Introduction
Hello! My name is Mica Olsson and I’m currently working as a Technical Artist at Goodbye Kansas Studios in Stockholm, Sweden. I’ve always enjoyed video games and level creation as a kid, playing games and tinkering around with different level editors and game engines that were included. Such as Valve's Hammer Editor, creating maps for Counter-Strike 1.6 and Left for Dead, also Warcraft 3, Starcraft, Heroes of Might and Magic III, etc. And, of course, a lot with Bethesda's Construction Sets (The Elder Scrolls series) and Creations Kits (Fallout series). Then, I started creating my own 3D content and mods using Photoshop and Autodesk Maya, which led to Unity and Unreal Engine.
介绍
你好！我的名字是Mica Olsson，我目前在瑞典斯德哥尔摩的Goodbyed Kansas Studios担任技术艺术家。我小时候一直喜欢电子游戏和关卡创作，玩游戏，修补不同的关卡编辑器和游戏引擎。例如Valve的Hammer Editor，为Counter-Strike 1.6和Left for Dead创建地图，还有魔兽争霸3，星际争霸，英雄力量和魔法III等。当然，还有贝塞斯达的建筑套装（上古卷轴系列）和Creations Kits（辐射系列）。很多。然后，我开始使用Photoshop和Autodesk Maya创建自己的3D内容和模组，这导致了Unity和虚幻引擎。

Later on, in my late teens, my eyes opened up that this is an actual profession, so I studied a Bachelor of Arts specializing in Computer Graphics at Luleå Technical University, Sweden. With a personal focus on game art, I created my own small horror game called Contemp as a final exam project and got an internship position at Ubisoft Massive in Malmö as a Junior Environment Artist. After that, I jumped to Goodbye Kansas Studios Realtime Department in Stockholm as a Technical Artist.
后来，在我十几岁的时候，我睁开了眼睛，认为这是一个真正的职业，所以我在瑞典吕勒奥技术大学攻读了计算机图形学专业的文学学士学位。我个人专注于游戏艺术，我创建了自己的小型恐怖游戏Contemp作为期末考试项目，并在马尔默的Ubisoft Massive获得了实习职位，担任初级环境艺术家。在那之后，我跳到斯德哥尔摩的再见堪萨斯工作室实时部门担任技术美术师。



As for personal projects, I get inspired by iconic scenes from games and movies that help me remember feeling excited about traveling a world of mystique and unique designs. Also, I enjoy looking for smaller scenes planned based on time and energy I can either go for a small section or keep adding for a larger scene.

I prefer finishing a project rather than being over-ambitious and never completing it. From there, the music, sounds, and environment designs are what inspired me to rework the Seyda Neen environment.
至于个人项目，我从游戏和电影中的标志性场景中获得灵感，这些场景帮助我记住对旅行神秘和独特设计的世界感到兴奋。此外，我喜欢寻找根据时间和精力规划的较小场景，我可以选择一小部分，也可以继续添加更大的场景。

我更喜欢完成一个项目，而不是过于雄心勃勃，从不完成它。从那里开始，音乐，声音和环境设计激发了我重新设计Seyda Neen环境的灵感。



The Seyda Neen Project
To gather references, my first step was to load up the game and walk/play around in the environment to get a feel for the atmosphere and scale but also look for interesting camera angles and take screenshots of different props, foliage, buildings, both close-up and wide angles. After that, I opened up the Morrowind Construction Kit (level editor) for clean top-down screenshots, mapping out buildings and the environment's main pieces for a general match to the game environment.
赛达尼恩项目
为了收集参考资料，我的第一步是加载游戏并在环境中四处走动/玩耍，以感受氛围和规模，同时也要寻找有趣的摄像机角度，并截取不同道具，树叶，建筑物的屏幕截图，包括特写和广角。之后，我打开了Morrowind建筑工具包（关卡编辑器），以获得干净的自上而下的屏幕截图，绘制出建筑物和环境的主要部分，以便与游戏环境进行一般匹配。

