Making of WINTERHILL

由专筑网杨帆，刘庆新编译

Andrei Mikhalenko制作的“2016年第24周最佳项目”重塑了曾在他脑海中闪现的强烈的视觉形象。这是一个个人项目，他将冬日田园的概念运用到住宅的设计中。这个作品主要侧重于创造使用GrowFX和Forest Pack的环境。除此之外， Andrei还用3dsmax和vray来创建最终的图像。下面来详细阐述“Winterhill”的制作过程。

Best of Week 24/2016 by Andrei Mikhalenko was about recreating a strong image he carried in his mind for some time. It was a personal project in which he bonded the winter harvested field concept with a house he designed later on to fit. This work focused heavily on creating the environment using GrowFx andForest Pack. Besides these, Andrei also used 3dsmax and V-Ray to create the final images. Dive into this detailed making of the “Winterhill”. Enjoy!


概念

这个作品始于2014年。在工作的闲余时间，我在刷Facebook网页时看到了一张描绘冬季景观和田地的图片。我当时觉得如果有一天能创造类似的氛围也不错。我把图片放进我的“灵感”文件夹里，这里面收集了很多以供日后使用的参考资料。

The Concept
The way to this work began back in 2014. During a break from work, I was scrolling my Facebook feed and came across one image depicting a winter landscape and a harvested field. I remember I thought it would be nice to make a work with a similar ambiance one day. I’ve put the image into my “inspiration” folder where I collect references for later use.





这张图片经过了一年多的时间才等到合适的时机，我一直将它记在心里。唯一缺少的是与场景匹配的结构体量。有一次，我在画素描的时候想到了一个有趣的概念，我可以创建三维体量的房子。

这真是完美的匹配！

设计背后的初衷是创建一个被阳光渗透的建筑。

The image has spent more than a year waiting for the right time as I constantly kept it in mind. The only thing missing was the architecture piece that would match the scenario. Once, while drawing some sketches and looking for an interesting concept, I came up with the house of three volumes.
It was a perfect match!
The idea behind the design was to make a building transparent the sunlight piercing throughout its length.


参照

在明确了架构并牢记我想要达到的目标之后，我开始着手收集额外的参考资料。这有助于我深入到环境和建筑的细节中去。

对于这个特殊的项目，我不需要太多，我的童年就是在郊区度过的，旁边就是一片田地与森林相接壤的区域。这也是为什么我对霜降和深秋景象都能熟知的原因。

Reference
After clarifying the architecture and keeping in mind a vague image of what I aim to achieve I began to collect additional references. It helped me to get deeper into the environment and architectural details.

For this particular project, I didn’t need too many since I’ve spent my childhood in a suburb and my house was located right next to a field merged with a forest. That’s why early frost hour and the late autumn theme is well known to me.





3D建模

每次我开始建模的时候，都会进行一个规模定位。随着元素数量的逐渐增长，元素之间的规模差异也会越来越明显。

3D Modeling
Any time I start working on a model, I create Biped to orient myself in a scale. Later on, when the number of elements grows, the Biped becomes useless since I start to feel a scale in the differences between elements.





建筑模型并没有什么特别之处。建筑覆板是用FloorGenerator插件创建的。像钉子这样的小细节是用简单的球体和克隆修饰来建模的（它是免费的）,这些可以在iToo软件网站上进行下载。

There is nothing special in the model of the building. The sheathing is created using FloorGenerator plugin. Small details like nails were modeled using simple spheres and Clone modifier (It is a freeware you can download from iToo Software website).









厨房和客厅的内部模型也是如此创建的。你可以透过一些大的全景窗口看到它们。即使只需要渲染室外的镜头也不能忽略内部的塑造。虽然这些并不明显，但会为你的最终图像增加许多细节。

The kitchen and living room interiors are modeled as well. You can see them through the large panoramic window in some angles. You should never forget about the interior even if you render the exterior shot. It adds some details to your image that are not obvious but can bring another piece of the story you aim to tell.











在这个作品中，主要强调的是建筑周边的景象。最有力的表现元素是田地和干草垛。由于我一直致力于为我的作品创造独特的模式，所以必须耐心地模拟所有的植被。我用GrowFX插件来完成这项工作。


干草垛

第一件事是打开Google浏览器，寻找参考资料。即使看到对象很多次，你也可能错过一个小细节而影响现实主义的形象。我们都知道，现实主义对细节是十分注重的。

In this work, the main emphasis is on the building surrounding. The most powerful elements are harvested field and the haystacks. Since I always aim to create unique models for my works, this time I had to patiently model all the vegetation. I used the GrowFX plugin for those purposes.

The Haystacks
The first thing was to open the Google and look for references. Even seeing objects for so many times before you can miss a small detail affecting the realism of the image. As we all know, the realism is all about details.





为了使操作更简单，草垛可以表示为通过滚动而具有一定厚度的物体。这就是为什么主要任务是先创建螺旋，然后再添加吸管的原因。

To make things simple, the haystack can be represented as a surface with a certain thickness that is rolled by a spiral. That is why the main task was to create a spiral first and then add straws.







