Making Of 'It's Going to Rain'

Making Of 'It's Going to Rain'
制作'It's Going to Rain'
By Denis Lebedev
作者：Denis Lebedev
Software used/使用软件:
3ds Max, Photoshop
翻译by: yipinsucai.com

My name is Lebedev Denis and I work as a 3D artist at a CG studio in Moscow. It's nice to see so many people are interested in my most recent work and I'm glad to show you my Making Of tutorial.
我的名字是列别捷夫丹尼斯，我的工作是在莫斯科一个CG工作室的3 D的艺术家。很高兴看到那么多的人有兴趣于我最近的工作,我很高兴分享你我的制作教程。
Idea/想法
I wanted to train myself to a higher level and so decided to create a kind of complicated environment scene that I hadn't done before.
我想要训练自己到了一个更高的层次,所以决定创建一种复杂环境下的场景,我之前没有做过的。
I'm really in touch with themes from the Soviet past, thanks to stories from my childhood, and one of the most striking images from this period, in my opinion, is farm machinery like the Belarus MTZ-80I tractor.
我真的在苏联时期接触过这些,感谢童年的生活经历,而那个时代最引人注目的印象在我看来,是白俄罗斯mtz - 80拖拉机。
I imagined how spectacularly this blue tractor would contrast with a ploughed Russian field on a background of fading autumn grass, under transmissions towers and overgrown with wormwood, and knew it was what I wanted to create.
我能想象这个蓝色的巨大的拖拉机是有多壮观，当把它放置在背景辽阔的俄罗斯大片的土地上，背景长满枯草，就就明白这是我想要创造的了。
翻译by: yipinsucai.com
As with any other work, I started by collecting reference images (Fig.01 – 02).
与任何其他工作一样,我开始收集参考图像((Fig01 - 02)。

Fig.01

Fig.02
Because I wasn't completely sure about the composition of the scene yet, I made more of the model than I eventually needed (Fig.03 – 04).
因为我还不完全确定场景的后期合成，所以我做模型的时候精良丰富。

Fig. 03

Fig. 04
To achieve a final realistic result, I increased the number of polygons and used a noise modifier and deformation in some places (Fig.05 – 07).
为了实现最后真实的效果,我细分了多边形,用noise修改器和和变形工具在一些地方(fig05 - 07)。

Fig. 05

Fig. 06

Fig. 07
翻译by: yipinsucai.com
Composition/合成
The main stages of composition can be seen in Fig.08.
主要阶段的场景模型如下图

Fig. 08
The composition caused me a lot of headaches. The closer I got to the end, the more I saw that it just wasn't working.
合成场景产生了很多麻烦，越往后我觉得有越多的工作要做。
I started to analyze what was wrong and I came to the conclusion that the main problem was the configuration of the composition.
我开始分析哪些部分做的不对，最后我断定只要问题是合成场景的元素配置。
There were a lot of duplicated straight lines, such as the horizon line and electricity cables; the repeating, straight power lines; the vertical line of the border of the shot and the vertical column at its edge, and, also, the lines of the field itself. It was necessary to break them up, to bring a counterbalance (Fig.09 – 10）
场景里有很多重复的直线,比如水平线和电力电缆,垂直电线;竖直线的边界，田野的线条本身。所以有必要打破他们,获得一个平衡的效果(fig,09 - 10)。

Fig. 09

Fig. 10
翻译by: yipinsucai.com
Virgin Soil/荒草地
I selected several photos that most reflected how I wanted the grass in the field to look (Fig.11).
我找到了一些能反映我想法的荒地的照片。

Fig.11
For modeling the vegetation I used a lot of photos that had been taken by me and my wife while we were walking through the fields in late autumn. I brought some of the plants back to my house so I could take more comfortable pictures, which further helped in the work.
我使用的建模植被的大量的照片,是我和我的妻子之前步行穿越深秋的田野时拍摄的。我带了一些植物回到我的家,所以我可以拍摄更合适的图片,这进一步帮助我的工作。
My modeling principle might seem difficult at first glance, but it's actually quite simple. I broke each herb into subjects and then constructed the basic elements before merging them back into one object. Therefore each type of grass I used was made from four or five different pieces:
我的建模工作乍看起来很困难,但实际上非常简单。我把每种杂草都分解成元素,然后构造的基本元素再合并回到它们之前的形象。因此每个类型的草我使用了四个或五个不同的部分:
? Corn谷物 (Fig.12)
? Yarrow 蓍草 (Fig.13 – 14).
? Wormwood tarragon龙蒿 (Fig.15 – 16).
? Wormwood苦艾草 (Fig.17 – 18).
? Sow-thistle field 蓟草(Fig.19 – 20)
? Burdock牛蒡 (Fig.21 – 22).

