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Introduction
Hi! I am Florian Elie, I am 26 and I currently work at Shiro Games as Lead Environment Artist on Wartales.
介绍
你好！我是Florian Elie，我今年26岁，目前在Shiro Games担任Wartales的首席环境艺术家。
Goals
My goal was to build small lore around a series of dioramas featuring different stylized landscapes inspired by my favourite influences. The temple jar is the first diorama I made in this universe and I hope to have time to make more in the coming months.
目标
我的目标是围绕一系列西洋镜构建小传说，这些立体模型具有不同的风格化景观，灵感来自我最喜欢的影响。寺庙罐是我在这个宇宙中制作的第一个立体模型，我希望在未来几个月里有时间制作更多。
Reference
I didn’t have a precise concept on hand, instead, I was inspired by different references that are important to me. The main ones are Shadow of the Colossus, the comic book Adrasté by Mathieu Bablet, Andrew Porter’s concept which was the starting point for the jars and Kena Bridge of Spirit for the rendering style.
I made some sketches for the general shape, the framing, etc. I also took a lot of photographic references for the foliage, and architecture.
参考
我手头没有一个精确的概念，相反，我受到对我很重要的不同参考资料的启发。主要的是Shadow of the Colossus，Mathieu Bablet的漫画书Adrasté，Andrew Porter的概念，这是罐子的起点和Kena Bridge of Spirit的渲染风格。
我为一般形状，框架等绘制了一些草图。我还为树叶和建筑拍摄了很多摄影参考。
Modelling
I used several different methods depending on the asset I was working on. For example, the jars and the bell were made in ZBrush using boolean operations and sculpting with a base mesh quickly made in 3dsmax. I mainly used Orb brushes and the trim smooth border with a square alpha to flatten some borders.
造型
我使用了几种不同的方法，具体取决于我正在处理的资产。例如，罐子和铃铛是在ZBrush中使用布尔运算和雕刻的，使用3dsmax快速制作的基础网格进行雕刻。我主要使用Orb画笔和带有方形alpha的修剪平滑边框来压平一些边框。
I did the retopo in Maya and the baking in Marmoset, and they were textured in Painter using different materials I had prepared in advance in Designer. The temple is composed of different parts each modelled in 3DS Max. I built it with the different materials and trim sheets I made.
I just exported it with simple material color IDs so that Unreal could recognize the different materials directly once imported.
我在玛雅语中做了retopo，在Marmoset中做了烘焙，它们在Painter中使用了我提前在Designer中准备的不同材料进行了纹理处理。寺庙由不同的部分组成，每个部分都以3DS Max为模型。我用我制作的不同材料和装饰板建造了它。
我只是用简单的材质颜色ID导出它，这样虚幻引擎就可以在导入后直接识别不同的材质。
Texturing
The texturing was an important part of the project. I first made several basic albedos in Photoshop and Designer to texture the assets in Painter. Once applied, I could easily tweak it, as I added an HSL to change the tone if needed. I added some AO variation, highlighting the edges, and the texturing of the jars was done!
纹理
纹理是该项目的重要组成部分。我首先在Photoshop和Designer中制作了几个基本的alpetdos来纹理Painter中的资源。应用后，我可以轻松调整它，因为我添加了HSL以在需要时更改音调。我添加了一些AO变体，突出显示了边缘，并且完成了罐子的纹理！
I then sculpted different stone patterns in Zbrush that I baked on a plane in Marmoset and then textured in Designer and Painter to get my trim sheets and tileable textures. This method allows really optimal control of the material shapes and is easier in my opinion than doing it procedurally in Designer for stylized rendering like this one.
然后，我在Zbrush中雕刻了不同的石头图案，这些图案在狨猴的飞机上烘烤，然后在设计师和画家中进行纹理处理，以获得我的装饰板和可平铺的纹理。这种方法允许对材质形状进行真正优化的控制，在我看来，这比在设计器中程序化渲染更容易。
I made four different walls and trim sheets for the project, and I made some modular props to help to build the temple.
我为这个项目制作了四个不同的墙壁和装饰板，我做了一些模块化道具来帮助建造寺庙。
Foliage
The whole vegetation was done in SpeedTree. This software is extremely useful to generate procedural vegetation. I first looked at the opacity maps of the different vegetation types that I needed on Megascan, to see how they were made, etc.
Megascans is very helpful, even for stylized scenes because it allows seeing in detail how a plant is. I drew the opacity maps on Photoshop and generated the rest of the maps on Designer and Photoshop.
树叶
整个植被都是在SpeedTree中完成的。该软件对于生成程序性植被非常有用。我首先查看了Megascan上我需要的不同植被类型的不透明度地图，以了解它们是如何制作的，等等。
Megascans非常有帮助，即使对于风格化的场景也是如此，因为它可以详细地看到植物是如何的。我在Photoshop上绘制了不透明度地图，并在Designer和Photoshop上生成了其余的地图。
I then started working on the vegetation models in SpeedTree. The small vegetation is very easy to make, just a few nodes. Speedtree is very powerful because, when your graph is done, you can generate a lot of different assets, just by clicking on the randomize button.
