Making Of 'Spring Breeze'

Making Of 'Spring Breeze'
制作“春风”
作者： Nicolas Fu
使用软件:3ds Max, Photoshop, ZBrush
翻译by:yipinsucai.com

*警告:包含裸体*
In this article, I will describe the process of making Spring Breeze completely, from sculpting in ZBrush to the final composition.
在本文中,我将描述制作“春风”的过程,从在ZBrush里雕刻到最终合成。
This image is not an original work. I copied from the oil painting Spring Breeze, which was painted by William Adolphe Bouguereau, who was a famous academic artist born in the late 19th century in France. It was a very difficult challenge to translate a classic oil painting into 3D.
这张图片不是一个原始的工作。我临摹的油画“ Spring Breeze”,作者是William Adolphe Bouguereau，这幅画引起不少争议,阿道夫是一位著名的学术艺术家出生在19世纪后期在法国。这是一个非常困难的挑战将经典油画转成3d作品。
Basic Model/基础模型
I used an existing model, and the UV had already been finished (Fig.01).
我使用一个现有的模型,UVmap已经展好的(图1)。

Fig.01
Pose/姿势
It was going to be a still painting, so I decided to make the proper pose in 3ds Max and then sculpt in ZBrush. First I used the Display as Box option to get the biped shown in Fig.02. This is a convenient way of observing the pose when you want to change the gesture of a model in 3ds Max.
它将是一个静帧绘画,所以我决定做适当的姿势在3ds Max,然后在ZBrush雕刻。首先,我使用了显示为框选项来获得两足动物的框架如图02。这是一种方便的方法来观察一个在3ds Max中的模型你想改变姿态。

Fig. 02
In Figure mode, I ticked Twists and changed the parameters to make the ulna and radius rotate more naturally (Fig.03).
在 Figure 模式,我勾选扭曲和改变了参数使尺骨和半径旋转更自然(图03)。

Fig. 03
I added skin to the body mesh and rigged the body mesh with biped bones. I didn't spend much time adjusting the weights as I knew I could use Edit Polygon to adjust them again. Next I opened Auto Key, and made the pose that you can see is Fig.04.
我添加了skin给身体的模型，操纵身体模型用两足动物的骨骼。我没有花很多时间调整权重我知道我可以使用编辑多边形再次调整他们。接下来我打开自动关键帧,调整姿势,你可以看到如下的效果。图04。

Fig.04
When finishing the pose, I converted the model to an editable poly and made adjustments such as changing the position and thickness of the arms, the length of the waist (the waist is long in the original painting), the position of the breasts and so on (Fig.05).
完成姿势后,我转换模型到一个可编辑多边形并做了调整,比如改变位置和肩膀的厚度,腰部的长度(腰很长在原作里),乳房的位置等等(图5)。

Fig.05
Sculpt/雕刻
Next I exported that model into ZBrush and began to sculpt. There were no particular skills I used here; I just kept adjusting the image (Fig.06 – 07).
接下来我导出模型到ZBrush开始雕刻。我在这里没有使用特定的技能;我只是不停地调整图像(图06 - 07)。

Fig. 06

Fig. 07
Cloth/服装
I picked some parts of the model's mesh edited it with cloth dynamics to simulate the shape of the petticoat (Fig.08).
我挑出模型的几部分的网格，编辑它们用布料动力学模拟衬裙的形状(图08年)。

Fig.08
I used the oil painting as a reference to add more details in ZBrush, and I used a mask for the cloth drape (Fig.09).
我使用了油画作为参考来添加更多的细节在ZBrush里,我使用一个遮罩在布褶皱上(图09)。

Fig. 09
When finishing the rough structure of the cloth, I used Topogun to get new topology (Fig.10).
当完成粗糙结构的布后,我使用Topogun得到新的拓扑(图10)。

Fig.10
Comparing the retopologized mesh with the original model, I used ProjectAll to make all the little details with the sculpting tools (Fig.11).
比较重新拓扑的网格与原有的模型,我使用ProjectAll使所有的小细节不丢失(图11)。

