Making Of 'Mustang 1970 Mach 1'

Making Of 'Mustang 1970 Mach 1'
制作“野马1970马赫1”
作者： Tom Isaksen
使用软件:3ds Max, V-Ray, ZBrush
翻译by:yipinsucai.com

My name is Tom Isaksen, freelance 3D artist  and owner of  www.characterink.com . 3DTotal asked me to show how I  created my Mustang  1970 Mach 1 render, so I jumped at the opportunity  to share some of my  techniques.
我的名字是Tom Isaksen，自由3d艺术家，www.characterink.com这个网站是我的。 3 dtotal问我如何我创建了我的野马1970马赫1的渲染,所以我就抓住了这个机会来分享我的一些技术。
This tutorial goes through the process of making the model and render   using a photo backdrop and an HDRI map for the scenery and lighting. I   used 3ds Max, ZBrush and V-Ray, but you might find the tutorial useful   even if you use other 3D programs.
本教程讲解了模型和使用照片的背景的渲染，背景是一个HDRI贴图并用作照明。我用3ds Max,ZBrush和V-Ray,但您可能会发现本教程是有用的即使你使用其他的3d软件。
开始
I gathered all the information I could find  out there including,  pictures, blueprints and specifications. I  searched  www.the-blueprints.com for schematics and car part stores for  detailed  pictures of individual parts. Unfortunately I couldn't find a  really  good blueprint, but I found one that was close enough. I used to  own  this car, so I was lucky to have a bunch of my own photos for  reference  (Fig.01 – 02).
我收集了所有我能找到的信息,包括图片、图纸和说明书。我在www.the- blueprints.com找到设计图，在汽车部件商店找到各个部分零件的详细细节。不幸的是我不能找到一个真正好的蓝图,但我发现这足够了。我曾经拥 有过这辆车,所以我很幸运地有一堆我自己的照片供参考(图01 - 02)。

Fig.01

Fig.02 - 免费汽车蓝图下载网站: www.the-blueprints.com
模型
翻译by:yipinsucai.com
I started by setting up some planes and  textures with my blueprints,  making sure I got the right aspect ratio  by mapping to the bitmap  dimensions. In 3ds Max you can do this by  applying the UVW map modifier  and choosing bitmap fit. I also matched  to real world scale to avoid any  scale problems later on (Fig.03).
开始时通过设置一些平面和纹理用我的蓝图,确保我得到了正确的长宽比和尺寸。在3ds Max可以通过应用UVW贴图修改器并选择匹配位图。我也用真实世界的尺寸缩放,以避免以后出现任何问题(图03)。

Fig.03
Next I created an evenly spaced spline to match the wheel arch (Fig.04).
接下来,我创建了一个间隔均匀的曲线匹配轮拱(图04)。

Fig.04
When I was happy with the spline I simply  extruded the spline to create  the first part of the polygon mesh that  will form the entire chassis  (Fig.05 – 06).
当我很高兴我简单地挤压曲线来创建我的第一个部分的多边形网格,这将形成整个车壳(图05 - 06)。

Fig.05

Fig.06
From here on I just extruded edges while keeping an eye on the   blueprints to get the shape right. I always swap between side, front and   perspective when I model. Hold down the Shift key as you move edges to   extrude (Fig.07).
从现在开始我只是挤压边缘并密切关注蓝图来获得正确的形状。我总是不停地切换各个视图在我建模的时候。按住Shift键移动边缘并挤压(图7)。

Fig.07
I slowly expanded on the mesh, trying to keep the polygons evenly spaced   and in quads, as triangles can create odd smoothing errors. I added   double edges close together where I wanted hard lines in the mesh   (Fig.08).
我慢慢地扩展网格,试图保持多边形间隔均匀并保证都是四边面，三角形可以造成奇怪的平滑错误。我添加了很近的双边缘线在我想要硬边的地方(图08)。

Fig.08
As I kept building, I considered applying a standard material with a   slight specular value as doing this helps you to see if you get odd   shapes in there. I also kept turning subdivision on and off to see if I   was getting the right shape (Fig.09).
在制作过程中,我认为赋予一个有轻微的高光值的标准材质这样做可以帮助你看出来是否在哪里的奇怪形状。我也一直把细分打开关闭,看我是否得到正确的形状(图09)。

