Making Of 'Cais das Artes (Quay of Arts)'

Making Of 'Cais das Artes (Quay of Arts)'
制作'Cais das Artes (Quay of Arts)'
作者： Ricardo Canton
使用软件: 3ds Max, Photoshop, V-Ray, Misc
翻译By:yipinsucai.com

Hello everyone! My name is Ricardo Canton; I live in S?o Paulo and  graduated in architecture in 2004. Since then, I have been collaborating  with several architecture studios in the 3D visualization of their  projects. I received an invitation from 3DTotal to share a bit of my 3D  techniques and skills with the community, through the Making Of my image  of the Cais das Artes (Quay of Arts).
大家好!我的名字是Ricardo Canton,我住在圣保罗,2004年毕业于建筑学。自那时以来,我一直与几个建筑工作室合作在3d可视化的项目。我收到一份从3dtotal来的请帖来分享一些我的3d技术和技能,通过我制作的Cais das Artes(Quay of Arts)。
This image was produced a little bit before construction began on the  Cais das Artes museum and served as an illustrative support during the  presentation of the project in lectures and publications in architecture  magazines.
这张图片制作的时间是是在 Cais das Artes博物馆动工之前一点点的时间内,作为一个说明性的支持在演示项目的讲座和出版物上。
Before starting the tutorial, I will briefly explain what the Cais das  Artes project was. The building was designed by Paulo Mendes da Rocha  and Metro Arquitetos Associados, and comprised of a museum and a theater  equipped to host large scale art events. Located on the Suá Bay, near  the island of Vitória in Brazil, the main brief behind the project was  that it should reflect the value of the landscape and historical  surroundings of the city, and complement it. The design included  platforms that allowed people to appreciate the beauty of their natural  surroundings and the new square was intended to become a cultural  attraction for the city.
开始本教程之前,我将简要地解释一下Cais das  Artes。这栋建筑是由Paulo Mendes da Rocha 和 Metro Arquitetos Associados设计的,给一个博物馆和剧院举办大型艺术活动所用。位于巴西的安和苏阿湾岛附近的维多利亚,主要的要求是,它应该反映出景观的价值和城市的历史环境,并补充它。设计包括平台,允许人们欣赏美丽的自然环境和新的广场是为城市增加文化吸引力。
In this project I used the following tools: AutoCAD for modeling, 3ds  Max and V-Ray for texturing and illumination and Photoshop for  post-production of the image.
在这个项目中我使用以下工具:AutoCAD建模、3ds Max和vvray用来贴图和照明，Photoshop对图像进行后期制作。
Modeling/模型
Given that AutoCAD is still the most common architectural software used  by my clients, and because it contains all the design models and  perfectly fits my needs, I still consider AutoCAD the main tool for  modeling. Only when projects are more complex, will I combine the  AutoCAD process with 3ds Max. In this specific project simple commands  were used, such as Extrude, Polyline, Box, Union, Subtract and Slice.  Fig.01 – 03 show the main stages and construction components of the  building.
鉴于AutoCAD仍然是最常见的软件对于我的客户,因为它包含所有的模型设计，完全符合我的需要,我仍然认为AutoCAD是主要建模工具。只有当项目更复杂,将我结合AutoCAD与3ds Max来制作。在这个特定的项目只使用了简单的命令,如挤出,折线,box、合并、减和切片。图01 - 03显示主要的施工组件的建模。

Fig.01

Fig.02

Fig.03
After finishing the modeling phase, the DWG archive was imported into 3ds Max. After that I adjusted the internal units of the 3ds Max to meters.
在完成建模阶段,DWG归档导入3ds Max。之后,我调整了3ds Max的内部单位为米。
Lighting and Camera Setup/灯光和相机设置
The next step was to configure the lighting of the scene. To simulate the skylight, a hemisphere was used in which a VRaylight material, with a JPEG texture of a sky, was applied (Fig.04).
下一个步骤是配置场景的照明。模拟了天光,一个半球用了VRaylight材质和JPEG纹理的天空(图04)。

Fig.04
In the internal lightning of the museum several V-Ray planes were used, which received orange tone variations (Fig.05 – 07).
在博物馆的内部灯光使用了几个vray面灯,设置了橙色的色调并有微妙的颜色变化(图05 - 07)。

Fig.05

Fig.06

Fig.07
Materials/材质
The application of materials in this scene was quite simple, taking into account the fact that I did not intend to spend much time on tests and configurations (the color corrections and contrast were left to a later stage in the Photoshop phase). Among the few materials I used are: a V-Ray default material with white diffuse and a little bit of reflex in the beams, frames and cladding sheets, transparent glass, water, asphalt for the streets, and some variations of concrete textures for the slabs, pillars, pre-fabricated panels for the fa?ade and the great gable of the museum. Several textures were found in internet databases, like CGtextures (Fig.08 – 09).
材质的应用在这个场景是很简单的,考虑到这个事实,我不打算花太多时间在测试和配置(颜色修正和对比是留给后来在Photoshop阶段)。我使用的为数不多的材料是:一个vray默认材质用白色表面色和一点点的反射,框架和覆层,透明的玻璃、水、沥青的街道,和一些变化的混凝土板的材质,柱子、预制面板和博物馆雄伟的山墙。一些纹理是在互联网素材库里找的,如CGtextures(图08 - 09)。

