Making of Seaside Feeling

Making of Seaside Feeling/制作海边心情
翻译by:yipinsucai.com

I like architectural designs & visualizations with water in them.
我喜欢建筑设计和可视化里的水。
Make it seaside and I absolutely LOVE it – but then, who doesn’t?
让它有海滨的感觉我绝对喜欢它——谁不喜欢呢?
That’s why it didn’t take me long to reach Pedro Fernandes and ask him about how he made the “Seaside Feeling” image you see here, up above.
这就是为什么我没有花很长时间来达到佩德罗·费尔南德斯,问他关于他是如何制作“海滨的感觉”的图像,就像你上面看到的。
Pedro has freelance experience in really interesting companies such as Vyonyx, Crystal CG and F10 Studios.
佩德罗有着自由的工作经验在真正有趣的公司如Vyonyx、水晶石CG和F10工作室。
He’s portfolio showcase both full 3d scene resulting images as well as dominantly matte-painted works, so it is interesting to learn how he goes about creating an image.
他的作品展示都是3d场景生成的图像以及matte-painted作品,所以这是有趣的来学习如何创建这样一个图像。
Enjoy!
享受吧!
作者 : Pedro Fernandes
Arqui9 is a Freelance Project, founded by Pedro Fernandes, 3D Artist (Currently residing in London).
Arqui9是一个自由项目,由3 d艺术家佩德罗·费尔南德斯创办。
He is a fully licensed Architect, dedicating himself solely to 3D Art, specializing firstly in Architectural Visualization and now in Environment Art and Matte Painting too.
他是一个注册建筑师、完全地奉献自己在3d艺术,专业建筑可视化和现在的环境艺术和Matte Painting。
介绍：
Hi to all,
大家好：
I was recently contacted by Ronen Bekerman to write a Making-of for this little project I did a while back.
我最近联系了Bekerman Ronen写了我之前做过的这个小项目的Making-of 。
Ronen has done a lot for the ArchVIZ community and he continues to be one of the most consistent players out there delivering quality content for us all.
Ronen已经做了很多为ArchVIZ论坛,他一直是最稳定的会员，提交了很多高质量的内容对于我们所有的人。
So, big thanks to him, and now it’s my time to give a little something back so here’s the making of “Seaside Feeling”.
因此非常感谢他,现在该我回报论坛的时候了，所以我在这里提供了“海滨的感觉”的制作流程。
A bit about myself first…
一些关于自己…
My name is Pedro Fernandes, and I’m a freelance 3d artist.
我的名字叫佩德罗·费尔南德斯,我是一个自由的3d艺术家。
I’m a fully licensed architect who soon enough decided that making visuals and digital art was the way to go.
我是一个完全授权建筑师，我很快决定走视觉和数字艺术的路。
I have a passion for experimenting and I’ve tried everything from the heavy modeling and texturing with VRay.
我酷爱测试，我已经尝试了所有的与VRay相关的建模和贴图。

To the really intensive painted and matte painted images and projections
绘画和matte painted图片

翻译by:yipinsucai.com
I’ve managed to work at some really interesting companies.
我曾经在一些真正有趣的公司工作。
Some of them being Vyonyx, F10 Studios and Crystal CG.
他们当中的一些是Vyonyx,F10工作室和水晶石CG。
I must thank all of them and the artists who work there, as they had a big influence on what I do.
我必须感谢他们和在那里工作的艺术家们,因为他们对我有巨大影响。

