Making of ‘Treevillas’
由专筑网赵泽民，刘庆新编译
预制技术在近几年中日益流行，我非常喜欢该技术。Jacinto Monteiro的设计者Metro Cúbico Digital ArchVIZ工作室最近在葡萄牙建筑公司“Modular System”展现了他们为Pestana集团——Ecoresort的度假建筑设计，并产生了出色的效果。“建筑存在于森林之中”的主题理念通常被人们使用，这样做是为了集合森林元素而与环境融为一体。让Jacinto带领我们走进该项目设计，尽情享受吧。
Pre-Fab is sure showing a lot more lately, and I like it! Jacinto Monteiro owner of Metro Cúbico Digital ArchVIZ studio recently showcased a remarkable set of visuals they made for Portuguese architectural company “Modular System” showing a single vacation home design they made for the Pestana Group – Ecoresort. While the “House in the Forest” theme is generally overused, this one was done to resemble the exact forest-like location with great results. Join in as Jacinto takes us through there process of making these project. Enjoy!
首先，我们要感谢Ronen Bekerman邀请我们来写这个教程。
First of all, we would like to thank Ronen Bekerman for inviting us to write this Making Of.
“Treevillas”是为葡萄牙一个名叫模型系统的公司设计的。不幸的是，由于技术保密的原因，我们没有权限表现模型内部细节，但我确信我们所讲所做是足够精彩的。
这些度假建筑的预制设计，由于其模型的建立而使其便于安装和拆卸，有很高的灵活性和经济型。它不会破坏所在的环境，因此它可以看作是环境友好型的。这也就是为什么这些建筑能被安置在西班牙特洛伊湾生态度假区的原因。
这项工作旨在建筑完成之前给客户展现真实完整的效果，以实现销售之前的工作更加平稳高效。
‘Treevillas’ was a work done for a Portuguese company called Modular System. Unfortunately, we aren’t authorized to show the modelling form inside-out with all it′s beautiful detail due to technical confidential issues, but I’m sure what we do show is great enough.
These vacation houses are essentially Pre-Fab designs due to its modular construction, easy assemble/disassemble, flexibility and economy. It could be considered as eco-friendly since it is non-aggressive to the surroundings in which it is being placed. That′s why these houses were approved to be inserted in an eco-resort, located near the Bay of Troy in Portugal.
The goal of this work was to develop for the client very realistic images before the end of the construction, so that pre-sales could run more smoothly or efficiently.
灵感/Inspiration
就像做建筑一样，环境就是一切灵感来源。客户会寄给我们一些关于项目地点环境照片，包括在该生态度假村建造中的和类似的建筑照片。
接下来你可以浏览一下我们用来灵感创作的照片。真实的照片总会带来源源不断的灵感！
Like in architecture, location is everything. The client sent us several photos of the existing location of the project as well as photos of the actual house under-construction and other similar houses located in the same eco-resort.
Below you can check out some of these photos and other shots we used for inspiration. Always use real photos for inspiration!
景观/Landscape
我们执着于原始的渲染程序，换句话说，我们更偏向于在3D中做好一切事情而不是用Photoshop...我们不喜欢依赖修图软件。
有极少数的例外（Christopher Malheiros则是葡萄牙最好的例子），但对于我们来说过多的使用Photoshop会是图像显得不真实，甚至会变得卡通化。
为了避免使用Photoshop，需要充分高效率运用时间。
当新项目来临，大多数时候，在项目开始之前或者项目开端，我们会先开始做景观环境。
为何如此呢？
因为我们都知道，建筑师只有在最后几天才能完成项目。一旦我们有了它，就能配合炫酷的场景与其融合。当时间紧迫，或作为个人项目时，我们可以不遵循信件中要求的程序。
在分析完所有现有的景观信息后，我们开始收集所有的元素合并到场景中去。最重要的展现真实的地面。我们知道，大部分图像有其前景，所以我们需要特别注意——这一点并不困难。
从CGTextures网站上下载完材质后，我们几乎不用在Photoshop修改它。我们创建一个简单的V-Ray材质，属性调整为反射率（0.6），色彩校正中选择漫反射贴图（-20饱和度）和γ（0.6）从而使其变暗。然后我们将这个V-Ray与另一个分形噪波的V-Ray材质结合，从而避免贴图重复。
接下来我们可以检查材质编辑、扩散和凹凸贴图（2D V-Ray中我们采用相同贴图只需采用位移矢量2cm长516分辨率和8精度）。
We are big fans of the raw render process, in other words we prefer to have everything in 3D and not use Photoshop… We don′t like to rely on it.
