由专筑网刘庆新，vigo编译

Pedro Fernandes是一位论坛博主，分享了很多博文，都是我喜欢的风格。他过去给我发送的一篇经历的文章也赢得了周最佳奖。今天，他分享了Architects Ink事务所设计的阿德莱德住宅项目的渲染图。这篇文章能让人增加不少见识，下面请来欣赏吧！

Pedro Fernandes is a frequent forum dweller, sharing great work featuring a style approach I like a lot. He posted a making-of article in the past and also won a Best of Week award. Today he is sharing the process of creating the visuals for the Adelaide Housing project for architectural studio called Architects Ink heshared on the forums not long ago. There’s great insight in this article… so dive in and enjoy!



作者：Pedro Fernandes / Arqui9 Visualisation

ARQUI9 VISUALISATION形象工作室是伦敦南部知名建筑渲染工作室。它核心焦点是为建筑社区创造预置媒介内容。该事务所的创始人和主管是Pedro Fernandes，他是建筑师、效果图动画师和讲师。

首先，感谢Ronen Bekerman联系我来发表这篇有名的“制作”系列。之前，我们制作过一篇很受欢迎的“海滨感觉”的渲染，下面的渲染也是很有感染力的。

Author: Pedro Fernandes / Arqui9 Visualisation
ARQUI9 VISUALISATION IS AN AWARD WINNING BOUTIQUE ARCHITECTURAL VISUALISATION STUDIO BASED SOUTH OF LONDON. IT’S CORE FOCUS IS THE CREATION OF BESPOKE MEDIA CONTENT FOR THE ARCHITECTURAL COMMUNITY. THE STUDIO’S FOUNDER AND DIRECTOR IS PEDRO FERNANDES, ARCHITECT / VISUALISATION ARTIST / LECTURER.
Firstly, I'd like to thank Ronen Bekerman for contacting me to feature this piece in his now famous 'making-of' series, we'd previously made one called 'Seaside Feeling' which was very enjoyable and thought it would be great to actually do another.





Introduction/简介

过去几年，工作室业务的增多我已经逐渐从业余渲染转变为一种职业图像表达。这组图是为澳大利亚阿德莱德叫做Architects Ink建筑事务所创作的。

特别感谢该事务所，特意腾出空间让我们进行创作，保持了艺术的完整。创作过程很有趣，因为视觉方面的主设计师很有经验，很开明地让我们继续我们的工作，也表现出了非常诙谐的观察力。

The studio has grown over the past few years and I’ve gradually made the transition from freelancing into the business, which now is starting to strike roots around the globe. This set of images was created for an architectural studio called Architects Ink, located in Adelaide Australia.
A special thanks to the studio, who really went out of their way to let us keep quite a lot of our artistic integrity. It was a fun process, as the architect in charge of the visuals direction had quite some experience in the field and was open-minded to let us continue with our process and also make some very witty observations (extra pairs of well-trained eyes are always a plus).



Approach and Strategy/方法和策略

了解Arqui9 Visualisation的人知道我们一直都非常注重后期制作。我们已经一些YouTube方面的教程，在这个过程中会分散一点光线。我们坚信，在视觉化中没有对错。翻译和技巧是个人的和专业的选择，确实应该运用在每一个环境和个体中。这次从视觉化领域的整个光谱中受益匪浅，因此确实应该写一些东西了。

我们被邀请制作一系列阿德莱德住宅综合体的渲染图。建筑本身是非常有趣的，它背后有一个有意思的住宅体系，这一点我不会太深入挖掘其细节。建筑和前面的公园联系非常紧密，而在背后能看到最终背景。

Those who know Arqui9 Visualisation, know by now we are quite heavily focused on post-production, we have made a few tutorials on YouTube, that shed a little light on this process. We firmly believe, there is no right or wrong in visualization. Interpretations and techniques are personal and professional choices that really should be adapted to each circumstance and individual… we thought this time round we could actually write something that benefited pretty much the entire spectrum of the visualization field.
We were asked to create a set of images for a housing complex in Adelaide. The architecture itself was quite interesting and had an interesting formal housing strategy behind it, which I won't go into too much detail of. The building itself relates quite heavily to the park in front. Below you can view the final result of the set.











