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Introduction
Hello! I’m Rex Lucila. I am a Jr. 3D artist from the Philippines and an alumnus of Vertex School’s Game Artist Bootcamp (specializing in Environment Art). Before Vertex, I got my Bachelor’s Degree in Architecture. The architecture industry was not for me though. One of, if not the only thing I enjoyed was the 3D modeling and visualization. Over the years, I would slowly research and explore other career paths along that vein. It was when I played Uncharted 5 and Horizon Zero Dawn that I fell in love with the beauty and immersion of game worlds. I then realized that I could be a 3D Artist. I still wasn’t fully convinced yet, so I still kept going with college.
介绍
你好！我是Rex Lucila。我是来自菲律宾的Jr.3D艺术家，也是Vertex School游戏艺术家训练营（专门从事环境艺术）的校友。在Vertex之前，我获得了建筑学学士学位。不过，建筑行业并不适合我。其中，如果不是唯一喜欢的话，那就是3D建模和可视化。多年来，我会沿着这条脉络慢慢研究和探索其他职业道路。当我玩《神秘海域5》和《地平线：零之曙光》时，我爱上了游戏世界的美丽和沉浸感。然后我意识到我可以成为一名3D艺术家。我仍然不完全相信，所以我仍然继续上大学。
After graduating with only a year of work experience, I was no longer happy where I was. I tried my best to push through, but it had taken a toll on my mental health. I quit and started learning 3D modeling, lighting, etc., on Pluralsight. To test my new skills after a few months, I worked on 2 projects – Wall-E and Count Dooku’s Lightsaber. I was satisfied with the result though it felt too slow. I wasn’t getting where I needed to be at a reliable pace. One thing lead to another and I stumbled upon Vertex School. The thing that stood out to me about their Bootcamp was that they let us choose what to specialize in – characters or environments. Aside from that, it was only 9 months; long enough for deep learning but short enough that I could start applying for jobs within a year.
毕业时只有一年的工作经验，我不再快乐。我尽力坚持下去，但它对我的心理健康造成了影响。我辞职了，开始在Pluralsight上学习3D建模，照明等。几个月后，为了测试我的新技能，我参与了2个项目 - Wall-E和Count Dooku的光剑。我对结果很满意，尽管它感觉太慢了。我没有以可靠的速度到达我需要的地方。一件事导致另一件事，我偶然发现了Vertex学校。他们的训练营最让我印象深刻的是，他们让我们选择专攻什么——角色或环境。除此之外，只有9个月。对于深度学习来说足够长，但足够短，我可以在一年内开始申请工作。
My Pluralsight journey was roughly a year and a half, resulting in 2 good-but-could-be-better projects. Meanwhile, under Vertex School, my skills massively jumped in just 9 months. And here’s the plot twist – I got a job 3 months before graduating! With each term, I posted my works on many platforms and groups outside of ArtStation to increase my exposure – Facebook, Instagram, and Linkedin. At the time, it felt pointless because of minimal likes and low engagement overall. It paid off in the end though! It was in one of those Facebook groups where the recruiter found one of my works, and eventually my ArtStation portfolio. And that is how I became a Jr. 3D Artist working with assets in Augmented Reality (AR).
我的 Pluralsight 之旅大约是一年半，产生了 2 个优秀但可以更好的项目。与此同时，在Vertex学校，我的技能在短短9个月内大幅提升。这是情节转折 - 我在毕业前3个月找到了一份工作！每个学期，我都会在ArtStation以外的许多平台和群组上发布我的作品，以增加我的曝光率 - Facebook，Instagram和LinkedIn。当时，由于最小的喜欢和整体参与度低，它感觉毫无意义。不过，它最终得到了回报！正是在其中一个Facebook群组中，招聘人员找到了我的一件作品，并最终找到了我的ArtStation作品集。这就是我成为一名Jr.3D艺术家的方式，在增强现实（AR）中处理资产。
Studying at Vertex School
The Bootcamp is split into 3 terms, 3 months each. Term 1 has us focusing on developing our foundation skills – 3D modeling, sculpting, texturing, lighting, presentation, portfolio-building, etc. It was here that I learned the most. In just the first month, I tripled my knowledge about game art in an instant! For the capstone project, I wanted to go for something challenging, so I picked a Piano Accordion. Challenging, but worth it!