Fig.09
I  built the chassis in more or less one piece to begin with, making sure   I had edges where I wanted to split up the parts later. This helped the   continuity of the chassis. For old cars like this I like to keep  things  a little imperfect, keeping age, wear and tear in mind, even for  the  shape of the chassis (Fig.10).
我建车壳从一个面开始，确保在我后面想分裂开的部分有合适的布线。这对车壳的连续性有帮助。对于旧汽车我喜欢让物体有点缺陷,表现出年代感，磨损等，甚至车壳的形状(图10)。

Fig.10
Half of the car was done, and all I needed  to do was spilt up the parts  and mirror. I used instancing whenever  possible so that any changes I  made were automatically mirrored to the  other side of the car (Fig.11 –  12).
一半的汽车完成了,所有我需要做的就是分离零部件和镜像。我尽可能使用实例,以便我做任何更改就会自动被镜像到另一边的汽车(图11 - 12)。

Fig.11

Fig.12
翻译by:yipinsucai.com
At  this stage I like to add thickness to the chassis, so I used a Shell   modifier to give each part a few millimeters thickness. Note that I   ticked Select Inner Faces when creating the shell. It should be noted   that adding a Shell modifier changes how your mesh subdivides and you   will have to add more edges to control the shape (Fig.13).
在这一阶段我喜欢添加厚度给车壳,所以我使用一个Shell修改器给每一部分，几毫米厚度。注意,我选择内面挤出当使用SHELL命令的时候。应该注意,添加一个Shell修改器更改你的网将细分,你将不得不增加更多的边缘来控制形状(型材)。

Fig.13
With the inner faces selected I chose to unwrap; this automatically   isolated the backside of my mesh. I did a planar unwrap. I didn't worry   about perfect unwrapping at this point; I simply wanted to define my   unwrap seams while I had the correct polygons selected, to save time   (Fig.14).
勾选 inner faces selected的情况下,添加unwrap修改命令;这会自动地孤立网格的背面。我用了一个平面展开。我不担心贴图展开是否完美,我只是想确定我选中的网格的展开接缝是否正确，这样节省时间(图14)。

Fig.14
Now  I unwrapped the rest of that mesh by applying UV unwrap on the whole   object, so now I had a perfectly positioned seam between the front and   back of the mesh. At this point I could have chosen to improve the   unwrapping in 3ds Max to create nice, even UV-coordinates, but instead I   used the UV Mapper plugin for ZBrush to unwrap my mesh once I had   defined the seams. You only need to create UV coordinates on the parts   you plan to texture (Fig.15).
现在我展开剩下的网格应用UV  unwrap展开整个对象,所以现在我有一个完美的定位缝在正面和背面的网格。在这一点上我本可以选择提高UV展开效果在3dsmax里,甚至UV坐标。 但是我将使用ZBrush的UV映射器插件。您只需要创建UV坐标系在你打算贴图的部分(图15)。

Fig.15
I started to model all the various parts,  trying to keep the subdivision  level as low as possible, otherwise the  car would have quickly become  slow to work with. I then used a  Subdivision modifier to smooth the mesh  (Fig.16).
我开始制作模型的各种部件,试图保持细分级别尽可能低,否则操作汽车会很快变得缓慢。然后我用一个Subdivision修改器来圆滑面(图16)。

Fig.16
The tires were a little tricky. Based on my reference I felt the pattern   on my tire should be repeated about 90 times, so I created a cylinder   with 90 subdivisions with the size I wanted for the tire. I then copied  a  couple of the faces to model the tire track pattern (Fig.17).
这些轮胎有点棘手。根据我的参考我觉得在我的轮胎的纹路应该重复大约90次,所以我创建了一个圆柱90段的边缘细分并且尺寸和轮胎一样大。然后我复制两个面来建模轮胎的花纹(图17)。

Fig.17
With the tire track pattern modeled, I  simply copied and rotated the  mesh 89 times. In 3ds Max, this involved  using the Rotate tool, and  holding Shift and Rotate while making sure I  kept the pivot point of the  original cylinder. And voila... tracks  (Fig.18 – 19)!
轮胎花纹建模好以后,我简单地复制和旋转网格89次。在3ds Ma里x,这涉及到使用旋转工具,按住Shift 使用旋转工具，并且确保坐标中心是在原始的圆柱体上，即轮胎上(图18 - 19)!

