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本帖最后由 秋令6689 于 2022-5-17 12:11 编辑
Ambient light-JD Havenga
Introduction
My name is JD Havenga and I am a 25-year-old Environment Artist currently living in South Africa.
I have a background as a Mechanical Engineer, with BEng and BEngHons degrees.
I started doing 3D art in August of 2019 with my initial aim being to get into animation, but after teaching myself the basics of modeling and texturing I soon realized that I have found my passion. I had always been an avid gamer but I never really stopped to think about how games were made, so I was pleasantly surprised at how much fun it was to participate in the process.
Further dabbling into 3D art then led me to learn about what it meant to be an “Environment Artist” and it was something that I knew would be a dream job for me, being able to live out my passion for building stuff while also working on awesome games.
Figuring out how to make environments and props for real-time render engines was my next challenge and I then decided to take some time to participate in a few CGMA courses, because I knew that I wanted to sharpen my skill by learning from actual industry professionals. 介绍
我的名字是JD Havenga，我是一名25岁的环境艺术家，目前居住在南非。
我有机械工程师的背景，拥有工学学士和工学学士学位。
我从2019年8月开始做3D艺术，我最初的目标是进入动画领域，但在自学了建模和纹理的基础知识后，我很快意识到我找到了自己的激情。我一直是一个狂热的游戏玩家，但我从来没有真正停下来思考游戏是如何制作的，所以我对参与这个过程的乐趣感到惊喜。
进一步涉足3D艺术，然后让我了解了成为一名"环境艺术家"意味着什么，我知道这对我来说将是一份梦想的工作，能够活出我对构建东西的热情，同时还从事出色的游戏工作。
弄清楚如何为实时渲染引擎制作环境和道具是我的下一个挑战，然后我决定花一些时间参加一些CGMA课程，因为我知道我想通过向实际的行业专业人士学习来提高我的技能。
About the Project
The “” is the 2nd UE4 project that I have challenged myself with and I worked on it during my time taking CGMA’s “UE4 Modular Environments” course, taught by Clinton Crumpler.
The concept that I decided to work with was a piece created by for the game “Sleeping Dogs”, but I knew that I wanted to create something moodier and with a warmer feel.
I had many goals when making this environment, like to get more comfortable with UE4andto improve my prop and material-creation skills, but my main overarching goal was to improve my visual storytelling skills with regards to using my environment to establish a mood, a setting, to indicate a passage of time and to show some of the histories of the environment.
I wanted to create something with a lot of character and history while keeping it a realistic, livable environment for everyday tasks to be performed in.
The color was also particularly important to establish the warm mood of the scene. I ended up going with an almost sickly color palette, with some colors that are quite desaturated and others that can draw the player or viewer’s attention.
I also wanted to improve my time management skills during this project, which is why I decided to make use of a Trello board to organize myself and schedule my tasks. 关于本项目
""是我挑战自己的第二个UE4项目，我在参加CGMA的"UE4模块化环境"课程期间一直在研究它，该课程由Clinton Crumpler教授。
我决定使用的概念是为游戏"Sleep Dogs"创作的一件作品，但我知道我想创造一些更情绪化，更温暖的感觉。 在制作这个环境时，我有很多目标，比如更熟悉UE4，提高我的道具和材质创作技能，但我的主要目标是提高我的视觉叙事技巧，使用我的环境来建立一种情绪，一种设置，表明时间的流逝，并展示一些环境的历史。
我想创造一些具有很多特色和历史的东西，同时保持它一个逼真的，宜居的环境，以便在日常任务中执行。
颜色对于建立场景的温暖情绪也特别重要。我最终选择了一个几乎病态的调色板，有些颜色非常不饱和，而另一些颜色可以吸引玩家或观众的注意力。
我还想在这个项目中提高我的时间管理技能，这就是为什么我决定利用Trello板来组织自己并安排我的任务。
References
Gathering references for the project was a very important and yet fairly simple process. Since the game “Sleeping Dogs” takes place in Hong Kong, I first spent some time gathering references on the location of the environment, just to get a feel for it. I also took some screenshots of the environment in the actual game in order to get a better sense of the scale of the hallway.