There are very few exceptions (I would name Christopher Malheiros as the best Portuguese example) but for us the excessive use of Photoshop makes images look unrealistic, sometimes even cartoonish.
To avoid Photoshop, time needs to be used very well.
When a new job comes along, most times we start doing the landscape even before the project is ready or even started.
Why?
Because as we all know, architects only have the project finished at the last days. Once they have it, we got a cool scene already prepared to merge it into. When time is available, or in personal works, we don′t follow this procedure to the letter.
After analyzing all the existing landscape information we started gathering all the elements to insert into the scene. The most important thing was achieving realistic ground. We knew most of the images would have it in the foreground so we needed to pay special attention to it – which was simple really.
The texture was download from CGTextures.com and we almost didn’t touch it in Photoshop. We created a simple V-Ray material with soft reflection (0.6) a diffuse map in color correction (-20 desaturation) and gamma (0.6) to make it darker. We then inserted this V-Ray material into a V-Ray blend material with another V-Ray material with fractal noise to avoid some map repetition.
Below you can check the slate editor, diffuse and bump map (for 2d V-Ray displacement we used the same map with just 2cm strength, 516 resolution and 8 precision).
下一步，我们从数据库中挑选植被。对于树干，我们模拟了15中不同类型的分支。一旦将它们布满地面时，我们必须将iToo的 Forest Pack Pro 分支对象在Z轴上移动约2cm，因为地面上有2D V-Ray位移贴图，并且覆盖了绝大部分。
接下来你会看到该对象和iToo的 Forest Pack Pro 设置。
正如你看到的，除了我们用Area删掉一些多余的树干之外，并没有什么操作。稍后我们会演示在材质扩散槽中运用Forest Color。
Next we selected the vegetation from our library. For the trunks we modeled around 15 different types of branches. Once they were spread all over the ground we had to move the iToo’s Forest Pack Pro branches object up on the Z axis about 2 cm because the ground plane had 2d V-Ray displacement and was covering most of them.
Below you can see the objects and the iToo Forest Pack Pro settings.
As you can see, there′s nothing special about it except that we used Area to delete some trunks here and there, and we used Forest Color in the material diffuse slot which we will show a bit later.
下面你可以看到岩石、灌木植被和针叶树遍布整个地块。所有对象都被转换为代理物体（虽然已使用 Forest Pack Pro，但这一步是必须要做的）。
对于低植被我们采用iAlpine形成iCube。
And below you can see the rocks, low vegetation, mid-high vegetation and conifer cones that we also spread throughout the terrain. All objects were converted to proxies (though, with the use of Forest Pack Pro, it is not a must).
For low vegetation we used iAlpine form iCube.
中等高度的植被用夏季的iCube iTree 来制作。
Mid-high vegetation was done with iCube iTree summer.
Evermotion模型库中的锥形针叶树（随机卷数）：
Conifer Cones, model from Evermotion (don′t know exactly from which vol) :
小石块：
Small rocks :
对于树冠分布，我们依然使用 iToo的 Forest Pack。我们利用面域删除不需要的地方，运用Forest Color中的树叶漫射样本实现更丰富多彩的随机结果。
For the trees distribution we also used iToo’s Forest Pack. We took advantage of an area to also delete trees where they weren’t desired and Forest Color in the leafs diffuse slot to achieve a more colorful random result.
