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Edu Morales has told us about The Huntress project, discussed the modeling and texturing pipelines behind the character, and shared the rendering setup in Marmoset Toolbag.
Edu Morales向我们介绍了The Huntress项目，讨论了角色背后的建模和纹理管道，并分享了Marmoset Toolbag中的渲染设置。
Introduction 介绍Hi there! I’m Eduardo Morales, but you can call me Edu. I’m from Barcelona, Spain. I aspire to become a 3D Character Artist for games, and I’m currently finishing my last three months of studies at Think Tank Training Centre.
嘿，你好！我是爱德华多·莫拉莱斯，但你可以叫我爱德华多。我来自西班牙巴塞罗那。我渴望成为一名游戏的3D角色艺术家，目前正在智库培训中心完成最后三个月的学习。 I’ve actually been involved in art and design in general for a while. Oddly enough, I started studying for a Bachelor in History of Art at the age of 18, but the pure theory wasn’t for me (although it has served me well so far with artistic theory such as image analysis, color theory, composition, knowledge of different styles and looks, etc). I wanted to pursue something more practical, thus I enrolled for a higher degree in Traditional Animation and Post-Production, and even though it led me to a few little beginner jobs, it didn’t feel like I was doing what I wanted. That’s when I decided to pursue a career related to what I loved the most: video games.
实际上，我从事艺术和设计已经有一段时间了。奇怪的是，我从18岁开始攻读艺术史学士学位，但纯粹的理论并不适合我（尽管到目前为止，它在图像分析、色彩理论、构图、不同风格和外观的知识等艺术理论方面对我很有用）。我想追求更实用的东西，因此我注册了传统动画和后期制作的高级学位，尽管这让我做了一些初学者的工作，但感觉我并没有做我想做的事。就在那时，我决定从事与我最喜欢的职业相关的职业：电子游戏。 At some point, I lost track of my career and ended up doing 3D environments for AR/VR in TV, and lately, I’ve been working in Virtual Production with Unreal Engine doing commercials and advertisements in general. Most of the skills that I have come from this multifaceted and versatile background that I have, and I’m very grateful for that. Some of the most interesting projects I have contributed to lately are the creation of some commercials for Dell’s campaign Expand your Youniverse using Virtual Production with Unreal Engine, which you can find on YouTube:
在某个时候，我失去了职业生涯的轨迹，最终在电视上为AR/VR制作了3D环境，最近，我一直在用虚幻引擎从事虚拟制片工作，做广告和广告。我拥有的大部分技能都来自我拥有的这种多方面和多才多艺的背景，我对此非常感激。我最近参与的一些最有趣的项目是为戴尔的宣传活动“使用虚幻引擎的虚拟制片扩展你的Youniverse”创建一些广告，你可以在YouTube上找到：
I was part of the team behind the creation of the virtual backgrounds all over the commercials.
我是创建整个广告虚拟背景的团队的一员。 After some years working in this field, I found myself at a point where I felt “it wasn’t quite there yet”. Something was missing. I realized that I wanted to do cool 3D art for games, but I needed a strong portfolio. I was always afraid to pursue doing 3D characters because it felt really daunting to me. That was until I started my studies at Think Tank. After browsing through tons of resources and info, I stepped into Think Tank’s website. I just needed to take a glance at their student showcase and saw how strong the portfolios were. That’s when I decided I would enroll in their full-time program and try to rebuild and redefine my portfolio as a 3D Character Artist for Games, and I couldn’t be happier with the decision that I took. Shoutout to Tomas Sackman, one of my Think Tank instructors, for encouraging me to pursue doing what I loved. That’s been my dream since I decided that I wanted to do 3D art some years ago.
