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本帖最后由 秋令6689 于 2022-5-17 12:03 编辑
Crash Site – Environment Breakdown – Daniel Cormino
坠机现场 – 场景分解 – 丹尼尔·科米诺
GoalsFirst, I wanted to make something that looked really unique and would stand out, it also had to be a big exterior scene in nature with natural light.目标首先，我想制作一些看起来非常独特并且脱颖而出的东西，它还必须是自然光下自然界中的大型外部场景。Second, I wanted to test many separate skills and techniques I learned over the years and combine them into a solid workflow for 4k resolution running in real-time.其次，我想测试我多年来学到的许多单独的技能和技术，并将它们组合成一个可靠的工作流程，以便实时运行4k分辨率。But most importantly, I wanted to push myself to the limit and test how far I could go and what I could achieve, not only art-wise but also in terms of project management.但最重要的是，我想把自己推向极限，测试我能走多远，我能取得什么成就，不仅在艺术方面，而且在项目管理方面。Software软件For the rendering and the materials creation, I used Unreal Engine 5 as it was the natural step forward due to its unprecedented quality and performance. I used 3ds Max for modeling, I relied heavily on the modifier stack to allow myself to go back and tweak the models quickly. I created mesh masks in Substance Painter, to use with Unreal’s layered material workflow.在渲染和材质创建方面，我使用了虚幻引擎5，因为它具有前所未有的质量和性能，这是向前迈出的自然一步。我使用3ds Max进行建模，我非常依赖修饰符堆栈来允许自己快速返回并调整模型。我在Substance Painter中创建了网格蒙版，以用于虚幻的分层材质工作流程。References, Inspiration & Storytelling参考，灵感和讲故事It was difficult at first to find a concept art that I really wanted to do an adaptation of, but as soon as I saw the artwork from Michael Xu, I knew it was that scene I wanted to make. I needed to be sure first though, so I gathered some more images and discussed with peers about them.起初很难找到一个我真正想改编的概念艺术，但是当我看到Michael Xu的作品时，我就知道这就是我想拍的那一幕。不过，我需要先确定，所以我收集了更多的图像，并与同行讨论了它们。I chose this one because it has all the things I was looking for: it is a unique idea, it is an exterior scene, it has great composition and most important, it looked like it would be very fun to recreate.我之所以选择这个，是因为它具有我一直在寻找的所有东西：这是一个独特的想法，它是一个外部场景，它具有出色的构图，最重要的是，它看起来会非常有趣。The idea of someone finding a wrecked plane and building a fort around it is something that really caught me. Or maybe it’s a survivor of the crash?有人找到一架失事的飞机并在它周围建造堡垒的想法真的吸引了我。或者也许是坠机的幸存者？If you have a keen eye for scale, you’ll notice how the plane is much bigger than it would be in real-world, it gives this sense of mystery, and I would hate to change such a beautiful composition.如果你对比例有敏锐的眼光，你会注意到这架飞机比现实世界中的要大得多，它给人一种神秘感，我讨厌改变如此美丽的构图。[Below: Concept Credit, Michael Xu][下图：概念信用，徐旭旭]
Blockout & Modelling封锁与建模I started with a blockout to match proportions and have a good idea of how much work it would take, how the shapes would look, try some camera angles and see how the structure would interact with the terrain.我从一个块状开始，以匹配比例，并很好地了解它需要多少工作，形状的外观，尝试一些相机角度，看看结构如何与地形相互作用。I divided this process into two steps: the first one was a “pre-blockout”, I just got into Unreal and started placing cubes and transforming them to get the overall size correct.我将这个过程分为两个步骤：第一个是“预封锁”，我刚刚进入虚幻引擎，开始放置立方体并对其进行转换，以获得正确的整体大小。When I was satisfied with that, I merged the whole thing and exported it to Max, where I started the actual blockout process. At this moment I wanted to decide what I was going to create and find out how much work it would take.当我对此感到满意时，我合并了整个内容并将其导出到Max，在那里我开始了实际的阻止过程。此时此刻，我想决定我要创造什么，并找出需要多少工作。Sculpting & Hardsurface雕刻和硬表面In some of my previous projects, I’ve been experimenting with different techniques to make models look more realistic, especially constructions, wood, concrete, etc.