Once I had identified some of the assets and materials that I would be creating, I also started to get references for those. I used PureRef to create the multiple reference boards that I ended up adding to throughout the entire length of the project. Sticking to references is crucial since it helps you to create detailed assets that have a lot of character while keeping them believable and authentic.
引用
为该项目收集参考资料是一个非常重要但又相当简单的过程。由于游戏"沉睡的狗"发生在香港，我首先花了一些时间收集有关环境位置的参考资料，只是为了感受一下。我还截取了一些实际游戏中环境的截图，以便更好地了解走廊的规模。 一旦我确定了我将创建的一些资产和材料，我也开始获得这些资产和材料的参考。我使用PureRef创建了多个参考板，最终在整个项目长度中添加了这些参考板。坚持引用至关重要，因为它可以帮助您创建具有很多特征的详细资源，同时保持它们的可信度和真实性。
Blockout
My first step after gathering the needed references was to get started with the blockout. I knew from the start that this was going to be an especially important step since it was during this stage that I had to determine the very basic dimensions or “footprint” of the modular pieces of the kit that I was going to create.
The two golden rules that I kept to when creating my modular meshes was to adhere to the grid since I knew that I was going to use the UE4 grid to snap my pieces together, and to keep in mind where I place the pivots of the meshes that I was creating
I imported the meshes into UE4 (after the initial testing in Maya)in order to experience the scale of the environment from the perspective of the player or viewer and then proceeded to iterate on the created modular meshes in order to solidify the basic sizes of them and the general size of my environment.
This meant that could effectively minimize the number of major changes that needed to be made while I was busy with the more creative aspects of the project, such as detail modeling and texturing.
It is really important to use this stage of a project to lay a good foundation since that will only make things easier further down the road.
封锁
收集所需参考资料后，我的第一步是开始使用屏蔽。我从一开始就知道这将是一个特别重要的步骤，因为在这个阶段，我必须确定我将要创建的套件的模块化部件的基本尺寸或"占地面积"。
在创建模块化网格时，我坚持的两条黄金法则是遵守网格，因为我知道我将使用UE4网格将我的部分卡在一起，并记住我将我正在创建的网格的枢轴放置在何处
我将网格导入到UE4中（在Maya中进行初始测试之后），以便从玩家或观看者的角度体验环境的规模，然后继续迭代创建的模块化网格，以巩固它们的基本大小和我的环境的一般大小。
这意味着这可以有效地最大限度地减少在我忙于项目中更具创造性的方面（例如细节建模和纹理）时需要进行的重大更改的数量。
使用项目的这个阶段打下良好的基础非常重要，因为这只会使事情变得更加容易。
Modeling and UV’s
The modeling tasks for this project were pretty simple. The majority of the assets had most of the modeling done in Maya, with some more intricate and unique details sculpted in ZBrush. Some of the assets, like the couch and the wood sign at the end of the hall, required some more work in ZBrush, but that all added to the fun.
One tip that I can give is to really stick to reference and to use the modeling phase to add authentic details where you can. I’m talking about stuff like missing screws, slight bends/twists in metal pieces and other slight imperfections that can really take your prop to the next level.
Another tip, and one that I probably come from my knowledge as a Mechanical Engineer, is to really think about how an object would be manufactured in real life, and then to add details corresponding to such manufacture, both in the modeling and texturing phase. Things like weld seams and other construction details really go a long way in making an object seem more believable.
The UV unwrapping process was also quite basic for most of the assets, and I optimized the process by combining certain assets with others on the same texture sheet. Another consideration was texel density. I used a texel density of about 6.82 px/cm, which basically means that I used a 2048 texture for every 3 meters of in-game space.
I also used some UV mirroring and butterflying techniques when unwrapping the modular pieces of my environment, in order for them to tile correctly without any visible seam. There is always the issue of the butterflying effect being visible (depending on the texture), but some UV manipulation and vertex painting can take care of that without too much effort. has an awesome tutorial that goes over the UV unwrapping of modular pieces so that they tile properly.
