Making of Smirnova-lastochkina Office
由专筑网严越，刘庆新编译
大家好，我是Serjozha Yakimenko，今天要分享的是“Smirnova-lastochkina办公楼”图像的制作过程。
这项作品和其他4项一起提名了2014 3D Awards Student image category( 3D竞赛学生组)，感谢Jeff Mottle, CGarchitect team Best competition in Architectural visualization world的评委组。
“Smirnova-lastochkina office”是我Kyiv National University of Constructions and Architecture读书时的设计课方案的一部分。
工作流程
建筑概念
可视化项目
参考图片
建模
相机匹配
材料
灯光
环境
渲染和相机设置
后期制作
该项目分为两部分： 建筑概念和可视化项目，我会大致讲讲第一部分，主要讲解第二部分
建筑概念
厂址位于乌克兰基辅市
我在场地周围走的时候拍了些照片，帮助我更好的了解周围空间。
我可以把那个还在建造阶段的建筑表现得很好。
Hi, everyone! I am Serjozha Yakimenko and I would like to share with you the making of process of “Smirnova-lastochkina office” image.
This work was nominated for the 2014 3D Awards Student image category along with four others.
Thanks to Jeff Mottle, CGarchitect team and jury for the Best competition in Architectural visualization world.
“Smirnova-lastochkina office” is a part, of the designing project of the office building, during my educational program in Kyiv National University of Constructions and Architecture.
Workflow
Architectural concept
Visualization project
Reference images
Modelling
Camera matching
Materials
Light
Environment
Render and camera settings
Post-production
This project was done in two stages: architectural concept and visualization project. I’ll touch the first stage superficially, and second more deeply.
Architectural concept
The site is located in Kyiv city, Ukraine.
Some pictures, which I took during my walks around the site, helped me understand adjacent space.
Really there was a building under construction. I had a good opportunity to show, how good a building can be.
场地上拍摄的照片/Photos from the site
场地位于城市和旧城镇的边界，建筑可以成为两者的缓冲物。形式简单的棱柱，分为四块功能分区。
This site is situated at the edge of contemporary and historical part of the city.
This building can be a buffer zone between those.
Its form: is simple prism, subdivided into four functional volumes.
功能和形态方案/Functional and morphogenesis schemes
可视化
概念： 结合了简单和美感，以现代手法展现历史感
参考图片
我希望最终的效果像这些图，简单、干净，这样就很漂亮。
Visualization project
Concept: combination of simplicity and beauty, figurative contemporary view to history.
Reference images
I wanted the final image to be simple, nice and beautiful matching the mood of these images:
参考图/Reference images
建模
CAD建造主要体块，3ds Max进行融合
Modelling
Main volume was designed in ArchiCAD and was merged into 3ds Max.
ArchiCad>3DS Max
一个项目用同样的材料在CAD和3d Max中渲染
保存模型： 在CAD的3D视图，另存为 .3D 格式，在"表面"选1000.00 毫米。
合并模型︰ 从 CAD 的3DS 模型，在 3DS Max 新建文件中，导入 > 合并，。
优化模型︰ 为优化模型，在 CAD 合并模型，我将他们转为可编辑>选择的所有顶点 > 焊接少量。
然后给全玻璃幕墙系统找一个合适的几何模板。
I used the same material, for volumes, which I wanted to be one object in 3DS Max.
Saving model: In 3D view of the ArchiCAD, “Save as”, .3D format, by “Surfaces”, 1000.00mm.
Merging model: In new 3DS Max file, Import > Merge, 3DS model from ArchiCAD.
Optimizing model: For optimization, simple models were merged from ArchiCAD, I converted them to EditablePoly > selected all vertices > welded all of them with little amount.
Next step was to search for the right geometry for facade system, which will cover all glass walls of the building.
幕墙系统调整/Facade system variations
我试了很多不同的“幕墙”，选了一个我最喜欢的。
I created several different views of the “walls”, and choose the one I liked the most.
立面造型/Modelling facade
整个立面用统一的元素，复制组合，和建筑的结构结合尝试，按要求移动、 缩放、 旋转、 切割和焊接。这一步最终确定建筑的整体几何感。
For the whole facade I created one unified element and copied it several times, combined it all into one object and started integrating it into the structure of the building, moving, scaling, rotating, slicing it and welding as required.
This step finalized the geometry of my building.
相机匹配
Camera matching
相机视图
我觉得3/4的视图挺好，通过"三分法则"调整构图来完成图框。
Camera view
¾ seemed to me to be a good camera view, vertical orientation looks good for this view and adjusting through “rule of thirds” helped finalize composition of the frame.
材料
我想要纯洁、 简单、 易懂的感觉。
使用不超过三种"主要"材料，保证简单。
玻璃、 钢材和混凝土的三种常见、 现代材料。
幕墙材料
立面材料-玻璃和钢与以下这些设置︰
Materials
I wanted the building to be pure, simple and understandable.