在我之前的一些项目中，我一直在尝试不同的技术，以使模型看起来更逼真，尤其是建筑，木材，混凝土等。One thing that I took from it is that nothing is straight, there are always bumps or irregular lines and I wanted to explore that, even exaggerate it.我从中得到的一件事是，没有什么是直的，总是有颠簸或不规则的线条，我想探索它，甚至夸大它。This is where Max’s modifier stack came most in handy, I could model the pieces as usual and add irregularity to them in a procedural way on top of everything.这是Max的修饰符堆栈最派上用场的地方，我可以像往常一样对部分进行建模，并在所有内容之上以程序方式为它们添加不规则性。So, I had this wood beam, for example, just a regular cuboid mesh. I would add a noise modifier to it, displacing the vertices, and I just needed to add some edge loops here and there to create very different and interesting shapes.例如，我有一根木梁，只是一个普通的长方体网格。我会添加一个噪声修饰符，替换顶点，我只需要在这里和那里添加一些边缘循环，以创建非常不同和有趣的形状。On top of it, adding a chamfer modifier allowed me to have rounded edges without committing the changes to the geometry while also being able to use face weighted normals and in the end, these bevels are still light.最重要的是，添加倒角修饰符使我能够在不对几何图形进行更改的情况下获得圆角边缘，同时还能够使用面加权法线，最后，这些斜角仍然很轻。UVingUVBefore I began UVing anything, I already had in mind I wanted to have baked mesh masks to separate the layers in my materials, which requires “unique” UVs (they couldn’t overlap and had to be contained within the 0-1 UV space). The problem was that I wanted my material layers to use tiling textures and not having a set specific texel density would make it hard to keep a consistent look.在我开始UV任何东西之前，我已经想到了，我想用烘焙的网状掩模来分离材料中的层，这需要“独特”的UV（它们不能重叠，必须包含在0-1 UV空间内）。问题在于，我希望我的材质图层使用平铺纹理，而没有一组特定的纹素密度会使外观难以保持一致。The first thing that came to my mind was having two sets of UVs, one unique and one tiling; but I quickly gave up on this as it would be much more time-consuming than simply adjusting the texture tiling on each material instance.我想到的第一件事是有两套UV，一套独特的，一套瓷砖。但我很快就放弃了这一点，因为它比简单地调整每个材质实例上的纹理平铺要耗时得多。In the end, I didn’t do anything special with my UVs, just the regular non-overlapping and 0-1 contained for mask baking.最后，我没有对我的UV做任何特别的事情，只是常规的非重叠和0-1包含在面膜烘焙中。Baking烘焙I wanted to make these masks as quickly as possible and export only one file. The reasoning is that if I had to spend too long on it, there would be no time benefit of using this workflow; and the more files I had to use, the less would be the benefit of making the texturing in Unreal.我想尽快制作这些掩码，只导出一个文件。理由是，如果我不得不花太长时间在它上面，那么使用此工作流程将不会有任何时间上的好处。而且我必须使用的文件越多，在虚幻引擎中制作纹理的好处就越少。I avoided setting specific purposes for each channel (such as red for dirt, blue for rust, etc) and instead focused on what that type of surface would need art-directed details, setting the materials on a case-by-case basis.我避免为每个通道设置特定用途（例如红色表示污垢，蓝色表示生锈等），而是专注于这种类型的表面需要艺术指导的细节，并根据具体情况设置材料。The wood materials, for example, most had one channel for the scraped-off edges, one channel for dirt, and one channel for accumulating sand. For those, I used, in the same order, convexity masks, ao + concavity masks, and up vector masks.例如，大多数木材材料都有一个通道用于刮掉的边缘，一个通道用于污垢，一个通道用于积聚沙子。对于这些，我以相同的顺序使用了凸面罩，ao +凹面罩和向上矢量蒙版。But more complex materials, such as the airplane hull, used all the RGBA channels. This one and some other special cases also used a unique normal map, not baked from high poly though, just art directed with some very specific things.但更复杂的材料，如飞机船体，使用了所有RGBA通道。这个和其他一些特殊情况也使用了一个独特的法线贴图，虽然不是从高多边形烘焙而来的，只是用一些非常具体的东西指导的艺术。The hull material used a channel for generic distorted metal, a channel for stains, one for rust, and finally one for bolts and scratches.船体材料使用一个通道用于通用变形金属，一个通道用于污渍，一个通道用于生锈，最后一个用于螺栓和划痕。