Making Of 'Final Stand'/制作“Final Stand”

Making Of 'Final Stand'/制作“Final Stand”
By Brandon Martynowicz
作者：Brandon Martynowicz
Software used使用软件:
3ds Max, Photoshop, Maya, V-Ray
翻译by:ghostxx.com

Introduction/介绍
What's up, guys? My name is Brandon Martynowicz. I have been working as a  CG matte artist/environment artist for the last six years in the  film/game industry. My primary skills include modeling, texturing,  shading, lighting and rendering.
大家好，伙计们，我的名字是Brandon Martynowicz。我一直做的是matte artist/environment艺术家在过去的六年里在电影/游戏行业。我的主要技能包括建模、贴图、材质、照明和渲染。
I have put together a short "Making Of” of my latest personal piece,  called Final Stand. This image was inspired by a quick pencil sketch I  did a while back. A big part of creating this image was to keep  practicing my skill-set, and to play with composition and lighting. I  love doing personal projects because they give me the freedom to create  what I envision, rather than being under constant art direction.
我已经准备了简短的 "Making Of”教程关于我的最新个人作品，名称为Final Stand。这张照片的灵感来自一个我一段时间之前我做的一个快速素描。很大一部分原因我创建这个图像是坚持练习我的技能,学习合成和照明。我喜欢做个人项目,因为他们给我自由地创造出我的设想,而不是受制于其他的艺术指导。
References/参考
By starting off with a sketch, I immediately knew I wanted to create  something vast in size and scale, something old-ish, dirty, grimy, urban  and somewhat sci-fi-esque. This led me to Google, which lead me to the  Kowloon Walled City in Hong Kong. This is a well know existing place, so  references were quite easy to find. I immediately fell in love with the  size, scale, weathering and amount of detail in this city (Fig.01).
从一个草图开始，我立刻知道我想创造一些巨大的场景,一些老旧的，肮脏的，污秽的有点科幻的城市。谷歌引领我到香港九龙寨城。这是一个众所周知的现存的地方,所以引用非常容易找到的。我立刻爱上了大小、规模、气候和这个城市的细节(图1)。

Fig. 01
Modeling/模型
The modeling process for this piece was extremely simple. Low res building facades were poly-modeled in Maya in a modular way. UVs were laid out per object once the model was complete. External pieces such as window frames, over (and under) hanging deck pieces, AC units and pipes were also modeled in a low res fashion. Model the detail that you know you will see – forget about the rest. I knew I would be relying heavily on textures and paintover, so I did not go too crazy on modeling detail (Fig.02).
为了这个场景的建模过程是非常简单的。低模建筑物的外墙是poly建模在玛雅里。每个模型一建好久给它们展开UV。额外部件如窗框,上下悬挂甲板件、空调机组和管道也是建的低模。模型的细节只建模你知道你会看到-忽略其余的。我知道我将依赖纹理和绘制贴图,所以我没有太疯狂在建模的细节方面(图2)。

Fig. 02
After the modular building facades were finished, I decided to do a quick layout and play around with the composition. This is where I knew I wanted the camera to be down near ground level, left side, and that I wanted the building to curve around from left to right (Fig.03).
建筑立面完成之后,我决定做一个快速的布局并附带合成。这让我知道我想要的相机在地面附近的左边，我希望建筑的结构曲线从左到右(fig03)。

Fig. 03
Textures and Shaders/贴图和材质
I will always be pulled towards the "tightly pack your UVs”, "use only the texture resolution you need” and, "make sure you texel density is consistent” type of in-game art logic. For this piece I used around 20 different 1k and 2k texture maps. Also, each map has its own specular map and bump map, so around 60 maps were created for the entire piece. With this many different shaders and texture maps, it is critical to keep everything properly named and organized (Fig.04).
我永远信奉“紧密排列你的UV”、“只使用你需要的纹理分辨率“和“确保你纹理密度是一致的”游戏艺术逻辑。为了这篇文章我使用大约20个不同的1 k和2 k纹理贴图。同时，每个图都有自己的高光映射和凹凸贴图,所以大约60个贴图被创造出来。与么多不同的材质和纹理贴图,保证所有物体都有条理的命名是很重要的(fig04)。

Fig. 04
翻译by:ghostxx.com
The shaders were setup with the basic V-Ray power shader (Fig.05):
才是是用标准的V-Ray power shader(Fig.05):
Diffuse component: painted and color corrected photo-based maps, primarily collected from cgtextures.com.
Diffuse贴图：手绘或者用照片修改而来，照片主要是从cgtextures.com上下载的。
Reflection component: greyscale specular breakup map piped into the reflection and Rglossiness slots. Reflection was used with the glossiness turned down (around .95), Fresnel reflections turned on, IOR based on the material properties and subdivs around 24-36 (always in powers of 12).
反射贴图:把灰色的高光贴图拖到反射与反射模糊贴图通道。反射贴图用在反射模糊通道里但是降低模糊值(大约.95),菲涅耳反射打开,IOR基于材料的属性，细分在24 - 36(通常用12)。
Bump component: a grayscale, high frequency image used on all shaders.
凹凸贴图：是一张灰色的，高对比度的图片，就是用其他通道里的图片修改的。