Fig. 18

Fig.19
I welded all the points together by selecting the borders, Ctrl +   clicking the vertex selection and hitting Weld. This is the easiest way   of welding the points you want and avoiding welding points you  shouldn't  (Fig.20).
我焊接所有的点通过选择边界，然后Ctrl +单击顶点选择。这是最简便的焊接点的方法并能避开你不想焊接的点(图20)。

Fig.20
Next I started to shape the rest of the tire by simply extruding the borders (Fig.21).
接下来,我开始塑造其余的轮胎通过简单地挤压边界(图21)。

Fig.21
The complete tire was modeled with the Magnum 500 chrome plate rim. I   created the UV coordinates on the tire so the seams were hidden between   the tracks (Fig.22).
完整的轮胎是建模在 Magnum 500金属钢圈上的。我创建了UV坐标在轮胎上，接缝被藏在内侧(图22)。

Fig.22
I added a cage deformer to the tire to make it flat and bulge a little   to give some weight to the car. By using this cage deformer I was able   to rotate the wheel later on and keep the deformation at the bottom   where the tire meets the road (Fig.23).
我添加了一个ffd变形器到轮胎使它底部平并且凸出一点展示出一些受到汽车重量的效果。通过使用这个ffd变形器我能够在后面旋转轮胎并保持底部和道路接触的地方的形变(图23)。

Fig.23
The only parts I didn't fully model in 3ds Max were the seats. I did the   basic shape in 3ds Max, then imported to ZBrush to add detail  (Fig.24).
唯一的部分我没有完全在3ds Max里建模的是座椅。我做了基本的形状在3ds Max,然后导出到ZBrush添加细节(图24)。

Fig.24
In ZBrush I added some randomness to the seats, making them look  old and  used, using only the Standard, Pinch and Inflate brushes  (Fig.25).
在我加入一些随机性在ZBrush的里,使它们看起来又老又经常被使用使用,只使用标准的捏和膨胀笔刷(图25)。

Fig.25
I unwrapped in ZBrush based on seams created in 3ds Max, and then use   used the Decimate plugin to reduce the polygon count (Fig.26).
我在ZBrush展开UV基于在3dsmax中创建的接缝,然后使用Decimate插件来减少多边形面数(图26)。

Fig.26
I created the text emblems with splines (Fig.27).
我创建了文字标志的样条线(图27)。

Fig.27
I extruded and made a copy. Then I selected the outer polygons all around the letter and deleted the rest (Fig.28).
我挤出并复制了一份。然后我选择了字体外圈的多边形，删除其余的部分(图28)。

Fig.28
With a shell modifier I then created a nice border on the letters (Fig.29 – 30).
加一个shell修改器然后我创建了一个相当不错的字母(图29 - 30)。

Fig.29

Fig.30
翻译by:yipinsucai.com
I added some details to the interior, but since I wanted to do a  mainly  exterior shot I kept it simple, just adding enough to show what  is  visible from the outside and something to create reflections on the   windows (Fig.31).
我添加了一些内部的细节,但我想做一个主要外部的视角，所以我要保持内部模型简单,只是添加足以展示在外面可见的东西和反射的时候会显示的东西(图31)。

Fig.31
Fig.32 – 33 show the modeling all done.
图32-33显示全部完成的模型。

Fig.32

Fig.33
Materials and Basic Setup
材质和基本设置
I started slow by adding some basic V-Ray materials to the car, and a   simple sun lighting and camera setup. Everything was at their default   values for now (Fig.34).
我开始添加一些基本的vvay材质在汽车上,一个简单的太阳光线和相机的设置。一切都是他们的默认值(图34)。

Fig.34
Fig.35 shows some simple materials I used to get started. For the car   paint I used VrayCarPaintMtl and for this I set the flake size to 0.0   since I didn't want metallic car paint. For the windows I used a   standard VrayMtl with Refraction and Reflection set to White, and a   Falloff modifier in the reflection slot so that I had more reflections   on the edges and less straight on, so you could see though the windows.
图35展示了一些简单的材质我使用的。我使用的车漆VrayCarPaintMtl,为此我设置雪花 flake大小0.0因为我不想要金属车漆。对于窗户我使用一个标准的VrayMtl，带有折射和反射设置，反射里我加了一个falloff,以便我有更多的反射在边缘，更少的反射在垂直角度,所以你可以看穿窗户。

