Making of Cliff House
由专筑网刘庆新，Brick编译
悬崖小屋获得“2015年第35周最佳渲染”奖，今天我很高兴分享Matias Moret的制作过程，他很详细地讲述了这座位于加拿大不列颠哥伦比亚西海岸的悬崖小屋的制作过程。看上去非常适合居住。
The Cliff House won Best of week 35/2015 and today I’m happy to share this making-of by Matias Moret, as he details the process of visualising this west coast, British Columbia, Canada based house. Looks like a great location to live in. Enjoy!
首先，我非常感谢Ronen给我提供机会，让我在这个源源不断艺术家关注建筑视图的论坛社区中分享我的一些工作过程。
First of all i′d like to thank Ronen for giving us the chance to share some of our work process with this ever-growing community of CGI artists focused on architectural visualisation.
我们将此项目命名为“悬崖小屋”，显而易见。在这个特殊的案例中，制作流程很特别。不管怎样，照片是不能用的，因为其难接近的地理位置。所以客户描述了该建筑在Skype中的样子。一些图是从Google中搜索的。
We named the project above the “Cliff House”, stating the obvious. In this particular case the work process was quite special. For better or for worse, photos were not available due to its inaccessible location. So the client described how it looked over Skype. Some pictures captured from Google helped too.
准备开始——设置基调、模型和相机
Getting Started – Setting up Mood, Model & Camera
我们现在开始准备工作。首先，我们寻找一些灵感，选一些图来帮助我们建立图的氛围。你可以从这里看到我们的选择图，也就是参考图。
After a couple of talks, we got down to it. First we searched for inspiration and selected the pictures that would help us build an atmosphere for the image. Here you can see our selection, that is, our references.
一旦决定想要传达的氛围，我们须考虑图象了。
将图模型安全地向前移动很重要，一次一个步骤地操作，及时向我们的客户确认我们进展的操作的轨迹的正确性，这样可以避免不必要的工作。
As soon as we decided on the atmosphere we wanted to convey, we had to think about the image.
It was very important to move safely forward, one step at a time, checking with our client that we were progressing on the right track, in order to avoid unfocused work.
相机选好后，我们开始设计我们的方案。这里是我们第一次的渲染图。
Once the camera′s been chosen, we design our proposal. Here you can see our first sketch.
经过和客户的一两次沟通，我们的方案被采纳了。客户很喜欢。
既然我们的方案被采纳了，那么我们必须实现它了！
既然第一个渲染图完成了，我们需要使他更清晰。对于我们和客户来说，比起杰出的手绘图，什么是更好、更快的方式呢？
很幸运我们团队有一位艺术家，他经常用简单的手笔描绘帮助我们节省很多时间。铅笔仍然发挥着它的魔力！
是的，确实发挥了作用。
这里你可以看到Fabricio正在手绘这个项目，效果你也看到了。
After one or two round trips, our proposal returns accepted. Our client likes it.
Now that we′ve promised, we must deliver!
Although the first sketch was ok, we need to make it clearer. Both for us and for our client. What could be better and faster than an excellent hand drawing?
Luckily we have a great artist in our team, who can often help us save a lot of time with a single drawing. The pencil still works its magic!
Yes, it works.
Here you can see Fabricio going at it and the result of him doing so, the finished drawing.
手绘非常棒，吸引了我们的客户。 现在， 我们不知道如何将其表达。 我认为photoshop是一个不错的方式。我们工作室也有一个p 图高手，但我需要把这项工作放在最后。我们先来看这个灯光效果设置。
The drawing is great, it charmed our client, everyone is happy. Now, we have no idea how we′ll pull it off. I′m thinking the answer will involve lots of Photoshop. It′s a good thing the king of Photoshop is also in our team, but we shall leave that for last. First, we tackle the lightning of the scene.
灯光
我们只用一个半球灯来作为球形照明，还有一个来自Peter Guthrie的HDRi。下图你可以看到设置。
Lighting
For global illumination we only use a dome light, with an HDRi from the great Peter Guthrie. Here you can see the settings.
关于室内照明，我们仅用球面灯，将其设置为暖色调，用一些V-Ray IES在房子外表面创造出真实效果的阴影。
For the interior illumination we use only sphere lights with a very warm tone set-up, and some V-Ray IES to generate more real-looking shadows on the exterior surface of the house.
上图是增加了灯光的效果。
And that′s about it with the lights.
材质/Materials
说实话，材质不需要多也不需要太复杂。
建筑外围包裹的网孔结构制作起来有些棘手，因为我们想要体现出轻盈的感觉，使里面的窗格子能透出来。为了达到这一效果，我们使用了透明贴图和“影响阴影”。虽然这样占用了大量的渲染时间，但是我们没有找到其他的方法。
Now, the materials. In truth, not many and not too complicated.
The mesh in which the house is wrapped was somewhat tricky, since we wanted light to shine through the grille. This we solved by using an opacity map together with affect shadows, which brought along a massive amount of render time. We couldn′t figure out any other way.
像往常一样，水泥地面色调有一点亮，但是不是很亮，又叠加了一层遮罩来避免重复，使其看上去更真实。
Concrete floor, as usual, slightly brilliant but not too much, plus a mask to avoid repetitions and make it look more real.
最后的木质元素渲染也相当简单。从下图你可以看到设置过程。
And last, the wood, also quite simple. Here you can see the settings.
这是关于所有材质的渲染。
That′s all there is regarding the materials.
树木/Trees
虽然环境渲染是用Photoshop制作的，但是我们也需要在场景中布置一些分散的树木元素，树木会将建筑反衬的更漂亮。下图是一些3D树木。
I forgot to mention that, although the environment was created with Photoshop, we also made sure to scatter plenty of trees across the scene, so they would reflect nicely on the house. Here′s an image where you can see the 3D trees.
渲染/Rendering
下图是我们一般用到的每个场景的设置过程。
Also, for settings fans here are the ones we normally use on almost every scene.
后期制作/Post Production
最后，我们进入Photoshop处理过程。在这里神奇之处发生了。参与了整个过程的Walter说他能将手绘图转到电脑中，而且他做到了。
不管怎么说，我们需要更多的比文字和图片多的东西来描述这个制作过程，所以我们制作了一个简短的视频，这也许能更好地展示图是怎样制作出来的。
Finally, we come to the Photoshop stage. Here is where the magic happens. Walter (codename Walcom), who had been closely following the whole process, said he could translate the drawing to the computer. And so he did.
Anyway, we thought we needed more than words and still images to convey the work process. So we also made a short video that shows better how the image came to life.
下图是最终效果图。
And here, the final result.
希望大家喜欢阅读并观看该项目的制作过程。
感谢大家坚持到最后。
加油！
I hope you had fun reading and watching this making-of.
Thanks a lot for bearing with us to the end.
Cheers!
出处：本文译自www.ronenbekerman.com/，转载请注明出处。
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