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THE HOUSE ON THE COAST | 海边小窝 __ by 3dnotos studio
The project came to us from architect Edgardo Minond, it was due in
2 weeks and we were given a Google SketchUP 3d model, with which we
worked most of the 3d.
· 建筑师 Edgardo Minond 的一个项目，给了2星期时间，客户端提供了SketchUp
3D模型。
Here are some views of the model…
· 以下是模型的几个角度
WHY RAINING? | 雨元素
The scenery in which the building was set, was an incredible and
sublime view of the sea, this vast and scary place, a place where a
change of tides can become a disaster.
·
单从景观视野方面考虑，建筑的选址十分灰常给力，坐拥令人难忘的海景，但不可忽视的是，潮汐的变化也可能带来灾难性的后果。
The first usage of architecture is said to have been (in the early
ages of civilization) as a refuge from the elements, a place where
these fragile human beings waited until the mother earth would stop
pouring water, rocks or wind at them.
·
早期文明时代的建筑是用来给脆弱的人类提供保护场所，免受自然洗礼的。
This idea of a “refuge” and a “beacon” where both
the intentions we wanted to give to the
image.
· 旨在设计一个免受自然威胁的安全感的海边标志性建筑。
The architecture was also of big help, having some details
specially created to stop the rain from coming to the living area
and a small pool that had a relation to the sea and to the drop of
water from the roof, in free fall.
·
建筑本身的设计就很有安全感，一些细节的设计能起到很好的隔离雨水的作用，设计中的水池能够巧妙的与大海甚至与顺着屋檐淌下的雨水形成呼应。找个MM来此幽会是何等惬意！
WHY THE FURNITURE? | 家具元素
All
of us here are architects and have a weakness for modern furniture
created by the masters of architecture, most of the furniture we
model in-house and keep it as model library for our own usage, we
decided to model a BKF chair (also known as “butterfly chair”) and
Aalto´s furniture for this image as we thought it would add that
“distinction” of “fine taste” modern furniture has.
· 场景里摆的家具都是自己做的，并作为素材备用。
WHY A WOMAN IN A CHAIR, WHY IS SHE OUTSIDE? | MM元素
Well… the rain stopped, she was reading a book in the living room
and thought to have a cup of tea outside, contemplate the beauty of
her own sea view after the rain, she felt safe from the
drops.
· 怎么说呢，姑娘在起居室看书看累了，雨停了，考虑到雨后看海景的惬意，正打算去室外吹个海风喝口茶，而且也不用担心淋湿了衣服。
THE MODELING | 建模
As I mentioned before, we used a Google SketchUP base 3d model to
do the image, we modeled most of the furniture, the curtains and
the water on the pool. I´ll show you each model and the modifiers
on it…
· 前面说过，场景是基于SketchUp的模型，大部分家具是自己做的，包括窗帘和泳池里的水，下面来说一下。
1. THE CURTAINS 窗帘
The curtain were
modeled in 3ds max and further detailed in ZBrush, we didn´t use
any physics emulator to have the shape of the curtain we just
modeled it by hand, than a FFD box to fix the position without
having to retouch the mesh.
· 窗帘用3dmax建的，然后在Zbrush里加入更多的细节，没有用到物理仿真(physics
emulator)来做窗帘形状，这里完全手工建模，而不是像FFD box那样只需要定位而不需要重新调整网格。
2. THE BKF
CHAIR 椅子
This chair was
modeled entirely in 3ds max and we used a wind effect on top of the
chair facing down to emulate the weight of the woman sitting on it,
we only led the emulation go for a few seconds so it wouldn’t wind
up all the way to the floor.
· 椅子完全用3ds
max建模，在椅子顶部朝下加了一个风(wind)的特效以模仿椅子承重后的垂感，适当调整模仿参数，以使风特效的垂感达到最佳效果。
Alvar Aalto´s boomerang chair was also made entirely in 3ds max,
the cushion though, was based on a model by 3ddd.ru and ZBrushed on
top of it.
·
整个椅子大部分在3dmax制作，除了靠垫是在Zbrush里加工。
we decided to fix the strings on the chair so it would show the
weight of the cushion on it.
· 需要对椅子条带进行调整，来体现靠垫的重量感。
Aalto´s Paimio Armchair and plaid on it was made in 3ds max, we
used a silk emulator for the plaid on top of the
chair.
· max里做的，椅子上毛披的制作参考了丝绸材质。
3. THE WATER 水
We used a plane with a number of ripple modifiers in different
sizes to emulate the drops of water that kept falling after the
rain is over.
