Making Of 'Incubator'/制作“孵化器”

Making Of 'Incubator'/制作“孵化器”
By Indunil Priyanke Ranawake
作者： Indunil Priyanke Ranawake
Software used/使用软件:
3ds Max, Maya, V-Ray
翻译by:yipinsucai.com

Intro/介绍
I will always remember making this image as it was a lot of fun! I did  this image for a contest for The Gnomon Workshop and I had less than 20  days to complete it. The theme of the contest was "Incubator” and my  first step was to come up with a nice concept.
我将永远记住让这个图像,因为它实在是太好玩了!我做了这个形象为一场 Gnomon Workshop竞赛，我有不到20天才能完成它。比赛的主题是“孵化器”,我的第一步是要想出一个不错的概念。
Concept/概念
I wanted to do an old laboratory style incubator. I imagined it to have a  new kind of genetically engineered plant, which produced super oxygen  to feed a new species. I wanted to integrate a character as well so I  came up with this concept drawing in Photoshop (Fig.01).
我想做一个老实验室风格的孵化器。我想象它有一种新的转基因植物，生产超氧养活一个新物种。我想实体化角色,所以我想出了这个概念图在Photoshop(图1)。

Fig. 01
Modeling/模型
I did all the modeling in Maya. Modeling the incubator was very simple,  nothing tricky. When all the objects are together it seems a bit complex  of course, but if you look at them individually they are very simple  (Fig.02).
我做了所有的建模在玛雅。建模孵化器是非常简单的,没有什么棘手。当所有的对象在一起似乎有点复杂当然,但如果你分别看看他们是很简单的(图2)。

Fig. 02
You can see that I have used nothing but boxes, spheres and cylinders  with extrude and bevel operations. I also used NURB tubes for the wires  and air pipes and some wave typed curves with a revolve operation  applied to them to create all of these models.
您可以看到,我使用了box、球体和圆柱体，挤压和倒角操作。我还使用NURB管来做电线和空气管和一些波浪类型的线，旋转操作它们创建所有这些模型。
When these are all put together it looks like this (Fig.03).
当这些都放在一起看起来像这样(fig03)。

Fig. 03
The only organic model in this scene was the frog with butterfly wings. I  had made a frog in the past so I used this and deleted his legs so I  could fit him into the egg easily. I also posed him and gave him a  facial expression as if he is amazed to see the new world (Fig.04). With  the character put in place the scene looks like this (Fig.05). At this  point I was ready to start the texturing.
唯一的有机模型在这个场景是青蛙与蝴蝶的翅膀。我以前做过一只青蛙,所以我用这个,删除了他的腿,这样我就能配合它更容易进如孵化器。我还给了他一个面部表情好像他惊奇的看到新大陆(图4)。角色放进场景看起来是这个样子(图5)。到现在为止我已经准备好开始做贴图。

Fig. 04

Fig. 05
Texturing/贴图
I exported the whole scene into 3ds Max as an obj file to start the  texturing and lighting. Texturing the scene was also fairly easy. I used  V-Ray Blend Material for most of the shaders, including the dusty glass  that surrounds the creature and the rusty metal. One secret is that I  have used a Perlin Marbel procedural map as the mask for 99% of my blend  materials, because it creates a beautifully organic look (Fig.06). The  character's shader on the other hand is nothing but color and specular  maps (Fig.07).
我导出整个场景到3dsMax里用obj文件，开始贴图和照明。场景的贴图也相当容易。我用vray混合材质作为大部分材质，包括包裹着生物的蒙尘的玻璃和生锈的金属。一个秘密是,我使用了一个 Perlin Marbell程序贴图作为mask在99%的混合材质上,因为它创建了一个漂亮的有机效果(图6)。角色的材质其他没有什么了只是表面和高光贴图(图7)。

Fig. 06

Fig. 07
The velvet shader is created with a V-Ray material with three Falloff  maps nested together in the Diffuse channel and a Noise map as the Bump  (Fig.08). The back wall is simply UV mapped with a texture painted on in  Photoshop (Fig.09).
天鹅绒材质是用一个vray材质里面嵌套三个减退贴图在漫射通道，noise贴图作为凹凸(fig08)。在后面的墙是简单的UV mapped纹理映射，纹理是在Photoshop里画的(fig09)。

Fig. 08

Fig. 09
The egg texture was created with a Cellular procedural map (Fig.10).
蛋的贴图用了一个细胞程序贴图(Fig.10).
翻译by:yipinsucai.com

Fig. 10
The V-Ray Blend Material was used to create the shader for the rusty pipes (Fig.11).
vray混合材质也用来制作生锈的管道(Fig.11).

