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本帖最后由 秋令6689 于 2022-5-17 12:10 编辑
Cavalry Sabre – Prop Breakdown – Abdallah 骑兵军刀 – 道具故障 – 阿卜杜拉
Introduction Hi, my name is Abdallah and I work in CG Animation as a Junior Texture/Lookdev Artist. In my free time, I like to create assets that I find interesting and improve my skills. Two years ago I started learning 3D Art at Seneca College where I studied Game Art and Animation. 介绍 嗨，我的名字是Abdallah，我在CG Animation担任初级纹理/ Lookdev艺术家。在我的空闲时间，我喜欢创造我觉得有趣的资产，并提高我的技能。两年前，我开始在塞内卡学院学习3D艺术，在那里我学习了游戏艺术和动画。 References My goal with the ‘Cavalry Sabre’ project was to recreate the feeling someone would get if you were to see the prop in a museum. I wanted to showcase a weapon that had some age to it but was very well taken care of and retained most of its identifying qualities. For my references, I looked at the lighting situations in museum online galleries like the MET and collected references for my prop from auction websites. I find that auction websites tend to have the best images to collect references from because they showcase objects from multiple angles to show off all their unique qualities. 引用 我对“骑兵军刀”项目的目标是重现一种感觉，如果你在博物馆里看到道具，人们会有这种感觉。我想展示一种武器，它已经有些老了，但得到了很好的照顾，并保留了它的大部分识别特性。为了参考，我查看了MET等博物馆在线画廊的照明情况，并从拍卖网站上收集了我的道具的参考资料。我发现拍卖网站往往有最好的图像来收集参考资料，因为它们从多个角度展示了物品，以展示其所有独特的品质。 Modelling The most important stage for me is the blockout, where I completed it inside of 3DS Max. At this stage, I am thinking most about proportions and what I will include in the final model. 造型 对我来说，最重要的阶段是封锁，我在3DS Max中完成了它。在这个阶段，我最关心的是比例以及我将在最终模型中包含的内容。 Sculpting Once I’m happy with the blockout, I export the mesh out to zbrush where I begin to add the bulk of the wear and identifying markings to the prop. 雕刻 一旦我对遮挡感到满意，我就会将网格导出到zbrush，在那里我开始添加大部分磨损并向道具识别标记。
For the Cavalry Sabre, I wanted to add as much of the wear details in ZBrush to push my sculpting skills. 对于骑兵军刀，我想在ZBrush中添加尽可能多的磨损细节，以提升我的雕刻技巧。 Here are some brushes I used: 以下是我使用的一些画笔： FollyClay from Ben De Angelis’ Folligon brushes which you can find . Michael Vicente’s Orb’s brushes which you can find . FollyClay来自Ben De Angelis的Folligoon刷子，你可以在（https://follygon.gumroad.com/l/zQUQb）找到。 In addition to those brush packs (which I can’t recommend enough), I used the Flakes brush to create a lot of the wear on the wooden grip, the Standard Brush, Dam Standard and Trim Dynamic to add chips and cracks to the Sword and Scabbard metal bits. To paint some of the wear and alphas away, I utilized Morph Targets and the morph brush to add and subtract the detail I was sculpting. Once I’m happy with the subdivision level, I store a morph target to revert to in case I am not happy with the result. 除了那些刷子包（我不能推荐足够），我使用Flakes刷子在木制手柄上创造了很多磨损，标准刷子，Dam Standard和Trim Dynamic为剑和剑鞘金属位添加了碎片和裂缝。为了画掉一些磨损和阿尔法，我使用变形目标和变形画笔来添加和减少我正在雕刻的细节。一旦我对细分级别感到满意，我就会存储一个变形目标，以防我对结果不满意。 When using my alphas for the identifying marks and text, I made sure to set my mid value correctly in the Alpha toolbar, in my case since the alpha’s background was pure white I set it to 100. And I set the focal shift to -100 in the brush settings to avoid distortion. 当使用我的 alpha 来识别标记和文本时，我确保在 Alpha 工具栏中正确设置了我的中间值，在我的情况下，由于 alpha 的背景是纯白色，所以我将其设置为 100。我在画笔设置中将焦距偏移设置为-100，以避免失真。 Baking I used Substance Painter to bake out my maps. I bake 4k maps with ‘Bake by mesh name’ enabled. For ‘bake by mesh name’ to work, make sure you have the correct naming for all your meshes. In my case, it was _Low and _High. 烘 我使用Substance Painter来烘烤我的地图。我烘焙启用了“按网格名称烘焙”的 4k 地图。要使“按网格名称烘焙”起作用，请确保所有网格都有正确的命名。就我而言，这是_Low和_High。 Texturing When texturing the Cavalry Sabre, I begin by setting up folders and base materials for both of my texture sets. Each subfolder is broken down again based on what they modify. 纹理 在制作骑兵军刀纹理时，我首先为我的两个纹理集设置文件夹和基础材质。每个子文件夹都会根据它们修改的内容再次细分。 