老外超帅的警 察制作过程

本文出自AboutCG由KanyaYan翻译，感谢！                                 登录/注册后可看大图 1. Creating the base mesh.1．创建基础模型 The first thing to consider is how the character looks and how the concept translates into a game character. Before I jump into modeling a game character I need to consider my polycount budget, mesh topology, any rigging issues and my texture limits. 首先是考虑角色的外貌和怎么把概念转化到游戏的角色中去。在我进行游戏角色模型前我需要去考虑我模型预计面数、模型拓扑、装备摆放和贴图大小。Once I have a rough idea of the technical specification and limits I start creating the main body of the character. In the case of this particular model, I created the body and head to start with. I kept the head as a separate model so that I could easily work on it separately and later export it separately for baking.一旦我有了大概的技术框架和范围，我就开始创建角色的身体。在细致模型中，我开始创建身体和头。我把头作为单独的一个模型以便我可以在后面容易地分开导出进行烘焙。

                               
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Once the base mesh is made I make sure I have enough edge loops in the face area and the model and any other places where I plan to sculpt more details. Since this is for sculpting only I try to avoid any triangles and evenly space out all the quads.一旦我确定的基础模型，在模型的面上和每个我想雕刻细节的地方我有了足够的环边。因为这是为后续雕刻准备的，所以我尽量避免三角面，并让面分布比较均匀。

                               
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When I am fairly happy with the shape of the body I export a medium subdivision level back to Maya as a reference on top of which I create rest of the base meshes for the shirt, jeans and gun holster.Creating these base meshes are straight forward polygon modeling so there is not much to explain how every element of the base mesh was created. For example, here you can see the two steps for creating the base mesh of the shirt.当我很满意身体的大型后我导出一个中等细分级别再回到Maya把它作为一个我在其上面创建其余的基础模型（衬衫、牛仔裤、shouqiang皮套）的参考。因为创建这些基础模型很直截了当，所以没过多说明怎样去创建每个元素模型。例如：这里你可以看见2个步骤创建衬衫的基础模型。

                               
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You will notice that the collar area of the shirt has double sided faces. I did a face extrude along the collar area to create those. This gives me a nice thickness along the border of the shirt. I will do that along all of the border areas for the rest of the clothing. Here are some of the other base meshes. I tend to create all the separate elements of the character separately instead of sculpting out all the details from one base mesh. From my experience if you have separate meshes for all of the parts, your final normal map will look really clean and almost like high poly. However, if you sculpt everything from one mesh then things tend to look like plastic or clay.你可以注意到衬衫衣领地方是2层面的。我通过沿着单面衣领挤压创建那里的。这样给我在沿着衬衫边缘有了个不错的厚度。我同样地制作了其余衣服的边缘。这里有些其他的基础模型。我往往把角色所有独立的元素从一个基础模型上分别去雕刻细节。由我的经验如果你用独立的模型作为所有的部件，你的最终法线贴图会看起来清楚点，几乎象高模了。然而，如果你是从一个模型上雕刻每个地方那么东西往往看起来象塑像或者泥土。

After the shirt is modeled, I create the gun holster. This way, the holster mesh conforms well to the shirt mesh. I can obviously adjust it later in Mudbox. The buckles, guns, ammos and all the hard surface parts are marked red below. These meshes are exported separately and not subdivided. They are exported only as a point of reference.衬衫做好后，我开始创建shouqiang皮套。这次皮套模型的做法和衬衫一样。随后我可以在Mudbox里轻松地调节它。把扣子、shouqiang、子弹和其他硬表面的部分用红色底做个记号。分别导出这些模型不要细分。它们导出只是作为一个参考而已。

                               
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When creating these meshes, I usually put extra edge loops at the edge of surfaces and also around the seams. I do this mainly so that I have sufficient polygons to sculpt extra details in those areas. Otherwise I would have to do local subdivision or even divide the whole mesh just to get more detail in a xxall area of the mesh. This is why in my opinion, it is a xxart thing to make your base mesh do most of the work for you.当创建这些模型时候，我经常在面的边缘多加些环线并且是围绕接缝处的。我这样做主要是为了在那里有足够多的多边形去雕刻更好的细节。不然我必须要局部细分或者甚至分开整个模型只是要在那些小地方有更多的细节。这是为什么在我看来，它是一个巧妙的方法使你的基础模型为你完成大部分的工作。

