学习如何制作你的克隆人（原创翻译）
学习如何制作你的克隆人
For this piece I went back to an old sculpt I made of Commander Kuro after he shot to fame in his role in the fan film Star Wars: The Way to Shadows. I will show you it's not necessary to render a perfect model for static image purpose; with the help of multiple render passes and image editing softwares we'll add details and fix mistakes from the rendering process. Also, I will have a quick look at shooting 360° HDR images.
对于这件作品，我又回到了一个老的造型——在粉丝大电影星球大战之后一炮而红的指挥官黑的角色。我会告诉你，在制作静态图像时没有必要渲染一个完美的模型；更多的是在渲染通道和图像编辑软件的帮助下，添加细节以及修正渲染过程中的错误。此外，我将快速介绍一下如何拍摄的360度的 HDRI 图像。
Shoot the model For this project I used a very old 3D model of a clone trooper I made a few years ago. The character was created in 3dsmax and was already fully rigged. Once I found the perfect heroic pose, I fixed some skinning mistakes with the help of mesh select, edit poly and relax modifiers on problematic areas of the model.
这是这个项目的模型截图，我使用了一个几年前我制作的克隆人的三维模型。这个角色是在3dsmax中创建的，并且已经做好了绑定。当我找到了完美英雄的姿态，就在网格选择、编辑多边形的帮助下我修正了一下皮肤的错误，对模型改变的区域做了一下松弛。
Shaded model before mesh issues fixed
在阴影显示模式下确认网格是否有问题
360° HDRI Shooting As I wanted very diffuse mood light and shadows, with strong reflections, I used the HDRi way to light up the scene. I used a Panasonic Lumix DMC-GH1 with a fisheye lens on a panoramic head to quickly capture a forest environment. Depending on the stitching software you use, you'll need more or less overlap between photos to avoid manual stitching post work.
360° HDRI 的拍摄：因为我想弥漫着情绪光线和阴影，并具有很强的反射，我用了HDRI的方式点亮了现场。我用的是松下LUMIX DMC-GH1用鱼眼镜头的全景镜头迅速捕捉森林环境。根据您所使用的拼接软件，你需要在照片之间做或多或少的重叠操作，以避免手动拼接产生的错误。
Render time My camera could shot up to 7 stops of light I merged together with HDR Fusion function in Photoshop and exported the result as an EXR file. As the render engine for the project was iRay, the 360° HDRi was loaded as environment map in 3ds Max. Then I rendered out several passes: Raw/beauty, a sharp and glossy reflection and finally a chrome shader applied to the whole mesh gave the "T1000" pass.
渲染进程：我的相机在照明下最多可以连拍7张，然后我使用Photoshop融合功能将HDRI合并到一起，导出的结果作为EXR文件。该项目我使用iray作为渲染引擎，在3ds Max环境贴图通道加载360°HDRI。然后，我渲染了一些小样：原始着色，镜面反射和模糊反射，最终将终结者“T1000”的镀铬材质应用到整个网格。
Arch & Design shaders were used
使用了arch&design着色器
Cleaning mistakes and adding details Before loading all the passes in the composited image, I took some time to erase mistakes from bad unwrapping which had resulted in ugly texture distortions. Details were added using custom brushes, metal chips, dirt and scratches, that way the trooper's armour and weapon give the feeling they have been in many wars.
修正错误和增加细节：在载入所有进程图像合成图像之前，我花了相当的时间去清理由于不好的UV导致的纹理扭曲的错误。使用了自定义笔刷、金属屑笔刷、污垢笔刷以及划痕笔刷来处理细节，士兵的头盔和武器经过这样的处理方式让人有一种身经百战的感觉。
Left: an unwrapping artist you probably wouldn't want to hire / Right: fixed textures
左：这样的展开艺术家，你可能不会想雇用 / 右：固定纹理
Deeper but subtle details Before leaving the paint process, always have a think if you can add more details without crushing what you've already done so far. That render was created to be featured as a printable magazine cover therefore I thought adding subtle details like tileable leather and dust/grunge textures would give more life to the armour and gloves. You can do that on masked layers using soft light or overlay transfer mode.
深层细微的细节：在结束绘制之前，始终保持这样一个想法，如果你可以添加更多的细节，才不枉费你迄今为止做的这么多的努力。这幅作品将作为印刷杂志封面，所以我想添加微妙的细节，通过制作皮革与污垢\污渍纹理这样的方式将会给盔甲和手套带来更多的生命力。你可以使用遮罩图层进行处理，改变为柔光或叠加模式。
Be creative in your overlay texture choice, seamless & tileable maps are not always necessary
在叠加贴图的选择上要有创意，无缝和平铺贴图并不总是必要的
Adding highlights With the clean model I went about adding the different reflection passes I rendered earlier – this adds more contrast to the image. The three reflection layers were set to add transfer mode, using masks I could tell the software where I wanted sharp or glossy reflections, focusing on geometry edges to age the models.
添加高亮区域：我用素模去添加我刚才渲染的不同反射，这增加了图像的对比度。这三个反射层设置为添加模式，通过软件遮罩方式的处理，按照我希望出现的地方出现镜面反射或者是模糊反射，侧重于几何物体的边缘和老化模型的处理。
The different reflection passes with masks applied
通过遮罩应用得到的不同的反射
Final touches For the last part of the process I use After Effects;I added grain, vignette, chromatic aberrations, colour correction, and a light glow to give the feeling of a real picture. Never exaggerate the use of these effects; you don't want to ruin your images with unwanted lens flares and extreme chromatic aberrations. The time passed on the post work = the time I didn't spend during the render process, iRay allows you to quickly get what you want.
最后的润色：最后一部分的处理我采用了AE软件;我加了颗粒，暗角，色差，颜色校正，以及光线的处理增加了画面的真实感。你不想让不理想的镜头耀斑和极端色差毁了你的形象的话，千万不要过分使用这些效果。iRay能够让您快速得到你想要的结果，我将渲染节省下来的时间用在了后期处理工作上。
