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本帖最后由 秋令6689 于 2022-5-17 12:11 编辑
Arches – Environment Breakdown – Toivo Huhtaniska 拱门 – 环境分解 – 托伊沃·胡塔尼斯卡
Introduction Hey there. I’m Toivo, an environment artist from Finland, currently working on an exciting unannounced AAA project in Tokyo-based studio Shapefarm. My latest project “Arches” was my first venture into UE5, produced over 4 months whenever I had the time and energy. I wanted to push details as far as I could, so I couldn’t go as grand in scale as my previous project. was my pick for reference, as it was very much down my aesthetic valley with the abandoned look and overgrown foliage. The work was divided into 4 main passes to keep my sanity and schedule in check: Blockout/architecture Nature/scatter Lighting Polish In this order, let me tell you a bit about the process! As is the case with every 3D scene, this too involved a ton of mundane chores, so I’ve picked some of the more interesting areas to break down. 嘿，你好。我是来自芬兰的环境艺术家Toivo，目前正在东京的Shapefarm工作室从事一个令人兴奋的未宣布的AAA项目。 我的最新项目"Arches"是我第一次涉足UE5，只要我有时间和精力，它就制作了4个月。我想尽可能地推动细节，所以我不能像我以前的项目那样宏大。是我的首选参考，因为它非常符合我的审美山谷，拥有废弃的外观和杂草丛生的树叶。 这项工作分为4个主要通道，以保持我的理智和日程安排： 自然/散射 照明 按照这个顺序，让我告诉你一些关于这个过程的信息！与每个3D场景一样，这也涉及大量平凡的琐事，所以我选择了一些更有趣的区域来分解。 Blockout/Architecture A loose blockout, business as usual. I like to get some lighting going on straight away to get the ball rolling. 01_arches_Blockout I gave the main architecture set a quick sculpt pass to aid texturing. To take full advantage of Nanite, pretty much everything was textured the good old Substance Painter way. To make Painter’s life a bit easier, I baked the sculpts to mid-poly meshes – around 100k for the pillar for example. 02_arches_ArchitectureSet A custom smart material did most of the heavy texturing lifting, and a separate moss material, that used the AO and thickness maps to blend a couple of different scanned moss textures, provided extra detail. For meshes interacting with the ground directly, I opted to include hand-sculpted soil in the export to allow more precise control over Unreal’s landscape. Most of this will be covered with scatter but it’s a nice base. 04_arches_StrairsAndFloor The big wall on the center of the composition, well… is just a wall. So I knew I needed to give it some extra love that it deserves. I utilised a number of different weird, perhaps unnecessary techniques. It’s essentially an intricate mix of booleans, RGBA masked materials, POM decals and normal decals. 05_arches_Wall For easy edge breakup, I used the chosen materials (just some Megascans bricks) height map to boolean out parts of the base mesh. 06_arches_Boolean To skip unwrapping, I am using This also allows the boolean object to be moved freely and still have UVs line up with the base mesh, so booleans & textures will always be aligned. The stripped-off stucco toward the bottom of the wall is a mesh decal, boolean-treated (with the same boolean object as I used for the wall itself) to blend it seamlessly. A simple POM functionality in my shader gave it juicy depth. 