为了减少多边形计数，我制作了空心草堆。“切片”参数可以缩小基于每个螺旋和草堆中心点之间距离的螺旋线的长度。越接近螺旋中心，切片值越大。我采用了创建两端螺旋再缩短它们之间距离的方式来制作干草垛。

To reduce the polygon count I made the haystack hollow. To achieve that I used the “slice” parameter to shrink the length of the spirals based on the distances between each spiral and the central point of the haystack. The closer spiral to the center – the more slice value is. That’s how I created the full spirals at the haystack both ends and the shortened ones in-between.





接下来，我做了完全相同的螺旋，但起点和终点略有偏移，这是模拟绳索收缩效应。

Next, I made exactly the same spirals but of the smaller diameter with an offset from the start and the end points to imitate constriction effect of the rope.









最后，我采用了3组花键。2个是创建稻草的螺旋效果，还有一个用来制作绳索。稻草的几何形状根据局部分配的标准加入了旋转的随机性和弯曲度。

Finally, I came up with 3 splines. 2 spirals for straws and one for the rope. The straws geometry was created using standard PathDistribution by adding the rotation randomness, bending and a bit of noise.









积雪的草利用两个插件制作而成。GrowFX插件制作草，SnowFlow插件制作雪。

The snowy grass was made using two plugins. GrowFX for the grass and SnowFlow for the snow.













我用ForestPack插件扩展了整个场地的植被。

I used ForestPack plugin to spread all the vegetation across the site.









材质

在这项工作中使用的所有材质都很简单。在创建材质时最需要做的就是参考分析。你可以通过下载Mikhalenko vol.03压缩包来精确地研究用于该项目植被的材料。

Materials
All the materials used in this work are quite simple. The main thing you need while creating a material is reference analysis. You may study the exact materials that were used for vegetation in this project by downloading the Mikhalenko vol.03 pack.





你会在其中发现各种植被模型和不同类型的干草堆。

You will find models for vegetation and different types of haystacks there as well.









相机设置

在几何模型和材料设置都完成后，我开始寻找有趣的场景角度。因为我模拟了整个场景，所以现在的我可以像一个走在大楼周围的摄影师一样用手中的相机记录每一个美丽的镜头。在对20张图像进行测评后，我选出了7张，在高分辨率的条件下查看它们有所缺陷和遗漏的细节。我在特定的角度添加了一些细节，它们在其他相机下是不可见的，却能使整个场景更加清晰。

Camera Setup
Since the geometry was modeled and the materials were set, I started to look for interesting angles. Because I modeled the whole scene now I could act like a photographer walking around the building with a camera in my hands hunting for a beautiful shot. I put 20 cameras and made 20 test renderings to evaluate the composition. Eventually, I came up with 7 cameras and checked them in a high resolution for defects and missing details that are not visible in a low-res. I added some details for specific angles only since they are not visible on the other cameras and might make the whole scene much heavier.





灯光

在这个特别的项目中，它是所有相机唯一的光源，通过HDRI贴图来实现。为了增加更多的生活气息，我还采用了额外的室内光源。

Lighting
In this particular project, it was the only one source of light for all cameras. I used HDRI map for that purpose. To add more life to the image I also used additional interior lights.





渲染设置

这一过程没什么特别的。我没有使用过滤器，是希望能得到一个有冲击力的图像。

Render setup
Nothing special here. I didn’t use the filter for the final image in order to get a sharp one.





后期制作

所有关于营造氛围和色彩的工作我都是在后期制作阶段完成的。但这并不意味着你必须完全依赖后期制作，在开始这个阶段之前，你必须喜欢渲染。

在后期制作时，我已经把图像的条件都印在脑海里了，即使我已经想好应该如何改进和添加的细节。

当然，你可以花很多时间调整渲染直到得到你所需要的图象，但在大多数情况下，这样做其实没有必要，因为你可以节省你的工作时间和后期制作的渲染过程。

换句话说，你在工作中总是需要优化和理性的方法。它是从不断的工作经验积累而得来的。

为了使PS层之间的导航更容易，我通常按渲染元素的不同进行分组：背景，反射/折射/光/深度/颜色校正。这其中没有常见的分配模式。这一切都取决于你想要达到的原始渲染和目标。

Post-production
All the work that brings ambiance and color mood to the image I always make at the post-production stage. But it doesn’t mean you must rely on post-production entirely.You need to actually like the rendering before you start post-production.
Using the post-production techniques I bring the image to a condition that was already in my mind. Even while making test renderings I already plan how to improve and what to add during the post-production.
Of course, you can always spend a lot of time adjusting the render until you need Photoshop for watermark only, but in the most of the cases, there is no need in doing so, since you save much time both for your work and for rendering process using the post-production.
In other words, you always need optimization and rational approach in your work. It comes with the experience of course. From work to work.
To make navigation between Ps layers easier, I usually divide render elements by different groups : background, reflection / refraction / light / depth / color correction. There is no common recipe for post-production. It all depends on your raw rendering and the goal you aim to achieve.




谢谢阅读！希望我写的文章能对你有所帮助，期待你的评论。

谢谢
Andrei

Thank you for reading thus far! I hope I helped you with this article about my work, and I look forward to your comments  
Thank you,
Andrei.


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