制作“公寓房间”

制作“公寓房间”
作者：LeFX
使用软件:
3ds Max, V-Ray, Misc
翻译by:yipinsucai.com

这个项目的目的是展示如何制作一套公寓的内部可视化效果。整件事有挑战性的并且是有趣的，我们试图显示不同时间段的天,这样我们可以实验材质的反射效果在不同的照明情况里。最耗时的部分就是“后期制作“,因为时间段决定最后的风格。最后我们选定了黄/橙颜色的灯光，地面和蓝色的墙壁绿色植被对比会很好。
得到一个真正意义上的布局和尺寸从一开始就很重要，因此我们不断地接触一个好的建筑师,伯纳德奥尔特，在整个项目的过程中。
本文涵盖了每个阶段的过程,包括建模、照明设置、材质、渲染和后期制作。
建模——公寓
建模房间非常快,因为它只是由以下部分：
两个玻璃外墙
一个光滑的石头墙带有两个凹槽,一个用于一幅画,一个用于放瓶子。
一个木制的地板。
天花板带有一个凹槽，在中心区域边界的地方一些间接灯光,覆盖着磨砂玻璃。
阳台的地板上有彩色瓷砖，栏杆由玻璃和金属组成。
室外地面由石头和玻璃栏杆组成。
所有这些元素都是从box开始建模。我们添加了一些细节,像墙的边角、窗帘、门把手、和一些光阳台上的灯,墙上的画和画下面的瓶子。
Details/细节
Parts of the furniture are from our archives, where we store finished  stuff for use in later projects. The couch and the armchair are examples  for that. Some other furniture parts like the coffee table and the side  tables were made especially for this scene.
部分家具来自我们的模型库,我们之前完成的东西用于后续的项目。比如沙发和扶手椅。其他一些家具部件像咖啡桌和椅子是单独为这个场景做的。
We started to build them with the box modeling techniques and some  modifiers like shell, push, etc., to add more volume and details. To  have a nice reflection, especially in animation, we added beveled edges.
我们开始构建它们用BOX建模技术,比如shell,push等,增加更多的体积和细节。为了有一个不错的反射效果,尤其是在动画里,我们添加了倒角边。
Some of the accessories are also from our library. We have become  accustomed to storing every piece we use in any project that might be  reusable. By doing that, we've developed a nice archive of small and  large pieces for every possible occasion. Filling up a room with small  details has become pretty easy over time. This has helped to greatly  reduce the production times.
一些配件也从我们的模型库。我们已经习惯了每一件我们使用存储的库,都是可重用的。通过这样做,我们已经开发了一个不错的库。随着时间的推移填满房间的细节已经变得相当容易了，这有助于大大减少生产时间。
Other details like the wine glasses were made for this project utilizing  spline modeling techniques. The carpet is just a plane with Hair &  Fur and the vegetation is also made from modified models from our  library.
其他细节像酒杯利用样条建模技术。地毯只是一个平面与毛发，植被也是由模型库的调的模型模型加以修改的。
翻译by:yipinsucai.com
Hint/提示:
Usually we just take simple planes for the window  glasses, but in this project there was often the need to hide them in  some passes. Because of that we connected the points of the plane to  make it easier to see and select them. You could then immediately tell  whether they were hidden or not without having to look into some object  properties or menus (Fig.01).
通常我们只是采取简单的平面做窗户的玻璃,但在这个项目经常需要藏玻璃在渲染某些通道的时候。我们连接玻璃的一些点,让它更容易看到并更容易选择它们。然后您可以立即看到他们是否隐藏与否而无需考虑一些对象属性或菜单(图1)。