This work here is based more on the matte painting qualities of an image.
这个工作更多地是基于matte painting。
It is a project based in Lisbon, Portugal (where I was born) in a beautiful place called Cascais.
这是一个位于葡萄牙里斯本(我出生的地方)的项目，这是一个美丽的地方称为Cascais。
It’s a cosmopolitan seaside city right within the outer limits of Lisbon, I highly recommend you to visit if you get a chance.
它是一个世界性的海滨城市在里斯本,我强烈推荐你去看看如果你有一个机会。
I did this work a while back, although I changed a few little things mostly in coloring and small details to fit this Making-of.
我做这工作之前,我改变了一些小事情主要在颜色和小细节来适应这个Making-of。
Inspiration
灵感
Inspiration wasn’t too hard to find, as there are many photos of seaside coasts scattered around the internet.
灵感不是太难找到,因为有很多照片关于海滨海岸分散在互联网上。
From an early stage I knew I wanted to do a faster matte painting image, as I knew time was of the essence.
在早期我知道我想做一个快速的的 matte painting图像,正如我知道时间是非常重要的。
I’m a huge fan of the trio MIR, Luxigon and of course Vyonyx, so I knew I wanted to do this one similar to the style those 3 showcase.
我是一个MIR, Luxigon和 Vyonyx的粉丝,所以我知道我想要做一个类似于这几家公司的风格。
I gathered some inspiration reference material and decided to go forward-looking at tones and colors that I wanted to portray in my scene.
我收集了一些灵感参考材料，决定我的场景这样那样的色调和颜色。
Next, I proceeded to gather some site context info…
接下来,我继续收集一些环境信息…

3D SketchUP Model Supplied
SketchUP提供3 d模型
The model supplied was very well done and required minor adjustments only.
该模型很好,只需要轻微调整。
I proceeded to import the base SketchUP 3d model into 3ds max, where I started quickly mocking up the file.
我继续导入SketchUP 的3d模型到3ds max里,我开始快速制作模型。

3d Studio Max Setup
3d Studio Max 设置
翻译by:yipinsucai.com
Everything in the 3d Studio Max setup is very basic.
一切都在3dMax中的设置是很基本的。
I knew from the beginning what I was going to do and didn’t want to spend any more time than necessary in the 3D phase.
从一开始我就知道我要做什么、不想花更多的时间在这个阶段。
So, here is a basic breakdown of the 3D scene…
所以,这是一个基本的3d场景设置…
Gamma
There’s always quite a lot of talk on Gamma.
总是有很多人在谈论伽马。
I’m not the biggest expert out there, but this is the way I’ve worked over time and seems to blend in with the norm at the major companies.
我不是最好的专家,但我的工作的方式随着时间的推移,似乎融入正常的大公司。
I output the gamma to 2.2 through VRay on final render, this won’t matter much if you don’t work in a linear work environment, but in case you do and you output to other composting software such as Nuke or Fusion, it can make a difference.
我输出伽马为2.2通过VRay在最终渲染,这也不是很要紧,如果你不工作在一个线性的工作环境,但你和你输出图片到其他后期软件如Nuke 或 Fusion,它会产生一个不同的效果。

单位
Another important thing to remember is the basics of a file.
这是另一个重要的要要记住的是基本前提。
In my case I use the metric system and as such I have my scene defined to meters for display and also as system units.
在我的例子中,我使用公制,因此我定义场景为米显示,也是系统单位。
If you prefer to work in CM or other you can do this through the display units without re-configuring your file units.
如果你喜欢工作在厘米单位中或其他单位中你可以通过display units重置你的文件的单位。

灯光
Lighting once again didn’t have to conform to other cases, where more 3D elements would be used and was done with a simple VRay Sun and a VRay Sky in the environment slot.
灯光没有特定的模板,做了一个简单的VRay太阳和VRay天空在环境通道。
These were then linked up and voila!
然后链接阳光和天光！
Sun should be ticked invisible so it doesn’t mess up the spec highlights.
太阳应该勾选不可见,这样它就不会搞糟高光范围。
A sky portal light was also placed above pool area to let some light flood inside pool area.
天光入口也被置于游泳池上方,让一些光打到游泳池里面。
One thing I usually see happen with some relatively new users is forgetting to tick, the Affect Shadows Option in VRay Materials, Refraction, this will make it possible for shadows to be cast through the glass.
有一件事我经常看到发生在一些相对新手的用户是忘记勾选影响阴影选项在VRay材质的折射里,这将使光线不能通过玻璃。

贴图
Nothing out of the ordinary here.
这里没什么特别的。
I just used a displacement on the rock texture, so I could create a similar effect easily without needing to paint as much.
我只是用了置换在岩石纹理上,所以我可以创建一个类似的效果而不需要绘制很多。
This was not as relevant in this viewpoint, but I decided it would be a good base as I had the freedom to move around the camera as I pleased.
这不是这个视角能看到的,但我想它将是一个良好的基础,如果我想随意切换视角的话。

