您需要 登录 才可以下载或查看，没有账号？注册
x
本帖最后由 秋令6689 于 2022-5-17 12:04 编辑
Low Poly Modelling Low poly modelling. If you did a good job with your mid-poly, the optimization for your low poly should be pretty simple and quick. All small details need to be baked (lines of the pistol grip, small holes, stock rug pattern, screws (depends on the level of detail you want). This is the time to connect all the boolean’s vertex, clean all the support loops, removing unnecessary faces, connecting some parts where the lines between them will be baked, etc… 低多边形建模 低多边形建模。如果您在中多边形方面做得很好，那么对低多边形的优化应该非常简单快捷。所有小细节都需要烘烤（手枪握把的线条，小孔， 库存地毯图案，螺钉（取决于您想要的细节水平）。这是连接所有布尔值顶点，清理所有支撑循环，删除不必要的面，连接它们之间的线将被烘 烤的某些部分等的时间...... It’s important to keep a good silhouette for each part; you need to have a “seamless polygon” shape. You need to think “if someone takes a close look at this piece, will this person see a low polygon silhouette?” It’s okay to add some polys to have a really good-looking shape; you can always reduce the polygon amount somewhere on your model if you’re really out of budget. 重要的是要为每个部分保持良好的轮廓;您需要具有“无缝多边形”形状。你需要思考“如果有人仔细观察这件作品，这个人会看到一个低多边形 的轮廓吗？添加一些多边形以具有真正好看的形状是可以的;如果您真的超出预算，您始终可以减少模型上某处的多边形数量。
I recommend you to check the part above, where I talk about average polycounts. Of course, it’s an “average”. the idea is to stay around it. For example, if the average for a pistol is 10k and you are more around 11,500 or 12k it’s fine. Like I said before, yes, we have more room for polys, but having a good, clean topology is still very important. 我建议您检查上面的部分，我在其中谈论平均多边形计数。当然，这是一个“平均值”。这个想法是留在它周围。例如，如果手枪的平均值为10k ，而您大约在11，500或12k左右，则没问题。 就像我之前说的，是的，我们有更多的多边形空间，但是拥有一个良好，干净的拓扑仍然非常重要。 Unwrapping & Baking 打开包装和烘焙 UVs: Unwrapping UV展开 Unwrapping is a part that A LOT of people hate. I’m quite the opposite, I love it, and I’m not using the word “love” by mistake here, I really enjoying unwrapping! Some rules to remember: 打开包装是很多人讨厌的部分。我恰恰相反，我喜欢它，而且我在这里没有错误地使用“爱”这个词，我真的很喜欢打开包装！ 要记住的一些规则： 1) All hard edges need to be a seam. 2) Don’t forget to put a different smoothing group on each island*. 3) Straighten the maximum islands as much as possible to save some UV space. 4) Optional but helpful: Try to keep the island’s orientation like the viewport (vertical/horizontal). 1）所有硬边都需要有接缝。 2）不要忘记在每个岛屿上放置不同的平滑组*。 3）尽可能拉直最大岛，以节省一些紫外线空间。 4）可选但有用：尝试保持岛屿的方向，如视口（垂直/水平）。 *Even if sometimes you have a good/clean bake without it, it will prevent some possible errors. As written above, each hard edge needs to be a seam, that’s really important. Straight islands are really important too, even if you need to add more seams in your cylinder to achieve that, do it, it will save you UV space and some hairs during texturing. Having some distortion is “ok” too, but it’s unique to each situation, ask yourself if it’s “okay” to have some distortion here based on the camera distance, temperature area. *即使有时你有一个好的/干净的烘焙没有它，它也会防止一些可能的错误。 如上所述，每个硬边都需要有一个接缝，这真的很重要。直岛也非常重要，即使您需要在圆柱体中添加更多的接缝来实现这一点，这样做，它也 会在纹理加工过程中节省紫外线空间和一些毛发。有一些失真也是“好的”，但它对每种情况都是独一无二的，问问自己，根据相机距离，温度 区域在这里有一些失真是否“可以”。 Mirroring is an important part too, if you have some repeating elements, then this is something you should consider. This is connected to the texel density too. The more you’re using mirror islands, the more place you’ll have on your UV space, and you can have some bigger texel on the small pieces. Mirroring big parts (handguard, stock, mag) is useful, but keep in mind that we might see it. For me, using mirroring on big parts is a go only if: 镜像也是一个重要的部分，如果你有一些重复的元素，那么这是你应该考虑的事情。这也与纹素密度有关。你使用镜形岛的次数越多，你在紫外 线空间上的位置就越多，你可以在小块上有一些更大的纹素。镜像大零件（护手，枪托，磁铁）很有用，但请记住，我们可能会看到它。