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本帖最后由 秋令6689 于 2022-5-17 12:10 编辑
Vintage pistol – Prop Breakdown – Ankur Kaul 复古手枪 – 道具分解 – 安库尔·考尔
Introduction Hi, my name is Ankur Kaul, I’m from India. My Graduate diploma is in Mechanical Engineering, later I did my post-graduation diploma in Game Design. I started working in a small gaming studio based in Chennai (India), then did some freelance work and also started working on building my portfolio. Later, I applied to a reputable outsourcing Game Art studio in India and got selected there. Currently, I am working in an AAA studio as a Senior Game Artist in India. 介绍 嗨，我的名字是Ankur Kaul，我来自印度。我的研究生文凭是机械工程，后来我做了游戏设计研究生文凭。我开始在钦奈（印度）的一家小型游戏工作室工作，然后做了一些自由职业者的工作，并开始建立我的投资组合。后来，我申请了印度一家信誉良好的外包游戏艺术工作室，并在那里被选中。目前，我在印度的一家AAA级工作室担任高级游戏艺术家。 Goal I was going through some old works of mine and found this sawn-off shotgun, made about I think 6 years back, the initial plan was just to fix things and give it the best quality possible, but later I changed the plan and wanted to give it a theme and make it a little more custom. So as shotguns, in general, hit hard like a bull, the theme and name were appropriately named THE BULL. 果阿尔 我正在浏览我的一些旧作品，发现了这把锯掉的霰弹枪，我想大约是6年前制作的，最初的计划只是修复东西并尽可能提高质量，但后来我改变了计划，想给它一个主题，让它更加定制。因此，一般来说，霰弹枪像公牛一样猛烈地撞击，主题和名称被恰当地命名为公牛。 The software used in this project: Maya, Zbrush, Substance Painter and Marmoset Toolbag 4. 该项目中使用的软件： Maya，Zbrush，Substance Painter和Marmoset Toolbag 4。 References/Inspiration Generally, I look for concepts, but for this project, I wanted to go on my own and just try to get as creative as I could, I had a theme in mind, so started collecting ref around it and started putting the Pure Ref file together. I spent a good amount of time collecting references, which makes the job easier for modeling and texturing in later stages. 参考/灵感 一般来说，我寻找概念，但对于这个项目，我想自己去尝试尽可能地发挥创造力，我有一个主题，所以开始围绕它收集ref并开始将Pure Ref文件放在一起。我花了大量时间收集参考资料，这使得后期建模和纹理的工作更加容易。 Blockout/Modelling Since this was my old work, I already had a base, but it had lots of things wrong, so I used it as a proxy and built on top of it, fixing things, generally, in my workflow. I make near Low Poly first and then make HP out of it. 屏蔽/建模 由于这是我的旧工作，我已经有一个基础，但它有很多错误，所以我用它作为代理并构建在其之上，通常在我的工作流程中修复一些东西。我首先制造接近低多边形，然后用它来制造HP。 Sculpting/Topology/Low poly/High poly So as I said above, I go about making LP first if possible, it requires me to make hp first like a ZBrush pass, then, of course, I have to go about the opposite direction, like in this case, the only work I did majorly was the bull sculpt on the handle, remaining I just did a hard edge selection in Maya and added a bevel. 雕刻/拓扑/低多边形/高多边形 因此，正如我上面所说，如果可能的话，我首先要制作LP，这需要我首先像ZBrush通行证一样制作hp，然后，当然，我必须朝着相反的方向前进，就像在这种情况下，我所做的唯一工作主要是手柄上的公牛雕塑，剩下的我只是在Maya中做了一个硬边选择并添加了斜角。 For the Topology of the ZBrush HP, I used ZRemesher and reduced further inside Maya and fixed areas that needed it. 对于ZBrush HP的拓扑结构，我使用了ZRemesher，并进一步减少了Maya内部和需要它的固定区域。 UVing For UVing, I use Maya since it has a good amount of tools and is fast to use. The process is like any old standard workflow, making seams where it will be less visible, even though it matters less these days because of software like Substance Painter, but still, it’s a good practice to follow, I used 4k map for it. 设备 对于UVing，我使用Maya，因为它有大量的工具并且使用速度很快。这个过程就像任何旧的标准工作流程一样，使接缝变得不那么明显，尽管由于像Substance Painter这样的软件，它现在不那么重要了，但是，这仍然是一个很好的做法，我使用了4k贴图。 Baking For baking, I use Marmoset Toolbag, since it’s fast and with adjustable cages and other features it becomes a very powerful tool for baking. Just make sure the naming of the Highpoly and Lowpoly is correct and parts that are going to be animated are separated so no unwanted AO bakes onto them. 