Fig.11
Sculpting Stones/雕刻石头
For the stones, I made a box in 3ds Max and added Spherify to get smooth edges (Fig.12).
对于石头,我做了一个盒子在3ds Max并添加Spherify得到平滑的边缘(图12)。

Fig.12
I used Unwrap UVW to set up the UV map (Fig.13).
我用unwarp uvw来设置石头的UV

Fig.13
I exported the basic model to ZBrush and started sculpting (Fig.14).
我导出基本模型到ZBrush,开始雕刻(图14)。

Fig. 14
I added some noise to get more details (Fig.15).
增加一些噪波来获得更多的细节

Fig.15
Textures/贴图
翻译by:yipinsucai.com
I used Polypaint to paint the textures. First I projected the original painting onto the body with a spotlight, then I gave the skin a rough color based on the original one, focusing on the eyes, mouth and hands in particular to make sure they worked well with each other and so I could add in real details (Fig.16).
我使用Polypaint绘制纹理。首先,我将原作作为纹理投射到到身体上,然后我给肌肤一个粗糙颜色，聚焦眼睛、嘴和手等以确保他们互相匹配，我可以添加照片的细节到模型上(图16)。

Fig.16
Next I strengthened the color of the textures based on the picture reference, making sure the RGB Intensity was not too strong (Fig.17).
接下来我加强了纹理的颜色根据图片参考,确保RGB强度不是很强(图17)。

Fig. 17
I picked up the color of the model's surface to do more painting according to the way human skin color varies (Fig.18).
我拾取模型的表面的颜色做更多的绘制根据人类皮肤颜色的变化(图18)。

Fig. 18
To add more details to the textures I used Color Spray and alphas (Fig.19 – 20).
添加更多的细节纹理，我使用颜色喷雾和通道(图19 - 20)。

Fig.19

Fig. 20
Making the stone textures was the same as making of skin ones, but simpler. I just needed to find the proper textures (Fig.21).
制作石材质感是一样的和制作皮肤材质,但是更简单。我只是需要找到适当的纹理(图21)。

Fig. 21
I used the same method again to paint the cloth textures (Fig.22).
我使用相同的方法重新绘制布纹理(图22)。

Fig.22
Finally I use Multi Map Exporter to export PolyPaint, Normal, Ambient Occlusion and Cavity maps with a size of 4096 x 4096 (the towel and bathing dress with the size 2048 x 2048) to provide high quality veins. Because the image was a still, I was able to export high detail models directly and then use a Normal map to show the details.
最后,我使用 Multi Map Exporter导出PolyPaint，法线贴图，环境闭塞和Cavity贴图，大小为4096 x 4096(毛巾浴衣尺寸2048 x 2048)提供高质量的纹理。因为图像是一个静帧，我能够直接导出高细节的模型,然后使用法线贴图来显示细节。
The character textures can be seen in Fig.23, the bathing dress textures are in Fig.24 and the towel textures are in Fig.25.
这个角色纹理中可以在图23里看到,浴衣纹理在图24里，毛巾纹理在图25里。

Fig.23

Fig.24

Fig.25
I just export Polypaint and Normal maps for the stone textures (Fig.26).
石头我只导出了Polypaint和法线贴图。

Fig.26
Then I exported high quality models into 3ds Max and set up a camera (Fig.27).
然后我导出高质量的模型到3ds Max里并建立一个相机(图27)。

Fig. 27
Next I added lights to the scene. I used a day light for the main light, a sun light with mr Sun and a sky light with mr Sky in mental ray. I changed the position of the lights by hand and set Exposure Control to mr Photographic Exposure Control (Fig.28).
接下来我添加灯光到场景里。我使用日光作为主光源的光,一个MR Sun 和一个mr Sky。我改变了灯的位置,设置曝光控制为mr Photographic(图28)。

