Making Of 'Brave New World' - Total Texture Breakdown

Making Of 'Brave New World' - Total Texture Breakdown
制作“美丽新世界”-纹理分解
作者： Ashish Dani
使用软件: 3ds Max, Maya
翻译by:yipinsucai.com

Fig.22
Introduction and Overview/简介和概述
Hi, this tutorial shows how I created the textures for the Brave New World  image. I will go over the shader breakdown as well. I kept the process  very procedural since it helped me to quickly texture a huge amount of  geometry, as well as generate variations. I also did a lot of matte  painting on top to get the final look.
嗨,本教程展示了我如何创建勇敢新世界的材质纹理。我将分解介绍材质。过程将非常程序化,因为它帮助我快速贴图大量的几何体,以及产生变化。我也做了很多matte  painting在最终效果上。
All of the textures used in this tutorial can be downloaded from here.
所有用于本教程的纹理可以从这里下载。
The image was based on a screenplay of the "vortex” concept. The theme  was to show a futuristic city that has developed over time due to man's  success and advancing technologies, yet is still ruled by social and  economic classes which tends to pull down the growth and results in  hints of dystopia lurking in the dark. The city needed to look uniform  and well-planned at the same time, implying a greater machine/industrial  understructure.
这个图片是基于一个“漩涡”概念剧本。主题是展示一个未来的城市,随着时间的发展由于人类和技术的发展,但仍受社会和经济的拖累结果反乌托邦风潮仍潜伏在暗处。这个城市需要看统一和精心管理,这意味着更强大的机器/工业基础。
The geometry was divided into two primary sets – "distribution" and "specific":
模型分为两个主要集合—— "distribution" 和 "specific":
? The distribution set consisted of many small buildings, each  consisting of different structural details. The geo from this set was  used to fill up most of the city distribution. Since the shot was from a  long distance, I kept the geometry very simple.
?distribution集合有许多小建筑,每个由不同的结构细节。从这集合的模型是用来填补大部分的城市结构的。由于是从远距离观察的,所以我把几何结构做的非常简单。
? The specific set consisted of buildings that were hand-placed into the scene and whose occurrence was limited.
?specific集合的建筑物,这是由手动放置到现场的,他的出现次数是有限的。
For the purpose of the tutorial, I will be taking a small subset from  the distribution set and going over the process. The same logic was used  and applied for the rest of the geometry in the scene. Here is the geo  and the wireframe overlay (Fig.01 – 02).
出于本教程的目的,我将采取一个小集合从distribution集里来讲解过程。同样的逻辑使用和应用在其他的场景模型。这是模型和线框图叠加效果(图01 - 02)。

Fig.01

Fig.02
软件
I will be going over the logical process for making the textures. I have  tested these techniques in Autodesk Maya and 3ds Max. The same or  slightly modified logic should work for other 3D packages as well.
我将详细讲解贴图的制作过程。我已经测试了这些技术在Autodesk Maya和3ds Max里。相同的或稍微修改一下应该就可以用于其他3d软件里。
UV 贴图
It is important that the geometry has its UVs laid out. You can go about  doing this automatically as well by hand. For this particular example I  just went with automatic mapping.
模型的uv是很重要的。你可以去做这个自动或手动。对于这个特定的例子我只是使用自动映射。
材质和网络
I created five shading networks with different looks and materials to  create the variation. The base logic for all of them was the same. For  each, there was a clean material called "relative_clean” and a wear and  tear material called "dirty”. These two were mixed using the  "dirt_mask”:
我创建了五个材质来表现不同的外观和材料来表现变化的效果。基本逻辑都是相同的。一个干净的材质叫做 "relative_clean” ，一个磨损材料称为 "dirty”。把这两个材质用MASK混合起来：
? relative_clean: This shader is the main look of the image.
? relative_clean:这个材质是图片的主要的外观效果。
? dirty: This shader only shows up in places where there is dirt or wear and tear.
? dirty:这个着色器只出现在有灰尘或磨损的地方。
? dirt_mask: This contains the procedural dirt_mask.
? dirt_mask:这个包含脏迹蒙版。
The mask controls where the dirty material shows up. The above three were placed into a top level shader (Fig.03).
蒙版控制脏迹材质出现。上述三个材质被放置到一个顶级材质中(图03)。

Fig.03
翻译by:yipinsucai.com
? V-Ray blend material/vray混合材质:
Place the relative_clean shader as the base material.
把relative_clean材质作为基础材质