I combined the baked maps, such as ambient occlusion and curvature, with grunge masks to get some interesting variations and believable looks.我将烘焙的地图（如环境光遮蔽和曲率）与垃圾蒙版相结合，以获得一些有趣的变化和可信的外观。In the end, I used very low resolution for these mesh masks, most were 256×256. Inside Unreal I would combine these with other textures to get more detail up close.最后，我对这些网格遮罩使用了非常低的分辨率，大多数是256×256。在虚幻引擎中，我会将这些纹理与其他纹理相结合，以便近距离获得更多细节。Materials材质I wanted this project to look great in 4k, I needed to have very crisp-looking material and well-defined surfaces, but I didn’t want to simply use large textures.我希望这个项目在4k中看起来很棒，我需要有非常清晰的材质和清晰的表面，但我不想简单地使用大纹理。A few weeks before beginning this project, I played Resident Evil 8 and was completely amazed by their material work, I wanted to make something on that level of detail and did some research inside the game.在开始这个项目的几周前，我玩了《生化危机8》，对他们的材料工作感到非常惊讶，我想在这个细节水平上做一些事情，并在游戏内部做了一些研究。I’m not sure of the specifics but I knew they were using a layered material workflow; I could see texture tiling of the layers and the masks but it was so sophisticated and well executed that it looked magical.我不确定具体细节，但我知道他们使用的是分层的材料工作流程;我可以看到图层和面具的纹理平铺，但它是如此复杂，执行得很好，看起来很神奇。I did a lot of experimentation and in the end, I was very satisfied with the workflow I achieved. Basically, it consists of individual material instances that rely on masks to decide where they appear or not, all combined in one asset in an easy-to-use native interface in Unreal 5.我做了很多实验，最后，我对我实现的工作流程非常满意。基本上，它由单个材质实例组成，这些实例依赖于蒙版来决定它们出现的位置，所有这些实例都组合在虚幻5中易于使用的原生界面中的一个资源中。Let’s get back to my airplane hull material: it starts with a simple shiny metal material layer. This material instance uses tiling textures, and if you pay attention, you can see it repeats and looks weird. So, there’s my brand-new shiny airplane, but its surface looks too pristine as if it has never left the factory.让我们回到我的飞机船体材料：它从一个简单的闪亮金属材料层开始。此材质实例使用平铺纹理，如果您注意，可以看到它重复且看起来很奇怪。所以，有我全新的闪亮飞机，但它的表面看起来太原始了，好像它从未离开过工厂。I add another material instance on top of it, this material is of metal too, but this time it is less shiny and tinted bronze-ish. I want this to appear as stains and not just take the whole surface, so I add a mask. This mask is low-res and looks blurry, so I add a tiling mask on top of this mask and everything looks magically sharp and unique.我在上面添加了另一个材料实例，这种材料也是金属的，但这次它不那么有光泽，有色的青铜色。我希望它看起来像污渍，而不仅仅是整个表面，所以我添加了一个面具。这个面具是低分辨率的，看起来很模糊，所以我在这个面具上加了一个平铺面具，一切看起来都非常清晰和独特。Now my plane looks like it has seen some flights and the metal has got some stains or tarnishes, but it looks like someone just washed it.现在我的飞机看起来好像已经看到了一些飞行，金属有一些污渍或变色，但看起来有人刚刚洗了它。On the hierarchy of surface details now comes the rust. I add a rust layer with some art-directed rust mask and our plane looks old. But still clean.在表面细节的层次结构上，现在出现了锈迹。我添加了一个带有艺术指导的防锈面具的防锈层，我们的飞机看起来很旧。但仍然干净。I’d love to get it dirty by now, but first I want to break the look of the entire surface by having even colors. I add a “color variation” layer, this just blends an image over the whole material, making it more believable.我现在很想把它弄脏，但首先我想通过均匀的颜色来打破整个表面的外观。我添加了一个“颜色变化”层，这只会在整个材料上混合一个图像，使其更加可信。I add a special layer that only affects the normal attribute of the material, I want to have this metal be distorted in some areas.我添加了一个特殊的层，只影响材料的正常属性，我想让这种金属在某些区域变形。Ok, now I’m adding the dirt layer and it makes our plane look like it’s been sitting there for a while and nobody washed it.好吧，现在我添加了污垢层，它使我们的飞机看起来像是坐在那里一段时间了，没有人洗它。