Introduction
Hello, my name is Robin, and I am currently in my last year of college in Ostrava. For most of my life, I have been studying graphics and illustration, but approximately 3 years ago I got a chance to create my first game-ready model and instantly fell in love with 3D graphics. Since then, I have been working hard on improving my skills and gaining as much knowledge as possible. A lot of the knowledge I have accumulated over these years came from a Romanian AAA character artist named Georgian Avasilcutei (Nimlot26). He has been actively streaming his whole process on Twitch and making it possible for people to learn from him.
介绍
你好，我的名字是罗宾，我目前在俄斯特拉发大学的最后一年。在我生命的大部分时间里，我一直在学习图形和插图，但大约3年前，我有机会创建我的第一个游戏就绪模型，并立即爱上了3D图形。从那时起，我一直在努力提高自己的技能，并获得尽可能多的知识。这些年来，我积累的许多知识都来自一位名叫格鲁吉亚·阿瓦西尔库泰（Nimlot26）的罗马尼亚AAA级角色艺术家。他一直在Twitch上积极地流式传输他的整个过程，并使人们有可能向他学习。



Getting Started
Picking a modeling reference is the easy part, in general. It is good to pick things that are quite complex and will challenge your skills. In my case, it was a concept from an artist called Yongs I stumbled upon on Pinterest. Shortly before starting this model, I began learning MoI 3D. This software provides an excellent way to create complex hard-surface shapes with ease, eliminates the need to worry about topology, and gives you the ability to focus solely on modeling. And as I wanted to learn this software more in-depth, I decided to make the model there.
开始
一般来说，选择建模参考是很容易的部分。选择相当复杂并且会挑战您的技能的事情是件好事。就我而言，这是一位名叫Yongs的艺术家的概念，我在Pinterest上偶然发现了这个概念。在开始这个模型之前不久，我开始学习MoI 3D。该软件提供了一种轻松创建复杂硬表面形状的绝佳方法，无需担心拓扑结构，并使您能够专注于建模。由于我想更深入地学习这个软件，我决定在那里制作模型。

Modeling in MoI 3D
I started the model with a very simple block out of basic proportions. Then I kept on refining the shapes and adding other elements while closely observing the reference. It is quite important not to start filleting too soon. A lot of the time you realize you may have missed a detail, or you need to edit a part of your model. If that part is already filleted it may be hard to do the necessary operation and, in some cases, you need to model the whole part over again. For that reason, I do fillets for most parts as the last step.
在 MoI 3D 模式下建模
我从一个非常简单的块开始模型，没有基本的比例。然后，我继续完善形状并添加其他元素，同时密切观察引用。重要的是不要过早地开始切片。很多时候，您意识到自己可能遗漏了某个细节，或者您需要编辑模型的一部分。如果该零件已经圆角化，则可能很难进行必要的操作，并且在某些情况下，您需要重新对整个零件进行建模。出于这个原因，我为大多数零件做圆角作为最后一步。

From a simple block out to a more detailed version：
从简单的块到更详细的版本：

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If I know I am about to do an operation that I am not so sure is going to be final, I like to save that particular part for later (just in case I would want to go back to it). I do that by duplicating the part over somewhere else and then I apply a unique color to it that I am not using for the main model. This allows me to quickly show and hide these “saved for later” parts in the Styles menu.
如果我知道我将要做一个我不太确定的操作是否会是最终的，我喜欢保存该特定部分以供以后使用（以防万一我想回到它）。我通过在其他地方复制零件来做到这一点，然后我应用了一种独特的颜色，我没有用于主模型。这使我可以在“样式”菜单中快速显示和隐藏这些“保存以供以后使用”部分。

Orange parts = “saved for later”：
橙色部件 = “保存以供日后使用”：

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Filleting some more complex, or rather more organic shapes can provide to be difficult. Although with experience you will learn what kind of shapes work well with fillets, sometimes it just won’t work, and it is best not to waste your time fixing it and instead do the fillets later in ZBrush. As an example, I will show a different model I have been working on, where the combined shapes were intersecting in weird ways or were too close to each other and it would have been difficult to fillet them. I proceeded to keep this part as it is and made the fillet in ZBrush.
圆角一些更复杂的，或者更确切地说是更有机的形状可以提供困难。虽然有了经验，你会知道什么样的形状可以很好地与圆角一起工作，但有时它就是不起作用，最好不要浪费时间修复它，而是在ZBrush中稍后做圆角。例如，我将展示一个我一直在研究的不同模型，其中组合的形状以奇怪的方式相交或彼此太近，并且很难将它们圆角化。我继续保持这部分原样，并在ZBrush中制作了圆角。

In retrospect, as I was trying to make all the fillets on the controller in MoI 3D, I spent a lot of time making things work and could have saved some time if I were to leave the fillets for ZBrush. On the other hand, this experience taught me how the fillets behave under certain circumstances, which allows me to avoid any problems beforehand. (For context, I finished this controller approximately half a year ago, so I gathered even more experience in MoI 3D between now and then).
回想起来，当我试图在MoI 3D中制作控制器上的所有圆角时，我花了很多时间让事情工作，如果我把圆角留给ZBrush，我可以节省一些时间。另一方面，这种经历教会了我鱼片在某些情况下的行为，这使我能够事先避免任何问题。（作为背景，我大约半年前完成了这个控制器，所以我从现在到那时在MoI 3D方面积累了更多的经验）。


