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合成全景【國外經(jīng)典教程】Making Of the Bergman Werntoft House by Reinaldo Handaya
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2012-10-12 18:36
這個教程雖然是個室內(nèi)的，但是作者的好多觀點(diǎn)都是比較新穎的，如他從來不用MAX自帶的材質(zhì)，燈光，相機(jī)。因為他要寫實的，而VRay材質(zhì)，燈光，物理相機(jī)都是基于現(xiàn)實的，還有作者重點(diǎn)講了一下構(gòu)圖知識。另外，室內(nèi)要求的細(xì)節(jié)也要高于室外。接下來和大家一起學(xué)習(xí)作者的思路.
Hello everyone, it's very nice to see you all here in CGarchitect. First i want to thank Jeff Mottle for giving me the opportunity to share my tutorial. Today I will try to explain my interior renderings for "dinning room and pantry". The idea is based on the Werntoft House. Actually this is a very simple house but I felt very comfortable when I saw the photo. Here are the reference images: 嗨！大家好，很高興在CGarchitect見到大家。首先我要謝謝Jeff Mottle給我這個機(jī)會來分享我的教程。今天我將解釋一下我的室內(nèi)作品“餐廳和廚房”。這個想法來自于Werntoft House。實際上這是一個非常簡單的房子,當(dāng)我看到這張照片時，但我感到很舒服。下面這些是參考圖： 參考圖1：參考圖2
參考圖3：
參考圖4
Please look carefully at the 2nd and 4th images. All of those images are in the evening when the sun is about 40 - 45 degree from horizon. In my country this will happens around 16.00 WIB. Now do you know what the biggest challenge is with these images? If you guessed making the interior bright, you are correct. As you can see, the floor in the dining and the pantry area has a dark floor. That is why you can see the ceiling is not as bright, it looks dark. This is happening because the dark color of the floor will absorb lots of light and this will make the bouncing of the light decrease. 請仔細(xì)看看第二張和第四張圖像，拍這些照片的時間大部分都是在太陽與地平線大約40-45度角度的時候。在我的國家，這應(yīng)該是在16時左右。 現(xiàn)在你知道這些圖片最大的挑戰(zhàn)是什么發(fā)嗎？如果你想讓室內(nèi)更明亮一些，那么你是對的。正如你所看到的，餐廳和廚房有一個深色的地板。這就是為什么你能看到天花板不是很明亮，看起來有點(diǎn)暗。這都是因為地板會吸收大量的光，使得光能傳遞減少。 Here is the program list I use:（這兒是我用到的軟件） 1. 3ds Max 2011 2. V-Ray 2.0 SP1 3. Adobe Photoshop Ok, now lets move to the next section. 好,現(xiàn)在讓我們移步到下一節(jié)。 1. Workflow
My workflow may be the same as other 3d artists. Here are the workflow breakdowns and explanation:
一：工作流程 我的工作流程可能和別的3D藝術(shù)家一樣，下面就是工作流程說明： 1. Preparation（準(zhǔn)備）1.1. Gamma
In this part I must select the gamma I will use for this scene. For me there are two ways: First we can use gamma 1.0 which means we use the default 3ds Max gamma settings, and the second, we can use Linear Workflow gamma 2.2. I always use Linear Workflow gamma 2.2. This scene will be very easy to get correct brightness if we use Linear Workflow gamma 2.2. but this time I choose gamma 1.0.