烘 对于烘焙，我使用Marmoset Toolbag，因为它速度快，并且具有可调节的笼子和其他功能，因此它成为非常强大的烘焙工具。只要确保高聚和低聚的命名是正确的，并且将要动画的部分被分开，这样就不会有不需要的AO烘烤到它们上面。 Materials/Texturing Now comes the exciting part. Texturing! I import the baked maps into Substance Painter and assign them unique texture slots. Since I already have enough references for the design, like the engraving, I used some premade ornaments from JRO and for the remaining, I just drew them on my own inside Painter, with the use of anchors I was able to get information like AO and edge wear, dirt and dust is also a very really powerful thing to use. 材质/纹理 现在，激动人心的部分来了。纹理化！我将烘焙贴图导入 Substance Painter 中，并为其分配独特的纹理槽。由于我已经有足够的设计参考，如雕刻，我使用了JRO的一些预制装饰品，其余的，我只是在Painter内部自己绘制它们，通过使用锚点，我能够获得AO和边缘磨损，污垢和灰尘等信息，这也是一个非常非常强大的功能。 It was quite fun to reiterate the shapes to see what looks best, it is hit and miss but keep trialing and changing it until you feel it looks good. For the material, I had my other work smart materials, so I used those and adjusted them as per the look I wanted. I have a habit to keep updating my smart material projects, so I don’t have to redo them again. 重申形状以查看最佳外观是很有趣的，它被击中并错过了，但不断尝试和更改它，直到你觉得它看起来不错。对于材料，我有我的其他工作智能材料，所以我使用了这些材料，并根据我想要的外观调整了它们。我有一个习惯，不断更新我的智能材质项目，所以我不必再次重做它们。 Using masks and generators are very powerful, so I get a general look from them and then use manual painting to break up the repeating patterns, this is very important don’t just rely on general Generators, use generators and multiply them with some grunge fill later to break it further and then do some more manual painting if needed to break it up even more. Keep roughness subtle, so on odd angles, it doesn’t look bad, weird or overly exposed, the same goes for colors, keep checking the PBR values. 使用蒙版和生成器非常强大，所以我从它们那里得到一个大致的外观，然后使用手动绘画来打破重复的模式，这是非常重要的，不要仅仅依靠一般的发电机，使用发电机，并用一些垃圾填充来乘以进一步打破它，然后如果需要，可以做一些更多的手动绘画来打破它。保持粗糙度微妙，所以在奇怪的角度上，它看起来不会很糟糕，奇怪或过度曝光，颜色也是如此，请继续检查PBR值。 Try to give your asset some story, add wear, damage, and dust, it will all give a genuine feel to your asset. And do use ACES_UE4_log Color filter, a quick google should tell you about it. 尝试给你的资产一些故事，添加磨损，损坏和灰尘，这一切都会给你的资产带来真实的感觉。并且确实使用ACES_UE4_log颜色过滤器，快速谷歌应该告诉它。 Lighting/Rendering For lighting my go-to software is Marmoset Toolbag 4, with the introduction of real-time Raytracing it has become even more powerful. For the background, I generally use solid Black color. For HDRI I use Tomoco Studio. For the Render setting and camera setting, I have attached an image that would explain this a bit better. For lighting, adding HDRI does a major job, on top of that, I added a bright backdrop spotlight for Rim effect and front and sidelight for additional light with shadows off. 光照/渲染 对于照明，我的首选软件是Marmoset Toolbag 4，随着实时光线追踪的引入，它变得更加强大。对于背景，我通常使用纯黑色。对于HDRI，我使用Tomoco Studio。对于“渲染”设置和“相机”设置，我附加了一个图像，可以更好地解释这一点。对于照明，添加HDRI可以完成一项主要工作，最重要的是，我为Rim效果添加了明亮的背景聚光灯，并为阴影关闭的额外光线添加了前光和侧光。 After, I created duplicate cameras and locked them into various angles so I didn’t have to adjust them again, then I took renders. 之后，我创建了重复的摄像机，并将它们锁定在各种角度，这样我就不必再次调整它们，然后我进行了渲染。 Tip: Do create an awesome thumbnail for your asset, I find this attracts a bigger crowd to your artwork! 提示：为您的资产创建一个很棒的缩略图，我发现这吸引了更多的人群来观看您的艺术品！ Conclusion So the main pointers for this asset were to do things on my own without much or any concept, iterating it to my liking. I wanted to give the asset a royal look with some story, so I was happy with how this came out. 结论 因此，此资产的主要指针是我自己做事，没有太多或任何概念，根据我的喜好进行迭代。我想给资产一个皇室的外观和一些故事，所以我对它是如何出来的感到满意。
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