Making Of 'Brothers In Blood II'

Making Of 'Brothers In Blood II'
制作“Brothers In Blood II”
By Damir G Martin
作者：Damir G Martin
Software used使用软件:
3ds Max, ZBrush
翻译by:yipinsucai.com

To download custom-made alpha brushes for this tutorial, please click here
下载教程中的alpha笔刷请点击这里下载
Introduction/介绍
The idea behind this image was originally conceived back in 2005 and I named it Brothers In Blood (Fig.01).
这张图片背后的想法最初是在2005年，我将它命名为“Brothers In Blood”(Fig.01)。

Fig.01
Brothers In Blood II was created for Sol90 Publishing. They needed Carnotaurus Sastrei Diorama dinosaurs, which was a perfect opportunity for me to revisit one of my old creations and improve upon it. It was an interesting creative experience for me as I was able to see just how much I've evolved, and how the software I use has as well, during little less than a seven year time span.
Brothers In Blood II是专门为Sol90出版。他们需要食肉牛龙立体模型,这是一个完美的机会,让我重新审视我的一个老的创作并且改进它。这是一个有趣的富有创造性的经历对我来说,我可以看到我进步了多少,以及如何对使用软件的进步,在不到七年的时间跨度里。
In this Making Of you will be given an insight into the methods I used to create one of my latest paleo-themed illustrations (Fig.02).
在这个教程中你将洞察到我最新的一张远古背景的插画的过程(Fig.02)。

Fig.02
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Modeling/模型
Unlike the original image, where I used 3ds Max and a box modeling method, these new Carnotaurus were sculpted using ZBrush 4R2.
不像原来的制作过程,我常常在3 dsmax中用一个盒子为基础的建模方法,这种食肉牛龙是用ZBrush 4 R2开始建模。
I don't even want to start comparing these two modeling methods. Box modeling was fun, but it has become outdated, especially if you're building organic objects. Over time, ZBrush and Mudbox have become the alpha tools for modeling anything from organic, over hard surface to architectural models.
我甚至不想比较这两种建模方法。立方体建模是有趣的,但它已成为过时的了,特别是如果你正在构建有机对象。随着时间的推移,ZBrush和Mudbox带有alpha工具已经用于建模的任何东西的模型。
These tools enable artists to flesh-out their visions quickly and accurately, without having to get too techy in the process of creation. It is almost as intuitive and easy to get as a real life clay modeling.
这些工具使艺术家快速而准确的充实他们的想法,而无需太高科技的创造的过程。这几乎是同样直观和容易操作就像现实生活中的粘土建模。
In this illustration you have two dinosaur species. The Diplodocus dinosaur in the background was created before for Eon Software as a 3D asset.
在上图中有两个恐龙物种。双棘龙龙在背景里,是之前为Eon创建的一个3D模型。
I just re-used that model and reposed/aligned them into big herd moving away into the distance. So in this section I'm going to focus on how I modeled the Carnotaurus. After all, he is the star of this illustration!
我只是重复使用这这个模型,给它们设置了新的形态，复制了好多然后移动到远方。所以在这一节中,我将重点讨论如何建模食肉恐龙（前景恐龙）。毕竟它们是这张插图的明星!
The Carnotaurus model was made completely in ZBrush. In some of my previous modeling projects I would go to 3ds Max and make a rough low poly mesh. Nowadays I'm doing all the modeling work inside ZBrush, although on rare occasions I still switch to 3ds Max to get some modeling done there.
这个食肉恐龙模型采用了全ZBrush制作的。在我以前的那些建模项目中,我将会在3dsmax中,建立一个低面数的多边形网格。现在我做所有的建模工作都在ZBrush内部,尽管在很少的情况下我仍然需要切换到3dsmax里建一些建模型。
The first step was a ZSphere basic model (Fig.03). As soon as the dinosaur's rough shape was complete, the ZSphere shape was turned into a polymesh object.
第一步是用Z球建立一个基本模型(如图)。当恐龙的大致形状已经完成的时候,把Z球转换成一个polymesh对象。