更多精彩图片 请登录

更多精彩图片 请登录

更多精彩图片 请登录

When working on personal projects, my main motto is to do it for myself and enjoy it as art while trying not to overthink it by having to push technical boundaries or handcrafting everything unless that is something I wanna work for at the moment. Currently, I see Unreal Engine as a playground for ideas and Megascans acting as paint for the picture.
在从事个人项目时，我的主要座右铭是为自己做，并把它当作艺术来享受，同时尽量不要通过突破技术界限或手工制作一切来过度思考它，除非这是我现在想为之努力的事情。目前，我认为虚幻引擎是创意的游乐场，而Megascan则是图片的颜料。

Blockout and Assets
After gathering references, I blocked out the environment with Unreal's landscape tool, using basic geometric shapes to get the right scale and positions, tweaking and trying out some quick compositions with a cinematic camera and some basic lighting along the way to get direction and feel of the scene early on.
分批和资产
在收集参考资料后，我使用虚幻的横向工具屏蔽了环境，使用基本的几何形状来获得正确的比例和位置，使用电影摄像机和一些基本照明调整和尝试一些快速构图，以便尽早获得场景的方向和感觉。

Then, I started creating assets, focusing on tweaking the main landscape, having the ocean and river blocked out, and then creating the buildings. The main parts of the buildings consisted of Megascans' modular house parts with the roofs coming from the Megascans Medieval Village level, tweaked with Unreal Modeling toolkit, and detailed with smaller assets such as poles and planks.
然后，我开始创建资源，专注于调整主要景观，将海洋和河流封闭起来，然后创建建筑物。建筑物的主要部分由Megascans的模块化房屋部分组成，屋顶来自Megascans中世纪村庄关卡，使用虚幻建模工具包进行调整，并详细介绍了较小的资产，如杆子和木板。

更多精彩图片 请登录

On this project, I enjoyed a lot looking more into Unreal's latest modeling tools when working with Megascans assets to quickly edit and customize environment pieces. I used Warp and Lattice deformers to bend wooden poles and walls and quickly sculpt variations of the same asset. I also tried out Packed Level Actors that allow you to select a bunch of KitBashed pieces and easily create a Blueprint prefab that is easy to transform and rotate for good composition tweaking but also duplicate and reuse for the background buildings.
在这个项目中，在使用Megascans资源快速编辑和自定义环境片段时，我更喜欢研究虚幻引擎的最新建模工具。我使用Warp和Lattice变形器来弯曲木杆和墙壁，并快速雕刻同一资产的变化。我还尝试了打包关卡Actor，它允许您选择一堆KitBashed片段，并轻松创建蓝图预制件，该预制件易于转换和旋转，以进行良好的构图调整，还可以复制和重用背景建筑。

更多精彩图片 请登录

更多精彩图片 请登录

更多精彩图片 请登录

Also, I deformed assets using Spline Deformation Blueprint which allows you to get easy control over bending and setting the length of some foliage actors such as the tree details. I KitBashed different foliage pieces together with Spline Deformation and then combined them into a prefab which I duplicated and transformed to further dress the tree.
此外，我使用样条变形蓝图变形了资源，这使您可以轻松控制弯曲和设置某些树叶Actor的长度，例如树细节。我用样条变形将不同的树叶碎片组合在一起，然后将它们组合成一个预制件，我复制并转换以进一步装饰树。

更多精彩图片 请登录

The modeling toolkit also works well if you want to use basic shapes such as cubes and spheres to quickly sculpt shapes and attach Megascans surface materials such as specific house pieces or environment ground coverage and rocks.
如果要使用基本形状（如立方体和球体）快速雕刻形状并附加 Megascans 表面材质（如特定房屋碎片或环境地面覆盖和岩石），建模工具包也非常有效。
The Landscape
As for landscape coverage, it consisted of one main landscape material with about three different material blends, a main forest ground material with a blended mud on top for the trampled traversed parts of the town, and a stone material for main town roads. It was blended with Megascans' larger coverage assets of scanned ground modular pieces with a final layer of foliage with about two different grass densities and some extra variation grass pieces of different heights and then lastly plants, mushrooms, scattered twigs, and rocks.
景观
至于景观覆盖，它由一种具有大约三种不同材料混合物的主要景观材料组成，一种主要森林地面材料，顶部有混合泥浆，用于城镇的践踏部分，以及一种用于主要城镇道路的石材。它与Megascans的扫描地面模块化碎片的更大覆盖范围资产混合在一起，最后一层叶子具有大约两种不同的草密度和一些不同高度的额外变化草块，最后是植物，蘑菇，散落的树枝和岩石。