The beige part would be too difficult, if not impossible to fillet so I kept it as it is：
米色部分太难了，如果不是不可能圆角，所以我保持原样：

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Working with ZBrush
Exporting from MoI 3D is simple, first, you need to select all the parts you want to export and then export them under file>export as an OBJ. After you name the object and click save, a meshing options menu will pop up. I usually keep the angle at a default value and change the "Divide larger than" to 0.1 or 0.05. MoI 3D will give you a very nice live preview of how the exported mesh will look, lower values of "Divide larger than" will give you more polygons. I usually try to find the lowest number of polygons that will give me enough roundness to support the DynaMeshing process in ZBrush.  
使用 ZBrush
从MoI 3D导出很简单，首先，您需要选择要导出的所有零件，然后在file>export下将其导出为OBJ。命名对象并单击保存后，将弹出网格划分选项菜单。我通常将角度保持在默认值，并将“除法大于”更改为0.1或0.05。MoI 3D将为您提供导出网格外观的非常漂亮的实时预览，较低的“除法大于”值将为您提供更多多边形。我通常会尝试找到最少数量的多边形，这些多边形将给我足够的圆度来支持ZBrush中的DynaMeshing过程。

Export options：
导出选项：

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Because I knew my computer would not be able to handle the whole model in one ZBrush scene, I split it into 5 different files. When you import the file into ZBrush you get one sub-tool, where each element has its own poly-group. First, I usually select all the small parts (like screws) I'm not sculpting on and separate them into their own sub-tool.
因为我知道我的计算机无法在一个ZBrush场景中处理整个模型，所以我将其拆分为5个不同的文件。当您将文件导入ZBrush时，您将获得一个子工具，其中每个元素都有自己的多边形组。首先，我通常会选择所有我没有雕刻的小零件（如螺丝），并将它们分成自己的子工具。

After that, I pair the usually bigger parts with smaller details into one sub-tool and parts that are similar in size and detail to a different sub-tool. In other words, I want to DynaMesh as many parts in one go as I can, and because some parts require higher amounts of polygons to support their details and some more simple ones do not need as many, I split them accordingly.
之后，我将通常具有较小细节的较大零件配对到一个子工具中，并将大小和细节与不同子工具相似的零件配对。换句话说，我想一次尽可能多地使用 DynaMesh，并且由于某些部分需要更多数量的多边形来支持其细节，而一些更简单的部分不需要那么多，因此我相应地拆分了它们。

When DynaMeshing multiple elements in one go it is important to turn on the "groups" option, so they will not fuse into one mesh. I start the DynaMeshing process with lower a number (around 500) and if the resolution is not enough, I go back with ctrl+z, increase the number and repeat until I get a good resolution. When the resolution is good enough to support all the details, I smooth the object with the Polish option you can find in the Deformation pallete.
当 DynaMeshing 多个元素一次性运行时，打开“组”选项非常重要，这样它们就不会融合到一个网格中。我以较低的数字（大约500）开始DynaMeshing过程，如果分辨率不够，我使用ctrl+ z返回，增加数字并重复，直到我得到一个好的分辨率。当分辨率足以支持所有细节时，我使用您可以在变形托盘中找到的波兰选项平滑对象。

By using lower amounts of polish, you eliminate the polygonal look that often tends to reside after the DynaMeshing process. In the case of an object that did not have any fillets, it is possible to create them by using the polish function paired with the morph target feature. I do this process for all the parts I will be sculpting on. And if the final scene is too heavy for your computer, as it was in my case, it is a good idea to use subdivision levels.
通过使用较少的抛光量，您可以消除在 DynaMeshing 过程之后通常倾向于存在的多边形外观。对于没有任何圆角的对象，可以使用与变形目标特征配对的抛光函数来创建它们。我为我将要雕刻的所有部分执行此过程。如果最终场景对于您的计算机来说太重了，就像我的情况一样，那么使用细分级别是一个好主意。

High poly with applied polypaint
高聚与应用多面漆

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To convert the object into subdivision levels you need to duplicate the given object, ZRemesh it to the smallest number of polygons possible, and then keep using the projection feature, while increasing the subdivision levels to the desired amount (you can find the projection feature under sub-tool pallete>project>project all).
要将对象转换为细分级别，您需要复制给定对象，将其 ZRemesh 为尽可能少的面，然后继续使用投影特征，同时将细分级别增加到所需的数量（您可以在子工具托盘下找到投影特征>项目>全部项目）。

When sculpting on hard surface models, I like to make things slightly crooked and break the evenness of edges to make the object feel less artificial. I also think about what materials the object should be made of and sculpt the damage accordingly. For example, softer materials like rubber would be easier to damage and they would have more dents in them than hard plastic.
在硬表面模型上雕刻时，我喜欢使物体稍微弯曲，并打破边缘的均匀度，使物体感觉不那么人工。我还考虑应该用什么材料制作物体，并相应地雕刻损坏。例如，橡胶等较软的材料更容易损坏，并且它们比硬塑料具有更多的凹痕。