建模和UV 这个项目的建模任务非常简单。大多数资源的大部分建模都是在Maya中完成的，在ZBrush中雕刻了一些更复杂和独特的细节。一些资产，如沙发和大厅尽头的木牌，需要在ZBrush中进行更多的工作，但这一切都增加了乐趣。
我可以给出的一个提示是真正坚持参考，并使用建模阶段在可能的情况下添加真实的细节。我说的是诸如螺丝缺失，金属件的轻微弯曲/扭曲以及其他轻微的缺陷之类的东西，这些都可以真正将您的道具提升到一个新的水平。
另一个技巧，也是我作为机械工程师可能来自的知识，是真正思考如何在现实生活中制造物体，然后在建模和纹理阶段添加与这种制造相对应的细节。像焊缝和其他结构细节这样的东西确实在使物体看起来更可信方面有很长的路要走。
对于大多数资源来说，UV展开过程也非常基本，我通过将某些资源与同一纹理页面上的其他资源组合在一起来优化了该过程。另一个考虑因素是纹素密度。我使用了大约6.82 px / cm的纹素密度，这基本上意味着我对每3米的游戏空间使用了2048纹理。
在打开环境的模块化部件时，我还使用了一些紫外线镜像和蝴蝶技术，以便它们能够正确平铺，而没有任何可见的接缝。蝴蝶效果总是可见的问题（取决于纹理），但是一些UV操作和顶点绘制可以毫不费力地解决这个问题。有一个很棒的教程，它介绍了模块化部件的UV展开，以便它们正确平铺。
Texturing and Material Authoring
All the asset texturing work was done in Substance Painter. Just like with the modeling, I made sure to make use of reference photos.
The interaction between different parts of a mesh, the interaction of the object and the environment and how an object was used by people were all things that I had to take into consideration when texturing the props in order to make sure that the props felt like they belonged in the environment in which I placed them.
I used the basic texturing approach of first giving the prop it’s base layer materials, and then adding other details on top. This could mean slight albedo variations, discoloration and hue shifts, roughness variations like smudges and leakage marks, height variations like dents and scratches, and other effects like edge wear
All the tiling materials I used in this environment were also authored by me in Substance Designer.
I had to take into consideration my usage of the material, which meant that my materials could not have details that would have made the tiling obvious, and the fact that I was going to make heavy use of vertex painting in order to create the grungy look that I was going for. My basic process was thus to create an initial “basic” version of each material and then to create 2 or 3 modified versions.
I then blended these textures in-engine using a vertex blend shader. It should also be mentioned that I iterated on these materials a lot over the course of this project, and I made many changes after the initial pass in order to get the look that I wanted.
I always try to start working on the tiling textures that I will use for a project as early as possible since they usually contribute quite a lot to the overall quality of the scene and starting early makes it possible to keep iterating on the material until you are satisfied with it
I also made use of hybrid textures. These are textures that contain both unique details and tiling parts on the same texture sheet. Careful planning is needed when making use of a hybrid texture sheet since you need to plan out which part of the sheet will contain the tiling trims and which part will contain the unique baked detail from the high-to-low poly process.
I used hybrid texture sheets for the props that were too large to unwrap uniquely but that still required unique details. 纹理和材质创作
所有资源纹理工作都是在 Substance Painter 中完成的。就像建模一样，我确保使用参考照片。
网格不同部分之间的相互作用，物体与环境的相互作用以及人们如何使用物体，这些都是我在制作道具纹理时必须考虑的因素，以确保道具感觉它们属于我放置它们的环境。
我使用了基本的纹理方法，首先给道具提供基础层材料，然后在顶部添加其他细节。这可能意味着轻微的反照率变化，变色和色调偏移，粗糙度变化，如污迹和泄漏痕迹，高度变化，如凹痕和划痕，以及其他影响，如边缘磨损
我在这个环境中使用的所有瓷砖材料也是我在Substance Designer中创作的。
我必须考虑我对材料的使用，这意味着我的材料不能有使瓷砖显而易见的细节，以及我将大量使用顶点绘画以创造我所追求的肮脏外观的事实。因此，我的基本过程是为每个材料创建一个初始的"基本"版本，然后创建2或3个修改版本。
然后，我使用顶点混合着色器在引擎中混合了这些纹理。还应该提到的是，在这个项目的过程中，我对这些材料进行了大量迭代，并且在最初的通过之后进行了许多更改，以获得我想要的外观。
我总是尝试尽早开始处理我将用于项目的平铺纹理，因为它们通常对场景的整体质量有很大贡献，并且尽早开始可以继续迭代材质，直到您对它感到满意为止。
我还使用了混合纹理。这些纹理包含同一纹理页面上的独特细节和拼贴部分。使用混合纹理板材时需要仔细规划，因为您需要规划出板材的哪个部分将包含平铺装饰，哪个部分将包含从高到低多边形工艺的独特烘焙细节。
我为道具使用了混合纹理片，这些道具太大而无法单独展开，但仍然需要独特的细节。
Working inside UE4
One of the techniques that I knew I wanted to teach myself during this project was to use an edge decals sheet in order to show detailed damage without needing to sculpt actual unique damage on multiple meshes. This technique allowed me to sculpt 5 different edge damage trims, and then to use those trims all over my environment, wherever I felt like some edge damage was needed. Leonardo Iezzi has an immensely helpful on how to make use of edge damage decals with includes a section on how to set them up in UE4.
