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        這張照片是我一直在做的一個動畫的一部分,我讓它保持動畫的動力。很久以前,在我無聊的時候,我畫了一個奇怪的人物,像貓、老鼠和蝙蝠——全都在一起。我做了一些小動畫,但是我從來沒有設置過,所以我創建了這個場景。它的概念是在另一個無聊的時刻完成的;我想象了一個復雜的房間,里面有很多東西,所以在做任何嚴肅的造型之前,我都試著做一個低的poly代理版本。我決定做一點實驗,所以我把我想要的東西都畫在紙上,然后用它作為紋理。我把它投射到一個空心圓柱和擠壓部件上,就像桌子、窗戶、架子和洗衣機一樣——只是切割和擠壓。用Max的切割工具,所以我真的很喜歡做不規則的幾何剪裁。當我從高聚體開始時,低聚模型是非常有用的。雖然我確實改變了一些事情,但我做的大部分事情都是低分辨率的。為了好玩,我也試著用燈光和色彩的幾何圖形來照亮低聚物。它非常卡通!我想我將來會做一個簡短的場景和角色合并——根本沒有必要渲染,因為它在DirectX上看起來很好!(Fig01和02)

         

        This image is a part of an animation that I have been working on from time to time, and I made it to keep my spirits up - to keep motivated for animating.  It all started a long time ago, at the moment of boredom, when I drew a strange character that resembled a cat, rat and a bat - all in one.  I did some small animations but I never had a setting for it, so I created this scene.  The concept for it was done in another moment of boredom; I imagined a complex room with lots of stuff there so I tried to make a low poly proxy version of it before doing any serious modelling.  I decided to experiment a little so I drew everything I wanted to have there on paper, and used that as a texture.  I projected it on a hollow cylinder and extruded parts, like the desks, windows, shelves and washing machine - just cutting and extruding.  Max's cut tool has a mind of its own so I really enjoyed the careless cutting that made a lot of illegal geometry!  The low poly model was very helpful when I started with the high poly; I knew what was left to model and where everything should be.  Most of the things I did according to low poly, although I did change some things...  For the fun of it, I also tried lighting the low poly, too, using lights and colouring the geometry with vertex colours.  It came out very cartoonish!  I think I will do a short using that technique for scenes and characters in future - there's no need to render at all, as it looks good in DirectX!  (Fig01 and 02)

        圖 01


        圖02

         

        我試圖解決的主要問題是紋理和渲染。我想把重點放在這里,因為其他的東西都是直接的。首先,我有很多對象,我不覺得我想要貼圖和質地,(我猜我懶惰,或者只是似乎過度這么做!),所以我試圖想出一個方法,使組織的材料對于某些類型的對象。我做了大的,普通的金屬和木頭的紋理,上面有鮮明的特征,并把它們和我在每個物體上畫的頂點顏色結合起來(使用凹凸貼圖作為混合量的面具)。我第一次使用了頂點著色修飾符(3ds Max)和I lo-ooo -ved。我把它放在了subdiv下。修飾符主要使顏色看起來更平滑。我盡可能多地使用這種技術,無論是我在2d應用中烘烤和使用的基本色彩規劃,還是混合使用一般的紋理來獲得更復雜的材料。我也用它來掩飾一些顏色對靜態幾何的影響。

         

        The main problem that I was trying to solve was in the texturing and rendering.  I'd like to focus on that here since everything else was straight forward.  First of all, I had lots of objects that I didn't feel like I would want to map and texture, individually (I guess I'm lazy, or just seemed to be overkill doing all that!), so I tried to come up with a way to make groups of materials for certain types of objects.  I made large, generic textures of metal and wood with distinctive features on them, and combined them with vertex colours that I painted on every object (using a bump map as a mask for mix amount).  I used the Vertex Paint modifier for the first time (3ds Max) and I lo-oooo-ved it.  I placed it below the subdiv. modifier mostly; it makes the colours appear smoother.  I use this technique as often as I can, whether for basic colour planning that I bake and use in 2d apps, or mixing with generic textures to get more complex materials.  I also used it for faking some colour bleeding effects on static geometry, too.