After I am done with the sculpting, I apply polypaint with all the different materials I plan to use. This will later be useful during texturing. Something I did not do with this model, that hurt me later was applying the correct names to all the sub-tools. I found out only a few models later that it is optimal to name everything correctly and let Marmoset match high and low poly automatically.
完成雕刻后，我将polypaint与我计划使用的所有不同材料一起使用。这在以后的纹理处理中会很有用。我没有用这个模型做一些事情，后来伤害了我，那就是对所有子工具应用正确的名称。我后来才发现，最好正确命名所有内容，并让Marmoset自动匹配高低多边形。

What I do now is separate all the objects I know will be made into a single low poly mesh and give them a unique name with a “_high” suffix, for example, NiceName_high. If there are multiple different sub-tools that will be used to bake into a single low poly model, it is not necessary to merge them into one sub-tool and you can instead just give them an identical name. After I name everything, I export the object as an FBX.
我现在要做的是将我知道的所有对象分离成一个低多边形网格，并给它们一个带有“_high”后缀的唯一名称，例如，NiceName_high。如果有多个不同的子工具将用于烘焙到单个低多边形模型中，则无需将它们合并到一个子工具中，只需为它们指定一个相同的名称即可。命名所有内容后，我将对象导出为FBX。

Finished retopo for the controller’s bodyP:
控制器身体的成品：

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Retopology
For retopology, I used Topogun 3 beta. For most of the process, I used the creation tool and made polygons manually. It is good to start simple and keep on adding more loops as you go so it is easier to maintain even topology. One very useful feature for the hard surfaces is the extrude tool paired together with the circle tool. This way you can create cylindrical shapes with ease. This can be also used for uneven shapes. You just need to create the extruded part manually.
重新拓扑
对于重拓扑，我使用了Topogun 3 beta。在大部分过程中，我使用创建工具并手动制作多边形。最好从简单开始，并随时添加更多循环，这样可以更轻松地维护均匀的拓扑。对于硬质表面，一个非常有用的功能是与圆工具配对的拉伸工具。通过这种方式，您可以轻松创建圆柱形形状。这也可以用于不均匀的形状。您只需手动创建拉伸零件。

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Because I knew I was going to use this model in a small UE4 scene and as a portfolio piece I wanted to keep the polycount high enough for closeups, but at a reasonable amount so it would not be too heavy for the UE4 scene. For that reason, before finishing the retopology I did a quick bake test to see whether the silhouettes were smooth enough to support closeups and edited the model accordingly.

When I am finished with retopology, I assign all the corresponding names of the low poly parts to their high poly counterparts but with the “_low” suffix. I export all the individual low poly objects and import them in 3ds Max, where I export them again into a single FBX file, which I use later for UVs and baking.
因为我知道我将在一个小的UE4场景中使用这个模型，并且作为一个投资组合作品，我想保持足够高的多边形计数，以便拍摄特写镜头，但数量合理，这样它就不会太重，这样它就不会太重。因此，在完成重构之前，我做了一个快速烘焙测试，看看轮廓是否足够光滑，可以支持特写镜头，并相应地编辑了模型。

当我完成重新拓扑时，我将低多边形部分的所有相应名称分配给它们的高多边形部件，但带有“_low”后缀。我导出所有单个低多边形对象并在 3ds Max 中导入它们，然后再次将它们导出到单个 FBX 文件中，稍后我将其用于 UV 和烘焙。

Naming example (from a different project)：
命名示例（来自其他项目）：

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Unwrapping
For UVs, I use RizomUV, which allows me to create UVs very quickly and saves me from a lot of headaches. In general, I try to use the lowest number of cuts possible, while keeping the stretching reasonable. A little amount of stretching is not a problem and in retrospect, I could have made fewer cuts even in this model as the stretching would not have increased too much.
展开
对于UV，我使用RizomUV，它允许我非常快速地创建UV，并节省了我很多麻烦。一般来说，我尽量使用尽可能少的切口，同时保持拉伸合理。少量的拉伸不是问题，回想起来，即使在这个模型中，我也可以减少切割，因为拉伸不会增加太多。

Baking and Texturing in Marmoset Toolbag 4
If all the high poly and low poly names are matching, it is possible to use the Quick Loader feature, which automatically puts everything into separate baking groups. In the baking project settings, I like to max out the samples to 64x for all the maps except for vertex color. For vertex color, which is used as a Material ID map it is important to lower the samples to 1x. If we were to bake it with higher samples, it would mix different edges of different colors together and it would not work as a good mask.
狨猴工具袋中的烘焙和纹理处理 4
如果所有高多边形名称和低多边形名称都匹配，则可以使用快速加载程序功能，该功能会自动将所有内容放入单独的烘焙组中。在烘焙项目设置中，我喜欢将除顶点颜色之外的所有地图的样本最大化为64倍。对于用作材质 ID 贴图的顶点颜色，将样本降低到 1 倍非常重要。如果我们用更高的样品烘烤它，它会将不同颜色的不同边缘混合在一起，它不会作为一个好的掩模。

As I have been using Marmoset for baking even back when I was using Substance 3D Painter for texturing, I decided to give a try to their texturing features when they released Marmoset Toolbag 4. The workflow is very similar to SP, all the principles are the same and it is very easy to pick it up if you have experience with SP.

