由专筑网picky编译

蓝色星球的制作特辑就在这里。让我们跟随维克多-拉尔森（Victor Larsson），听他描述他15年4月中最伟大的场景制作过程。我非常喜欢室内部分制作的内容，你通过上文能看到绝大多数，但是我认为你还是应该看一看完整的流程。我强烈推荐你看一看这个地方的原始照片，这样你才能真正欣赏这个作品有多棒，原始照片出自Adam Mork。慢慢享受吧！

THE BIG BLUE Making-of is here. Follow Victor Larsson as he describes his process behind the great scene awarded the Best of Week 14/2015. I love the interior that you see above the most, but you should check out the complete set. You have to see the original photo of this place to really appreciate the work done on this one. Original Photos by Adam Mõrk. Enjoy!


介绍

蓝色星球（the Blue planet）是丹麦的国家水族馆，坐落于哥本哈根的卡斯特鲁普机场旁边，其灵感来源于不断流动的水。该场馆于2013年面向公众开放，成为北欧最大的水族馆。它共有超过700万升水，分布在53个水族馆箱中，有2万多鱼类和海洋动物徜徉其中。整个建筑中最大的便是海洋水箱（The Ocean tank）且位于建筑的最核心位置。

整个建筑的外部形状酷似一个漩涡。建筑的表面覆盖着菱形的小铝板，每片铝板都以鱼鳞或水碱般的形式反射出天空以及周围的外界环境。

我之所以会参与到这个项目之中就是因为它的外观，的确，深入到其中对我而言是一项艰巨的任务。最开始我的兴趣主要集中在制作建筑物入口处的图片，但是第二天我就改了主意，将至少两个内部图片添加到了我的计划之中。

Introduction
Inspired by water in endless motion the Blue planet is the national aquarium of Denmark in Copenhagen right next to the airport Kastrup.
The Blue planet opened its doors in 2013 and became the largest aquarium in Northern Europe. It contains over 7 million liters of water divided into 53 aquariums. Over 20,000 fishes and sea animals are housed in it. The Ocean tank is the biggest, and at the heart of the building.
From outside the blue planet is shaped like a whirlpool. The façade is covered with small diamond-shaped aluminium plates, each reflecting the sky and surroundings in its own way like fish scales or water caustics.
I embarked on this personal study because of the façade. I thought it was a fairly tough task to dig into. My main interest from the beginning was to make images from the entrance side of the building but the day after I changed my mind and added at least 2 interior images to the “schedule”.


研究

通常而言，当我开始一个新项目，我会先花一些时间进行项目研究，试着从不同的角度去观察所有事物。这种观察会帮助我理解整体结构、建筑，而且有助于提高项目后期造型、材料方面的效率。

针对这个项目，在开始建模之前，我便搜集了近300张参考图片，这也是我的个人习惯，我倾向于在最开始的时候便搜集到足够甚至“过多”的信息，从而避免在后续的过程中浪费时间。

Research
Usually, when starting a new project, I spend some hours in research. That is when I see how everything looks like from different angles. It helps me in the understanding of the construction / architecture which results in higher modelling / material efficiency later on in the project.
For this project I gathered around 300 image references before I even started modelling. I prefer to have too much information from the beginning so I don’t have to “waste” time later on.


建模（外观）

我发现这些小的蓝图可以帮助我形成水族馆的基本外部形态。

Modeling (Exterior)
I found these small blueprints which could help me to get the basic shape of the aquarium.

我以这些图像为基础制作了一个简单的蓝图并且开始构建曲线框架。

I made a simple blueprint setup from these images and started to build a spline cage.

添加一下曲面修改，然后我就有了这个几何体。我之所以更喜欢使用样条函数是因为这样速度会比较快和编辑的效率也比较高。

Added a surface modifier and bam, I had the geometry. I prefer to work with splines just because of the speed and editable efficiency.

因为这些蓝图并没有包含任何关于景观的信息，因此我通过谷歌地球（google earth）找到了这块区域的俯视图。不得不说，我很幸运，因为我找到的照片刚好是实际的建筑场地，所以即便景观只是完成了一半，但是我还是可以收集到一些我需要的信息--混凝土墙、水池、楼梯、草地等等，再加上我的图像研究，景观就不再是一个问题。

The blueprints didn’t include any information about the landscape so I had to use a top view from google earth for that. I was in luck here, as you can see this is a photo from the actual building site so the landscape is half incomplete but I could gather the information I needed for the concrete walls, pools, stairs, grass areas, etc.
Combined with my image research the landscape was never an issue.

