Making Of 'Acres' 3D+2D制作'阿克里'

Making Of 'Acres'
制作'阿克里'
By Sebastien Czaja
作者Sebastien Czaja
翻译by: yipinsucai.com
Software used/使用软件:
3ds Max, Photoshop

Introduction/介绍
Hello everyone! I am Sebastien Czaja, and for the last five years, I have been working as an illustrator in architecture in France.
大家好！我是Sebastien Czaja，在过去的5年里，我一直混迹于法国的建筑插画界。
Briefly, this image was created for my personal amusement, for an interview. It was such a real pleasure for me to create it that I wanted to go as far as possible with the finish. You are going to see in this Making Of article that I used simple and classical methods in order to reach my aim. Actually, I prefer using 3D software like 3ds Max and painting software Photoshop as strong tools, rather than a direct route to a final piece.
简单地说,这是为了我的个人爱好的创造,为了参加一个面试。我非常有兴趣和热情去创造它,我想尽可能做到最好。你将会看到我在这篇教程里我用了简单的和经典的方法以达到我的目的。其实,我更喜欢使用3 D软件3 dsmax，绘画软件Photoshop作为强有力的工具,而不是直接画出最后的效果。
References/参考
First I have to honour the amazing artist that is Nicolas Bouvier, aka Sparth, because without his artistic concepts I would have never been able to create this image. His work is a continuous inspiration for me due to the variety of the themes, style and composition etc. Take a look at his site if you don't know him already: www.sparth.com.
首先我必须像的艺术家这是尼古拉·布维耶致敬,又名Sparth,因为没有他的艺术概念,我将再也不能创建这个图片。他的作品不断地给我各种各样的主题的灵感、风格和解构等方面。看看他的网站,如果你不知道他的话:www.sparth.com。
I was inspired by one of Sparth's concepts, Acres (Fig.01 – This image is the property of Ubisoft) and decided to try and make an architectural project with dirty and old walls – the opposite of classical architecture.
我的灵感来源于Sparth的一张概念图,阿克里(Fig.01——这幅图像版权属于育碧软件),并决定尝试,使一个建筑项目带有又脏又旧城墙效果——和一般的建筑作品不一样。

Fig. 01
I started by searching the internet (Fig.02) for realistic references of the town of Acres to help me with the modeling because, as you can see, the concept presented lots of abstract areas for me to interpret. I think having good references allows you to have a good base for any kind of work.
我开始通过查阅互联网(Fig.02)对于真实的文献的小镇“阿克里”来帮我建模,因为,正如你所见,找出了大量的文摘图片让我了解这个地方。我觉得有一个好的参考能让你更好地完成你想做的任何一件工作。

Fig. 02
Modeling/建模
I used 3ds Max for modeling (Fig.03). I used poly editing tools such as Extrude, Bevel and Cut, and started with very simple shapes, using boxes for houses and splines for the rounder shapes.
我用3Dmax建模，使用了poly editing里的一些常用的工具，比如：挤出，倒角，CUT等等，一开始模型是从非常基础的块面上做出来的，比如用BOX开始做房子，用可渲染的SPLINE做支架圆木等等。



Fig. 03
Mapping/贴图
I did not use a UVW developer (no unwrapping) for this image (Fig.04). I only used UVWs in box, plan.
在这张图里我压根没有使用unwrapping之类的贴图展开工具，只是用了一个BOX形状的uvwmap.



Fig. 04
Materials/材质
I used V-Ray for the render. For materials (Fig.05 – 06), I like to use color correction to make the saturation vary and to obtain the light independently. Often, I use the reflection in all my materials, because that offers a more homogenous making. For the ground, I used 2D displacement to give more volume to the rock.
我使用VRAY作为渲染器，以下是材质，我喜欢用color correction来调节贴图的色彩饱和度之类的来让材质看起来不一样，基本上我所有的材质都使用反射，因为所有的物体理论上都拥有这样的属性。地面材质我使用了2D displacement让石材看起来更有体积感。



Fig. 05

Fig. 06
Duplication/复制
I duplicated the different houses (Fig.07) to offer the maximum depth to the image. Then, I added all the small details, such as the stairs.
我复制了一些建筑用来增加场景的深度，然后增加一些小细节，比如台阶之类的。