There are some features I am missing from Substance 3D Painter, which I am sure will eventually be added, but the main reason I like Marmoset over painter is the consistency of look between Marmoset and UE4. When I import my assets in UE4, they look the same as they looked in the Marmoset viewport and I do not need to do any further tweaking.

There is also the option to switch the viewport quality to fast, which makes painting in 4k incredibly responsive, for the cost of slower switching between different layers, which is a good trade-off for me.
由于我一直在使用Marmoset进行烘焙，甚至在我使用Substance 3D Painter进行纹理处理时，我决定在他们发布Marmoset Toolbag 4时尝试一下他们的纹理功能。工作流程与SP非常相似，所有原则都是相同的，如果您有SP的经验，则很容易掌握它。

Substance 3D Painter中缺少一些功能，我相信这些功能最终会被添加进来，但我喜欢Marmoset而不是Painter的主要原因是Marmoset和UE4之间外观的一致性。当我在UE4中导入我的资源时，它们看起来与在Marmoset视口中看起来相同，我不需要做任何进一步的调整。

还可以选择将视口质量切换为快速，这使得4k绘画的响应速度非常快，因为不同图层之间的切换速度较慢，这对我来说是一个很好的权衡。

RizomUV UV’s：
瑞佐姆UV：

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Final Presentation
The presentation is my favorite part. I remember rendering nicely beveled cubes for fun in Blender back in the days just because I liked playing with lights and making things look nice. In terms of lighting, the most common setup is usually the most effective. Use a key light that will be the main source creating nice shadows, fill light to make the shadows a little bit brighter, and rim light to make the model pop out. I often see beginners not using the diameter parameter, which will make the shadows nice and soft. Then it is all about rotating the scene and trying to find lighting scenarios you like. Do not be afraid to experiment.
最终演讲
演讲是我最喜欢的部分。我记得在Blender中渲染漂亮的斜面立方体只是为了好玩，只是因为我喜欢玩灯光，让东西看起来不错。在照明方面，最常见的设置通常是最有效的。使用主光源创建漂亮阴影的主光源，填充光以使阴影更亮一点，并使用边缘光使模型弹出。我经常看到初学者不使用直径参数，这将使阴影变得漂亮和柔和。然后，一切都是为了旋转场景并尝试找到您喜欢的照明场景。不要害怕尝试。

For the camera, there are a couple of settings I like to tweak. The first one is a field of view. I really like the telephoto lens look, so I tend to keep this number fairly low, usually between 10-20. The next is the depth of field, which will help add realism to your renders, and even a slight blur will do the trick. Real-life cameras are not perfect and have certain types of distortions, one very well known is chromatic aberration, I keep this value at 0.06, which has worked well for my renders. Because I use my models in UE4, I use the ACES tone map, but sometimes I also like to use Hejl, which is not as contrasty. And lastly, very small amounts of sharpening, bloom, vignette, and grain can help finalize the look.
对于相机，我喜欢调整一些设置。第一个是视野。我真的很喜欢长焦镜头的外观，所以我倾向于保持这个数字相当低，通常在10-20之间。接下来是景深，这将有助于为渲染添加真实感，即使轻微的模糊也可以解决问题。现实生活中的摄像机并不完美，并且具有某些类型的失真，其中一个非常着名的是色差，我将此值保持在0.06，这对于我的渲染效果很好。因为我在UE4中使用我的模型，所以我使用ACES色调映射，但有时我也喜欢使用Hejl，这没有那么对比。最后，非常少量的锐化，绽放，晕影和颗粒可以帮助最终确定外观。

Lighting setup：
照明设置：

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Conclusion
This project took me approximately one month and a half from start to finish, while the hours I was working on it were quite variable, so it is hard to gauge the real-time it took me. But as this was pretty much the first model, I created with this pipeline, I made a lot of mistakes that slowed me down. Making mistakes is natural and you should not be afraid to make them as it is what makes you grow. It is also important to take your time when learning and try not to rush things as, in my experience, you will learn most this way.
结论
这个项目从开始到结束花了我大约一个半月的时间，而我工作的时间非常多变，所以很难衡量它花了我的实际时间。但是，由于这几乎是我用这个管道创建的第一个模型，我犯了很多错误，让我放慢了速度。犯错误是很自然的，你不应该害怕犯错误，因为它让你成长。在学习时花时间学习也很重要，尽量不要急于求成，因为根据我的经验，你会以这种方式学到很多东西。

If you want to learn any of the software I mentioned above, here are some useful links:

Marmoset baking;
Marmoset texturing;
RizomUV official channel.
如果你想学习我上面提到的任何软件，这里有一些有用的链接：