在顶点学校学习
训练营分为3个学期，每个学期3个月。第1学期让我们专注于发展我们的基础技能 - 3D建模，雕刻，纹理，照明，演示，投资组合构建等。正是在这里，我学到了最多。在第一个月，我很快就将我对游戏艺术的了解增加了两倍！对于顶点项目， 我想去一些具有挑战性的事情， 所以我选择了一个钢琴手风琴.具有挑战性，但值得！
For those taking the environment specialization, Term 2 was about creating a modular corner building. Here, we were encouraged to experiment a lot to help expand our skillset to prepare for Term 3. My project was set in Amsterdam. The more I worked on it, the more ambitious I got, and the bigger the scope of the project ended up becoming. Again, I wanted to challenge myself. The result could have been better, but it was still worth it.
对于那些从事环境专业化的人来说，第2学期是关于创建一个模块化的角落建筑。在这里，我们被鼓励进行大量实验，以帮助扩展我们的技能组合，为第3学期做准备。我的项目是在阿姆斯特丹拍摄的。我做的越多，我就越雄心勃勃，项目的范围就越大。再一次，我想挑战自己。结果本来可以更好，但仍然是值得的。
Term 3 was the most flexible of all. We could choose our project. We could design our scene or find a concept art as a base. This was where we would do less experimenting and focus on creating a beast of a portfolio piece. Although, the approach I took yet again was to challenge myself. It was the final capstone, the cherry on top of my future portfolio, so I took a high-risk, high-reward approach again. The process didn’t go smoothly as planned, but I surely grew and outdid myself despite that.
第3学期是最灵活的。我们可以选择我们的项目。我们可以设计我们的场景或找到一个概念艺术作为基础。这就是我们减少实验并专注于创建投资组合的野兽的地方。虽然，我再次采取的方法是挑战自己。这是最后的顶点，是我未来投资组合顶部的樱桃，所以我再次采取了高风险，高回报的方法。这个过程并没有按计划顺利进行，但尽管如此，我肯定成长并超越了自己。
Studying the Concept Art
The concept I chose was titled Workshop, created by Xavier Ward. It’s as if I always find something new when looking at it. The first thing Jacob suggested doing when I decided to do this was to have backups if I were to push through with this concept. Break the scene down into different levels and plan out camera angles that would frame the scene in different sizes. My ultimate goal was to do the full concept, but if I couldn’t finish it, then I could frame it in a way that shows the scene to be smaller.
学习概念艺术
我选择的概念名为“工作室”，由Xavier Ward创建。就好像我总是在看它时发现一些新的东西。当我决定这样做时，Jacob建议做的第一件事就是如果我要推进这个概念，就要有备份。将场景分解为不同的级别，并规划出摄像机角度，这些角度将场景框定为不同的大小。我的最终目标是完成完整的概念，但如果我不能完成它，那么我可以以一种显示场景更小的方式构建它。
After that, I would start studying the concept and break it down. Luckily, Xavier’s ArtStation post had some background story to his concept. So now it was time to start researching. First was the setting of the scene. It had a steampunk aesthetic to it, but if I were to break it down further, it seemed to lean towards dieselpunk, a subcategory of steampunk. After a bit more digging, I roughly established the scene to be in the Victorian era during a world war. This helped me find more accurate references moving forward.
在那之后，我会开始研究这个概念并分解它。幸运的是，泽维尔的ArtStation帖子有一些关于他的概念的背景故事。所以现在是时候开始研究了。首先是场景的设置。它有一种蒸汽朋克的美学，但如果我进一步分解它，它似乎倾向于柴油朋克，蒸汽朋克的一个子类别。经过一番挖掘，我大致确定了维多利亚时代世界大战时期的场景。这有助于我找到更准确的参考资料。
Now that the general period and location were established, I started gathering references for the assets themselves. For the architectural assets, I searched for manors (and castles when I had a hard time looking for stone walls). I also explored the Victorian Era for furniture. When I was searching for them, I came across the ‘cylinder desk’ design. It wasn’t in the original concept, but I added it to give a bit more flair. That prop was actually what solidified my 2nd camera angle (the cluttered scene). Finding references for all the props was a grind, but Jacob would always say that planning for everything goes a long way (or something along those lines). I tried to collect as many references per prop, and because there were a lot of props, I created separate PureRef files to keep things organized.
