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Introduction
Hello everyone, I'm Cger and I'm a 3D Environment Artist.
介绍
大家好，我是Cger，我是3D环境艺术家。
Inspiration
灵感
Recalling the release of CS1.6 in 1999, Assault was undoubtedly one of the most popular maps. Although there are many omissions in the gameplay, from the player’s point of view, it is always fun (even all night long). This also left a deep impression in my heart. Until today, I am fortunate to want to use the UE5 engine to regain the joy of childhood, so as to pay tribute to the classics!
回想起1999年CS1.6的发布，Assault无疑是最受欢迎的地图之一。虽然游戏玩法中有很多遗漏，但从玩家的角度来看，它总是很有趣（甚至整夜）。这也在我心中留下了深刻的印象。直到今天，我很幸运地想用UE5引擎重拾童年的快乐，从而向经典致敬！
Bridge’s scanning resources are very good. Walls, columns, floors, and objects are all my favorite types, and the atmosphere created is just close to the direction I originally envisioned. I didn’t use all of them, just selected the objects, materials, and textures that are more suitable for the warehouse type. I will mark it in the resource module later
This set of scanned assets also comes with a series of field shots, which can provide a rational reference for early frame construction, mid-term material adjustment, and a basis for post-detail combination.
In terms of lighting, you can also refer to these in the early stage, which fully makes up for the lack of real physical reference in the production process.
桥的扫描资源非常好。墙壁，柱子，地板和物体都是我最喜欢的类型，创造的氛围与我最初设想的方向非常接近。我没有全部使用，只是选择了更适合仓库类型的对象，材料和纹理。稍后我会在资源模块中标记它
这组扫描资源还附带了一系列的现场拍摄，可以为前期帧构建、中期材质调整、后期细节组合提供合理参考。
在照明方面，也可以在早期阶段参考这些，这充分弥补了生产过程中缺乏真实的物理参考。
The Obj file for this map can be found everywhere in Google searches, I just found an address to download the model of this map, which can be used as a Block Mesh to determine approximate proportions and lens relationships.
The purpose of this step is very simple, mainly to determine the characters and buildings, walls the proportional relationship of the surface can be better prepared for the next work, after importing the engine for the first time, I used the default parameters for all lights, including directionalLight/Skylight does not deliberately use point lights or other his lights.
这张地图的Obj文件在谷歌搜索中随处可见，我刚刚找到一个地址下载这张地图的模型，可以作为块网格来确定近似的比例和镜头关系。
这一步的目的很简单，主要是确定人物与建筑物、墙面的比例关系，可以更好地为下一步的工作做准备，在第一次导入引擎后，我使用了所有灯光的默认参数，包括定向灯光/天光不刻意使用点光源或其他他的灯光。
Composition
作品
When the Block Mesh is imported into the scene, the first task is to determine the shots. I am used to using the shortcut keys Ctrl+1~2~3 and other numeric keys to locate 3~4 shots to ensure that I can quickly switch when observing the composition.
Composition is also a key part. It is necessary to determine the content to be expressed in the shot and the important parts to be highlighted in the early stage. In this way, the relationship between silhouette, shape, structure and hierarchy can be better planned.
将块网格导入场景后，第一个任务是确定镜头。我习惯于使用快捷键Ctrl+1~2~3等数字键来定位3~4个镜头，以确保在观察构图时可以快速切换。
构图也是一个关键部分。有必要确定镜头中要表达的内容和早期要突出显示的重要部分。通过这种方式，可以更好地规划轮廓，形状，结构和层次结构之间的关系。
I often use the 9-square grid method to set important parts within the composition to determine the focal point in the scene. Any subsequent adjustments you make are doing artistic work around this container
For example, in Figure 1, after setting up the camera, I will focus on this container room as the center of view, and focus on showing his important part in the environment. Adjust motion shots, record video, and shoot around him nicely.