Another trick that I utilized in UE4 was to control the emissive strength of the ceiling lights by using vertex painting.
This meant that I could tweak the emissive per instance of the ceiling light mesh to a degree where I could make select bulbs dimmer. This contributed to the hallway feeling old and somewhat derelict, as some of the ceiling lights would then only have 1 of the 2 bulbs working.
在UE4中工作
我知道我想在这个项目中自学的一个技巧是使用边缘贴花板来显示详细的损坏，而无需在多个网格上雕刻实际的独特损坏。这种技术允许我雕刻5种不同的边缘损伤装饰，然后在我的环境中使用这些装饰，只要我觉得需要一些边缘损伤。Leonardo Iezzi有一个关于如何使用边缘伤害贴花的非常有用的，其中包括一个关于如何在UE4中设置它们的部分。 我在UE4中使用的另一个技巧是通过使用顶点绘画来控制吸顶灯的发射强度。
这意味着我可以调整天花板灯网格的每个实例的发射，使其达到可以使所选灯泡变暗的程度。这导致走廊感觉很旧，有些废弃，因为一些天花板灯只有2个灯泡中的1个在工作。
Lighting
Lighting can be the thing that makes the difference between a good environment and a great environment. The two main things that I tried to achieve with my lighting work this project was to create the desired mood and to use the lighting to aid in the composition by creating focal points that will draw the player/viewers eye.
Images in order:
Early lighting setup
Final lighting setup
I ended up using only rectangle lights and spotlights in the scene, so no skylight.
The fun really started when I was done with placing the rect lights (which utilized IES profiles) in the appropriate positions to simulate the light coming from the ceiling lights because then the objective was to use spotlights to“paint” with the light in such a way that some parts of the environment were highlighted while still having the lighting feel realistic and authentic. As you can see from the screenshots below, it really helped to solidify the mood of the scene.
The final scene with and without spotlights below.
照明
照明可能是区分良好环境和良好环境的东西。在我的光照工作中，我试图实现的两件主要事情是创造所需的情绪，并通过创建吸引玩家/观众眼球的焦点来使用照明来帮助构图。
按顺序排列的图像：
早期照明设置
最终照明设置
我最终在场景中只使用了矩形灯和聚光灯，所以没有天窗。
当我完成将矩形灯（使用IES配置文件）放置在适当的位置以模拟来自天花板灯的光线时，乐趣才真正开始，因为当时的目标是使用聚光灯以这样的方式"绘画"光线，即突出环境的某些部分，同时仍然具有照明感觉逼真和真实。从下面的屏幕截图中可以看出，它确实有助于巩固场景的情绪。
Conclusion
This project was a real blast to work on, and I am happy to say that I learned quite a bit! One tip that I would give to anyone interested in 3D environments, and one that I myself still need to implement more in my process, is to ask for more feedback, not just near the end of a project but through every step of the process. It’s easy to become stuck and to lose motivation because you cannot see a solution to a particular problem but asking other artists for feedback really helps!
结论
这个项目是一个真正的爆炸工作，我很高兴地说我学到了很多东西！我会给任何对3D环境感兴趣的人一个提示，也是我自己仍然需要在我的过程中实现更多的建议，就是要求更多的反馈，不仅仅是在项目结束时，而是在过程的每一步。很容易陷入困境并失去动力，因为你看不到特定问题的解决方案，但向其他艺术家寻求反馈确实会有所帮助！
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