3D generalist Nicolas Brunet shares how he puts together a finished image using Photoshop

3D 全才 Nicolas Brunet 分享如何使用ps拼合最終圖像

For this piece I went back to an old sculpt I made of Commander Kuro after he shot to fame in his role in the fan film Star Wars: The Way to Shadows. I will show you it's not necessary to render a perfect model for static image purpose; with the help of multiple render passes and image editing softwares we'll add details and fix mistakes from the rendering process. Also, I will have a quick look at shooting 360° HDR images.

對于這件作品，我又回到了一個老的造型——在粉絲大電影星球大戰(zhàn)之后一炮而紅的指揮官黑的角色。我會告訴你，在制作靜態(tài)圖像時沒有必要渲染一個完美的模型；更多的是在渲染通道和圖像編輯軟件的幫助下，添加細(xì)節(jié)以及修正渲染過程中的錯誤。此外，我將快速介紹一下如何拍攝的360度的 HDRI 圖像。

Shoot the model For this project I used a very old 3D model of a clone trooper I made a few years ago. The character was created in 3dsmax and was already fully rigged. Once I found the perfect heroic pose, I fixed some skinning mistakes with the help of mesh select, edit poly and relax modifiers on problematic areas of the model.

這是這個項(xiàng)目的模型截圖，我使用了一個幾年前我制作的克隆人的三維模型。這個角色是在3dsmax中創(chuàng)建的，并且已經(jīng)做好了綁定。當(dāng)我找到了完美英雄的姿態(tài)，就在網(wǎng)格選擇、編輯多邊形的幫助下我修正了一下皮膚的錯誤，對模型改變的區(qū)域做了一下松弛。

Shaded model before mesh issues fixed

在陰影顯示模式下確認(rèn)網(wǎng)格是否有問題

360° HDRI Shooting As I wanted very diffuse mood light and shadows, with strong reflections, I used the HDRi way to light up the scene. I used a Panasonic Lumix DMC-GH1 with a fisheye lens on a panoramic head to quickly capture a forest environment. Depending on the stitching software you use, you'll need more or less overlap between photos to avoid manual stitching post work.

360° HDRI 的拍攝：因?yàn)槲蚁霃浡榫w光線和陰影，并具有很強(qiáng)的反射，我用了HDRI的方式點(diǎn)亮了現(xiàn)場。我用的是松下LUMIX DMC-GH1用魚眼鏡頭的全景鏡頭迅速捕捉森林環(huán)境。根據(jù)您所使用的拼接軟件，你需要在照片之間做或多或少的重疊操作，以避免手動拼接產(chǎn)生的錯誤。

Top: Shooting material - Middle: a picture taken every 30° + zenith and nadir pictures - Bottom: Result

上圖：拍攝設(shè)備 - 中間：每30°拍攝的照片+天頂和天底照片 - 底部：結(jié)果

Render time My camera could shot up to 7 stops of light I merged together with HDR Fusion function in Photoshop and exported the result as an EXR file. As the render engine for the project was iRay, the 360° HDRi was loaded as environment map in 3ds Max. Then I rendered out several passes: Raw/beauty, a sharp and glossy reflection and finally a chrome shader applied to the whole mesh gave the "T1000" pass.

渲染進(jìn)程：我的相機(jī)在照明下最多可以連拍7張，然后我使用Photoshop融合功能將HDRI合并到一起，導(dǎo)出的結(jié)果作為EXR文件。該項(xiàng)目我使用iray作為渲染引擎，在3ds Max環(huán)境貼圖通道加載360°HDRI。然后，我渲染了一些小樣：原始著色，鏡面反射和模糊反射，最終將終結(jié)者“T1000”的鍍鉻材質(zhì)應(yīng)用到整個網(wǎng)格。

Arch & Design shaders were used

使用了arch&design著色器

Cleaning mistakes and adding details Before loading all the passes in the composited image, I took some time to erase mistakes from bad unwrapping which had resulted in ugly texture distortions. Details were added using custom brushes, metal chips, dirt and scratches, that way the trooper's armour and weapon give the feeling they have been in many wars.

修正錯誤和增加細(xì)節(jié)：在載入所有進(jìn)程圖像合成圖像之前，我花了相當(dāng)?shù)臅r間去清理由于不好的UV導(dǎo)致的紋理扭曲的錯誤。使用了自定義筆刷、金屬屑筆刷、污垢筆刷以及劃痕筆刷來處理細(xì)節(jié)，士兵的頭盔和武器經(jīng)過這樣的處理方式讓人有一種身經(jīng)百戰(zhàn)的感覺。

Left: an unwrapping artist you probably wouldn't want to hire / Right: fixed textures

左：這樣的展開藝術(shù)家，你可能不會想雇用  / 右：固定紋理

Deeper but subtle details Before leaving the paint process, always have a think if you can add more details without crushing what you've already done so far. That render was created to be featured as a printable magazine cover therefore I thought adding subtle details like tileable leather and dust/grunge textures would give more life to the armour and gloves. You can do that on masked layers using soft light or overlay transfer mode.

深層細(xì)微的細(xì)節(jié)：在結(jié)束繪制之前，始終保持這樣一個想法，如果你可以添加更多的細(xì)節(jié)，才不枉費(fèi)你迄今為止做的這么多的努力。這幅作品將作為印刷雜志封面，所以我想添加微妙的細(xì)節(jié)，通過制作皮革與污垢\污漬紋理這樣的方式將會給盔甲和手套帶來更多的生命力。你可以使用遮罩圖層進(jìn)行處理，改變?yōu)槿峁饣虔B加模式。

Be creative in your overlay texture choice, seamless & tileable maps are not always necessary

在疊加貼圖的選擇上要有創(chuàng)意，無縫和平鋪貼圖并不總是必要的

Adding highlights With the clean model I went about adding the different reflection passes I rendered earlier – this adds more contrast to the image. The three reflection layers were set to add transfer mode, using masks I could tell the software where I wanted sharp or glossy reflections, focusing on geometry edges to age the models.

添加高亮區(qū)域：我用素模去添加我剛才渲染的不同反射，這增加了圖像的對比度。這三個反射層設(shè)置為添加模式，通過軟件遮罩方式的處理，按照我希望出現(xiàn)的地方出現(xiàn)鏡面反射或者是模糊反射，側(cè)重于幾何物體的邊緣和老化模型的處理。

The different reflection passes with masks applied

通過遮罩應(yīng)用得到的不同的反射

Final touches For the last part of the process I use After Effects;I added grain, vignette, chromatic aberrations, colour correction, and a light glow to give the feeling of a real picture. Never exaggerate the use of these effects; you don't want to ruin your images with unwanted lens flares and extreme chromatic aberrations. The time passed on the post work = the time I didn't spend during the render process, iRay allows you to quickly get what you want.

最后的潤色：最后一部分的處理我采用了AE軟件;我加了顆粒，暗角，色差，顏色校正，以及光線的處理增加了畫面的真實(shí)感。你不想讓不理想的鏡頭耀斑和極端色差毀了你的形象的話，千萬不要過分使用這些效果。iRay能夠讓您快速得到你想要的結(jié)果，我將渲染節(jié)省下來的時間用在了后期處理工作上。 

Final image

最終圖像