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Introduction
Hello, my name is Denis Daraban, and I am a CG Generalist from Balti, Moldova. I’ve finished such courses as the online "ZBrush course" created by Nikita Tabatchikov and the "3D Sculpting course. Anatomy for characters in ZBrush" by Ilya Tyomin.
The idea of creating robots came spontaneously. I wanted to practice hard-surface modeling to test a new pipeline, which was new for me. And that’s exactly the topic I will talk about further: the idea of creating a robot that would catch the viewers' attention. So, I took the concept art created by my friend, Eldar Safin.
介绍
你好，我的名字是Denis Daraban，我是来自摩尔多瓦巴尔蒂的CG通才。我已经完成了Nikita Tabatchikov创建的在线“ZBrush课程”和“3D雕刻课程”等课程。《ZBrush》中人物的解剖“，作者：Ilya Tyomin。
创造机器人的想法是自发产生的。我想练习硬曲面建模来测试新的管道，这对我来说是新的。这正是我将进一步讨论的话题：创造一个能够吸引观众注意力的机器人的想法。所以，我采用了我的朋友埃尔达尔·萨芬（Eldar Safin）创作的概念艺术。
I thought it would be great to use it to make something of my own. I took Eldar's work as a reference, just like it is for many other works created by other artists. I also love Droids from Star Wars. And there were so many ideas that I realized that I wouldn’t be able to do just one. So everything I needed was to sit down and work on them. For that purpose, every single minute of my free time was devoted to creating art. I asked Andrey Panchenko and Konstantin Golubkin for advice several times.
我认为用它来制作我自己的东西会很棒。我把埃尔达尔的作品作为参考，就像其他艺术家创作的许多其他作品一样。我也喜欢《星球大战》中的机器人。有很多想法，我意识到我不能只做一个。所以我需要的一切都只是坐下来研究它们。为了这个目的，我每一分钟的空闲时间都花在了创作艺术上。我多次向安德烈·潘琴科和康斯坦丁·戈卢布金寻求建议。
Getting Started With Etasphera05
So, finally, let me introduce you to this pipeline and explain how I made my mechs as an example. Let's start. You will need ZBrush and Maya or another similar polygonal modeling package such as Blender, 3ds Max, etc. As for me, I did it in Maya. The first step is blocking or looking for nice shapes and interesting silhouettes, testing ideas, because not all of the ideas are as good as they might look inside your mind. And that's okay! So, I did the basic blocking in Maya not worrying about the topology (N-gones, etc.).
开始使用Etasphera05
所以，最后，让我向你们介绍这个管道，并解释一下我是如何制作我的机甲的。让我们开始吧。您将需要ZBrush和Maya或其他类似的多边形建模包，例如Blender，3ds Max等。至于我，我在玛雅做到了。第一步是阻止或寻找漂亮的形状和有趣的轮廓，测试想法，因为并非所有的想法都像你脑海中看起来的那样好。没关系！因此，我在Maya中进行了基本阻止，而不用担心拓扑结构（N-gones等）。
After blocking the main shapes and proportions, I checked how it would all move in the future. And Maya has an excellent HumanIK tool for this purpose.
在阻挡了主要的形状和比例之后，我检查了一下将来它们将如何移动。Maya为此提供了一个出色的HumanIK工具。
At this stage, you can check what needs to be corrected, primarily in the joints.
在此阶段，您可以检查需要纠正的内容，主要是在关节中。
After making several improvements and corrections, I started to crease the mesh parts to see how they would work being smoothed.
在进行了一些改进和更正之后，我开始折痕网格部分，看看它们将如何平滑。
At some places, I added edge loops, so that low poly and high poly were close enough to the same shape. I also carefully checked that there were no N-gones, because of ZBrush which works only with quads. At this point, the large and medium forms were done, so the only thing left was to add nice and small details to a mech.
在某些地方，我添加了边缘环，以便低多边形和高多边形足够接近相同的形状。我还仔细检查了没有N-gones，因为ZBrush仅适用于四边形。此时，大中型形式已经完成，因此唯一剩下的就是为机甲添加漂亮而小的细节。
I created everything in low poly with the crease tool (ZBrush supports the creases made in Maya) using the GoZ plugin I transferred to ZBrush. Oh, by the way, I put everything in one folder. ZBrush has a great tool called Live Boolean. And that's how I did all of the detailing stuff. There are two steps here: the first is to create the high poly after using the Live Boolean. The second stage is to create a low poly mesh right after.
Then comes the process of creating high poly with details. First of all, enable the Dynamic Subdiv.
我使用折痕工具（ZBrush支持Maya中制作的折痕）使用我转移到ZBrush的GoZ插件在低多边形中创建所有内容。哦，顺便说一句，我把所有东西都放在一个文件夹中。ZBrush有一个很棒的工具，叫做Live Boolean。这就是我做所有细节的方式。这里有两个步骤：第一个步骤是在使用Live布尔值后创建高多边形。第二阶段是立即创建一个低多边形网格。
然后是创建具有细节的高多边形的过程。首先，启用动态子分区。
The next step was creating meshes which I would subtract or add to the main surface.