07_arches_WallDecal The decal itself is a mix of Textures.com and Megascans; I replaced the original bricks with the Megascan ones that I used on the wall. Top plaster damage comes from a second Textures.com decal. Some faked AO to make it POP. Then, on a 2nd UV channel of the base mesh, I painted a hot RGB mess that drives different tiling materials in the shader – green for plaster and red for bricks in this case. 08_arches_RGBMask Some carefully placed Megascans decals later we have ourselves a nice weathered wall. The ornamental architectural pieces, although looking intricate upon first glance, is pile cubes, displaced with some alphas. 09_arches_Ornament Naturally, the thing was later destroyed in Zbrush for that ruined look and textured in SP. 屏蔽/架构 松散的封锁，一切照旧。我喜欢让一些照明立即启动，让球滚动。 01_arches_Blockout 我给主架构设置一个快速的雕刻通行证，以帮助纹理。为了充分利用Nanite，几乎所有东西都以古老的物质画家的方式进行了纹理处理。为了让 Painter 的生活更轻松一些，我把雕塑烘焙成中多边形网格体，例如，柱子大约 100k。
02_arches_ArchitectureSet 定制的智能材料完成了大部分沉重的纹理提升，而单独的苔藓材料使用AO和厚度贴图来混合几个不同的扫描苔藓纹理，提供了额外的细节。 对于直接与地面交互的网格，我选择在导出中加入手工雕刻的土壤，以便更精确地控制虚幻的景观。其中大部分将被散射覆盖，但这是一个不错的基地。 04_arches_StrairsAndFloor 构图中心的大墙，嗯...只是一堵墙。所以我知道我需要给它一些额外的爱，它应得的。我使用了许多不同的奇怪的，也许是不必要的技术。它本质上是布尔值，RGBA掩膜材料，POM贴花和普通贴花的复杂组合。 05_arches_Wall 为了便于边缘分解，我使用所选材料（只是一些 Megascans 砖块）高度图来布尔化基础网格的一部分。 06_arches_Boolean 为了跳过解开包装，我正在使用 这也允许布尔对象自由移动，并且仍然使UV与基本网格对齐，因此布尔值和纹理将始终对齐。 朝向墙底的剥离灰泥是一个网格贴花，经过布尔处理（使用与我用于墙本身的相同布尔对象）以无缝混合它。我的着色器中的一个简单的POM功能赋予了它多汁的深度。 07_arches_WallDecal 贴花本身是 Textures.com 和Megascans的混合体;我用我在墙上使用的Megascan砖块替换了原来的砖块。顶部石膏损坏来自第二 Textures.com 贴花。有些人伪造AO以使其流行。 然后，在基础网格的第二个UV通道上，我画了一个热的RGB混乱，它驱动着色器中的不同瓷砖材料 - 在这种情况下，绿色代表石膏，红色代表砖块。 08_arches_RGBMask 一些精心放置的Megascans贴花后来我们自己有一个很好的风化墙。 装饰性的建筑作品虽然乍一看看起来很复杂，但却是桩立方体，被一些阿尔法所取代。 09_arches_Ornament 当然，这个东西后来在Zbrush中被破坏了，因为SP中的外观和纹理被破坏了。 Brick Floor The colour palette was in need of some warmer tones, so I thought an orange brick floor would be a nice touch. I wanted a specific pattern so I sculpted the material from scratch in Zbrush. A nice benefit to doing a custom material was the ability to use the same brick sculpts to bake a few meshes, which I could seamlessly blend with the tiling material. 11_arches_BrickSculpt 12_arches_BrickFloor I again used offline displacement to squeeze more juice out of the material. Weight paint to dictate displacement strength, and decimate before importing to the engine. 砖地板 调色板需要一些温暖的色调，所以我认为橙色砖地板会是一个不错的点缀。我想要一个特定的图案，所以我在Zbrush中从头开始雕刻材料。 制作自定义材料的一个很好的好处是能够使用相同的砖雕来烘烤一些网格，我可以将其与瓷砖材料无缝融合。 11_arches_BrickSculpt 12_arches_BrickFloor 我再次使用离线置换从材料中挤出更多的汁液。称量油漆以决定排量强度，并在导入发动机之前进行抽取。 Nature & Scatter 13_arches_Nature IVY Ivy was a challenge, as it is the MVP of the whole scene. Let’s start with the branches. To get full artistic control, I opted to create the branches in a non-procedural fashion. The base was modelled using skin+subd modifiers, and displaced with a Megascans bark texture to get free detail. Again, textured with SP, not worrying too much about tiling at this point. The result is essentially a mesh trim sheet that can be arrayed to be as long as is needed. 