Fig.12 - Corn谷物

Fig.13 - 14: Yarrow蓍草

Fig.15 - 16: Wormwood tarragon龙蒿

Fig.17 - 18: Wormwood苦艾草

Fig.19 - 20: Sow-thistle field蓟草

Fig.21 - 22: Burdock牛蒡
When you make separate elements of plants it is good to use UVW Unwarp as it will make texturing easier later. You will also need to use the noise modifier (Fig.23).
当你完成独立元素的植物的时候最好使用UVW Unwarp,这将会使之后的贴图更容易。您还需要使用噪波修改器(图23)。

Fig.23
The grass was distributed in the field using MultiScatter and a few layers. The first layer contained green and dry yellow grass with varying heights and density. For the green grass I used four MultiScatter objects with various different settings; for the yellow grass I used three. Their settings were basically picked through experimentation and comparing the results (Fig.24 – 25).
草分布于现场使用了MultiScatter并分了几层。第一层包含绿色和黄色的干草，不同高度和密度。绿色草地我用四个MultiScatter对象与各种不同的设置，黄色的草我使用了三个。他们基本上都是通过实验的设置选择和比较的结果(图24 - 25)。

Fig.24

Fig.25
The second layer has some higher grass, with different angles and various densities. There are also thick stalks of other types of vegetation. I merged them into groups and scattered them by hand. All the copies were instanced. Of course, the manual method is preferable as this way you always have grass where it is necessary and important for the artwork. Fig.26 shows some of the plants in my second layer.
第二层有更高的草,不同的角度和不同的密度。也有厚厚的麦秆其他类型的植被。我把它们合并了并且成组,手动放置在环境里。所有的副本都是实例模式。当然,手动方法更好,因为这样你随时随地都可以放置它们,这是必要的艺术制作过程。图26显示我在第二个层的一些植物。

Fig.26
翻译by: yipinsucai.com
The third and final layer consists of different types of vegetation such as wormwood, sow-thistle field etc. I experimented with different density options until I'd found a nice result. Here are some of the results of my experiments with the grass (Fig.27).
第三层包含不同类型的植物如茵蔯,母猪蓟等。我尝试测试不同密度的选项,直到我找到一个好结果。这里有一些我的实验的结果(图27)。

Fig. 27
Ploughed Land/耕过的土地
Before starting work on the ploughed land, it was necessary to study various reference images of the different materials so I could break them down into components/layers (Fig.28).
在开始工做耕过的土地之前,有必要研究各种参考图像不同的材质,直道我可以将它们分解为组件/层(图28)。

Fig. 28
I broke the field into the following layers:
我把土地分成了以下几个层：
? The main soil bulk ?主要土壤颗粒。
? The small pieces of crumbled earth ?小块的翻出来的泥土。
? The big lumps of earth that have been cut off by the plough and show traces of the blade cuts?大块的泥土,有被犁切断的的痕迹。
? Roots sticking out of the opened earth ?植物的根钻在翻出的泥土里。
? The grass, some of which still shows through the upturned soil?草,其中有一些还钻在翻过来的土壤里。
? Leaves, branches, separate parts of the grass and rust.?树叶,树枝,草地破碎的残枝等等。
I started by creating a plane, forming the garden beds, increasing the grid density and adding a noise modifier. On this surface I scattered earth lumps using MultiScatter (Fig.29).
我开始创建一个平面,做成耕地的基础形状,增加网格密度和添加噪波修改器。在这个表面我使用MultiScatter放置各种土疙瘩(图29)。

Fig. 29
翻译by: yipinsucai.com
With the plugin RockMaker and a scatter proxy, I created the ground stones (Fig.30 – 31). I had to experiment as the earth wouldn't lie down beautifully like I required.
我用了RockMaker这个插件和 scatter proxy，我创建了地面上的石头模型(Fig.30 – 31)，我做了很多测试让石头自然地放置在土壤上。

Fig.30

Fig.31
To start creating the second layer, I prepared a new surface. I selected some site for the beds and created their base. The stones had to be very small (Fig.32).
为了做第二层，我做了一个新的表面，我选择了一些表面作为细碎的土壤的对象，颗粒非常的小。

Fig.32
I then prepared objects for the following layers: roots and stones (Fig.33 – 34). The roots were made with the GrowFX plugin and I scattered them with MultiScatter. But in the case of the stones it was a bit more difficult. With stones it's better to distribute them manually to form a natural look and this is what I did. The last step was to add groups of plants with MultiScatter. You can see some of the steps here (Fig.35).
然后我准备了以下对象层:树根和石头(图33 - 34)。树根是用GrowFX插件足的，我用MultiScatter把他们分散在田野里。但是石头是一个较为困难的难点。石头最好手动放置让它们看起来自然,这就是我做的。最后一步是添加一组植物，用MultiScatter种植。你可以看到这里的一些步骤(图35)。

