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Crypt of The Raven King – Environment Breakdown – Jared Lewin 吸血鬼王宫-乌鸦王的地穴 – 环境崩溃 – 贾里德·勒温
Inspiration So for this environment, a big inspiration for me was older horror movies that centered around gothic themes. I’ve always loved the art from movies like Dracula and wanted to make a piece that captured that feeling in time for Halloween. After I knew the mood I was going for I started to collect references I thought helped reflect the mood and construction of everything I was going to need. This included everything from the largest architectural motifs to the types of drips that would come off of melted candles. Reference is extremely important. 灵感 因此，对于这种环境，对我来说，一个很大的灵感来自以哥特式为主题的老式恐怖电影。我一直很喜欢《德古拉》等电影中的艺术，并想在万圣节前制作一件能及时捕捉到这种感觉的作品。在我知道我想要的心情之后，我开始收集我认为有助于反映我需要的一切的情绪和构建的参考资料。这包括从最大的建筑图案到融化的蜡烛上滴落的类型的所有内容。 参考是极其重要的。 Many times real life has designs that are better than what you might come up with so don’t be afraid to mix and match made-up designs with things from observation. Look at the image below. There is a piece of reference where red cushions are sitting on top of white stone. 很多时候，现实生活中的设计比你想象的要好，所以不要害怕将虚构的设计与观察的东西混合搭配。请看下图。有一块参考，红色垫子坐在白色石头的顶部。 The contrast of colors is beautiful and in my mind gives a very good gothic feeling. I used that image of red on white stone to come up with how I used my blood decals. The blood on the stone is extremely useful to create visual interest and help draw the eye towards the focal point. And it’s all because of that specific reference that I thought of that. Another good example of reference that I relied on was the candle-lit rooms on the second reference board attached below. I based my lighting very heavily on this and always used these images to check my scene so that I knew the lighting was natural enough. 颜色的对比很美，在我看来给人一种非常好的哥特式感觉。我用白色石头上的红色图像来想出我如何使用我的血迹。石头上的血液对于创造视觉兴趣并有助于将眼睛吸引到焦点上非常有用。而这一切都是因为这个特定的参考，我想到了这一点。我所依赖的另一个很好的例子是下面附的第二个参考板上的烛光房间。我的照明很大程度上基于此，并且总是使用这些图像来检查我的场景，以便我知道照明足够自然。 Here are what some of my reference boards look like. These are actually small compared to how large they can get. 以下是我的一些参考板的样子。与它们可以达到的大小相比，这些实际上很小。 Blockout For blockout I start extremely simple. This is the blockout that I started with for this environment. 封锁 对于封锁，我从非常简单开始。这是我开始为这个环境设置的屏蔽。 The main idea with this blockout was to get a good focal point and then give the main architecture its shape. The final part that helps during the blockout phase is finding the lighting. With the lighting, the mood is set and I know what kind of light sources I will need. If I could give one big trick to a good blockout it’s that you should really see your finished scene’s design at this point already. You shouldn’t move out of the blockout stage until you are happy with your blockout design. Having the design of your blockout be strong is one of the most important parts of the process. This isn’t to say that changes don’t happen down the line but generally they should be small and help push the big picture forwards. The big picture itself shouldn’t change too much. 这个封锁的主要思想是获得一个好的焦点，然后给主架构一个形状。在遮挡阶段提供帮助的最后一部分是找到照明。 有了照明，情绪就定下来了，我知道我需要什么样的光源。如果我能给一个好的遮挡提供一个大技巧，那就是你应该在这一点上真正看到你完成的场景的设计。在你对遮挡设计感到满意之前，你不应该离开遮挡阶段。让砌块的设计变得强大是该过程中最重要的部分之一。这并不是说变化不会在未来发生，但一般来说，它们应该是很小的，并有助于推动大局向前发展。大局本身不应该改变太多。 Modelling The next big step is to start modeling. I usually work big to small, so I tackle the architecture and the hero prop first and then move onto the smaller set dressing. So to give a basic outline for this scene the list went like this. 造型 下一个重要步骤是开始建模。我通常从大到小，所以我先处理建筑和英雄道具，然后转向较小的布景敷料。因此，为了给出这个场景的基本轮廓，列表是这样的。 A. Coffin B. Columns C. Trimsheet D. Altar E. Candles F. Steps G. Debris A. 棺材 B. 列 C. 装饰板 D. 祭坛 E. 蜡烛 F. 步骤 G. 碎片 This is the basic list, there are some small things here and there but basically, this is the main process. Any model I make starts in blockout form so I can see how it will work in the engine. All of these models are then taken in their blockout form straight into Zbrush and to final modeling. One tip I recommend is to check your sculpts against each other. You really want to make sure they are consistent in style and execution. The more consistency you have the better the whole scene will look. Here are some examples of sculpts. 