Fig. 11
Note: When creating these textures I found the Total Textures collections from 3DTotal very useful.
注意:当创建这些纹理我发现3 dtotal上的 Total Textures collections非常有用。
Lighting/灯光
Now I'm going to talk about my third favorite phase of the process, the  lighting. I had a clear idea how I wanted to light the scene. I wanted  the scene to be dark but lit, and to be colorful. I didn't want any sky  light in the scene because this is a secret underground incubator where  classified species are produced. For these reasons I covered the whole  scene with a big polygon box.
现在我要谈谈我的第三个最喜欢的阶段的过程：照明。我有一个清晰的思路对于我的场景。我想这个场景总体是黑暗的但局部是照亮的,是丰富多彩的。我不想要任何的天空光在现场,因为这是一个秘密的地下孵化器,神秘物种产生的地方。由于这些原因我覆盖整个场景用一个大多边形box。
Now the fun part begins. Blue and yellow is one of my favorite color  combinations. So I decided that I would put the incubator in the middle  and make light come from both sides, blue from one side and yellow from  the other. To do this I placed two big rectangular V-Ray lights in the  scene (Fig.12).
现在就到了有趣的部分了。蓝色和黄色是我最喜欢的颜色组合。所以我决定把孵化器放在中间,使光来自两边,蓝色和黄色从一边和另一边。为此我把两大矩形vray灯光放在场景中(图12)。

Fig. 12
I also placed two lights to represent the artificial light that is  needed to grow the plants (Fig.13). One V-Ray light to light the  character (Fig.14), one V-Ray light to light the eggs (Fig.15) and one  V-Ray sphere to light the wall and table at the back (Fig.16) as I  thought it should be lit with a pure white light.
我也放置两盏灯代表人造光，用来照射植物植物(fig.13)。一个vray灯照亮角色(图14),一个vray灯照射鸡蛋(fig.15)，一个vray球灯照亮后面的墙(图16),我想它应该是一个纯白色的光照。

Fig. 13

Fig. 14

Fig. 15

Fig. 16
Three spheres with blue V-Ray light materials were used to create the  look of blue colored fire under the test tubes (Fig.17). Again I used  three V-Ray spheres for the three containers in the back that have the  three un-hatched eggs in (Fig.18).
三个球形蓝色vray灯光材质被用来创建看起来蓝色的试管底部(图17)。我再次使用了三vary球灯给在后面的三个容器,有三个没孵化的蛋(图18)。

Fig. 17

Fig. 18
I used another V-Ray sphere to light the interior of the big tube that  is above the egg collector (Fig.19). Small V-Ray spheres were placed in  each of the meters so that every dial was individually lit (Fig.20).
我用另一个vray球灯照亮那个蛋收集器上面的大管道(图19)。小vray球灯被放置在每个计量表上,这样每个表盘都是单独照亮的(图20)。

Fig. 19

Fig. 20
These are the lighting passes (Fig.21). These are the V-Ray render  settings (Fig.22). When all the lights were merged together, the render  looked like this (Fig.23).
这些是分层照明(图21)。这些是vray渲染设置(图22)。当所有的灯都合并在一起,渲染看起来像这个(图23)。

Fig. 21

Fig. 22

Fig. 23
Then I jumped into my second favorite phase of the process: compositing.
然后就进入到我第二个喜欢的过程：合成
翻译by:yipinsucai.com
Compositing/合成
As I told you at the intro, I created this image for a competition and I  had a tight schedule. When I came to the lighting and rendering I was  sort of out of time, and I hadn't done the compositing, which was a sad  thing. So I didn't even render an Ambient Occlusion pass for this one. I  only had time to add the ZDepth and a little color correction (Fig.24).
正如我前面告诉过你的,我创建了这张图片,为一个竞赛，我时间很紧。当我到达照明和渲染阶段时我时间就很少了,我没有做完合成,这是一个悲伤的事。所以我甚至没有渲染一个环境闭塞的通道。我只有时间添加ZDepth和一点点色彩校正(图24)。

Fig. 24
I would strongly recommend that you to do your render in passes like  Diffuse, GI, Lighting, Shadow, Specular, Reflection, Refraction, Ambient  Occlusion, ZDepth etc because you can really boost the quality of your  final image. If I had time for that, this image probably would have been  even better, but anyway here is my final image (Fig.25).
我强烈推荐你去做你的呈现在经过像  Diffuse, GI, Lighting, Shadow, Specular, Reflection, Refraction, Ambient  Occlusion, ZDepth等等,因为你真的可以增加你的最终的图像质量。如果我有时间,这张图片可能会更好,但无论如何这是我最后的图像(图25)。

Fig. 25
Now this is my favorite phase of the process. Sitting back, relaxing and admiring the art!
现在这是我最喜欢的阶段：坐下放松和欣赏艺术!
翻译by:yipinsucai.com
原文链接：http://www.3dtotal.com/index_tutorial_detailed.php?roPos=1&catDisplay=1&id=1433#.UDVxO6P9W-o
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