我经常使用9平方网格方法在构图中设置重要部分，以确定场景中的焦点。您所做的任何后续调整都是围绕此容器进行艺术工作
例如，在图1中，设置相机后，我将重点放在这个容器室作为视野的中心，并专注于展示他在环境中的重要部分。调整动作镜头，录制视频，并很好地在他周围拍摄。
Initial lighting
初始照明
Before repairing the mesh.
在修复网格之前。
After repairing the mesh.
修复网格后。
Add a point light source to make up for the dark
The initial stage of lighting is very interesting because I want to stick to the LUMEN light source for this work, and I need a thorough understanding of the relationship between real-world light sources.
When I found that all the lights were set to the default values, and the light leakage in the roof was fixed, the whole interior would become very dim, but the exterior behaved normally. At this point, I chose to shelve this issue first, and I even suspected that LUMEN was not realistic enough in the performance of the light source. After being troubled for a long time, I searched for a lot of LUMEN lighting-related tutorials on YOUTUBE, and I basically got the answer after watching it.
I believe many students have this problem
添加点光源以弥补黑暗
照明的初始阶段非常有趣，因为我想在这项工作中坚持使用LUMEN光源，并且我需要对现实世界光源之间的关系有透彻的了解。
当我发现所有的灯光都设置为默认值，并且屋顶上的漏光被固定时，整个里面会变得非常昏暗，但外部表现正常。至此，我选择先搁置这个问题，甚至怀疑LUMEN在光源的性能上不够逼真。在困扰了很长一段时间后，我在YOUTUBE上搜索了很多LUMEN照明相关的教程，看完之后基本得到了答案。
相信很多学生都有这个问题
You can see the picture on the left, when we stand outside and look indoors, because the environmental structures are all wrapped, it will inevitably cause too dark, which is an objective fact in the physical world. It is also the normal lighting principle. LUMEN is very correct here. When a large number of indoor environments are shaded, the room will be darker. At this time, we must consider whether to use lighting or open windows to allow some light to bounce back and make the room brighter.
你可以看到左边的图片，当我们站在外面看室内时，因为环境结构都被包裹起来，必然会造成太暗，这在物理世界中是一个客观事实。这也是正常的照明原理。LUMEN在这里是非常正确的。当大量室内环境被遮蔽时，房间会更暗。这时，就要考虑是用照明还是开窗，让一些光线反弹回来，让房间更亮。
You can even take a closer look. When you’re walking down the street during the day, look back and the lights are on in the shops around you. If you don’t turn on the lights, the room will be very dark if you only rely on the bounce of sunlight
I have no plans to use point light sources for this work because the old factory has no electricity at all after being in disrepair, so where is the light?
A point light source is used for the time being to observe structure and hierarchy. All deleted in post-production.
For the time being, I accept the problem of indoor darkness, and I also deeply understand the principle. Later in the article, I will gradually introduce how to solve it.
您甚至可以仔细看看。当你白天走在街上时，回头看，你周围的商店里灯亮着。如果不开灯，如果你只依靠阳光的反射，房间会很暗
我没有计划使用点光源进行这项工作，因为旧工厂在年久失修后根本没有电，那么光在哪里？
点光源暂时用于观察结构和层次结构。全部在后期制作中删除。
就目前而言，我接受室内黑暗的问题，我也深刻理解了这个原理。在本文的后面，我将逐步介绍如何解决它。
Assets
资产
When I made this map, I didn’t use the full-scene, full-asset self-made method, of course, I have the ability to do it. It’s just that it will take a long time, and the main research direction is still based on realism, lighting, and color relationships. So I divided the assets in the scene into three categories.
It is relatively easy to make wall assets yourself, I cut a lot of lines in order to be able to mix materials and avoid the problem of repeated and cluttered walls on large areas.