I decided to use not more than three “main” materials, to maintain simplicity.
Glass, steel and concrete are the three common, contemporary materials.
Facade materials
For facade materials - glass and steel with these settings:
幕墙材料/Facade materials
混凝土材料
我尝试了不同结构材料，最后用了Arroway 水泥集合映射。
Concrete material
For structure (concrete) I tried different materials, using Arroway concrete collection maps.
混凝土材料调整/Concrete material variations
我最喜欢最后一个，它的规模和比例从模板上看上去最好看，不画上去也省了很多时间。
这是我用于混凝土材料的设置︰
I liked the last one most; it has a nice scale and proportions of prints from formwork and nice leaks, which when used with the right mapping saves time, instead of drawing it manually.
Here are the properties I used for the concrete material:
混凝土材料/Concrete material
直接用"解开 UVW"修改肌理的比例和位置，填充角落，划分相等的体块结构。
Right mapping with “unwrap UVW” modifier, helped to scale and place texture in good positions, leaks in the corners of the geometry, and form prints dividing structure into equal pieces.
重选纹理/Reposition of texture
路面材料
我渲染了水平多边形的道路，然后按照轮廓的边缘渲染纹理。我想把道路分割出不同区域，行人道，停车标志和一些类似闸门等的细节。多次叠加不同的图层，来看哪一种纹理效果最好。
Road material
I rendered horizontal polygons of the road and drew a texture based on the contour edges of the render. I wanted it to have a separator of the road, pedestrian crossing area, parking marking, dirt edges and some details, for example hatch. Using different layer combinations and experimenting with it I was able to get a texture that I liked.
设计道路纹理/Creating road texture
路面材料的设置：
Properties for the road material:
路面材料/Road material
同种材料不同的扩散和模糊度，来尝试出纹理粗糙的效果，映射模糊度较低。
灯光
对于照亮场景，我使用两种类型的光︰
Jpg格式VrayDome ——用于自然光线;
VrayPlanes — — 用于人工照明。
As you can see I used the same material for diffuse and bump with difference blur amount, I wanted the bump to look grainy and rough, so I used little amount of blur for the map.
Light
For illuminating the scene, I used two types of the light:
VrayDome with .jpg - for natural light;
VrayPlanes – for artificial lights.
灯光映射/Map for illumination
照明场景的图像
Image that illuminated the scene.
VrayDome 光设置/VrayDome light properties
在 VrayDome 通过标准位图装载机 （球面映射）加载.jpg格式、 在右边的Alpha 通道检查不可见度，把这个地图加载到环境地图 （8-热键）。要看渲染前的效果，打开视口配置 (Ctrl + B)，选中"使用环境背景"，就能看到环境视图。我把它旋转的要求。我想要玻璃反射出一点淡黄紫色色的光，调整一下映射。
In VrayDome light I loaded .jpg through standard Bitmap loader (Spherical mapping), check on Invisible, for right Alpha Channel, and loaded the same Map into Environment map (8 - hotkey). I wanted to see how it will look before the render, so I opened Viewport Configuration (Ctrl+B) and checked “Use Environment Background” and now I was able to see what happened to the Environment through the viewport. I rotated it as required. I wanted to reflect the yellowish-purple color on the glass, so I rotated the map behind the back.
VrayLight 属性设置/VrayLight properties
人工照明有4个不同属性︰ 办公大楼、 垂直的核心，展览空间和停车区。用色调冷暖感和辐射强度来显示四个区域的不同。
I had four different properties for the artificial light: for office block, vertical core, exhibition space and parking zone. I wanted them to be slightly different in temperature and power for the irradiance.
环境
我把几何维度分为两大类︰
-初级(PG)
-辅助级 (SG)
辅助几何 — — 是填充用几何，建楼确定的形象和意境。它能提升图像品质，也能毁了一张图。
Environment
I divided all geometry into two main groups:
- primary (PG)
- secondary (SG)
Primary geometry – is the main geometry of the scene, which in most cases defines rough volume, which I need to render.
Secondary geometry – is the filling geometry, geometry which helps to create certain feeling of the image and mood. It can be very useful to enhance the image, like it does to show the destruction in the final result.
初等几何 （左图） 和初级+辅助几何 （右图）。
环境 — — 是形象的定型步。
我把环境创作分为三个步骤︰
-大规模的几何 （地面、 道路） (PG)
-中等规模的填充几何 （树木、 汽车） (SG)
-小尺度，细节几何 (叶子，草) (SG)
我用 Evermotion 树填满场景。把树干树枝移到一个目标，分理出树叶，这样能把树叶删掉，只让树枝树干可见，然后切换成 VrayProxy 。
Primary geometry (left image) and Primary + Secondary geometry (right image).
The environment - was the Finalizing step of the image.
