建筑可视化翻译教程一

**wqiao** · 拓城校尉|**wqiao** 发表于 2015-12-10 16:17:02

本帖最后由 wqiao 于 2015-12-10 21:51 编辑

首先需要说明下，这是刊登在网站Ronenbekerman上一篇优秀的雨天建筑渲染图制作教程，个人觉得不错，就抽时间进行了翻译，在这个过程中，能够强迫自己去仔细理解，发上来也希望对有兴趣的同学一些帮助，如果对你有点启发，请留言以示鼓励。另外，如涉及到版权问题以及翻译错误，希望提醒和谅解。原文链接

关于作者：

Tamas Medve is 3d Artist from Hungary. Hestudied architecture for 5 years, getting more serious about 3dsmax during his4th year and understanding he actually loves doing ArchVIZ. After he leftuniversity he got a great opportunity to move to London and work as avisualization artist atFoster+Partners. A year and a half laterhe sent his portfolio to MIR,where he is now… part of a great talented team.

Tamas Medve是来自匈牙利的3D艺术家。他学了5年建筑,在他学建筑的第四年越来越多的接触了MAX后发现他对建筑可视化设计更感兴趣。他离开大学后,得到了一个在Foster+Partners事务所做一个可视化设计的机会。一年半后,他把自己的作品集寄给了MIR，现在他已经是这个天才团队的一员了。

开始吧！

When somebody asks me – “how I did you do this orthat…”, my first answer is always“references”!

当有人问我“你怎么做这个或那个…”,我的第一个答案总是“参考”!

Always use references before you start aproject. these could be photos or a paintings for instance. The referencephoto, or any kind of image, is going to help your work from the beginninguntil applying the final tweaks later in Photoshop.

在你开始一个项目之前总是使用引用。这些可能是照片或绘画。参考照片,或任何类型的图像,将从一开始就帮助你的工作直到后来在Photoshop中最后的调整。

In my case it was easy to get some references,as I pass by Grieghallen all the time, and waiting for rain isn’t a problem weexperience in Bergen. So I took a couple of photos when it was raining and acouple when everything was dry and the lighting was overcast, just to see thedifferences between the two kinds of weather. These photos also helped a lot inthe modelling and lighting part of the project.

在我的例子中很容易得到一些参考,当我每次经过Grieghallen时,会经常下雨。所以我收集了一些下雨的照片和一些事物都很干燥时天空阴沉沉的照片。然后去观察在这两种不同天气里的区别。这些照片对建模和打灯也起到了很大的作用。

Lighting and Camera Setup

Some of you might get to lighting and camera abit later in the process, but starting with this part is more logical for me.Usually I start my personal projects with modelling some basic geometry (likeboxes), which helps me to explore the scene and to find exciting angles (orjust find that angle which shows the building in the best and most attractiveway)

照明和相机设置
你们中的一些人可能会在最后设置灯光和相机,但对于我来说从一开始就进行设置会有更好的逻辑性。通常一开始，我仅仅建立几个大致的体块来帮助我设计场景以及发现有吸引力的角度。（或者仅仅是发现能够更好和更有吸引力来表现建筑的视角）

First, I built up my amazing scene of 2boxes. Next, I set up the lighting.

In this project I only used a V-Ray Dome Lightand a few V-Ray IES lights (highlighting the entrance and lighting the groundfloor) following the references. The lighting set-up used is very simple.

首先,我建立了一个不错的两点透视的相机视角。然后我开始创建灯光。

根据之前找的参考图，在这个项目中我只使用了V-Ray穹顶灯和少量的V-Ray IES灯(用来照亮入口和地面部分)。灯光参数设置也非常简单。

I always like to see the sky in theperspective view and this can sometimes be really helpful especially if yoursky is not overcast. For this method I use a JPG from an HDRI image to use as apreview in the viewport.

我总是喜欢看到天空的透视图,如果你使用的不是阴天这样对图的表现力更有帮助。根据这个方法我使用了一张HDRI的天空。

So I grab this JPG image and simply addin the dome texture slot. After this I drag (copy instance) that texture fromhere into a new material slot and I drag it into the environment window too(copy instance) Finally I press alt+b (viewport configuration) and just changethe background solid color to the “use environment background” option. That’sit.

I can see my sky in the viewport and I canrotate it easily in real-time. However, for the final render, make sure you usea higher resolution texture (I just re-scale the original texture in Photoshopbefore rendering). See the details below.

所以我直接拖动这张JPG图片到一个材质球上，然后将这个贴图实例复制到一个新的材质球上并同时实例复制到环境面板上。最后我使用快捷键“Alt+B”(视窗配置)将背景视图从纯色改为使用环境背景。就是这样。
我可以在视窗中看到我的天空,我可以很轻松的实时进行旋转。然而,对于最后的渲染,确保你要使用一张高分辨率纹理(我仅仅在渲染之前用PS把原始的贴图重新缩放)。具体的细节请看下面。

Modeling

Modelling is definitely not my strength, so Iwouldn’t like to go too deep into this subject like speaking about techniques,etc. Actually, starting the model was the hardest part because I didn’t haveany plans or section drawings, so I had to model the building by eyesight basedon the photos and the 2 boxes that I had made earlier (see the lighting andcamera set-up part). I’m 100% sure that my model is not correct but if youreyes can’t discern a difference between real and fake it really doesn’t matter.

For every model I used only the basic polymodelling tools and I just dressed up the scene with these elements.