14_arches_IvyBranch I exported the whole UE scene to Blender to begin growing ivy. Tons of curves-adjusting fun. 15_arches_IvyBranchScene A last minute addition to this was subtle swaying in wind – shoutout to anyone who noticed that. My wind material uses 2nd UV channel gradient to dictate wind strength, so the lower the given part is in the UV space, the wilder the wind gets. I arranged the new UV islands (project from view worked great for this, as overlapping is no issue) where I felt swaying would look good. 16_arches_IvyBranchWind The leaves were modelled based on photos and baked into a sheet, using a similar workflow Anton Syrvachev used in his project ” – there’s a with some golden information nuggets that I used here as well. For the different colour variations, bright red leaves and dead ones, I made quick base colour variations in Designer that could be vertex painted in engine. 17_arches_IvyMaterial 18_arches_IvyInEngine 自然与散射 13_arches_Nature IVY Ivy是一个挑战，因为它是整个场景的MVP。让我们从分支开始。 为了获得完全的艺术控制，我选择以非程序性的方式创建分支。底座使用皮肤+subd修饰符进行建模，并用Megascans树皮纹理代替，以获得自由细节。同样，使用SP进行纹理处理，此时不太担心平铺。 结果基本上是一个网格修剪板，可以根据需要排列成尽可能长的尺寸。 14_arches_IvyBranch 我把整个UE场景导出到Blender，开始种植常春藤。大量的曲线调整乐趣。 15_arches_IvyBranchScene 最后一刻，在风中微妙地摇摆 - 向任何注意到这一点的人大喊大叫。我的风材料使用第二个UV通道梯度来决定风力强度，因此给定部分在UV空间中越低，风就越狂野。我安排了新的UV岛（从视图看，项目对此效果很好，因为重叠不是问题），我觉得摇摆会很好看。 16_arches_IvyBranchWind 这些叶子是根据照片建模的，并烘焙成一张纸，使用安东·西尔瓦切夫（Anton Syrvachev）在他的项目"中使用的类似工作流程 - 有一个我在这里也使用了一些金色的信息块。 对于不同的颜色变化，鲜红色的叶子和死叶，我在Designer中进行了快速的基本颜色变化，可以在引擎中绘制顶点。 SCATTER The scene was feeling a bit too clean, so I smashed some of my earlier sculpts to little pieces to throw around. 19_arches_Scatter For larger rubble piles, I tweaked some Megascans in Mixer to remove any unfitting debris (plastics etc) and adjust colour to fit my use case. Some offline displacement in Blender and some of my own sculpts mixed in. Just because Nanite could handle it, I also did some buildup of fine sand. 散射 场景感觉有点太干净了，所以我把我早期的一些雕塑砸成小块扔来扔去。 19_arches_Scatter 对于较大的碎石堆，我在 Mixer 中调整了一些 Megascans，以去除任何不合适的碎屑（塑料等），并调整颜色以适应我的用例。Blender中的一些离线位移和我自己的一些雕塑混合在一起。 仅仅因为Nanite可以处理它，我也做了一些细沙的堆积。 DECALS To support my shader’s simple Z-up moss, I created a triplanar moss decal, that has a toggle to sample scene distance fields to sort of emulate natural moss growth. 贴花 为了支持着色器的简单 Z-up 苔藓，我创建了一个三层苔藓贴花，它有一个切换开关来采样场景距离场，以模拟自然苔藓生长。 WATER The water was perhaps the most tricky thing to get working. Unbeknownst to me when I started the project, UE5 doesn’t yet support reflections on translucent materials, which is a problem when trying to create realistic water. Luckily Artstation Learning came in clutch with the new series; artist Stef Velzeboer explains his water shader step by step, which offered a genius workaround to this problem – reflections are faked with a cube map plugged into the emission input. My shader is largely based on this tutorial, with some added functionality such as vertex paintable murky water, caustics and little debris floating on the surface. 