现在，一般时期和位置已经确定，我开始收集资产本身的参考资料。对于建筑资产，我搜索了庄园（以及很难找到石墙的城堡）。我还探索了维多利亚时代的家具。当我在寻找它们时，我遇到了“圆柱形办公桌”的设计。它不在最初的概念中，但我添加它是为了提供更多的天赋。那个道具实际上巩固了我的第二个摄像机角度（杂乱的场景）。为所有道具寻找参考资料是一件苦差事，但雅各布总是说，计划一切都有很长的路要走（或类似的东西）。我试图收集每个道具尽可能多的引用，因为有很多道具，所以我创建了单独的PureRef文件来保持事情井井有条。
Blocking Out the Scene
The original concept art has only one angle. That meant that the main camera angle was set already. The entire scene would be created around that one shot. So first, I started blocking the sizes of the architectural pieces to get a feel for the scale. I adjusted my perspective camera settings (focal length) in Maya so I know how the blockout would look in Unreal. It was useful because I could make changes to the mesh in real-time rather than keep moving between Maya and Unreal. I wanted to get the camera angle as close to the concept art as possible but since the concept art is 2D media, discrepancies in perspective and scale were encountered. The wheelchair was my main focus for the scale and proportion since it is the most reliable when it comes to real-world dimensions. My first iteration of the scene blockout was bigger than the final output. In terms of scale, it looked good in general but I decided to shrink it down a bit eventually. I wanted the lab to have less than ideal space for the wheelchair to move around. Plus, a smaller scene meant less clutter to fill it with! It took a bit of trial and error, but I was able to get the blockout where I wanted it.
遮挡场景
原来的概念艺术只有一个角度。这意味着主摄像机角度已经设置好了。整个场景将围绕这一个镜头创建。因此，首先，我开始阻止建筑作品的大小，以了解规模。我在Maya中调整了透视摄像机设置（焦距），以便我知道遮挡在虚幻引擎中的外观。它很有用，因为我可以实时更改网格，而不是在Maya和虚幻之间移动。我想让相机角度尽可能接近概念艺术，但由于概念艺术是2D媒体，因此在视角和比例上遇到了差异。轮椅是我的主要关注比例和比例，因为它在现实世界的尺寸方面是最可靠的。我的第一次场景遮挡迭代比最终输出更大。就规模而言，它总体上看起来不错，但我最终决定将其缩小一点。我希望实验室有不太理想的空间让轮椅四处走动。此外，较小的场景意味着填充它的杂乱更少！这需要一些尝试和错误，但我能够将封锁放在我想要的地方。
Once that first camera angle was set up, I would bring them to Unreal, assemble them, and copy the camera angle. I assign all my materials a simple medium-grey color so I can see the highlights and shadows properly. Now I started doing block-out proxies for the hero props and other big assets. The blockout phase was important not just for scale, but it makes it easier to put updated meshes into the scene and see how it looks. While I was doing this, I also started doing a quick lighting pass. It was important for me to do a good job at lighting this time around because that was the biggest issue in my Term 2 Capstone. I would keep making adjustments now and then as I worked on each phase of the project.
一旦设置了第一个摄像机角度，我就会把它们带到虚幻引擎，组装它们，然后复制摄像机角度。我为所有材质分配了简单的中灰色，以便可以正确查看高光和阴影。现在我开始为英雄道具和其他大资产做块代理。遮挡阶段不仅对比例很重要，而且可以更轻松地将更新的网格放入场景中并查看其外观。在我这样做的时候，我也开始做一个快速的照明通行证。这次在照明方面做好工作对我来说很重要，因为这是我第2学期Capstone中最大的问题。我会不时地进行调整，因为我在项目的每个阶段工作。
As early as this stage, I started looking for extra camera angles now and then. Those extra angles helped me see the scene more as an environment rather than a painting. As the scene developed, I would find a few more nice angles. Sadly, there were a few shots that I loved but didn’t make it to the end.
早在这个阶段，我就开始不时地寻找额外的相机角度。这些额外的角度帮助我将场景更多地视为一个环境，而不是一幅画。随着场景的发展，我会找到一些更好的角度。可悲的是，有一些镜头我喜欢，但没有走到最后。
The Modeling Phase
Now that I blocked everything out, it was time to start the grind. Due to the sheer amount of props in my scene, I went for a mid poly workflow for everything but the Automaton – block out, low poly, mid poly, UV, ready for texturing. But there were 3 props that I struggled with in the modeling phase – the automaton, blueprints on the drawing board, and the carpets. Coming from an architectural background, I have an affinity for dimensions and details, like hard surface modeling. These 3 props have their forms of organic-ness.
