INTRODUCTION － 文件共享在CG方舟群里

These images were made with a goal of studying the style of Mir, Luxigon & Labtop. It’s a personal project that allowed me to explore a bit of this kind of rendering styles. In this making-of you will find some tips on how I made some specific parts of the images and an insight about my 2D workflow. I hope you will find some interesting stuff to help improving your own skills.
· 个人创作，旨在探索Mir, Luxigon等建筑设计风格，以下内容大家可以学到一些本作中局部特效以及在photoshop里的做法，希望大家感兴趣并借此提升个人技能。

INSPIRATION

Before beginning the project I made some research on websites for renderings and architectural stuff and here is what I found that was useful to me…
· 项目初期我做了些相关资料的搜集，并筛选了些有用的图片。

In the image above you can see:
· OMA, Jeddah Airport – Artefactory Lab
· ADPI, Biejing – Labtop
· Moonhyun Tower – MIR
· Ateliers Jean Nouvel, Le Louvre, Abu Dhabi – Artefactory Lab
The major elements I get from these images were Composition, 3 points perspective, Wrapping and mood.
· 以上是OMA, Jeddah 机场， 北京ADPI大楼， Moonhyun 大楼等项目图片，主要吸取这些风格中的构图合成，三点透视，表面肌理以及气氛色调。

THE 3D TOWER
MASS PLAN | 总图
Here you can see how all the different part of the project are designed.
· 这里可以大体了解项目的设计

WRAPPING TEXTURE | 肌理材质
I used a 3dsmax procedural map called cellular to make the wrapping element of the towers. This type of texture can be set with different shapes, and I choose the CHIPS one. There is a bit of reflection in the texture to catch light and environment, but that’s all… very simple.
· 这里用到了一张3dmax的程序贴图（cellular）用作建筑包裹的设计元素。这类材质可以设定成不同的形状，这里选的是碎片的形状，里面带有光线与环境的反射，也就这些东西，十分简单。

LIGHTING MAIN TOWER | 整体建筑打光
For lighting the towers interiors, I was inspired by a Vyonyx tutorial and populated all the floors with textured lighted plates. I made a multi-sub-objet material with slightly different V-Ray Light shaders. The plates were placed with the help of the Multiscatter plug-in and concentrated on the borders of each floor, so we can see them from the point of view.
· 为了照亮大楼的室内，给所有楼板赋予了发光的面片的材质，做了一个与VRay光线材质略有不同的多重子物体(multi-sub-objet)材质，借助于Multiscatter插件将这些亮面片集中放在每层楼的边上，以使我们能看得到效果。

You can see below the shader of the office-lighting-plates. This is a Multi-Sub material with two slightly variations, one blue and one orange color. You can add more color variants if you want too. Using V-Ray light material allows me to light the office ceilings at the same time, giving the feel that they are occupied and busy.

· 以下大家可以看到办公室光照面片的材质，这是一个多重子材质带有蓝色和橘黄色的微笑的颜色变化，同样大家可以按自己的需求加入更多的变化。同时，借助于Vray光线材质，我们也可以照亮办公室顶棚，给予大楼真实而活泼的办公气氛。



LIGHTING BACKGROUND TOWERS | 背景建筑的打光
The transparent background towers were textured in Photoshop but the textures was made in max. I made a render of some tower elevations, without the wrapping element, and this made me some 2D textures I used in post production. You can download these textures if you like…
· 背景楼的这些透明贴图是在后期PS里加的，但这些素材贴图是在3dmax里做的——对去掉肌理包裹的塔楼里面渲染，得到的这些贴图可以用在以后的后期制作用。

I’m using them in Photoshop in screen mode most of time, and duplicate them when needed to increase their power.
· 这些塔楼立面贴图在ps中可采用screen的图层叠加模式，并适当根据需要进行复制以达到最佳效果。

2D POST PRODUCTION 后期制作
Here’s the Brute 3D Render before any post production done on it…
· 这是未经后期加工的原始渲染图。