Fig.03
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I sculpted the general shape and proportions with the help of dozens of Carnotaurus skeleton reference images downloaded from the internet (Fig.04).
我塑造了大概的形状和比例在数十张食肉恐龙的骨架参考图像，我从互联网下载到这些参考资料(Fig.04)。

Fig.04
The good thing about this project was that I had constant feedback from a real paleontologist. So it was a real pleasure to reconstruct the dinosaur the way I felt and thought it should look, then receive valuable feedback from the professional. This was a great opportunity to learn and improve in that field.
这个项目的好处是,我能从一个真正的古生物学家那里获得持续的反馈。所以这是一个真正的快乐的重建恐龙的方式。认为它看起来应该是什么样子,然后从专业人士那里获得有价值的反馈。这是一个在这一领域绝佳的学习机会。
Once I had nailed the Carnotaurus morphology and it was approved, it was the point in the process where I had to retopologize the mesh (Fig.05). I did this in ZBrush. Though this feature could still be massively improved, I've learned to appreciate it and have become quite fast at retopologizing meshes in ZBrush.
一旦我确定了食肉恐龙的形态,我就要开始重新拓扑它的模型(Fig.05)。我在ZBrush里做这个工作。虽然技术有待提高，但是我已经能迅速地在ZBRUSH里拓扑一个模型了。

Fig.05
There are loads of great tutorials out there on the ZBrush Topology feature, but I will cover the basic premise behind it. To be able to retopologize anything you need to have a polymesh object, or any kind of object you can import into ZBrush. Edit Topology is best for sorting out and cleaning mesh objects that are created using ZSpheres, ZSketch, DynaMesh or basically any objects that have messy topology.
有很多不错的ZBRUSH拓扑的教程,但我只掌握了基础。要使用拓扑你需要一个polymesh对象,或任何可以导入ZBrush的对象。编辑拓扑能整理和清洗网格对象，无论他们是使用ZSpheres,ZSketch,DynaMesh或者布线杂乱的模型。
In the Subtools palette you need to click the Append button and select the default ZSphere object from the window. Now you need to select that ZSphere in the subtool layer and scroll down to the bottom of the Tool section to find the Topology palette. Then click Edit Topology (Fig.06).
在这个子面板您需要点击附加按钮并从窗口选择默认 ZSphere对象。现在您需要选择 ZSphere的工具层并向下滚动到底部找到这个拓扑面板。然后点击编辑拓扑(Fig.06)。

Fig.06
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You need to be in the Edit and Draw mode to be able to start retopologizing (Fig.07).
你需要在编辑绘制模式下开始拓扑。

Fig.07
Just click on the object, in this case the dinosaur's head, and start connecting the dots. You should see orange lines that make the object's wire frame, just like in the image (Fig.08).
只需点击对象,在这种情况下先从恐龙的头部起,开始连接点。您应该看到橙色线条表示对象的线框,如下图(Fig.08)。

Fig.08
In the process of retopologizing your mesh you should go into Preview mode every now and then to check the mesh for consistency and make sure everything is OK. You do that by pressing the Preview button under the Adaptive Skin palette that is located a couple of options above Topology, or you can simply press A on the keyboard. In Preview mode your mesh should look something like this (Fig.09).
在这个拓扑过程中你应该进入预览模式时不时检查网格的一致性,确保一切正常。预览面板关于自适应选项有很多参数可调,或者您可以简单地按下预览按钮。在预览模式网格应该看起来是这个样子(Fig.09)。

