真实游戏人物教程：街道警察制作流程

１ 真实游戏人物教程：街道警察制作流程 [ 翻译：逸心] Maya / Mudbox: Street Cop Workflow Author: Mashru Mishu Author Website: http://www.fx81.com/ 1、建立基础网格物体 首先要考虑角色造型以及如何把概念 设计 领导形象设计圆作业设计ao工艺污水处理厂设计附属工程施工组织设计清扫机器人结构设计 转换成游戏角色。在开始进行角色建模前，必须考虑模型面 数、布线、骨骼设置和贴图限制。 当有了大概的技术 规范 编程规范下载gsp规范下载钢格栅规范下载警徽规范下载建设厅规范下载 和限制时，在本教程中，我从角色的身体和头部开始建模。在创建头部时，把 头部从其他部分分离出来，这样方便工作，也方便最后的烘培贴图。 1. Creating the base mesh. The first thing to consider is how the character looks and how the concept translates into a game character. Before I jump into modeling a game character I need to consider my polycount budget, mesh topology, any rigging issues and my texture limits. Once I have a rough idea of the technical specification and limits I start creating the main body of the character. In the case of this particular model, I created the body and head to start with. I kept the head as a separate model so that I could easily work on it separately and later export it separately for baking. ２ 一旦基础网格物体建立，我要确保我在头部和其它需要添加细节的部位加了足够的线。既然是用来雕 刻用，就避免三角面的出现，把四边面分布均匀。 Once the base mesh is made I make sure I have enough edge loops in the face area and the model and any other places where I plan to sculpt more details. Since this is for sculpting only I try to avoid any triangles and evenly space out all the quads. ３ 对体型满意后我输出一个中等细分的身体回到MAYA做为参照，再上面添加衬衣、裤子和枪套。 这些模型是直接用多边形方式来建模的，所以无需过多解释每个物体是如何制作的。例如，两个步骤 就创建了 T恤。 When I am fairly happy with the shape of the body I export a medium subdivision level back to Maya as a reference on top of which I create rest of the base meshes for the shirt, jeans and gun holster. Creating these base meshes are straight forward polygon modeling so there is not much to explain how every element of the base mesh was created. For example, here you can see the two steps for creating the base mesh of the shirt. ４ 要注意的是，T恤的领口位置是双面的。我先做了一个面然后用挤出命令，这样提供了领口一个不错 的边界厚度。我用这种方法处理衣服的所有开口处。这里还有其他一些基础网格物体，我趋向于把角色分 离成若干部分来雕刻，而不是在一个整体模型上雕刻所有细节。依我的经验，如果分部分雕刻，最终得到 的法线贴图会变得非常干净而且达到的效果几乎和高模一模一样。反之，如果整体雕刻则容易得到塑料或 泥土的感觉。 You will notice that the collar area of the shirt has double sided faces. I did a face extrude along the collar area to create those. This gives me a nice thickness along the border of the shirt. I will do that along all of the border areas for the rest of the clothing. Here are some of the other base meshes. I tend to create all the separate elements of the character separately instead of sculpting out all the details from one base mesh. From my experience if you have separate meshes for all of the parts, your final normal map will look really clean and almost like high poly. However, if you sculpt everything from one mesh then things tend to look like plastic or clay. 在 T 恤建模完成之后，开始创建枪皮套。皮套是很好地贴在 T 恤的面上的，显然我可以在后面用 Mudbox 进行调整。弹药、手枪、纽扣还有其他一些 表 关于同志近三年现实表现材料材料类招标技术评分表图表与交易pdf视力表打印pdf用图表说话 pdf 面坚硬的物体已经用红色标识了，这些物体都被分 别导出而且没有细分的，它们只做为参考。 After the shirt is modeled, I create the gun holster. This way, the holster mesh conforms well to the shirt mesh. I can obviously adjust it later in Mudbox. The buckles, guns, ammos and all the hard surface parts are marked red below. These meshes are exported separately and not subdivided. They are exported only as a point of reference. ５ 当创建这些物体时，我通常会在接缝处和边界增加额外的边，主要目的是让我有足够的面数在这些区 域进行细节雕刻。另外我会做一些手动细分和平均分割，让一小部分区域更有细节。这就是我为什么说这 是一件需要动脑筋的事情，你需要让基础模型能尽量实现你的最终目的。 When creating these meshes, I usually put extra edge loops at the edge of surfaces and also around the seams. I do this mainly so that I have sufficient polygons to sculpt extra details in those areas. Otherwise I would have to do local subdivision or even divide the whole mesh just to get more detail in a small area of the mesh. This is why in my opinion, it is a smart thing to make your base mesh do most of the work for you. ６ 当完成创建基础模型，我会在导到mudbox之前检查通常可能出现的错误。比如检查是否有未焊接的 点，是否有点重叠或者面的法线方向反转。同样，我会分别导出 T恤、牛仔裤、鞋子，和其他一些分离的 元素以便我分别雕刻。 When I am done creating all the base meshes I will check for certain errors in the mesh before exporting it to Mudbox. Things to check are un-welded vertices, overlapping vertices and whether surface normals are facing the right way. Also, I exported the shirt, jeans, shoes and most of the meshes separately so that I can work on them separately. ７ ８ 2、雕刻与细节 Sculpting and detailing. 