建模阶段
现在我把所有东西都屏蔽了，是时候开始磨难了。由于场景中的道具数量庞大，我选择了除Automatoron之外的所有内容的中多边形工作流程 - 块出，低多边形，中多边形，UV，准备纹理。但是在建模阶段，我有3个道具很挣扎 - 自动机，绘图板上的蓝图和地毯。我来自建筑背景，对尺寸和细节有亲和力，比如硬表面建模。这3道具有其有机性的形式。
I started with the automaton which was the main focus of the scene. It was hard to determine the actual shape of it, so I had to look for lots of references on mechs and drones. Because it was vague, I had a bit of freedom to construct it. Due to its roundness with details, approaching it was tricky about the topology. I decided to try out using NURBs. I only used it to get the base shape, then I adjusted the topology later on. The legs, although much more in my wheelhouse, took me a while to do as well. I took a while to figure out the moving parts, so again. I just made one leg, then duplicated them around. I made sure to adjust the pivot points properly of each leg part so I could tweak each slightly.
我从自动机开始，这是场景的主要焦点。很难确定它的实际形状，所以我不得不寻找很多关于机甲和无人机的参考资料。因为它很模糊，所以我有一点自由来构建它。由于它对细节的圆润性，接近它对拓扑结构很棘手。我决定尝试使用NURBs。我只用它来获得基本形状，然后我稍后调整了拓扑结构。腿，虽然在我的驾驶室里要多得多，但我也花了一段时间才做到。我花了一段时间才弄清楚活动部件，所以又一次。我只是做了一条腿，然后复制它们。我确保正确调整每个腿部的枢轴点，以便我可以稍微调整每个枢轴点。
Next was the blueprints on the board. I wanted them to weigh them hanging. When I tried modeling them by hand, I got close, but it was still off. So I tried something new again. I tried making them through nCloth simulations. I did have to do them in batches because my laptop couldn’t handle multiple simulations at the same time.
The carpets were approached with nCloth as well. This was trickier though because I need to get some nice folds. Simply falling wasn’t going to do it. What I did was add some transform constraints to some vertices, essentially like I’m holding the rug as it slowly falls. Then, I would remove those constraints mid-way, watch the rug land, and hope it creases nicely. This had a lot of trial and error. Once I got a nice base, I just extruded them, did a quick auto-retopology on it, and cleaned it up. And there you go!
接下来是董事会上的蓝图。我想让他们称一下他们挂着的重量。当我尝试手工建模时，我接近了，但它仍然关闭。所以我又尝试了一些新的东西。我试图通过nCloth模拟来制作它们。我确实必须分批完成它们，因为我的笔记本电脑无法同时处理多个模拟。
地毯也用nCloth接近。虽然这更棘手，因为我需要得到一些漂亮的褶皱。简单地摔倒是行不通的。我所做的是为一些顶点添加一些变换约束，基本上就像我拿着地毯慢慢落下一样。然后，我会在中途消除这些限制，看着地毯着陆，并希望它能很好地折痕。这有很多试验和错误。一旦我得到了一个漂亮的基础，我就会挤压它们，对它进行快速的自动重新拓扑，然后清理它。你去吧！
Texturing
The texturing and pre-texturing stage was actually where my timeline got disrupted. It was around this time that I was offered the job. I was honestly dazed for a few days because it happened so fast! Also (in other unrelated events), I would go on to get sick for a week and have a few minor recurring health issues making it hard to work consistently. Given the situation, I had to cut corners at this stage, mainly focusing on what was most prominent in camera shots.
纹理
纹理和纹理前阶段实际上是我的时间线被打乱的地方。大约在这个时候，我得到了这份工作。老实说，我茫然了几天，因为它发生得太快了！此外（在其他不相关的事件中），我会继续生病一周，并有一些轻微的反复出现的健康问题，使得很难持续工作。鉴于这种情况，我不得不在这个阶段偷工减料，主要关注相机镜头中最突出的地方。
The order in which I did the texturing was going from big to small. I did the first pass on the tileables (walls, floor, and arch) and also the automaton. They weren’t detailed yet since they just need to set the base quality for the rest of the props. After that, I drew a board, rugs, and a bookshelf, which took up a lot of camera space. Just like that, I would move on to smaller and smaller props until I textured everything I needed to.
我做纹理的顺序是从大到小。我对瓷砖（墙壁，地板和拱门）以及自动机进行了第一次传递。它们还没有详细说明，因为它们只需要为其余的道具设置基本质量。之后，我画了一块板子，地毯和一个书架，这占用了大量的相机空间。就这样，我会继续使用越来越小的道具，直到我制作了我需要的一切纹理。
The floor used Quixel textures to save time. I didn’t even put much detail or variation on them since the props drew much more attention. The weird thing is that the wall, archway, and window arches use the same texture but are applied differently. Initially, I planned on Quixel tileable for the wall, but I found it easier to make my own so I could easily implement them onto the arch and windows. So basically, I textured the arch first and made it a smart material. After that, I would bake a trim sheet, apply that smart material to it, and then put it on the walls and window arches. It was a roundabout way to do it but it works!
