如何制作场景建筑以及贴图 (译)
Toivo and how they a super in Unity.
Toivo 和 展示了他们是如何在Unity中制作出非常细致的建筑项目。
简介
T: We have known each other for many years and we work in . this , and I were lucky to work in Trace . She was a on VR and I for Call of Duty: . I was by ’s work, and we to a game-ready with a mood. We study we need for this on our own, at home, as we go.
我们相互认识已经很多年了,我们相识在,在这个项目之前,和我有幸在Trace工作室一同工作过,她在一个名叫的Vr项目中担任概念设计师,而我为call of duty(使命召唤)无限战争制作各种模型,我经常受到作品的启发,正如我们有着同样的心情去创造一个游戏场景,我们去学习项目所需的一切和解决问题。
项目
N: In , I like it when two are by means of an , it is a very and it makes an house way more . So we began by going to St. in of and a .
在建筑设计方方面,我喜欢两个建筑通过一个附加的桥相连接,这时非常有趣的,这也会使一个普通的房子看上去更加有趣。所以我们开始在上搜索材质参考和适合的院子
We came up with a story which could in this and are now to make it into a video game.
我们想出了一个情景是可以发生在这个场景当中并且计划做到主机游戏当中的。
T: I’m doing the more part – the , , , level and setup. is with side of - , , , post setup, and also gives me notes. down the pipe, she will be and some of the .
T:我更多的是做一些技术方面的工作,创建流程,制作模型和贴图,关卡搭建以及渲染设置,制作和处理一些艺术方面的事情,例如:色彩,灯光,概念设计,后期等,并且会给我一些很有用的反馈建议,更进一步,她会做一些角色模型和一些内部元素。
T: I’ve liked the idea of . And us with some tools that we to test.They have for the most game , like and Unity. I had had some prior with Unity, so I using this .
You can our here. To use it, the files with these.
T:我非常喜欢这个程序化的制作流程,公司为我们提供了一些难以置信的工具让我们来使用测试,它可以帮助解决和运用到多数游戏引擎当中,例如UE和Unity,我现在已经学会了unity前期制作的一些经验,所以我要开始用到这些技术。你可以下载我们的做旧的的材质球并且用到它,简单的替换到基础的文件即可。
There are this has. It works by 4 using a RGB mask, and at the same time use of a and maps (the map is then with by the RGB mask). Apart from that, Unity loads all the , and from SP, which is very .
The only I’ve so far is that the are every time the game , which the load time. But this can be by the , if .
这些材质球有一些功能,他可以将四钟不同的连续贴图通过RGB mask的形式混合,与此同时有用到一个贴图和 一个法线贴图(这个法线贴图是通过RGB控制的细节法线混合的),除此之外,Unity会自动载入所有贴图,设置以及从SP中指定过来,这真的非常的方便。
到目前为止,我注意到的唯一缺点是每次游戏开始时都会生成纹理,这会增加初始加载时间。但是,如果需要,可以通过手动分配常规位图来解决此问题。
N: I a of the , which of three parts, and we broke this plan down into parts.
N:我画了一个外轮廓的基础形,它由三部分组成,我们把这个外轮廓进一步拆分成了更细小的模块。
T: I made the basic in 3ds Max, then I some in , for maps .
One when Uvs was that the UV be in the same UV for the maps (masks, AO, ). I also had to take the of the into , and the of with .
T:我在3D MAX中创建这个基础模型,在ZB中雕刻一些元素细节和烘焙NOR。一个需要考虑的问题是,分UV时所有UV需要在同一个UV框中(MASK,AO,),以及不得不去考虑连续贴图在整个场景中的连续性性问题。
Wall be to a , to the tiles. I chose the size of cm for my , and the texel of 512 /meter with 2x tile, 1024 at 4x etc. Some are two time than the , so a value is used on them to the texel .
墙体模型应该是可以拼成的正方形布局,贴图最好是展开的连续的贴图,我将我的模型尺寸定为,贴图精度为:.1024*4等等。。。有一些模型会比其他模型大两倍,所有更高的精度用在上边可以保留更好的纹理密度。
T: When the part was done, I have some of the props which could then be the . Since I use a mask to blend , the same will look every time, even if you just mix using the same mask. And if you add a mask, you can get a few more of the same .
T:当多数部分完成是,我开始完成制作一些小道具,他们可以重复使用在整个场景当中,因为我用MASK混合材质,所以同一个模型看上去总是不一样的,即使你使用不同的材质同一个MASK时候也是一样的,当如果你增加了第二张MASK时,你可以得到不同的效果,但模型是 一样的。
缺点
T: When , it is good to the of the that will be in SP, i.e. in I was to some , going into small .
T:当雕刻模型时要很好的考虑到在SP中如何去制作材质贴图,在ZB雕刻时尝试雕刻一些自然纹理,而且没有那种太细小的细节。
For , I added some to my in order to have some . To avoid when , I set all the to point ( for the I made for ).