对我来 说，只有在以下情况下，才可以在大零件上使用镜像： • when you are sure that the player will not see the other side of the gun, from close shots at least (games without any customization menu). • If you are sure that you can break the texture enough to not really see it. • if the texture will help and you already know that we will not see it (I think that the last point depends on the artistic direction a lot, for example: A weapon for a stylized game). •当您确定玩家至少从近距离射击（没有任何自定义菜单的游戏）中看不到枪的另一面时。 •如果您确定可以破坏纹理，以至于无法真正看到它。 •如果纹理会有所帮助，并且您已经知道我们不会看到它（我认为最后一点在很大程度上取决于艺术方向，例如：风格化游戏的武器）。 Packing 包装 I’m using blender for all the UVs, even if there are some cool external software for unwrapping, I’m mainly using the default blender stuff with addons: 我正在为所有UV使用blender，即使有一些很酷的外部软件用于解开包装，我主要使用带有插件的默认blender： – Textools – UV Squares – UV Magic – UVPackmaster 2 Some are free, some are paid, but for me, it’s worth the couple bucks so much! It’s important to understand how packing works, and doing some hand-packing will help with that. These tools sav time, for instance, UVPackmaster will always do a better job than you and quicker. You have a lot of settings to match your needs, and if you really can’t get a perfect pack, there are other free addons out there, or you can fix it by hand. 有些是免费的，有些是付费的，但对我来说，这对夫妇值得这么多钱！ 了解包装的工作原理很重要，做一些手工包装会有所帮助。这些工具节省时间，例如，UVPackmaster将始终比您做得更好，更快。你有很多设置 来满足你的需求，如果你真的不能得到一个完美的包，还有其他免费的插件，或者你可以手动修复它。 Texel Density 纹素密度 Personally, it took me some time to really understand this. Now, I’m going to link from Anthony O Donnell, and a huge thanks to him for all the work he did on this, read it, please! I’m not going to explain everything about Texel Density, a lot of people have already talked about it here, so I think you are well aware of it. What I’m going to say is, for guns, you have different “temperature” areas, the closer an area is to the camera, the more details (3D or more texel and/or bigger texture resolution) you will need. 就我个人而言，我花了一些时间才真正理解这一点。现在，我将链接Anthony O Donnell（https://www.antodonnell.com/store/nVn7/texel- density-and-other-bits-of-texture-theory）的指南，并非常感谢他为此所做的所有工作，请阅读它！ 我不打算解释关于特塞尔密度的一切，很多人已经在这里谈论过了，所以我想你很清楚。我要说的是，对于枪支，你有不同的“温度”区域，一 个区域离相机越近，你需要的细节就越多（3D或更多的纹素和/或更大的纹理分辨率）。 This is a good example of what I’m saying: 这是我所说的一个很好的例子： Blue: Low level of detail. Low Texel. Cyan: Medium / average level of detail. Green: An “in-between” level of detail, usually a small area. Yellow: Big level of detail. Bigger Texel. 蓝色：细节不足。低特塞尔。 青色：中等/平均细节水平。 绿色：“介于两者之间”的细节级别，通常为小区域。 黄色：细节丰富。更大的特塞尔。 Something else about having a bigger texel density, attachments will have a separate material if you have a customization system in the game (scopes, grips, suppressors, etc…). Of course, it adds more materials/draw calls on it, so you need to give it more thought. But for example, Modern Warfare 2019 has some pretty crazy texture sets (Body, Body2, Stock, Mag, Grip, Bipod, Sights, Scope, Barrel, Muzzle etc). 关于具有更大纹素密度的其他事情，如果您在游戏中有自定义系统（示波器，握把，抑制器等），附件将具有单独的材料。当然，它增加了更多 的材料/绘制调用，所以你需要更多的思考。但是例如，Modern Warfare 2019有一些非常疯狂的纹理集（Body，Body2，Stock，Mag，Grip， Bipod，Sights，Scope，Barrel，Muzzle等）。 Bakes: For the bakes, I’m using Marmoset Toolbag. For me, this is the best baker out there right now. It’s simple, quick, intuitive, you have good control over the settings whether it is for the bake itself or for each map you also have a simple access to skew correction. I’m mostly using exploded models for my bakes. I’ve never taken the step to use the “bake by names” tool, I should give it a try! It’s okay if your bakes are not perfect. By that, I mean you can keep some small errors. For example, some really small things can be a pain to fix, so: 烤： 对于烘焙，我使用Marmoset Toolbag。对我来说，这是目前最好的面包师。它简单，快速，直观，您可以很好地控制设置，无论是烘焙本身还是 每个地图，您都可以简单地访问歪斜校正。 我主要使用分解模型进行烘焙。我从来没有采取过使用“按名称烘焙”工具的步骤，我应该试一试！ 