Making of Nylenne Gallery
由专筑网陈淮，何伊婷，刘庆新编译
ORANGEGRAPHICS三月份展示了一张具有超级写实主义的图，有着很强的纹理特征。这使得他们获得“2014年第12周最佳视图”奖，今天他们分享了制作Nylenne美术馆的过程，这个渲染图恰当地表现出了它们的地板材质。
ORANGEGRAPHICS presented a visual with strong photorealism back in March, supported by great texture work. This has awarded them Best Visualization of the Week NO. 12/2014 and today they share a bit more about the process of making the Nylenne Gallery which was purposely and suitably made to showcase their flooring textures. Enjoy!
作者：ORANGEGRAPHICS
ORANGEGRAPHICS是一家专注于创造逼真视觉的平面设计工作室。
项目主题——Nylenne Gallery
Author : ORANGEGRAPHICS
Orangegraphics is a graphic design studio specializing in creation of photorealistic visualizations.
Project forum thread – Nylenne Gallery
启动过程
在开始工作之前，制定计划并考虑创建这个场景是用于内部讨论还是展示给客户是非常有必要的。Nylenne美术馆的创建主要是作为一个平台来展示我们所开发的地板材质。由于地板是这个场景中最重要的元素，因此我们必须保持它的清晰并营造一个优美的室内效果。
Start-up Process
Before starting the work, it is essential to plan it and consider the main purpose of creating the scene, be it in-house or for a client. The Nylenne Gallery was created to act as the stage in which we showcase a collection of floor texture we are developing. The floor in this scene becomes the most important element and so we had to keep clear of obscuring it and get a nice looking interior too.
在Orangegraphics中开展任何一个项目之前的一个标准步骤，就是收集大量的意向图，我们使用Adobe Bridge的集合功能所带来的强大特性来更好更快的对意向图进行管理。
我们找到了一些值得借鉴的意向图（如上面的Adobe Bridge预览功能截图所展示）。这张图重点展示了大面积地板，看来这更适合用来展示各种类型的地板。
一旦我们获得关于项目的灵感和理念……我们就能开始建模了。
A standard step before starting any project at Orangegraphics is to gather lots of inspiration visuals. We use Adobe Bridge and a great feature it provides suitably named ‘Collections’ to manage it fast and easy.
We found a great inspiration we can build upon (shown in the preview window of the Adobe Bridge screenshot above). It shows a large span with lots of floor in focus, and seemed rather fitting for showcasing various types of flooring.
Once we had our inspiration and the concept for the project… we started modelling.
建模
我们使用3ds max 2014和V-Ray v3.0来对这个场景进行建模、展示、渲染。
我们基于我们所找到的一些意向图来建模，为了使比例和尺度正确，我们将视角调整到与照片视角一样（即使这样很清晰，但我们稍后会得到更多视图。）将3ds max 中的单位将设置为真实单位，而意向图将作为背景图添加到场景中。
Modeling
We used 3ds max 2014 and V-Ray v3.0 to model, stage and render this scene.
We based the scene on one of the inspiration images we found and started modeling based on that, to get the proportions and dimensions right as well as set it up for a camera aligned the same as in the photo (even though it was clear we will have more views later on). 3ds max units were set to real world units and the inspiration image was added as a viewport background backdrop.
我们使用3ds max 中的透视匹配这个新工具来设置了透视角度（对于经常使用草图大师的人来说应该比较熟悉）
在建模过程中，比例尺是十分重要的，如果我们假设一个左边窗户寸是3米*1米,那我们可以根据窗户尺寸来设置栏杆高度。
在利用透视匹配工具完成部分工作后,我们接近完成工作。
We’ve set the perspective using a new tool in 3ds max called Perspective Match (SketchUP users among you will be familiar with it since you had this for a long time now).
While using it, it is important to get some “scale reference”. For that we assumed that one window panel on the left has dimensions of about 3M x 1M. It worked well with the highet of the gallery railing so we were set to go.
After some work with the Perspective Match tool we got near to what we wanted to accomplish.
接下来我们利用一个便捷的脚本Lele’s V-Ray Tools这个强大工具包中的Anything to Physcam v.1.4插件将标准的3ds Max镜头转换为V-Ray物理镜头。
当我们对视图比较满意之后我们开始造型方面。
我们首先通过木屋顶构件来确定建筑的基本形状，我们制作多边形组件并利用一个免费的神奇插件—iToo Software里面的复制工具。复制工具是一个用来拷贝物体的修改器，它与3DS Max中的阵列工具类似，不过它是参数化的。
Next thing was to convert the standard 3ds Max camera to a V-Ray Physical Camera using the handy script “Anything to Physcam v.1.4” from this great pack on scriptspot – Lele’s V-Ray Tools.