更多精彩图片 请登录

更多精彩图片 请登录

The water shader is pretty basic, it uses two water Normal Maps overlaid with different Panner animations added together for some movement, a Depth Fade node controls opacity and fade distance towards geometry edges for a smooth transition blend and simulated depth and Water Color parameter with a fresnel effect on the Refraction.
水着色器非常基本，它使用两个水法线贴图叠加不同的Panner动画进行一些移动，深度淡入淡出节点控制不透明度和向几何边缘的淡入淡出距离以实现平滑过渡混合，并模拟深度和水彩参数，并在折射上具有菲涅耳效应。

更多精彩图片 请登录

Fargoth
To create Fargoth, I tried out the latest Mesh to Metahuman feature which felt pushed to the limit by using the actual face geometry and Albedo texture from Morrowind as a scan base (very low poly and texture resolution) which I cleaned up and smoothed a bit in Maya before processing.
法哥特
为了创建Fargoth，我尝试了最新的Mesh to Metahuman功能，通过使用Morrowind的实际面部几何体和反照率纹理作为扫描基础（非常低的多边形和纹理分辨率），我在处理之前在Maya中清理并平滑了一下，感觉被推向了极限。

更多精彩图片 请登录

Here’s the base “scan” head mesh with texture as a Template Mesh in Unreal Engine:
以下是虚幻引擎中以纹理作为模板网格体的基本“扫描”头部网格体：

更多精彩图片 请登录

Here’s the rough result in Metahuman Creator:
以下是《超人类造物主》的粗略结果：

更多精彩图片 请登录

The magic happens when you add skin and hair and then sculpt and blend facial features based on other faces and tweak the intensities of the base head scan in MetaHuman. For me, this workflow helped to get the main facial features and head shape closer to the reference.

The final result in MetaHuman Creator:
当您添加皮肤和头发，然后根据其他面部雕刻和混合面部特征并调整MetaHuman中基础头部扫描的强度时，神奇的事情就会发生。对我来说，这个工作流程有助于使主要的面部特征和头部形状更接近参考。

MetaHuman Creator的最终结果：

更多精彩图片 请登录

And here's the in-engine model that I got after tweaking the eyes and shaders back in Unreal Engine:
以下是我在虚幻引擎中调整眼睛和着色器后获得的引擎内模型：

更多精彩图片 请登录

Lighting and Composition
When working with lighting and composition I have a couple of cinematic cameras already set up for screenshots to always compare changes and results.
照明和构图
在处理照明和构图时，我已经为屏幕截图设置了几台电影摄像机，以便始终比较更改和结果。

The lighting setup is rather simple, it is based on a Directional Light as the main light source and a Sky Light for ambient taking information from a Sky Atmosphere. On top of that, there’s an Exponential Height Fog and Post-Process for grading. On the final renders, I used Ray Tracing to tweak the settings a bit more when rendering. The reflection method was Lumen based.
照明设置相当简单，它基于定向光作为主光源和天空光，用于从天空大气中获取信息的环境光。最重要的是，有一个指数高度雾和后验过程用于分级。在最终渲染中，我在渲染时使用光线追踪对设置进行了更多的调整。反射方法是基于流明的。

There were also additional Point Lights and Rectangular Lights to make certain details pop more or fake some more GI on darker areas for better control. I used Fog Cards in the background to get more separation and atmosphere control based on game references.