如果你的烘焙不完美也没关系。我的意思是你可以保留一些小错误。例如，一些非常小的事情可能会很痛苦，所以： n if it’s in an area that the camera will not see. n Or if it’s far from the camera. n Or if it’s a really small thing and it disappears with the texture. n 如果它位于相机看不到的区域。 n或者如果它远离相机。 n或者，如果它是一个非常小的东西，它会随着纹理而消失。 You can “keep” the small artifact(s). A lot of those will disappear with a texture, if not then you need to fix it. That’s why it’s good, during your bake tests to put a quick texture on your model to see how it looks. I’m mainly talking about small artifacts here of course. If you have some big normal shading errors, you need to fix them in your DCC. Be careful about the OpenGL & DIRECTX normal map! 您可以“保留”小工件。其中很多会随着纹理而消失，如果没有，那么您需要修复它。这就是为什么在烘焙测试期间，在模型上放置一个快速纹 理以查看其外观的原因。当然，我在这里主要说的是小文物。如果您有一些大的正常着色错误，则需要在DCC中修复它们。 小心OpenGL和DIRECTX法线地图！ For example, by default Toolbag will bake in OpenGL and substance painter uses DirectX by default. You have, in toolbag the possibility to directly “invert” the normal map when it’s baked (in the normal map bake settings). 例如，默认情况下，Toolbag 将在 OpenGL 中烘焙，而 substance painter 默认使用 DirectX。在工具包中，您可以在法线贴图烘焙时直接“反 转”它（在法线贴图烘焙设置中）。 Texturing This part is for me the most important one. Like lights in the render pass, a good texture can enlighten a bad model, and a bad texture can kill a good model. Texturing is when you give life to your model, it’s when you tell the story of it. I approach each part of the gun as a “main” part. Here comes all the “firearm knowledge” I talked about earlier. 纹理 这部分对我来说是最重要的一部分。就像渲染通道中的灯光一样，好的纹理会启发糟糕的模型，而糟糕的纹理会杀死好的模型。纹理是当你给你 的模型赋予生命的时候，就是当你讲述它的故事的时候。我把枪的每个部分都当作“主要”部分。以下是我之前谈到的所有“枪支知识”。 For me, a good firearm and PBR knowledge combined will help you to reach that “godly level”, by adding the last 10% of extra details. Just for the people out there, who like me before, don’t understand when I say “PBR knowledge”. 对我来说，一个好的枪支和PBR知识结合起来，通过添加最后10%的额外细节，可以帮助你达到“敬虔的水平”。 只是为了那些像我一样的人，当我说“PBR知识”时，他们不明白。 I often translate it as “real-life materials knowledge”. You need to understand how materials work, how an object is created, how the “layers” are applied in real life. 我经常把它翻译成“现实生活中的材料知识”。您需要了解材质的工作原理，对象的创建方式，“图层”在现实生活中的应用方式。 A good example: During the texturing of the MP5A3, I shared some progress on The Dinusty Empire discord to get some feedback. And Jeremy Estrellado told me that it was looking great BUT it wasn’t quite realistic enough and that I needed to learn PBR/Materials a bit more. 一个很好的例子：在MP5A3的纹理制作过程中，我分享了《恐龙帝国不和谐》的一些进展，以获得一些反馈。Jeremy Estrellado告诉我，它看起 来很棒，但它不够现实，我需要学习更多PBR / Materials。 This is at this moment that I started to watch some firearms creation videos, and it helped a lot. I watched all the steps of an AR-15 creation, from the metal bars to the last product look. That knowledge helped me to reach that last 10%, it also helped me to understand how gunmetal is made in real life. 就在这时，我开始观看一些枪支创作视频，这对我帮助很大。我观看了AR-15创作的所有步骤，从金属条到最后的产品外观。这些知识帮助我达到 了最后的10%，它也帮助我了解了青铜在现实生活中的制造方式。 I’m not saying you need to watch hundreds of videos for every weapon you want to make. Those videos I watched; I can apply this knowledge to every modern weapon, and/or just create some perfect smart materials to help me to get a really good base for the next project. 我并不是说你需要为你想要制作的每种武器观看数百个视频。我看过的那些视频;我可以将这些知识应用于每一种现代武器，和/或只是创建一些 完美的智能材料，以帮助我为下一个项目获得一个非常好的基础。 How do I work when texturing? 纹理制作时如何工作？ I’m not using any scanned textures as a base for my weapons, I have never tried it so far, I still need to test it. I prefer to stick to the basic usage of Substance Painter and all the tools it offers. A good idea about how I approach my texturing: 我没有使用任何扫描的纹理作为我的武器的基础，到目前为止我从未尝试过，我仍然需要测试它。我更喜欢坚持物质画家的基本用法及其提供的 所有工具。