当我制作这张地图时，我没有使用全场景，全资产自制的方法，当然我有能力做到这一点。只是需要很长时间，主要研究方向仍然是基于现实主义，照明和色彩关系。因此，我将场景中的资源分为三类。
自己制作墙体资源相对容易，为了能够混合材料，我剪了很多线，避免了大面积的墙体重复和杂乱的问题。
Regarding the dimensions, proportions, shapes and other issues of the wall, I tried my best to restore the reference picture, and even see if there are people in the reference picture so that the height of the wall, bricks and steps can be better and accurately calculated. The benefit of this will appear real after the work is over
The asset scanning library of Megascans can provide more realistic and rich modeling. I downloaded several assets such as cylinders, oil barrels, and broken steps. The main thing is to consider during the production process, what content is missing, and what resources to look for
The purchased resources are also an important part of this scene. I mainly purchased three resources: ventilation pipes, vehicles, and containers. to build the main elements of this scene.
关于墙体的尺寸、比例、形状等问题，我尽量还原参考图片，甚至看参考图片中是否有人，以便更好、更准确地计算出墙体、砖块和台阶的高度。工作结束后，这样做的好处将显得真实
Megascans的资源扫描库可以提供更逼真、更丰富的建模。我下载了几个资源，如气缸，油桶和破碎的步骤。最主要的是在生产过程中要考虑，缺少哪些内容，以及要寻找哪些资源
购买的资源也是这个场景的重要组成部分。我主要购买了三种资源：通风管道，车辆和集装箱。构建此场景的主要元素。
UE5 Modeling Tools
UE5 建模工具
Similarly, UE5’s modeling tools are very powerful. This time, I used some tools in the production process. I didn’t watch the tutorial. I just looked at the icon and tried it out to get amazing results.
同样，UE5的建模工具也非常强大。这次，我在生产过程中使用了一些工具。我没有看教程。我只是看着图标并尝试了一下，以获得惊人的效果。
The brush tool is still very easy to use. First of all, I use the modeling tool that comes with the UE5 engine to create a flat model and assign a lot of vertices. Only with more vertices can I brush out natural ups and downs, which will look more realistic.
画笔工具仍然非常易于使用。首先，我使用UE5引擎附带的建模工具创建平面模型并分配大量顶点。只有有更多的顶点，我才能刷出自然的起伏，看起来会更逼真。
For models like rolling gates, I use the initial model in UE5, add a lot of vertices, and then use the selection points to stretch. Can make a nice silhouette. Materials and textures are found in the Megascans library.
对于像滚动门这样的模型，我使用UE5中的初始模型，添加大量顶点，然后使用选择点进行拉伸。可以做一个漂亮的轮廓。材质和纹理可在 Megascans 库中找到。
In the early days, the bump texture of the tin roof on the top was just a flat model and a normal map. I found that it could not express more details, and the realism was poor. So after I assign the texture to this flat model, I use the point and line adjustment of the model tool to align the upper and lower bumps of the texture and finally make the normal map effectively combined with the model, which will give people a more realistic three-dimensional feeling.
在早期，顶部铁皮屋顶的凸起纹理只是一个平面模型和一个法线地图。我发现它无法表达更多的细节，现实主义很差。所以在将纹理分配给这个平面模型后，我使用模型工具的点和线调整来对齐纹理的上下凸起，最终使法线贴图与模型有效结合，这将给人一种更逼真的立体感。
Material Production
材料生产
Material mixing is a very interesting process, and my experience here can be very good to share with you.
First, analyze the texture of the real-world material that needs to be restored. The reference wall is 30~40% new. So as shown in the picture I divided it into several steps to make it.
The base map of the wall should preferably be a new or 70% new material because then you will have a lot of space to superimpose the details and optimize the repetition.