Fig.09
As soon as you complete the entire object and you are happy with the result, the mesh should be turned into a polymesh by clicking the Make Polymesh3D button positioned at the top of the Tool menu (Fig.10). Now you are ready to either project details from the messy old mesh, or, if you don't have any details, start detailing the clean mesh.
一旦你完成整个对象并且您满意最后的结果,模型应该转换成一个polymesh，点击顶部的工具菜单MAKE Polymesh3D按钮(Fig.10)。现在您已经准备好从原始的高模映射模型的细节。或者如果你没有任何细节，就准备开始在拓扑好的模型上创造细节。
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Fig.10
For detailing this dinosaur I used a couple of custom-made alpha brushes that I created specifically for this occasion, which can be downloaded here. The method I used to create the custom alphas is nothing special really. I selected a Plane3D object from the Tool palette, under the main Tool menu (Fig.11). I turned it into a Polymesh3D and subdivided about six or seven times to extract the alpha brush as smoothly as possible.
为详细介绍这个恐龙我使用两个定制的alpha画笔,我创建了专门为制作这个场景的ALPHA笔刷,可以在这里下载。我用来创建定制的alpha笔刷真的没什么特别的方法。我选择了一个Plane3D对象从工具面板,它在最主要的工具菜单(Fig.11)。我把它变成了一个Polymesh3D和细分大约六或七次尽可能平滑地提取alpha笔刷。

Fig.11
Then I started sculpting the scales and details I wanted on my dinosaur. Once the details had been sculpted out, I went into the Alpha panel and clicked GrabDoc. ZBrush automatically created an alpha brush with perfect Z-Depth data that I used to paint those scales faster and on broader surfaces (Fig.12 – 13).
然后我开始雕刻鳞和细节在我的恐龙上。一旦细节还雕刻而成,我进Alpha面板,点击GrabDoc。ZBrush自动创建一个alpha带有完美的Z-Depth数据,我可以再更大的面积上更快地用来画这些鳞片(Fig.12 – 13)。

Fig.12

Fig.13
This way of sculpting scales was good for some areas of my model, but I didn't use this method everywhere. I manually sculpted the more detailed and important areas, like the head, arms, fingers and legs.
这种刻画鳞片的方式有利于塑造我的模型,但我没有所有的地方都使用这个方法。我用手工雕刻在需要更多细节和更重要的地区,如头部、手臂、手指和腿。
It took more time, but it gave me a better effect, without a doubt. It's important to remember that if you overuse a custom alpha on a single model, or even a certain area/body part of that model, it is likely it won't look as good.
它花了更多的时间,但却给了我一个更好的效果,毫无疑问。重要的是要记住,如果你过度使用一个定制的alpha在单个模型上,或者甚至一个特定区域/身体部分的模型,它可能是它不会看上去不那么好。
I mentioned manual detailing before and I'll now explain the technique I used in this particular case.
我提到过绘制细节,我现在详细解释这个特殊的案例中这项技术使用。
Most of the scales on the head, portions of hands and legs, especially fingers, were created by painting masks in the shape of the scales on the desired area. After I was happy with the painted masks, I inverted the masked area and got a "mask free" area that I textured using the Move brush (Fig.14 – 16).
大多数的区域如头,手和脚,特别是手指,是由painting masks在模型上绘制而成的。我很喜欢painting masks,我反选mask区域,形成一个 "mask free"区域,然后使用移动笔刷挤出来(Fig.14 - 16)。
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Fig.14

Fig.15

Fig.16
I additionally polished each scale with a standard brush and standard ZBrush alpha 39 over the edges, with Gravity under Brush > Depth > Gravity set to 45-60. For the head scales, I used the Displace brush with the ZBrush alpha 39 to get the pointy scales look that is most noticeable on the top of the head (Fig.17).
我单独细化每一个鳞片用一个alpha39的标准笔刷,调节笔刷的Gravity > Depth > Gravity 设置为 45-60。头部的鳞片,我用Displace brush，笔刷的alpha设置为39以获得尖尖的效果(Fig.17)。