Finally, I add the unique normal map on top of all.最后，我首先添加了唯一的法线地图。This workflow allowed me to be able to know instantly the final result in-engine, and though I went back and forth with Painter sometimes to get the right look for the masks, this connection was as fast as it was just one file to reimport.此工作流程使我能够在引擎中立即知道最终结果，尽管我有时会与 Painter 来回切换以获得正确的蒙版外观，但这种连接速度与重新导入的一个文件一样快。I was also able to take one material and use it as a base for another just by changing the mesh mask and creating variations very quickly by just creating an instance and adding more layers.我还能够采用一种材料并将其用作另一种材料的基础，只需更改网格蒙版并通过创建实例并添加更多图层即可快速创建变体。This layered material workflow is not limited to baked mesh masks though, some of them I just used tiling masks to get random details and some I just relied on vertex paint. This helped me to focus my time on what was most important and create materials for less important assets very quickly.不过，这种分层材质工作流程不仅限于烘焙网格蒙版，其中一些我只是使用平铺蒙版来获取随机细节，而另一些我只是依赖于顶点绘画。这有助于我将时间集中在最重要的事情上，并很快为不太重要的资产创建材料。While it might seem cumbersome to set up the master materials to work with this system, it eventually pays off on large projects. It basically consists of three types of assets: the master material, the material layers and the blend assets.虽然设置主材质以使用此系统似乎很麻烦，但它最终会在大型项目上获得回报。它基本上由三种类型的资源组成：主材质、材质层和混合素材。The master material is mostly empty, it just has the setup of how the layers will be read and react to the blend assets. When you create an instance of this master, you’ll be able to add material layers to it, and this instance is what you’ll apply to meshes.主材质大多是空的，它只是设置了如何读取图层并对混合资源做出反应。创建此主控形状的实例时，您将能够向其添加材质图层，而此实例就是您将应用于网格的实例。The material layers are not usual material, they are created in a very specific way and are a different type of asset (you can’t just drop them on a mesh, you need to use an instance of the master material with them inside), but they have all the properties of surfaces like base color and roughness.材质层不是通常的材料，它们是以非常特定的方式创建的，并且是不同类型的资源（您不能只是将它们放在网格上，您需要在内部使用主材质的实例），但它们具有表面的所有属性，例如基色和粗糙度。The blend assets are the assets that generate the masks for the layers, you can just put a texture there and output it as the mask or you can create all sorts of complex behavior, like blending unique masks with tiling masks.混合资源是为图层生成蒙版的资产，您只需将纹理放在那里并将其输出为蒙版，也可以创建各种复杂的行为，例如将独特的蒙版与平铺蒙版混合。Ground, Cliff, Terrain & Foliage地面，悬崖，地形和树叶For the overall landscape of the scene, I used Megascans assets, mostly the ones that shipped with the Valley of the Ancients demo. The best thing about this step of the process was that Nanite allowed me to not have to worry about making the scene too heavy, I used around nine thousand different static mesh actors to build the landscape and it still ran in real-time. There are not many different meshes though, I hid repetition and reuse by rotating and overlapping them a lot.对于场景的整体景观，我使用了Megascans资源，主要是上古之谷演示附带的资产。这个过程的最好之处在于，Nanite让我不必担心场景太重，我使用了大约九千个不同的静态网格体演员来构建景观，并且它仍然实时运行。不过，没有很多不同的网格，我通过旋转和重叠它们来隐藏重复和重用。The foliage is also from Megascans and it fits perfectly with the environment, but I had to be cautious with it as Nanite doesn’t support translucency and also doesn’t like thin meshes.树叶也来自Megascans，它与环境完美契合，但我必须谨慎对待它，因为Nanite不支持半透明性，也不喜欢薄网。I had in my mind that my terrain had to complement the centerpiece of the scene and direct the viewer’s eye to it, but in the end, a lot of people were more impressed with the terrain for its level of details (credits to Quixel and Epic for that).我心里想的是，我的地形必须与场景的核心相辅相成，并将观众的目光引向它，但最终，很多人对地形的细节水平印象更深刻（这要归功于Quixel和Epic）。