One of the most important things for me when texturing metal is building a believable and interesting diffuse. I tried to do this by slowly building up fill layers masked with grunge and smart masks. Each layer introduces a slight color change, each set to overlay so I don’t affect the values of the base metal layer too much. To break up the procedural grunges, I hand paint elements out using paint layers. I repeat this process for the roughness and metallic layers as well. 对我来说，纹理金属最重要的事情之一就是构建一个可信且有趣的漫射。我试图通过慢慢建立用垃圾和智能面具遮盖的填充层来做到这一点。每层都会引入轻微的颜色变化，每个图层都设置为叠加，因此我不会过多地影响基本金属层的值。为了打破程序垃圾，我使用油漆层手绘元素。我对粗糙度和金属层也重复这个过程。 To create the ‘brush metal’ look, I added some anisotropic noise from substance painter, following an excellent tutorial on Artstation learning by Jason Ord, “”. 为了创造“刷金属”的外观，我添加了一些来自物质画家的各向异性噪音，遵循Jason Ord关于Artstation学习的优秀教程“https://www.artstation.com/learn ... r-texturing-further”。 I increased the scale and the tiling and adjusted the rotation to fit my reference. I masked out each part that had the brushed metal look to them because they needed different values and rotations to match my references. 我增加了比例和平铺，并调整了旋转以适合我的参考。我屏蔽了每个具有拉丝金属外观的部分，因为它们需要不同的值和旋转来匹配我的参考。 Megascans When building my rust layers, I tried to think about where rust or damage would build up in real life and try my best to emulate it. I wanted to have a realistic rust texture that I could use as a base and build on, and I was lucky enough to find one that fit my needs on Quixel Megascans: “Rusty Gas Tank Metal”. 巨型扫描 在构建我的锈层时，我试图思考生锈或损坏在现实生活中会在哪里积聚，并尽力模仿它。我想要一个逼真的锈迹纹理，可以用作基础和构建，我很幸运地找到了一个适合我在Quixel Megascans上的需求：“Rusty Gas Tank Metal”。 Unreal Engine Once I am happy with my texturing, I export my files into Unreal Engine 5 and begin setting up my scene. To create a scene with a uniform backdrop, I Inserted a sphere into my scene and scaled it up so it was several times larger than my mesh. 虚幻引擎 一旦我对纹理感到满意，我就会将文件导出到虚幻引擎5中，并开始设置我的场景。为了创建具有统一背景的场景，我在场景中插入了一个球体并将其放大，使其比我的网格大几倍。 To create the effect of a uniform colored background, I built this simple material inside of Unreal, set to two-sided and unlit, so that the background stays the same. 为了创建统一彩色背景的效果，我在虚幻引擎中构建了这个简单的材质，设置为双面和不发光，以便背景保持不变。 Afterward, I input some console commands that will enhance my depth of field quality, render quality and sharpen my images. Depth of field console command: r.TemporalAA.Upsampling. : 之后，我输入一些控制台命令，这些命令将增强我的景深质量，渲染质量并锐化我的图像。（https://www.youtube.com/watch?v=osHpBZ47ZfU）景深控制台命令：r.TemporalAA.Upsampling。： Image Sharpening: r.Tonemapper.Sharpen (you can change this further based on your needs, I used 0.75) so in my case (r.Tonemapper.Sharpen 0.75) 图像锐化：r.Tonemapper.Sharpen（您可以根据需要进一步更改，我使用了0.75），因此在我的情况下（r.Tonemapper.Sharpen 0.75） For lighting, I like to switch the lights depending on my shot and what I’m trying to highlight in the composition. I use a key light, two or three fill lights, a light from the bottom and top and some point lights depending on the shot to call out some smaller details. 对于照明，我喜欢根据我的镜头和我试图在构图中突出显示的内容来切换灯光。我使用一个主光源，两个或三个补光灯，一个来自底部和顶部的光源，以及一些根据镜头的点光来调用一些较小的细节。 I animated the scabbard and sword moving inside of Unreal, I like to switch the frames to linear to make sure the animation doesn’t speed up/slow down so I can edit the timing later inside of After Effects. 我在虚幻引擎中对剑鞘和剑的移动进行了动画处理，我喜欢将帧切换为线性，以确保动画不会加速/减慢，这样我就可以在稍后的After Effects中编辑计时。 I used Unreal Engine’s Movie Render Queue to render my animations. I override Anti-Aliasing and use Temporal Sample count 64 to cut down on the noise in my images. 我使用虚幻引擎的电影渲染队列来渲染我的动画。我覆盖了抗锯齿，并使用时间采样计数64来减少图像中的噪点。 Conclusion Huge thanks to Games Artist UK for inviting me to write this article! And thanks to my friends and the Mentorship Coalition Discord for their feedback and guidance. 结论 非常感谢英国游戏艺术家邀请我写这篇文章！感谢我的朋友和导师联盟不和谐的反馈和指导。
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