Fig. 01
Light Setup/灯光设置
We used two different systems of illumination for the lighting setup.  The first approach was the use of natural lights, which consisted of a  HDRI dome light and the V-Ray sun. The HDRI can be changed from day to  night or a blend between these two states. The sun also has two  different positions for noon and evening.
我们使用两个不同的系统为照明设置。第一种方法是使用自然灯光,其中包括一个HDRI天光和vray太阳。可以更改的HDRI从白天到黑夜或混合这两个状态之间。太阳也有两个不同的位置,中午和晚上。
While the sun creates a warm and pleasant yellow color on the geometry,  the HDRI contributes a cool light blue color to the scenery. At midday  the sun has the most effect on the scene, but in the evening the sun  intensity is much lower. Then the environment and the artificial lights  of the flat have the greatest influence on the final look of the  illumination.
虽然太阳创造了一个温馨舒适的黄颜色在物体上,HDRI贡献了一个很酷的淡蓝色的调子。在中午太阳对场景的影响最大，但在晚上太阳强度低很多。然后环境光和人工照明的灯具有最大的影响力在照明的影响上。
To direct the rays of the sun and the HDRI into the flat, two portal  lights were used – one for every glass facade. The convenience of this  is that the settings of the light cache and the irradiance map can be  much lower than without portal lights, while maintaining the same image  quality.
对其阳光和HDRI，用了两个窗口灯——一个用于一面玻璃窗。方便的是,light cache和irradiance map可以大大降低相比于没有使用入口灯,同时也能保持相同的图像质量。
The second approach was the use of artificial lights, which make up the  lighting in and around the apartment. Examples for that approach are the  spotlights on the balcony or above the picture and also the area lights  that are inset into the ceiling. They all have a warm color to give the  pictures a comfy feeling.
第二种方法是使用人工照明,弥补公寓内部和周围的光。这种方法的示例是聚光灯在阳台上或画的上面。面积光在天花板的灯槽里。他们都有一个温暖的颜色给图片的一个舒适的感觉。
The VRay-Lights above the picture in the wall have IES-profiles to  create a more interesting light effect. It also makes the beam of the  lights more realistic. The emitters on the balcony and for the bottles  are just spotlights, because a profile on the ground is not necessary  and it renders much faster.
墙上这幅画里的VRay-Lights用了ies文件为了创建一个更有趣的光效。它使聚光灯更真实。在阳台上的等和给瓶子的灯只是聚光灯,因为一个光域网在地面上是没有必要的而且渲染能快得多。
The greatest contribution to the room's illumination in the evening  scene comes from the ceiling lights. We created a cylinder for each of  the four sides and defined them as a V-Ray light to achieve a nice and  soft falloff. This cost us a lot of render time, but we think it was  worth it.
晚上房间的照明最伟大的贡献来自天花板灯。我们创建了一个圆柱体给墙的四个边并且给他们一个vray光来实现一个不错的和软减退效果。这花费了我们大量的渲染时间,但我们认为这是值得的。
Hint: For the illumination and the reflection of the background we  created two separate light sources. Both of them had the same HDRI, but  by separating them, it was possible to have more control about these two  types of rays. This was our attempt to emulate the possibilities that  the use of a Raytypeswitcher in the background offers you in mental ray  (Fig.02).
提示:照明和反射的背景我们创建了两个独立的光源。他们两人都相同的HDRI,但通过将它们分开,可以让我们能更多的分开控制对这两种类型的灯光。这是我们试图仿效mental的Raytypeswitcher的可能性(图2)。

