Harbor View Break Down

由专筑网杨帆，刘庆新编译

我即将完成的Portfolio Vol. 4中的最终视图中缺少一张关于长码头重建项目的波士顿海港视图。这张视图很重要，因为它展示了设计最重要的一个部分，多层式座位、海港景色构建，还有游客的观光体验。由于建筑和几何细节的基本渲染有限，最终渲染图的成功还是要得益于人物环境和灯光。下面是制作渲染图的一个快速分解步骤：

One of the final images that my upcoming Portfolio Vol. 4 was lacking was a view of the Boston harbor for my Long Wharf redevelopment project.  This view was crucial because it showed how one of the most important parts of the design, the tiered seating, framed the view of the harbor and what that experience might feel like. Since the base rendering was limited in architectural and geometric detail, the success of the image relied on the entourage and lighting. Below is a quick breakdown of the image:

1. Sketchup模型

这张图的组织方式是将焦点放在海港视线上，而建筑居于次要地位。因此Sketchup模型只包括分层的阶梯式座位、石凳和光源的位置。远处的景色元素将在Photoshop中添加。

1. Sketchup Model
This image was composed in such a way to place emphasis on the view of the harbor with the architecture taking a secondary role. The Sketchup model therefore only consisted of the tiered seating, stone benches and light locations. The context in the distance will be added in Photoshop.

2. V-Ray 渲染

V-Ray基础渲染也是基本操作，只需将大部分表面覆盖上简单的石头材质。我决定在Photoshop中添加草材质，因为我不确定草要添加在哪里。我想我可以在Photoshop中很快速地反复尝试不同的想法，这种调整遮罩的方式将比渲染来得更快。

2. V-Ray Rendering
The V-Ray base rendering was basic as well showing a simple stone material covering most of the surfaces. I decided to add the grass in Photoshop because I wasn’t sure where exactly I wanted it to go. I figured I could iterate different design ideas faster in Photoshop by adjusting the mask vs baking it into the rendering.

3. 背景

我拿来以前的照片作为背景。这些照片显示出的时间是整个渲染图色调和场景灯光的驱动力。实际上我将几张照片P在一起来获得最后的背景。

3. Context
I used photos that I had taken a while ago for the background context. The time of day of these photos was the driving force of the overall tone and lighting of the scene. I actually had to patch several photos together to get the final background seen here.

4. 草地

为了插入草材质，我先很快地在大体位置做了遮罩处理。之所以这样做是因为随着座位接近水域，草带也逐渐不那么密集。进行到这一步，再选择一个不同形状的粉刷工具，粗略地粉刷遮罩边缘，去掉边缘尖锐的部分，使植被显得更符合规定尺寸。这个操作的具体实施步骤可以参见我的一个老的视频教程，尽管我认为在该技术方面我应该采取更新教程了。

4. Grass
To insert the grass, I first quickly masked in the general locations. The idea was that the grass strips would get less dense as the seating stepped closer the the water. Once I had the location dialed in, I selected a different paint brush shape and roughed up the edges of the mask to get rid of the sharp edges and give more dimension to the vegetation. This idea of roughing up the edges can be seen in one of my older video tutorials though I think it is time for an updated tutorial on this technique.

5. 灯光

虽然我建立了几种灯光模型，但我还是在Photoshop里进行最终的上色处理，这样我可以更好地控制它的稳定性和密度。一旦位置确定，我通过简单的颜色涂层给周围草地添加了亮光。最后，我用一个带有低透明度软刷工具给灯光添加了亮光。

5. Lights
Although I modeled some lights, I ended up painting them in Photoshop so that I could have more control over their placement and density. Once the locations were finalized, I added a glow to the surrounding grass by painting in a simple color overlay. Finally, I added glow to the lights by using a soft paint brush with low opacity.

6. 人物

人物环境对于定义码头的比例和空间的整体氛围起着非常重要的作用。由于分层座位的设计，渲染合适的人物尺寸很难。为了解决这个问题，我顺便将比例人物放进Sketchup模型中，将渲染出的图导到Photoshop里作为参考。

6. People
Entourage is important in defining the scale of the pier and overall atmosphere of the space. Due to the tiered seating, sizing the people properly was difficult. To solve this, I dropped in scale figures into the Sketchup model and exported an image to use as a guide in Photoshop.

7. 颜色

颜色的调整幅度是最小的。我将图的色调调得稍微冷一些，使其和其他作品集页面相配。我还在远处添加了一点薄雾的效果。我不想与原始背景照片的颜色偏离太远。

7. Color
Color adjustments were minimal. I took the image to a slightly cooler range to match some of the other portfolio pages and added a slight haze in the distance. I didn’t want to deviate too far from the original photo colors used in the background photo.


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