Since we were quite happy with the view, we started the modelling part.
To get the basic shape of building we started from the wooden ceiling structure. We poly modeled one set and cloned it with an amazing free plugin – Clone from iToo Software. Clone is a modifier which can be used to create copies of an object. It is similar to the Array tool in 3DS Max, except that it is parametric.
利用多边形建模方法制作的基本构件。
Basic structure done with poly modelling.
关掉沿镜向切割功能的镜像修改器。
Symmetry modifier with turned off “Slice Along Mirror” option.
利用复制修改器所准备好的模型。
Ready model with the help of Clone Modifier.
与照片相匹配的屋顶构件。
Ceiling structure matched to reference photo.
利用简便的多边形编辑功能我们建造了剩下的建筑主构件，由于简易多边形比较容易计量，我们总是从一个场景中的主要形状开始建模，然后再继续增加细节。
由于这个场景比较简单，而且使用了简便的多边形建模方法，我在这里提及一些特例：
1.天花板和窗户外的地板是通过地板生成器这个脚本完成的，你可以在Bertrand Benoit关于使用地板生成器脚本的公告中了解使用方法。
2.窗户外的栏杆是使用了栏杆样式（创建>AEC拓展>栏杆）。
3.复制工具可以用来制作这类类似窗户的组件
你应该经常探索并利用最适用于你工作的工具，下面是准备好的基础模型。
With the help of simple editable poly modelling we build the rest of main building structure, paying attention to have as low polygon count as possible. We always start with the main shape of a scene and add details in later steps.
As most of this scene is simple and simple poly modeling methods were used I will only mention a few exceptions.
Wooden planks on the ceiling and outside the windows was done with the help of the Floor Generator script, which you can read about best in Bertrand Benoit’s post – Using Floor Generator Script.
Railing outside the window is the Railing Object Type ( Create > AEC Extended > Railing ).
Everything that can be placed with the clone modifier as windows etc is done that way.
You should always explore and use the tools best suited for the task at hand. Below is the ready base model.
环境
我们的模型库有的在网站购买，有的是免费的，通过使用这个模型库，在室外增加了一些基本的植被，并在室内增加了类似空调、开关之类的物品。我们使用了Outliner这个脚本，来帮助我们管理越来越大的场景。
布置了植被的场景
Environment
Using our repositories of models, both bought and free from the web, we added some basic vegetation outside and tiny details inside as air conditioner, switches, etc. We use a script called – Outliner, to help manage the scene as it gets bigger and bigger.
The ready scene with Vegetation outside.
材质
场景中的所有物品都是v-ray材质，由于影响到最终的出图效果，因此我们聚焦于材质，确保我们使用的是高质量的材质。下面我们展示在这个项目中使用的一些有趣的材质。
地板
正如上文提及到，我们使用地板生成插件以及多纹理映射一起来处理地板上的纹理变化。
Materials
All objects in the scene are assigned simple V-Ray materials. We do focus on the textures though, making sure we use high quality ones since these affect the final image greatly. Below we show a couple of the more interesting materials from this project.
The Floor
As mentioned, the floor was made using the Floor Generator script along with a MultiTexture Map to handle the variation of textures applied on the floor.
很显然我们使用自己的胡桃木材质。
We used our own Walnut Brushed textures for this… obviously.
V-Ray材质作为基本材质，漫反射层会链接一张加载了全部地板纹理的多重纹理贴图，降低过滤模糊值是一项很重要的事情。
贴图的反射和凹凸是非常相似的，通过伽玛值和色彩修正映射我们能够调整贴图的明度来获得正确的反射和凹凸。我们选择由cuneytozdas提供的色彩修正脚本是因为它比标准版的更具灵活性。
通过地板生成器和多重材质，赋予了完美UVW映射的木板被随机放置在地板上。
天花板上的木材
如何很好的展现天花板上木板裂痕是一项极富挑战的任务，在经过一些测试之后，我们最终使用了一种特殊的裂痕平铺纹理。
V-Ray Material is used for base. The Diffuse slot is connected to a MultiTexture Map, with all floorboards textures loaded into it. An important thing to do is to lower the blur value of Filtering.