As for post-processing and grading, I tweaked the temperature, added some contrast, had a LUT with about 20% intensity, slight film grain, vignette, and chromatic aberration towards edges. I always used a Convolution-based bloom method as I think the standard method is a bit hazy.
还有额外的点光源和矩形光源，以使某些细节更加突出，或者在较暗的区域伪造更多的GI，以便更好地控制。我在后台使用了雾卡，根据游戏参考获得了更多的分离和气氛控制。

至于后期处理和分级，我调整了温度，增加了一些对比度，具有约20%强度的LUT，轻微的胶片颗粒，晕影和边缘的色差。我总是使用基于卷积的绽放方法，因为我认为标准方法有点模糊。

更多精彩图片 请登录

Conclusion
The biggest challenge is always to keep going on the project as you always compare it to others and early on it's difficult to see the end result and vision. But as long as you got some inspirational cinematic cameras and a basic light setup, taking screenshots during development helps to stay motivated and see progress focused on the final images as the result. Keep it simple and focus on the enjoyable parts and don't spend time on stuff that won't be close up such as background details and shapes. Remember, color does more than high detailed assets.

I recommend you to plan your projects to something that you will finalize, keep the core idea simple and small but also modular where you can extend or limit the scope during production, and always have references and progress screenshots to stay motivated and only compare to others if it keeps you inspired to push yourself further.
结论
最大的挑战始终是继续推进项目，因为您总是将其与其他项目进行比较，并且在早期很难看到最终结果和愿景。但是，只要您拥有一些鼓舞人心的电影摄影机和基本的灯光设置，在开发过程中截取屏幕截图就有助于保持动力，并因此看到进度集中在最终图像上。保持简单，专注于令人愉快的部分，不要花时间在不会特写的东西上，如背景细节和形状。请记住，颜色的作用不仅仅是高细节资产。

我建议你把你的项目规划成你将要完成的东西，保持核心思想简单和小，但也模块化，你可以在生产过程中扩展或限制范围，并始终有参考和进度截图，以保持动力，只有当它让你受到启发，进一步推动自己时，才能与其他人进行比较。

Introduction
Hello! My name is Mica Olsson and I’m currently working as a Technical Artist at Goodbye Kansas Studios in Stockholm, Sweden. I’ve always enjoyed video games and level creation as a kid, playing games and tinkering around with different level editors and game engines that were included. Such as Valve's Hammer Editor, creating maps for Counter-Strike 1.6 and Left for Dead, also Warcraft 3, Starcraft, Heroes of Might and Magic III, etc. And, of course, a lot with Bethesda's Construction Sets (The Elder Scrolls series) and Creations Kits (Fallout series). Then, I started creating my own 3D content and mods using Photoshop and Autodesk Maya, which led to Unity and Unreal Engine.
介绍
你好！我的名字是Mica Olsson，我目前在瑞典斯德哥尔摩的Goodbyed Kansas Studios担任技术艺术家。我小时候一直喜欢电子游戏和关卡创作，玩游戏，修补不同的关卡编辑器和游戏引擎。例如Valve的Hammer Editor，为Counter-Strike 1.6和Left for Dead创建地图，还有魔兽争霸3，星际争霸，英雄力量和魔法III等。当然，还有贝塞斯达的建筑套装（上古卷轴系列）和Creations Kits（辐射系列）。很多。然后，我开始使用Photoshop和Autodesk Maya创建自己的3D内容和模组，这导致了Unity和虚幻引擎。

Later on, in my late teens, my eyes opened up that this is an actual profession, so I studied a Bachelor of Arts specializing in Computer Graphics at Luleå Technical University, Sweden. With a personal focus on game art, I created my own small horror game called Contemp as a final exam project and got an internship position at Ubisoft Massive in Malmö as a Junior Environment Artist. After that, I jumped to Goodbye Kansas Studios Realtime Department in Stockholm as a Technical Artist.
后来，在我十几岁的时候，我睁开了眼睛，认为这是一个真正的职业，所以我在瑞典吕勒奥技术大学攻读了计算机图形学专业的文学学士学位。我个人专注于游戏艺术，我创建了自己的小型恐怖游戏Contemp作为期末考试项目，并在马尔默的Ubisoft Massive获得了实习职位，担任初级环境艺术家。在那之后，我跳到斯德哥尔摩的再见堪萨斯工作室实时部门担任技术美术师。



As for personal projects, I get inspired by iconic scenes from games and movies that help me remember feeling excited about traveling a world of mystique and unique designs. Also, I enjoy looking for smaller scenes planned based on time and energy I can either go for a small section or keep adding for a larger scene.