狨猴烘焙;
狨猴纹理;
RizomUV官方频道。

Introduction
Hello, my name is Robin, and I am currently in my last year of college in Ostrava. For most of my life, I have been studying graphics and illustration, but approximately 3 years ago I got a chance to create my first game-ready model and instantly fell in love with 3D graphics. Since then, I have been working hard on improving my skills and gaining as much knowledge as possible. A lot of the knowledge I have accumulated over these years came from a Romanian AAA character artist named Georgian Avasilcutei (Nimlot26). He has been actively streaming his whole process on Twitch and making it possible for people to learn from him.
介绍
你好，我的名字是罗宾，我目前在俄斯特拉发大学的最后一年。在我生命的大部分时间里，我一直在学习图形和插图，但大约3年前，我有机会创建我的第一个游戏就绪模型，并立即爱上了3D图形。从那时起，我一直在努力提高自己的技能，并获得尽可能多的知识。这些年来，我积累的许多知识都来自一位名叫格鲁吉亚·阿瓦西尔库泰（Nimlot26）的罗马尼亚AAA级角色艺术家。他一直在Twitch上积极地流式传输他的整个过程，并使人们有可能向他学习。



Getting Started
Picking a modeling reference is the easy part, in general. It is good to pick things that are quite complex and will challenge your skills. In my case, it was a concept from an artist called Yongs I stumbled upon on Pinterest. Shortly before starting this model, I began learning MoI 3D. This software provides an excellent way to create complex hard-surface shapes with ease, eliminates the need to worry about topology, and gives you the ability to focus solely on modeling. And as I wanted to learn this software more in-depth, I decided to make the model there.
开始
一般来说，选择建模参考是很容易的部分。选择相当复杂并且会挑战您的技能的事情是件好事。就我而言，这是一位名叫Yongs的艺术家的概念，我在Pinterest上偶然发现了这个概念。在开始这个模型之前不久，我开始学习MoI 3D。该软件提供了一种轻松创建复杂硬表面形状的绝佳方法，无需担心拓扑结构，并使您能够专注于建模。由于我想更深入地学习这个软件，我决定在那里制作模型。

Modeling in MoI 3D
I started the model with a very simple block out of basic proportions. Then I kept on refining the shapes and adding other elements while closely observing the reference. It is quite important not to start filleting too soon. A lot of the time you realize you may have missed a detail, or you need to edit a part of your model. If that part is already filleted it may be hard to do the necessary operation and, in some cases, you need to model the whole part over again. For that reason, I do fillets for most parts as the last step.
在 MoI 3D 模式下建模
我从一个非常简单的块开始模型，没有基本的比例。然后，我继续完善形状并添加其他元素，同时密切观察引用。重要的是不要过早地开始切片。很多时候，您意识到自己可能遗漏了某个细节，或者您需要编辑模型的一部分。如果该零件已经圆角化，则可能很难进行必要的操作，并且在某些情况下，您需要重新对整个零件进行建模。出于这个原因，我为大多数零件做圆角作为最后一步。

From a simple block out to a more detailed version：
从简单的块到更详细的版本：

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If I know I am about to do an operation that I am not so sure is going to be final, I like to save that particular part for later (just in case I would want to go back to it). I do that by duplicating the part over somewhere else and then I apply a unique color to it that I am not using for the main model. This allows me to quickly show and hide these “saved for later” parts in the Styles menu.
如果我知道我将要做一个我不太确定的操作是否会是最终的，我喜欢保存该特定部分以供以后使用（以防万一我想回到它）。我通过在其他地方复制零件来做到这一点，然后我应用了一种独特的颜色，我没有用于主模型。这使我可以在“样式”菜单中快速显示和隐藏这些“保存以供以后使用”部分。

Orange parts = “saved for later”：
橙色部件 = “保存以供日后使用”：

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Filleting some more complex, or rather more organic shapes can provide to be difficult. Although with experience you will learn what kind of shapes work well with fillets, sometimes it just won’t work, and it is best not to waste your time fixing it and instead do the fillets later in ZBrush. As an example, I will show a different model I have been working on, where the combined shapes were intersecting in weird ways or were too close to each other and it would have been difficult to fillet them. I proceeded to keep this part as it is and made the fillet in ZBrush.
圆角一些更复杂的，或者更确切地说是更有机的形状可以提供困难。虽然有了经验，你会知道什么样的形状可以很好地与圆角一起工作，但有时它就是不起作用，最好不要浪费时间修复它，而是在ZBrush中稍后做圆角。例如，我将展示一个我一直在研究的不同模型，其中组合的形状以奇怪的方式相交或彼此太近，并且很难将它们圆角化。我继续保持这部分原样，并在ZBrush中制作了圆角。

In retrospect, as I was trying to make all the fillets on the controller in MoI 3D, I spent a lot of time making things work and could have saved some time if I were to leave the fillets for ZBrush. On the other hand, this experience taught me how the fillets behave under certain circumstances, which allows me to avoid any problems beforehand. (For context, I finished this controller approximately half a year ago, so I gathered even more experience in MoI 3D between now and then).
回想起来，当我试图在MoI 3D中制作控制器上的所有圆角时，我花了很多时间让事情工作，如果我把圆角留给ZBrush，我可以节省一些时间。另一方面，这种经历教会了我鱼片在某些情况下的行为，这使我能够事先避免任何问题。（作为背景，我大约半年前完成了这个控制器，所以我从现在到那时在MoI 3D方面积累了更多的经验）。


