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Introduction
Hello everyone! My name is Geremia! I’m 26 years old and I’m currently studying Game Art in Belgium. I enjoy spending my spare time working on core skills and learning new workflows aiming to become a successful environment artist in the game industry.
介绍
大家好！我的名字是杰瑞米亚！我今年26岁，目前在比利时学习游戏艺术。我喜欢在业余时间研究核心技能和学习新的工作流程，旨在成为游戏行业中一名成功的环境艺术家。
Before starting my journey in Game Art, I was studying for a master’s degree in Translation, Literature, and Culture at UCL, London. During the time I spent in England, I discovered how passionate I am about Literature, in particular the storytelling aspect of it, which I later found out is crucial in Environment Art. While I was writing my dissertation, I started getting myself familiar with the world of 3D. After reviewing several YouTube tutorials and podcasts, I decided to change my career path and dive into this amazing industry. Due to my strong interest in storytelling, I concluded that I should focus on enhancing my skills in Environment and Prop Art.
在开始我的游戏艺术之旅之前，我在伦敦大学学院攻读翻译，文学和文化硕士学位。在英国度过的那段时间里，我发现我对文学的热情，特别是文学的叙事方面，我后来发现这在环境艺术中至关重要。当我写论文时，我开始熟悉3D世界。在查看了几个YouTube教程和播客之后，我决定改变我的职业道路，潜入这个惊人的行业。由于我对讲故事的浓厚兴趣，我得出结论，我应该专注于提高我在环境和道具艺术方面的技能。
Besides learning core skills such as modeling and texturing to achieve AAA results, I also decided to strengthen my composition and lighting skills since they are pivotal aspects of Environment Art. Hence, I decided to build this scene to practice lighting and composition while including vegetation and foliage studies, which I really enjoy.
除了学习建模和纹理等核心技能以达到AAA级效果外，我还决定加强我的构图和照明技能，因为它们是环境艺术的关键方面。因此，我决定构建这个场景来练习照明和构图，同时包括植被和树叶研究，我真的很喜欢。
The Lost in Nature Project
The theme behind Lost in Nature is 'Ruins'. I’ve always wanted to create a scene focusing on vegetation and improve my visual storytelling skills throughout the process.
迷失在自然中项目
《迷失在自然中》的主题是“废墟”。我一直想创造一个专注于植被的场景，并在整个过程中提高我的视觉叙事技巧。
The first step was gathering references. I think this phase is great for brainstorming. While keeping your theme and goal in focus, you can browse through Pinterest, Google Images, and Google Maps to explore and find new sources for inspiration. I tend to gather references from both real life and concept art to explore different moods and ideas. At the same time, it’s important to stay loyal to the real world while attempting to recreate a realistic scene.
第一步是收集参考资料。我认为这个阶段非常适合头脑风暴。在关注主题和目标的同时，您可以浏览Pinterest，Google图片和Google地图，以探索和寻找新的灵感来源。我倾向于从现实生活和概念艺术中收集参考资料，以探索不同的情绪和想法。同时，在尝试重现现实场景的同时，保持对现实世界的忠诚也很重要。
The fundamental tool in this stage is PureRef, which is a great free program to organize all your references and to brainstorm. Another add-on I use is ImageAssistant, which helps to extract images from websites.
这个阶段的基本工具是PureRef，这是一个很棒的免费程序，可以组织所有引用并进行头脑风暴。我使用的另一个附加组件是ImageAssistant，它有助于从网站中提取图像。
My PureRef file was centered around Nordic forests, from the trees to the ground, to understand how foliage builds up in real life to then try to reproduce it in 3D and achieve a realistic look.
我的 PureRef 文件以北欧森林为中心，从树木到地面，以了解树叶在现实生活中是如何形成的，然后尝试以 3D 形式再现它并实现逼真的外观。
The purpose of this scene is to enhance my composition and lighting skills while always keeping in mind that the storytelling element is very important.
这个场景的目的是增强我的构图和照明技巧，同时始终牢记讲故事的元素非常重要。
Specifically, the work behind the lighting on this piece was focused mostly on achieving a certain mood: a utopic daytime forest, where Nature and architecture combine.
具体来说，这件作品的照明背后的工作主要集中在实现某种情绪上：一个乌托邦的白天森林，自然与建筑相结合。
The Blockout
The first thing I did to establish proportions in my scene was to build a quick blockout using basic shapes in Unreal Engine 5, only after the focus point was established. From there, I built everything around my point of interest and created a camera to keep in mind what my final renders will look like. Once the blockout was done, I also did a rough blockout for the lights to have a quick idea of how the scene will be lit.