References / Mood基调

当寻找灵感的时候，我发现建筑逐渐在我的脑海里转变成它自己的语言和风格，并形成图像，一个想法就这样模模糊糊地闪现在出来。所以当我们开始找参考资料的时候，可以将我们的思路拓展的更宽一些。

我们发现个人直觉对于这种技术非常有帮助，因为这对我们来说很自然，完全靠本能和积累的经验，当然，重要的一点还有日常要多接触艺术，比如去影院、剧院，还喜欢跳舞、音乐和其他许多形式，所以我们的心态不会依照特定的取向和风格。

我知道，说起来容易做起来难！

下面这些图是一系列参考图，你可以看到它们应用不同的风格。

When searching for inspiration, generally the building form shouts out it's own language and style for an image, a faint glimpse of an idea arises, this is when we actually start to look for reference which may also open our minds a little more.
We find this technique we call 'personal intuition reflex' most helpful as it very natural for us and enacts instincts and experience gathered, thus the importance of actually absorbing art as a whole in all forms – cinema, theater, dance, music and many others, so our mindset don't conform to a unique trend or style.
Easier said then done… I know!
Below you can see a set of reference photos. As you can see they span various styles.





正如前面所说，客户对于风格的选择非常开放，认为用不同的光线风格和不同的视觉形式来展现建筑是非常棒的。

当寻找灵感和参照的时候，重点并不是找高质量的4K像素的图，因为我们在找一些小图和抽象形式和色彩时候，也会对我们最初的方向和主题有一些指引作用。以上所述的例子为再次精确查找做好准备，会帮助你找到更多可能性。

As mentioned, the client was quite open to stylized approaches and thought it would be great to show the building in it's various types of light and differentiated visual forms (the one we are actually showing here wasn’t the final version but was none the less our preferred version).
When searching for inspiration and reference, the focus isn't really on finding high quality 4K resolution images, as it is on searching small thumbnails and abstract forms and colors which give us some indication of our initial direction and theme. The above examples are but a few that came into play, again a refined search will always help you focus more and limit possibilities.



Lighting and Texturing/灯光和纹理

在灯光方面，我使用了一个简单的半球体灯光和从cgskies.com找来的一个球面帖图，也可以使用HDRI，会得到更好的效果。上图你可以看到一个简单的线框渲染用到了例证灯光中。

In terms of lighting, a simple dome light was used with a spherical map from cgskies.com, HDRI's can also be used and of course with better results. Above you can see a simple wireframe render to demonstrate lights used.




半球体灯光背景用到的IBL

IBL for Dome light settings




在适合的角度设置泛光灯也帮助强调了建筑的基础和入口点。

Placement of Omni lights in strategic places also helped to place emphasis on the base and entry point to the building as shown below. Nothing too complex here…







Texturing/纹理

纹理非常简洁，因为后期会添加纹理来创建我们需要的视觉和感觉。你可以看到砂岩纹理材质，这可能是所有纹理材质最复杂的一种了。

Textures were quite simplified as we knew a lot of post would be added to create the look and feel we needed. You can see the Sandstone texture, which among all is probably the most complex one.





Composition/构图

作为一个充满活力的因素，构图通常是各种因素的一个折衷，它迎合了客户的视觉和你自己的艺术创造。你的工作会展示出你的潜力和建筑作品的四维。

我将构图分成不同的因素：

视线方向

在作品中，视线需要被引导和获得平衡。通过光影创建出稍微的密集色调和对比，这反而吸引和转移了你的视线。虽然你看到的是最后的作品展示过程，但是它代表的是最初的视觉效果，接下来会用此方式转化成最终效果。

Being one of the vital factors in any piece, composition is generally a compromise of various factors, which cater to both the clients vision and also your own artistic creation. Your job ends up being to demonstrate and show-off the full potential and fourth dimension of an architectural piece.
I tend to divide compositions in various factors :

Eye Direction
Your eye needs to be guided and balanced through the piece. Through light and shadow you create lighter denser tones and contrast, which in turn attract and detract your eye. Although you are seeing the final piece demonstrated above, it represents the initial vision and ambition that is then translated along the way into this final piece.