Fig.08

Fig.09
Rendering Setup/渲染设置
The rendering configuration has no special features and the parameters adopted were basic with low values. I have used the classic method: irradiance map and light cache, adaptative dmc and exponential for color mapping. In this project, I have not used the LWF (Linear Work Flow), thus I have not changed the gamma settings in the 3ds Max preferences, even though I have been using this technique in my recent work. Here are the render presets (Fig.10).
渲染配置没有特殊的特点及参数都采用较低的值都是基本的。我使用经典的渲染方法：发光贴图和光缓存,可适应的dmc和指数曝光。在这个项目中,我没有使用了LWF(线性工作流程),因此我没有改变了伽马设置在3 ds Max偏好里,尽管我已经使用这种技术在我最近的工作。这里是渲染预设(图10)。

Fig.10
Post-production/后期
翻译By:yipinsucai.com
As you can see from the raw render, the image passed through a great transformation in Photoshop until it reached its final result. To facilitate the editing process and work more efficiently, several folders were created to maintain the layers organized. The use of adjustment layers and layer masks also allowed a non-destructive editing of the pixels. These tools are extremely important if you intend to easily recover any of the commands in future manipulations of the image.
正如您可以看到的原始渲染,图像经过一个重大转变,直到它达到它在Photoshop中最终结果。为了便于编辑和工作更有效率,几个文件夹被创造来维持层组织。使用调整层,层遮罩还允许一个非破坏性的编辑像素。这些工具是非常重要的,如果你打算轻松恢复图像在未来的任何操作过后。
The raw render can be seen in Fig.11.
渲染图像如图11.

Fig.11
The background was inserted (with some adjustments related to the lightning and saturation) below the folder (3D Base), containing the duplicated raw render (Fig.12).
背景是插入的(有一些调整相关亮度和饱和度)，放置在文件夹(3D Base)以下,这个文件夹包含原始渲染的副本(图12)。

Fig.12
In this phase, the idea was to reinforce the lights of the scene – mainly the artificial lights emanating from the museum. In order to do this, the layers of the render and the sky were duplicated, flattened and adjusted to linear dodge mode. After, with an inverted mask and a soft white brush, the effect was cautiously been revealed. (Fig.13)
在这个阶段,想法是为了增强场景的灯光——主要是来自博物馆的人工灯光。为了做到这一点,渲染的图层和天空被复制，调整到线性道奇模式。之后,使用反转的mask和一个软白笔刷,效果就渐渐地出来了。(图13)

Fig.13
In a new layer with the Screen blending mode, a white brush was used to highlight the lights of the annex (Fig.14).
用一个新的图层混合模式用屏幕,一个白色的笔刷是用来突出的灯光(图14)。

Fig.14
The use of orange filters served to accentuate the bluish tone of the original image and reach a hotter atmosphere (Fig.15).
橙色滤镜的使用使蓝色色调的原始图像达到较高的色温(图15)。

Fig.15
Adjustment layers (Curves, Levels) were used to reinforce the shaded areas and highlight the lights (Fig.16).
调整层(曲线,色阶)用来加强阴影区域和突出的灯(图16)。

Fig.16
Below the adjustments group a new layer was created with the Color Burn blending mode (Fig.17).
下面一层新的调整层使用了Color Burn混合模式(图17)。

Fig.17
The application of new concrete textures (Overlay mode, with low opacity) added tone variations and a little dirt to the original textures (Fig.18 – 19).
新混凝土纹理(Overlay模式,低透明度)添加色调变化和一点脏迹到原始纹理上(图18 - 19)。

Fig.18

Fig.19
To give life to the scene, I inserted some people and trees, adjusting their contrast and color (Fig.20).
给场景一些生气,我插入一些人和树木,调整他们的对比度和色彩(图20)。

Fig.20
To reach a more dramatic result, vibrating and with more color effect, I repeated the process in Fig.17 using the following blending modes: Linear Burn and Overlay (Fig.21).
为了达到一个更戏剧性的结果,添加更多的颜色效果,我重复这个过程在图17使用下面的混合模式：Linear Burn 和 Overlay(图21)。

Fig.21
I have removed a little bit of the general saturation (Fig.22).
我已经去除了一点点的全局饱和度(图22)。

Fig.22
I made a new copy (blending all the layers below) and added a mask. After that, I accessed Filter > Blur> Lens Blur to apply a very smooth blurring effect in the volume of the annex (center) and in the borders of the image (Fig.23).
我做了一个新副本(复合了所有的下面图层)并添加了一个蒙版。在那之后,我通过过滤镜>模糊>镜头模糊应用模糊效果到附加建筑和图片的边角(图23)。

Fig.23
A vignetting effect was applied through manual exposures. In order to do that, I used the Alt command and created a new layer. In the dialog box (New Layer) I adjusted the mode to Overlay (50%). The effect was applied with a smooth black brush (10%). A smooth white brush had the opposite effect, highlighting the areas of light (Fig.24).
一个暗角效果是通过手动曝光应用添加的。为了做到这一点,我使用Alt键创建一个新层。在对话框中(新层)我调整了模式为叠加(50%透明度)。使用一个光滑的黑色笔刷和一个光滑的白色笔刷(10%透明度)。使亮部更明显(图24)。

Fig.24
The final image can be seen in Fig.25.
最终效果如图25.

Fig.25
That's all. I would like to thank 3DTotal for the opportunity to publicize my work and I hope that everyone that reads the tutorial likes the methodology I have used in it.
这就是全部过程。我要感谢3dtotal给我这样的机会来宣传我的工作,我希望每个读该教程的人都喜欢我用的方法。