在这个领域工作了几年后，我发现自己处于一个我觉得“还没有完全到位”的地步。有些东西不见了。我意识到我想为游戏做很酷的3D艺术，但我需要一个强大的作品集。我总是害怕继续做3D角色，因为这对我来说真的很令人生畏。直到我开始在智库学习。在浏览了大量的资源和信息后，我走进了智库的网站。我只需要看一眼他们的学生展示，看看作品集有多强大。就在那时，我决定参加他们的全日制课程，并尝试重建和重新定义我作为游戏3D角色艺术家的作品集，我对自己的决定感到非常高兴。向我的智库导师之一托马斯·萨克曼（Tomas Sackman）致敬，他鼓励我继续做我喜欢的事情。自从几年前我决定要做3D艺术以来，这一直是我的梦想。 In this article, I’d like to share a breakdown of The Huntress, a recent piece I created for my Final Advanced Project at Think Tank, a 10-week project thought to create a full videogame character. I also want to take the chance to thank my supervisor in this project, Luis Omar.
在这篇文章中，我想分享一下《女猎手》的细分，这是我最近为我在智库的最终高级项目创作的，这是一个为期 10 周的项目，旨在创建一个完整的视频游戏角色。我还想借此机会感谢我在这个项目中的主管路易斯·奥马尔。
The Huntress Project 女猎手项目To get started with The Huntress project, I browsed through a lot of concept art out there, until one of them caught my attention. A beautiful concept from Yi Tang:
为了开始《女猎手》项目，我浏览了很多概念艺术，直到其中一个引起了我的注意。来自一唐的一个美丽概念：
The aura that the character had was mesmerizing, and I thought it’d be amazing to put to practice my organic sculpting skills and to do complex real-time hair. I also really liked the fantastic vibe it had, and the fact that the character wasn’t fully human, so I could have fun with creature-like features like her horns, and her wooden limbs.
这个角色的光环令人着迷，我认为练习我的有机雕刻技巧并做复杂的实时头发会很棒。我也非常喜欢它奇妙的氛围，以及这个角色不是完全人类的事实，所以我可以玩弄像生物的特征，比如她的角和她的木肢。 For the references, I researched and gathered a few images of each element the concept had, like the mushrooms in her arms, tree bark, furs, bones, skulls, and tusks.
为了参考，我研究并收集了这个概念的每个元素的一些图像，比如她手臂上的蘑菇、树皮、毛皮、骨头、头骨和象牙。
I tried to break my PureRef board into islands of concepts: body anatomy, head anatomy, real references (I used Katheryn Winnick, the actress behind Lagertha in Vikings as my main reference), complements, hair, and makeup. I’d also like to mention that I used Anatomy 4 Sculptors as one of my main resources. Not only for this project but for any character art-related project, I think it’s one of the best resources out there that an artist can find.
我试图将我的PureRef板分解成概念岛：身体解剖学，头部解剖学，真实参考（我使用凯瑟琳温尼克，维京人中拉格莎背后的女演员作为我的主要参考），补充，头发和化妆。我还想提一下，我使用Anatomy 4 Sculptors作为我的主要资源之一。不仅对于这个项目，而且对于任何与角色艺术相关的项目，我认为这是艺术家可以找到的最好的资源之一。
After the references were clear, it was time to start blocking out the main volumes in ZBrush, setting proper proportions. I really recommend staying low polycount at this stage. The more polygons, the wobblier your shapes will become, while also turning your machine a bit slower, and in general, more polygons mean more potential problems, so I tried to keep it low and simple to easily and quickly iterate during the blocking phase.
在明确引用之后，是时候开始在ZBrush中屏蔽主要卷，设置适当的比例了。我真的建议在这个阶段保持低多边形计数。多边形越多，你的形状就会变得越摇摆不定，同时你的机器转动速度也会慢一点，一般来说，更多的多边形意味着更多的潜在问题，所以我试图保持低水平和简单，以便在阻塞阶段轻松快速地迭代。
Modeling the Character's Head
为角色头部建模For both the face and head, I started working from the base blockout, generating the main shapes until I was able to dig deeper into tweaking the facial features, like the eyes, nose, and mouth. I had to look for a proper solution for the ears, so some references from elven-like characters were in order too. After sculpting the whole details, it was time to create some skin micro details, and that’s where Texturing XYZ faces come in. I used one of their texture projections, and with Wrap3D, I projected the Displacement Map on top of the face.