下一步是创建网格，我将减去或添加到主表面。
You can add boolean meshes in Maya, or you can create new ones in ZBrush. It's just a matter of convenience. So, when I was finally satisfied with the result, I made a high poly for each item. After that, I converted them into DynaMeshes and ran a Smooth brush over the edges so they were not that sharp and would bake well creating a nice Normal map.
您可以在 Maya 中添加布尔网格，也可以在 ZBrush 中创建新网格。这只是一个方便的问题。因此，当我最终对结果感到满意时，我为每个项目制作了一个高多边形。之后，我将它们转换为DynaMeshes，并在边缘上运行平滑刷子，这样它们就不会那么清晰，并且可以很好地烘焙，从而创建一个漂亮的法线贴图。
The next step was to create a low poly mesh by doing exactly the same thing but without the Dynamic Subdiv.
下一步是通过执行完全相同的事情来创建低多边形网格，但没有动态子分割。
And here we go, the low-poly model was ready. Almost ready, it still needed to be cleaned up due to completely unnecessary triangles. So I exported it to Maya and cleaned the topology there.
现在我们开始，低多边形模型已经准备好了。几乎准备好了，由于完全不必要的三角形，它仍然需要清理。因此，我将其导出到 Maya 并清理了那里的拓扑。
UVing the Model
High-poly and low-poly meshes were ready. The next step was the UV. I set the smoothing of the normals of the material to 180 degrees in material settings. I applied hard edges where I needed to use them to make cuts on the UV surface. On a hard surface, it is important how the low poly meshes will shade because you don't want any strange gradients in the baking process.
对模型进行验证
高聚和低聚网格已准备就绪。下一步是紫外线。我在材质设置中将材质法线的平滑度设置为 180 度。我在需要使用它们在UV表面上进行切割的地方应用了坚硬的边缘。在坚硬的表面上，低多边形网格的着色方式非常重要，因为您不希望在烘焙过程中出现任何奇怪的渐变。
Baking
I usually bake using Marmoset Toolbag. Just send high-poly and low-poly meshes to Marmoset and it will do most of the stuff for you.
烘
我通常使用狨猴工具袋烘焙。只需将高多边形和低多边形网格发送到Marmoset，它就会为您完成大部分工作。
I just choose the desired settings and click "bake".
我只需选择所需的设置，然后单击“烘烤”。
The weapons were made using the same method.
这些武器是用同样的方法制造的。
Texturing
Next, I send the low-poly mesh to Substance Painter with all maps baked beforehand. Before texturing, I collected references of metals so that I had something reliable. Next, I either create materials myself or take standard Substance smart materials and rework them. Sometimes I take base textures from Megascans. Since I wanted my robots to look similar, I made the smart materials for my purposes and modified them a little, and then applied them to each robot.
纹理
接下来，我将低多边形网格发送到Substance Painter，并事先烘焙所有地图。在纹理之前，我收集了金属的参考，以便我有一些可靠的东西。接下来，我要么自己创建材料，要么采用标准的Substance智能材料并重新加工它们。有时我从Megascans中获取基本纹理。由于我希望我的机器人看起来相似，所以我为我的目的制作了智能材料，并对其进行了一些修改，然后将它们应用于每个机器人。
Animation
For the presentation purpose, I wanted to make a short video. Since I'm not an animator or a rigger I used the standard Maya HumanIK rig. For creating animations, I retargeted using mocap, but I had to change it significantly for each robot.
动画
出于演示目的，我想制作一个简短的视频。由于我不是动画师或装配师，所以我使用了标准的Maya HumanIK装备。为了创建动画，我使用mocap重新定位，但我不得不为每个机器人进行重大更改。
Rendering
The character I’ve made was rendered in Unreal Engine in real-time because I like this game engine. As the purpose there was to render the character at the highest quality possible, I made some adjustments to all of the assets. First, texture mipmaps and compression were disabled.
渲染
我制作的角色是在虚幻引擎中实时渲染的，因为我喜欢这个游戏引擎。由于目的是以尽可能高的质量渲染角色，因此我对所有资源进行了一些调整。首先，禁用了纹理 mipmap 和压缩。
I used 16 bits per channel PNG textures so as to have the possibility of displaying more details, except base color textures, once they were in sRGB color space I had to use 8 bit. 16 bit doesn’t sample the right colors.
No RTX or other methods were used to calculate real-time raytracing during rendering.
我使用每通道16位的PNG纹理，以便有可能显示更多细节，除了基色纹理，一旦它们在sRGB色彩空间中，我就必须使用8位。16 位未采样正确的颜色。
在渲染过程中，没有使用RTX或其他方法来计算实时光线追踪。
Here are my post-process adjustments.
以下是我的后期处理调整。
Conclusion
I like this pipeline of creating a hard-surface model, it creates both high-poly and low-poly meshes at the same time. It's much faster than working with Subdiv models (no need to do all of that dull retopology stuff).
结论
我喜欢这个创建硬曲面模型的管道，它同时创建高多边形和低多边形网格。这比使用Subdiv模型要快得多（无需做所有那些沉闷的再拓扑工作）。
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