Other Software其他软件For the glasses present in the scene, I used the Broken Glass Generator by Yutaka, it works on Substance Player and can generate a wide variety of broken glass textures. I used Pureref to organize my reference images and self-feedback. I also used Photoshop to compare my scene with the concept art and edit some of the tiling textures I used. The Datasmith plugin for 3ds Max was also very important for my workflow, as I saved countless hours from exporting/importing, I just had to save one file and reimport one file on Unreal while keeping local space pivots, transforms and material assignments. I couldn’t imagine tackling such a large scene without this tool. I used the Tether plugin by Sam Bonifacio on Unreal Engine to create all the cables and wires on the scene.对于场景中存在的眼镜，我使用了Yutaka的Broken Glass Generator，它适用于Substance Player，可以生成各种破碎的玻璃纹理。我使用Pureref来组织我的参考图像和自我反馈。我还使用 Photoshop 将我的场景与概念图进行比较，并编辑我使用的一些平铺纹理。3ds Max的Datasmith插件对我的工作流程也非常重要，因为我从导出/导入中节省了无数个小时，我只需要保存一个文件并在虚幻引擎上重新导入一个文件，同时保持本地空间透视，变换和材质分配。我无法想象没有这个工具就能处理这么大的场景。我在虚幻引擎中使用了Sam Bonifacio的Tether插件来创建场景中的所有电缆和电线。Texturing, Substance & Megascans纹理，物质和巨型扫描Most of the textures I used were from Megascans, but some of them I got from Poliigon. Photogrammetry textures are a great starting point, but I like to always edit in one way or another to either make tiling harder to see or to get more information out of it. For example, I almost always edit the roughness textures to get more contrast or to art direct the look I want for that surface. Sometimes I increase or decrease contrast on base color textures too, I think it’s important to have surfaces that look noisy but also some that look cleaner to counterbalance.我使用的大多数纹理都来自Megascans，但其中一些纹理是我从Poliigon获得的。摄影测量纹理是一个很好的起点，但我喜欢总是以这样或那样的方式进行编辑，以使平铺更难看到或从中获取更多信息。例如，我几乎总是编辑粗糙度纹理以获得更多的对比度，或者艺术指导我想要的表面外观。有时我也会增加或减少基色纹理的对比度，我认为重要的是要有看起来嘈杂的表面，但也有一些看起来更干净的表面来平衡。For normal maps, I always try to avoid small details (high frequency) which cause the surface to look too bumpy, relying more on the other textures to differentiate between details, such as a paint splatter. In this scene, I’m not using baked normal for things such as round edges.对于法线贴图，我总是尽量避免小细节（高频），这会导致表面看起来太颠簸，更多地依靠其他纹理来区分细节，例如油漆飞溅。在这个场景中，我没有使用烘焙法线来表示诸如圆边之类的东西。Asset Placement资产放置Right from the start, I knew this project would take a long time to execute and I needed to use Datasmith to avoid having to model everything in place in 3ds Max and then have to reposition everything on Unreal afterward.从一开始，我就知道这个项目需要很长时间才能完成，我需要使用Datasmith来避免在3ds Max中对所有内容进行建模，然后必须在虚幻引擎上重新定位所有内容。All the assets I created myself were only positioned and placed on Max, the instanced ones were instanced in Max and Datasmith kept these instances when imported in Unreal. I would also change the scale of some pieces and this was also kept.我自己创建的所有资源都只是定位并放置在Max上，实例化的资产在Max中实例化，Datasmith在虚幻引擎中导入时保留了这些实例。我也会改变一些作品的规模，这也被保留了下来。The smaller assets that I got from other sources were placed directly in Unreal. I always tried to have a good composition while placing anything. Even though sometimes I didn’t have an asset exactly like what was in the concept art, I tried to replace it with something that would have a similar impact on the scene, in shape and color.我从其他来源获得的较小资源直接放置在虚幻引擎中。我总是试图在放置任何东西时有一个好的构图。尽管有时我没有与概念艺术中完全相同的资产，但我试图用在形状和颜色上对场景产生类似影响的东西来代替它。
