Making of Dune House
由专筑网韩平，刘庆新编译
Lichtecht公司的“沙丘住宅”渲染图，其灵感来自Matthias Arndt在丹麦北海岸的假期，并以John Pardey Architects + Ström Architects事务所设计的林中宅为基础。该项目获得了2013年第17周最佳效果图奖，2013年四月最佳奖以及2013年年度竞选中获最佳奖项。这篇文章描述了Matthias Arndt创建“沙丘住宅”效果图的过程，使用了3dsmax, GrowFX, Floor Generator, V-Ray以及一点后期制作。
Lichtecht‘s ‘Dune House’ visuals, inspired by Matthias Arndt’s vacation to the Danish North Sea Coast and based on the Hurst House by John Pardey Architects + Ström Architects, awarded them Best Visualization of the Week NO. 17/2013, Best of April 2013 and still in the running for Best of YEAR 2013. Follow Matthias Arndt as he describes the process of creating the ‘Dune House’ visuals using 3dsmax, GrowFX, Floor Generator, V-Ray and just a bit of postwork. Enjoy!
作者：Matthias Arndt
Author: Matthias Arndt
Matthias Arndt生于1973年。他来自德国波罗的海附近罗斯托克的一座小城，他曾在柏林学习建筑设计。10多年之前他去了汉堡，也成为lichtecht公司的合伙人。Lichtecht是一个由建筑师、设计师和图形艺术家组成的团队，他们主要利用3ds Max, V-Ray, Photoshop 和 After Effects制作建筑效果图。
Matthias Arndt was born in 1973. He comes from a small town in Germany near Rostock on the Baltic Sea and studied architecture in Berlin. More than 10 years ago he went to Hamburg and became co-founder of lichtecht. lichtecht is a team of architects, designers and graphic artists that work mainly on architectural visualization projects with 3ds Max, V-Ray, Photoshop and After Effects.
早在2013年四月，我就完成并发布了“丹麦北海岸的沙丘住宅”的个人项目。上周我发现它获得本月的最佳效果图奖，因此Ronen Bekerman邀请我写一篇如何制作这个项目的文章，今天我也非常开心与你们分享心得。感谢Ronen，更感谢你们喜欢这篇文章并进行评论。
Back in April 2013 I have finished and posted a personal project called “The Dune House on the Danish North Sea Coast”. Last week I found out it turned out to be the best visualization of that month and Ronen Bekerman invited me to write a making of about that project, which I am very glad to share with you today. Thanks to Ronen and many thanks to all of you who have commented and liked the post.
沙丘住宅/The Dune House
我和我的家人在丹麦北海岸度过了上一个假期。那里的风景给我留下很深刻的印象，也启发我创建了这个项目。在那之前的几天，我曾在archdaily 上看过John Pardey Architects + Ström Architects事务所设计的林中宅，我觉得这应该是我可以想象到的最好的住宅了，尤其是在起居室、餐厅和卧室的位置安排上都获得良好的海景。
My family and I spent our last vacation at the Danish North Sea coast. The scenery there impressed me a lot and inspired me to create this project. Days before that, I had seen the Hurst House by John Pardey Architects + Ström Architects on archdaily and thought this was a great house which I could imagine well here. In particular the location of the living, dining and sleeping area would allow a great view to the sea.
摄影由Andy Matthews & Andy Stagg 提供/Photographs by Andy Matthews & Andy Stagg
丹麦北海的景观都是古老的混凝土沙丘，所以我从材料的本质上进行了一些改变。
The landscape at the danish north sea-coast is full of old concrete bunkers. So I changed the materials from the original a bit.
照片由Emily Mankowski 提供/Photo by Emily Mankowski
照片由LEGO George / lekgodt.no 提供/Photo by LEGO George / lekgodt.no
建筑一层的室外墙是由混凝土制成，作为对沙丘的回应。
The exterior walls on the ground level are made of concrete as a reminder to the bunker.
让我们一起来看看这个项目的制作过程••••••
Lets follow through the realization of this project…
建模/Modeling
我最喜欢在3D中做完大多数事情，尤其是对于需要多个透视图的项目,因为它比在后期制作的工作更简单。首先，我创建了该建筑没有提供的CAD平面，因此我绘制了楼层平面图、立面图，并按照它们之间的关系进行排列，而且将它建造成几何体块。
I am a big fan of doing most of the things in 3D, particularly for projects with multiple perspectives, as it works so much easier than if I would have done things in post production. First, I created the building. CAD plans were not given and so I mapped the floor plans and elevations on planes, arranged them in correlation to each other and built the geometry on it.