Fig.35
Fig.36 shows the first render. It was a pretty good start, but since I   was aiming for HDRI lighting now was a good time to start thinking about   that. It knew it would have a great impact on the look of my materials   so I had to get this sorted early on.
图36显示了第一次渲染。这是一个很好的开始,但是由于我的目标是用HDRI照明，现在是时候开始考虑了。我知道它会有一个很大的影响在我的材质表现上,所以我不得不把事情在早期就开始考虑。

Fig.36
I assigned a VrayHDRI to my environment map slot, then dragged and   dropped it into the Material Editor (choosing Instance) and assigned a   map. Next I assigned an appropriate HDRI map and set it to Spherical. I   created a V-Ray dome light in the scene, and dragged and dropped the   VrayHDRI into the texture slot. There are a lot of places where you can   get HDRI maps for free; I bought mine here: http://www.hdri-locations.com (Fig.37).
我分配一个VrayHDRI到我的环境贴图通道,然后拖着把它放进材质编辑器(选择实例)并分配一个贴图。接下来我指定一个适当的HDRI贴图,将其设置为球形。我创建了一个vray 半球灯在场景里,并把VrayHDRI拖到贴图通道。有很多地方可以得到免费HDRI贴图，我在这里买的:http://www.hdri-locations.com(图37)。

Fig.37
I assigned a VRayMtlWrapper material to my ground plane, just so the car   wasn't floating. Then I assigned a standard black VrayMtl to the base   material slot. When you do this, if you don't use caustics you can   disable those. This will render the shadow of the car, but let you see   the HDRI map behind.
我分配一个VRayMtlWrapper材质到我的地平面,所以这辆车不是漂浮的。然后我分配了一个标准的黑色VrayMtl到基材通道。当你这样做时,如果你不使用焦散线可以禁用这些。这将渲染汽车的阴影,但能让你看到后面HDRI贴图。
You might want to adjust the strength of the sun and adjust camera   settings. It really comes down to your choice of HDRI map how the   settings should be. If there is a sun in your HDRI map, make sure to   position the sun in the scene accordingly (Fig.38 – 39).
你可能想调整太阳的强度和调整相机的设置。它取决于你选择的HDRI贴图设置如何。如果有一个太阳在你的HDR贴图,确保太阳的位置和场景是一致的(图38 - 39)。

Fig. 38

Fig.39
With HDRI and basic materials set up, it was time to add some textures to the scene.
HDRI和基本材质与建立好以后,是时候添加一些纹理到场景了。
Texturing/贴图
Texturing the car was relatively straightforward. Most parts already   worked quite well with just a simple shader. The main things to add were   the decals, and some dirt and imperfections. The interior was the most   texture heavy part, with things like the leather seats and panels. I   used mostly textures from the 3DTotal Textures collection.
给车贴图是相对简单的。大多数物体已经工作的很好了,只是一个简单的材质。主要的事情要添加贴花和一些污垢和缺陷。内部是纹理最复杂的部分,如真皮座椅和面板。我主要使用的纹理从是3dtotal纹理集合。
To get started on the seats, I exported a cavity and ambient occlusion   map, and combined them in Photoshop to give me the base of my texture.   Then I used tileable leather textures to create a pattern, giving it a   useful name, as well as the bump and specular leather textures (Fig.40).
从座位的材质开始上,我导出一个cavity 和AO贴图,并将它们组合在Photoshop中给我基础的贴图结构。然后我使用的花皮革纹理来创建一个纹理,给它一个有用的名字,同样做出凹凸和高光贴图(图40)。

Fig.40
I then created a new layer use the Fill (Shift + F5) function, chose the pattern I'd defined and clicked OK (Fig.41).
然后我创建了一个新的层使用Fill(Shift + F5)功能,选择定义好的图案然后点击OK(图41)。

Fig.41
Then I multiplied the layer (Fig.42).
选择模式为multiplied（图42）

Fig.42
And finally I used Hue/Saturation (Ctrl + U) to adjust the layer (Fig.43 – 44).
最后我使用色相/饱和度(Ctrl + U)来调整层(图43 - 44)。

Fig.43

Fig.44
Here's the result (Fig.45).
这是最终结果（图45）

Fig.45
For the decals and paint job in general I used very high 8192 x 8192   maps, diffuse and bump map. I also added some dirt and dried out water   drops. The dirt maps were from the 3DTotal Textures: V08:R2 – Vehicles   DVD (Fig.46 – 47).
对于贴花和油漆一般我使用非常高的8192 x 8192贴图，表面色和凹凸贴图。我还添加了一些污垢和干水滴效果。污垢贴图来自3 dtotal纹理:V08:R2 -汽车DVD(图46 - 47)。