这是基本列表，这里和那里有一些小事情，但基本上，这是主要过程。我制作的任何模型都以阻塞形式启动，因此我可以看到它在引擎中的工作方式。然后，所有这些模型都以阻塞形式直接进入Zbrush并最终建模。我建议的一个技巧是检查你的雕塑。您真的想确保它们在风格和执行上保持一致。一致性越强，整个场景看起来就越好。以下是一些雕塑的例子。 UVing Every model was taken into Maya for retopology and then UV’ed in Maya as well. Once the UVing is done I take all of the low poly into Substance Painter and start baking. This process is organic. If I see that some of the UV’s could be better I will redo them and rebake. I like to get this part right on the front end so that I know they’re perfect by the time they get in the engine. 设备 每个模型都被纳入Maya进行重新拓扑，然后在Maya中进行UV化。一旦UVing完成，我把所有的低聚乙烯放入Substance Painter并开始烘焙。这个过程是有机的。如果我看到一些紫外线可以更好，我会重做它们并重新烘烤。我喜欢在前端正确放置这个部件，这样我就知道它们在进入引擎时是完美的。 No real tricks here just make sure your UV’s are good. 这里没有真正的技巧，只是确保你的紫外线是好的。 Materials For materials, I use base materials I make in Substance Designer and bring them into Substance Painter to texture my baked objects. These Substance Designer materials are usually pretty simple and are meant to be combined with other materials. So for example a setup might be a simple blend of Stone and Grout. After that edgewear and dirt are layered on top using baked maps. The last ten percent of the texture is hand-painted drips and leaks and small details. One big tip I’ll share for this is to make sure you check your textures in a neutral environment and not in the final scene. A good texture should work in any scene so don’t tweak to very specific views or lighting. These are some examples. 材料 对于材料，我使用我在物质设计器中制作的基础材料，并将它们带入物质画家来纹理我的烘焙对象。这些物质设计器材料通常非常简单，旨在与其他材料结合使用。例如，设置可能是Stone和Grout的简单混合。之后，边缘磨损和污垢使用烘焙地图在顶部分层。最后百分之十的纹理是手绘的滴水和泄漏以及小细节。为此，我将分享的一个重要提示是确保在中性环境中检查纹理，而不是在最终场景中检查纹理。良好的纹理应该适用于任何场景，因此不要调整到非常具体的视图或照明。这些是一些示例。 Shaders All of the shaders have a very basic setup using base maps exported from Substance Painter with some unique functions like tri-planar grunge or color tinting layered on top to add texture variety. There wasn’t really much more to it than that. A good texture should work on its own so if you want to layer more on top make sure the base is very strong. 着色 所有着色器都有一个非常基本的设置，使用从 Substance Painter 导出的底图，具有一些独特的功能，如三平面垃圾乐或颜色着色层，以增加纹理多样性。没有比这更多的东西了。良好的质地应该可以独立使用，因此，如果您想在顶部叠加更多，请确保底座非常坚固。 Final Pass The final pass was where I finished up the lighting and did most of the set dressing. The main goal with this pass was to make the space feel lived in and realistic. I also wanted to really push the mood but make the light sources feel natural. Most of that process included going down this list. 最终通行证 最后一关是我完成灯光并完成大部分布景敷料的地方。这次通行证的主要目标是让空间感觉生活和逼真。我也想真正推动情绪，但让光源感觉自然。该过程的大部分内容包括向下列出此列表。 A. Candles B. Debris C. Decals D. Putting these props together in the environment E. Tweak lighting and VFX A. 蜡烛 B. 碎片 C. 贴花 D. 在环境中 将这些道具组合在一起 E. 调整照明和视觉特效 A tip I recommend is to find tutorials that help you create the best version of certain universal props. Candles, debris, fog, etc. Once you’ve made these, save them and re-use them in all of your environments where you can! I’ve made my fog over time and each time I re-use it and tweak it gets better. Getting these small details in is super important. A small amount of fog can make a space feel full and a flickering candle can make everything look like it has a history so it’s important not to forget these elements. All put together the elements look like this. 我建议的一个提示是找到教程，帮助您创建某些通用道具的最佳版本。蜡烛、碎屑、雾等制作完成后，请保存它们，并在所有 环境中尽可能重复使用它们！随着时间的推移，我已经制造了迷雾，每次我重复使用它并调整它都会变得更好。获得这些小细节非常重要。少量的雾可以使空间感觉饱满，闪烁的蜡烛可以使一切看起来都有历史，所以重要的是不要忘记这些元素。所有元素放在一起看起来像这样。 Conclusion Overall if I could give one piece of advice it is to always put the mood and theme first. Everything in this scene is made to push the gothic feeling forwards and that’s why I think it works well. It’s important to understand the technical side but at the end of the day, our main goal as artists is to sell a mood. 结论 总的来说，如果我能给出一个建议，那就是始终把情绪和主题放在第一位。这个场景中的一切都是为了推动哥特式的感觉向前发展，这就是为什么我认为它效果很好。了解技术方面很重要，但归根结底，我们作为艺术家的主要目标是推销一种情绪。
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