对于面部和头部，我从基础块开始工作，生成主要形状，直到我能够更深入地调整面部特征，如眼睛、鼻子和嘴巴。我必须为耳朵寻找合适的解决方案，所以一些来自精灵类角色的参考也是有序的。在雕刻了整个细节之后，是时候创建一些皮肤微观细节了，这就是纹理XYZ面部的用武之地。我使用了他们的一个纹理投影，并使用Wrap3D将置换贴图投影在脸上。 Once the base projection was ready, I applied the Displacement Map in ZBrush for further tweaking and applying corrections, especially in the eyelids, sides of the nose, and lips, where most projected textures can’t reach out properly. At this stage, it was time to set up some Layers to easily iterate and apply changes on the go in a non-destructive workflow. That’s when I separated each part of the hand sculpt that I did on top of the projection (eyelids, lips folds, little pimples, and skin unevenness).
基本投影准备就绪后，我在ZBrush中应用了位移贴图进行进一步调整和校正，特别是在眼睑，鼻子两侧和嘴唇，大多数投影纹理无法正确伸出。在此阶段，是时候设置一些层，以便在非破坏性工作流程中随时随地轻松迭代和应用更改。那时，我将在投影顶部完成的手部雕刻的每个部分（眼睑，嘴唇褶皱，小丘疹和皮肤不均匀）分开。
For the eyes, I used a hybrid version of what I had learned at Think Tank combined with a really cool tutorial I saw back in the days from Jared Chavez. He’s got amazing stuff regarding character art, and the workflow he uses for creating eyes is just great. Again, I used TexturingXYZ’s Multi-Channel Iris and worked it in Substance 3D Painter to give them a more magical or inhuman look.
对于眼睛，我使用了我在智库学到的混合版本，并结合了我在贾里德·查韦斯（Jared Chavez）那里看到的一个非常酷的教程。他在角色艺术方面有惊人的东西，他用来创造眼睛的工作流程非常棒。同样，我使用了TextureuringXYZ的多通道虹膜，并在Substance 3D Painter中对其进行了处理，以使它们看起来更神奇或更不人道。 Setting Up the Hair 设置头发The hair was particularly tricky and challenging because of the hairstyle itself, and also the quantity of hair. I also had to figure out the rear part of the hairstyle because it was hard to tell from the concept.
由于发型本身以及头发的数量，头发特别棘手和具有挑战性。我还必须弄清楚发型的后部，因为很难从概念中分辨出来。 The first thing was to use good references from both real and similar hairstyles, and also look for other real-time hair grooms. I set up some general volumes in ZBrush and laid out the braids, which I used later to serve me as a base mesh where I would lay the hair cards on top, giving the feeling of volume and dense hair without the need of placing tons of hair planes.
第一件事是使用真实和相似发型的良好参考，并寻找其他实时发型。我在ZBrush中设置了一些一般的体积并布置了辫子，后来我用它们作为基础网格，我将发卡放在上面，给人一种体积和浓密头发的感觉，而不需要放置大量的头发平面。 For the hair itself, I used a really cool plug-in for Maya called GS CurveTools. It’s amazingly useful and helps a lot with the tough process of creating, placing, and editing hair cards.
对于头发本身，我为Maya使用了一个非常酷的插件，称为GS CurveTools。它非常有用，对创建、放置和编辑发卡的艰难过程有很大帮助。 I decided to divide the general hair into 3 layers: base and dense, mid to give volumes and less density, and third layer to start doing some change of directionality with even less density. To finish, I added a fourth layer for the flyaways. To create the hair strands, I used FiberShop, a software specifically designed for this. It’s very easy to learn, fast, and has a non-destructive workflow, which makes things easier if you have to make changes on the go.
我决定将一般的头发分为 3 层：基部和密发，中层以提供体积和较低的密度，第三层开始以更小的密度改变方向性。最后，我为飞走添加了第四层。为了制作发丝，我使用了FiberShop，一个专门为此设计的软件。它非常易于学习，快速，并且具有非破坏性的工作流程，如果您必须在旅途中进行更改，这将使事情变得更容易。
The horns weren’t easy to figure out. I decided to do the wood fully hand-sculpted in ZBrush to get the exact look that I wanted, and also have full control of the directionality and smaller details, like the kind of energy breaches they have in the concept.
