Making Of 'Lobit'(制作Lobit)

Making Of 'Lobit'(制作Lobit)
By Andrea Lazzarotti
作者：Andrea Lazzarotti
翻译by: yipinsucai.com
文章来源：http://www.3dtotal.com/index_tutorial_detailed.php?roPos=1&catDisplay=1&id=1553


My name is Andrea Lazzarotti and I've been working in the field of computer graphics for the past 10 years. I currently work at TAXFREE FILM of Parma in Italy, in the advertising industry. You can see some of my work here: http://farins.deviantart.com/gallery/
我叫Andrea Lazzarotti ，我已经在视觉图像领域工作10多年了，现在我在一家叫做TAXFREE FILM的意大利帕尔马市的广告公司供职，大家可以在这里看到我的工作成果：http://farins.deviantart.com/gallery/
I took inspiration from my old Canon Super 8 camera to create this little robot. I really love the vintage look of that camera and the very solid materials that it's made from. I first took some reference photos to get an idea about the forms, materials and color combinations. Obviously I did not want to do an exact replica, but it helped to add a touch of vintage to my creation (Fig.01 – 02).
我制作这个小机器人的灵感来源于我的一台很老的Canon Super 8相机，我非常喜欢它解释的材料和怀旧的质感，首先我先找了一些照片作为样式，材质和颜色的参考，实际上我不想做一个一摸一样的复制品，但是这能帮助我找到灵感。

Fig.01

Fig.02
With a new piece I usually start by making some sketches on paper to create the starting form, but in this case I went for a direct approach and started in 3D. I experimented with the body and arms until I found a good form.
我通常一开始制作一个项目是在一些纸上画用来创建构思,但在这种情况下,我用了一个直接的方法,开始就用3 D。我尝试制作身体和手臂什么的,直到我发现了一个很好的形态。
I began with a sphere and built the initial chassis around it (Fig.03 – 04), trying to create a simple, but functional, design. I did the same for the arms, trying not to stray too far from the style that characterized the technology of the time of the Super 8 (Fig.05).
我从一个球体开始,在它周围建立基本底盘(如图3 - 04),试图创建一个简单,但是有功能性、设计性的东西。同样的方法制作机械手臂,控制好不要偏离的想要的风格。


Fig.03

Fig.04

Fig.05
Fig.05
I wanted the robot to have freedom of movement in 3D space, as if it were entirely independent. For this purpose I created several reactors at the lower and behind. However I also added increasing elements of old technology, such as the battery cover, RCA, switches, and LEDs (Fig.06).
我希望机器人必须自由运动在三维空间中,好像它是完全独立的。出于这个目的,我创建了一些基础的零件。然而我也增加了旧技术的元素,如电池盖,RCA,开关,led灯(Fig.06)。


Fig.06
I used simple polygon modeling, just extruding face by face for the entire model, and then put the Turbosmooth modifier on top of the whole piece. When the model was finished I created a simple rig so that every moving part could be animated, including the iris inside the lens (Fig.07).
我用简单多边形建模,只是挤压等命令做出整个模型,然后整体加上Turbosmooth命令。当模型完成了我创建了一个简单的骨骼,这样每一个活动部件可以动画,包括虹膜内部透镜(Fig.07)。

Fig.07
Once the model and rig were completed, I started working on the materials and lighting. I wanted to simulate an interior as a place, and for this purpose I took a photo of a window in my workplace. I just did a shot in RAW (14-bit was more than enough) and didn't have to create an HDRI as it was enough for me use distant lights to simulate the light coming from the window (Fig.08).
一旦模型、动作完成后,我开始制作材质和灯光。我想要模拟一个室内的空间,为了达到这个目的,我拍了张照片在我工作的窗口。我只是拍了一张RAW的照片(14位就足够了)，不需要创建一个HDRI，这足以让我模拟透光的窗户的效果(Fig.08)。

Fig. 08
I used two V-Ray planar lights with the window image like a map projection and did some neutral test lighting (Fig.09).
我使用了2盏VRAY面灯，面灯的projection贴图使用了刚才那张照片，然后做了一些灯光测试。

Fig.09
I chose to use V-Ray for the materials, lights and rendering. I feel very comfortable using it as I find it's very flexible and powerful. First, to assign materials and textures, I unwrapped all the pieces and painted them to create a black and white mask that could simulate the wear of the materials (Fig.10).
我选择使用V-Ray的材质,灯光和渲染。我觉得用它很舒服,因为我发现它非常灵活和强大。首先,指定材质和纹理,展开贴图,画了一个黑白MASK，用来后面模拟磨损的质感(Fig.10)。

Fig.10
For the materials of the metallic parts, I used a V-Ray material with a blend of various metal textures. For the chassis, I used a V-Ray material with a leather texture to simulate the surface of the original Canon Super 8 (Fig.11 – 13).
材料的金属部分,我使用一个V-Ray材质的混合各种金属纹理。底盘材质,我使用一个V-Ray材质球和皮革纹理来模拟表面。

Fig. 11

Fig. 12

Fig.13
For the film material I used a basic film texture I found on the internet and then edited in Photoshop. I put all my old artwork in the frames of the film (Fig.14).
胶片的材质，我在网上找了一个胶片的素材，然后把我的老作品用PS融合在胶片素材里，就是这样。

Fig.14
When I had finished setting up all the materials and lights, I started the render session. I always adopt a linear workflow in my job and personal artwork as this helps me to find more realism, and I also save as an Open.exr file and split the renders into different passes for compositing in After Effects. For this piece I used just a few passes, like Beauty, Z-Depth, ID, AO, and also a contour pass (Fig.15 – 16).
当我完成了设置所有材料和灯光,我开始渲染设置。我总是采用线性工作流程在我的工作和个人的摄影作品里，这帮我实现更多的现实主义质感,我还保存为一个 Open.exr格式，并渲染成不同的通道元素在后期里合成，在这个教程里我只用了几个元素层，,如beautypass,Z-Depth、ID、ao,contour pass。

Fig.15

I created all of the other elements, like smoke, dust and the background, in Photoshop as this allows me to use the brushes to have better control over the image and the final retouching.
我创建了所有其他的元素,比如烟雾、粉尘和背景,在Photoshop里使用笔刷之类的工具做最后的润饰。
In After Effects, I used a famous plugin called Magic Bullet Colorista II to setup a fine color correct and improve the image quality and mood. With the Frischluft – Deep of Field plugin I added a little depth of field using the Z-Depth channel. In Fig.17 you can see some visible film in the background of the image which I inserted in composite, but later decided to remove.
在After Effects里,我用了一个著名的插件“Magic Bullet Colorista II来设置一个好颜色校正,提高了图像的质量和情绪。Frischluft是一个景深插件，我添加了一个小的景深使用Z-Depth通道。在Fig.17你可以看到一些可见的电影的背景图像,我插在背景里,但后来决定移除。

Fig.17
The final step was done in Photoshop. I corrected all of the little inaccuracies, like having too many dark areas, added rim lights and light blows, and much more. Then I painted the background with Photoshop brushes and re-touched the color mood, as you can see in the final image (Fig.18).
最后一步在photoshop中完成，我修复了所有的小瑕疵，暗角，柔光什么的等等，然后用photoshop的笔刷画了背景，重新调整了图片的气氛，最终得到了你看到的图片。

Fig. 18
翻译by: yipinsucai.com