Fig. 05
Scene Layout and Organization/场景布局和组织
One of the problems I ran into with this project was the large number of individual objects. Since everything was modeled independently and modular to one another, this allowed for hundreds of thousands of different assets. Max and Maya don't really like this. So once everything looked good on an independent asset level, I merged assets together by material type and began creating layers based on material types. The layout began on one side of the river, flat, with all of the wires and junk attached. I then mirrored and flipped them, and moved around some things to get interesting shapes. That was then duped and moved down, and everything was grouped together. I applied a bend modifier to get the curvature in the rows of buildings (Fig.06).
一个我遇到的问题是大量的特定对象。因为一切都是模仿彼此独立的和模块,这使得有成百上千的不同的模块。max和maya真的不喜欢这个。所以一旦一切都看起来可以的时候,我通过材质类型导入模型资源，基于材质创建层。从河的一边开始，匾牌和所有的电线attach在一起，然后我镜像和反转他们,周围移动一些物体是它们的形状变得更有趣。一切都被成组在一起。我应用了弯曲修改器来让一排排楼房获得曲率(图6)。

Fig. 06
Lighting/灯光
In my first block-out concept, I explored a few different lighting scenarios. I had my mind set on a somewhat strong key light coming in from screen left. I really liked the raking shadows, warm sky and happy mood (Fig.07).
在我的第一个阶段,我探讨了几个不同的照明方案。我的心思是置于一个相当强的光来自于屏幕左边。我真的很喜欢那斜阴影,温暖的天空和快乐的心情(图7)。

Fig. 07
The only problem with a key light from the sun was the neon signs and windows. I wanted to have dominant pools of light from doorways, windows and neon signs as well. Unfortunately, this creates an unpleasant juxtaposition in the image. I eventually decided to kill the sun light, pop in a cool and stormy HDR map, and started adding neon lights, window light and doorway light (Fig.08).
打这样的灯光唯一的问题是,霓虹灯和窗户就没有效果了。我想有明显的光从门口溢出,窗口和霓虹灯也是。不幸的是,这将创建一个不愉快的效果。我最终决定去掉太阳光,用流行的阴凉暴风雨的HDR贴图,并开始添加霓虹灯、窗光和门口光(fig08)。

Fig. 08
The windows were a bit of a challenge to get looking right. The final  solution I came up with was this: poly plane with alpha window texture;  behind that, a V-Ray self-illuminated texture of an interior room lit up  at night; and behind that, if needed, a V-Ray plane light with a low  multiplier. All the neon signs were V-Ray self-illuminated materials  with neon images as diffuse texture maps.
做窗户有点挑战为了达到正确的效果。最后我想出的解决方案是:poly平面贴上窗口结构的贴图，然后,一个vray自发光贴图贴着室内房间的图片来照亮夜景,如果需要,再加一个低强度的vray面光。所有的霓虹灯是vray自发光材质贴着霓虹灯的图像作为漫反射贴图。
Composition/合成
With regards to composition, using the rule of thirds, my goal was to  start your eye at the mid-left center of the image: the bright area with  the neon signs. From there you should go back and to the right,  following the wires across the water to the other bright area, examine,  and then follow the bridge back to where you started. Using these  elements, the rule of thirds with the layout of structures and lighting  cues, I should have created a loop for you, a continuous loop where you  pause and study more details each time. This is what I want as the  artist, to keep you, the viewer, sucked in as long as possible.
至于合成,使用三分法,我的目标是留住你的眼睛在图像左边的中间:明亮的霓虹灯区域。从那里你应该回去向右,沿着电线穿过水到其他明亮的区域,然后从桥回你开始的地方。使用这些元素,三分法的布局结构和照明的暗示,我应该为你创建一个循环,持续的循环,你停下来研究更多的细节。这就是我想要的艺术,让观众驻足尽可能长的时间。
Post-production/后期
翻译by:ghostxx.com
Working in the matte painting department for the last few years I really  learned quite a bit about paint-over work. You can only get so much out  of 3D software, and almost always will want to do a little tweaking in  Photoshop. With Final Stand, I knew I would need to render out more than  just a beauty pass, but also knew I would not have to go too crazy. So I  rendered out a beauty with all lights included, Z-Depth and Ambient  Occlusion (Fig.09).
在matte painting部门工作的几年里我真的学习了很多关于 paint-over 的工作。你只能得到那么多从3d软件里,而且几乎总是会想要做一个小的调整在Photoshop。在这个终点站的图里,我知道我需要渲染出更多的层而不是仅仅一张漂亮的图片,但也知道我不会去太疯狂了。所以我只渲染出一张漂亮的图片包括所有的灯,z深度和环境闭塞(fig09)。

Fig. 09
As you can see here in the middle image, I got quite a bit out of my  three render passes, added a sky and tweaked some levels and contrast.  There was a wonderful amount of fidelity and details to see without any  paint-over yet. Awesome. CG gangster...
正如你所看到的在中间的一张照片,我得到了相当多的层从我的三个渲染的通道里，添加了一个天空，调整一些色阶和对比度。有美妙的的保真度和细节可看，没有任何paint-over。真了不起。CG歹徒……
So with that as my base, I started to just overlay some grime and dirt  textures, add a glow on top of the neon signs, dab in a little more  atmosphere and further tweak the saturation and color tones until I  found a pleasant balance (Fig.10).
所以,作为我的基础,我开始覆盖一些污垢和污垢材质,添加一个grow层在霓虹灯上,在气氛上进一步调整，进一步调整饱和度和色调,直到我得到一个令人愉快的平衡(图10)。

Fig. 10
Conclusion/总结
Personal projects are amazing. They allow us to use full and complete  creative freedom and to show the world what we can create. I have to  give props and thanks to my matte painting department in Irvine,  California for all the comments and critiques along the way. They really  helped me push this piece to the end. And thanks to my girl for  grammatically checking this tutorial! If you have any questions, don't  hesitate to ask.
个人项目是疯狂的。这允许我们使用完整和完成的创作自由来向世界展示我们可以创造的。我要感谢我在加州欧文工作的场景绘制部门里所有评论和批评。他们真的帮我把这个推进到最后。感谢我的女孩为我语法检查本教程!如果你有任何问题,不要犹豫来问好了。