1.1.伽馬 在這部分使用這個場景我必須調(diào)節(jié)伽馬，對我來說有兩種方法：第一，我可以使用伽馬為1.0，意味著我使用默認(rèn)的3ds Max伽馬設(shè)置。第二，我可以使用線性工作流程伽馬2.2.我總是喜歡使用線性工作流程伽馬2.2，這個場景如果我使用工作流程伽馬2.2將很容易的得到一個正確的明亮度。但是這次我選擇伽馬1.0。1.2. Modeling
For all of the modeling I use 3ds Max 2011. There are no difficult objects in this scene. I only modeled the house and the furniture, the rest I use Archmodels. But still there are some details we need to preserve in the image below:
1.2.模型 我使用3ds Max 2011制作所有的模型，在這個場景里沒有特別困難的復(fù)雜的模型。我只創(chuàng)建了房子和家具。其余的我使用Archmodels（模型庫），但是有一些細(xì)節(jié)我們需要保留如下圖。Point A: Give a chamfer to the edge of your objects, don't leave them sharp or it will make your final image look fake. Point B: Give a proper distance between doors, usually 3mm. A點(diǎn)：給你物體的邊緣加上一個導(dǎo)邊（注：MAX中的chamfer），不要給讀者留下鋒利的感覺，那樣將會使你的圖片失真。 B點(diǎn)：在門與門之間給一個適當(dāng)?shù)木嚯x，通常是3毫米。 These two points are only an example. In interior rendering you must do modeling as close to the way objects are in real-life. We will need to do this because in interior rendering the camera position is not that far away from the objects. You need to make all of your object detailed as it looks in real-life. 這兩點(diǎn)僅僅只是一個例子。室內(nèi)表現(xiàn)中，你盡可能的讓你的模型細(xì)節(jié)去接近現(xiàn)實，我這樣做是因為室內(nèi)表現(xiàn)中相機(jī)一般不會離物體很遠(yuǎn)，你需要讓你所有的物體有更多的細(xì)節(jié)讓他們看起來和現(xiàn)實中的一樣。 Below you can see the wireframe of my interior scene without accessories. Only the room and the furniture. 在下面你能看到這個場景線框圖沒有配件（注：配件是指作者調(diào)入的模型）只有這個房間和家具。
1.3. Material basic（基礎(chǔ)材質(zhì)）
I always use the VRay material, I never use another material (ex: standard material). And now perhaps you are asking what I mean by a basic material. A basic material in my workflow only uses a bitmap and standard reflection (only use RGB, without bitmap in reflection bitmap slot). If I already have the library I will use my material library, but here, the floor and the wood are a new material so I use only standard settings just to speed up my process when it comes to the lighting setting. After I finalize my lighting settings I'll go back to the material I need to further tweak. The more detailed material settings will be shared it in next section.
我總是使用VRay材質(zhì)。我從來不用其他材質(zhì)（如：標(biāo)準(zhǔn)材質(zhì)），可能你會問我說的基礎(chǔ)材質(zhì)到底是什么。一個基礎(chǔ)材質(zhì)在我的工作流程中僅僅是使用了一張貼圖和標(biāo)準(zhǔn)和反射（僅使用RGB顏色調(diào)節(jié)，沒有貼圖在反射通道上）。如果我有自己的材質(zhì)庫，我將會使用我的材質(zhì)庫。但是這里，這個地板和木頭是一個新的材質(zhì)，所以我使用標(biāo)準(zhǔn)設(shè)置加快我的流程當(dāng)我在設(shè)置燈光的時候。在我完成我的燈光設(shè)置后我會回到材質(zhì)并且繼續(xù)調(diào)整。更多的材質(zhì)設(shè)置細(xì)節(jié)我會在下面的章節(jié)中講到。 1.4. Preset Settings（預(yù)設(shè)）
These are the preset settings I use in most of my renderings, but for irradiance map, this time I try to use high, but in daily work I only use medium.
這里就是大部分我渲染時的一些渲染預(yù)設(shè)。但是對于發(fā)光貼圖，我將使用高級別，在平常工作中我僅使用中等級別。
2. Camera & Lighting Setup（相機(jī)及燈光設(shè)置）For me the lighting setup is the fun part, but also the hard part. For interior rendering, I always avoid using the VRay light plane on windows. By using the standard VRay light plane it will drastically increase your render time, and if I use a skylight portal the result will not turn out the way I want. I only use VRay Sky for GI. For spotlights I use VRay IES and for hanging lamps I use the VRay light sphere.