Use of outsourced assets使用外包资产A big part of my commercial projects involves using outsourced assets to save time, so I wanted this to be explored on this project too. I needed to find ways to match these assets with custom made pieces.Some were very easy to fit, like photogrammetry assets, because even though the modelling of the scene was custom, the textures were all photogrammetry too. Some assets that had very simple modelling meant for games, gained new life with some texture edits.我的商业项目的很大一部分涉及使用外包资产来节省时间，所以我也想在这个项目中对此进行探索。我需要找到将这些资产与定制作品相匹配的方法。有些非常容易安装，例如摄影测量资源，因为即使场景的建模是自定义的，纹理也都是摄影测量。一些具有非常简单的建模的资产用于游戏，通过一些纹理编辑获得了新的生命。The pickup truck, for example, has a very simple low poly modelling and at first look completely off on the scene, so I used its own textures on my custom material layers to create a completely new look to it, making it more in tune with everything else.例如，皮卡车具有非常简单的低聚乙烯建模，起初看起来完全脱离了场景，因此我在自定义材质图层上使用了自己的纹理来创建全新的外观，使其与其他所有内容更加一致。
Polish & Final Pass抛光+焊接After I had gotten every part of the scene to a “good enough” level, I gathered all my self-feedback and started to categorize it to find out what changes would have the most impact while having the lowest time cost. There were some things I would really love to have redone or edited, but in the end, I had set a time budget for myself and if I went over it, it would mean I would have failed if this was a commercial project. Regardless, I was very happy with the end result and I don’t think it would’ve made this scene any greater if kept working on it.在我把场景的每个部分都提升到“足够好”的水平后，我收集了所有的自我反馈，并开始对其进行分类，以找出哪些变化会产生最大的影响，同时具有最低的时间成本。有些事情我真的很想重做或编辑，但最终，我为自己设定了一个时间预算，如果我仔细检查，这意味着如果这是一个商业项目，我会失败。无论如何，我对最终结果非常满意，我认为如果继续努力，它不会让这个场景变得更大。
Lighting照明Lighting is one of the parts I love most and definitely the one I studied most, so I wanted to make sure this scene would reflect that. I created 4 main variations of lighting for this scene, which then I iterated on. I’ll call these variations: sunny, red moon, pink sunset, and grey cloudy. They’re pretty self-explanatory, so I won’t go into details.照明是我最喜欢的部分之一，绝对是我研究最多的部分，所以我想确保这个场景能够反映这一点。我为这个场景创建了4个主要的照明变体，然后我迭代了这些变体。我称这些变化为：阳光明媚，红月亮，粉红色的日落和灰色的多云。它们非常不言自明，所以我不会详细介绍。I shared these variations and their iterations with peers and got their feedback to improve them. My initial goal was to release the sunny version first, then release the other ones which I had found more interesting over time with different cinematics.我与同行分享了这些变化及其迭代，并获得了他们的反馈以改进它们。我最初的目标是先发布阳光明媚的版本，然后发布其他版本，随着时间的推移，我发现它们会用不同的过场动画更有趣。The sunny version is quite simple, there’s a directional light and a skylight. I didn’t go for physically-based values, I tried to explore a more artistic look, taking into consideration the hues and values of where the sun hits and where only the skylight hits.阳光明媚的版本非常简单，有定向光和天窗。我没有追求基于物理的价值观，我试图探索一种更具艺术性的外观，考虑到太阳照射的地方和只有天窗击中的地方的色调和值。I tested countless positions for the sun before settling on the one that I found would highlight the material features most and cast some interesting shadows. It’s also important to take shadows into account in composition, as they can have a great impact on it, for good or for worse.我测试了无数个太阳位置，然后才找到一个最能突出材料特征并投射出一些有趣阴影的位置。在构图中考虑阴影也很重要，因为它们可以对它产生很大的影响，无论好坏。The pink sunset version is the one I found most interesting, for it, I used a directional light and a skylight as a starting point, then added many spotlights and rect lights to accentuate the features of the environment. I learned many old-school light tricks that gaffers would use in live-action sets while working on virtual production and it sure came in handy for this scene.