         

        你可以看到在最后渲染的窗口周圍的墻上有紅色和綠色的陰影。我在很短的時間內就使用了一些紋理來給很多對象著色,并且玩得很開心!我這么做的另一個原因是為了保存一些記憶,因為我必須記住,我主要是在為動畫做一個場景,我需要每一個速度的提升,我能做到!(Fig03)

         

        You can see red and green shades on the wall around windows on the final render.  I managed to colour a lot of objects in a really small amount of time using just a few textures - and had fun doing it!   Another reason why I did this was to save some memory as I had to keep in mind that I was primarily doing a scene for animation and I would need every speed boost I could get! (Fig03)

        圖 03

         

        在試圖渲染整件事情時也發生了類似的問題……我試著避免渲染很多不同層次的幾何圖形(比如角色、前景、背景),以及任何一種可以通過閃爍和失控來對抗動畫的全局照明解決方案。我當時沒有經驗,但我現在仍然盡量避免它。

         

        A similar problem occurred whilst attempting to render the whole thing...  I tried to avoid rendering lots of separate layers of geometry (i.e. characters, foreground, background) and any kind of global illumination solutions that could fight with animation by flickering and getting out of hand.  I had no experience with it then and I'm still avoiding it as much as I can now by faking it..

         

        在做了一些奇怪的實驗之后,我決定用簡單的掃描線和Max的陰影地圖的力量。我用了很多的燈光:2個主要的聚光燈通過窗戶照射進來,并在場景中投射出最強烈的陰影(我希望我當時有現在的viewport陰影預覽!)其他的燈光則是為了給我留下一個非常柔和的陰影——我放置了一些來反射房間周圍的陽光撒到地板上;其他的大部分都是泛光燈和點燈,如果用一個我認為好看的角度來照明的話,它會看起來很漂亮。我也照亮了那些太暗、太無聊的部分,雖然沒有光線可以到達真實的效果(例如,冰箱上方天花板上的紫色燈)。

         

        After a few weird experiments with mental-ray GI, I decided to go with simple scanline and the power of Max's shadow maps.  I used lots of lights: 2 main spot lights doing the sunlight through the windows and casting the sharpest shadows in the scene (I wish I had the present viewport shadow preview then!); other lights were meant to create an impression of GI by casting very soft shadows around the scene - I placed a few to reflect the sunlit floor around the room; others were mostly omni lights and spot lights directed at parts of geometry that would just look nice if lit by an angle that I decided would look nice.  I also lit parts of the scene that were too dark and boring, although no light could get there in real life (the purple light on the ceiling above the fridge for example).

         

        所以,我猜,這是一種卡通式的、不切實際的照明方式吧?特別通過創造色彩對比溫暖和寒冷,淺色!我的第一個和唯一的目標就是讓它感覺舒適和舒適,而不去想什么是可能的,什么在現實生活中不會發生……Max的半透明材料幫助很大;如果使用陰影貼圖,因為不需要的人工制品會使它幾乎毫無用處,這是很糟糕的,但我想,當大量的暗影映射的光線擊中它時,人工制品會消失并相互抵消。植物,人物的皮膚,耳朵,牙齒和黃色的塑料鴨子都是很好的例子!我認為這種材料應該得到更多的關注:它是一個非常好的假貨,尤其是在頂部覆蓋了遮擋層的情況下。

         

        So, a cartoonish, unrealistic approach to lighting, I guess?  Especially by creating colour contrasts with warm and cold, light colours!  My first and only goal was just making it feel nice and cosy without trying to think about what's possible and what would not happen in real life...   Max's translucent material helped a lot; it's bad if used with shadow maps due to unwanted artefacts which make it practically useless, but I guess the artefacts disappear and cancel each other out when lots of shadow-mapped lights are hitting it.  Plants, character's skin, ears, teeth and the yellow plastic ducky are good examples of it!  I think that material deserves a little more attention: it's a really good fake, especially with the occlusion layer overlaid on top!