Fig. 02
翻译by:yipinsucai.com
Materials: Layers/材质：层
We knew right from the beginning that we had to create a lot of  materials for the scene. That's why we split it up into separate  geometry layers:
我们从一开始就知道,我们必须创建大量的材质。这就是为什么我们将它分割为单独的几个层:
Environment (e.g. background and HDRI for the dome lights)
环境(如dome灯的HDRI和背景)
?       Room (e.g., floor, ceiling and wall)
房间（比如屋顶，地板，墙）
?       Furniture (e.g., tables, couch and carpet)
家具（比如桌子，沙发，地毯）
?       Items (e.g., the bottles, clock and glasses)
小部件（比如瓶子，中标，玻璃）
?       Vegetation (all plants)
植被(所有的植物)
?       Specials (e.g., the chrome and glass parts of the lamps)
特别的物体(例如,灯的金属和玻璃)
For every geometry layer we also created a tab in the Material Editor.  This is very helpful if you have to take a look back at your scene a few  months later. You always know where you have to search. It also makes  interchanging the scene between different artists much more convenient.  It is generally a good idea to clean up your scenes after each  production step to get rid of unnecessary stuff that clutters up your  RAM and makes working on the scene slower and slower.
对于每个物体图层我们还创建了一个选项卡在材质编辑器。这是非常有用的,如果几个月之后你必须再回头看看你的场景。你总是知道你要找什么。这也使得不同的艺术家之间交换的现场更方便。它通常是一个好主意，清理你的场景在每次制作之后来去除不必要的东西,你的RAM被杂乱的物体占据使你的场景工作越来越慢。
Materials/材质
The materials in the scene are not very complicated, but there are a lot  of them. Nearly every material consists of a diffuse, a bump and a  reflection map. Most of the time there is a falloff map in the  reflection slot, which creates less reflection on the sides than on the  front.
场景的材质并不是很复杂,但是有很多。几乎每一个材料都由表面,凹凸和一个反射贴图组成。大部分的时间都有一个衰减贴图,让两边产生反射比在正面的强。
To increase the level of realism (and also the render time) the  materials often have glossy reflections. That also created a nice effect  at animation when the camera moved closer and closer to a reflecting  object or along its surface.
为了提高真实度(以及渲染时间)，材质往往要给反射模糊。这也创造了一个漂亮的效果当动画摄影机移动接近一个反映对象或沿着其表面移动时。
Toggle Switch for Day and Night/切换白天和夜晚
For the background we developed a slider in Zookeeper (great plugin for  3ds Max), where we could easily switch between day and night. For the  blend materials of the dome light and the background we connected the  Bezier float value, which turned from zero to one (night and day). We  also connected the slider to the lights, so they turned on and off  depending on the value of the slider. Changing the time of day was by  then just the mere flick of one switch (Fig.03).
为了背景我们开发了一个滑块用Zookeeper(很棒的3dsMax插件),我们可以很容易地昼夜之间切换。对于dome灯的混合材质和背景我们连接Bezier浮动值,从零到一(昼夜切换)。我们也把滑块来控制灯,所以他们打开和关闭根据滑块的值。改变一天的时间,那只是纯粹的一个开关(fig03)。

Fig. 03
Hint提示:
For materials we often set a lower amount of  reflection than they would have in reality, because we render out a raw  reflection render element (Fig.04) and screen that in during  post-production for important objects. There are two reasons for doing  it that way:
材质我们经常设定一个较低的数量的反射比在现实中,因为我们会渲染出一个raw  reflection渲染元素(图4)在后期制作阶段再叠加。有两个理由这样做:
?       We can animate the reflection, if there is a camera rotation around  the object (e.g., the ground). That makes a really nice blend effect  from perpendicular to horizontal.
我们可以设置反射的动画，如果有一个摄像机旋转在对象(例如,地面)上。会得到一个很好的融合效果当视角从垂直到水平变化的时候。
?       We can set the intensity and the blurriness of the reflection mostly  in the post. This greatly reduces render time because it minimizes the  need for test renderings.
我们可以设置反射强度和模糊的强度主要在后期。这大大减少了渲染时间,因为它减少了需要测试渲染。

Fig. 04
Another tip is to set a very low amount of reflection for every object that might need it. If this object is not reflecting in real, we set the value to 0.01%. The convenience of that is that in the post we can blur and maybe color the reflection of the object and use it to create additional specular effects. For example, for materials like silk it is much easier than to try to find the right values and maps in the Material Editor. It does increase the render time, but it is still much less time consuming then searching and experimenting for complex materials that work the way you want them and also create the desired look in the final image.
另一个建议是,设置一个非常低的反射值为每个可能需要反射的对象。如果这个对象在现实中不反射,我们将值设置为0.01%。方便之处是,在后期我们可以调节模糊，也可以调节反射的对象的颜色,并使用它来创建额外的反射效果。例如,对于材料如丝绸，要容易得多,比试图找到正确的反射值和贴图要有用得多。它确实增加了渲染时间,但它仍少得多和你去探索和实验复杂的材料相比。
翻译by:yipinsucai.com
Rendering – Render Pass Manager/渲染-渲染元素层管理
Blessedly we could use Grant Adam's RPManager for the project. With this plugin it is possible to save different settings for the scene in passes (Fig.05). The first and second pass for this scene were the calculations of light cache and irradiance map, without actually rendering the beauty picture.
幸运地，我们可以使用Grant Adam的RPManager。这个插件可以保存不同的设置场景元素(图5)。第一次和第二次是计算的光缓存和发光贴图,而不是渲染图片。

