由专筑网刘庆新，vigo编译

Giona Andreani 向大家展示了他和Corona两周前尝试作图的成果，该作品也使他获得了“2015年15周最佳”称号。今天他给我们展示了渲染图的制作过程。过程并不长，很容易阅读，而且还有时间供大家提问。

很感谢Ronen让我来写这篇博文，并希望大家喜欢！

Giona Andreani showcased his first attempt with Corona two weeks ago, which also awarded him BEST of WEEK 15/2015, and today he gives us a glimpse behind the scenes. It’s not too long, so should be an easy read with room for questions to be asked – so please do!
I would like to thank Ronen for asking me to write this making-of, I’m very honored and hope you’ll like it!


简介

我最近的渲染图是位于意大利伊塞奥湖畔的帕拉蒂科小镇上一个名为Scandurra Studio Architettura住宅项目的可视化效果。

My latest images are visualizations of a residential project by Scandurra Studio Architettura at Paratico near Iseo Lake (Italy).

本周我决定使用3D来重新创建整个环境。在创建过程中我尝试了从V-Ray转换到Corona Renderer。

在这一步，我会注重环境，因为这是最重要的因素，是整个场景的细节部分。

Introduction
For this work I decided to recreate the entire environment in 3D. During the process I switched from V-Ray to Corona Renderer to try it on a production work.
In this making-of I will focus on the landscape, because it was the most important and detailed part of the scene.

环境

因为项目面积非常大，我必须使分散着的植被看上去也完美，时刻提醒着自己既定的重点。

我使用MultiScatter插件来制作植被的大体分布，又用MultiPainter插件在相机直接看到的地方增加了一些细节。

Environment
Since the project area was quite big, I had to optimize the scattering of vegetation, keeping in mind the vantage points I have decided on.
I used MultiScatter for the general distribution of vegetation and MultiPainter to add more details in places directly seen by the cameras.


场景概述/Overview of the scene

这里是树木、灌木和地被植物的分布的例子：

Here’s an example of the targeted distribution of trees, bushes and ground-cover plants :

一些3D树木来自Evermotion，其他来自从Andrei Mikhalenko的微博Ronen上找到的免费资源。草和灌木来自于iCube R&D。

Some 3D trees are from Evermotion, others from free resources found here, on Ronen’s Blog by Andrei Mikhalenko. The grass and bushes are from iCube R&D.

这里是来自该项目另一张图中的庄稼图，用花草的不同图层来展示了这个场景中散落的草。

Here is a crop from another image of the project showing the scattered grass with different layers of grass and flowers.

用水材料和一张置换贴图建立了湖面效果。我使用PhoenixFD插件的OceanTex map程序将湖面进行微调，得到一个平静的水面图。

该图同样可以用Corona Renderer来得到。

The lake surface is a simple plane with a water material and a displacement map applied. I used the procedural OceanTex map from the plugin PhoenixFD, tuned to achieve a quite calm water.
This map works perfectly with Corona Renderer too!

灯光

该场景的灯光很基本也很简单。

灯光渲染是用Corona来制作的，我是用V-Ray转到这里来的，因为我想尝试一下新的渲染工具，我发现其非常强大，制作这个场景比V-Ray快得多。

Lighting
In this scene lighting is really basic and simple.
The daylight render was made with Corona, I switched from V-Ray because I wanted to try this new render engine, and I discovered it is very powerful and a lot faster than V-Ray for this scene.

在建筑内部我使用了一个Corona Sun和Corona Plane Lights模版。

我使用V-Ray渲染夜景，从Peter Guthrie收藏中用晚上HDRI图放置了一个V-Ray DOME半球灯。

I used a Corona Sun and Corona Plane Lights inside of the house.
For the night view, rendered with V-Ray, I placed a V-Ray Dome Light with an evening HDRI map from [Peter Guthrie’s Collection]

这样室内就被简单的V-Ray平面灯点亮了。

Interiors are lighted by simple V-Ray plane lights.

渲染

白昼场景建立–日冕

Rendering
Daylight view setup – Corona

夜景建立–V-Ray

Night view setup – V-Ray

我使用渲染插件Corona Renderer中的代码转换器converter script从V-Ray中引进所有材料和灯光。效果确实很好。只有叶子材料需要稍微润饰。

我把漫射纹理复制到半透明处，并调整了小部分，得到一个很好的平衡。

我认为0.15到0.3的数值就很好。

I used the Corona Renderer converter script to export all materials and lighting from V-Ray. It worked really well. Only the leaves materials needed to be retouched slightly.
I copied the diffuse texture into the Translucency slot, and tuned the fraction level to achieve a good balance.
A value between 0,15 to 0,3 worked well for me.

后期制作

这些图中Photoshop软件使用非常有限。

白昼渲染的后期制作很简单。

只需要将叶子做一些弯曲操作并进行颜色修正，对雾做一些z-depth pass操作即可。

Post Production
Photoshop work was very limited on these images.
The daylight image has a really simple post production.
Just some curves and color correction on the leaves and z-depth pass for the fog.

关于夜景，我将天空变得模糊一些，水面上反射出天空的倒影，并将其拉长。调整了对比度，在加亮区运用了一点光辉。

我也使用z-depth pass添加了一些微微的薄雾效果。

For the night shot I blurred a bit the sky and the reflections on the water, simulating a long exposure. Tuned the contrast a bit and applied a slight glow to the highlights.
I also applied some subtle mist effect using the z-depth pass.

作品

作为结语，我想解释一下从中选出的两张作品图。

湖上的独栋别墅是建筑上的对称，所以我决定用反射水面来强调这一概念。

在整个场景中，我使用了一个2:1的全景比例和夜晚色调。通过室内灯光是可以理解该项目的主要概念，公寓出现在树后面的设计给建筑一种像素化效果。

以上就是全部的过程。

这里你可以找到该项目的其他图。

Composition
To conclude, I want to explain the composition choose for these two images.
The single house on the lake is architecturally symmetrical, so I decided to emphasize this concept using the reflective water plane.
I went for a panoramic ratio 2:1 and a night mood for the overview of the entire complex. Through the interior lights it is possible to understand the main concept of the project, the apartments appear behind the trees giving a pixelated effects to the architecture.
That’s all!
Here you can find additional images I made for this project.

希望这个简单的制作过程会让大家感兴趣，并希望对大家有所帮助。我很乐意回答大家的任何问题。

感谢阅读

Hope you find this simple making-of interesting and useful. I’ll be happy to answer any question you may have.
Thanks for reading,Giona.

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