封锁
为了在场景中建立比例，我做的第一件事就是在虚幻引擎5中使用基本形状构建一个快速遮挡，只有在建立对焦点之后。从那里，我围绕我的兴趣点构建了所有内容，并创建了一个相机来记住我的最终渲染效果。一旦遮挡完成，我还对灯光进行了粗略的遮挡，以便快速了解场景的照明方式。
The Foliage
I use SpeedTree for all my vegetation meshes, I barely scratched the surface with this software, but I really enjoy the workflow and the speed that comes with it. It gives you the power to tweak every single aspect of the mesh you’re creating. I mainly use it procedurally, but it also offers the chance to model and sculpt assets.
树叶
我将SpeedTree用于我所有的植被网格，我几乎没有用这个软件划伤表面，但我真的很喜欢工作流程和它带来的速度。它使您能够调整正在创建的网格的每个方面。我主要在程序上使用它，但它也提供了建模和雕刻资源的机会。
I start with a trunk for any kind of foliage mesh. I use the Absolute Steps mode in the generation menu to create flowers because it has more control over the stems. Then, I tweak parameters to match the model to the references. The major tweaks I did are in the Generation, Spine, and Segments menus. However, when it comes to leaves for trees, I spend time in the Deformation menu to add extra realism.
我从任何一种树叶网格的树干开始。我使用生成菜单中的绝对步长模式来创建花朵，因为它可以更好地控制茎。然后，我调整参数以将模型与引用相匹配。我所做的主要调整是在“生成”，“脊柱”和“分段”菜单中。但是，当涉及到树木的叶子时，我会花时间在“变形”菜单中添加额外的真实感。
Then I added little branch meshes and started tweaking again while keeping the references in mind.
I use the Proportional mode because I can easily control the position of the branches in the generation menu. I experiment with “First” and “Last” in order to move the branches along the stems.
然后，我添加了小的分支网格，并在牢记引用的同时再次开始调整。
我使用比例模式，因为我可以轻松控制生成菜单中分支的位置。我尝试使用“第一个”和“最后一个”，以便沿着茎移动树枝。
The next step is to apply a leaf mesh to the plant and adjust and tweak the main settings in the Generation menu. Finally, I apply extra random features and increase the readability of the mesh in the Deformation menu.
To add materials to the leaves, I use the built-in material editor and add high-quality atlases from Megascans or from Textures.
下一步是将叶网格应用于植物，并在“生成”菜单中调整和调整主要设置。最后，我在“变形”菜单中应用额外的随机特征并增加网格的可读性。
为了向叶子添加材质，我使用内置的材质编辑器，并从Megascans或Textures添加高质量的地图集。
Once the model is done, I always like to implement forces to add a further touch of realism to the model, apply a wind modifier, tweak the intensity to my liking, and finally export all the information into Unreal Engine. By doing so, I save time setting up wind forces in UE, considering how quick the process is inside SpeedTree.
One advantage of using SpeedTree is that when exporting everything in Unreal Engine, it automatically generates the materials, which come with vertex color information. That allows to paint in extra details.
模型完成后，我总是喜欢实现力来为模型添加更多的真实感，应用风力修饰符，根据自己的喜好调整强度，最后将所有信息导出到虚幻引擎中。通过这样做，我节省了在UE中设置风力的时间，考虑到SpeedTree中的过程有多快。
使用SpeedTree的一个优点是，在虚幻引擎中导出所有内容时，它会自动生成带有顶点颜色信息的材质。这允许绘制额外的细节。
To summarize, these are the menus where I spend most of my time.
总而言之，这些是我花费大部分时间的菜单。
In the Generation menu, you can decide how many stems/trunks/grass blades you want for the model and adjust rotation, the distance between the different flower plants, or the distance between the flower’s stems. In the Spine and Segments menus, you can apply the mean tweaks. Furthermore, for the leaf meshes, I spend extra time in the Deformation menu, to rotate, fold, scale, curl, and twist them.
To demonstrate the power of SpeedTree, I made a couple of quick videos to showcase how fast one can achieve a decent blockout to iterate on.