·
采用了一个面片，加上少许不同大小的涟漪来做雨后屋檐上滴下来的水。
4. THE WINDOWS 窗户
We detailed it as much as possible… mostly chamfering most edges
and fixing the railing as much as we could.
· 尽量做细，包括栏杆，大部分边缘做了倒角。
The rest of the modeling we think is not worth an explanation since
we believe most of you understand how to make it.
· 其他的模型部分不需要细说，大家应该都会明白。
THE LIGHTING | 打光
· The lighting is very basic actually…
其实是个很基础的打光
A default VRaySky and two VRayLights and an Omni light. The one on
the right is throwing warm light into the interior and the one at
the back is bathing the wood wall.
· 一个默认的Vraysky天光，两个Vraylight灯光,
另外是一个Omni泛光灯，右边打了一个照亮室内的暖光，靠后的地方打了个照亮木质墙壁的灯光。
yup…
that is it. Just 2 lights and a default VRaySky –
Honest!
· 其实很简单，就2个灯光和一个默认的vray天光。
THE TEXTURES | 材质
All textures were downloaded as .JPG’s www.cgtextures.com.
·
贴图都在这个网站下的 www.cgtextures.com
1. THE FLOOR 地板
It´s
a max blend material between a mirror material and a wood one, let
me split it up for you…
· 木纹镜面的混合材质，分解开为：
Wood Material Diffuse 木纹反射参数
Wood Material
Specular 木纹高光反射参数
Wood Material Bump 木纹凹凸反射参数
Mirror Material 镜面材质参数
Just a regular VRay material with reflection and the wood bump in
the bump channel to emulate the different planks.
· 常规Vray材质，附上木纹反射和凹凸做出不同木板的效果
The Blend Mask 混合遮罩
A lot of patience and a Wacom Intuos was the solution to our
masking problem.
耐心活，用Wacom数位板做遮罩是个不错的选择
2. THE CONCRETE 混凝土
Multi
sub/object material with 2 different id’s, one for concrete and one
for the leaking water on some concrete faces.
· 带有2个ID的多重子物体材质，1个赋给混凝土，一个给赋给混凝土表面渗出的水。
ID1
Concrete Material Diffuse 混凝土材质漫反射
Concrete Material Specular 混凝土材质高光反射
Concrete Material Bump 混凝土凹凸反射
ID2
Leaking Concrete 渗水的混凝土
blend material formed by the concrete material and a copy of it
with the bitmap output a bit darker, blended with a
mask
·
材质由混凝土材质和其加深的位图混合而成。
Blend Mask 混合遮罩
And the slate view… 列表显示
3. WOOD WALL MATERIAL
木板墙材质
Wood Wall Material Diffuse 木板墙漫反射
4. THE CARPET
地毯
The carpet was inspired by an artwork by the Argentinian artist
Pablo Siquier.
地毯的灵感来源于以为阿根廷艺术家的作品
Carpet Material Diffuse 地毯漫反射
We used a a VRay Displacement Modifier with the same
texture.
· 这里对同样的贴图使用了一个Vray的置换修改命令
THE POSTPRODUCTION |
后期制作
A bit long with lots of layer viewport captures… I hope it will be
clear how we went about doing this.
·
内容比较多，希望讲解的够清晰。
Raw Render 渲染的原始图
Blending Mode Burn Layer
加深的图层混合模式
Water Reflection & Overall Defringe
水的反射，去边
Vignetting, Occlusion & Curtains Retouch 褪晕，
窗帘润色
VRay Specular Pass Vray高光通道
VRay Raw Lighting Pass Vray原始光线通道
VRay Reflection Pass
Vray反射通道
VRay Lighting Pass Vray光线通道
Overlay Brushes
笔刷叠加
Adjustment Layers 层调整
Flares & Color Correction
光晕&色彩调节
Background Added 融入背景
Adding the Women 融入人素材
The women integration was made with a photograph adding some burn
with a brush and some color to on top of it. There was no need for
an adjustment layer – we did it directly on the photo for better
result.
·
找来张人素材，用笔刷在照片上适当加深，没必要另建一个调节层——直接在素材照片上做。
Adding shadows for the women 加入人影
Overall sharpening
整体锐化
As you can see, we work on post production quite a bit, but is also
necessary to think creatively when composing the image.
· 可见，后期的工作量也不小，合成的同时也要勤于思考。
I hope you found this informative!
· 希望对大家能带来帮助。
加载中…
(2013-11-25 09:59:28) 