粉红色的日落版本是我发现最有趣的版本，对于它，我使用定向光和天窗作为起点，然后添加了许多聚光灯和矩形灯来突出环境的特征。我学到了许多老式的灯光技巧，在进行虚拟制作时，gaffers会在真人布景中使用，这对于这个场景来说确实派上了用场。For example, I had the sun in a position where its light wouldn’t touch one of the propellers, but I wanted to have this part lit for a better look, so I just added a spotlight there with the same color as the sun and it worked great. It’s almost impossible for a person to spot that the angles don’t match, only another lighting artist would notice it, with difficulty even.例如，我把太阳放在一个光线不会碰到其中一个螺旋桨的位置，但我想让这个部分被照亮以获得更好的外观，所以我只是在那里添加了一个与太阳颜色相同的聚光灯，它工作得很好。一个人几乎不可能发现角度不匹配，只有另一个灯光师会注意到它，甚至很难。When going for more artistic lighting, I think it’s important to not be caged by logic, it doesn’t really matter if it doesn’t make sense if it looks good.在寻求更具艺术性的照明时，我认为重要的是不要被逻辑所束缚，如果它看起来不错，如果它没有意义并不重要。
Rendering渲染This scene runs in real-time at 1080p on a Rtx 2070s gpu, around 50 frames per second, which is great for video games. I also wanted this scene to work well in 4k for virtual production, but my gpu could only push around 15 frames per second in this resolution, so I had to use the Render Queue to render it offline. It was still incredibly fast though; I could iterate on it and have a new version rendered in 5 minutes.此场景在 Rtx 2070s GPU 上以 1080p 的分辨率实时运行，每秒约 50 帧，这对于视频游戏非常有用。我还希望这个场景在4k中很好地用于虚拟制作，但我的GPU在这个分辨率下只能每秒推送大约15帧，所以我不得不使用渲染队列来离线渲染它。不过，它仍然非常快。我可以迭代它，并在5分钟内渲染一个新版本。For the cinematics I posted, I used a 24fps framerate to give it a movie like feel, Unreal’s great motion blur and depth of field really helped on that.对于我发布的过场动画，我使用了24fps的帧速率来赋予它一种电影般的感觉，虚幻引擎出色的运动模糊和景深确实对此有所帮助。Conclusion结论I couldn’t be happier with the reception this scene has received from the community, it was way greater than what I had imagined and I’m very thankful for it.我对这个场景从社区得到的接待感到非常高兴，它比我想象的要大得多，我对此非常感激。I think what was most important while working on this, was to keep myself organized and to manage time well. There were days I wasn’t motivated at all, but I had separated the most exciting tasks for these specific days, and when I was most motivated, I would work on boring stuff fast so I could get to the cool parts.我认为在做这件事的时候，最重要的是让自己井井有条，好好管理时间。有些日子我根本没有动力，但我已经为这些特定的日子分开了最令人兴奋的任务，当我最有动力的时候，我会快速地处理无聊的事情，这样我就可以进入很酷的部分。Looking back, I think I was mostly managing myself, trying to keep momentum as most as possible to never slow down and never give up. Having all the next steps well defined, not trying to follow a strict timeline and forcing myself to rest even when I wanted to keep working, was very important.回想起来，我认为我主要是在管理自己，尽可能地保持动力，永不放慢脚步，永不放弃。明确定义所有后续步骤，不要试图遵循严格的时间表，即使我想继续工作，也不要强迫自己休息，这非常重要。It’s also worthy of notice that from the very beginning, this project was meant to be a turning point for me, so I took it as an investment. I refused some freelance work to have time to work on it and kept tabs on how much time I was spending on it. If I weren’t taking such risks on this project, I don’t think it would have worked out so well in the end.同样值得注意的是，从一开始，这个项目对我来说就是一个转折点，所以我把它当作一项投资。我拒绝了一些自由职业者的工作，以便有时间去做，并密切关注我花了多少时间。如果我没有在这个项目上冒这样的风险，我不认为它最终会如此顺利。I’m very satisfied with the things I achieved on this project and I’m already looking forward to my next one, which will be 10x bigger!我对我在这个项目上取得的成就非常满意，我已经期待着我的下一个项目，它将大10倍！I’d like to thank all my friends and colleagues that helped me through this process, I couldn’t have done it without you!我要感谢所有帮助我度过这一过程的朋友和同事，没有你们，我不可能做到这一点！
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学习了
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