地板使用Quixel纹理来节省时间。我甚至没有对它们进行太多细节或变化，因为这些道具引起了更多的关注。奇怪的是，墙壁，拱门和窗户拱门使用相同的纹理，但应用方式不同。最初，我计划在Quixel上铺瓷砖用于墙壁，但我发现制作自己的模板更容易，这样我就可以很容易地将它们实现到拱门和窗户上。所以基本上，我首先对拱门进行了纹理处理，并使其成为一种智能材料。之后，我会烤一张装饰片，把这种聪明的材料涂在上面，然后把它放在墙壁和窗户拱门上。这是一个迂回的方式，但它有效！
The majority of my props used metal and wood. Rather than starting from scratch, I used Painter’s smart materials as a base and made my adjustments and details. Then I would just create the variations by pushing and pulling the parameters to match the prop.
Another problem I encountered was the carpets. They were too detailed for me to redo from scratch. I looked online for free carpet textures. I found a nice albedo on textures.com. It wasn’t ideal for UVs, so I brought it into Photoshop to straighten it out a bit. Then I added some quick details and texture variations, and voila! The same was done for the books. Though much easier to do from scratch, the books needed more work with the placements on the scene rather than the textures themselves. I created blueprints to create different arrangements and stacks. I then arranged those blueprints doing my best to blend them and hide the fact that those are a collection of blueprints.
我的大多数道具都使用金属和木材。我没有从头开始，而是使用Painter的智能材料作为基础，并进行了调整和细节。然后，我只需通过推拉参数来匹配 prop 来创建变体。
我遇到的另一个问题是地毯。它们太详细了，我无法从头开始重做。我在网上寻找免费的地毯纹理。我在 textures.com 上发现了一个不错的反照率。它不适合UV，所以我把它带入Photoshop中以使其更直。然后我添加了一些快速的细节和纹理变化，瞧！这些书也做了同样的事情。虽然从头开始要容易得多，但这些书需要更多的工作，包括场景上的位置，而不是纹理本身。我创建了蓝图来创建不同的排列和堆栈。然后，我安排了这些蓝图，尽我所能将它们混合在一起，并隐藏了这些是蓝图集合的事实。
The Foliage
Vegetation is what gives this scene life. This was yet another challenge for me since this was my first time doing my vegetation using Quixel as a base. Luckily, Jacob used to be a vegetation artist! Based on the location of the scene, I tried to find the specific types of plants that were depicted. Those ended up being (1) birds of paradise, the one in the foreground, (2) money plant, the hanging vines, and (3) moonshine, the potted plants. Next, I grabbed Quixel plant textures that were as close to my references. I then brought them to photoshop where I stitched the specific leaves I wanted to use into a single texture map.
树叶
植被赋予了这个场景生命。这对我来说是另一个挑战，因为这是我第一次使用Quixel作为基础进行植被。幸运的是，雅各布曾经是一名植被艺术家！根据场景的位置，我试图找到所描绘的特定类型的植物。这些最终成为（1）天堂鸟，前景中的鸟，（2）金钱植物，悬挂的藤蔓，以及（3）月光，盆栽植物。接下来，我抓住了与我的参考一样接近的Quixel植物纹理。然后，我将它们带到photoshop，在那里我将要使用的特定叶子缝合到单个纹理贴图中。
Once that was done, I exported the initial texture and brought it into Maya. There I would slap it on a plane, then make a low poly mesh for each leaf. I then did simple extrusions and made some nice bevels. The normal in the edge bevels of Quixel textures aren’t so great, which is why baking a high poly was important. I also made my high poly vines that I would bake onto a plane. After baking and applying the textures in Painter, I brought the new baked texture into Maya again on my low polys to see how they look.