例如,为了使地形有一些不平整的效果,我增加了一些几何模型在我的地形当中。为了避免在烘焙中不出现问题,我将所有的法线点方向向上,除了那些切开的位置
材质
T: Most in the scene, with the of a few small props, are the same few . There are about 40 made in for this . it is very to the in the when you see the whole .
The wall on the
T:这个场景中的大多数物件,除了小道具以外,其他都是公用了一些相同的材质,有大约40种程序化材质在这个场景中是用SD制作出来的,在引擎中查看整张贴图时用SD调整是非常方便的。这面墙的材质就是依据如下节点构成的。
on the walls were made as shown below
墙面破损是有如下材质制作的
Roofs use and of these
屋顶材质主要是用到这些不同的配置和混合得到的材质
In other words it be metal, rough and rust mixed with dirt.
换而言之,这个屋顶是由金属,涂料,锈迹混合脏迹得到的
N: When use a lot of , it looks . For , one of the wall can be made of , and the other has lines or can be made of a stone. The same to of of any , for metal pipes in this scene are made of types of metal. In this case, you pay close to the masks and for each , it is that they have a of .
N:当重复元素素材使用到了一些不同的材质时,确实能让他看起来更不错,例如,墙面的一部分是由一块光滑的水泥头构成,而另一块贴图是由充满石头的墙面构成的,这个制作原则适用于其他模型以及贴图制作,再例如,这个场景中的金属管道是由不同类型的金属构成的,在这种情况下,你应该将更多的注意力放到这些材质的MASK和贴图上去,那么就会得到许多不同的细节,这真是令人满意的。
T: Here are some of some of the from our scene
T:这里是我们场景当中的一些材质截图
SP was used only to masks and , with a . But it was to make some with a metal-rough
SP主要用于制作很混合MASK以及自定义贴图来用,基于他的材质图层的,不过基于SP的标准的金属度-粗糙度的可以更简单的制作项目
窗户
T: are also a , for the frame – it was for me to model and bake it down to a .
T:窗户是一个经常制作的材质,除了窗框,对我来说制作这个模型和烘焙是非常容易的
The ’ is the same as in real life. , in those old , you’ll find , with them. In SD, I added fake , the shape of the , a glow the to add more (lamps, TV, etc.), grime and dust, small on and a few more .
这个窗户的设计是源自于现实生活中的,通常,这些老房子里你可以找到两扇窗户,以及在他们背面拉着的窗帘,在SD中,我添加了假的反射度,在这个窗帘的形状中添加了一些微弱的亮度,污垢和灰尘以及小的磨损在这个木质的窗框上会有一些辅助的参数节点可以来控制。
灯光
N: The goal with here is to add and make look . Which is why one part of the is lit, and the other is in .
N:打灯光的目的就是为了增加对比,让同类元素看起来不同,这就是为什么一部分看起来会亮一些,而另一部分却在阴影里。
T: For , we used “” in Unity – it’s quite a and tool for with GI. It you to make nice , and it tile sets very well. For , I made the UV for with a of uv seams and with a high value. For some light , we used point , some of them with IES . There were also light for very small and in the scene. To get , we used .
T:对于灯光,我们使用“”灯光贴图在Unity中,这对于GI来说是非常强大和便捷的工作方式。他能使你的阴影分散的非常自然并且可以很好的处理贴图重复度,对于高质量的,我会真对模型制作第二套UV并且手动设置将UV接缝控制在最小值和高的边界溢出值,对于灯光资源,我使用了点光源其中一些使用了IES贴图,在场景中,对于非常小的物件以及贴花为了可以得到正确的反射效果,我们会使用反射探针
N: Post- is thing to . In this case the gray- hues in the scene, which makes the very in hue, so to make it more “clean” I added some blue in the , and I the a . This way, the of more , more hues. Eye an even role, and the Bloom a of “” light.
N:后期处理是我们需要考虑的另一个问题,在这个实例中的灰黄的占据了绝大部分,他会使整个画面看起来非常的单一,为了使他能够更有变化,我添加了一些蓝色阴影,而将黄色光减轻一些,通过这种方式可以使渐变的颜色更加明显一些,再更多的介绍一下色彩,眼睛对于适应效果起着决定性的作用,并且营造出空间的作用
Time Costs
时间投入
T: We have long to work on a joint for a long time, and the idea of this “” novel was we both found . This is our with this . In , we are in the work – it’s not just our , it’s our life. is , and we have a lot to learn in the of this work, this is our main .
T:我们长期以来一直希望能够在一个共同的项目上去投入更多的时间,这个对这个交互剧情的想法都有一些共同的吸引人的想法。另外,我们都对推进这个项目都很有兴趣,这是我们做这个项目的初衷,这不仅是我们的职业,也是我们生活方式,技术在不断的进步,我们也不得不去学习更多的技能,这或许是我们面临的主要的挑战吧。
T: In the near we plan to all of the as well as the scene for sale in Unity Asset Store, so will have the to this .
T:在不久的将来我们计划准备将所有的资源以及整个场景在Unity上出售,所以大家可以有机会去探索整个场景。
Toivo Glumov and Natalie KayurovaInterview conducted by Kirill Tokarev.