I prefer finishing a project rather than being over-ambitious and never completing it. From there, the music, sounds, and environment designs are what inspired me to rework the Seyda Neen environment.
至于个人项目，我从游戏和电影中的标志性场景中获得灵感，这些场景帮助我记住对旅行神秘和独特设计的世界感到兴奋。此外，我喜欢寻找根据时间和精力规划的较小场景，我可以选择一小部分，也可以继续添加更大的场景。

我更喜欢完成一个项目，而不是过于雄心勃勃，从不完成它。从那里开始，音乐，声音和环境设计激发了我重新设计Seyda Neen环境的灵感。



The Seyda Neen Project
To gather references, my first step was to load up the game and walk/play around in the environment to get a feel for the atmosphere and scale but also look for interesting camera angles and take screenshots of different props, foliage, buildings, both close-up and wide angles. After that, I opened up the Morrowind Construction Kit (level editor) for clean top-down screenshots, mapping out buildings and the environment's main pieces for a general match to the game environment.
赛达尼恩项目
为了收集参考资料，我的第一步是加载游戏并在环境中四处走动/玩耍，以感受氛围和规模，同时也要寻找有趣的摄像机角度，并截取不同道具，树叶，建筑物的屏幕截图，包括特写和广角。之后，我打开了Morrowind建筑工具包（关卡编辑器），以获得干净的自上而下的屏幕截图，绘制出建筑物和环境的主要部分，以便与游戏环境进行一般匹配。

更多精彩图片 请登录

更多精彩图片 请登录

更多精彩图片 请登录

When working on personal projects, my main motto is to do it for myself and enjoy it as art while trying not to overthink it by having to push technical boundaries or handcrafting everything unless that is something I wanna work for at the moment. Currently, I see Unreal Engine as a playground for ideas and Megascans acting as paint for the picture.
在从事个人项目时，我的主要座右铭是为自己做，并把它当作艺术来享受，同时尽量不要通过突破技术界限或手工制作一切来过度思考它，除非这是我现在想为之努力的事情。目前，我认为虚幻引擎是创意的游乐场，而Megascan则是图片的颜料。

Blockout and Assets
After gathering references, I blocked out the environment with Unreal's landscape tool, using basic geometric shapes to get the right scale and positions, tweaking and trying out some quick compositions with a cinematic camera and some basic lighting along the way to get direction and feel of the scene early on.
分批和资产
在收集参考资料后，我使用虚幻的横向工具屏蔽了环境，使用基本的几何形状来获得正确的比例和位置，使用电影摄像机和一些基本照明调整和尝试一些快速构图，以便尽早获得场景的方向和感觉。

Then, I started creating assets, focusing on tweaking the main landscape, having the ocean and river blocked out, and then creating the buildings. The main parts of the buildings consisted of Megascans' modular house parts with the roofs coming from the Megascans Medieval Village level, tweaked with Unreal Modeling toolkit, and detailed with smaller assets such as poles and planks.
然后，我开始创建资源，专注于调整主要景观，将海洋和河流封闭起来，然后创建建筑物。建筑物的主要部分由Megascans的模块化房屋部分组成，屋顶来自Megascans中世纪村庄关卡，使用虚幻建模工具包进行调整，并详细介绍了较小的资产，如杆子和木板。