對我來說,照明設(shè)置是有很有趣的一部分，但也是非常困難的一部分。在室內(nèi)表現(xiàn)中，我盡量避免使用VRay片燈放在窗戶那，如果我使用天空入口將得不到我想要的結(jié)果，我僅僅用VRay Sky作為全局光照。對于聚光燈我使用VRay光域網(wǎng)，對于掛燈我使用了VRay球燈。
To create GI in your scene using only the VRay sky has never been easy, but for me it is the best way to achieve real GI. I always remember what my teacher Nelson Liauw said: "V-Ray is just numbers, the important thing that you need to know is how the sun, the sky, and camera settings work in the real world". That is why in my conceptual work I never have a fixed setting for the VRay Sun, VRay sky and VRay physical camera. I always explore with every scene I make. Based on his instruction, I always set the type of mood I want in my rendering.
在場景中得到一個好的全局光照僅只使用VRay sky是一個不太容易的事，但是對于我來說，它是最好的方法來達(dá)到真實的全局光照。我總是刻記得我老師Nelson Liauw說過：“VRay只是一些數(shù)字，重要的事是你要知道太陽，天空以及相機(jī)原理在真實的世界里”。這就是為什么在我的思維活動中我從來沒有一個固定的設(shè)置對于VRay太陽、VRay天空、VRay物理相機(jī)。我總是會去研究我做的每一個場景。根據(jù)他的介紹，我總是在我的作品中表現(xiàn)這個我想要的氛圍。
For example, in this interior scene, I want to make an evening visualization with all the lights on, and to create a cozy and cool atmosphere in the room. Another important thing is I don't want the VRay sun beam to go into room, so in this this case I only use GI and I turn off the VRay sun. Based on this mood I try to create the lighting. From the beginning I create the VRay physical camera with an angle that can show the entire room, just like the wireframe.
例如，在這個室內(nèi)場景，我想展現(xiàn)一個開著所有燈的夜景形象，創(chuàng)建一個舒適和涼爽的房間里的氣氛。另外一個重要的事是我不想要VRay太陽射入房間，所以在這種情況下，我只用全局光照并且關(guān)掉了VRay太陽?；谶@個氣氛我嘗試建立這個照明。從一開始，我創(chuàng)建一個能夠展示整個房間的視角的VRay物理相機(jī)，如線框圖那樣。
From there I start creating the GI. I use the VRay Sky and I manually connect it with the VRay sun, because I want the glare of the sun in the VRay Sky exactly the same as the VRay Sun position. After a lot of trial and error I found the settings you can see the image below.
從這里開始，我開始創(chuàng)建全局光照。我使用VRay天空手動連接到VRay太陽。因為我想要耀眼的陽光匹配到VRay天空。通過多次嘗試我得到如下設(shè)置。
As you can see there is nothing special with my GI settings. Almost all standard settings. I also add a landscape texture using the V-Ray material as the background of the room. You can see this in the image below.
如你所看到的在我的全局光照中沒有什么特別的。大部分是標(biāo)準(zhǔn)的設(shè)置，我加入一張景觀紋理在VRay材質(zhì)做為房間的背景圖，你可以從下圖中看到。
After I set the GI, the next step is to set the artificial light. Here I've selected a VRay IES light instead of a regular photometric IES because it's faster. I adjust the color and the intensity until it's bright enough. You can also see my artificial light, VRay IES and VRay light sphere positions.
設(shè)置完全局光照后，下一個步驟是設(shè)置人造燈。這里，我選擇一個VRay光域網(wǎng)燈代替一個常規(guī)的光度學(xué)光域網(wǎng)，因為它的速度更快。我調(diào)整顏色和燈光強(qiáng)度直到足夠亮，你也可以看到我的人造燈，VRay光域網(wǎng)和VRay球燈的位置。
Now it's time to render a preview. Here is the result:
現(xiàn)在是時候渲染一張預(yù)覽，如下：
OK, now the brightness of the VRay IES lights and the GI are good enough and also the color of the GI is just how I want it. But it still needs more work for overall lighting. I will show you more in the next section.