Fig. 05
The third pass was the beauty pass, which loaded the light cache and irradiance map data and rendered out the final picture together with some render elements like lighting, global illumination and raw reflection. These render elements are very important when you want to experiment with the final look during post-production. For example, we were able to increase the sunny summer look of the picture by simply screening in the lighting element some more. The beauty pass also had a render element called Multimatte, which created a mask of objects that could be manually selected (in this case the glass, because it was hidden in the AO Falloff pass, which we usually render the masks in).
第三个元素层是漂亮的层，把光缓存和发光贴图数据载入并渲染出最终图片连同一些渲染元素如照明、全局照明和原始反射。这些渲染元素是非常重要的当你想尝试在后期制作。例如,我们可以增加阳光让场景看起来像明媚的夏天只要叠加lighting元素层。元素层有一个叫做Multimatte渲染元素,它创建了一个对象mask,可以手动选择(在这种情况下,玻璃因为它被隐藏了在渲染AO 和 FALLOFF的时候,我们通常通过渲染mask)。
The fourth pass was a rendering of the scene completely without lights and camera exposure and an override with a falloff material. This is good to be able to make some color corrections that affect the sides of objects. By doing so, you can create effects of roughness or effect lacquer. This pass also renders an element called "VRayExtraTex”, which allows us to load a map (in this case an Ambient Occlusion map). Additionally we also rendered an element for the ZDepth and elements for the masks. Because the glass is hidden in that pass, it is possible to render masks for objects which are usually occluded by it. All four passes can be seen in Fig.06.
第四元素层是一个渲染的场景完全没有灯光和相机曝光只有一个falloff覆盖材质。这个很好用当你想调整物体侧面的颜色的时候。通过这样做,您可以创建粗糙的效果或漆的效果。这铬元素层也渲染一个元素称为“VRayExtraTex”,它允许我们去加载一个映射(在这种情况下一个环境闭塞的贴图)。此外我们也渲染ZDepth元素蒙版。因为玻璃是隐藏在这个元素渲染的时候,它可以渲染为对象的蒙版通过它阻挡。所有四个元素层中可以看图6。

Fig. 06
Render Settings/渲染设置
For the animation of this project we decided to calculate the light  cache and the irradiance map in separate passes to load them into the  beauty pass. The advantage over calculating them directly with the  beauty pass is that only one frame has to be calculated. By using the  option Use Camera Path, it is possible to generate the map in the first  frame and V-Ray will calculate the rays of the whole movement of the  camera in the active timeline. The results can then be used together  with the light cache results to render out the beauty images with  multiple different machines that only have to look up the illumination  data. By doing it that way, you can make sure to have a convenient  result without major splotches or flicker.
对于这个项目我们的动画我们决定计算光缓存和发光贴图在单独的文件里，然后把它们加载到渲染里。相比直接渲染的优势是只有一帧需要计算。通过使用这个选项”使用摄像机路径“,可以生成贴图图在第一帧，vray将计算整个相机在激活过程中生成的发光贴图。然后可以使用这个结果渲染出美丽图片用多个不同的机器,只需要查找照明数据。通过这样做,您可以确保有一个方便的结果而且没有斑点或闪烁。
Another option for the irradiance map would be to calculate the map by  Add to Current Map every 10 frames, but the single-frame-method is  faster and offers better results if there is only little animation in  the scene like noisy movement of the drapes and plants. It is really  important to set Distance Threshold to a higher value like 0.3 when  using this method in conjunction with small object animations.
另一个选项就可以每10帧计算发光贴图,但是单帧方法也很快,并且提供更好的结果如果只有小的动画比如窗帘的和植物的动画。这是非常重要的设置Distance Threshold到一个更高的价值比如0.3，使用这种方法配合小对象的动画。
At the beginning we had the problem that the samples of the GI on the  ceiling were too big. At first we tried to increase the samples and  subdivisions of the irradiance map, but after some tests and the  realization that this needed too much render time, we decided to go with  another method.
一开始时我们有些问题,天花板上的GI采样太大。起初我们试图增加发光贴图的样本和细分,但经过一些测试和实现,这需要太多的渲染时间,我们决定使用另一种方法。
So we went on and increased the subdivisions of the light cache, because  we thought that the floor was mostly illuminated by the second rays and  thus increasing the resolution of the light cache would minimize the  splotches. Actually this didn't change a lot in that area, but we had  better results in small corners or under the couch (that's why the  subdivisions of the light cache were left at 2000 – the calculation of  it still finished in only half an hour per scene).
所以我们继续和增加了light cache的细分,因为我们认为地板主要是被间接光照明的,从而提高光缓存的分辨率将最小化斑点。其实这并没有改变很多在那个区域,但是我们得到更好的结果在小角落里或在沙发上(这就是为什么细分的光缓存被留在2000 -计算每个场景仍然仅在半小时之内)。
At the end we found the solution by merging the irradiance maps of every  scene into one map. Usually objects, which have big planar areas,  receive not a lot of samples. So we calculated an irradiance map for a  direct look at the ceiling with high settings and merged it into our  existing irradiance map. At the end our irradiance map had a size of 1  GB, but it was worth it, because now we had almost no visible sampling  problems on the ceiling. Fig.07 shows the resulting irradiance map. You  can watch your irradiance maps with the imapviewer, which ships with  V-Ray.
最后我们发现解决方案通过合并发光贴图成一个贴图。通常物体有大平的面区域,不接受很多采样。所以我们计算一个发光地图直接看着天花板然后合并到我们现有的发光地图。最后我们的发光地图有1个GB,但这是值得的,因为现在我们几乎没有可见的采样样问题在天花板上了。图7显示了生成的发光地图。你可以看着你的光子用imapviewer，vray自身有这个软件。
翻译by:yipinsucai.com