角不容易弄清楚。我决定在ZBrush中完全手工雕刻木材，以获得我想要的确切外观，并且还可以完全控制方向性和较小的细节，例如他们在概念中的那种能量破坏。 I had to experiment and after a lot of back and forth, I ended up using a simple combo of a few brushes: Orb Clay Tubes with a Square Alpha to build the main directionality and volumes, Dam Standard and Orb Cracks to define and accentuate edges, breaches and crease areas, and Trim Dynamic to adjust and flatten shapes when needed. I used the same approach for the rest of the wooden parts. The vines in the horns were created directly in Maya with splines and then using the Sweep Mesh tool.
我不得不进行实验，经过大量的来回，我最终使用了几个画笔的简单组合：带有方形阿尔法的球体粘土管来构建主要的方向性和体积，大坝标准和球体裂缝来定义和强调边缘、突破和折痕区域，以及修剪动态来调整和展平形状在需要时。我对其余的木制部件使用了相同的方法。角中的藤蔓是直接在Maya中使用样条创建的，然后使用扫描网格工具创建。 Sculpting the Body 塑造身体The body itself, aside from the wooden parts and garments, was pretty easy to tackle. Mostly just moving forward with the blockout shapes into a more detailed and stylized figure, to make her look more athletic.
除了木制部件和衣服外，车身本身很容易处理。大多数情况下，只是将格栅形状向前移动，变成一个更详细和程式化的人物，使她看起来更运动。 The outfit consisted of various parts. I created base leathers for adding the fur on top later. I decided to create UVs for the low poly versions of those pieces to project a worn leather pattern with the Surface tool, and in addition, I hand-sculpted some tear and wear on top of each one to give them a more natural and rougher look. I mainly used ZBrush’s Standard and Dam Standard brushes for this.
服装由各个部分组成。我制作了基础皮革，以便稍后在顶部添加毛皮。我决定为这些作品的低多边形版本创建UV，以使用Surface工具投射出磨损的皮革图案，此外，我还在每个作品上手工雕刻了一些撕裂和磨损，使它们看起来更自然，更粗糙。为此，我主要使用ZBrush的标准画笔和大坝标准画笔。
For the skirt, I hand-sculpted three different leaves following real references and making them in a similar vibe as in the concept, to later bake them in Substance 3D Painter to create an Atlas Map where I could just UV some planes on top. It’s a similar approach as Environment Artists do for custom-made foliage. Once I had the bakes and maps ready, I then laid out each leaf plane in Maya carefully, doing layer by layer until I had the full skirt ready.
对于裙子，我按照真实的参考手工雕刻了三片不同的叶子，并使它们具有与概念中相似的氛围，然后将它们在Substance 3D Painter中烘烤以创建地图集地图，我可以在其中UV一些平面在顶部。这与环境美术师对定制树叶的方法类似。准备好烘焙和地图后，我就仔细布置玛雅的每个叶子平面，一层一层地做，直到我准备好完整的裙子。 For the wooden limbs, I followed the same approach as for the horns. Everything was hand-sculpted, but now with the little twist of following the human anatomy of muscles. I tried as much as I could to follow the main volumes and shapes for the muscles and have them represented in the wooden features. I had to figure out the legs on my own because they were not represented in the concept, so I tried to imagine them and sculpt them in a similar fashion as I did with the forearms and hands.
对于木肢，我遵循与角相同的方法。一切都是手工雕刻的，但现在有了遵循人体肌肉解剖结构的小转折。我尽可能多地遵循肌肉的主要体积和形状，并将它们表现在木制特征中。我必须自己弄清楚腿，因为它们没有出现在这个概念中，所以我试图想象它们并以与前臂和手类似的方式雕刻它们。
The vines in the arms were created like the ones in the horns, splines in Maya, and then Sweep Mesh. The mushrooms had to be hand-sculpted, so I prepared three different versions and then I just started laying them across the forearms and just tweaking the shapes a bit.