除此之外，关于建模我也没有特别的事情要说。唯一要说的可能是CG资源库由Thomas Suurland设计的用于制作地板和露台的“地板生成器”的使用。Bertrand Benoit已经写过关于这个的教程。
Otherwise there is nothing special to say about modeling. The only thing would be the use of the great Floor Generator by Thomas Suurland from CG-Source for the flooring and terraces. There was already a tutorial about this by Bertrand Benoit.
使用地板生成器的脚本/Using the Floor Generator Script
在这篇教程文章中，Bertrand以GH住宅建模为例详细描述了他使用地板生成器脚本的方式。通篇检查了Bertrand的制作GH住宅文章，我获得了更多关于他工作的信息。
In this how-to article Bertrand describes in detail the way he uses the Floor Generator Script using the GH House model as an example. Check Bertrand’s full GH House making of article for more information about his work.
环境/The Environment
对于背景，我需要以住宅为中心周围360度的全景。我利用基地内沙丘的漫射光在一天内记录好了周边环境。我祛除了全景的天空，这便于我之后利用圆顶光源为天空添加HDRI贴图。
For the background I needed a 360 panorama from the central point of the house which I recorded in one day with diffused light in the dunes on the spot. I removed the sky from the panorama so I could use an HDRI in a Dome Light for the sky later.
我使用了一些假期拍摄的图片作为参考来建造沙丘模型。对我来说最好的方式就是通过噪点贴图使用3ds max的位移，这让我很好的控制山脉走势。一旦我满意我就将所有的东西都收缩到一个网中。
I used a few reference photos from my vacation for the modeling of the dunes. It seemed to me to be the best way to use the displacement of 3ds max with a noise map. This gave me good control over the hills. Once I was satisfied I collapsed the whole thing to a mesh.
下一个大话题是周围的植物••••••
The next big issue was the surrounding plants…
模型所需的植物都是可以管理的，我没有使用任何预制植物，所以让我们团队的Peter Oldorf创建了沙滩草地和玫瑰果。Peter利用“GrowFX”插件以照片为基础创建了许多植物。我们创建了V-Ray代理器，并将它们分布在场景中。
The vegetation required was quite manageable and I would not use any pre-made plants and so I asked Peter Oldorf from our team to create beach grass and rose hips. Peter created various plants based on pictures with the GrowFX plugin. We created V-Ray proxies and distributed them in the scene.
沙滩草地压缩包/The Beach Grass Pack
对于场景中的许多植物的设置有一个很好的工具——iCube 的“MultiScatter”，这里我也使用了这个工具。这些区域没有我关闭了边界曲线的沙滩草地。
A great tool for scenes with many plants is MultiScatter from iCube which I used here. The areas that should receive no beach grass I closed out by border splines.
我利用相同的方式分布了石头。
In the same way I distributed the stones.
纹理/Texturing
同样，没有特别的，大多数材料都是相当简单的。我使用了CG纹理库中的一些纹理，但对于混凝土纹理，我在PS中进行了一点编辑。PixPlant软件帮助我为凹凸贴图创建了一个法线贴图。
Again, nothing special. Most of the materials are quite simple. I used some textures from CGTextures, which I edited a bit in Photoshop for the concrete. The PixPlant software helped me to create a normal map for bump mapping.
沙丘是一个非常简单的无缝沙子纹理。但因为沙地草地，所以这都不起眼，因此节省许多工作。室内的板子利用了MultiTexture插件覆上了纹理。
The dune sand is a very simple sandy texture that is not seamless. But this is not noticeable because of the dune grass and thus saves some work. The boards in the interior are textured with the help of the MultiTexture plugin.
照明/Lighting
白天场景中的照明专门使用了由Peter Guthrie设计的带HDRI贴图的V-Ray圆顶光源。我希望获得漫射光照明来加强照片的真实感。
The lighting of the day scene is exclusively a V-Ray Dome Light with an HDRI by Peter Guthrie. I wanted to achieve a diffuse mood lighting to enhance the photo-realistic feel.