在“生成”菜单中，您可以决定模型所需的茎/树干/草叶数量，并调整旋转、不同花卉植物之间的距离或花茎之间的距离。在“书脊”和“区段”菜单中，您可以应用均值调整。此外，对于叶网格，我花了额外的时间在变形菜单中，旋转，折叠，缩放，卷曲和扭曲它们。
为了展示SpeedTree的强大功能，我制作了几个快速视频，以展示一个人如何快速实现一个体面的阻止来迭代。
Once I’ve exported everything from SpeedTree and gathered extra pieces of foliage and trees from Megascans, I started to build up the vegetation in the scene. To blockout the biggest part, I used the UE foliage tool. That allowed me to place different meshes at the same time while adjusting several settings to achieve the desired result. Mainly, I tweaked the size of the meshes, giving each one a different scale range, to get a naturally random variation. Moreover, another important thing that I did was to give them random spacing to increase the realism. Furthermore, I subtly tweaked the albedo of the meshes to enhance variation while keeping in mind the references.
一旦我从SpeedTree导出所有内容，并从Megascans收集了额外的树叶和树木，我就开始在场景中建立植被。为了屏蔽最大的部分，我使用了UE树叶工具。这允许我同时放置不同的网格，同时调整多个设置以达到所需的结果。主要是，我调整了网格的大小，给每个网格一个不同的比例范围，以获得自然的随机变化。此外，我做的另一件重要的事情是给他们随机间距，以增加真实感。此外，我巧妙地调整了网格的反照率，以增强变化，同时牢记引用。
It’s important to have the PureRef page open on top of your engine or on another screen to pay attention to how vegetation grows and builds up in real-life environments. For instance, the foliage growing in or next to the water stream, compared to the one growing under a tree or deep into the forest, must be built differently. Ergo, that’s where the references help you achieve credibility and utter realism.
重要的是要在引擎顶部或其他屏幕上打开PureRef页面，以关注植被在现实环境中的生长和积累。例如，与生长在树下或森林深处的树叶相比，生长在水流中或水流旁边的树叶必须以不同的方式建造。因此，这就是参考文献帮助您实现可信度和完全现实主义的地方。
Texturing
One useful tool that I used to build up my scene quickly and have a fast visual result of what a specific part of the scene will look like is the Unreal Mesh Paint tool. I created the Megascans 3 blend material, where I could pick three different substances from Quixel Bridge, and used them to vertex paint floors or walls. I often use it because it allows you to easily blend different materials and tweak parameters, like the falloff between each material or how harsh/soft they blend, to make it more believable. Most importantly, it gives you the ability to quickly paint and adjust water puddles.
纹理
虚幻网格体绘画工具是一个有用的工具，用于快速构建场景并快速获得场景特定部分的视觉效果。我创建了Megascans 3混合材料，在那里我可以从Quixel Bridge中选择三种不同的物质，并用它们来顶点油漆地板或墙壁。我经常使用它，因为它允许您轻松混合不同的材料并调整参数，例如每种材料之间的衰减或它们混合的苛刻/柔软程度，以使其更加可信。最重要的是，它使您能够快速上漆和调整水坑。
For example, I needed a little stream of water in the middle as a guiding line toward my focus point, and the material helped me to quickly iterate and draw water puddles. Plus, I was able to add some subtle animation to the water to make it more believable and immersive to watch.
例如，我需要中间的一小股水作为指向焦点的指导线，这些材料帮助我快速迭代和绘制水坑。此外，我还能够在水中添加一些微妙的动画，使其更加可信和身临其境。
Moreover, a great way to give more detail to the trees is to take advantage of the procedural damage, which can be applied to the leaves of the Megascans trees. This feature drastically helped to achieve the mood I wanted for the scene, and with the integration of decals, such as dead leaves on the floor, it enhanced the realism of the scene considerably.
此外，为树木提供更多细节的一个好方法是利用程序损伤，这可以应用于Megascans树的叶子。这个功能极大地帮助实现了我想要的场景情绪，并且通过集成贴花（例如地板上的枯叶），它大大增强了场景的真实感。
Modeling
This project was focused on improving my composition and lighting skills. Therefore, I did not model the assets in the scene, except for part of the vegetation. So, I opted to take advantage of the Megascans library also considering the fact that the project was set to be finalized by the University in three weeks' time.
建 模
这个项目的重点是提高我的构图和照明技巧。因此，除了部分植被外，我没有对场景中的资源进行建模。因此，我选择利用Megascans图书馆，同时考虑到该项目将在三周内由大学完成的事实。
Therefore, I started to collect meshes to implement the architectural side of the scene. Luckily, I’ve found a pack with ruins, arches, and pillars that totally fit my scene on the Unreal Marketplace. Hence, I replaced the shape I was using as a focus point with the mesh from Megascans. Once I placed all the meshes I needed, I dove into the material of the main arch and increased the normal strength of the rock material slightly to get a subtle higher definition and details, considering all the different light sources I had pointing at it. However, I suggest not exaggerating with the normal strength.