I divided the environment creation into three steps:
- Big scale geometry (ground, road) (PG)
- Middle scale filling geometry (trees, cars) (SG)
- Small scale, detailing geometry (leafs, grass) (SG)
I used Evermotion trees, for filling the scene. Before converting it to VrayProxy I attached trunk and branches into one object and leafs left in another for every tree, it gave me the possibility to delete leafs from the trees when I only wanted the branches to be visible.
有无树叶/Trees with leafs and without
从叶子中分离树枝。
I converted trees to proxy separating wood part from leafs.
代理服务器转换设置/Proxy conversion settings
汽车，树叶和草/Cars, leafs and grass
在网上找些叶子的资源，通过弯曲、旋转修饰来改变样子形式，放在地上。切记把支点放在叶子下面，不然叶子在扩散处理的时候会像浸在地面里。
重要的是将枢轴置于叶子底部，否则当地面下沉时，树叶会被散射。
从分类中找些汽车和草来用
I created some leafs to lay on the ground, for small scale geometry, from different pictures I found on the internet, using bending and twisting modifiers I created variations of the same leafs. It is important to place pivot on the bottom of the leaf otherwise leafs will sink in the ground when scattering.
Cars and grass I used premodelled from the catalogues.
初等几何/Primary geometry
第一步，做到能清楚地看到建筑、 地面、 道路及地方剪影。后面再做填补 (PG)
First step, where I clearly see the silhouette of the building, ground, road and places. for further filling. (PG)
初等几何 + 辅助几何/Primary geometry + Secondary geometry
第二步填充与中等规模的几何 （汽车、 树木和灌木丛） (SG)
Second step was filling scene with middle scale geometry (Cars, Trees, and Bushes) (SG)
初等几何 + 辅助几何/Primary geometry + Secondary geometry
最后用小尺度的细节填充场景
我用building painter散射叶子，比较简单。
The last finalizing step is to fill the scene with small scale geometry.
For scattering leafs, I used building painter, it is simple and easy to use.
Painter 的调整属性设置/Tweaking the properties of the painter
绘制对象的散射几何/Scattering geometry using object paint
我想叶子分散的状态是道路侧边密集，路中间少。
I wanted to scatter the leafs, such that they are denser towards the side of the road and less dense towards the middle of the road.
渲染和相机设置
花了大约 4 小时 ， 图像属性1600 x 2400，i7 2600 K，还有下图这些设置︰
Render and camera settings
It took about 4 hours for the image 1600x2400 on i7 2600K, with these settings:
渲染和相机设置/Render and camera settings
后期制作
我最喜欢后期制作这一步，它能让图像变得生动，让人留有印象。
Post Production
Post-production is the step, which I like the most in image making. It is where you try to bring life to the image. It is where the impression of the image is created.
粗渲染/Raw render
常用于后期制作的通道/Channels I used mainly for post-production.
我经常用ZDepth，它能让图片显得大气有深度，遮蔽其他像折射、 反射、 添加和降低对比度、 饱和度、图像的亮度的图像蒙版。
ZDepth channel helps a lot in creating atmospheric feeling and depth of the image, I use it very often, masking other channels like refraction, reflections, adding and decreasing contrast, saturation, brightness of the image.
ZDepth和掩蔽反射通道/Using zdepth channel and masking the reflection channel.
把ZDepth复制到蒙版通道，单击蒙板里的反射图层，按住Alt再按创建蒙板键保证蒙版处于选中状态，从缓冲区复制ZDepth图层，就能通过调整参数来改变深度和效果，再添加对比、 饱和度、 模糊和锐化。
后期制作还分为几步。
you can control depth and effect of this layer simply by tweaking parameters of levels when the mask is selected. I use this masking technique for adding gradual contrast, saturation, blur and sharpening. It is simple to impact on image even more by inverting zdepth channel.
I divided post-production process into steps.
增加一些渲染时没处理的灯光效果，用体块增加图片纵深感。
Adding light details, which I missed during render. Adding depth of the image and working with volume.
调整对比度和曝光。添加反射和折射通道，但我经常尝试不同的设置，以找到最好看的那个。
Tweaking contrast and exposure. Adding different channels, in different mounts, for reflection and refraction it is good to use screen blending method, but I often experiment with different settings to find the better look.
最后调整对比度，饱和度，用反射和折射的组合层添加玻璃黄橙色光筛选器的反射效果。
Final adjusting of contrast, saturation and adding vignette glow of glass through reflection+ refraction layer combination impacted by yellowish-orange filter on it.
最终图片/Final image
你可以看这个项目每个过程的照片
You can look at the series postproduction of images I made for this project.
smirnova-lastockina office PostPro from dearArch on Vimeo.
希望你喜欢
Hope you liked it!)
出处：本文译自www.cgarchitect.com/，转载请注明出处。
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