The beige part would be too difficult, if not impossible to fillet so I kept it as it is：
米色部分太难了，如果不是不可能圆角，所以我保持原样：

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Working with ZBrush
Exporting from MoI 3D is simple, first, you need to select all the parts you want to export and then export them under file>export as an OBJ. After you name the object and click save, a meshing options menu will pop up. I usually keep the angle at a default value and change the "Divide larger than" to 0.1 or 0.05. MoI 3D will give you a very nice live preview of how the exported mesh will look, lower values of "Divide larger than" will give you more polygons. I usually try to find the lowest number of polygons that will give me enough roundness to support the DynaMeshing process in ZBrush.  
使用 ZBrush
从MoI 3D导出很简单，首先，您需要选择要导出的所有零件，然后在file>export下将其导出为OBJ。命名对象并单击保存后，将弹出网格划分选项菜单。我通常将角度保持在默认值，并将“除法大于”更改为0.1或0.05。MoI 3D将为您提供导出网格外观的非常漂亮的实时预览，较低的“除法大于”值将为您提供更多多边形。我通常会尝试找到最少数量的多边形，这些多边形将给我足够的圆度来支持ZBrush中的DynaMeshing过程。

Export options：
导出选项：

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Because I knew my computer would not be able to handle the whole model in one ZBrush scene, I split it into 5 different files. When you import the file into ZBrush you get one sub-tool, where each element has its own poly-group. First, I usually select all the small parts (like screws) I'm not sculpting on and separate them into their own sub-tool.
因为我知道我的计算机无法在一个ZBrush场景中处理整个模型，所以我将其拆分为5个不同的文件。当您将文件导入ZBrush时，您将获得一个子工具，其中每个元素都有自己的多边形组。首先，我通常会选择所有我没有雕刻的小零件（如螺丝），并将它们分成自己的子工具。

After that, I pair the usually bigger parts with smaller details into one sub-tool and parts that are similar in size and detail to a different sub-tool. In other words, I want to DynaMesh as many parts in one go as I can, and because some parts require higher amounts of polygons to support their details and some more simple ones do not need as many, I split them accordingly.
之后，我将通常具有较小细节的较大零件配对到一个子工具中，并将大小和细节与不同子工具相似的零件配对。换句话说，我想一次尽可能多地使用 DynaMesh，并且由于某些部分需要更多数量的多边形来支持其细节，而一些更简单的部分不需要那么多，因此我相应地拆分了它们。

When DynaMeshing multiple elements in one go it is important to turn on the "groups" option, so they will not fuse into one mesh. I start the DynaMeshing process with lower a number (around 500) and if the resolution is not enough, I go back with ctrl+z, increase the number and repeat until I get a good resolution. When the resolution is good enough to support all the details, I smooth the object with the Polish option you can find in the Deformation pallete.
当 DynaMeshing 多个元素一次性运行时，打开“组”选项非常重要，这样它们就不会融合到一个网格中。我以较低的数字（大约500）开始DynaMeshing过程，如果分辨率不够，我使用ctrl+ z返回，增加数字并重复，直到我得到一个好的分辨率。当分辨率足以支持所有细节时，我使用您可以在变形托盘中找到的波兰选项平滑对象。

By using lower amounts of polish, you eliminate the polygonal look that often tends to reside after the DynaMeshing process. In the case of an object that did not have any fillets, it is possible to create them by using the polish function paired with the morph target feature. I do this process for all the parts I will be sculpting on. And if the final scene is too heavy for your computer, as it was in my case, it is a good idea to use subdivision levels.
通过使用较少的抛光量，您可以消除在 DynaMeshing 过程之后通常倾向于存在的多边形外观。对于没有任何圆角的对象，可以使用与变形目标特征配对的抛光函数来创建它们。我为我将要雕刻的所有部分执行此过程。如果最终场景对于您的计算机来说太重了，就像我的情况一样，那么使用细分级别是一个好主意。

High poly with applied polypaint
高聚与应用多面漆

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To convert the object into subdivision levels you need to duplicate the given object, ZRemesh it to the smallest number of polygons possible, and then keep using the projection feature, while increasing the subdivision levels to the desired amount (you can find the projection feature under sub-tool pallete>project>project all).
要将对象转换为细分级别，您需要复制给定对象，将其 ZRemesh 为尽可能少的面，然后继续使用投影特征，同时将细分级别增加到所需的数量（您可以在子工具托盘下找到投影特征>项目>全部项目）。

When sculpting on hard surface models, I like to make things slightly crooked and break the evenness of edges to make the object feel less artificial. I also think about what materials the object should be made of and sculpt the damage accordingly. For example, softer materials like rubber would be easier to damage and they would have more dents in them than hard plastic.
在硬表面模型上雕刻时，我喜欢使物体稍微弯曲，并打破边缘的均匀度，使物体感觉不那么人工。我还考虑应该用什么材料制作物体，并相应地雕刻损坏。例如，橡胶等较软的材料更容易损坏，并且它们比硬塑料具有更多的凹痕。