Fig.17
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Texturing/贴图
The Carnotaurus was colored and unwrapped in ZBrush.
食肉恐龙上色和展uv是在zb里完成的
I just love how easy it has become to unwrap a model. Using polygroups and ZBrush's UVMaster you can get decent unwrap in a matter of minutes.
我很喜欢ZB因为它展uv非常容易。使用polygroups和ZBrush的UVMaster你可以得到漂亮的的unwrap在短时间里。
If you spend a bit more time you can get really nice results. Creating UV islands with polygroups, which in addition can be easily created by masking or polypainting, is a breeze. It's funny that I should say this because I hated UVW mapping – I despised it. At a couple of points when I was a beginner I thought I would probably never learn UVW because it seemed so difficult to me back when I was just starting out.
如果你多花点时间你会得到很好的结果。用polygroups创建UV islands，很容易用 by masking或者 polypainting工具来创建或,是轻而易举的。说起来搞笑这是因为我讨厌UVW映射——我轻视它。当我还是一个新手的时候,我想我可能永远都不会学习UVW因为它似乎难。
The original Carnotaurus from the original Brothers In Blood image were not unwrapped. I used a projection mapping method.
上次做的那个版本的原始的食肉恐龙是没有展UV的。我使用投影映射。
Since the process of unwrapping in ZBrush has been covered inside out by numerous tutorials, I'll just fly over the basic steps. Once you have your model, split it into polygroups at the lowest subdivision setting (Fig.18).
ZBrush里展UV有很多教程,我就飞过的基本步骤。一旦你完成了自己的模型,把它分为polygroups用最低的细分设置(Fig.18)。

Fig.18
Then step into the ZPlugin/UVMaster and click the Work on Clone button in the UVMaster palette (Fig.19). Now you are ready to start protecting areas of the mesh that you want to keep clean of seams by clicking Enable Control Painting and the Protect button.
然后进入ZPlugin / UVMaster并单 Work on Clone按钮，它在UVMaster面板(Fig.19)。按下 Enable Control Painting按钮你就可以保持原始的模型不会被改变，而你可以获得整齐的展UV接缝。
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Fig. 19
Once you do that, you can additionally make sure the seams appear at specific points by painting lines where you want your seams to appear.
一旦你这样做,你能另外确保裂缝出现在你绘制的特定的点线上。
You can do that by clicking the Attract button under the Enable Control Painting section of UVMaster.
你可以通过点击UVMaster工具栏的Attract按钮，它在Enable Control Painting下面。
With my dinosaurs' heads I also used density settings to make the UVW islands a bit bigger so the details there ended up cleaner and at a larger resolution.
我的恐龙的头我还用密度设置使UVW面积大一点，最终让头部拥有更大的分辨率。
After everything is prepped, ZBrush magic kicks in. Click the Polygroups button to On if you haven't done that before and then click Unwrap. Once ZBrush computes UVW for you, flatten to see the result (Fig.20).
一切准备就绪后,开始ZBrush魔法。点开Polygroups按钮，然后点击 Unwrap。一旦ZBrush 完成计算，你就可以看到展平UV后的效果(Fig.20)。

Fig. 20
Note:
You might need to do some repositioning of UVW islands to get better results while creating Normal maps, and to minimize the Normal map seams.
注意:您可能需要做一些UVW重新定位用来得到更好的结果当你创建法线贴图的时候,并尽量减少法线贴图接缝。
This is something that plagues otherwise great models. These seams appear on parts of the model where your UVW map islands meet each other.
这是困扰很多模型工作者的事情。这些接缝出现在模型和模型交接的地方。
A good application to use to reduce or completely remove Normal map seams is XNormal.
XNormal是一个好的应用程序，可以用来使接缝减少或者完全移除。
An even better thing is to practice and try to create as few UVW islands as possible.
一个更好的办法是练习尽可能地减少UVW的块面数量。
Try and find places for seams that are less visible, and in places where they might be hidden by the specific anatomy of the character you are creating.
试着在一些不容易看到的地方设置接缝,利用你的模型的结构来隐藏接缝。
This is an area I'm still improving upon myself. In Fig.21 you can see how my Carnotaurus model had its seams distributed.
这是我的接缝方式，我还在继续改进。在Fig.21你可以看到我的恐龙模型的接缝分布式。
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Fig. 21
When you decide you have finalized the UVW map and you are happy with it, copy the UVWs and paste them onto the original model, the one with the subdivision steps. Now you need to create all the maps. I usually create three maps: Color, Displacement and Normal (Fig.22).
当你已经敲定了UVW贴图时你是快乐的,复制UVWs并粘贴回原模型,那个有subdivision steps的模型。现在您需要创建所有的贴图。我通常创建三个贴图:Color, Displacement 和 Normal (Fig.22)。