手臂中的藤蔓就像角中的藤蔓一样，Maya中的样条，然后是扫描网格。蘑菇必须手工雕刻，所以我准备了三个不同的版本，然后我开始将它们放在前臂上，稍微调整一下形状。
For the leaves, I took advantage of Atlas I had created for the skirt and just modeled very simple and very low poly planes with UVs laid on top of that atlas. It was mostly a matter of patience and just placing those leaves carefully all over the arms and legs.
对于树叶，我利用了我为裙子创建的Atlas，只是在图集顶部铺设了UV的非常简单和非常低的多边形平面。这主要是耐心的问题，只是把这些叶子小心地放在胳膊和腿上。 The crow skull necklace was created from scratch in ZBrush. Fully sculpted using Standard, and Dam Standard. The necklace thread was also created with Spline and Sweep Mesh later in Maya. The same applies to the quiver leather ribbon.
乌鸦骷髅项链是在ZBrush中从头开始创建的。使用标准和大坝标准进行完全雕刻。项链线也是后来在Maya中使用样条和扫描网格创建的。这同样适用于箭袋皮革丝带。 The amber collar was fully modeled in ZBrush though, using ZModeler to quickly have the low poly and general shapes, for later subdividing while having hard edges Creased and sculpting some wear and tear with Trim Dynamic and Orb Cracks.
琥珀色衣领在ZBrush中完全建模，使用ZModeler快速具有低多边形和一般形状，以便以后细分，同时具有硬边折痕并使用修剪动态和球体裂缝雕刻一些磨损。 The quiver took me more time than expected, trying to find the right look and feel. I wanted it to be rough, so I had to lay out the basic shapes with ZModeler too to later apply some leather alphas and projections. After that, I added some rough sewing in the seams and then added some more wear and tear by hand with Dam Standard.
箭袋花了我比预期更多的时间，试图找到合适的外观和感觉。我希望它粗糙，所以我不得不用ZModeler布置基本形状，以便以后应用一些皮革阿尔法和投影。之后，我在接缝中添加了一些粗制的缝纫，然后用大坝标准手工增加了一些磨损。 Creating the bow consisted mostly of patience and taking time to sculpt the main shapes and details. I first created the shape of the amber stone in the center and I started adding some geo tubes with the CurveTubes brush. When I had one side of the bow laid out, I duplicated and mirrored it, and then started sculpting the wood details the same way I did for the body.
制作弓主要包括耐心和花时间雕刻主要形状和细节。我首先在中心创建了琥珀石的形状，然后开始使用CurveTube画笔添加一些土工管。当我把弓的一侧摆好时，我复制并镜像它，然后开始雕刻木头细节，就像我为身体所做的那样。
The amber handle was sculpted using mostly Trim Dynamic and Standard brushes in combination with the ClayPolish tool. For the bow’s thread, I created again some Splines and Sweep Meshes in Maya, but this time I sent that base to ZBrush to further edit them.
琥珀色手柄主要使用修剪动态和标准画笔与 ClayPolish 工具相结合进行雕刻。对于弓的线，我在Maya中再次创建了一些样条曲线和扫描网格体，但这次我将这个基础发送到ZBrush进一步编辑它们。 The leaves across the whole bow are the same as the ones used for the arms and legs.
整个弓上的叶子与用于手臂和腿的叶子相同。 The fur you can see on the clothing parts has been all created directly in XGen. The only realtime hair you have is the one on the head, the groom itself.
您可以在服装部件上看到的毛皮都是直接在XGen中创建的。你唯一的实时头发是头上的头发，新郎本身。 I thoroughly discussed this with my Supervisor, Luis Omar, and we both ended up determining that doing all the fur with hair cards was way too over-scoped for the timeframe that I had to finish the project, so we took the decision to stay with XGen for the fur in the leathers.
我和我的主管路易斯·奥马尔（Luis Omar）彻底讨论了这个问题，我们最终都认为，用发卡做所有的皮草对于我必须完成项目的时间范围来说太过分了，所以我们决定留在XGen处理皮革中的毛皮。
Retopology and Unwrapping
重新拓扑和解包For retopology, I used one of the 3D Scan Store models as a base. I mainly wrapped the low poly into my high poly using Wrap3D. I then had to retopologize by hand the mouth part, the eyes, and the elven ears, otherwise, it would have been impossible to have proper topology.