Maps in reflect and bump slots are very similar. With the help of Gamma value and ColorCorrect map we are able to set the proper lightness of our maps to get correct reflections and bumps of the material. We opt to use the ColorCorrect script by cuneytozdas over the standard one as it offers more flexibility for us.
Thanks to Floor Generator and MultiTexture, the planks are randomly placed on the floor with perfect UVW mapping.
The Wood in the Ceiling
It was a very difficult task to achieve a good result of wooden cracks on the ceiling structure. After some tests, we ended with making a special tileable texture of cracks.
我们通过复合映射在3ds max中混合了两种映射，它给了我们更多灵活性而不是仅仅混合它们。在2d应用里面，通过色彩修正映射加深木材纹理，并在漫反射层中增加了裂痕。使得裂痕看起来比木材深色，但不至于完全漆黑。
我们还在复合映射中增加了一个80%的V-Ray脏旧映射，来表示更深色的角落。
We combined both maps in the 3ds max with help of a Composite map. It gave us more flexibility than combining them
outside in 2d software. The texture of wood is darkened with the ColorCorrect map and placed with the mask of cracks on the top of the base diffuse texture. It gave us the look of cracks being darker than the wood, but not entirely black.
We also added a V-Ray Dirt map to the composite with 80% multiply to give us darker corners.
反射和凹凸贴图也是用同样的方法完成，通过色彩修正和复合贴图混合纹理。每一个元素都有一个稍微不同的UVW偏移来避免材质和裂痕被全部添加到同一个位置。
The bump and reflect maps are done in the same way, combining textures with the help of ColorCorrect and Composite maps. Every element has a slightly different UVW offset to avoid placing textures and cracks in the same way on all of them.
反复推敲纹理的细节和比例，其他材质都是通过类似的方式来完成的。我们建议尝试在3dsmax中合成材质，而不是完全使用一些2d应用—即使在开始阶段会很乏味，但你将得到更多的收获。
All other materials are done in a similar way, paying a lot of attention to details and scale of textures. We suggest exploring the possibilities of compositing textures inside 3dsmax over doing it all outside in a 2d application – You stand much more to gain this way, even if it is more tedious at start.
灯光和渲染设置
所有的场景均在伽玛2.2中完成。
Lighting and Rendering Setup
All scene is done in Gamma 2.2.
我们不会在所有模型基础的灰色或白色材质上设置灯光，因为我们认为各种材料很大程度地影响了灯光，所有灯光设置至少必须建立在基本材质的基础上。
因为我们准备好了有基本材质的场景，现在可以开始灯光和渲染设置,这总是工作中最棒的一部分。整个场景只使用了两种光。
一个V-Ray半球光与一个HDRI的图像关联，放置在颜色校正贴图里以降低饱和度。
We don’t set the lighting with the basic grey or white material set on all models since we believe that the variety of materials affect the lighting in such big level that all lighting setup must be build on at least basic materials.
Since we have the scene ready with basic materials we can now start working with lighting and render setup, which is always the best part of work. The entire scene is lit with 2 lights only.
A V-Ray Light Dome connected with an HDRI image, which seats inside a ColorCorrect map to desaturated it a bit.
然后在首层天花板上放置一个V-Ray球光灯以产生强烈的可见光。
And a V-Ray Light Sphere inside for generating the strong visible light on the first floor hanging from the ceiling.
我们还添加了一些环境元素作为灯光的反射/反弹元素。既然我们的建筑坐落在湖边，我们就开始模拟这个场景。
We also added some surrounding elements to act as reflecting / bounce elements for the light. Since our building is situated by the lake we had to simulate it.
显然，我们不会把模型建到极致，但是简单地加入一些小的元素可以令效果更真实。
Obviously, we did not model the site to perfection, but some minimal additions help to bring more realism into the mix.
渲染
我们常用到渲染通道。除了你可能想到的一些用途，我们还能通过渲染通道很快地找好渲染设置。例如——在反射、折射和灯光通道比在beauty通道，能更容易发现有问题的区域。
以下是两种我们常用的渲染通道：
Vray Sample Rate：显示一个像素亮度与采样数量成正比的图像。
Vray Raw Total Lighting：原始灯光的总和——直接照明和间接照明。 可以做出简单的粘土渲染,最适合用以调整灯光设置(发现过曝或太暗的区域)。
Rendering
We utilize render passes a lot. Other then what you might think we use them for, we are also able to find good settings of rendering very fast with them. Thing is – you get the see problematic areas better in passes such as reflection, refraction and lighting vs. the beauty pass.