在夜间的场景中，我使用了一些额外的深色橘色的V-Ray光源。相机的白平衡必须设置成淡黄色。阴影样本相对较低以保证较短的处理时间。室外光源由一个带制造商提供的ies曲线的V-Ray IES（光域网）光源提供。
In the Night scenes I used some additional V-Ray lights with a deep orange hue. The white balance in the camera must be set to a slight yellow. The shadow samples are relatively low to keep the processing time short. The exterior lights have a V-Ray IES Light with a manufacturer-supplied ies curve.
相机设置/Camera Settings
在我看来，我们所做的无非是虚拟的建筑图片。我们的目标是舞台图像，而且我很喜欢戏剧。这通常是通过设置相机广角镜头得到的。我们非常小心不希望前景的对象看起来扭曲了。在一些图片，比如中心透视的场景，我使用了18mm的大角度。为了更好地提深照片的效果，我也增加一个较好的戏剧性的光晕。进一步指导方针，是前景和背景间的较平衡关系或者三分法。为了满足后者的效果，我喜欢用一个小工具——图片排版助手。
What we do is in my opinion nothing more than virtual architectural photography. The goal is to stage the image and I like drama! This is usually achieved with wide-angle camera settings.One must be careful that objects do not look too distorted in the foreground.In some images, like the central perspective shots, I used a wide angle of 18mm. To boost it even further I also added a nice dramatic vignetting. Further guidelines are a beautiful foreground and background relationship and the Rule of Thirds. To comply with the latter there is a small tool, the Image Comp Helper, which I like to use.
正如我之前写到的，我非常喜欢尽可能多的在3D中完成工作。在我看来计算景深看起来比后期的景深更真实。白天的图片曝光度设置为F制光圈：2.8；快门：1/25；ISO : 55。
As I wrote before I’m a fan of making as much as possible in 3D. In my opinion calculated DOF looks more realistic than DOF created in post. Day image exposure was set to f-stop : 2.8 / Shutter Speed : 1/25 / ISO : 55
渲染/Rendering
我渲染日间图片通常使用发光贴图和光缓存并进行适当的调节。在后期细节的加强，你可以利用一个AO通道。我在渲染夜间图片时，宁可使用蛮力，这通常意味着较长的计算时间，但是不会出现任何不必要的照明问题漏洞或斑点。从我的经验，你可以在利用蛮力得到的20个样本，可以选择subdiv样本来协助合理的计算时间。我觉得应该说明我也有一个优势，我可以使用一个很好的渲染工厂库！
I render day time images usually with an Irradiance Map and Light Cache solution with moderate settings. With an AO pass, you can still enhance the details in post.I render the night views preferably with brute force.
This usually means longer computation time, but you don’t have problems with any unwanted lighting leaks or spots. From my experience you can keep the subdiv samples in the Brute Force Dialog around 20 samples, helping with reasonable computing time.I probably should mention that I also have the advantage that I can use a nice render farm!
后期制作/Postwork
我的修整并不那么令人激动。我使用了一系列渲染元素，比如VrayRaw反射，VrayRaw折射，VRay反射，VRay照明，VRay线框颜色，VRay Z深度（景深通道）和例如AO通道的VRay额外纹理。这些我或多或少的采用多种方式调节着透明度。对于每一张图片vary设置，反置VRay Z深度（景深通道）是模拟烟雾的好方法。
My retouching is not really exciting. I use a couple of render elements such as VrayRaw Reflection, VRayRawRefraction, VRayReflection, VRayLighting, VRayWireColor, VRayZDepth and VrayExtraTexture as AO pass. These I multiply or negative multiply and experiment with the opacity.
In each picture the settings vary. Inverted VRayZDepth is a nice way to simulate haze.
接着我使用了一些小尺度的“Magic Bullet”照片滤镜。最后PS中的色像差有助于增加照片真实感。你看不到，但可以感受到。
Then I use some Magic Bullet PhotoLooks filter on a small scale. Finally chromatic aberration in Photoshop helps to increase the photorealism. You can see it barely, but you can feel it.
以上就是全部内容。希望这些能够帮助到你们的地方。谢谢你们的阅读。也非常感谢我们团队的Karol翻译了这篇文章。
愿一切都好
Matthias
That’s it! Maybe I was able to help you with some tips. Thank you for reading. And many thanks to Karol from our team for translating the text!
All the best,
Matthias.
出处：本文译自www.ronenbekerman.com/，转载请注明出处。
|
|