Fig. 28
I added a Photometric and mr Sky Portal to make the environment light, and set up a spherical sky light outside (Fig.29).
我添加了一个光度学灯和MR天空入口灯让环境亮起来,建立一个球形天空光在外面(图29)。

Fig.29
A lighting test can be seen in Fig.30.
图30显示了灯光测试。

Fig.30
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I adjusted the character's textures, changing the parameters according to the light in order to get the best textures (Fig.31).
我调整了人物的纹理,改变参数根据光为了得到最好的纹理(图31)。

Fig. 31
Then I made a few little changes to the skin veins in Photoshop to make it look more realistic (Fig.32).
然后我给皮肤做了一些小修改增加了血管在Photoshop让它看起来更真实(图32)。

Fig. 32
Fig.33 shows the eye and cloth shaders.
图33展示眼睛和衣服的材质

Fig.33
Hair
It took me a long time to make the hair; I had five attempts until I got what I wanted. First I detached the head mesh as a copy and then I made guiding lines to get the real hair.
我花了很长时间做头发;我做了五个尝试直到我得到了我想要的。首先我分离头部网格作为一个副本,然后我制作引导线得到实际的头发。
The mesh controlled the hair growth. The blue mesh was used to control the miscellaneous hair at the front, so I could get a good transition to the hairline. The green mesh controlled the first half of the hair style and the orange mesh was for the second half (Fig.34).
网格控制头发的生长。蓝网格是用来控制前面的杂乱的头发,所以我能获得一个良好的过渡到发际线。绿色网格控制前面一半的发型，橙色网格是控制后半部分头发的(图34)。

Fig.34
Fig.35 shows the guiding lines of the hair and Fig.36 shows the hair result.
图35展示了引导线的头发，图36显示了头发的结果。

Fig.35

Fig.36
Because of using mental ray, I choose mr Prim for the hair in Environment and Effects. This way I was able to get the best effect regardless of the rendering quality or speed (Fig.37).
因为使用 mental ray,我选择mr Prim在环境和效果。这种方式我能够得到最好的效果无论渲染质量或速度(图37)。

Fig.37
Rendering/渲染
Once I'd finished with all the settings, the next step was the final render. My rendering size was 3200 x 2400 and I rendered hair, AO, ZDepth, SSS mate, Diffuse Color and ObjectID passes (Fig.38).
一旦我完成了所有的设置,接下来的步骤是最终的渲染。我的渲染大小是3200 x 2400,我渲染的头发,AO,ZDepth,SSS,漫射颜色和ObjectID层(图38)。

Fig.38
Compositing/合成
I used Photoshop and After Effects for compositing; Photoshop for rough results and After Effects for the details. I used photos for the background and some plants were rendered in 3ds Max (Fig.39).
我使用Photoshop和 After Effects做合成，Photoshop对于粗略的效果，AE负责做细节。我使用照片的背景和一些在3DSMAX里渲染的植物(图39)。

Fig. 39
I imported the image into Photoshop and adjusted some of the levels like color, contrast, saturation and hue etc (Fig.40 – 41) to make the image match the original painting more closely.
我导入图像到Photoshop，调整一些色彩、对比度、饱和度和色调等等(图40 - 41),使图像更密切地匹配原作。

Fig. 40

Fig. 41
翻译by:yipinsucai.com
The face was so important that it took me a long time to add more details (Fig.42).
脸是如此的重要,以至于我花了很长时间来添加更多的细节(图42)。

Fig.42
Finally I added depth of field in After Effects, used a light effect to make the depth strong and strengthened the SSS of the skin (Fig.43).
最后,我添加的景深效果在 After Effects里,使用光效应使景深更强烈，加强了皮肤的SSS(图43)。

Fig. 43
I used a tool named AKVIS ArtWork to make my work look like a real oil painting. (Fig.44)
我使用一个名为AKVIS的工具使我的工作艺术作品看起来像一个真正的油画。(图44)

Fig.44
And here's the final composition (Fig.45).
这是最后合成(图45)。

Fig. 45
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