Link the dirty shader into a higher slot.
把 dirty材质放在第一个coat材质通道里

Plug in the procedural dirt_mask into the mask/alpha slot of the dirty shader.
把dirt_mask程序贴图放在dirty材质的mask通道里。
? Mix map (3ds Max)/3dmax的混合贴图:
Color 1 : Place the relative_clean node here
颜色1：放置relative_clean材质

Color 2 : Place the dirty node here
颜色2：放置dirty材质

Mask : Link the dirt_mask here
蒙版：把dirt_mask放在这里

Plug the mix map into the diffuse slot of the V-Ray material.
把混合贴图放在vray材质的diffuse通道栏里。

Using the mix map you can create the entire network using one shader. Ideally, I prefer that the wear and tear dirty material has a few different properties/changes when compared to the relative_clean one.
使用混合贴图可以创建整个材质使用一个材质球。理想情况下,我希望在磨损肮脏材质有几个不同的属性/变化相比,相对清洁的材质球。

You can use the V-Ray blend material in 3ds Max as well.
您同样可以使用vray混合材料在3ds Max里。

For the Brave New World image, I used the V-Ray blend material.
对于这张Brave New World图片，我使用了vray混合材质。
For Autodesk Maya: Use the "layered texture” node plugged into the diffuse slot of a V-Ray material. If you are using a different render engine, use the material(s) associated with it instead of the V-Ray material. I have shown a basic overview of the layered texture node in Fig.04.
对于Autodesk Maya:使用“分层贴图”节点插入vray材质的diffuse通道。如果您正在使用一个不同的渲染引擎的话,使用方法和vray的材质球(s)也是类似的，我已经显示一个基本的分层结构节点在图04。

Fig.04
For Autodesk 3ds Max: Use a composite material plugged into the color slot of a Mix map or the diffuse of a V-Ray shader (Fig.05).
使用Autodesk 3ds Max:使用一个复合材质插入到vray材质球的颜色通道(图5)。

Fig.05
Dirt Mask Creation/创造Dirt Mask
I created a dirt mask, which is used to switch between the relative_clean and dirty texture maps. This mask needs to be procedural in nature because when I start to distribute the various buildings, the mask automatically adjusts to show continuity.
我创建了一个dirt 蒙版,它用于切换relative_clean和dirty的纹理映射。这个蒙版需要有自然的属性,因为一旦我开始分部摆放各种建筑,蒙版需要自动调整显示效果。
The logic behind the mask is to mix various procedural noise patterns within a clamped real-time ambient occlusion. You can use any noise patterns that you like so long as it does not look too uniform. I do recommend mixing various noise types to get the final look. You can see the dirt mask applied to the geo set in Fig.06.
蒙版的逻辑是混合不同的程序噪波纹理到一个实时环境闭塞里。你可以使用任何你喜欢的噪波模式,只要它看起来是随机的。我推荐混合各种噪波类型来获得的最终外观。你可以看到dirt mask应用物体上的效果，如图06。

Fig.06
To show the automatic adjustment of the dirt mask, I took a small geo "B04” and applied the mask to it (Fig.07). You can see the variation in the noise pattern.
为了展示自动调整的污垢的mask,我拿了个小模型 "B04” 并应用mask给它(图7)。你可以看到变化的噪波模式。

Fig.07
I duplicated B04 (Instance) and rotated it 90 degrees. You can see that the Dirt mask automatically creates a rim of pattern where the two geometry blocks meet (Fig.08).
我复制(实例)并旋转90度。你可以看到脏迹mask会自动创建一个边缘在两个几何体交接的地方(图08)。

Fig.08
If I move the new instance in any direction the mask automatically adjusts to the position. Note that each movement creates a unique pattern (Fig.09 – 10).
如果我把新实例放在任何方向mask都会自动调整位置。注意,每个动作都会创建了一个独特的图案(图09 - 10)。

Fig.09

Fig.10
Texturing/贴图
I started by first establishing a look for the relative_clean shader. The process for it was quite simple. You can go about it in one of two ways:
我首先建立一个relative_clean材质。这个过程很简单。你可以采用以下两种方式之一:
1. Using Layered Texture (Maya)
1. maya里使用层贴图
? Create a new file node
?创建一个新文件节点
? Link the required texture file to it
?链接所需的结构文件到它上面
? Link the newly created file node into the layered texture.
?链接新创建的文件节点到分层贴图上。
2. Using Composite Map (3ds Max)
2.在MAX里使用复合贴图
? Click on Create a New Layer
?单击创建一个新层
? Click on the map/node slot and choose Bitmap from the options
?点击贴图/节点槽选择位图
? Browse and link to the texture file.
?浏览和链接纹理文件。
Relative Clean 材质
翻译by:yipinsucai.com

