Texas Prairie: Detail Elevation

由专筑网小R编译

这是很久之前的一张图像，但是后来放弃了，结果又重新拾起，其中涉及到了太多的细节，我不确定自己想要怎么处理它，这个角度能够表达内部空间，让其看起来更加生动有趣，但是，我需要在宏观和微观元素之间构成平等，那么，人们也会放大并且仔细看看内部的空间细节，就整体而言，画面仍然保持不变。从远处的角度，内部空间的细节和复杂让画面看起来容易变得有些混乱，因此我不断地在放大缩小，确保画面在不同的尺度上都有良好的效果，以下是图像的制作分析。

This has been an image that I started a while back and abandoned and then picked back up again. I wasn’t sure how I wanted to approach it because of the amount of detail involved. This view is all about the activation of the interior space and making it feel lively and interesting. However, there is a balance that needs to be struck between the macro and micro reading of the image. Sure, people will be zooming in and looking at the detail of the interior space, but the image still needs to hold up when looking at it as a whole. It is easy for the details and complexities of the interior spaces to look muddy and busy from a distance so I found myself constantly zooming in and out to make sure the image was ready properly at different scales. Below is a quick break down of the image.


1、3D模型
1. 3D Model


SU模型
Sketchup Model


V-Ray白模渲染
V-Ray Clay Model Rendering


V-Ray白模细部
V-Ray Clay Model Rendering Close Up

在这样的画面中，如果想要通过蒙版来表达如此多办公桌旁边的人简直太艰难了，除此之外，这个空间的照明位于正上方，因此要找到合适的剪影也相当困难。因此，我在这个场景中应用了3D人物，在Design Distill中，我们一直在画面中应用3D人物，这样能够很好地捕捉场景中的灯光，并且节省时间，因为不需要通过PS的蒙版操作。3D人物在近景中不太好看，但是远景却很完美。

如果我的时间比较充裕，那么我会在桌子表面表达多一些的细节，并且在目前看来有些空旷的地面区域添加一些休息区，这里有很多的细节来表达，但是时间有限，我只能做到这样了。

For an image like this, trying to mask so many people around desks would have been a nightmare. On top of that, the lighting for the space is directly overhead, so finding enough cutout people with the proper lighting would have been equally difficult. Therefore, I used mostly 3D people for this scene. At Design Distill, we use 3d people all of the time in the images we make because of the fact that they perfectly pick up the lighting of the scene and the time that it saves not masking in Photoshop. The 3d people do not always look great up close, but are perfect for situations like this where they are seen from a distance.
If I had a little more time, I would have liked to add in more details on the desk surfaces and add a few floating lounge spaces in the areas of the floors that are still a little bare. There is simply an endless amount of detail and little narratives that could go into a view like this but the weekend was coming to an end so I had to call it.


2、天空
2. Sky


V-Ray基础渲染
V-Ray Base Rendering


加入全新的天空
New Sky Insert

天空看起来有些不自然，这是我故意而为，每个星期都要做很多图像，有时候我只是想要换一个角度而已，让画面看起来有些不一样，因此我想添加一些色彩，也是应用了一张蓝色和紫色比较丰富的天空图像，并且结合了一些橘黄色。在最初的天空图像中，云朵构成一定的对比性，因此我弱化表现它们，这样天空就不会显得太杂乱，我不希望云朵太过吸睛。

If the sky feels a little unnatural, that was intentional. Working on so many illustrations each week, sometimes I just want to switch it up and go with something a little different. I wanted a punch of color, so I took a sky image that had lots of blues and purples, and dumped a whole lot of orange on top. In the original sky image, the clouds contained lots of contrast and drama, so I muted them a bit so that the sky didn’t feel too busy. I wanted the color to be the focal point, not the cloud texture.


3、变暗
3. Darken



天空完成了，我就把注意力集中在建筑上，我让外部的柱子和屋面看起来暗了一些，只留下了一些肌理和细部，通过这样的手法，让内部线条突出出来，我不希望外部的肌理和内部的细节构成冲突，因为这样会让画面变得混乱。我希望人们的视线能够越过外部的元素，直接来到内部空间。

Once the sky was dropped in, I turned my attention back to the architecture. I darkened the exterior columns and rooftop significantly so only a hint of texture and detail was left. this was done by setting up a mask that excluded the interior and adjusting the levels. I didn’t want the exterior textures competing too much with the interior details as this would muddy the hierarchy and flow of the image. I wanted the eye to move past the exterior elements and go directly to the lit spaces inside.


4、室内细节
4. Interior Details





PS中添加的一些细节十分微妙，总体而言，为了不让画面的横向线条显得过于单调，我添加了一些暖色，并且在会议室的周围加上灯光，并且添加了一些绿植墙体，进一步从视觉上打破空间，另外，书桌台灯旁边添加了一些2D人物，除此之外，玻璃上添加了微妙的地平线反射，更好地强调玻璃平面。

Much of the detail added in Photoshop was subtle. Overall, moments of warmth or coolness was added to break up the monotony of each floor stretching from one side of the image to the other. I punched up the light around the conference spaces and added in some green walls to further visually break up the spaces. A few 2D people were added along with some desk lamps and accent lighting. Finally, a subtle horizon reflection was added to the glass to help define the glass plane.


5、植物
5. Vegetation



屋面植物生长速度较快，但是这不是画面的焦点，因此我将其调暗了一些，这样我就能够拥有一些植物肌理，并且不会那么吸引目光，另外，我强调了边缘的投影，这样让人们感觉到草地的深度。

The roof vegetation went relatively quick. The vegetation was not the focal point of the image and was significantly darkened which meant I could be a little more fast and loose with textures and it wouldn’t be noticeable. The most important part was getting the edge shadows to read properly so that the grass felt tall and had depth.


6、最终成图
6. Final Image


最终图像
Final Image

我没有调整太多的色彩，只是柔化了阴影，让天空更加饱和一些，我渲染了这张宽度为9000像素的图像，这也让我能够更好地制作细节，网站上的所有新图像大约都是10万像素，一开始我还担心这么大的图像也许不好操作，但是我并没有发现制作起来有什么不同，只是渲染的时间需要更长一些，我认为，高分辨率所拥有的优势更加值得。

I didn’t do much with the color grading. I softened the shadows a small amount and punched up the sky with more saturation. I rendered this image at 9,000 pixels wide which allowed me to really focus in on the detail and make crisp selections. I am just about to the point where all of my new images on this website will be around the 10k pixel size. I was initially worried about working with such large images sizes but I really haven’t noticed a difference in performance in Photoshop. While renderings take longer (I am still rendering all of these on my single desktop), they benefits of the higher resolution far outweigh the added time for rendering in my opinion.


最终放大图像
Final Image Zoomed In


最终放大图像
Final Image Zoomed In