对于重新拓扑，我使用了一个3D扫描存储模型作为基础。我主要使用 Wrap3D 将低多边形包装到我的高多边形中。然后我必须用手重新拓扑嘴巴，眼睛和精灵耳朵，否则，不可能有适当的拓扑结构。 The forearms, legs, and leathers had to be retopologized by hand too to properly follow the ins and outs of the wooden areas. For compliments in general, I used the low poly meshes I created using ZModeler and just had to tweak a couple of things to have them ready.
前臂、腿和皮革也必须用手重新拓扑，以正确遵循木制区域的来龙去脉。为了补充一般，我使用了使用ZModeler创建的低多边形网格，只需要调整一些东西就可以准备好它们。 The horns and the bow were going to be extremely time-consuming to retopologize by hand, especially the second one, so I decided to ZRemesh them into a fairly low poly stage to use it as a base to later retopologize by hand again on top, adapting to the wood shapes.
用手重新拓扑将非常耗时，尤其是第二个，所以我决定将它们 ZRemesh 到一个相当低的多边形阶段，以它为基础，稍后再次在顶部手工重新拓扑，以适应木材形状。 Regarding UVs, I ended up using up to 8 texture sets for all the body including the hair and accessories, and a 9th set for the bow. I packed up everything based on types of materials or areas, trying to keep a proper texel density and resolution ratio.
关于UV，我最终为包括头发和配饰在内的所有身体使用了多达8套纹理，为蝴蝶结使用了第9套纹理。我根据材料或区域的类型打包了所有东西，试图保持适当的纹素密度和分辨率。 I used 4k resolution for 5 of the texture sets and 2k for the rest of them. Everything was done inside of Maya. The most important thing is that I separated the head and the body itself into two different texture sets.
我对 5 个纹理集使用了 4k 分辨率，对其余纹理集使用了 2k 分辨率。一切都是在玛雅内部完成的。最重要的是，我将头部和身体本身分成了两个不同的纹理集。
The Texturing Workflow 纹理工作流程The texturing process was mostly straightforward. I used the projections from Texturing XYZ and also the 3D Scan Store as a base. First, I reprojected the textures from the original model into my new retopo and UV’d model using R3DS Wrap projection tools. I then took those base textures and brought them into Substance 3D Painter to start fixing stuff and adding layers such as temperatures and smaller details using the bakes I got from the high poly. One of the most useful ones to get nice-looking detail is the Cavity Map.
纹理过程大多很简单。我使用了Texturing XYZ和3D扫描商店的投影作为基础。首先，我使用 R3DS Wrap 投影工具将原始模型中的纹理重新投影到新的 retopo 和 UV'd 模型中。然后，我将这些基本纹理带入Substance 3D Painter，开始修复内容并使用从高多边形中获得的烘焙添加图层，例如温度和较小的细节。获得漂亮细节的最有用的方法之一是空腔图。 I would say it’s mostly about having patience and keep adding as many layers as you need to properly adjust the skin as you go. I made a lot of use of the HSV Filter in Painter to keep adjusting values as I kept texturing. Another really useful tool I used is the Anchor Points to keep a non-destructive workflow and be able to go back and forth without needing to repaint stuff I already had.
我想说这主要是关于有耐心，并根据需要添加尽可能多的层，以适当地调整皮肤。我在 Painter 中大量使用 HSV 滤镜来不断调整值，因为我一直在纹理。我使用的另一个非常有用的工具是锚点，以保持非破坏性的工作流程，并且能够来回切换，而无需重新绘制我已经拥有的东西。
After the skin was ready, it was time for the body paint. I used Senua’s from Hellblade as my main reference to create this sort of handpainted, dried, and cracked look and feel, to make her look a bit more tribal. I made use of crack and tear and wear masks to create this dried look and a lot of use of the roughness channel to play with dry/wet values in it. This was one of the most challenging parts because I had to fully handpaint the base and I couldn’t make use of any procedural nor automated process.