好了，現(xiàn)在VRay光域網(wǎng)和全局光照的亮度是很好的，全局光照的顏色也是我想要的。但是它對于整體照明來說仍然需要更多的工作。我將會展示更多在接下的章節(jié)里。
3. Advanced Materials（高級材質(zhì)） In the image above look at the wood and the floor material. The material is too standard and it needs more work to make it look more realistic and dramatic. In any rendering, exterior or interior, material settings have their own settings. We must make the materials look like in the real-world and to do that we need to use a bitmap in the reflection slot and reflection glossiness slot. We also need to use Fresnel to make the reflections physically correct.
從上面的的預(yù)覽圖中可以看到木頭和地板的材質(zhì)。這個材質(zhì)太普通了并且這需要更多的調(diào)節(jié)使它看起來更加真實和有效果。在任何渲染中，室內(nèi)外表現(xiàn)，材質(zhì)都有它們各自的設(shè)置。我必須使得這個材質(zhì)看起來像是在真實的世界里并且我們需要在反射和折射通道中使用一張位圖。我也需要用菲涅爾使物理反射更自然。 Here are the settings for the wood and the floor material. 這里就是木頭和地板材質(zhì)的設(shè)置。
These are two materials which I think have a very crucial role in my interior scene. Lets go to the next section.
我認(rèn)為這兩個材質(zhì)在這個室內(nèi)場景中有著非常主導(dǎo)的作用，讓我們看下一章節(jié)。
4. Adding More Objects（加入更多的配件） After all the lighting and the material settings are done, its time to add more objects like fruit, microwave, oven, refrigerator, hood fan, spoons, forks, plates, plants. Here are the wireframes after I placed all of the support objects.
設(shè)置完所有的燈光和材質(zhì)后，是時候加入更多配件了如水果、微波爐、烤爐、冰箱、罩風(fēng)扇、勺子、刀叉、盤子、植物。下面就是我放置完所有配件的線框圖（注：應(yīng)該是實體圖，作者好像搞錯了）。
OK I think all the detail I need is set. Now it's time to go to the next section.
好了，我認(rèn)為所有細(xì)節(jié)都需要設(shè)置，現(xiàn)是是時候去設(shè)置這些事了。
5. Composition（合成） Many great 3d artists use composition for their image. In photography there are a lot of rules about the composition, such as rule of third, diagonal rules, golden section, and many more. Here I'm using the rule of thirds, because I think it's very easy to use, and more importantly we can show the grid in the 3ds Max viewport. How do you do that? Go to Views and then choose viewport configuration and see the image below.
大部分3D藝術(shù)家在他們的圖里都會有合成，關(guān)于合成在攝影中有很多規(guī)則，比如三分法,對角規(guī)則,黃金分割和更多，在這里，我使用三分法，因為我認(rèn)為它很容易掌握，并且更重要的是我能夠讓它在3ds max視圖中顯示網(wǎng)格。怎么做的呢？選擇視圖并且選擇配置視圖，將會看到如下圖所示。
Here I will provide an example of one of my camera compositions：
這里，我將提供一個我合成角度的例子。
Look at the vertical cyan colored line and the horizontal yellow color line. That's the guide line for the rule of thirds. To keep the explanation simple lets just say about 1/3 and 2/3 of your image. You will see with my dining table, the width of the table is about 2/3 of the width of the image. If you look at the island table and the refrigerator area, it fills 1/3 of the image composition. Using this composition technique you can direct the focus to the dining table and the island table looks further away and will create depth in your image. I think its OK for now, so just press the holy magic button, F9, RENDER!!!. The best part! hahaha.
看看垂直青色線和橫向黃顏色的線，那就是三分法的引導(dǎo)線。很簡單的展現(xiàn)出來圖片的1/3和2/3位置。您將看到我的餐桌的寬度約圖片的三分之二的寬度。如果你孤立的看這個桌子和冰箱區(qū)域，它占了圖片的1/3的寬度。使用這個構(gòu)圖方式，你可以聚焦在餐桌是且使得場景更有空間層次感。這樣構(gòu)圖就好了，按下魔法按扭“F9”渲染！??！最爽的一步啦！哈哈哈。
6. Render result and V-Ray frame buffer image processing（渲染結(jié)果和用VFB圖像處理）
Now, we can see the result in the V-Ray frame buffer.