Fig.22
This is the phase where you need to export maps and the model at the desired subdivision steps. The fastest way to do so this is to hit the GOZ button that automatically exports all the objects and maps into the third party application that you use for rendering.
这个时期,你需要导出贴图和模型在所需的细分步骤。最快的方法是点击GOZ按钮,自动导出所有对象和贴图到第三方应用程序,用于渲染。
I hope soon that this step will be less important for some of us, especially considering how quickly the BPR settings in ZBrush are being developed. Soon we will end up with a superb modeling tool and a great render engine in one package.
我希望不久的将来,此步骤将不那么重要对于我们中的有些人,特别是如何快速BPR设置功能能净化的更简单。很快我们将最终以超一流的建模工具和一个伟大的渲染引擎在一个软件中。
Rendering/渲染
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Back to the image! The rendering was done in 3ds Max and I used the mental ray renderer.
回到图片上，我在MAX里用mr进行渲染
Since I am still learning and improving my rendering skills, material usage and lighting scenes, my settings are definitely nothing ground breaking, but if you are at some level below me then you might find my input helpful.
我还得学习和改进我的渲染能力,材质的利用和灯光技能,我绝对没有什么突破性的设置,但是如果你的水平还是是在某种程度上不及我,那么你可以学习到一些。
You can see my SSS skin shader settings in the Material Editor (Fig.23). This is the way I distribute maps over SSS material. It's very basic stuff. I constantly play with the settings, applying different maps to different slots and material properties to get something better. For this image I used Displacement and Normal maps for displacement and bump, as well as Color and Cavity maps for color, specularity and reflectivity.
你能看到我的皮肤材质设置的是SSS材质(Fig.23)。这是我在SSS材质中分配贴图通道的截图。这是非常基本的东西。我不断地调整设置、应用不同的贴图到不同的通道，为了得到更好的效果。对这幅照片我用置换和法线贴贴图,以及Color 和Cavity贴图用在高光和反射贴图里。

Fig.23
Lighting is something I definitely need to improve, so I'm not going to spend much time on this part (Fig.24). From the viewport snap it shows how the lights were laid out. The dinosaurs were placed inside a sphere object that had a panoramic spherical map that acted as an environment for the reflections on the dinosaurs' skin (Fig.25). The renderer settings were the default ones.
照明是我绝对需要提高,所以我不打算花太多时间在这部分(Fig.24)。从这个viewport截图展示如何摆放着的灯。恐龙放在一个球形物体里,球有一个全景球面贴图充当一个恐龙的皮肤来自环境上的倒影,(Fig.25)。渲染器设置默认的设置。

Fig.24

Fig.25
Compositing/合成
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Photoshop was the workhorse for the compositing task. This is the part of the project where you can make it or break it.
Photoshop是主要的合成软件。这是这个项目的一部分。
I prefer compositing different kinds of elements over rendering everything. Rendering is where you need to be more technical. Compositing is a much more artistically dependant method, I think.
我更喜欢合成不同种类的渲染元素。渲染是你需要更多的技术。合成是一种更加依赖于艺术的方法,我认为。
You need to find the way to seamlessly blend everything together, and not just that – everything needs to look nice and be pleasing to the eye. To be able to blend certain layers and areas you must know how to overpaint it.
你需要找出方法来无缝地融合起来所有的元素,并且不仅仅这些——每件事都需要看起来很漂亮,是赏心悦目。能够混合在一起,你必须知道如何overpaint它。
This is my compositing workflow explained in a couple of steps. First I imported all the rendered dinosaur layers in the PSD file (Fig.26). I then positioned them on the canvas and set the desired canvas proportions. That being done, the fun part began.
这是我的合成工作流中的两个步骤。首先我导入了所有渲染层中的恐龙PSD文件(Fig.26)。然后我把它们搁在画布上,然后设定所需的画布的比例。这就是有趣的开始。