材料混合是一个非常有趣的过程，我在这里的经验可以很好地与大家分享。
首先，分析需要恢复的真实世界材质的纹理。参考墙是30〜40%的新产品。因此，如图所示，我将其分为几个步骤来制作它。
墙的底图最好是新材料或70%的新材料，因为这样您将有很多空间来叠加细节并优化重复。
Next, use vertex color to draw out the second layer of dirty textures, where global and overall planning is needed to plan the details of the mix. When the walls are connected together, 40% of the new materials will appear messy and disordered, so the vertex color is often used to control them. Not all walls have traces of falling off, but only a small number of embellishments. Grasp the overall sense of old and new rhythm, which is conducive to better performance
After drawing, you will find that although the repetition is reduced, it still lacks a more natural expression. Then we choose suitable decals to disrupt the repetition order of the overall wall. Through the repeated debugging of the second and third steps, I believe you will get a very real wall
Finally, let me talk about my experience. When choosing materials, I only choose 2, one clean, one dirty, and some decals. Because the generation of all things is an evolutionary process from new to old, it will be much easier to understand this later. Don’t start with dirty and old textures as base maps.
接下来，使用顶点颜色绘制出脏纹理的第二层，其中需要全局和整体规划来规划混合的细节。当墙壁连接在一起时，40%的新材料会出现凌乱无序，因此经常使用顶点颜色来控制它们。并非所有墙壁都有脱落的痕迹，但只有少量的装饰。把握新旧节奏的整体感，有利于更好的表现
画完后，你会发现，虽然重复减少了，但仍然缺乏更自然的表达。然后，我们选择合适的贴花来破坏整个墙壁的重复顺序。通过第二步和第三步的反复调试，相信你会得到一面非常真实的墙
最后，让我谈谈我的经历。在选择材料时，我只选择2个，一个干净，一个脏，一些贴花。因为万物的产生是一个从新到旧的进化过程，所以以后要容易理解这一点。不要从肮脏和旧的纹理作为基础贴图。
Lighting & Color Adjustment
照明和色彩调整
Lighting and color complement each other. In this step, I pay special attention to the color matching of the overall environment. I always maintain the principle of the golden ratio, and use the 7:2:1 division method to plan the overall color of the wall. In the yellow tone that accounts for 70%, the main color red accounts for 20% of the picture, and the column and other colors are classified as 10%.
照明和色彩相辅相成。在此步骤中，我特别注意整体环境的颜色匹配。我始终保持黄金比例的原则，用7：2：1的分割法来规划墙体的整体色彩。在占70%的黄色调中，主色红色占图片的20%，列等颜色归类为10%。
In this part, I started to test the range and angle of the light. Because the main body needs to be highlighted, the light reception and texture need to be continuously optimized and tried. I used a red brick wall for the first time, and found that there is not much difference between the material and the overall interior. The second is the area of the roof skylight. If it is in the middle, although it can give more light information to the room, the room will get a bright room after several bounces, but from the perspective of paying tribute to the classics, the middle should be the outlet of the ventilation duct. So I tried other ways.
在这一部分中，我开始测试光线的范围和角度。由于主体需要突出，因此需要不断优化和尝试光线接收和纹理。我第一次使用红砖墙，发现材料和整体内饰之间没有太大区别。第二个是屋顶天窗的面积。如果是在中间，虽然可以给房间更多的光线信息，房间在几次反弹后会得到一个明亮的房间，但从致敬经典的角度来看，中间应该是通风管道的出口。所以我尝试了其他方法。
After optimizing the details of the above links, I turned on the EV100. I set the value of -2.5 to increase the overall exposure of the room. It looks brighter, in order to better build the scene and adjust the details such as textures and materials.
优化上述链接的详细信息后，我打开了 EV100。我将值设置为 -2.5 以增加房间的整体曝光度。它看起来更亮，以便更好地构建场景并调整纹理和材质等细节。
When the scene construction process reached about 80%, I turned off the EV100. Secondly, a ventilation duct was added on the top, and a window was opened at the top of the main building. The texture and roughness of the light shining on the surface of the container are very beautiful, so I simply retained this plan.