完成后，我导出了初始纹理并将其引入Maya。在那里，我会把它拍打在一个平面上，然后为每片叶子做一个低的多边形网格。然后我做了简单的挤压，并做了一些漂亮的斜面。Quixel纹理的边缘斜面的正常值不是很好，这就是为什么烘焙高多边形很重要的原因。我还制作了我的高聚乙烯藤蔓，我会把它烤到飞机上。在 Painter 中烘焙并应用纹理后，我在低多边形上再次将新的烘焙纹理带入 Maya，以查看它们的外观。
Finally, I made variations of each leaf. It’s a bit of an extra step, but I used a bunch of deformers to make the mesh variations. I chose this method over manually pushing and pulling the mesh to avoid accidentally stretching the textures. Plus, I love nondestructive workflows! After creating the variations, I started piecing together the vines. I put 2 overlapping vines at angles to each other, then stuck the leaves to them, rotating and scaling them appropriately. And voila, my vegetation was done! I could have made more variations, but I think for the size of this scene and the limited amount of time I had, it sufficed. Vegetation workflow was (and still is) a daunting task, but it was a fun learning experience.
最后，我对每片叶子进行了修改。这是一个额外的步骤，但我使用了一堆变形器来制作网格变化。我选择这种方法而不是手动推拉网格，以避免意外拉伸纹理。另外，我喜欢无损工作流程！在创建变体之后，我开始拼凑葡萄藤。我把2棵重叠的藤蔓彼此成角度，然后将叶子粘在上面，适当地旋转和缩放它们。瞧，我的植被已经完成了！我本可以做更多的变化，但我认为对于这个场景的大小和我有限的时间，这就足够了。植被工作流程过去是（现在仍然是）一项艰巨的任务，但这是一次有趣的学习经历。
Lighting
Lighting an environment is tricky. I have redone my lighting too many times for me to count. I had some references that I had to work toward, and it took many tries to get close. For the mood of the lighting, I didn’t match the concept one-to-one because I wanted to portray it differently. Since Adeline herself isn’t in the scene, that itself creates a sort of tension. Where is she? Is she dead/missing, or did she just leave? The overall mood I went for had the airiness and joy of spring, but also the loneliness and somberness of winter. Going a bit deeper, given Adeline’s situation, I wanted to show both hope and despair. Later on, I would just push these moods through my cinematic.
照明
照亮环境很棘手。我已经重做我的照明太多次了，我无法计数。我有一些我必须努力的参考资料，并且需要多次尝试才能接近。对于照明的情绪，我没有一对一地匹配这个概念，因为我想以不同的方式描绘它。由于Adeline自己不在场景中，这本身就造成了一种紧张感。她在哪？她是死了/失踪了，还是刚刚离开？我追求的整体情绪有春天的通风和喜悦，也有冬天的孤独和阴郁。更深入一点，鉴于Adeline的情况，我想表现出希望和绝望。后来，我会把这些情绪推到我的电影里。
Moving on to set up my lights. One invaluable piece of advice from my classmate Aaron Hawkes (check his stuff out, he’s insane!) is to bring out the details in the shadows with this simple trick. What Aaron does is start by lighting the entire scene as flat as possible. It only has to be bright enough to see details. This makes it so that any shadows will have detail no matter what. Once that was done, I started on my key light, ie the sun. I had 2, one was dimmer with an extra bounce to imitate real lighting. I then put more fill lights on so that the lab had no harsh shadows since there are so many windows there (although looking at it now, I missed some pretty noticeable dark spots. Oh well!). I made sure to make the automaton a bit brighter since it is the focal point. Rim lights also helped to separate it even more.
继续设置我的灯。我的同学亚伦·霍克斯（Aaron Hawkes）的一个非常宝贵的建议（看看他的东西，他疯了！）是用这个简单的技巧把阴影中的细节带出来。Aaron所做的就是从尽可能平坦地照亮整个场景开始。它只需要足够明亮才能看到细节。这使得任何阴影无论如何都会有细节。一旦完成，我开始使用我的主光，即太阳。我有2个，一个是暗淡的，有一个额外的反弹来模仿真实的照明。然后我戴上更多的补光灯，这样实验室就不会有刺眼的阴影，因为那里有很多窗户（尽管现在看着它，我错过了一些非常明显的黑点。哦，好吧！我确保使自动机更亮一些，因为它是焦点。轮辋灯也有助于将其分离得更多。
The exponential height fog not only added a lot of depth to the scene, but it also allowed for the god rays because of the scattering. I created a rectangle light with the same angle as the sun key light. Then I adjusted some of its settings (and the height fog) so it would scatter much more than other lights.
指数高度的雾不仅为场景增加了很多深度，而且还因为散射而允许了神光。我创建了一个与太阳键光源具有相同角度的矩形光源。然后我调整了它的一些设置（以及高度雾），这样它就会比其他灯光散射得更多。
At this stage, there are a lot of lights, and adjusting could be tricky. One key piece of advice is to adjust lights individually, so you can see how it affects the scene. I would also view it in Detailed Lighting mode if working with the colors or temperatures. Speaking of colors, I opted not to use temperature for my lights. I wanted to give it a bit more of a punch by assigning colors manually. I used a slightly orange-beige for the bright lights, while I used a blue-slight purple hue for the shadows.