景观基本上是以样条曲线（扫频、挤压、曲面修改）为主体的，模型局部表面有一些高度上的变化，可惜当时我不知道我会移动一些区域，否则我会试图使用填充地形插件在表面创建更小的正多边形，从而避免在渲染的过程中出现平滑或者几何结构的问题。

The entire landscape is built mostly with splines (sweep, extrude, surface modifiers). This model had some height variation in some of the surfaces and If I had known that I’m going to use displacement on these areas I would have tried to use the populate terrain plugin to create smaller NGON’s for the surface just to avoid smoothing / geometry issues during rendering.

（填充地形，通过轮廓线或现有的网格，来帮助创建和优化地形表面）。

(populate terrain assists in creating and optimising terrain surfaces from contour lines or from existing meshes.)



外观

这可以说是项目中最棘手的一部分，我没有任何高分辨率的蓝图，也没有GrassHopper的公式，所以外观效果的制作需要反复实验而且很容易出错。

GrassHopper是为犀牛（Rhino）进行参数化建模的工具。我通过GrassHopper得到了一个非常接近“真实”的公式，但是仍然和真正的外观偏差太大。因此，我决定不再投入更多的时间解决，而是通过3dmax来制作外观。

感谢Adam Mørk的帮助，我在网上发现了这张高分辨率的图片，可以用来作为菱形铝板的基础部分。

The Façade
This was the trickiest part of the project.
I didn’t have any high-resolution blueprints nor the formula for GrassHopper so the façade became trial and error task. GrassHopper is a parametric modelling tool for Rhino.
I gave GrassHopper a chance and got quite close to the “real” formula, but the deviation from the real façade was too big. Instead of putting more hours into the solution I decided to make the façade inside 3dsmax.
Thanks to Adam Mørk, I found this high-resolution image on the web to use as a base for the diamond plates.

现在我需要将我的基本外观和Mørk的图片相匹配。据我所知，专业的摄影师总是倾向于使用17毫米，24毫米，35毫米，50毫米或70毫米的镜头，所以当图片的相机数据丢失的时候我会从中选择一个数字。这里采用的焦距是17毫米左右，并且我认为水面已经经过裁剪，所以图片会有一些小偏差。垂直面上也已经经过了裁剪，因此也会通过转动V-Ray 相机来得到正确高度视角上的基本外观效果。

Lets start matching my basic façade with the “back plate” from Mørk.
From what I know, pro-photographer always tend to use 17mm, 24mm, 35mm, 50mm or 70mm lens so I always start with one of these numbers when the camera data is missing from the image. In this case the focal length was something around 17mm and I assume that a horizontal cropping has been used so the focal length could have some smaller deviation. The image had also been vertically cropped so the V-Ray Physical Camera vertical shift was also used to get the basic façade in correct height position.

下一步便是开始构建外观。我使用的方法是基于样条模型，将建筑表面转换成编辑网格，并在编辑网格中将所有表面特性下的、看不到的边缘标注出来，这样就得到了一个没有任何基地网拓扑结构干扰的、清晰的网状图。

将所有的拍摄关闭并使用正面拍摄，然后你就可以开始将网状图的所有都画出来了。

提示：使用二维的画笔模式（在新版的3dsmax是可以使用的），这样你在画的过程中就可以放大并且获得较高的精确度。

Next step was to start building the façade. The method I used for this is based on spline modelling. Convert the surface mesh to edit mesh, mark all edges press invisible under the surface properties inside the edit mesh / edge tab so you get a clean mesh without any distraction from the base mesh topology.
Turn off all snapping and enable face snapping. Then you can just start draw all the lines on the mesh.
TIP : enable 2d pen mode (available in later versions of 3dsmax) so you can zoom in and get better precision while drawing.

将整个外观上的所有线画出来需要花一些时间。

It took a while to draw all lines on the whole façade.

下一步是要将这些画出来的线进一步深化，并且确保每一个点无论从正面、背面、左右还是顶部来看都是平滑过渡的。从下图中你可以看到，这些线从红色“直线”有些微偏离，所以我在尽可能尝试去改正这些问题。

但是，因为现实生活中就是有一些偏差的，因此如果你想要一个真实效果的照片，你可以不必花太多精力去将它改成百分之百正确的，有一些小问题是很正常的。

Next step was to take a deeper look on these drawn lines and make sure that all points has a nice smooth flow both from front, back, left right and top. As you can see in the image below the lines has a smaller deviation from the “straight” red line so I tried to correct these kind of errors as much as possible.
But, as in real life there is some deviation so if you want a photo real result you should not pay too much attention to get it completely correct its okay with some small errors.