After I am done with the sculpting, I apply polypaint with all the different materials I plan to use. This will later be useful during texturing. Something I did not do with this model, that hurt me later was applying the correct names to all the sub-tools. I found out only a few models later that it is optimal to name everything correctly and let Marmoset match high and low poly automatically.
完成雕刻后，我将polypaint与我计划使用的所有不同材料一起使用。这在以后的纹理处理中会很有用。我没有用这个模型做一些事情，后来伤害了我，那就是对所有子工具应用正确的名称。我后来才发现，最好正确命名所有内容，并让Marmoset自动匹配高低多边形。

What I do now is separate all the objects I know will be made into a single low poly mesh and give them a unique name with a “_high” suffix, for example, NiceName_high. If there are multiple different sub-tools that will be used to bake into a single low poly model, it is not necessary to merge them into one sub-tool and you can instead just give them an identical name. After I name everything, I export the object as an FBX.
我现在要做的是将我知道的所有对象分离成一个低多边形网格，并给它们一个带有“_high”后缀的唯一名称，例如，NiceName_high。如果有多个不同的子工具将用于烘焙到单个低多边形模型中，则无需将它们合并到一个子工具中，只需为它们指定一个相同的名称即可。命名所有内容后，我将对象导出为FBX。

Finished retopo for the controller’s bodyP:
控制器身体的成品：

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Retopology
For retopology, I used Topogun 3 beta. For most of the process, I used the creation tool and made polygons manually. It is good to start simple and keep on adding more loops as you go so it is easier to maintain even topology. One very useful feature for the hard surfaces is the extrude tool paired together with the circle tool. This way you can create cylindrical shapes with ease. This can be also used for uneven shapes. You just need to create the extruded part manually.
重新拓扑
对于重拓扑，我使用了Topogun 3 beta。在大部分过程中，我使用创建工具并手动制作多边形。最好从简单开始，并随时添加更多循环，这样可以更轻松地维护均匀的拓扑。对于硬质表面，一个非常有用的功能是与圆工具配对的拉伸工具。通过这种方式，您可以轻松创建圆柱形形状。这也可以用于不均匀的形状。您只需手动创建拉伸零件。

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Because I knew I was going to use this model in a small UE4 scene and as a portfolio piece I wanted to keep the polycount high enough for closeups, but at a reasonable amount so it would not be too heavy for the UE4 scene. For that reason, before finishing the retopology I did a quick bake test to see whether the silhouettes were smooth enough to support closeups and edited the model accordingly.

When I am finished with retopology, I assign all the corresponding names of the low poly parts to their high poly counterparts but with the “_low” suffix. I export all the individual low poly objects and import them in 3ds Max, where I export them again into a single FBX file, which I use later for UVs and baking.
因为我知道我将在一个小的UE4场景中使用这个模型，并且作为一个投资组合作品，我想保持足够高的多边形计数，以便拍摄特写镜头，但数量合理，这样它就不会太重，这样它就不会太重。因此，在完成重构之前，我做了一个快速烘焙测试，看看轮廓是否足够光滑，可以支持特写镜头，并相应地编辑了模型。

当我完成重新拓扑时，我将低多边形部分的所有相应名称分配给它们的高多边形部件，但带有“_low”后缀。我导出所有单个低多边形对象并在 3ds Max 中导入它们，然后再次将它们导出到单个 FBX 文件中，稍后我将其用于 UV 和烘焙。

Naming example (from a different project)：
命名示例（来自其他项目）：

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Unwrapping
For UVs, I use RizomUV, which allows me to create UVs very quickly and saves me from a lot of headaches. In general, I try to use the lowest number of cuts possible, while keeping the stretching reasonable. A little amount of stretching is not a problem and in retrospect, I could have made fewer cuts even in this model as the stretching would not have increased too much.
展开
对于UV，我使用RizomUV，它允许我非常快速地创建UV，并节省了我很多麻烦。一般来说，我尽量使用尽可能少的切口，同时保持拉伸合理。少量的拉伸不是问题，回想起来，即使在这个模型中，我也可以减少切割，因为拉伸不会增加太多。

Baking and Texturing in Marmoset Toolbag 4
If all the high poly and low poly names are matching, it is possible to use the Quick Loader feature, which automatically puts everything into separate baking groups. In the baking project settings, I like to max out the samples to 64x for all the maps except for vertex color. For vertex color, which is used as a Material ID map it is important to lower the samples to 1x. If we were to bake it with higher samples, it would mix different edges of different colors together and it would not work as a good mask.
狨猴工具袋中的烘焙和纹理处理 4
如果所有高多边形名称和低多边形名称都匹配，则可以使用快速加载程序功能，该功能会自动将所有内容放入单独的烘焙组中。在烘焙项目设置中，我喜欢将除顶点颜色之外的所有地图的样本最大化为64倍。对于用作材质 ID 贴图的顶点颜色，将样本降低到 1 倍非常重要。如果我们用更高的样品烘烤它，它会将不同颜色的不同边缘混合在一起，它不会作为一个好的掩模。

As I have been using Marmoset for baking even back when I was using Substance 3D Painter for texturing, I decided to give a try to their texturing features when they released Marmoset Toolbag 4. The workflow is very similar to SP, all the principles are the same and it is very easy to pick it up if you have experience with SP.