在这个阶段，有很多灯光，调整可能很棘手。一个关键的建议是单独调整灯光，这样您就可以看到它如何影响场景。如果使用颜色或温度，我也会在详细照明模式下查看它。说到颜色，我选择不使用温度作为我的灯。我想通过手动分配颜色来给它更多的冲击力。我使用略带橙色米色的灯光，而我使用蓝色轻微的紫色色调作为阴影。
When the quality started picking up, I would put screenshots of my scene next to other reference scenes for a quality check. Using a zoom-out or squint method helps to see if your work is good enough to blend in with the greats! And one last piece of advice. ALWAYS check your work on other devices. Different screens will display your scene differently. For the longest time, my scene was still so dark because my laptop screen displays it brighter than my phone.
当质量开始提高时，我会将场景的屏幕截图放在其他参考场景旁边以进行质量检查。使用缩小或斜视方法有助于查看您的作品是否足够好，可以与伟人融为一体！最后一条建议。始终在其他设备上检查您的工作。不同的屏幕将以不同的方式显示您的场景。在很长一段时间里，我的场景仍然很暗，因为我的笔记本电脑屏幕显示它比我的手机更亮。
Several times during the lighting phase, I would redo my lighting and start from scratch. Once, I tried to do a completely different lighting scenario – a night scene. I liked the first pass I made, but it gave off a very different mood than I was planning for. It strayed a bit too far from the original concept, but I guess it does work as a bonus shot. Still, I wonder what it would have looked like if I had developed it further!
在照明阶段，我会多次重做照明并从头开始。有一次，我试图做一个完全不同的照明场景——夜景。我喜欢我做的第一次通过，但它散发出的情绪与我计划的非常不同。它与最初的概念有点偏离了，但我想它确实可以作为奖励镜头。不过，我想知道如果我进一步发展它，它会是什么样子！
Presentation
As I worked on the scene, I would occasionally play around with cameras and see what angles look good. So by now, I had already settled on a few shots for the final presentation. The first is the beauty shot, the 1:1 copy of the concept art. The second one that was decided early on was the Automaton close-up since that is the hero prop and not having its shot would be a disservice. The last shot was the improvised one of the three. I wanted to focus on the drawing board since I considered it a hero prop as well. I tried looking for another angle, which resulted in the shot with the phonograph and desk. The desk was scrapped before, but this shot gave it a reason to exist. I added 2 additional shots to showcase (most) of the props I modeled.
介绍
当我在现场工作时，我偶尔会玩相机，看看什么角度看起来不错。所以到现在为止，我已经为最后的演讲准备了几张照片。首先是美女镜头，概念艺术的1：1副本。早期决定的第二个是Automaton特写镜头，因为这是英雄道具，没有镜头将是一种伤害。最后一个镜头是三个镜头中的一个。我想专注于绘图板，因为我也认为它是英雄道具。我尝试寻找另一个角度，这导致了留声机和桌子的拍摄。这张桌子以前被废弃过，但这次拍摄给了它一个存在的理由。我添加了2个额外的镜头来展示（大多数）我建模的道具。
After getting high res screenshots from Unreal, I brought them to photoshop for presentation. I decided not to do any post-processing because I might go a little too far and butcher my hard work on the lighting. The only thing I did was add the white borders with the curved corners. I set it up as a portfolio signature aesthetic of sorts so my project thumbnails could stand out just a little bit on ArtStation.
从虚幻引擎获得高分辨率截图后，我把它们带到photoshop进行演示。我决定不做任何后期处理，因为我可能会走得太远，并扼杀我在照明上的辛勤工作。我唯一做的就是添加带有弯曲角的白色边框。我把它设置为一种投资组合的标志性美学，这样我的项目缩略图就可以在ArtStation上脱颖而出。
As an extra push for the scene, I also made a cinematic for it. I found some nice royalty-free music that fit the mood, then trimmed it in Davinci Resolve. I imported it to Unreal so I could do a raw blockout of the shots using Sequencer. Then I found other passing shots to fill in the gaps in the cinematic. I then rendered them, brought them back to Davinci Resolve, re-timed them to the music, then sprinkled some movie magic to create the cinematic. I finally felt relief and satisfaction when I put the ending text “3D Art by Rex Lucila”. It was like seeing the future where I could finally work on a AAA title and see my name there.