下一步是通过这些线来创建几何体，因此我只是挤压了Z轴上的线，并将基础的网格布尔体系化。接下来我将可编辑多边形模式中的所有元素都标注了出来，在UI中点击旋转按钮弹出旋转对话框，在这里，我将每个轴独立旋转，从而获得我认为满意的外观。然后我进行了平滑修饰，将所有我不想要的弧线去掉，最后在四个斜面顶部进行修饰，得到所有的边缘倒角。

Next step is to create geometry from these lines so I just extruded the lines in Z axis and booleaned the basic mesh. Then I marked all elements inside editable poly mode and right clicked the rotation button in the UI to get the rotation dialog. From here I rotated each axis separate just until I felt satisfied with the look. Then I added a smoothing modifier to clear unwanted smoothing’s and then a quad chamfer modifier on top to get chamfer for all edges.

我用同样的方法对所有外墙也进行了修饰，这确实花了我一段时间，但我认为这是完全值得的，因为我找不到可以做到这点的其他任何插件或方法。

当做这种类似的项目的时候，如果没有任何设计蓝图的情况下，我经常会尝试从不同角度匹配照片来获得较为正确的对象。这样做不仅十分便捷而且准确性也很高。

下图是一些专门定制的物体的外观。

I used the same method for all facades so it took a while but it was totally worth it because I couldn’t get this close with any other plugin or method.
I often try to match photos from different angles of a building when doing projects like this to get height of objects correct without any blueprint information, it’s both fast and quite accurate to use a method like this I think.
Here is some of the custom-made objects made for the exterior.

内部造型

建筑内部，我只有一个分辨率很低的设计蓝图。所以我开始制作一个所有墙壁的顶部曲线，并向上挤压。

Modelling (Interior)
For the interior I only had this low-res blueprint image. So I started to make a top spline for all walls and the just extruded upwards.

同样，我从Adam Mørk那里得到了很棒的图片作为内部造型的基础，我用了两个盖板遮盖住了大会堂的两侧。正如我上面所写的，这些照片的镜头信息没有，所以我尝试了每一个常见的镜头，之后我得到了这个效果。

Once again I had really great images from Adam Mørk to use as a base for my modelling of the interior. I used two back plates to cover both sides of the great hall and as I wrote above the lens information was missing from these images so I tried each usual lens. This led me to this.

现在我只需要改变所有内部的高度（地板、墙壁、基座、楼梯、固定装置、室内设施等等）。我想，Adam Mørk的照片是在2013年开放的时候拍摄的，所以我找了一些最近的照片进行比较，并且我发现楼梯上的栏杆已经改变了。

接下来要做的就是建天花板，因为它的菱形外观再加上我使用的方法，过程非常耗时。首先，因为我有外观的基础网状图，因此我将其合并到了我的场景中，通过这个方法我得到了一个还算正确的天花板来继续处理。

Now I could just adapt all heights of the interior (floor, walls, plinth, stairs, fixtures, interior equipment, etc.). I guess that Adam Mørk’s photos were taken around the opening in 2013 so I looked for some more recent photos to compare with and I found out that the railing on the stairs had been changed since then.
Next thing to do is to build the ceiling, this was also quite time consuming like the diamond façade and I did use quite similar method for this. First of all I had the base mesh from the exterior so I merge it into my scene, this way I got a quite correct ceiling to work on.

现在我可以仅通过我在立面所描述的函数曲线的方法来绘制正面的拍摄曲线。

Now I can just apply the spline method I described for the façade, drawing a spline with face snapping active.

对我来说，有两个相机为天花板匹配照片真的非常有用，因为这样做我便可以从不同的角度比较全部的线，这会使它们更加真实。下图便是它们的样子。

It was really useful for me to have two cameras matched to photos for the ceiling, since this way I could compare all lines from different angles so they got quite authentic. This is what it looked like.

最后调节优化，我通过俯视图来比较每一条线，从而确保它们有着相同的间距。从图中你可以看到，所有的线都能够汇聚成一个点。如果我想要添加更多的线在右边的话，这会非常有用。

For last tuning, I went to top view and compared each line so they had quite same spacing. As you can see now, all line should merge into one spot somewhere, this could be very useful if I wanted to add more lines at the right side.

现在我只需要打断编辑样条曲线中的所有点并增加了一个扫频。之后我深入观察了天花板是如何在骨架上建造的，包括聚光灯，烟雾报警器，不同的管道等等。

Now I just pressed break all points inside the edit spline and added a sweep.
After this I looked very deeply into how the ceiling was constructed above the ribs.
Spotlight, smoke alarms, different kind of channels etc.