相机
This camera was one of the key shots used.
这个相机是其中一个镜头。
I wanted to convey the connection the see had with the architecture, and how the design not only lent itself to that elements but also configured itself around the terrain and pre-existing pool.
我想表达海和建筑的关系,以及设计不仅表现其自身,而且对周围的地形和以前存在的游泳池也是搭配的。
I liked the architecture within the shot and that in itself was already very inspiring.
我喜欢建筑的这个视角,这本身已经很鼓舞人心了。
The camera just came naturally.
摄像机就自然而然的设置好了。
Note I used no vignetting and white balance was set to neutral, so I could have as much control in post as I wanted to.
注意,我没有使用暗角，白平衡设置为中性,所以我可以尽可能多的在后期控制我想要的色调。

代理
I did however use some proxy bushes within the gardens, sometimes it can be easier than doing everything in Post with 2D images, but then again it’s just down to personal preference.
我使用一些代理灌木在花园里,有时它会更简单相比在后期的2D图像里制作,这只是看个人的喜好。

渲染
翻译by:yipinsucai.com
Render Elements are your best friends…
渲染元素是你最好的朋友…
You can isolate certain parts and bump up reflections, lower shadows and increase lighting all through these.
你可通过这些隔离某些部件并提升反射,降低阴影,提高照明等等。
I tend to use and abuse multi-mattes as it lets you render out the elements you want.
我倾向于使用并多用渲染元素因为这能出你想要的各种元素。
There are quite a few online tutorials for this, so I’ll move on.
有相当多的在线教程,所以我将继续。
You can also use a handy little script, which I started using through a friend of mine called Simoni Nastasi, titled EffectsChannel.
您还可以使用一个方便的小脚本,我开始使用这个脚本通过我的一个朋友叫Simoni Nastasi，脚本名字叫EffectsChannel。
It’s a great little script that will configure all your render mattes and multi-mattes.
这是一个很棒的小脚本,该脚本将配置你所有的渲染遮罩和multi-mattes。

Photoshop Postwork
Photoshop后期
And thus, finally, we arrive to my favorite piece of the process, where the magic really happens.
因此,最后,我们到了我最喜欢的一个神奇的进程,魔术效果产生的地方。
Although I look back on the image and know it does have its defects and it isn’t perfect, I’m also conscious that sometimes we have to constrain ourselves to tight deadlines and try and make the most of what we can.
虽然我回顾图像并知道它确实有缺陷,它并不完美,我也意识到有时我们不得不强迫自己在截止日期前完成。
Thus, the difference between personal work and professional work.
因此,要区别个人工作和专业工作。
I’m pretty much never satisfied with any image I create and think there are always so many ways to better it – it’s always good to have this personal auto critique, but at the same time don’t let it get you down comparing your images to what’s out there.
我几乎从不满足于我创建的任何图像并认为总有很多方法做的更好——总是有这样的自我批判这是没错的，但同时不要让它降低你达到好效果的期盼。
Try and enjoy what you’ve made and know that next time you will create something better.
试着,享受你的作品,知道下次你会做的更好。
And now for my favorite part!
现在是我最喜欢的部分!
Raw 渲染
This is the raw render I started out with.
这是原始的渲染。
It’s always best to work within a large resolution so you can compress all those details on your final output.
最好工作在一个大的分辨率上,这样你可以压缩所有这些细节在你最后的输出。
I didn’t go too high on this one, but I would usually go to about 4k or 5K wide images, depending on what has to be done.
我没有设置太高,但我通常设置约4 k或5k像素大的图片,这取决于要做什么。