更多精彩图片 请登录

On this project, I enjoyed a lot looking more into Unreal's latest modeling tools when working with Megascans assets to quickly edit and customize environment pieces. I used Warp and Lattice deformers to bend wooden poles and walls and quickly sculpt variations of the same asset. I also tried out Packed Level Actors that allow you to select a bunch of KitBashed pieces and easily create a Blueprint prefab that is easy to transform and rotate for good composition tweaking but also duplicate and reuse for the background buildings.
在这个项目中，在使用Megascans资源快速编辑和自定义环境片段时，我更喜欢研究虚幻引擎的最新建模工具。我使用Warp和Lattice变形器来弯曲木杆和墙壁，并快速雕刻同一资产的变化。我还尝试了打包关卡Actor，它允许您选择一堆KitBashed片段，并轻松创建蓝图预制件，该预制件易于转换和旋转，以进行良好的构图调整，还可以复制和重用背景建筑。

更多精彩图片 请登录

更多精彩图片 请登录

更多精彩图片 请登录

Also, I deformed assets using Spline Deformation Blueprint which allows you to get easy control over bending and setting the length of some foliage actors such as the tree details. I KitBashed different foliage pieces together with Spline Deformation and then combined them into a prefab which I duplicated and transformed to further dress the tree.
此外，我使用样条变形蓝图变形了资源，这使您可以轻松控制弯曲和设置某些树叶Actor的长度，例如树细节。我用样条变形将不同的树叶碎片组合在一起，然后将它们组合成一个预制件，我复制并转换以进一步装饰树。

更多精彩图片 请登录

The modeling toolkit also works well if you want to use basic shapes such as cubes and spheres to quickly sculpt shapes and attach Megascans surface materials such as specific house pieces or environment ground coverage and rocks.
如果要使用基本形状（如立方体和球体）快速雕刻形状并附加 Megascans 表面材质（如特定房屋碎片或环境地面覆盖和岩石），建模工具包也非常有效。
The Landscape
As for landscape coverage, it consisted of one main landscape material with about three different material blends, a main forest ground material with a blended mud on top for the trampled traversed parts of the town, and a stone material for main town roads. It was blended with Megascans' larger coverage assets of scanned ground modular pieces with a final layer of foliage with about two different grass densities and some extra variation grass pieces of different heights and then lastly plants, mushrooms, scattered twigs, and rocks.
景观
至于景观覆盖，它由一种具有大约三种不同材料混合物的主要景观材料组成，一种主要森林地面材料，顶部有混合泥浆，用于城镇的践踏部分，以及一种用于主要城镇道路的石材。它与Megascans的扫描地面模块化碎片的更大覆盖范围资产混合在一起，最后一层叶子具有大约两种不同的草密度和一些不同高度的额外变化草块，最后是植物，蘑菇，散落的树枝和岩石。

更多精彩图片 请登录

更多精彩图片 请登录

The water shader is pretty basic, it uses two water Normal Maps overlaid with different Panner animations added together for some movement, a Depth Fade node controls opacity and fade distance towards geometry edges for a smooth transition blend and simulated depth and Water Color parameter with a fresnel effect on the Refraction.
水着色器非常基本，它使用两个水法线贴图叠加不同的Panner动画进行一些移动，深度淡入淡出节点控制不透明度和向几何边缘的淡入淡出距离以实现平滑过渡混合，并模拟深度和水彩参数，并在折射上具有菲涅耳效应。

更多精彩图片 请登录

Fargoth
To create Fargoth, I tried out the latest Mesh to Metahuman feature which felt pushed to the limit by using the actual face geometry and Albedo texture from Morrowind as a scan base (very low poly and texture resolution) which I cleaned up and smoothed a bit in Maya before processing.
法哥特
为了创建Fargoth，我尝试了最新的Mesh to Metahuman功能，通过使用Morrowind的实际面部几何体和反照率纹理作为扫描基础（非常低的多边形和纹理分辨率），我在处理之前在Maya中清理并平滑了一下，感觉被推向了极限。

更多精彩图片 请登录

Here’s the base “scan” head mesh with texture as a Template Mesh in Unreal Engine:
以下是虚幻引擎中以纹理作为模板网格体的基本“扫描”头部网格体：

更多精彩图片 请登录

Here’s the rough result in Metahuman Creator:
以下是《超人类造物主》的粗略结果：

更多精彩图片 请登录

The magic happens when you add skin and hair and then sculpt and blend facial features based on other faces and tweak the intensities of the base head scan in MetaHuman. For me, this workflow helped to get the main facial features and head shape closer to the reference.