         

        我也經常玩反射貼圖。我所做的每一個模型都有光滑的角邊和反射,使亮點看起來更可愛。最后,我只使用了一張貼圖。jpg有很好的光/暗部和一些綠色的陰影。每一種材料都有它,主要是混合了菲涅耳并且模糊了很多。這有助于定義你的體積,即使它很弱。我想我可以做一個房間的球形貼圖,然后用它代替……(Fig04)

         

        I played with reflection maps a lot, too.  Every model I did had smooth fillet edges and reflections made the highlights look cuter.  In the end I used just one map, I think: a small .jpg that had good light/dark parts and some greenish shades.  Every material had it, mostly mixed with fresnel and blurred a lot.  This helps defining your volume, even if it's very weak.  I guess I could have made a spherical map of the room and used it instead...? (Fig04)

        圖 04

         

        后來,我把掃描線和周圍的封閉通道結合在一起,這真的產生了很大的不同。這是一項很酷的發明,它能幫我節省很多時間!我渲染了一些動畫鏡頭,渲染時間是可以的,記住我每次拍攝都用了好幾層。掃描線(普通的強大的max掃描線與反射,反射和陰影圖),mray遮擋,體積(用于太陽射燈)。加上一個假的DOF通道,這是一個簡單的灰度衰減陰影應用到整個場景,并鏈接到一個輔助對象的距離。這樣一來,我就可以通過在場景中激活助手的位置來控制焦點,并通過應用曲線來進行額外的調整。雖然它可以用來強調在很多方面的焦點幾何,但它最好作為一個復合模糊的面具來偽裝DOF。最后,這張照片經過了大量的色彩校正,一些在Photoshop中畫出的亮點讓人感覺更卡通化(Fig05)。

         

        Later I combined the scanline pass with an ambient occlusion pass and that really made a lot of difference.  Occ. is a really cool invention in rendering and it saves my neck often!    I rendered a few animation shots and the render time was OK, keeping in mind that I used several layers for each shot; scanline (regular mighty max scanline with speculars, reflections and shadow maps), mray occlusion, volumetric (for sun spotlights).   Plus a fake DOF channel, which is a simple greyscale falloff shader applied to the whole scene and linked to a helper object's distance.  That way I can control what is in focus by animating the helper's position in the scene, and doing extra tweaks in After Effects by applying curves to it.  Although it can be used to accentuate the geometry in focus in many ways, it's best as a mask for Compound Blur to fake DOF.  Finally, the image went thru a lot of colour corrections and some painted highlights in Photoshop to get the more cartoonish feel (Fig05).

        圖 05

         

        這個角色的頭發后來變長了,所以我為他創造了另一層,并為他的牙齒留下了口水。一個動畫是在小分辨率(1280x720)中渲染的,而不是我現在展示的圖像,但是渲染過程和后期工作基本上是一樣的。

         

        The character's hair grew later, so I created another layer for that, and for the saliva hanging from his teeth.  The animation was rendered in smaller resolution (1280x720) than the image I'm presenting now, but the render process and post work was basically the same.

         

        我希望這能對你們有所幫助!感謝您的閱讀。

         

        I hope this helps a little!   Thank you for reading. 

         

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        19年8月3日

        114214

        114214

        普通會員

        大牙確實不錯,哈哈哈哈

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        18年2月8日

        batmanhl

        batmanhl

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        不錯不錯,謝謝分享

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        18年2月8日

        wuzj0316

        wuzj0316

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        表情到位啊,很猥瑣啊
        3D Going !!! -wuzj0316

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        18年2月8日

        fengchuanmo

        fengchuanmo

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        很好,I like

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        18年2月8日

        melo199410

        melo199410

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        這表情也是沒誰了,尤其是那個大牙

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        18年2月8日

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