Fig.26
Next was the background. A good background can bring up the models; a bad one can tear them down. I used photos from my own libraries, which are getting bigger by each day. I'm an avid photographer and I tend to take my camera with me whenever I can (Fig.27).
其次是背景。一个好的背景可以突出模型;一个糟糕的背景能毁了它们。我用我自己的照片库,它们越来越丰富。我是一个狂热的摄影师,有任何机会我就会拍摄我的素材(Fig.27)。

Fig.27
I tried a couple of cloud backgrounds for the skies/cloud background. When I was happy I started fixing the cloud photo and painting out whatever I thought didn't fit the image.
我试过一些云背景天空/云背景。然后我开始修复云的照片把不合适的去掉。
The hardest part was the ground. I wanted to achieve the look of a drying lake, or a large river bed. You can clearly see wet patches and streams of water flowing towards bigger puddles.
最难的部分就是地面。我想达到的外观干枯的湖,或一个大的河床的效果。你可以清楚地看到湿斑和水流流向大水坑。
I used a couple of photos for the ground and combined them into one bigger image. Then I used the Clone Stamp tool, Brush Pencil and Color Picker tool to blend in points where two different photos were colliding.
我用两个照片的地组合成一个大的图片。然后我使用克隆图章工具,笔刷和颜色选择工具融合照片。
The water streams were painted on top of that on two separate layers to increase the blend effect across the ground plane. In the Fig.28 you can see a rough break-down of the entire image.
水流被单独绘制在这2个图层上面用来混合种种地面。在Fig.28你可以看到一个粗略的整个图像。

Fig.28
The dinosaurs' footprints were a fun part. I used my own dino footprints that I created in mud over the course of summer 2011.
恐龙足迹是在一个有趣的部分。我曾经自己做恐龙的脚印,我用泥巴在2011年夏天创建恐龙脚印的过程。
I put some mud inside a shallow container and let it dry up a bit. Later on I printed different sets of footprints in it using my fingers.
我把一些泥放在一个浅浅的容器里，让它干点儿。后来我印出不同的足迹，用我的手指。
Then I photographed them at different times of day and from different angles. These are now invaluable when it comes to dinosaur footprint creation in compositing projects such as this one (Fig.29).
然后我在一天中不同时段从不同的角度拍摄他们。现在这些宝贵的恐龙足迹资源在合成项目中非常宝贵(Fig.29)。

Fig.29
In my compositing process I tend to end up with dozens of layers that, over the course of creation, I merge down to keep the layer count manageable by me and my machine.
在我的合成过程中,我通常都会做数十层在整个创作中,我也合并图层保持我和我的机器可管理层数。
This is why I save my progress on separate files prior to merging specific layers in case if I want to return to that specific part at a later time.
这就是为什么我保存我的过程文件在文件合并之前，以防如果我在稍后的时间想回到那个特殊步骤。
It is pretty easy to get lost in a bigger scale image like this one is. One can easily overlook some parts and notice them days, or in some cases months, after the completion of the piece.
这很容易迷失在一个很大的图像上。人们会在一些细节上花费大量的时间在作品完成以后。
Conclusion/结尾
翻译by:yipinsucai.com
Creating this image was a fun ride (Fig.30). I enjoy moments where I can spend time creating paleo-themed illustrations and models. I hope this Making Of article gave a better understanding of what it takes to make am illustration like Brothers In Blood II. Until next time, take care and be productive!
创建这个图像是一个很有趣的过程(Fig.30)。我很高兴我可以花时间创建远古世界的插图和模型。我希望这篇文章能更好的为像 Brothers In Blood II这样的插画作品提供经验。

Fig.30
翻译by:yipinsucai.com
原文来源：http://www.3dtotal.com/index_tutorial_detailed.php?roPos=1&catDisplay=1&id=1545
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