制作"古老的图书馆"

songoku · 发表于 2017-4-2 02:36 PM

Making Of 'Ancient Library'
制作"古老的图书馆"
By George-Alexander Baklessis
作者：George-Alexander Baklessis
Software used/使用软件:
3ds Max, V-Ray, Misc
翻译by:yipinsucai.com

Watching movies such as The Golden Compass, 300, Indiana Jones, Pans Labyrinth inspired me greatly in creating this scene. I was amazed by the art of every shot in all those movies, the majesty and direction as well as the final composite. I really wanted to do a project with a scene like this, drawing on the vintage but realistic look I saw in those movies, and I was searching for every excuse to find the time, when finally I was asked to create the scene for a game cinematic. It took me two weeks overall to complete this project and a lot of trial and error.
看电影比如《金色罗盘》,印第安纳琼斯,迷宫大大启发了我在创造这个场景。我吃惊的是所有这些电影每一个场景都是艺术的镜头,权威的导演以及最后的合成。我真正想做一个项目像这样的场景,借鉴了古老但又真实的这些电影,我寻找各种理由来找到机会,我终于要创建一个游戏电影的场景。我花了两周的时间来完成这个项目和大量的测试。
When I started this project I did a lot of research into old libraries – I even visited some. I also gathered some references for the objects and look I wanted to create, including images of classical astronomy, medieval instruments and decorations (Fig.01).
当我开始这个项目我做了很多旧图书馆的研究-我甚至参观了一些。我也收集了一些参考照片为了我想要创造的小物体,包括古代天文学的仪器图片,中世纪的仪器和装饰(图1)。

Fig.01
Thanks to my growing object library I only had to model a few things, which sped up the process. For the models I had to create I used my reference images as a guide (Fig.02).
幸亏有了我不断饱满的模型库我只做了几个模型,加速模型进程。模型我都参考我找的参考图片进行制作(图2)。

Fig.02
The scene was pretty heavy on geometry, so I added some stuff separately and composited it later in the final comp (Fig.03).
模型的面非常多，所以我不得不让一些东西单独渲染在后期合成。

Fig.03
The textures I used for this scene I got from several texture libraries, and also from some free texture websites that offer an abundance of good textures. Most of the textures were painted in Painter and Photoshop; Painter was my main palette and Photoshop was for the final retouching and compositing palette (Fig.04).
我用于这个场景的纹理我是从几个纹理库获得的,也有从一些免费纹理的网站获得的，它们提供丰富的良好的纹理。大多数的纹理是用painter和Photoshop画的，我主要是用painter,Photoshop是最后的润饰和合成用的。(图4)。

Fig.04
I used two V-Ray lights in the scene; one for the main sun light and another on the back to simulate some ambience. I also used an HDRi and an environment map to add to the realism (Fig.05).
我使用了两个VRAY灯光在场景中,一个主要的太阳光，另一个在在室内模拟一些氛围。我还使用一个HDRi和一个环境贴图添加真实感(图5)。

Fig.05
Fig.06 shows the configuration of the first V-Ray light.
图6显示了灯光设置。

Fig.06
Fig.07 shows the configuration of the second V-Ray light.
图7显示了第二个灯光的设置。
翻译by:yipinsucai.com

Fig.07
I used a lot of complex shaders for this image and did a lot of work  through the texturing phase of the project. I used a lot of V-Ray dirt  maps and a lot of reflective shaders.
我使用了很多复合材质对于这个图像,做了很多工作在贴图上。我使用了很多VRAY污垢贴图和大量的反射材质。
For my renderer, I did some tests with both mental ray and V-Ray, but  chose V-Ray in the end for overall speed and render value. I created a  quite simple light rig and did a lot of work with the V-Ray exposure  control settings so I could have 90% of the look done in 3ds Max and not  in post-production applications such as After Effects.
对于我的渲染,我做了一些测试用mental ray 和 V-Ray,但选择了vray最终,因为它对总体速度和渲染的效率。我创建了一个相当简单的灯光设置，做了很多工作对于vray曝光控制的设置,这样我就能有90%的工作看起来在3dsMax里做的而不是在后期制作的,如AE。
Each frame took almost three hours of render time. I focused on the  depth of the light and on the camera a lot because a lot of the edge of  the shot was achieved through lens distortion and effects such as depth  of field. I overexposed it a little bit so the eye can focus on the  interior and not on the background.
每一帧花了近三个小时的渲染时间。我关注于灯光的深度和相机效果,因为很多镜头的边缘通过透镜畸变产生很多效果如景深。我过度曝光了一点所以眼睛可以专注于室内,而不是背景。
I composited the shot in a lot of passes, such as diffuse, specular,  reflection, refraction, shadows and self-illumination, as well as almost  every V-Ray pass to achieve the final look.
我合成图片使用了很多通道,如diffuse, specular,  reflection, refraction, shadows 和 self-illumination,几乎每个vray通道。
I employed a very strange technique to create the final image. I used  all the passes in a normal compositing way, but also used some of the  other passes like vrayglobalillumination and vrayrawlighting as blending  filters. This gave me a lot of different, depths and looks each time.
我用了一个非常奇怪的技术来创建最终的图像。我用所有的通道使用一个正常的合成方式,但也使用一些其他的通道,如vrayglobalillumination和vrayrawlighting作为混合滤波器。这给了我很多的不同的感觉。
I composited all the passes in After Effects. I did a lot of tests with  the final look, using some small unorthodox compositing methods, to give  me the final look (Fig.08).
我用After Effects作后期合成。我做了很多测试,使用一些小型非正统的合成方法来达到我想要的效果(fig08)。

Fig. 08
Fig.09 shows the final image before I added some color correction and filters in After Effects.
Fig.09展示了图像的最终效果，但是还没有在After Effects里添加颜色校正。

Fig.09
Fig.10 shows the final image composited and color corrected in After Effects.
Fig.10展示了颜色校正过后的最终效果。

Fig.10
I enjoy doing both interiors and exteriors, but mostly interiors because there's a lot of work and you can't hide anywhere. I really enjoyed this project; it was a lot of hard work, but I'm pleased with the final result. I hope you can be inspired by it.
我喜欢做室内也喜欢做室外效果，但是最喜欢做室内因为那有很多工作要做而且你哪里都不能偷懒，我真的很喜欢这个项目，这花了很多努力的工作。但是最终结果还是很满意的，希望你们也喜欢。
翻译by:yipinsucai.com