作为对场景的额外推动，我还为它制作了一部电影。我找到了一些适合这种情绪的不错的免版税音乐，然后在Davinci Resolve中修剪了它。我将其导入虚幻引擎，以便使用Sequencer对镜头进行原始块。然后我找到了其他传球镜头来填补电影的空白。然后我渲染它们，把它们带回Davinci Resolve，将它们重新定时到音乐中，然后洒上一些电影魔术来创造电影效果。当我把结尾文字“Rex Lucila的3D艺术”放在一起时，我终于感到宽慰和满足。这就像看到未来，我终于可以制作一个AAA级游戏，并在那里看到我的名字。
Conclusion
I speak for my classmates as well when I say that Jacob was tremendous help as a mentor. He would always help us break down our scenes and give us honest, constructive feedback. There’s not much to say. He was an incredible guide to us. Jacob won’t always know the best approach to some topics, but he always works to point us in the right direction. In that sense, we’re both learning something new, which is refreshing. One thing I slowly picked up from him was that attitude of always learning. He’s always trying new things. Trying something new and failing is still a success.
结论
当我说雅各布作为导师是巨大的帮助时，我也代表我的同学们发言。他总是会帮助我们分解我们的场景，并给我们诚实，建设性的反馈。没什么可说的。他是我们不可思议的向导。雅各布并不总是知道解决某些主题的最佳方法，但他总是努力为我们指出正确的方向。从这个意义上说，我们都在学习新的东西，这令人耳目一新。我慢慢地从他身上学到的一件事就是那种不断学习的态度。他总是在尝试新事物。尝试新事物但失败仍然是成功的。
My colleagues were also a big factor in my growth. It was interesting to see so many different backgrounds (not just nationalities) and age groups come together and work towards a common goal. From the very beginning, they would always inspire me to improve. Some had a lot more experience and artistry than me, and I strived to be like them. Others had minimal or zero experience, but they kept improving with each week, which moved me to do better as well! There were just a few of us left by the end of the program, but we still kept cheering each other on and giving feedback.
我的同事也是我成长的一个重要因素。有趣的是，看到这么多不同的背景（不仅仅是国籍）和年龄组走到一起，朝着一个共同的目标努力。从一开始，他们总是激励我进步。有些人比我更有经验和艺术性，我努力成为他们一样的人。其他人的经验很少或为零，但他们每周都在不断进步，这也促使我做得更好！到节目结束时，我们只剩下几个人，但我们仍然不断互相加油并给予反馈。
After Vertex, I became a 3D artist working with AR. It’s not the industry I had in mind, but I still enjoy it very much! My goal is still to work for video games. I am still not sure what kind of artist I want to be - environment, technical, weapons, lighting (surprisingly). But I’ll figure it out one day as I continue to learn in my free time. One of these days, I’ll start working on a new project and maybe even try learning some basic coding en route to exploring tech art. Wherever the wind blows!
在Vertex之后，我成为了一名与AR合作的3D艺术家。这不是我想到的行业，但我仍然非常喜欢它！我的目标仍然是为视频游戏工作。我仍然不确定我想成为什么样的艺术家 - 环境，技术，武器，照明（令人惊讶）。但是有一天我会弄清楚的，因为我在空闲时间继续学习。有一天，我将开始从事一个新项目，甚至可能尝试在探索技术艺术的途中学习一些基本的编码。无论风在哪里吹！
Back when I was in the architecture field, I had a very disinterested attitude toward learning. I would study and research, but only for the sake of requirements or simply going with the flow of peers. I never actually wanted to learn for my benefit. But when I made the shift to 3D art, I started doing all that on my own. And that was amplified tenfold under the guidance of Vertex mentors. There are so many things now that I want to explore. Now more than ever, I am willing to go out of my comfort zone and challenge myself in my career. This mindset shift is more precious to me that my growth in technical skills. It is no exaggeration that my experience at Vertex was life-changing.
当我在建筑领域时，我对学习的态度非常无私。我会学习和研究，但只是为了要求或只是随同行的流动。我从来没有真正想过为了自己的利益而学习。但当我转向3D艺术时，我开始自己做所有这些事情。这在顶点导师的指导下放大了十倍。现在有很多事情我想探索。现在，我比以往任何时候都更愿意走出自己的舒适区，在职业生涯中挑战自己。对我来说，这种思维方式的转变比我在技术技能方面的成长更宝贵。毫不夸张地说，我在Vertex的经历改变了我的生活。
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