Fig. 07
Post-production – Selective Work in Fusion/后期-选择性的工作在Fusion里
The first step of the post-production was accomplished in Eyeon Fusion.  The idea of this step was to match the contrast and colors for all  objects to roughly one level, so the picture got a uniform impression  (one example: the chrome objects were way too bright and had no  contrast).
后期制作的第一步是合成在Eyeon Fusion里。这一步的想法是匹配所有对象的对比和颜色为一个级别,所以这批图片有一个统一的大效果(一个例子:金属对象太明亮没有对比)。
Usually we just render out masks for special parts like the ground,  ceiling or couch, but this project was supposed to be a test balloon.  First we tried to have masks created by object IDs from the G-Buffer of  the EXR file in combination with the coverage channel. It is a good  possibility because you are able to select the objects in Fusion  directly by using the picker. But then we noticed that this way was too  tedious because you have to merge the object ID with the coverage  channel for every object before plugging that result as a mask into an  image processing node like a color corrector. Most of the time it is  much faster to just render out and use masks as filtered multimattes.
通常我们只渲染遮罩为特殊的部分像地面,天花板上或沙发,但这个项目被认为是一个测试。首先我们创建mask由G缓冲的object IDs。这是一个很好的可能性,因为你可以选择对象直接通过Fusion使用选择器。但后来我们发现,这种方式太乏味,因为你必须合并对象ID在渲染之前,。大部分的时间使用mask作为multimattes过滤渲染出来要快得多.
To have the chance to change color, effect of ambient occlusion,  contrast and so forth for every object we decided to render out 16  multimatte elements. Every multimatte can hold masks for three objects,  one in each color channel, so we had nearly 48 masks in the end. One the  one hand it is beneficial to be able to change every object, but on the  other hand it needs quite a lot of time because for color correction,  ambient occlusion falloff and maybe reflection you have to set a node  for every object. If you have 16 multimattes and make 4 changes for each  of them, the result are 64 nodes you have to create and control.
为了有机会改变颜色,环境闭塞效应、对比度等为每个对象我们决定渲染出16 个multimatte元素。每个multimatte可以容纳三个对象,一个在每一个颜色通道,所以我们最终有近48个颜色MASK。一方面它是有益的能够改变每一个对象,但另一方面它需要相当多的时间,因为颜色校正,环境闭塞的衰减或者反射你必须为每个对象设置一个节点。如果你有16 multimattes并且每个物体有4种改变，结果是64个节点你必须创建和控制。
Fig.08 is a screenshot of the final tree in Fusion. Inside the blue  rectangle are the beauty pictures and the render elements like  reflection, refraction, AO and falloff, which were loaded to form the  start of the composition. In the red rectangle are the loaders of all  multimattes and the green one holds the color correction nodes of all  objects. The blueish green rectangle summarizes the additional  reflections for some objects and the purple one is for the color  corrections that use the falloff element as their mask. In the area of  the white rectangle are the settings for the ambient occlusion effect  for the separate objects. This is much better than just multiplying the  ambient occlusion over the whole picture, because some parts may need it  more than others. You have to use the ambient occlusion effect with  caution, because overdoing it can result in an unrealistically dirty and  dark picture. The black rectangle is the last one and holds the nodes  for saving the final pictures. This tree looks pretty big, but only  because we used so many masks. It was a good experience to have the  possibility to change almost every single object, but it isn't essential  for creating a good picture.
fig08是在一个在Fusion最终的截图。蓝色矩形框里是渲染的图片和渲染元素像反射、折射、AO和falloff,这是加载图像的开始的组成部分。在红色矩形里是加载的multimattes，绿色的矩形里是所有的色彩校正节点。青色的矩形总结了额外的反射对一些对象，紫色是给那些使用了falloff遮罩的元素使用的颜色校正。白色长方形是设置环境闭塞效果为单独的对象。这是更好地相比仅是在整个画面上使用环境闭塞效果,因为一些部分可能比其他人更需要环境闭塞效果。使用环境闭塞效果时要格外小心,因为它可能会导致一个不真实的脏和黑暗的画面。黑色矩形是最后一个节点并存储最终的图片。这个节点树看起来相当大,但只是因为我们使用如此多的mask。这是一个很好的经验有可能修改几乎每一个单独的对象,但它不是必需的在创建一个漂亮的画面的过程中。