現(xiàn)在，我可以看VFB的圖像結(jié)果。
feel I still need to add more dark areas so I tweak it using V-Ray frame buffer by activating the curve option to adjust the dark areas.
我覺得仍然需要壓暗一些，所以我用VFB的曲線來調(diào)節(jié)暗部。
And here is the final result:
這是最終結(jié)果。
OK its good enough I think. Lets go to the last section. Post production.
好了，很好啦，我們接下來進(jìn)行后期處理。
7. Post Production（后期處理） In this post production process, I want to change the mood to a greenish tint. I was bored of the original mood. To change the mood I use color balance to do it. Here is the step by step process：
在這個后期過程中，我想將它改成綠色色調(diào)。我厭倦了原來設(shè)定好的氛圍，使用色彩平衡去調(diào)節(jié)，下面就是我調(diào)節(jié)的過程。 7.1. Mood changing 1. Copy your original render 2. Go to image, adjustment, color balance 3. Adjust the midtones, shadow and highlights 7.1，修改氛圍 1.復(fù)制你的初始圖像 2.執(zhí)行圖像>調(diào)整>色彩平衡 3.調(diào)整中間，陰影和高光部分
4. Reduce the opacity as needed
5. After that I merge it to be one layer
4. 降低調(diào)節(jié)后圖層的不透明
5. 然后合并成一個圖層
6. I want the result to have more contrast, so I adjusted it below.
6. 我想圖像有更強(qiáng)的對比度，所以我調(diào)節(jié)了如下
7.2. DOF Effect（景深效果）
After changing the mood I add a depth of field effect using Z-Depth Here is the Z-Depth map I've already tweaked:
改變氛圍后，我加入了一個景深效果使用Z-Depth,下面就是Z-Depth圖，我已經(jīng)調(diào)整完了。
I only want to blur the chair. Here are the steps to create a DOF effect using Photoshop:
我只想模糊這把椅子，下面就是使用PS做景深的步驟：
1. Copy your layer and give it a mask
2. Copy your Z-Depth image then go back to your render image layer and go to channel
1. 復(fù)制一個圖層并且給一個蒙版
2. 復(fù)制你的Z-Depth圖像然后回到你的渲染圖像層和通道面板
3. Select the last channel and paste your Z-Depth (control +V)
3. 選擇最后一個通道然后粘貼你剛才復(fù)制的Z-Depth（ctrl+v）
4. Back to the layer and select the image. Don't select the mask.
4. 回到圖層面板并且選擇這個圖像，而不是選擇蒙版。
5. Select filter, blur, lens blur, change the parameter as you like.
5. 執(zhí)行>濾鏡>模糊>鏡頭模糊，修改參數(shù)按你自己的喜好
6. Select the mask and right click on your mouse and delete the mask. As you can see the dinning table also gets blurred. Next I want to erase the blurred dining table.
6. 選擇蒙版并且右鍵單擊刪除蒙版，你將看到這個餐桌也被模糊了，接下來，我想用橡皮擦掉模糊的餐桌
7. Select eraser and erase everything except the chair near the camera.
7. 選擇橡皮擦并且擦掉除相機(jī)附近椅子以外的所有的東西。
8. Flatten the image to see the result.
8. 拼合圖層看到結(jié)果。
7.3. Chromatic Aberration（色差）
The last effect I want to add is Chromatic Aberration. Usually CA occurs because of imperfections in the camera lens. It usually happens if you use old lens. This time I used Photoshop CS2 to do it, because I cannot get a good result if I use Photoshop CS5. Here are the steps:
最后一個效果是我相添加色差。通常它的發(fā)生是因為相機(jī)鏡頭有缺陷。它一般發(fā)生在使用老鏡頭的時候，在這里，我使用PS CS2來做。因為我用PS CS5不能得到我想要的好的結(jié)果。下面就是步驟。
1. Go to filter, distort, lens correction
2. Change the parameter like the image below
1. 執(zhí)行濾鏡>扭曲>鏡頭校正
2. 修改參數(shù)如下圖
Here are all the final render results:
下面就是所有的最終渲染的圖像。
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