23_arches_Water Faking the reflections also meant that they were entirely art directable, which came in handy, as I wanted the surface to be less reflective to show what’s underneath. Aquatic foliage is from Megascans, some with small modifications, such as these long bois; top part is flattened to give the illusion of it interacting with the water surface. 水 水也许是最棘手的工作。当我开始这个项目时，我并不知道UE5还不支持半透明材质的反射，这在尝试创建逼真的水时是一个问题。幸运的是，Artstation Learning与新的系列相得益彰。艺术家Stef Velzeboer一步一步地解释了他的水着色器，它为这个问题提供了一个天才的解决方法 - 反射是通过插入发射输入的立方体贴图伪造的。 我的着色器主要基于本教程，并添加了一些功能，例如顶点可绘制的浑浊水，焦散和漂浮在表面上的小碎片。 23_arches_Water 伪造反射也意味着它们完全是艺术指导的，这派上了用场，因为我希望表面的反射性更低，以显示下面的内容。 水生叶子来自Megascans，有些带有小的修改，例如这些长bois;顶部被压平，给人一种与水面相互作用的错觉。 Lighting 25_arches_Lighting Lighting’s mostly hand crafted to achieve a painterly look. I was constantly playing around with different setups as I was building the scene – ultimately I ended up relying mostly on fog cards to have maximum control, which worked well. Here’s a breakdown of the different components. Directional light Whole scene is encompassed within a box, which has little holes on the roof for the sun to pass through. This gave me nice splashes of brightly lit areas, but also reduced the effectiveness of Nanites GI, so fill lights were needed. Fill lights Carefully placed rect lights to support GI and highlight central areas. Caustics Fake caustics with a spot light, which has a simple light function with two panning caustics textures on it. Godrays Cylinders with a custom animated god ray material. Fog sheets Using a slightly modified version of the material found in Epic’s “Blueprints” demo scene; I added a function to use custom opacity masks instead of procedural one. Slowly panning noise texture gives the fog movement, and the built-in depth fade node allows it to interact with the scene in interesting ways. Fog was also used to reduce visual clutter in certain areas, such as the background in the far right and left of the final image, where most of the detail is purposely obscured by the deep turquoise mist. Emissive materials I’m using slight emission to make some of the foliage pop, namely the red flowers and underside of ivy leaves to support subsurface scattering. 照明 25_arches_Lighting 照明主要是手工制作的，以实现绘画般的外观。在构建场景时，我不断尝试不同的设置 - 最终我最终主要依靠雾卡来获得最大的控制，这效果很好。 以下是不同组件的细分。 定向光 整个场景都包含在一个盒子里，盒子上的屋顶上有小洞供太阳通过。这给了我很好的明亮区域飞溅，但也降低了Nanites GI的有效性，所以需要补光灯。 补光灯 精心放置的矩形灯可支持 GI 并突出显示中心区域。 焦 散 带有聚光灯的假焦散，具有简单的光功能，上面有两个平移焦散纹理。 戈德雷斯 带有自定义动画神射线材质的圆柱体。 雾板 使用Epic的"蓝图"演示场景中材料的略微修改版本;我添加了一个函数来使用自定义不透明度蒙版而不是过程蒙版。缓慢平移的噪点纹理使雾移动，内置的深度淡入淡出节点允许它以有趣的方式与场景进行交互。 雾还用于减少某些区域的视觉混乱，例如最终图像最右侧和左侧的背景，其中大部分细节被深邃的绿松石雾故意遮挡。 发光材料 我使用轻微的发射来使一些叶子弹出，即红色的花朵和常春藤叶子的下面，以支持地下散射。 Final Thoughts Balancing work and personal projects is an art form of its own, and I definitely overworked myself on some occasions during this. Time to have a little break from art and play some games. Thanks to Games Artist for the opportunity to break down my scene Cheers! 最后的思考 平衡工作和个人项目本身就是一种艺术形式，在此期间，我确实在某些场合过度劳累。是时候从艺术中休息一下，玩一些游戏了。 感谢游戏艺术家有机会分解我的场景 干杯！
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