因此，我开始收集网格来实现场景的架构方面。幸运的是，我找到了一个包含废墟、拱门和柱子的包，它们完全适合我在虚幻商城中的场景。因此，我用Megascans的网格替换了我用作焦点的形状。一旦我放置了所有我需要的网格，我就潜入主拱门的材料中，并稍微增加岩石材料的正常强度，以获得微妙的更高清晰度和细节，同时考虑到我所指向的所有不同光源。但是，我建议不要夸大正常强度。
Scattering Details
Furthermore, to achieve a more realistic look and add interest to the scene, I took advantage of decals. I have mainly used moss decals on rocks, logs, twigs, and leaves to add extra realism under the trees. The goal is ultimately to work in a logical way. For instance, by looking at the scene, the viewer can perceive wind and that the season is set in Autumn. Hence, it’s logical to add some dead leaves at the bottom of the trees and sporadically on the main path. The most important thing I’ve learned so far is that when building a scene or a prop, one must always pay attention to placing props or extra details in a logical and believable way.
散射细节
此外，为了实现更逼真的外观并增加场景趣味性，我利用了贴花。我主要在岩石，原木，树枝和树叶上使用苔藓贴花，以在树下增加额外的真实感。最终目标是以合乎逻辑的方式工作。例如，通过观察场景，观众可以感知风，并且季节设定在秋天。因此，在树的底部添加一些枯叶并在主路径上零星地添加一些枯叶是合乎逻辑的。到目前为止，我学到的最重要的事情是，在构建场景或道具时，必须始终注意以合乎逻辑和可信的方式放置道具或额外细节。
Once I have achieved a decent result on the first iteration of the scene, I usually start tweaking the composition and experiment with different types of lighting. I often use props as guiding lines toward my focus point and attempt at finding a balance between an artistic and realistic scene. On top of that, I insert different little props that work as guiding lines but also enrich the story of the environment.
一旦我在场景的第一次迭代中取得了不错的效果，我通常会开始调整构图并尝试不同类型的照明。我经常使用道具作为指向焦点的指导线，并试图在艺术和现实场景之间找到平衡。最重要的是，我插入了不同的小道具，这些道具既可以作为指导线，又可以丰富环境的故事。
Moreover, to blend assets inside the scene, I simply added multiple smaller assets around the bigger ones to hide any possible intersection or any kind of hard edges, which would otherwise give away a fake 3D feel to a realistic scene. I did attempt to use pixel offset and add dithering to the nanite meshes, but at the moment of writing this article, nanite meshes show up black if you attempt at doing so.
此外，为了在场景中混合资源，我只需在较大的资源周围添加多个较小的资源，以隐藏任何可能的交叉点或任何类型的硬边，否则这些资源会给逼真的场景带来虚假的3D感觉。我确实尝试过使用像素偏移并向纳米石网格添加抖动，但在撰写本文时，如果您尝试这样做，纳米特网格将显示为黑色。
Composition and Lighting
Once the blockout is done, the first thing that I do is create a CineCamera Actor to set up the point of view of the final render to have a clear idea of what my final scene will look like from the start. After that, I can adjust the FOV based on the reference, by doing so, I won’t have to waste time taking care of small areas that won’t be visible in the final render.
构图和照明
一旦阻止完成，我做的第一件事就是创建一个CineCamera Actor来设置最终渲染的视角，以便从一开始就清楚地知道我的最终场景会是什么样子。之后，我可以根据参考调整FOV，通过这样做，我不必浪费时间来处理在最终渲染中不可见的小区域。
One resource that I suggest is a showcase video from Feng Zhu, where he goes through environmental composition and particularly talks about the camera position. He gives general guidelines, shortly followed by a deep dive into the subject.
我建议的一个资源是来自Feng Zhu的展示视频，他在视频中介绍了环境构图，并特别谈到了相机的位置。他给出了一般的指导方针，不久之后又深入研究了这个主题。
https://youtu.be/fsQ7eTmR27U
After, I used the cinematic viewport in the editor to help me understand what the optimal camera position for the final render will be and to have a greater sense of space in my scene. From there, I started working and tweaking the composition.