COLOR GRADING | 色彩
I’m using different type of adjustment layers for color grading and contrast settings. You can see below the ones I used on the tower image. The most important for me is the “Black & White” adjustment layer. Here, the layer is in Overlay mode at 95%. This gives more punch to the rendering. On my composition, the Group containing the adjustment layers (called “SETTINGS”) is usually on top of the other groups, so it affects all the elements under it.
· 对于色彩和对比度这里在photoshop里采用了不同的调整层，参看下图，最重要的是黑白调整层(英文版ps为Black&White-B&W)，这里的层融合采用的是95%的图层叠加模式（overlay），以使效果更强烈。在图层合成中，所有调整层放在一个组内并置于其他图层之上，以使其下面所有的图层都在调整范围之内。

 LIGHT EFFECTS | 光线
1.  I have three options to make light glows, sparks and lens flares:
Paint with a soft round brush, in screen or overlay mode, usually to add glow to an existing light source.
2.  Finding light source images on the web (google images) , putting them in screen mode and cleaning them a bit to fit with my scene. This way is interesting because there can be unexpected and interesting result mixing some other source elements. This method is very good for experimenting.
3.  Using Photoshop plugins like “Knoll Light Factory” to create lights (see Lens flare example below, made with this plugin).

1. 有三种可以参考的用来制作光晕效果的方法：一种是用较为柔和的圆形笔刷工具，一种是借助于screen或者overlay的图层叠加模式，另一种是在原有光源基础上加入光线。
2. 找来些光源图片，采用screen的层融合模式，并做适当处理以融入场景，这种方法很有趣是因为当不同光源融合的时候会有很多有趣的、意想不到的效果。
3. 下图的光晕效果可以用photoshop的插件“knoll light factory”来制作。

Here you can see the benefit of the same Lens Flare sample on the image. It really adds the atmosphere to this part of the scene.
· 这里可以很容易看到光晕对场景环境气氛的影响。

CAR LIGHTS | 车行光带
Adding some car light streaks works the same as light sources and flares. On this image I took a night photo with light streaks (found on Google), and made it fitting the perspective with the Photoshop Transform tools. It was composited in “Pin Light” fusion mode. I added some styled painted streaks to add a bit of chaos in the middle of the straight red original streaks (see white and orange ones on the close shot below).
· 加入些汽车的光带同样可以获得光晕想过。找来带有光带的夜景图片，并用ps调整光带的透视，采用Pin Light的融合模式。这里在原有红色光带基础上加入了几天几条白色合橙色的光带以丰富光带的效果。

PEOPLE | 人
The look of your cut-out people and the way you are inserting them in the composition contribute to the overall quality of the image. Their clothes, color and attitude must be chosen with great care.
People must fit with the identity of the building(s) surroundings. In this image, even if the camera is away from the people, it was important for me to choose good people, because, even if you can’t see the details in the distance, you can always feel them.
When I put cut-out people in post-production, I’m always trying to choose people lighted in the same way the scene is, and if I don’t find enough that fits, I’m choosing uniform lighted peoples and paint light and shadows on them. In Photoshop, Dodge, Burn and Sponge tools are useful to me for this task.
Putting a lot of people can be a very repetitive and boring task. To help me saving time on this, I made some “people boards”. This is big PSD files where I have put many cutout peoples in there; each file has people sorted by category… casual people (backlight, front light, uniform light, office, shopping, children, seated, and so on). This way, I don’t lose time opening individual people cutout file, selecting the alpha channel, copying & pasting. I’m just dragging people from their board to the composition.
When I need some kind of people, I run a script via Photoshop that simply open the file I need (according to the script buttons below).

· 人素材一定要精挑细选，着装、颜色以适应建筑和周边环境，即便这张图里人与相机有一定的距离，仍要考虑到人素材对整体感觉的影响。筛选人的时候，尽量选择光照与场景一致的，其他不一致的需要在ps里配合加深、减淡等工具做出光照与阴影的效果。
加入很多人是一件很枯燥的工作，为了提高效率，可以在ps里做一个关于人的素材库，这个是含有人素材库的PSD文件，每个文件都按人的类型加以分类管理...普通人（背面打光的，前面打光的，平光的，办公室、购物、小孩、休息的等等），这样我们就不需要花时间一个个的找，选择alpha通道，复制＋粘贴即可，或者直接从素材库拖拽到合成文件中。



 And here is one of my people board…这里是ps里的人的素材库