Fig. 08
Fig.09 shows a comparison of the room before and after using Fusion. The difference is just subtle, but it is now possible to set the look from completely cloudy to sunny day without new rendering, just by using the lighting and global illumination render elements.
fig09显示了一个合成之前和之后的房间的效果。区别是微妙的,但现在可以设置看起来多云或者晴天的效果而不需要新的渲染,只是通过使用lighting 和 global illumination渲染元素。

Fig. 09
Corrections of the Whole Image in After Effects/在After Effects里调整整张图片
The second and most intensive part happened in After Effects with the  plugins Magic Bullet Looks and Frischluft Lenscare. It was primarily in  this stage of the project that we set the final look of the  visualization.
第二个部分也是最密集的部分是在After Effects里的插件Magic Bullet Looks 和 Frischluft Lenscare。它是主要的工具在这个项目的阶段为了我们得到最的效果。
With Looks it is possible to bring the picture to a high end color  finish by using exposure, gradient, glows, vignettation, color curves,  saturation and a lot more features in a very natural and fun way. By  using the tools in different areas like subject, matte, lens, camera and  post you can reach different results in minutes. A big plus of Looks is  the presets, which help to quickly try some rough concepts before  working everything out in detail.
用Looks可以把图片完成的很好通过使用exposure, gradient, glows, vignettation, color curves,  saturation和更多的工具在一个非常自然的和有趣的工作方式里。通过使用工具在不同区域比如subject, matte, lens, camera 和  post 你可以在几分钟内达到不同的结果。一大亮点是预置,这有助于快速尝试一些粗略的概念的效果在细细工作之前。
For this project we used a lot of spot exposure to light, shade or color  different areas of the picture (e.g., we set the wall to a cool blue  color and the floor to a warm yellowish orange one).
对于这个项目我们使用大量的spot exposure,明暗或颜色在不同区域(例如,我们设置了一个很酷的蓝色墙壁，地板设置成一个温暖的黄橙)。
Additionally we often used a gradient (mostly from top to bottom or from  corner to corner) to set the focus in the picture. A tool that we use  at almost every occasion is Glow (Diffusion) to give a stronger, but at  the same time softer, sense of the sun's energy. To improve a bit on the  realistic look of the picture, we started to include some camera errors  like chromatic aberration, vignetting and some edge softness. At the  end we set the final look by using a color curve to strengthen the  contrast. For this project we also used some color curves to increase  the blue colors and decrease the red ones to give the whole image a more  specific, movie-like look. Fig.10 shows a composition in Looks.
此外我们经常用gradient(主要是从头到脚或从角落到角落)来设置焦点。我们使用的一个工具在几乎每一个场合那就是是Glow (扩散)给一个更强的光效,但同时会更柔和的太阳的能量感。改善一下图片,我们开始包括一些相机瑕疵效果比如chromatic aberration, vignetting 和一点 edge softness。最后我们使用颜色曲线加强对比。对于这个项目,我们还使用一些颜色曲线增加蓝颜色和减少红色对于整个图像。图10显示了Looks设置参数。
翻译by:yipinsucai.com