装饰/附着物/家具

完成了所有的这些之后，我开始创建内部和外部的所有设备/灯。

外观：Simes是所有户外照明的提供者，并且他们有一些基本的3D模型，我对这些模型进行了一个改造。

室内：室内设备的供应商有很大的变化，MAC,ROSCO COEMAR是所有室内灯的制造厂商，Meyer Sound则负责蓝色星球的音频设备。

下图是从零做起的所有设备。

Decorations / Fixtures / Furniture
After all this was finished I started to create all fixtures / lights for the interior and exterior.
Exterior : Simes was the provider of all outdoor lighting and they had some basic 3d models which I did a remodel on.
Interior : There was a very big variation of providers for the fixtures on the inside. MAC, ROSCO and COEMAR are the manufacture for all interior lights and Meyer Sound delivered the audio for Blue Planet.
Here are all fixtures made from scratch.

部分概念表现。

Some of the emblems.

大部分的内部元素使用3dsmax软件建立模型，使用的都只是常规的工业造型或曲面技术，如旋转、表面或扫频。

Most of the interior elements are modelled with 3dsmax using just regular poly modelling or spline-techniques such as lathe, surface or sweep.

焦散线

中庭的图像包含三种焦散线，水箱中的水体：白色的水通过Rosco x24设备投影；蓝色/青色水通过Rosco x24设备投影；Rosco x24一种灯光投影，其和普通投影仪非常相近，电影中经常会使用其作为介质，被称为Gobos。

Gobo是一个放在光源前用以控制反射光形状的物理模板或遮罩。可以用各种材料制成，包括钢、玻璃、塑料或透明材质。

在本项目中，gobo以玻璃制成。这也正是gobo在现实中的形象。如你所见，因为玻璃中存在较小的弯曲，因此能够呈现出水面焦散的效果。

Caustics
The atrium image had 3 kinds of caustics.
Water inside the tank.
White water projected from Rosco x24 fixture.
Blue/cyan water projection from Rosco x24 fixture.
The Rosco x24 is a light fixture that works more or less like a regular projector but instead of a film it uses a medium called Gobos.
A gobo is a physical stencil or temple placed in front of a lighting source to control the shape of the emitted light. It can be made from various materials like steel, glass, plastic or transparent materials.
In this case the gobo was made in glass. And this is what the gobo looks like in real life. As you can see there is some minor curvatures in the glass that results in a water lookalike caustic.

这是gobo内部的样子。

This is how the gobo looks like from inside.

这是gobo投射在墙面上的效果。

And this is the result of a gobo projection on a wall.

Gobo使用的材料，我用了一个带有常规图景的简单的玻璃来驱动其多变性，对于一些更加细微的变化，我使用的是不同颜色的折射噪点映射，在其顶部我添加了abbe数值10，从而获得更多的颜色变化，特别是在边缘区域。

For the gobo disc material I used a simple glass with a normal map to drive the variation, and for some more slight variations I used a refraction noise map with different colors and on top of that I added a abbe number of 10 to get even more color variation especially in the edge.

水箱

水箱的内部是分开渲染的（容易调整，占用较低的内存，渲染更快）。灯光的设置和场景的设置如下图所示。

Water Tank
The inside of the water tank was rendered separately (easier to tweak, lower memory usage and faster render).
Light setup and scene settings look like this.

在每个灯光属性下，我将细分（subdivs）设置为10000，焦散系数（caustic multiplier）设置为2.5，因为1.0的系数下反射焦散和光照功率之间的均衡和2.5是有很大的差距的。

下图为这个场景渲染出来的效果。

Under each light properties I had 10,000 subdivs with 2.5x caustic multiplier just because the balance between the rendered caustic and light power felt way off with only 1.0x in the multiplier.
This is how the render looked like from this scene.

对这个渲染起重要作用的其他的部分包括：

确保水的背面是反光的；
网格上的某种噪点以获得不规则的水体焦散线；
浅绿色的玻璃应该加入一些雾状的颜色来模拟水中的小颗粒，从而形成蓝绿色的外表，特别是在沙地上。

Other things that were important with this render were to :
Make sure that the water is reflective on the backside.
Some kind of noise in the mesh to get irregular water caustics.
Aqua glass should have some fog color to simulate small particles in the water that causes the turquoise look, especially in the sand.


