was probably color correction. The hardest part was balancing and finding the sweet spot in the post-processing temperature tab. In total, I took 260 screenshots of the main scene and in around 100 of those, I was just experimenting and balancing the temperature.
最困难和最耗时的任务可能是色彩校正。最困难的部分是在后处理温度选项卡中平衡和找到最佳点。总的来说，我拍摄了260张主场景的屏幕截图，在其中大约100张中，我只是在实验和平衡温度。
Having perfect color values in environments so big is of utmost importance so I reckon there were quite a few days that I spent only in color correction and adjusting colors in photoshop.
Another piece of advice to help with color values is to turn your scene to Black and white.
在如此大的环境中拥有完美的色彩值至关重要，因此我认为有好几天我只在Photoshop中进行色彩校正和调整颜色。
另一个有助于颜色值的建议是将场景转换为黑白。
Lighting
A lot of people were wondering how I achieved the look of lighting in my main shot. In terms of technical terms, the lighting is baked. I felt like baked lighting offered me greater freedom to achieve my desired look. Even if the environment is insanely huge it would be better to include dynamic lighting, but I decided to put my artistry in the first place. This was also a big plus since I don’t have a state-of-the-art PC.
照明
很多人都想知道我是如何在主镜头中实现照明效果的。从技术术语上讲，照明是烘焙的。我觉得烘焙照明为我提供了更大的自由度，让我实现了我想要的外观。即使环境非常巨大，最好包括动态照明，但我决定首先把我的艺术性放在第一位。这也是一个很大的优点，因为我没有最先进的PC。
For the final render, it took my PC around 6 hours to compose and build the lighting on the production quality preset, which I didn’t find so long. It also helped a lot that I optimized my objects and assigned them correct lightmap resolutions judging by the distance and visibility of individual objects.
It was especially difficult to combine soft as well as hard contrasts between shadows and still maintain visible silhouettes.
对于最终的渲染，我的PC花了大约6个小时在生产质量预设上构图和构建光照，我没有找到这么长时间。我优化了我的对象并为它们分配了正确的光照贴图分辨率，根据单个对象的距离和可见性来判断，这也帮助很大。
在阴影之间结合柔和和和坚硬的对比并保持可见的轮廓尤其困难。
The difference between soft and hard lighting was of utmost importance since I wanted to create a composition that’s equally balanced but still focused on the middle of the shot towards the dome. A lot of shadowing was achieved artificially by placing simple planes.
I also created a simple light propagation volume to get the desired cloud shadows. That way I achieved a soft transition between sunlight and shadows and achieved the final look with the help of placing planes creating artificial shadows.
柔光和硬光之间的区别至关重要，因为我想创造一个同样平衡但仍然集中在镜头中间朝向穹顶的构图。许多阴影是通过放置简单的平面人为实现的。
我还创建了一个简单的光传播体积，以获得所需的云阴影。通过这种方式，我在阳光和阴影之间实现了柔和的过渡，并在放置创建人造阴影的平面的帮助下实现了最终的外观。
As a student and someone who’s constantly seeking new and exciting knowledge, I highly recommend Peter Tran’s explanation of his creative process.
作为一名学生和不断寻求新的和令人兴奋的知识的人，我强烈推荐Peter Tran对他的创作过程的解释。
Final Thoughts
Creating New Babylon presented a massive but fun challenge. I learned a ton of new techniques and managed to maintain my discipline which is a fact that I’m most proud of. I fully devoted myself to the environment with the help of my motivation towards the scene and the history I discovered with the help of the borrowed books. I guess the true lesson I can give here is to create environments that you like to create the most and the rest will follow. I’d like to thank Games Artist for providing me with the opportunity of writing my breakdown, it means a lot to me.
最后的思考
创造新巴比伦是一个巨大而有趣的挑战。我学到了很多新技术，并设法保持了我的纪律，这是我最自豪的事实。我完全致力于环境，借助我对场景的动力和我在借来的书籍的帮助下发现的历史。我想我能在这里给出的真正教训是创造你最喜欢创造的环境，其余的将随之而来。我要感谢Games Artist为我提供了写下我的崩溃的机会，这对我来说意义重大。
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