Fig. 07
Point of View/视角
I wanted my point of view to match Sparth's concept, but not entirely because I prefer to use 3D to have a more elusive line (with the focal lens of the camera) to bring a personal touch (Fig.08).
我希望我的视角匹配Sparth的概念图,但没有完全一样这是因为我更喜欢使用3 D相机制作带个人色彩的角度(Fig.08)。



Fig. 08
Camera/相机
I used a V-Ray camera with a little vignette effect to blacken the borders and focus the point of view. I put the shutter speed and ISO with these values to have a somber enough result and some contrast, but not too much (Fig.09).
我使用VRAY相机，带有一点点暗角效果让视觉中心更加突出，调节快门速度和ISO让图片看起来比较暗，对比比较强烈，但不是太过。



Fig. 09
Lighting/灯光
In my scene, I applied a direct light with V-Ray shadows in certain areas to have some fuzziness in the shadows. I also colored the light and the shadows to have a pictorial result, not a photorealistic one (Fig.10).
在这个场景里我使用了一个平行光，开启vrayshadow,用来产生模糊阴影，同时调节灯光和阴影的颜色，产生一种绘画般的效果，不是那种现实主义照片感的效果。



Fig. 10
Render Parameters/渲染参数
I took the antialiasing "in catmul” and used the "linear workflow” of V-Ray, which allows you to have a more homogenous result. Then, I used the V-Ray pass rendering, which is indispensable for post-production. For the moment the 3D render was cold and impersonal, but allowed me to have a good perspective, volume, scale and direction of light (Fig.11).
抗锯齿里我使用了 "in catmul”，并且使用了vray线性流程,这能让你的图片的光线更均匀，我使用的VRAY的渲染元素功能，这在后期中式不可或缺的，此时渲染出来的场景是生硬的，我要再花点时间调整视角，体积光，阳光方向等等参数。



Fig. 11
Before I talk about going to Photoshop, let's look at the pass rendering (Fig.12):
在进入后期阶段之前，我们先看看渲染出来的元素
1. Wire color: selection of each element to retouch the materials or the lighting independently
1.wire color:可以独立地调整不同材质物体的质感和灯光
2. Raw shadow: work on the shadows separately
2.Raw shadow:能让你独立地调节阴影。
3. Depth: to obtain depth of the field or not
3.Depth：可以用来增加和调节景深效果
4. Reflection: working on the reflection of each element
4. Reflection:每个元素的反射都可以调节。



Fig. 12
Post-production/后期
The post-production stage was the part of this project I liked the most because it allowed me to really personalize the image. As I mentioned earlier, before the 3D rendering the image was too cold and impersonal (Fig.13). So I decided to destroy the too perfect part of the 3D with 2D work in Photoshop.
后期是我做这个项目中最喜欢的环节之一，因为这能让我个性化我的作品，就像我之前将的，渲染出的图片
又冷又生硬，所以我决定用photoshop的2D工作来完善之前的3D工作。

Fig. 13
First I placed a sky in the background, in agreement with the concept art (Fig.14). Then I added some new elements to the image to break up the too perfect 3D rendering (Fig.15). I painted over the 3D to add a bit of dirt with the help of textures and brushes. A very practical tool to break up lines that are too straight is the Eraser.
首先先在背景放入一张天空素材(Fig.14)，然后放入一些小细节来打散原来的生硬的3D效果(Fig.15)，我用笔刷在3D渲染的图层上增加一些污渍效果，橡皮擦工具是用来打乱直线和规律的最好的工具。



Fig. 14



Fig. 15
Another important aspect is represented by the highlights (Fig.16), which allow you to give more volume even in areas with shadows (it is a paint-over with a white brush and a little opacity). After this I painted in lots of little details.
另一个重要方面是绘制高光,它允许你给物体表现更多的体积感和阴影，(我使用了白色笔刷和一点透明度来绘制)。然后我又画了很多细节。



Fig. 16
And to end, I added a bit of mist with a brush with a little opacity. I repeated this a few times on each element (with a wire color pass) and then on the entire image. I desaturated the entire image and lightly added a balance of colors in the blue-greens in order to get closer to the Sparth image and to bring in my own touch (Fig.17).
最后，我用笔刷添加了一点少许的雾。我重复几次这样的动作，(使用之前渲染的 wire color );然后,整个图像。减少一些饱和度，提亮，用色彩平衡调节blue-greens色彩，来让我用自己的想法来诠释Sparth的作品。



Fig. 17
Finished (Fig.18)!
成图！

Fig. 18