雪/Snow

正如我在去年做的瑞典谷仓项目中描述的那样，这张雪景图也是基于同样的技术。

The snow image is based on same technique as I described in the Making of the Swedish Barn House I made last year.

材质

几乎所有材料都是VRayBlendMtl中的分层材料，并且几乎所有都是用GGX(GGX在光泽度上会稍有所下降)或者通过BDRF法作为混乱组使用微面GTR，这个在V-Ray（3.1.版本以上）的视图中可以找到。

下图为外立面材料以及室内地板（flowcrete）的效果。

Materiality
Almost all materials are layered materials inside a VRayBlendMtl and nearly all of these uses GGX (GGX has a tail fall off for the glossiness) or micro facet GTR as the chaos group calls their BDRF method and it can be found in V-Ray in versions above 3.1.
This is how the façade material and flooring (flowcrete) in the interior looks like.

灯光

在这个项目，灯光的设置非常直接。我有Adam Mørk的照片作为内部的参考照片，所以做起来非常简单。我用V-Ray IES灯作为主要的灯光措施并为剩下的部分添加V-Ray灯。

Light
The light setup was quite straight forward in this project. I had Adam Mørk as reference for the interior shots so it was quite “easy” to get It right. I used V-Ray IES Lights as the main solution and added V-Ray Lights for the rest.

水族馆的设置如下图所示，所有的灯在V-Ray Light Lister中通过光强/开尔文来表示。

Aquarium setup below and all lights shown in V-Ray Light Lister with powers / kelvin.

在餐厅中也常常使用类似的设置，这个HDRI的设置是不带任何情感色彩的。右边墙上的“阳光”是来源于餐厅外部的sime塔（聚光灯塔）。

A similar setup was used in the restaurant, the HDRI were provided from no emotion. The “sunlight” on the right wall is from the simes tower (tower spotlight) standing right outside restaurant.

上图为所有的主要设置的外观效果。天空使用的是V-Ray Dome Light,V-Ray IES应用于所有灯。剩下的使用simes 聚光塔，simes 圆柱灯， simes 闪光灯和vraylight。

This is how the main setup for all exterior shoots looked like. V-Ray Dome Light for the sky, V-Ray IES for all lights. simes tower focus, simes column, simes blinker and vraylight for the rest.

后期制作

以下是我操作的方法。首先，我尝试找到如何在Photoshop中的一个32位排版中平衡好所有元素。我经常会在这里添加天空，尽管它只是一个16位的图像。我做了所有我能做的：曝光度、色阶、色彩饱和度、干扰度、倍数、减除系数等等。如果我需要调整曲线的话，我会打开色彩插件并在我想改动的特定部分调整曲线，这些都不是问题，但是我很希望能够在未来拥有无损式的排版。

下图为原始渲染图在浅绿色效果下的样子。

Post Production
This is how I like to do it.
First, I try to find a good balance between all elements in a 32 bit comp inside Photoshop. I often add the sky here even though its just a 16 bit image.
The 32 bit mode in Photoshop is still quite limited even though it is 2015! So I do what I can with it – exposure, levels, hue saturation, brushing, multiplying, subtracting and so on. If I need curves I just open magic bullet looks and do the curves on that specific part I want to change so it’s never a real issue, but I would like to have a non-destructive comp in the future.
This is how the raw render looked like in the aqua display.

之后我添加了一些鱼、珊瑚礁等等，并通过多种照片试图将所有的元素进行匹配。

Then I added some fishes, coral reef etc. from various photos and tried to match all elements

下图为水族馆的原始渲染图在之前说的浅绿色效果下的样子。

Raw render of the aquarium with the pre posted aqua display.

下图为经过许多折叠、压缩和微调（曝光度、色阶、混色模式、色相、干扰、倍数、减除系数）之后的32位图效果。

A lot of folders, passes and tweaks in 32bit with exposure, levels, blending modes, hue saturation, brushing, multiplying, subtracting.

下图为切换到16位数图进行一些原始参数的调整。

Let’s head over to 16 bit for some camera raw adjustments and that’s it.

在其余的六张图中我使用了近乎相同的方法进行处理，下图是我如何在Photoshop中进行雪景的处理。

Almost same method was used in the other six images. This is how I created the snow façade inside Photoshop.

作为最后一部分，我使用Photoshop中的原始相机进行最后的微调，可能也会进行一些对比度的调整、将黑度调亮一点，等等。

And for the final part, I use camera raw inside Photoshop to make the last minor tweaks, maybe some more contrast, a little brighter blacks and so on.

出处：本文译自www.ronenbekerman.com，转载请注明出处。