Fig. 10 - 点击放大
To make a picture more pleasant and interesting, the use of depth of  field is a good thing. It helps to guide the viewer's eye through the  picture and let it rest on areas you want to emphasize. If you want to  show some special part in the background, you can blur the foreground or  vice versa.
让一幅图片更为愉快和有趣,使用景深是一件好事。它有助于引导观众的眼睛通过图片到达你想强调的区域。如果你想表现出一些特殊部分的背景,你就能模糊前景或反之亦然。
To reinforce this, you can also play with the brightness and contrast of  those areas. Things you want to highlight can be the bright ones in a  mostly dark and blurry environment. That helps to make them stand out  more.
为了强调,你也可以使用亮度和对比度在这些区域。你想强调亮色在一个阴暗模糊的环境。这有助于使他们与众不同。
For the depth of field effect we used the plugin Lenscare by Frischluft.  Lenscare is one of the best tools for this kind of effect. You can set  the sharp and blurred areas by using the ZDepth render element and  adjust the intensity primarily in the post and almost in real-time. It  helps to save a huge amount of render time and makes experimenting way  more fun.
对于景深效果我们使用插件Lenscare by Frischluft。 Lenscare by Frischluft是这种效果最好的工具,。你可以设置锐化和模糊区域通过使用ZDepth渲染元素来调整强度，几乎是实时的。它有助于节省大量的渲染时间,使测试更有趣。
It gets a bit complicated when you've got transparent layers inside of  your image. We accidentally ran into that problem because of our  transparent balustrade around the balcony. The glass was active in the  ZDepth layer and thus we were not really able to create a convincing  blur for the areas of the background that were occluded by the glass.  Fortunately, this mistake is not very noticeable and we will definitely  keep that in mind for later productions.
它会变得稍微复杂一些当你有透明层在你的图像里的时候。我们偶然遇到了这个问题,因为我们阳台的透明栏杆。玻璃是激活的在ZDepth层,因此我们没有真的能够创建一个令人信服的模糊的区域的背景,被玻璃阻挡了。幸运的是,这个错误不是很明显,我们肯定会记住这一点对于后来作品。
You can have a look at our settings and the result of Lenscare for one of our pictures in Fig.11.
你可以看看我们的设置Lenscare的结果对我们的图片之一。图11。

Fig. 11 - 点击放大
Fig.12 shows a comparison of the room at late noon before and after using Looks and Lenscare.
图12显示了一个比较晚的房间在中下午的时候，使用Looks 和 Lenscare前后对比。

Fig. 12
Fig.13 shows a comparison of the room in the evening without artificial lighting before and after using Looks and Lenscare.
图13显示了一个比傍晚的房间没有人工灯光，使用Looks 和 Lenscare前后对比。

Fig. 13
Fig.14 shows a comparison of the room in the evening with artificial lighting before and after using Looks and Lenscare.
图14显示了一个晚间的房间并且有人工光，使用Looks 和 Lenscare前后对比。

Fig. 14

This is the end of the project overview for the apartment and it was a pleasure for us to show you a bit of our workflow. We hope you had fun while reading the text and looking at the pictures. To see more of our projects, visit our website:
这是项目的最后概述,这是一种乐趣,我们向您展示一点我们的工作流程。我们希望你有兴趣阅读本文并查看图片。要看更多的项目,请访问我们的网站:
http://www.lefx.de/referenzen/
或者看我们的博客：
http://www.lefx.de/blog/
随意问如果有些事情你想知道,如果你想保持更新为新的东西,跟我们在twitter上交流:
http://twitter.com/LeFx_News
翻译by:yipinsucai.com