皮肤准备好后，就该进行人体油漆了。我使用《地狱之刃》中的塞娜作为我的主要参考，创造了这种手绘、干燥和破裂的外观和感觉，让她看起来更部落。我利用裂缝和撕裂并戴上口罩来创造这种干燥的外观，并大量使用粗糙度通道来玩其中的干/湿值。这是最具挑战性的部分之一，因为我必须完全手绘底座，而且我无法使用任何程序或自动化过程。 Also, trying to get the right feeling of rough painting was challenging, but definitely very satisfying when I finally started getting to a point where I liked it.
此外，试图获得粗糙绘画的正确感觉是具有挑战性的，但当我终于开始达到我喜欢它的地步时，绝对非常令人满意。
The eyes, as mentioned earlier, were created using Texturing XYZ and a mix of a really cool tutorial from Jared Chavez and what I learned at Think Tank from my Supervisor Nicolás Niño.
如前所述，眼睛是使用纹理XYZ和Jared Chavez的一个非常酷的教程以及我在智囊团从我的主管Nicolás Niño那里学到的东西创建的。
Rendering and Lighting 渲染和光照The main tool I used for rendering was Marmoset Toolbag, although I did some quick testing in Unreal Engine or even in Arnold itself inside Maya just to quickly start seeing how some of the main elements interacted. The one I used for my final lookdev and rendering was Marmoset though.
我用于渲染的主要工具是Marmoset Toolbag，尽管我在虚幻引擎中甚至在Maya的Arnold本身中进行了一些快速测试，只是为了快速开始查看一些主要元素的交互方式。不过，我用于最终外观开发和渲染的那个是Marmoset。 I tried tons of light combinations, but after having spent quite a while in my past experience and current one, I ended up liking simple and moody lighting sets. I looked for some cool HDRIs in Poly Haven. Definitely recommend it.
我尝试了大量的灯光组合，但在我过去和现在的经验中花了相当长的时间之后，我最终喜欢上了简单而喜怒无常的照明设备。我在Poly Haven寻找了一些很酷的HDRI。绝对推荐它。 After I set up a base ambiance with the HDRI, I supported it with a main light, more diffuse, warmer coming from the front and a colder rim light in the back. I did some other lighting versions where I tried a more “selfie” or photographic approach for the face closeup or others where I tried to get a more sun-like ambiance, with a directional light coming from the top. M usual my go-to when lighting up my scenes for showcasing characters is to create a natural-looking ambiance, except for sometimes when I like to play with more bizarre colors and light positions.
在我用HDRI建立基本氛围后，我用一个主灯来支持它，更漫射，更温暖的灯来自前面，后面有一个更冷的边缘灯。我做了一些其他的照明版本，我尝试了更“自拍”或摄影的面部特写方法，或者其他一些我试图获得更像太阳的氛围，定向光来自顶部。通常，在为展示角色而照亮场景时，我的首选是营造一种自然的氛围，除了有时我喜欢玩更奇异的颜色和灯光位置时。 For the post-processing settings, I like to make use of some camera blur for the closeup shots. That way I can focus my attention on the gaze of the Huntress, for example. Something key to me when rendering in Marmoset, is to make use of the ACES color profile. Marmoset is set to Linear mode by default, and to me, Linear looks plain and dull. ACES adds a lot of depth to the colors and a wider range of brighter and darker colors. I then desaturated the color by 15%, added just a tiny bit of chromatic aberration, and also used also a bit of film grain, along with some vignetting effect in some of the renders. All these post-processing settings can be easily found in the Camera settings in Marmoset.
对于后期处理设置，我喜欢在特写镜头中使用一些相机模糊。例如，这样我就可以把注意力集中在女猎手的目光上。在狨猴中渲染时，对我来说，关键是使用 ACES 颜色配置文件。默认情况下，Marmoset设置为线性模式，对我来说，Linear看起来平淡而沉闷。ACES为颜色增加了很多深度，以及更广泛的更亮和更深的颜色。然后，我将色彩饱和度降低了15%，只添加了一点色差，还使用了一点胶片颗粒，以及一些渲染中的晕影效果。所有这些后期处理设置都可以在狨猴的相机设置中轻松找到。
I rarely tweak my real-time renders in Photoshop after exporting them, unless I have a specific need that I couldn’t cover in the render engine of choice. This time I just tweaked the color balance a tiny bit and that’s it.