The final result in MetaHuman Creator:
当您添加皮肤和头发，然后根据其他面部雕刻和混合面部特征并调整MetaHuman中基础头部扫描的强度时，神奇的事情就会发生。对我来说，这个工作流程有助于使主要的面部特征和头部形状更接近参考。

MetaHuman Creator的最终结果：

更多精彩图片 请登录

And here's the in-engine model that I got after tweaking the eyes and shaders back in Unreal Engine:
以下是我在虚幻引擎中调整眼睛和着色器后获得的引擎内模型：

更多精彩图片 请登录

Lighting and Composition
When working with lighting and composition I have a couple of cinematic cameras already set up for screenshots to always compare changes and results.
照明和构图
在处理照明和构图时，我已经为屏幕截图设置了几台电影摄像机，以便始终比较更改和结果。

The lighting setup is rather simple, it is based on a Directional Light as the main light source and a Sky Light for ambient taking information from a Sky Atmosphere. On top of that, there’s an Exponential Height Fog and Post-Process for grading. On the final renders, I used Ray Tracing to tweak the settings a bit more when rendering. The reflection method was Lumen based.
照明设置相当简单，它基于定向光作为主光源和天空光，用于从天空大气中获取信息的环境光。最重要的是，有一个指数高度雾和后验过程用于分级。在最终渲染中，我在渲染时使用光线追踪对设置进行了更多的调整。反射方法是基于流明的。

There were also additional Point Lights and Rectangular Lights to make certain details pop more or fake some more GI on darker areas for better control. I used Fog Cards in the background to get more separation and atmosphere control based on game references.

As for post-processing and grading, I tweaked the temperature, added some contrast, had a LUT with about 20% intensity, slight film grain, vignette, and chromatic aberration towards edges. I always used a Convolution-based bloom method as I think the standard method is a bit hazy.
还有额外的点光源和矩形光源，以使某些细节更加突出，或者在较暗的区域伪造更多的GI，以便更好地控制。我在后台使用了雾卡，根据游戏参考获得了更多的分离和气氛控制。

至于后期处理和分级，我调整了温度，增加了一些对比度，具有约20%强度的LUT，轻微的胶片颗粒，晕影和边缘的色差。我总是使用基于卷积的绽放方法，因为我认为标准方法有点模糊。

更多精彩图片 请登录

Conclusion
The biggest challenge is always to keep going on the project as you always compare it to others and early on it's difficult to see the end result and vision. But as long as you got some inspirational cinematic cameras and a basic light setup, taking screenshots during development helps to stay motivated and see progress focused on the final images as the result. Keep it simple and focus on the enjoyable parts and don't spend time on stuff that won't be close up such as background details and shapes. Remember, color does more than high detailed assets.

I recommend you to plan your projects to something that you will finalize, keep the core idea simple and small but also modular where you can extend or limit the scope during production, and always have references and progress screenshots to stay motivated and only compare to others if it keeps you inspired to push yourself further.
结论
最大的挑战始终是继续推进项目，因为您总是将其与其他项目进行比较，并且在早期很难看到最终结果和愿景。但是，只要您拥有一些鼓舞人心的电影摄影机和基本的灯光设置，在开发过程中截取屏幕截图就有助于保持动力，并因此看到进度集中在最终图像上。保持简单，专注于令人愉快的部分，不要花时间在不会特写的东西上，如背景细节和形状。请记住，颜色的作用不仅仅是高细节资产。

我建议你把你的项目规划成你将要完成的东西，保持核心思想简单和小，但也模块化，你可以在生产过程中扩展或限制范围，并始终有参考和进度截图，以保持动力，只有当它让你受到启发，进一步推动自己时，才能与其他人进行比较。