At this time, the maximum and minimum exposure values in my post-processing box are both set to 1. I want to adjust the light direction to the best angle through such a clean and pure indoor performance, and then I want to observe whether the room is still too dark Case.
当场景构建过程达到80%左右时，我关闭了EV100。其次，在顶部增加了通风管道，并在主楼顶部打开了一扇窗户。照射在容器表面的光线的质地和粗糙度非常漂亮，所以我简单地保留了这个计划。
此时，我的后处理框中的最大和最小曝光值都设置为 1。我想通过这样干净纯净的室内表现，将光线方向调整到最佳角度，然后又要观察房间是否还太暗的情况。
Following the next step, I refined the level and rhythm of the scene and considered adding a few more windows on the top left side to make the light more transparent. When the light comes in, the temperature of the scene also changes. It can be clearly felt that the environment on the left side is cooler and the color on the right side is warmer. The difference in lighting contrast is better opened up, and the overall level change in the environment is increased.
The most important thing is that I finally determined the angle and direction of the lighting so that I can get a more comfortable composition from the golden section line.
在下一步之后，我改进了场景的层次和节奏，并考虑在左上角再添加几个窗口，以使光线更加透明。当光线进入时，场景的温度也会发生变化。可以清楚地感觉到，左侧的环境较冷，右侧的颜色较暖。照明对比度的差异更好地打开，环境中的整体水平变化增加。
最重要的是，我最终确定了照明的角度和方向，以便从黄金分割线中获得更舒适的构图。
Final adjustment and post-processing
最后调整和后处理
This step is almost at the end. If you look closely, I usually do more details on the golden section line, and then make choices, and always keep the overall layout of the scene in a rhythmic sense. , As a very experienced designer, if you have enough research on the composition, you will find that all the details are not imaginary, and the design of every detail must be carefully considered.
For example, I added Help graffiti on the wall next to the container room and gave a guide. It’s to bring back memories of the classic map where the hostage room used to be
I only made a large piece of white peeling off the wall on the left side of the container, in order to add more rich changes to the overall wall. But don’t add these details to all the walls, otherwise, it will cause distortion and a chaotic layout in the picture.
I added a lot of wires at the top because 90% of the assets in the scene give us a very stiff feeling. When some soft objects are added to the picture, they will look much more vivid. I am also very particular about the connection of cables, not just random. For setting and placement, it is still necessary to consider adding around the main building to open up the rhythm. There are a lot of blueprints for cables in the YOUTUBE tutorial. I found one at random and followed the steps to connect a blueprint.
这一步几乎就要结束了。如果仔细观察，我通常会在黄金分割线上做更多的细节，然后做出选择，并且总是保持场景的整体布局在有节奏的意义上。作为一个非常有经验的设计师，如果你对构图有足够的研究，你会发现所有的细节都不是虚构的，每一个细节的设计都必须仔细考虑。
例如，我在容器室旁边的墙上添加了帮助涂鸦，并给出了指导。这是为了唤起对经典地图的回忆，那里曾经是人质室
我只做了一大块白色的剥落容器左侧的墙壁，以便对整体墙壁进行更丰富的更改。但不要把这些细节加到所有的墙上，否则会导致画面失真和布局混乱。
我在顶部添加了很多电线，因为场景中90%的资源给我们一种非常僵硬的感觉。当一些柔和的物体被添加到图片中时，它们看起来会更加生动。我对电缆的连接也非常讲究，而不仅仅是随机的。对于设置和放置，仍然需要考虑在主楼周围添加以打开节奏。YOUTUBE教程中有很多电缆的蓝图。我随机找到一个，并按照步骤连接蓝图。
The final adjustment part is post-processing. In order to make the picture more transparent, I turned on Exposure in the final stage based on the previous lighting and set the parameters to the minimum brightness of 0.35 and the maximum brightness of 1. At this time, you can see that the overall brightness of the scene is more transparent and real. This is a relatively critical step. So I usually turn on exposure at the end, not upfront.