就像任何旅行一样，你需要参考点、景点的视觉引导。想像一下当你游览一个国家，比如罗马，你有你主要想要去的景点，但是，小街道上也有一些美景吸引了你，而起初你并没有想驻足，就是这些也为你的旅行增添了亮点。

这就把我们带到了另一个点——深度和形式。

深度和形式

这个渲染图中，你能分出三到四个深度平面。前景的深色对比区域会很鲜明地突出出来，浅色对比不明显的区域就会显得比较隐藏，这也会帮助我们了解图的内部和创造深度。

Just like any trip, you need reference points, visual guides of interest. Imagine when you visit a city like Rome, you have your main attractions, but then you also have the beautiful small streets which aren’t really your main stopping points but which add to the sum of the parts to create beauty.
This brings us to our next point, depth and form.

Depth and Form
You could possibly identify 3 to 4 depth planes in this piece. Darker more contrasted areas will pop out as the foreground plane and the lighter and less contrasted areas recess as we progress forward, this also helps one feel ‘inside an image’ and create depth.




眯着眼你就会看出它们本身的平衡，这引导我们到下一个图。

色调和颜色平衡

色调和颜色是非常有趣的主题，甚至会让我们一直争论不休。我建议去谷歌搜一下色彩理论，从而对其重要性有一个坚实的理解。但是，从下面的图你可以看出我称作“甜蜜点”的地方。这些是平衡渲染图的焦点，一般的三角点是互相约束的，明亮紧密的点或黑色对比的点和“甜蜜点”结合在一起会起到吸引眼球和平衡的作用。

这些点也帮助确定建筑作品最重要的方面。这种情况下，该渲染图中，就形成了与前面公园的关系，也在阳台和开放的生活空间之间形成了关系。

If you begin to squint your eyes, you will see forms balance themselves out, which leads us onto our next graphic.

Tone and Color Balance
Tones and colors are interesting subjects and could probably be debated forever, I suggest a quick Googling of color theory to have a firm grasp on their importance. However below you can see what I’ve called sweet spots. These are focus points that balance the image, generally triangulated points that bounce off each other, be it with bright intense points or even black contrasted points that draw the eye and balance it out.
These also help to determine the most important aspects of the architectural piece, which in this case was its relationship with the park in front and also the grandiose balconies and opened living spaces.



当渲染一个图的时候，我们不会经常使用这些规则，但是却能靠经验觉察到其中的意思。

When working on an image we don’t generally use these types of grids (rule of thirds) , but you can really somewhat start to feel them with practice.



Post Production/后期制作

这一步是整个过程重要的阶段，渲染开始成型了，也有了生机。每一位艺术家有他们独特的构图方式，我们不能说谁对谁错，但是主要目标就是创造一个独特的视觉效果，给你的建筑作品带来生机。

对于使用此方式使渲染图有生机的一个一般评论就是，如果客户改变相机怎么办？答案很简单：那代表你将会有更多的工作要做！这就是为什么开始阶段有一个快速、简单的锁定相机和视野的操作阶段。你可以看到我们快速的制图过程得到了一个基调意识和图像感觉。

下面的一系列图展示出了最初渲染图怎样转变成最终效果图。

And here we are, one of the main phases in our process and where things really start to take shape and come to life. Every artist has their unique way of compositing and not to say that one is right and the other is wrong, but the main goal is to create a unique visual that really brings your architectural piece to life.
A general comment that springs to life with our approach is 'what if the client changes the camera', simple answer – That means you're going to have a lot more work! That's why it's important to have a quick and simple first phase to lock down those cameras and variables. You can see below our quick process with drafts to get a sense of mood and feeling for an image.
The set of images below demonstrate a quick glance at how a initial raw render relates to a draft and then to the final output.


The Raw Render/原始渲染




The Mood Draft/草案




The Final Output/最终效果图





Post-production Breakdown/后期制作流程

渲染路径

渲染路径是你最好的朋友，会伴随你一生，不管是烧毁地区、阴暗地区，甚至是再次曝光一个图象。下图你可以我使用的一些渲染路径，它们在整个过程中几乎是非常标准的。

Render Passes
Render passes are your best friends, you can practically 'bring life to the dead' with render passes – bring back burned areas, darkened areas and even relight an image. Below you can find some of the ones I use, these are probably the standard ones in our process.




