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Making Of 'The G-Spot'
制作'The G-Spot'
作者： Ramon Zancanaro
使用软件: 3ds Max, ZBrush
翻译by:yipinsucai.com
Hello guys, how is going? To start this Making Of I would like to talk a bit about this little big space in a house called a bedroom. I used to say that for a man to be happy he basically needed two things:
你好,伙计们,还好吗?这个Making Of我想谈一点关于这个在一间大房子里的一个卧室。我过去常说,一个人要快乐他主要需要做两样东西:
1. A good job, because we spend most part of our day at work
1。一个好的工作,因为我们每天的大部分时间都在工作。
2. A good mattress, because this is a fundamental part of our night, for our rest.
2。一个好的床垫,因为它是一个不可缺少的东西在一个人的休息时间。
Some people don't think like that, but I believe that every bedroom has to have this. Under the sheets is where we create the people of tomorrow; the same new people who will hide under the covers from monsters that don't exist while we make the bedroom their safe zone. Okay, let's start this Making Of!
有些人不这样想,但我相信每一个卧室必须有这个。卧室是人们的安全屋。好吧,让我们开始这个Making Of!
I like larger than average bedrooms, which mix wood and light, rustic walls in the best Scandinavian style. So I selected some reference images for lighting and materials that reflected that (Fig.01).
我喜欢比较大的卧室,混合木头和光线,最好的北欧风格乡村墙壁。所以我选择一些参考图像来参考照明和材质(图1)。
Fig.01
Every bedroom image that I selected is from Aurora Due from Poltrona Frau, with a few changes.
我选择的每个卧室的照片都是来自Poltrona Frau 的Aurora Due,有一些修改。
The bed base was modelled in 3ds Max. I added a bit of movement on the leather at the head of bed using ZBrush. Obviously the mesh became very heavy so I utilised the Decimation Master plugin where I could optimise a lot of the mesh while keeping the mapping intact. This plugin is very useful if you don't want to use maps to generate volume on models (Fig.02 – 03).
床基是在3ds Max里建模的。我用ZBrush添加了一点细节在床头的皮革上。显然,网格面数变得非常多,所以我利用了Decimation Master插件,我可以优化掉很多网格,同时保持完整的形状。这个插件是非常有用的,如果你不想使用贴图置换来产生体积模型(图02 - 03)。
Fig.02
Fig.03
The fabric used on bed was generated with Marvellous Designer. For the mattress sheet I used a simple box as an avatar. For the blanket that is over the bed I created an avatar the included the bed base and the sheet was again generated by Marvellous. To make it a bit lighter, I optimised the model using Pro Optimiser from 3ds Max (Fig.04).
用于床的织物是用Marvellous Designer生成的。对于床垫表我使用一个简单的box作为计算的替身。对于在床上的毛毯，我创建了一个运算替身包括床基然后用Marvellous计算出床单。使它看起来轻一点,我使用3dmax里的Pro Optimiser修改器优化了它(图04)。
Fig.04
The curtains were also generated using Marvellous. In Fig.05 you can see two models from the scene.
窗帘也是用Marvellous生成的。在图5中,您可以看到两个场景中的模型。
Fig.05
Marvellous can do very interesting movements; some of them are very hard to achieve in other software packages. For the curtains I did not utilise an avatar, but only a piece of fabric seamed on the curtain. So I deactivated this pattern for stray static so the curtain could adapt to that (Fig.06).
Marvellous能做的非常有趣的动作;有些是非常难以实现在其他软件里。窗帘我没有利用一个替身,只有一块布料缝在窗帘上。所以我释放这个模式为stray static让窗帘可以适应,(图6)。
Fig. 06
翻译by:yipinsucai.com
For the fabric of the pouffe I used some simple patterns from Marvellous: one circular and two rectangular, on the sides. The wrinkled effect came from the different pattern sizes (Fig.07 – 08).
对于织物的大坐垫我在 Marvellous使用一些简单的模式:一个圆形和两个矩形,在侧面。皱纹的效果来自于不同的尺寸(图07 - 08)。
Fig.07
Fig.08
For the photo frame I utilised a photo as a texture, using all the effects from the real model. This technique is interesting to use for some types of objects (Fig.09).
我利用的相框照片作为纹理制作相框,使用所有的效果利用真正的模型。这种技术是有趣的使用对于某些类型的物体(图09)。
Fig.09
For positioning the stones inside the glass lamp, I use the MassFX simulation package. It was important to subdivide the mesh stones quite well. MassFX supports simulations very well (Fig.10).
对于定位这些在玻璃灯里的石头,我使用MassFX模拟软件包。好好细分石头的网格是很重要的。MassFX支持模拟的效果很好(图10)。
Fig.10
The wood box was opened using Unwrap. It's important to say that I applied another extra texture on the wooden edges, making them bumpy, with no gloss at all (Fig.11).
木头盒子用Unwrap展开贴图。这是要重要的说的是我用了另一个额外的纹理在盒子的边缘,使它们有凹凸感,完全没有光泽(图11)。
Fig. 11
The floor was modeled by hand, with the material shown in Fig.12. The interesting detail was on bump, where I used a mix between a V-Rray edge texture with a wood map, making the effect of round corners.
地板是用手工建模的,材质显示如图12。有趣的细节是凹凸,在那里我混合使用了一个V-Rray edge贴图和木材贴图,获得圆角的效果。
Fig. 12
The Pinus wardrobe has a very opaque glossiness on the material, but with a touch of gloss on top. I used the same technique as I had on the floor; with a V-Ray edge texture with a wood bump (Fig.13).
松木衣柜有一层非常不透明的光泽物质在表面上,上面再涂有一层薄薄的光泽透明油漆。我使用了我在地板上用的相同的技术;用 V-Ray edge纹理与木材贴图混合使用(型材)。
Fig. 13
Fig.14 shows some wire frames.
图14展示了一些家具的线框。
Fig. 14
The light was basically made using a V-Ray sun and V-Ray Sky with different settings on each camera. Not all the shots would have nice details with basic lights, so I chose to adjust each camera individually.
光基本上是由一个ray太阳和vray天空,但是不同的设置在每个相机。用基本的灯光并不是在所有的镜头会有不错的细节,所以我选择单独调整每个相机。
Here's the final image (Fig.15).
Fig. 15 |