Relative Clean 材质

Fig.11

Fig.12

Fig.13
? All textures were taken from the 3DTotal Textures V07:R2 – Sci-fi Textures DVD
? 所有的贴图都是从这里下载的3DTotal Textures V07:R2 – Sci-fi Textures DVD
? Slot 4: desaturate the texture map slightly. You can do this by using a node in the 3D application or any image editing application like Photoshop. This slot also has a mask applied to it. The reason being that I only wanted the pattern from slot 4 to show in certain areas.
?通道4:稍微降低贴图的饱和度。您可以通过使用一个3d应用程序的节点或任何图像编辑应用程序比如Photoshop。这个通道也有一个mask应用到它上面。原因是,我只希望通道4的图案只显示在某些地区。
I used the bump map associated with the texture map used in slot 3 "Floor_10b”. It was clamped heavily to create a strong black and white area presence (Fig.14).
我使用了凹凸贴图用于通道3”Floor_10b”。这是在PS里创造的一个强有力的黑色和白色的贴图(图14)。

Fig.14
Reflection Map/反射贴图
For the Reflection map, I copied the same logic, just replacing the texture files with their specular/reflection counterparts with a few changes:
对于反射贴图,我复制相同的逻辑,只是取代了他们的高光/反射纹理文件:

反射贴图
凹凸贴图
For the Bump map, I repeated the same by replacing the texture files with their bump counterparts.
凹凸贴图,我重复相同的动作：用凹凸贴图替换贴图。

凹凸贴图
脏迹材质
Creating the dirt shader is faster and simpler compared to the  relative_clean. Since this only shows up in contact areas, its presence  is low in the overall image. A few important things to note are:
创建污垢材质是更快、更简单的相对  relative_clean材质。因为这只出现在物体交接的区域,它的出现频率比较低。一些重要的事情要注意的是:
? The material should show larger signs of wear and tear (entropy). If  your relative_clean is made like a metal, then this one should show  signs of scratching, rust, etc.
?材料应该展示出磨损的迹象。如果你的 relative_clean材质是一个金属,那么这脏迹材质应该表现出划痕、锈迹等。
? It should feel consistent with the rest.
?应该有统一性。
You can use the layered texture method (or the composite map) or instead you can also make this one in Photoshop.
您可以使用分层贴图(或复合贴图)或者你也可以做这个过程在Photoshop里。

脏迹材质

Fig.15
? Metal02 在这里下载 3DTotal Textures V02:R2 – Aged and Stressed DVD
? Tile04light03 在这里下载 3DTotal Textures V05:R2 – Dirt and Graffiti DVD
For the Reflection and Bump maps, just replace the texture files with their reflection/bump counterparts.
对于反射和凹凸贴图,只是替换了反射和凹凸的文件。
材质 2 > Relative Clean

材质 2 > Relative Clean

Fig.16

Fig.17
? 贴图下载地址 3DTotal Textures V07:R2 – Sci-fi Textures DVD
? 通道3: 减小贴图的饱和度.
? 通道4: 稍微减小贴图的饱和度.
材质 3 > Relative Clean

材质 3 > Relative Clean

Fig.18

Fig. 19
? 贴图下载地址 3DTotal Textures V07:R2 – Sci-fi Textures DVD
? 通道 3: 和材质2的通道3一样减小贴图的饱和度 > Relative Clean材质, 并改变色调见下图。
Shader 4 and More/材质4和其他
You can create as many shaders as you desire. If you feel that you need variation at a certain point, just choose the required maps and use the same logic above to create the shader.
您可以创建尽可能多的材质作为你想要的。如果你觉得你需要某种程度上的随机感,就，选择所需的贴图,用相同的逻辑来创建材质。
Shader Application/材质应用
Maya: Just select the polygons and apply the top_level shader to it.
maya:选择多边形并赋予顶级材质。

3ds Max: You can create a multi-sub object and use it as a switcher between various top_level shaders. You will also need to give polygons their material IDs (Fig.20).
3ds Max:您可以创建一个多维子材质,并使用它作为顶级着色器。您还需要给多边形物质赋予不同的ID(图20)。

Fig.20
Distribution Test/分布测试
I quickly set up a simple distribution using the geometry as well as the shaders created in this tutorial, as I just wanted to see how the textures were reacting with each other (Fig.21).
我迅速地使用上面创建的几何以及材质建立一个简单的分布效果,我只是想看看纹理的效果(图21)。