让我们来开始后期制作的分步操作吧。

原始渲染

在空的帆布上，我们已经有了形式和灯光上一个最基本的概念和想法。我们将帆布扩展开来更多的公园生活场景和与环境关系，这对建筑来说非常重要。

So let's start our post production break down.

Raw Render
Our blank canvas in which we already have an initial concept and idea of forms and light. We end up extending the canvas to accommodate more of the park life and relationship which is quite important to this building.




纠正渲染

这一阶段我们在屏幕模式中使用ZDepth路径来增加深度。我们也用曲线或水平线来进行材质校色，调整和提高黑色像素点来去除一些暗区域。上图你可以看到，标准的软刷将图处理成怎样的深度来创造出和主建筑的分离感。

Render Corrections
In this phase we use our ZDepth pass in screen mode to add in depth. We also color correct using curves or levels, adjusting and lifting black-point to eliminate some of the darks In the above image you can see how depth has been painted in with a standard soft brush to create further separation of context from main building.






嵌入2D环境

在任何场景中环境都起到了重要作用，建筑是为人和周围环境服务，与我们共存，所以，怎样表现出建筑的环境是很复杂的。

Inserting 2D Entourage
Entourage plays an important part in any scene, buildings are for people and surroundings, they coexist with us, so there's something quite intricate about how we represent their surroundings.




所有的三分构图法和斐波纳契数列都很棒，但是没有一个情景的话，它们也不能表现出正式的数学表达。这一阶段中的树木、车辆、人和纠正操作非常快地完成了。当嵌入环境时，有两个主要步骤，都非常简单，一个是与内容匹配的水准，另一个是色彩校正。我已经制作了一个教程，涵盖了在一个场景中嵌入环境。

你可以看到额外的场景和灯光是怎样嵌入进来的。

All the rules of thirds and Fibonacci sequences are great, but linked without a story they are merely but formal mathematical expressions. In this phase trees, cars, people and corrections are being made in fast pace. When inserting entourage, there are two main steps, which are quite simple, levels to match context and also color correction. I've made a tutorial that covers inserting entourage into a scene (people in this one, but can be applied to all other materials)
You can see how more extras and lights have been inserted.




通过简单设置它们的混合模式为“屏幕”或其他任何合适的转变模式，来增加灯光，你也可以用刷子完成此操作。

Lights are added by simple setting their blend mode to screen or any other transfer mode that suites, you can also do this with a brush if you desire.




灯光和分级

我比较喜欢这一阶段，因为它确实能很快转变视觉形象。这一步也需要最平衡和包容的手和眼，因为稍不留意就会操作过度——对一份小心确实很有帮助。

Lighting and Grading

This has to be one of my preferred phases, as it really enables quick visual changes. It's also the one which require most balance and a contained hand / eye as it's quite easy to go a little too overboard – an extra set of eyes also really helps.




通过使用图层混合方式来设置叠加模式，我粉刷了焦点区域，并将最重要方面高亮显示，我们的眼睛会自然而然地被吸引到热点处。这在起初平衡和建造格式中起到了作用。在我的视频YouTube的关于深度构图和后期制作中，我也广泛涵盖了这一点。

Using a combination of layers set to overlay mode, I start painting in focal areas and highlighting the most important aspects, our eyes will be naturally drawn to the hot-spots, it's a play on the initial balancing and form construction which we discussed in the beginning of our tutorial, I’ve also covered this quite extensively on my YouTube video about depth compositing and post production.






最后的分级非常简单，都是关于提升对比，通过降低整个图的饱和度来分散色彩。

在深度和对比方面如果每一件事都进行视觉化，你就会得到一个黑白效果。

The final grading is very simple and is all about upping contrast, crunching colors down a little by desaturating gradually the entire image.
A quick black and white verification to see if everything is working visually in terms of depth and contrast.




最终调整

在最终调整中，我简单地增加了一点对比，或降低饱和度，在Photoshop中使用了一个反清晰过滤器，得到了最终的效果。

Final Adjustments

For the final adjustments I've simply added a little more contrast / desaturation and used an unsharpen filter within Photoshop and voila we have our final product.




出处：本文译自www.ronenbekerman.com/，转载请注明出处。