之后，我使用编辑器中的电影视口来帮助我了解最终渲染的最佳摄像机位置，并在场景中具有更大的空间感。从那里开始，我开始工作并调整构图。
I wanted to avoid very symmetrical approaches, which can be boring for the viewer, I’d rather experiment with asymmetry. For instance, when I had a decent starting point composition-wise, I made a quick render and brought it into Photoshop. From there, I manually divide the scene into 3x3 and examine the position of my focus point and how I could make the whole composition more interesting. Plus, I use the burn tool to place highlights placeholders (which will be later fixed in UE) in order to give attention to all the little pockets of interest in the scene. Once that is done, I paste the photoshopped render in PureRef and adjust the lights in Unreal Engine accordingly.
我想避免非常对称的方法，这对观众来说可能很无聊，我宁愿尝试不对称。例如，当我在构图方面有一个不错的起点时，我做了一个快速渲染并将其带入Photoshop。从那里，我手动将场景划分为3x3，并检查对焦点的位置以及如何使整个构图更有趣。另外，我使用刻录工具放置高光占位符（稍后将在UE中修复），以便关注场景中所有感兴趣的小口袋。完成后，我将照片处理的渲染粘贴到PureRef中，并相应地调整虚幻引擎中的灯光。
Another important thing that I did was to apply a black-and-white filter to the render to check where the image values and if the brightest sport corresponds to where I want the viewer to focus.
我做的另一件重要事情是将黑白滤镜应用于渲染，以检查图像值的位置以及最亮的运动是否与我希望观众聚焦的位置相对应。
In this case, the lighting was working perfectly because without any postprocessing I was able to create a subtle vignette effect just by placing props and adjusting the light.
在这种情况下，照明工作非常完美，因为没有任何后期处理，我只需放置道具并调整光线即可创建微妙的小插图效果。
The ultimate goal of this check is to examine the scene in detail and assure that the level of contrast is the desired one. By looking at the black-and-white render, one can confirm that the light contrast between the focus point and the surrounding environment is helping to guide the eyes to the arch.
此检查的最终目标是详细检查场景，并确保对比度水平是所需的水平。通过观察黑白渲染，可以确认对焦点和周围环境之间的光对比有助于将眼睛引导到拱门。
Furthermore, I took advantage of the vegetation in my scene to create both strong and subtle guiding lines towards the arch. For example, I decided to place two big trees right in the foreground, aiming to frame the scene. This was a huge shift in the scene, and the result helped to guide the eyes towards the arch and not get it lost in the forest. Moreover, one subtle tweak I did was to have the trees tilted in all slightly different angles to avoid repetition as much as possible.
此外，我利用场景中的植被为拱门创造了强大而微妙的引导线。例如，我决定在前景中放置两棵大树，旨在构图场景。这是场景的巨大转变，结果有助于将眼睛引导到拱门，而不会让它迷失在森林中。此外，我做的一个微妙的调整是让树木以所有稍微不同的角度倾斜，以尽可能避免重复。
One last pass I did was to bring the render in Photoshop again and thoroughly investigate the composition. I studied where my guiding lines were pointing and noticed that the composition created little areas of interest around the arch converging all the attention there. Thanks to the guiding lines, it’s almost like the eyes are just walking through the path alongside the water stream, confined by the trees and heading straight to the arch.
我做的最后一步是再次将渲染带到Photoshop中，并彻底调查构图。我研究了我的指导线指向的位置，并注意到构图在拱门周围创造了一些有趣的小区域，将所有的注意力集中在那里。多亏了引导线，眼睛几乎就像沿着水流穿过小径，被树木限制，直奔拱门。
Lighting-wise, I usually tweak the temperature before I touch the actual color of the light, mainly because that’s how light works in real life. I keep in mind how real-life landscapes look and implement subtle highlights by using spotlights, bounce lights, and rect lights. For instance, the water stream creates subtle bounce lights that hits the bottom of the trees. Most importantly, I use only one directional light, which represents the sunlight in the scene.
Another example is how the directional light creates a gradient on the trees on the right side, which intensifies the warm and daytime vibes.