然后，我开始在SpeedTree中研究植被模型。小植被很容易制作，只有几个节点。Speedtree非常强大，因为当您的图形完成后，您只需单击随机化按钮即可生成许多不同的资产。
Trees are always essential elements in an environmental composition but are a real challenge to achieve. I optimized the trees so that they would not exceed 30k tris per tree. Except for the giant tree in the temple which requires more.
To optimize the foliage, the “frond” nodes are really useful and follow perfectly the curve of the branches.
树木始终是环境成分中必不可少的元素，但这是一个真正的挑战。我优化了树木，使它们不会超过每棵树30k tris。除了寺庙里的巨树，这需要更多。
为了优化树叶，“叶子”节点非常有用，可以完美地遵循树枝的曲线。
Thanks to the very handy mesh force, it’s easy to import a mesh and grow the vegetation on it. It’s a very powerful tool and it’s very helpful for creating organic and natural foliage.
由于非常方便的网格力，可以很容易地导入网格并在其上生长植被。这是一个非常强大的工具，它非常有助于创造有机和自然的叶子。
I made different kits of foliage of different sizes to have enough resources and to be free to make the composition and populate the scene.
I knew I would need a lot of vegetation in my scene. To optimize it, I made three LODs for the grass. Only LOD 0 and 1 cast shadows.
For other foliage assets, Speedtree is very helpful to generate the LODs of the foliage.
A small example of foliage compo is below:
我制作了不同大小的树叶套件，以拥有足够的资源，并可以自由地制作构图并填充场景。
我知道我的场景中需要很多植被。为了优化它，我为草做了三个LOD。只有 LOD 0 和 1 投射阴影。
对于其他植物资源，Speedtree 对于生成树叶的 LOD 非常有用。
下面是一个叶子组合的小例子：
I spent some time making a grass shader that I liked with the vegetation of Kena Bridge of Spirit as my main reference. I added a slight white gradient on top of the grass to make the silhouette stand out better.
我花了一些时间制作了一个我喜欢的草地着色器，以凯纳精神桥的植被作为我的主要参考。我在草地上添加了轻微的白色渐变，以使轮廓更加突出。
I don’t like when the RVT color is too strong on the grass, so there’s is the structure I made for my grass blades. I just used the RVT to have a more natural blending with the ground.
我不喜欢在草地上当RVT颜色太强时，所以他们是我为我的草叶制作的结构。我只是使用RVT与地面进行更自然的混合。
Below is also the Final result of the grass in-engine:
下面也是草在引擎中的最终结果：
To enhance the undergrowth aspect of the scene, I also made a volumetric fog in Niagara following this tutorial:https://www.youtube.com/watch?v=V6W_i6uA4mE&list=LL&index=3
为了增强场景的灌木丛方面，我还在本教程之后在尼亚加拉制作了一个体积雾：https://www.youtube.com/watch?v=V6W_i6uA4mE&list=LL&index=3
An important element to give life to any scene is of course the wind, I followed this very interesting tutorial to have a uniform wind in the scene: https://www.youtube.com/watch?v=27Gr2RRhtNM
给任何场景赋予生命的重要元素当然是风，我按照这个非常有趣的教程在场景中有一个均匀的风：https://www.youtube.com/watch?v=27Gr2RRhtNM
The longest part of the implementation was the vegetation, I used the foliage tool from unreal. It allowed me to make natural groups of vegetation and manage their density. I also used vertex painting on the assets to bring diversity to the textures.
I used the Designer’s «Material height blend» node to generate two versions of the materials, one with and one without moss.
实现中最长的部分是植被，我使用了虚幻的树叶工具。它允许我制作自然的植被群并管理它们的密度。我还在资源上使用顶点绘画来为纹理带来多样性。
我使用设计师的“材质高度混合”节点生成了两个版本的材质，一个带有苔藓，一个没有苔藓。
Lighting & Rendering
The lighting is quite simple, but I asked myself many questions about the colorimetric aspect of the scene. I finally opted for a green/blue color scheme to accentuate the “undergrowth” effect. There’s just a dynamic light and an exponential height fog.
I used the volumetric fog function of the exponential height fog to get the god rays through the trees.
光照与渲染
照明很简单，但我问自己很多关于场景比色方面的问题。我最终选择了绿色/蓝色配色方案来强调“灌木丛”效果。只有一个动态的光和一个指数高度的雾。
我使用指数高度雾的体积雾函数来获取神射线穿过树木。
I then played with the post-process volume to modify the auto exposure and bring some color nuances to the scene, enhancing the contrast and saturation.
然后，我尝试了后期处理体积来修改自动曝光，并为场景带来一些色彩细微差别，从而增强了对比度和饱和度。
Conclusion
To conclude, I was really happy to finally test out Unreal 5 and to take the time to create a small scene inspired by my favorite influences. For the time being, I’d like to continue working on the textures of my assets, add some hand painting and of course, create many more little dioramas set in the same world as this one!
Thank you very much GamesArtist! 🙂
结论
总而言之，我真的很高兴最终测试了虚幻5，并花时间创建一个受我最喜欢的影响启发的小场景。目前，我想继续研究我的资产的纹理，添加一些手绘，当然，创建更多与此世界相同的小西洋镜！
非常感谢游戏艺术家！🙂
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