Fig.46

Fig.47
To create the text on the tires, I used a displacement map, and  added  some subtle dirt and scratches to the chrome and metal parts  (Fig.48).
创建轮胎上的文字,我使用一个置换贴图,并添加了一些微妙的污垢和划痕给轮毂和金属部件(图48)。

Fig.48
The headlights were done with a simple glass material with a   displacement map. I UV mapped the glass so the displacement map would be   on the inside and kept the outside surface smooth (Fig.49).
车头灯用了一个简单的玻璃材质与置换贴图。我展开了玻璃的UV贴图所以置换贴图会在里面,使外表面是平滑的(图49)。

Fig.49
Rendering/渲染
With everything modeled and textured it was time to render. For the   background I used a photograph. The trick here is to match your camera   angle and lens to the one used in the background photo, and then have   your ground plane match with the ground in the image. To help adjust the   camera angle you can make 3ds Max show the background image in the   viewport (Fig.50).
所有建模和贴图工作完成后是时候渲染了。我使用一个照片为背景。这里的诀窍就是要使你的照相机角度和焦距和使用的照片一致，然后使你的地平面与照片的地面匹配。为了帮助调整相机的角度你可以使3ds Max在窗口里显示背景图像(图50)。

Fig.50
翻译by:yipinsucai.com
Here are my camera and light settings. These settings can have a huge   impact on your render, so use them with caution. I set a high size   multiplier and low intensity on the sun to get a softer shadow for my   somewhat overcast setting. Pretty basic settings otherwise (Fig.51).
这里是我的相机和灯光的设置。这些设置可以有一个巨大的影响对你的渲染结果,所以小心使用它们。我设置一个尺寸和低强度的太阳得到更柔和的阴影,有点阴天的设置。漂亮的基本设置(图51)。

Fig.51
Here's the final render, a reflection pass and a ZDepth render. To   create a ZDepth element simply go to the render elements in your render   settings and click Add. Choose VRay2Depth and set the distance. All  that  is left is a little Photoshop touch up (Fig.52 – 54).
这是最终的渲染,一个反射通道，一个ZDepth通道。创建一个ZDepth元素只要去渲染元素面板单击Add。选择VRayZDepth并设置距离。剩下的就是一点点是再Photoshop里润色(图52 - 54)。

Fig.52

Fig.53

Fig.54
In Photoshop I enhanced the colors a little, added a little depth blur   so the car matched the background better and painted my reflection pass   into the water puddles on the ground. To use the ZDepth map for blur,   assign it to a mask on the image you want to blur and use the Lens Blur   filter. Remember to delete the mask after you've assigned the blur   (Fig.55).
在Photoshop我稍微提高了颜色,添加了一个小景深模糊让汽车更好地匹配背景，处理一些让反射传递到地面上的水坑里。使用ZDepth贴图制作模糊,将它分配给一个蒙版在图片中你想模糊和使用镜头模糊滤镜的地方。记得删除蒙版在你指定模糊以后(图55)。

Fig.55
I created a little chromatic aberration to help mix the 3D with the   photo. Chromatic aberration happens in real life when you take photos   with cheaper lenses, so use it with caution (Fig.56).
我创建了一个小色差,帮助把3d融合进照片。色差是在现实生活中产生的,当你用便宜的镜头拍照片时,所以慎用(图56)。

Fig.56
Here's the final image. As a last touch, I added some noise to the image   and maybe a little color grading. The noise I added because the photo   background had some noise already, so this helped further integrate the   3D (Fig.57).
这是最终的图像。作为最后的修饰,我添加了一些噪点给图像和一点颜色分级。我加噪点的原因是因为照片背景有一些噪点,所以这帮助进一步整合的3d模型和照片(图57)。

Fig.57
Overall I created way more details on the car than I needed for the   final shot (Fig.58), but it's great not to be restricted when you start   rendering, experimenting with camera angles, etc. You can see a few  more  renders on my website: http://www.characterink.com/2012/05/15/mustang-mach-1/
总的来说,我创建了更多细节的汽车比我需要的镜头(图58),但它是不错的不受限制的当你开始渲染,尝试其他角度的时候。你可以看到更多的渲染在我的网站:http://www.characterink.com/2012/05/15/mustang-mach-1/
Thanks for reading.
感谢阅读。

Fig.58
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