建模

造型绝对不是我的强项,所以我不喜欢去太深入研究这个话题就像谈到技术等等。事实上,模型开始是最难的部分,因为我没有任何计划或部分图纸,所以我不得不在收集的参考图和之前设置的相机视角下靠眼力来进行建模。我100%确定我的模型是不正确的,但如果你的眼睛不能分辨真实和错误。这个真的不重要。

对于每一个模型我只使用基本的多边形建模工具，并且我也仅仅使用这些元素来装饰场景。

One small piece of advice : if you are using double glazing in thewindows you will get nicer (doubled) reflections.
To make the image and the mood believable I have put some raindrops on theforeground benches. Simple squashed spheres painted with the object paintertool in 3ds max.
一个小的建议:如果您使用的是双层玻璃的窗户你会得到更好的(翻倍)反射效果。为了增强图面的真实度，我在靠镜头比较近的长凳上放了一些水滴，用MAX里的对象画笔工具创建球体，然后进行一定得压扁就可以了。

In addition, there is some interior furnitureand a few trees (iTrees) around the building.
此外,还有一些室内家具和几棵树在建筑的周围。

Below you can almost see the result of thescene… just one important thing is missing, so let’s talk about that more.

下面你可以看到现场的结果…仅仅只有一个比较重要的失误，让我们来研究它。

Texturing

In real life, when you are working on aproject, you don’t have as much time as you need to include a lot of details orto make stunning shaders and textures. That is why when I do a personal projectI always try to finish it as I would in a commercial environment with a tightdeadline (even if I have a lot of time). It’s a bad habit I know. To save a lotof time I didn’t model all the surrounding buildings, so I had to solve thisissue another way.

纹理
在现实生活中,当你正在做一个项目时,你没有那么多的时间去制作很多细节或惊人的阴影和纹理。这就是为什么当我做个人项目我总是试图完成它就像我在做一个商业环境和有严格的最后期限的想象下(即使我有很多时间)。我知道这是一个坏习惯。为了节省时间，我没有创建周围所有的建筑,所以我不得不用另一种方式来解决这个问题。

Of course I had to do some small retouchingand matte painting corrections on the photos in Photoshop, but it worked outpretty well I think. I used the textures + opacity maps in a V-Ray LightMaterial and I achieved nice, real reflections and colors in the render.
当然我不得不在Photoshop中做一些小修饰修正照片,但是我认为这样做的很不错。我使用纹理+不透明贴图取得了不错的渲染效果。

The Ground Material

The ground stone texture isfrom the Arroway Textures Concrete collection with some small changes inPhotoshop (contrast, color). I also made a specific displacement texture to geta better result. Basically, I used 2 planes for the ground. One is for the stonewith V-Ray Displacement and another for the puddles of water.

地面材料
地面石材纹理来自Arroway的混凝土贴图合集，并在Photoshop中进行了简单的调整(对比度,颜色)。为了得到一个更好的效果，我也制作了一张特殊的置换贴图。基本上,我会使用两种贴图用在地面上，一张用来制作地面的凹凸，一张用来得到积水的效果。

The Rusty Window Frame Material

I have downloaded the texturesfor it from CGTextures and I mixed about 4 different textures with each otherto get the final diffuse map.

生锈的窗框材料
我从CGTextures下载它的纹理,我对4种不同的纹理相互混合得到最终的漫反射贴图。

The Concrete Wall Material.

混凝土墙材质

Render Setup

In creating this image I used the V-Ray renderengine (which is the most common engine). It is fast and easy to handle! Theseare my render settings that I usually use. Pretty basic, I think.

渲染设置
创建这张照片我用了V-Ray渲染引擎(这是最常见的引擎)。它非常快而且便于操作!这些是我的我通常使用的渲染设置。但是最基本的,我认为。

The 4000px high image render time took around3 hours on a BOX workstation.

Below is the final raw render.

这张分辨率4000 px图像在一台工作站上渲染时间花了大约3小时。
下面是最终的原始的渲染。

Imade another region render with a dry stone material that I blended with thefirst render in Photoshop. This method gave me much more freedom, because Icould easily change the borders between the wet and dry parts.
我又渲染了一张地面石材干燥时的图片，这样我可以在PS中进行混合。这个方法给了我很大的创作自由。因为这样可以很容易的去绘制地面的干湿的边界。

Post Production

Here we go!

This is one of the most interesting parts ofthe process, where you make the final tweaks and personal touches to yourimage. I know some people prefer to do everything in 3d and using Photoshop isjust secondary, but I believe that working in Photoshop is as important.

It gives you so much freedom… it’s really hardto tell any general tricks and methods about post-production, because everyimage needs different tweaks and adjustments. Mainly, I use 3 different renderelements for it. The lighting pass is to push up the lighter areas on theimage, the reflection pass is to make the reflections stronger if necessary,and finally the z-depth pass which helps you to add some fog or mist (with thez-depth pass you have to use it as a layer mask in Photoshop). One more thing.If you want to add some dirt to your image you can overlay some textures orjust use the ambient occlusion pass.

后期制作
我们开始吧！
这是一个最有趣的过程,这一步你将进行最后的调整。我知道很多人倾向在MAX里完成每件事而没有怎么使用PS，我相信在PS里工作同样重要。

它给你太多自由…但是真的很难讲一些在后期里用到的技巧和方法,因为每一张效果图需要不同的调整和绘制。基本上我会使用3种不同的方法。灯光通道图层用来提亮画面,反射通道图层如果有必要可以用来加强反射效果,最后使用z-dept通道图层帮助您添加一些雾的效果(z-depth必须使用它作为Photoshop图层蒙版)。如果你想为图面添加一些污垢，你可以叠加一些纹理贴图或者使用环境阻光通道。