                               
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When I am done creating all the base meshes I will check for certain errors in the mesh before exporting it to Mudbox. Things to check are un-welded vertices, overlapping vertices and whether surface normals are facing the right way. Also, I exported the shirt, jeans, shoes and most of the meshes separately so that I can work on them separately.当我在创建所有的基础模型时，我会导出模型到Mudbox前检查确定的错误。需要检查没有焊接的点、重叠的点以及是否面法线的朝向正确。并且，我导出衬衫、牛仔裤、鞋子和大部分分离的模型以便我可以分别对它们后续工作。

2. Sculpting and detailing.2．雕刻和细节Now comes the fun part of the process. Once I've exported all the base meshes, I usually check them in Mudbox for any errors that might have slipped through. For example, I would subdivide all the meshes a couple of times to check for any holes, sculpt on them a little to check for proper surface normals, etc.现在可是有趣的过程了。一旦我已经导出所有的基础模型，我经常在Mudbox里检查它们以便没有错误被遗留。例如：我细分下所有模型几次检查是否有洞；在模型上雕刻几下检查表面法线是否正确等等。When I start sculpting something I usually don't move up to a high level of detail too early. For an organic model the first thing I do is push out the basic forms at level 0 - 1. Things to consider at this stage are the skeletal features of the body, the level of skin fat and age of the character.当我开始雕刻一些东西时，我经常不过早地提高较高等级细节。因为一个生物模型先要在0-1级别下推挤出基本的外形。在这个阶段要考虑身体的骨骼特征、皮肤脂肪程度和角色的年龄。When it comes to detailing a character it is easy to get carried away, but it is important to stay on target of what you want your particular character to look like. I wanted this character to look very rugged and worn out but not look too old.当进入到角色细节雕刻时，这样就很容易地进行下去了，但是重要的是呀基于你自己角色特有的样子为前提的。我想要这个角色看上去很粗壮憔悴但看起来不太老。

                               
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The most challenging part of creating this character was getting the cloth folds look decent. I went through several iterations for the cloth folds. There were several things I needed to consider when sculpting the cloth folds. Since this character is meant for a game I had to keep the folds fairly generic so that the folds work in most of the action poses.这个角色创建的大多部分挑战是衣服的褶皱看起来体面点。我通过几个重复来表现衣服褶皱。这些我需要在雕刻是就考虑好。因为这个角色是一个游戏模型，我必须保持相当的通常褶皱以便褶皱是在大多数运动时的样子。

                               
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When sculpting folds, keep in mind that folds should not exist all over your fabric surface. I usually put folds where the character will be deforming such as the knees, around the shoulders. Then there are folds in places due to gravity like the area at the bottom of the jeans. There are also folds on the shirt under the holster strap which makes the integration look better. For all these folds, I will sculpt in a different level and only switch to the highest level for xxall, sharp folds. Since this is primarily for creating the normal map it is ok if your sculpt is slightly lumpy, it actually helps your final cloth surface look more natural. If it starts to become too lumpy, you can use the flatten brush to xxooth along the folds.当雕刻褶皱时，记住褶皱不要在所有你的织物表面。我经常把褶皱放在角色可以弯曲的地方比如：膝盖、肩膀周围。当然褶皱的地方由于重力会下牛仔裤底部一样。还有褶皱在shouqiang皮套带子下面，这样整体会更好看。所有这些褶皱，我会在不同级别下雕刻，并切换到高级别下雕刻细小的、锐利的褶皱。考虑到主要是为创建法线贴图的，那么你的雕刻稍微有点粗糙也是可以的，它实际上有助于你最终衣服表面看起来更自然。如果它出现大的起伏，你可以用flatten笔刷沿着褶皱去光滑下。

                               
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Here is a turntable of the entire high poly mesh at 7.3 million triangles.这是730万个三角面的完整高模

3. Creating the low poly mesh.3．创建低模To create the low poly mesh I export a semi-high level mesh from Mudbox as a reference point for resurfacing on top of it. If there are overlapping meshes I do this separately.为了创建低模我从Mudbox里导出一个半高级别模型作为一个参考，并在上面重建表面。如果有重叠我就如下做出分离。

                               
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For this process I am using Topogun.这个过程我使用的是Topogun。When creating the retopo mesh I try to be a little liberal with the polycount so that the normal map baking works good. Once the normal map is baked I can optimize the mesh quite a bit to reach my actual polygon budget.当创建重新拓扑模型时，我尽量多点的面数以便烘焙出好的法线贴图。一旦法线贴图烘焙好后我可以再优化下模型达到我的实际多边形预算。