在照明方面，我通常在触摸光线的实际颜色之前调整温度，主要是因为这就是光线在现实生活中的工作方式。我牢记现实生活中的风景，并通过使用聚光灯，反射灯和直立灯来实现微妙的高光。例如，水流会产生微妙的反弹光，照射到树的底部。最重要的是，我只使用一个定向光，它代表场景中的阳光。
另一个例子是定向光如何在右侧的树木上产生渐变，从而增强了温暖和白天的氛围。
https://youtu.be/yMTq4xPvxfk
The Challenges
I’ve always wanted to tackle a scene in Unreal Engine 5, especially since I’ve watched the Lumen tutorial by Polygon Academy on YouTube. Therefore, I took this chance to create my first completely real-time environment, where I was able to experiment with Lumen.
挑战
我一直想在虚幻引擎5中处理一个场景，特别是因为我在YouTube上观看了Polygon Academy的Lumen教程。因此，我借此机会创建了我的第一个完全实时的环境，在那里我能够尝试Lumen。
Furthermore, it was a great chance to scrutinize how nanite meshes interact with such lighting technology. The experience was surprisingly smooth, considering how heavy in polygons the meshes were, but this is just another demonstration of how nanite meshes are well optimized for Unreal Engine 5.
此外，这是一个很好的机会来仔细研究纳米特网格如何与这种照明技术相互作用。考虑到多边形网格体的重量，体验出奇地流畅，但这只是Nanite网格体如何针对虚幻引擎5进行良好优化的又一次演示。
I think the most challenging part of this scene was the lighting. I had to go through several iterations to find the right setup, to achieve the desired mood in my scene. Most importantly, I had to strictly follow my references to build a realistic lighting setup with accurate reflections and bounce lights. One fundamental thing was to take advantage of global illumination to not overfill the scene with lights
我认为这个场景中最具挑战性的部分是照明。我必须经历几次迭代才能找到正确的设置，以便在我的场景中实现所需的情绪。最重要的是，我必须严格遵循我的参考资料，以构建具有精确反射和反射光的逼真的照明设置。一个基本的事情是利用全局照明，以免用灯光过度填充场景。
After the general lighting looked optimal, I did another detail lighting pass, where I added extra details to all different areas of the scene. Plus, I added subtle highlights and bounce lights to increase the realism and the accuracy of the lights’ behavior.
在一般照明看起来最佳之后，我又做了一次细节照明传递，为场景的所有不同区域添加了额外的细节。此外，我还添加了微妙的高光和反射光，以提高灯光行为的真实感和准确性。
Once the scene was ready to be rendered, I did a test render, imported it into Photoshop, and adjusted the colors to create a unique LUT for my environment. After that, I applied the LUT and proceeded to render the final shots.
一旦场景准备好渲染，我就做了一个测试渲染，将其导入Photoshop，并调整颜色，为我的环境创建一个独特的LUT。之后，我应用了LUT并继续渲染最终镜头。
Conclusion
I have learned a lot about how Lumen behaves in Unreal Engine 5 and how I can work with it to achieve the result I want. Coming from Unreal Engine 4, I was expecting to struggle at the beginning with the new interface, but it was straightforward, and I was able to work comfortably in no time.
结论
我学到了很多关于Lumen在虚幻引擎5中的行为，以及如何使用它来获得我想要的结果。来自虚幻引擎4，我本来以为一开始就很难使用新界面，但它很简单，而且我很快就能舒适地工作。
Furthermore, I had the chance to learn a lot about composition and how to build a scene with a specific point of interest. On top of that, I have learned the importance of creating secondary areas of interest in the scene and blending them together to get a realistic and coherent scene.
此外，我还有机会学习了很多关于构图的知识，以及如何构建具有特定兴趣点的场景。最重要的是，我学会了在场景中创建次要感兴趣区域并将它们混合在一起以获得逼真和连贯的场景的重要性。
As always, the most difficult part of the process is lighting. It’s hard to reach the desired mood and display the wanted vibes through lighting. A lot of iteration and technical tweaking is required, luckily, since the scene was built with 100% real-time lighting, the feedback is instant and motivating.
与往常一样，该过程中最困难的部分是照明。很难达到想要的情绪，并通过照明来展示想要的氛围。幸运的是，需要大量的迭代和技术调整，因为场景是用100%实时照明构建的，反馈是即时和激励的。
I would suggest to all the artists out there to experiment with Unreal Engine 5, try the new lighting technology, and if someone happens to feel overwhelmed, there are plenty of tutorials and breakdowns on YouTube, but also vast official documentation online, which can guide you step by step to achieve your result.
我建议所有美术师尝试虚幻引擎5，尝试新的光照技术，如果有人碰巧感到不知所措，YouTube上有很多教程和细分，还有大量的在线官方文档，可以指导你一步一步地实现你的结果。
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