Two render passes we always use are :
Vray Sample Rate： Shows an image where the pixel brightness is directly proportional to the number of samples taken at this pixel.
Vray Raw Total Lighting：The sum of all raw lighting – direct and indirect. Can be used as simple Clay Render, and is best for tweaking the lighting setup (finding over-brightened / too dark areas).
V-Ray设置非常基础，没有任何特别的地方，设置相当高,在最终渲染我们使用Brute Force与Light Cache演算法来避免任何光解的插值,从HDRI贴图获得灯光小细节。使用Brute Force算法很重要，因为可以提高自适应数量和降低Global DMC推出的噪波阈值等参数，而这些都可以影响图像的杂色程度。
The V-Ray setup is pretty basic, without any special things… settings are quite high, in final renders we used Brute Force with Light Cache to avoid any interpolation of light solution and have small details of light from the HDRI map. It is important when working with Brute Force to increase the Adaptive Amount and lower the noise threshold in Global DMC roll-out as those parameters affect the level of noise in the image.
后期制作
所有渲染元素通过V-Ray帧缓冲器渲染后的原始渲染将使用Adobe After Effects进行处理。
Post Production
Our raw render from the V-Ray Frame Buffer with all render elements we took to the Adobe After Effects.
我们首先做的是通过添加Vray Raw Total Lighting通道的柔光模式增加光的对比度和调整其亮度。
下一步是在环境光遮蔽通道(通过把V-Ray污垢贴图到Vray Extra Tex渲染元素来实现)的帮助下添加精密的细节。除此之外，我们添加了一个曲线校正。
First thing we did was to increase the light contrast by adding a Vray Raw Total Lighting pass with Soft Light mode and adjusting its strength.
Next was adding subtle details with the help of an Ambient Occlusion pass (achieved by putting a V-Ray Dirt Map into a Vray Extra Tex render element). On top of that we added a curve correction.
所有这一切都预先组成，并在成果上采用Red Giant Looks效果进行对比，添加了一点色差，改变色彩平衡等。
All that was pre-composed and on the result we applied a Red Giant Looks effect, where we worked on contrast,added a little chromatic aberration, changed color balance, etc.
首层有点太亮,吸引了过多的注意力，我们使用Vray Light通道降低一点饱和度。通道将会设置成为Matte layer 轨迹（类似于Photoshop的马赛克），然后通过调整降低图层饱和度。
The first floor was a little too bright and took to much attention so to desaturate it a bit we used Vray light pass. It was set as track Matte layer (something as mask in Photoshop) and desaturate with an Adjustment layer.
再一次,我们提前组合所有图层,并且添加了一个高反差保留滤镜的叠加模式实现图像细微的锐化，最重要的是为天花板的灯放置一个发光贴图（用曲线调亮）。
Again, we pre-composed all layers, and added a high-pass filter with overlay mode to achieve subtle sharpening of our image, and on top of all is placed an image of glow for the light in the ceiling (lightened with curves).
最后一件事是添加一点基于Zdepth渲染元素的镜头模糊计算（对模糊程度稍作调整，同时进行一点高斯模糊以避免图像边缘有杂色)，仅此而已。
下面是原始渲染和后期制作最终的结果的对比：
Last thing was adding a little Lens blur calculated based on the Zdepth Render Element ( tweaked a little by Levels and with small amount of Gaussian Blur to avoid noise on edges) and that’s all.
Below is a comparison of the Raw Render and Post Production final result :
最终渲染图
其他所有渲染使用同样的方式处理。
Final Renderings
All other renders were done in the same way…
同样的场景，不同的地板纹理。
Same scene with another floor texture:
非常感谢您阅读本制作特辑。我们希望这些内容让您感兴趣，同时，我们邀请您访问我们的网站，对我们的纹理做出一些反馈意见——我们刚刚启动这个项目,所以您的宝贵意见可以使我们达到提供最高质量的CGI内容的目标。
Thanks a lot for reading this Making-of. We hope that it was interesting for you and we invite you to visit our website and give us feedback about our texture – we just started that project and so your opinion is very valuable to us as we aim to provide the highest quality CGI content.
出处：本文译自www.ronenbekerman.com/，转载请注明出处。
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