现在是整个过程中最有趣的。把所有物体导入 Mudbox里检查遗漏的错误。例如，我通常会细分几次 去检查是否有洞，大致雕刻后检查面的法线是否正确等等。 Now comes the fun part of the process. Once I’ve exported all the base meshes, I usually check them in Mudbox for any errors that might have slipped through. For example, I would subdivide all the meshes a couple of times to check for any holes, sculpt on them a little to check for proper surface normals, etc. 开始雕刻时，通常不会太早进入太高的细分级别。生物体模型雕刻的第一件事情是在 0到 1细分级别 调好基本造型。这阶段需要考虑身体骨骼的特征，还有角色的年龄和肥胖程度。 When I start sculpting something I usually don’t move up to a high level of detail too early. For an organic model the first thing I do is push out the basic forms at level 0 - 1. Things to consider at this stage are the skeletal features of the body, the level of skin fat and age of the character. 添加角色的细节很容易，但是按照特定的外观来雕刻模型很重要，我想让这个角色显得很健壮而且历 练而不是衰老。 When it comes to detailing a character it is easy to get carried away, but it is important to stay on target of what you want your particular character to look like. I wanted this character to look very rugged and worn out but not look too old. 最大的挑战来自创建角色衣服的褶皱。通过数次迭代来创建衣服的褶皱。雕刻衣服时需要考虑几个问 题。既然这是一个游戏角色，我就需要确保衣服的褶皱在多数运动状态下看起来合理。 The most challenging part of creating this character was getting the cloth folds look decent. I went through several iterations for the cloth folds. There were several things I needed to consider when sculpting the cloth folds. Since this character is meant for a game I had to keep the folds fairly generic so that the folds work in most of the action poses. ９ 雕刻褶皱时，你需要牢记褶皱并不存在于衣物的所有表面。我通常在角色关节处如膝盖和肩部周围绘 制褶皱。还有一些褶皱的产生来自重力的影响，例如牛仔裤底部。在皮带和枪套下的褶皱能让整体感觉更 真实。这些褶皱我在不同的细分级别进行雕刻，而只在最高细分级别刻画细小而尖锐的褶皱。高模是用来 烘焙法线贴图用的，如果雕刻的效果有点凹凸不平会使衣服看起来更加自然，如果凹凸做得太过份了，可 以使用平滑笔刷沿着褶皱进行光滑。 When sculpting folds, keep in mind that folds should not exist all over your fabric surface. I usually put folds where the character will be deforming such as the knees, around the shoulders. Then there are folds in places due to gravity like the area at the bottom of the jeans. There are also folds on the shirt under the holster strap which makes the integration look better. For all these folds, I will sculpt in a different level and only switch to the highest level for small, sharp folds. Since this is primarily for creating the normal map it is ok if your sculpt is slightly lumpy, it actually helps your final cloth surface look more natural. If it starts to become too lumpy, you can use the flatten brush to smooth along the folds. １０ 上图是高模，约 730万个三角面 3、创建低模 我从 MudBox输出一个较高精度的模型做为参考，在这个模型表面上创建新的低精度模型。如果有型 重叠在一起的部分我会分别处理。 Creating the low poly mesh. To create the low poly mesh I export a semi-high level mesh from Mudbox as a reference point for resurfacing on top of it. If there are overlapping meshes I do this separately. １１ 这回我使用了 Topogun。我在建立重新布线的低模时会比要求的面数稍微多用一些，这样烘培法线贴 图的效果会更好。当法线贴图烘培后我可以优化面数以符合面数的要求。Topogun能让我轻松重整布线， 但我还是会在maya里对低模进行清理和修改。 For this process I am using Topogun. When creating the retopo mesh I try to be a little liberal with the polycount so that the normal map baking works good. Once the normal map is baked I can optimize the mesh quite a bit to reach my actual polygon budget. Topogun will give me a pretty good mesh but I will eventually take this to Maya, clean it up and modify it as needed. １２ 当低模创建完成后我会对它展平 UV。我考虑让这个角色各部分相对独立。只有一部分 UV 贴图可以 使用镜像，例如手臂、眼珠、口腔和墨镜。下面是 UV图。 Once the low poly mesh is created I will go ahead and unwrap the UV. For this character I decided to keep most of the character unique. The only parts of the mesh that is mirrored in UV are the arms, eye balls, inside of the mouth and the shades. Here is the UV layout: １３ 当我展开游戏角色，我通常会使用更高密度的像素画身体部分。所以我会给头部最大密度的像素点。 然后则是躯干，再次是腿部。这是因为角色的上半身出现在屏幕上的时间比身体其它部分要多，因此需要 显得更清晰。 When I unwrap a game character I usually give more pixel density to the upper part of the body. So I will give the head the maximum pixel density, then the torso and then the legs. This is done mostly because the upper part of a character will get the most screen time so that needs to look sharper than the rest of the body. 4. 