导出实时渲染后，我很少在 Photoshop 中调整实时渲染，除非我有特定需求，而我在所选渲染引擎中无法满足。这次我只是稍微调整了一下色彩平衡，仅此而已。 Conclusion 结论The total scope of the project was 10 weeks, so I had to quickly move through each phase of the creation process. Blocking was about a week, maybe a bit more. All the sculpting process took up to 3 weeks to properly get everything as close to being finished. I would say this phase is one of the most important ones and really needs a lot of time investment. Retopo and UVs ended up taking more than expected due to some technical challenges to put all the pieces together, and it took a bit more than a week. The most demanding, challenging, and tricky step was creating the hair card groom. It ended up taking about 12 full sessions of work, which was a lot from my scarce time budget by then. Texturing was fairly easy and fast to tackle, about a week for everything. In parallel with texturing, I started checking up the textures in Marmoset and did some lookdev to quickly change or fix anything on the go, so when I got to the lighting and rendering steps, it only took me about 3 to 4 days to have everything ready.
该项目的总范围是 10 周，所以我必须快速完成创建过程的每个阶段。封锁大约一周，也许更多。所有的雕刻过程都需要长达 3 周的时间才能让所有东西都接近完成。我想说这个阶段是最重要的阶段之一，确实需要大量的时间投入。由于一些技术挑战，重新拓扑和UV最终花费了比预期更多的时间将所有部分放在一起，并且花费了一个多星期的时间。最苛刻、最具挑战性和最棘手的步骤是创建发卡新郎。最终花了大约 12 个完整的工作，这比我当时稀缺的时间预算要多得多。纹理处理相当容易和快速，所有事情大约需要一周的时间。在制作纹理的同时，我开始检查 Marmoset 中的纹理，并做了一些 lookdev 来快速更改或修复任何内容，所以当我进入光照和渲染步骤时，我只花了大约 3 到 4 天的时间就准备好了一切。 Throughout the whole creation process, I’ve faced a lot of challenges, and probably the most remarkable ones were the hair groom itself, all the details I had to hand-sculpt throughout all the wooden parts, and figuring out how to properly retopo them and make them viable for a real-time model.
在整个创作过程中，我遇到了很多挑战，其中最引人注目的挑战可能是头发梳理本身，我必须在所有木制部件中手工雕刻的所有细节，并弄清楚如何正确地重新拓扑并使它们适用于实时模型。 Regarding any beginner character artist out there: don’t be scared, face and accept the coming challenges that are ahead. Do stuff you like and think you would enjoy. Don’t do things to impress others, do things for yourself and because you want them to become real. Be disciplined, as much as you can. Discipline is not a quality you have or not, it can be exercised and trained. Be patient and dedicate all the hours needed to properly finish each one of the parts of your piece. Great works you see on ArtStation or even here on 80 Level don’t come from rushing things through. Things that are good and worthwhile take time. Always. Keep working, and don’t rush yourself either. It’s not a race. You’ll get there.
关于任何初学者角色艺术家：不要害怕，面对并接受即将到来的挑战。做你喜欢并认为你会喜欢的事情。不要做一些事情来打动别人，为自己做事情，因为你想让它们成为现实。尽可能多地遵守纪律。纪律不是你拥有与否的品质，它是可以锻炼和训练的。要有耐心，并投入所有必要的时间来正确完成作品的每个部分。你在ArtStation甚至80 Level上看到的伟大作品不是来自匆忙的事情。好的和有价值的事情需要时间。总是。继续工作，也不要着急。这不是一场比赛。你会到达那里。 Thank you so much for reading me, and thanks to the 80 Level team for this opportunity. See you around!
非常感谢您阅读我，并感谢80 Level团队提供这个机会。再见！
Edu Morales, 3D Character Artist
Edu Morales，3D角色艺术家Interview conducted by Gloria Levine
采访由格洛丽亚·莱文主持
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