The next step is to make good use of the early reference pictures and use the color correction module in the post-processing to make adjustments in sequence, and the final color restoration is close to the warm tones presented by the reference pictures.
最后的调整部分是后处理。为了使画面更加透明，我根据之前的照明在最后阶段打开了曝光，并将参数设置为0.35的最小亮度和1的最大亮度。这时，你可以看到场景的整体亮度更加透明和真实。这是一个相对关键的步骤。所以我通常会在最后打开曝光，而不是预先打开。
下一步是充分利用早期的参考图片，在后期处理中使用色彩校正模块进行顺序调整，最终的色彩还原接近参考图片呈现的暖色调。
Summary
Finally, I would like to summarize the following points
总结
最后，我想总结以下几点
The biggest headache for me at present is that LUMEN will render in real-time in the dark part after rendering, causing noise and abnormal display. I speculate that this should be caused by the performance of the graphics card. This work uses an RTX 2060 graphics card. Under the LUMEN parameter of post-processing, no matter how high the precision is set, this problem cannot be solved. So I resolutely bought the expensive RTX308TI, for the sake of art. After arrival, I will perform video rendering of the scene again, and strive to improve the accuracy to the best
目前最令我头疼的是，LUMEN在渲染后会在黑暗部分实时渲染，造成噪点和显示异常。我推测这应该是由显卡的性能引起的。本作品使用 RTX 2060 显卡。在后处理的LUMEN参数下，无论精度设置得有多高，这个问题都无法解决。于是我毅然决然地买了昂贵的RTX308TI，为了艺术。到达后，我将再次对场景进行视频渲染，并努力将准确性提高到最佳水平
Secondly, the ground is mixed with the material of Megascans this time, and the Use puddle layer is turned on on the ground, but I found that the effect of specular reflection is not very ideal. And the plane reflection didn’t work either, I’ve searched a lot of information and videos on the Internet and I can’t get a good solution, if there are friends who can tell me, thank you very much. Maybe it has something to do with the graphics card. LOL~
其次，这次地面与Megascans的材料混合在一起，并在地面上打开了使用水坑层，但我发现镜面反射的效果不是很理想。而且平面反射也没有用，我在网上搜索了很多信息和视频，我找不到一个好的解决方案，如果有朋友可以告诉我，非常感谢。也许它与显卡有关。哈哈~
There is still a lot of room for optimization in this work. For example, I don’t dare to capture the pictures behind me because those parts have not been optimized yet, and it takes more energy to deal with the details. At present, it is at most 3/2 of the completion. In the later stage, I will also refine and complete it, and regard this stage as version 1.0.
这项工作还有很大的优化空间。例如，我不敢捕捉我身后的图片，因为这些部分还没有经过优化，处理细节需要更多的精力。目前，它最多是完成的3/2。在后期阶段，我也会完善并完成它，并将此阶段视为1.0版本。
I am very grateful to the GamesArtist team for this invitation to record the whole process. In the future, I will continue to make more wonderful works, and at the same time, I will introduce the production process to share the experience with you.
In the end, I would also like to pay tribute to Wiktor Öhman, because I was very surprised and impressed by seeing his work early on.
Secondly, I want to learn from Lorenzo Drago. After his work was launched, he improved the style of the UE5 engine again and brought the realistic scenes to the extreme.
我非常感谢GamesArtist团队邀请我记录整个过程。未来，我会继续制作更多精彩的作品，同时，我会介绍制作过程，与大家分享经验。
最后，我还要向Wiktor Öhman致敬，因为很早就看到他的作品，我感到非常惊讶和印象深刻。
其次，我想向Lorenzo Drago学习。作品上线后，他再次改进了UE5引擎的风格，将逼真的场景发挥到了极致。
Wiktor Öhman
https://www.artstation.com/disting
Lorenzo Drago
https://www.artstation.com/subjectn
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