烘培与贴图 Baking map and texturing. 烘培法线贴图和 AO贴图我通常用 XNormal。我输出高模和低模进 XNormal一个个进行烘培。 烘培一张好的法线贴图依赖于几个要点。一个是你的低模外型与高模匹配良好，另一个是低模需要更 １４ 多的面来捕获所有高模的法线。所谓更多的面，是说在模型转折处可以稍用多些面以及添加一些边线来捕 获正确的法线。记住不要修改作为 UV的边界的边线，保证他们完好无缺。 下面是最终的法线贴图和 AO贴图。 For baking normal maps and AO maps I am using xNormal. I export all my high poly meshes and my low poly meshes to xNormal and bake the maps one by one. Baking a good normal map depends on several factors. One of them is that your low poly model needs to conform well to your high poly mesh. Another is you baking low poly mesh needs to be a little higher poly to catch all the normals properly. When I say little higher poly, I mean you can be a little liberal around curved surfaces and add a few more edges to catch the normals properly. Just keep in mind not do any changes along the UV borders since they need to be intact. Here are samples of the final normal map and the ambient occlusion map: １５ 随着法线贴图和 AO 贴图的创建完成，我将开始 Color Map 的制作。法线贴图和 AO 贴图将会用于 Color Map的制作。开始我会创建不同的颜色来定义角色不同的区域。 下图是基本的颜色： With the normal map and the AO map created I will go ahead and start work on the color map. Both the normal map and the AO map will be used in creating the color map. First I will create the base colors to define different areas of the character. Here is a sample of the base color: 在这层之上我加了 AO贴图，部分区域我还加了法线贴图里的绿色通道来增加额外的阴影层，因为如 果 UV方向是竖直的话，法线贴图的绿色通道通常和天光烘焙的结果很像。 下面是加了 AO层和法线阴影的基本色。 On top of this I add the AO map and on some areas I’ll also add the green channel of the normal map to add an extra layer of shading. This is because the green channel of the normal map is usually the same as a sky light bake given that all your UVs are upright. Here is the same base colors with the AO and the normal maps shading: １６ 接下来我创建不同表面的贴图，象皮肤表面，T恤还有牛仔裤表面。许多人问我如何手绘牛仔裤纹理。 牛仔贴图是手绘出来的图案，加上噪波还有简单的滤镜。 第一件事情是创建两条简单的线条。我在 Photoshop 里实用 Offset 滤镜以保证图案能够无缝拼接。 图案 A和图案 B就是画出的线。C通过用 Noise 滤镜加纵向的motion blur来创建。图 D是另一个调整噪 波的图层，图 E是放大了的 D图。图 F是随意画了些黑色和白点。A和 B是应用了扭曲-玻璃滤镜来制作 随机编织效果，C、D、E用multiplay（正片叠底）模式叠加在上面，F层用 overlay（叠加）模式。基本 颜色用multiplay（正片叠底）模叠加在最上面。 Next I create the different surface textures, like the skin surface, the shirt surface and the jeans surface. A lot of people have already asked me how I hand painted the jeans texture. The jeans texture is a result of hand painted patterns, noises and some simple filters. So for this tutorial, I will only go through the creation on the jeans texture. First thing I did was create two simple thread patters. I use the offset filter in Photoshop to make sure these patterns are tillable. Pattern A and B are for the threads. C is created using the noise filter and vertical motion blur. D is another layer of just noise and E is the scaled version of D. F is a layer with random black and white dots. A and B is passed through a distort-glass filter just to give it that random weaving effect. Then C, D and E is multiplied on top and F is overlaid and the base color is multiplied on top of all of that. １７ 得到牛仔裤纹理后我使用编辑-变换-变形工具使贴图与 UV的形状吻合。 Once I have a base texture of the jeans fabric I use the transform-warp to conform the texture to the UV so that the fabric pattern does not look like a grid running through the whole mesh. １８ 这是表面贴图叠加后的效果 Here is a sample of what it looks like after all the surface textures are added. 在所有层之上我添加一层阴影和其他细节，例如头发、T恤图案、污渍、颜色噪波等。当做好 Color Map 之后，我复制一份做为 Specular Map的贴图基础。Specular Map里，布料区域贴图大多高光很弱，皮肤 大多赋予非常青绿色的色相，整个 Specular Map覆盖着有一层噪波。 这里是最终的贴图： On top of this I add a layer of my own shading and other details such as the hair, shirt patterns, dirt, color noise, etc. when the color map is done I will take a copy of that and use it for the base of the specular map. For the specular map the fabric areas of the texture are muted the most, the skin area usually gets a very de-saturated cyan-bluish hue and has a layer of noise over the entire specular map. Here is a sample of the final texture: １９ Here is the final model with AO map and color map on it. 这里是带 AO Map和 Color Map的最终模型：