关于我如何处理我的纹理的一个好主意： 1) I try to always start with the normal details I need to add. 2) I’m adding some basic materials/smart materials. 3) I do a quick pass on the colour, just to match my ref quickly. 4) Then, I work on the roughness for each material.* 5) During the same time, I start to work on the damage/wear part.** 6) When I start to have a good overall look, I will start posting on some discord to get some feedback -> Really important part! 7) Then I apply all the feedback, I repeat the process of roughness improvements -> damages -> colour variations -> feedbacks – until I’m really happy with the result. 1）我尝试总是从我需要添加的正常细节开始。 2）我正在添加一些基本材料/智能材料。 3）我对颜色进行快速传递，只是为了快速匹配我的参考。 4）然后，我研究每种材料的粗糙度.* 5）在同一时间，我开始研究损坏/磨损部分.** 6）当我开始有一个良好的整体外观时，我会开始发布一些不和谐以获得一些反馈 - >非常重要的部分！ 7）然后我应用所有的反馈，我重复粗糙度改进的过程 - >损坏 - >颜色变化 - >反馈 - 直到我对结果真正满意。 *The roughness is the most important part when you’re working on a PBR model. You need to have a great variation between materials, or the model will look flat and unrealistic. **This is where firearms knowledge enters the game, I will try to imagine who will use this gun, in what environment, how old it is, what surfaces it’s touched. And convert all this info into values (discoloration/roughness variation around the hand’s positions and moving parts, dirt and grease, damage in the right areas, maybe some custom marks, etc). *粗糙度是处理PBR模型时最重要的部分。您需要在材料之间有很大的差异，否则模型看起来会平坦且不切实际。 **这是枪支知识进入游戏的地方，我会试着想象谁会使用这把枪，在什么环境中，它有多老，它被触碰到的表面。并将所有这些信息转换为值（ 手部位置和活动部件周围的变色/粗糙度变化，污垢和油脂，正确区域的损坏，可能是一些自定义标记等）。 Lighting & Rendering I wanted to reach some photo-realistic renders. I’m not a huge fan of dramatic lights anymore, for weapons at least, almost all weapons look the same on Artstation. I tried something new with the background I built. It’s basically a 3/4 points lights set up, add to that, the ceiling lights of the room. 照明和渲染 我想达到一些照片级的逼真渲染效果。我不再是戏剧性灯光的忠实粉丝了，至少对于武器来说，几乎所有的武器在Artstation上看起来都是一样 的。我用我建立的背景尝试了一些新的东西。 它基本上是一个3/4点灯设置，除此之外，房间的天花板灯。 Nothing crazy here, just enough lights to show the roughness and colour variations. And having that beautiful look at the end. Lumen helped a lot with that for sure. Even if, for me, the final renders missed some AO due to Lumen/UE5, it still reaches the initial goal. 这里没有什么疯狂的，只是足够的灯光来显示粗糙度和颜色变化。最后有那个美丽的外观。流明肯定对此有很大帮助。即使对我来说，由于 Lumen/UE5，最终渲染错过了一些AO，它仍然达到了最初的目标。 Feedback Gathering feedback is the most important thing you should do. I know it’s scary at first, but you’re not alone here and it’s not good to work, head down on a project for a long period of time without getting any feedback. Join a discord (Dinusty Empire, Experience Points, Polycount, Artstation message) or a forum, anywhere you can contact some artists, asking for feedback, keep it cool and polite, these people have a life and can’t reply to everyone, don’t expect anything after an hour of contacting them. Nobody said you should do this alone, so go out there and find people who will push you to the top! 反馈 收集反馈是你应该做的最重要的事情。我知道一开始这很可怕，但你并不孤单，工作也不好，长时间在一个项目上没有得到任何反馈。加入不和 谐（Dinusty Empire，Experience Points，Polycount，Artstation消息）或论坛，任何地方你可以联系一些艺术家，寻求反馈，保持冷静和礼 貌，这些人有生活，不能回复每个人，不要指望在一个小时后与他们联系。没有人说你应该独自做这件事，所以去那里找那些会把你推向顶峰的 人！ Final words Thank you for reading this; It was a really great project to work on. I’ve never worked so long on guns and it was a blast, I ’ve discovered new and interesting ways to work, I’ve learned a lot about texturing, and already have some really cool ideas for some personal projects. It will be educationally oriented, to help people with weapons creation and hard surface in general. I can’t wait to share this with you! 结语 感谢您阅读本文;这是一个非常棒的项目。我从来没有在枪支上工作过这么长时间，这是一个爆炸，我发现了新的和有趣的工作方式，我学到了很 多关于纹理的知识，并且已经为一些个人项目提供了一些非常酷的想法。它将以教育为导向，帮助人们制造武器和一般的硬表面。我迫不及待地 想与您分享！
| 
显示全部 8