Fig. 33

Fig. 34

Fig. 35
翻译by: yipinsucai.com
Lighting Setup/灯光设置
I had quite a simple lighting setup for this scene and was able to adjust it quickly.
灯光设置非常简单，可以快速地调节
The scene was lit by a hemisphere with a sky texture in a LightMtl. In the hemisphere properties the Visible to Camera checkbox was turned off, and in V-Ray properties the Alpha Contribution value was -1 and the Visible to Refractions checkbox was unticked.
场景的灯光用了一个半球模型，贴了一个天空贴图，半球的属性里设置对相机不可见，vray属性里的ALPHA设置为-1，反射可见选项也是关闭的。
I also made the sky absent on the render and in an alpha channel and behind glasses. A bit later I added a dome light to make the scene a bit lighter (Fig.36).
同样设置天空在渲染中不可见，折射不可见，后面再增加一个dome灯来使场景更亮点。

Fig.36
It's necessary to tell you a little about my scene organization. I actively used layers and it helped a lot when it came to navigation in the viewports, and controlling the render and materials as there was no need to calculate superfluous objects (Fig.37).】
有必要说一下我的场景结构，我非常多地使用了图层，这让我在视图的操作和场景的渲染力提高了效率。

Fig. 37
Textures and Materials/贴图和材质
Many of the textures I used were from photos I'd taken myself, specifically for this work. These included textures for the earth, plants and blue tractor paint. The other textures were downloadable from cgtextures.com. Some objects in a scene have been unwrapped for convenience (Fig.38).
我使用的很多贴图是我自己拍的，尤其是这个项目里，包括土地的贴图，植物，蓝色拖拉机的油漆等等。其他的贴图是从cgtextures.com上下载的。场景里的有些物体是用UVWMAP展开过的。

Fig.38
However I tried to use simple UVW mapping. For example, the tire of the wheel has box mapping (Fig.39).
当然我也用简单的贴图映射，比如拖拉机的轮子只是使用了一个BOX贴图坐标。

Fig.39
The texturing process was rather laborious and time-consuming; however I tried to do justice to each detail (Fig.40).
纹理处理过程是相当艰苦的和费时的,但是我想细致地对待每一个细节(图40)。

Fig. 40
The main materials in the scene are as follows:
场景的主要材质如下：
? Soil泥土 (Fig.41)
? Roots树根 (Fig.42)
? Wormwood植物 (Fig.43)
? Wheel metal金属 (Fig.44)
? Tire轮胎 (Fig.45)
翻译by: yipinsucai.com

Fig.41

Fig.42

Fig.43

Fig.44

Fig.45
The final render settings are rather high and can be seen in Fig.46.
最终渲染的设置参数非常的高，如图： Fig.46

Fig.46
Post-production/后期
Post-processing was carried out in the Photoshop. The most useful features there were the following render elements (Fig.47).
后期是在photoshop里做的，最有用的渲染元素如下图

Fig.47
These channels helped to emphasize those details, and if their actions had an adverse effect on any object, I could use a rubber to delete the channel's influence in those parts. The general principle of working with such elements is to select the blending mode over the picture and to adjust the transparency of a layer so the changes aren't too sharp (Fig.48).
这些通道帮助我强调了场景的细节，如果它们的存在对某些物体不利，我就可以用橡皮擦工具删除掉对某一部分的影响，总的步骤是选择合适的混合模式，调整透明度，使得调整的不会太剧烈。

Fig.48
翻译by: yipinsucai.com
The most important elements are the masks, which I worked with as follows. I added a MultiElement, selected it with Ctrl + A, then copied it and went back to Layers. On the copy of the main picture I created a layer mask and at pressed Alt it is clicked on a mask. Then I pasted the mask (Ctrl + V) and went back to the copy of the main picture. Now all of changes only concerned the necessary areas (Fig.49).
最重要的渲染元素师MASKs，我用以下方法是用它，我增加一个 MultiElement层，在通道中选择对应的范围，然后拷贝回原图层，在原图层创建一个通道，使用这个通道你就可以调节相应范围的元素了。

Fig.49
Also one of the most important channels is ZDepth for the creation of air, atmosphere and fog (Fig.50). Some other options to achieve that are as follows:
同样重要的通道之一是ZDepth创建的大气、环境和雾(图50)。其他一些选项来实现,如下:
1. Over the main layer, place a layer with the ZDepth channel in Screen mode. Adjust the transparency.
1.在主要层上加一层与ZDepth通道用屏幕混合模式，调整透明度。
2. Create an empty layer over the main layer and fill in it with a white color. Add a layer mask with Z-channel in it and just the transparency.
2。创建一个空层在主要层之上，用白色的颜色填充。利用z通道添加一个图层蒙版用来它的透明度。
3. Do the same as point 2, but instead of filling the new layer with white, use a sky texture that's a dark blue color mixed up with the general paints. Remember that you can edit the Z -channel with Levels (Ctrl + L).
3.像第二步一样做，但是不是填充白色而是填充一张天空的贴图，一张灰蒙蒙的天空，记住你可以用CTRL+L来调节z通道。
4. Use a brush to add fog manually.

Fig. 50
The best result will be if you combine different ways and make selective changes.
如果你多尝试最后的结果就控制在你的手里。
Here's the final image (Fig.51).
这是最终图片。

Fig.51
翻译by: yipinsucai.com
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