背景
I start layering in the background images, from reference material gathered from the architects and also from the net.
我开始分层背景图片,从搜集的参考资料或者网络。
Preferably I would have visited the site and taken my own photos, but time was of the essence.
最好是自己去现场查看并自己拍摄照片,但是时间是非常重要的。
I also recommend a great image source from Vyonyx, called Gobotree, use it and abuse it. It’s fantastic. Also make use of the well-known cgtextures.com.
我也推荐一个不错的图片素材网站，属于Vyonyx工作室，叫做Gobotree，多多使用它，是一个非常棒的网站，同样适用总所周知的cgtextures.com。
I try and firstly adjust the levels on each photo to match within the scene, getting into color balance after this.
我试着首先调整海平面的照片来匹配场景,然后进入色彩平衡。
A nifty trick is to turn your image to gray-scale through Hue/Saturation and then check if any of the levels are off.
一个诀窍是把你的图像转成灰度图通过色相/饱和度,然后检查是否有任何的色阶异常。

更多的贴图
More textures are layered in, making sure they match the perspective and also colors.
更多的贴图导进来了,确保它们匹配角度和色调。
It’s super important to check that you achieve proper depth within in your images.
这是非常重要的来使你的图像达到适当的深度。
As things recede in space they get hazier and tend to desaturate to an environmental tone, bluish in this case.
当物体像远处退去的时候物体本身会蒙上一层雾霾，在这个场景里雾霾的颜色是蓝色。
Another little trick is to keep flipping your canvas, as your brain will get use to seeing the same image and will start to not pickup on obvious mistakes.
另一个小技巧是不断地翻转你的画布,因为你的大脑会因为一直看到相同的图像,并将开始不能发现明显的错误。
It gives you a fresh look on things.
它给你一个新鲜的看事情的感觉。

Foreground Elements
前景元素
翻译by:yipinsucai.com
More foreground elements are added.
更多的前景元素被添加。
This time dirt and shadows are overlaid and multiplied to images, also using the Render ID Mask for certain selections and changes to colors, overlays and materials.
这一次污垢和阴影覆盖或增加到图像上,还使用渲染ID的遮罩来选择和改变某些物体颜色,叠加和材质。
At this point during the process I tend to blend and mix all colors to the base color grade I have in the image – by using Levels first and then Color Balancing to adjust the tone.
此时在过程中,我倾向于将所有颜色混合成一种基本的色调——通过使用色阶一然后色彩平衡调整图像的基调。
The major curves / contrast adjustments will be given in the end.
曲线/对比度将是最后的调整。

Adjustments and Lighting
调整和灯光
Here I’ve painted in some light / shadows and highlights.
这里我绘制了某些光/阴影和高光。
We’re now moving on to our final image.
现在我们继续我们的最终的图像。
I’ve used curves to give the contrast I need and also painted in some light through dodge layers.
我使用曲线给了需要的对比度，也画在某些光通过dodge图层。
I apply a bleach bypass, which you can use a filter from Magic Bullet Pro or Nikon Effex, but in this case I did it manually.
我赋予了bleach效果,您可以使用一个滤镜称作 Magic Bullet Pro 或 Nikon Effex来达到这个效果,但在这种情况下我手动做了这个效果。
Firstly Sharpen the image, then desaturate it a little while increasing the contrast through curves or brightness contrast.
首先锐化图像,然后降低它的饱和度一点点，增加对比度通过曲线或亮度对比度命令。
All tonalities are mixing together and we’ve achieved a “global look” to the image.
所有的繁文缛节混合在一起,我们已经达到了一种 “global look” 的图像效果。

最终效果
After all done, the final crop is applied and here we are left with the final image…
所有的都完成了,作了最终的裁切。

写在最后
This was one of many techniques within Architectural Visualization.
这是许多建筑可视化的技术之一。
it’s never really just about the tools in the end, but more about the vision.
我们讨论的不只是工具，更多的是视觉效果。
I hope you have enjoyed this little making-of and have also had a bit of fun, as I have certainly had.
我希望你喜欢这个小making-of、也有一点乐趣,正如我有的。
Hope you enjoy some of my other works too, especially a personal piece I did a couple of months ago, with some heavy matte painting and video projection.
希望你喜欢我的一些其他作品,特别是我个人前两个月前做的,一些matte painting 和 video projection。
It will be the next breakdown!
它将成为下一个分解教程!
翻译by:yipinsucai.com

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