纹理/Texturing
展现每个面所有细节是没有意义的，因此我们将重点放在Forest Color所用的植被和水的材质上。
下面你可以看到，我们所用的Forest Color树枝上布满了缝隙，而且在其中有四个相同漫反射贴图的副本。在颜色校正上，我们改变每个贴图的γ系数或者RGB系数从而实现略微不同的结果。你也可以使用Forest Color梯度中的Get颜色。
It doesn’t make sense to show every single mat we used so we will focus on the vegetation where we used Forest Color and the water material.
Below you can see that in the branches diffuse slot we used Forest Color, and inside this one, there are four copies of the same diffuse map. With the color correction we changed the gamma or the RGB of each map to achieve slightly different results. You can also use “Get color from gradient” inside the Forest Color.
程序分支图：
Branches Material :
V-Ray 2 Sided-树叶材质：
V-Ray 2 Sided – Tree Leaf Material :
对于水面，我们创造了一个平面，并细分为（50×110）。然后将其应用到Houdini Ocean（插件）中。
这个插件是免费的，你可以从这里下载它：http://www.guillaumeplourde.com/
这个插件在创建波纹方面非常卓越。
下面你可以看到材质设置以及Houdini Ocean设置。在这个例子中，所使用的波量是非常低的，但在混合噪波方面我认为它所呈现的效果非常好。
For the water we created a plane and subdivided it (50×110). We then applied Houdini Ocean (plugin) to it.
This plugin is free and you can download it from here :http://www.guillaumeplourde.com/
It is an amazing plugin to create waves.
Below you can see the material settings as well as the Houdini Ocean settings. In this case, the amount of waves used was very low, but mixed with bump noise I think it created a nice result.
光线/Lightning
所有的渲染中我们使用V-Ray中HDRI穹顶灯（默认），没有使用V-Ray太阳光线。正常的白天渲染我们使用Peter Guthrie的HDRI 1433，对于渲染有雾的效果，我们使用HDRI 1044。
这是我们所做的一些光测试：
For all shoots we used a HDRI inside a V-Ray Domelight (default) without V-Ray Sun. For the normal day shoots we used Peter Guthrie′s HDRI 1433, and for the fog and interior shoot we used his HDRI 1044.
Here are some light tests we made :
下面你可以看到HDRI的设置和相机设置（几乎默认）用于游泳池和椅子的渲染场景。
Below you can see both HDRI settings and camera settings (almost default) used for the shoot where we see the swimming pool + chair.
渲染/Rendering
对于所有的外部场景，我们使用以前的通用设置，参数如下。室内外渲染唯一不同的是Reinhard Color Burn参数调整为0.05,将Multiplier调整为1.2.
For all exterior scenes we used good old Universal Settings exactly like below. The only difference for the interior shoot was changing the Reinhard Color Burn to 0.05 and multiplier to 1.2.
后期制作 /Post Production
我们在Photoshop中做了通常情况下室外渲染的后期制作。对于其他渲染出图，我们几乎采用相同的程序。
We show below a sequence of the post production in Photoshop done for the general exterior shoot. For the other shoots we used almost the same procedure.
步骤1 初始渲染
步骤2 色阶调整
步骤3 色彩平衡
步骤4 红色饱和度调整
步骤5 黄绿饱和度调整
步骤6 颜色校正曲线调整
步骤7 暗区曝光
步骤8 高光通道
步骤9 V-Ray大气通道
步骤10 V-Ray Extra TEX通道
步骤11 V-Ray反射通道
步骤12V-Ray折射通道
步骤13 V-Ray高光通道
步骤14 暗扩散75%
步骤13 V-Ray Zdepth通道
步骤14 调整平和，35sharp数值
希望我所说所讲对你使用Treevillas程序有所帮助，发挥它的潜能吧。祝你好运，下次见！
I hope you found the ‘Treevillas’ Making of useful. Good luck and see you next time!
出处：本文译自www.ronenbekerman.com/，转载请注明出处。
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