There are some features I am missing from Substance 3D Painter, which I am sure will eventually be added, but the main reason I like Marmoset over painter is the consistency of look between Marmoset and UE4. When I import my assets in UE4, they look the same as they looked in the Marmoset viewport and I do not need to do any further tweaking.

There is also the option to switch the viewport quality to fast, which makes painting in 4k incredibly responsive, for the cost of slower switching between different layers, which is a good trade-off for me.
由于我一直在使用Marmoset进行烘焙，甚至在我使用Substance 3D Painter进行纹理处理时，我决定在他们发布Marmoset Toolbag 4时尝试一下他们的纹理功能。工作流程与SP非常相似，所有原则都是相同的，如果您有SP的经验，则很容易掌握它。

Substance 3D Painter中缺少一些功能，我相信这些功能最终会被添加进来，但我喜欢Marmoset而不是Painter的主要原因是Marmoset和UE4之间外观的一致性。当我在UE4中导入我的资源时，它们看起来与在Marmoset视口中看起来相同，我不需要做任何进一步的调整。

还可以选择将视口质量切换为快速，这使得4k绘画的响应速度非常快，因为不同图层之间的切换速度较慢，这对我来说是一个很好的权衡。

RizomUV UV’s：
瑞佐姆UV：

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Final Presentation
The presentation is my favorite part. I remember rendering nicely beveled cubes for fun in Blender back in the days just because I liked playing with lights and making things look nice. In terms of lighting, the most common setup is usually the most effective. Use a key light that will be the main source creating nice shadows, fill light to make the shadows a little bit brighter, and rim light to make the model pop out. I often see beginners not using the diameter parameter, which will make the shadows nice and soft. Then it is all about rotating the scene and trying to find lighting scenarios you like. Do not be afraid to experiment.
最终演讲
演讲是我最喜欢的部分。我记得在Blender中渲染漂亮的斜面立方体只是为了好玩，只是因为我喜欢玩灯光，让东西看起来不错。在照明方面，最常见的设置通常是最有效的。使用主光源创建漂亮阴影的主光源，填充光以使阴影更亮一点，并使用边缘光使模型弹出。我经常看到初学者不使用直径参数，这将使阴影变得漂亮和柔和。然后，一切都是为了旋转场景并尝试找到您喜欢的照明场景。不要害怕尝试。

For the camera, there are a couple of settings I like to tweak. The first one is a field of view. I really like the telephoto lens look, so I tend to keep this number fairly low, usually between 10-20. The next is the depth of field, which will help add realism to your renders, and even a slight blur will do the trick. Real-life cameras are not perfect and have certain types of distortions, one very well known is chromatic aberration, I keep this value at 0.06, which has worked well for my renders. Because I use my models in UE4, I use the ACES tone map, but sometimes I also like to use Hejl, which is not as contrasty. And lastly, very small amounts of sharpening, bloom, vignette, and grain can help finalize the look.
对于相机，我喜欢调整一些设置。第一个是视野。我真的很喜欢长焦镜头的外观，所以我倾向于保持这个数字相当低，通常在10-20之间。接下来是景深，这将有助于为渲染添加真实感，即使轻微的模糊也可以解决问题。现实生活中的摄像机并不完美，并且具有某些类型的失真，其中一个非常着名的是色差，我将此值保持在0.06，这对于我的渲染效果很好。因为我在UE4中使用我的模型，所以我使用ACES色调映射，但有时我也喜欢使用Hejl，这没有那么对比。最后，非常少量的锐化，绽放，晕影和颗粒可以帮助最终确定外观。

Lighting setup：
照明设置：

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Conclusion
This project took me approximately one month and a half from start to finish, while the hours I was working on it were quite variable, so it is hard to gauge the real-time it took me. But as this was pretty much the first model, I created with this pipeline, I made a lot of mistakes that slowed me down. Making mistakes is natural and you should not be afraid to make them as it is what makes you grow. It is also important to take your time when learning and try not to rush things as, in my experience, you will learn most this way.
结论
这个项目从开始到结束花了我大约一个半月的时间，而我工作的时间非常多变，所以很难衡量它花了我的实际时间。但是，由于这几乎是我用这个管道创建的第一个模型，我犯了很多错误，让我放慢了速度。犯错误是很自然的，你不应该害怕犯错误，因为它让你成长。在学习时花时间学习也很重要，尽量不要急于求成，因为根据我的经验，你会以这种方式学到很多东西。

If you want to learn any of the software I mentioned above, here are some useful links:

Marmoset baking;
Marmoset texturing;
RizomUV official channel.
如果你想学习我上面提到的任何软件，这里有一些有用的链接：

狨猴烘焙;
狨猴纹理;
RizomUV官方频道。