制作特写肖像

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这个教学真的很酷~!!! 太酷了!!!
太感谢您的教学啦~~~

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制作特写肖像

In This "Making Of" article I will try to explain the techniques that I used to create this image. I will focus mainly upon the textures/shaders part

在这个“制作”文章中，我将试图解释这些技巧，用来建立形象，整篇文章，我将重点放在纹理、阴影部分上。

Base Modeling

I reused the geometry of an old nurbs body that I made years ago. Converted to polygons in maya and deleted the faces that were not going to be visible. I took care that almost all polys were 4 sided for a better subdivision later. Then in Zbrush I adjusted the proportions, its easier using the move and standard brushes

基础建模

我将用一个基本的nurbs几何体不断重复做出一个身体，这个方法我已经用了很多年了。大致调整后在maya里转化成polygon的模型，然后调整下模型表情上的不足。我很在意这一块，细心的把线的分布都改成四边面，细分一下，调整出比较满意的比列，使它更容易使用ZBrush中的标准笔刷和移动笔刷。

UV

I create the UVs in maya. This resolution is enough to create the UV's. Making it later with more subdivisions would be more difficult. I decided to create 2 different UV shells/textures for getting more texture resolution. One for only the face, and other for the rest of the head. I tried to place the seams in a hidden part:

展UV

我在Maya里展模型的UV，这个软件足够满足很好的展好UV。使模型再次细分后，会使展UV会更加困难。我决定创建两个不同的贴图纹理，以便展UV时更加方便。一个贴图在面部，另一个贴图纹理在剩下的部分，中间的接缝漏洞我试图将它隐藏在面的里面。

Texturing

Once I had finished the Uvs I started creating the texture. I used photographs from the DVD “Essence the face” as the source for the textures of the skin. It comes with hi-res photos of a woman:

贴图

我完成了展UV后，开始创建贴图的纹理。我参考了一些女人的脸，作为皮肤贴图。在众多美女中，我选择了其中一张女人的照片。

I created the texture between Bodypaint and Photoshop. I made several projections of the photos on the geometry and then merge all together in the final texture

我在Bodypaint和Photoshop里制作了纹理贴图。我打开了好几张选好的照片，然后合并在一起，结合成最后的纹理。

With more detail:

In Bodypaint, first assign a white 4096px texture to the geometry.

Then I chose a photo to proyect on the geometry and then rotate the 3Dview in a similar way.

Now, projection painting. This creates a projection layer.

还有注意的细节：

在Bodypaint里，首先创建一个白色的4096像素的纹理。

然后，我选择了一张照片，用旋转3 Dview将模型摆成跟她一样的姿势，创建一个投影层，开始绘画投影部分。

Then “Freeze3Dview”. This creates a snapshop of the current 3D view placed in the projection layer. (I chose 4096 pixel resolution,. With that I didn´t loose resolution when re-projected).

Save this image as a psd file. In photoshop I modified the original photo to match the geometry in the areas. Made different layers to have more control in specific areas:

然后锁住3D图层，再创造一个snapshop在当前3D试图中放在投影层里。（我选择了4096像素分辨率，与之前相比，我放松了一下我之前的决定。）

把它存成psd的格式，在ps里我修改了一下，将不同的部分分成一个层，以便修改的时候更加的方便。

When ready, the final psd had to have this layer configuration (the original) in order to be Bodypaint compatible

当完成后，为了Bodypaint的兼容性，在最后的psd里需要有结构的原件。

Back in bodypaint, merge the texture with the new one and disable “Freeze3Dview”.

This bakes the projection in the texture and then save that texture.

回到bodypaint里，合并新的纹理贴图然后在里面锁住3D视图。

然后将纹理贴图投射到uv图中，保存。

As you can see, this projection is good only for a part of the face. I repeated this process several times to cover all the face with projections. I made 5 (2 laterals, 2 quarters and front) and some extra to add details in lips and nose.

When I did all the projections, I merged all in a psd, chose the best pixels for each one and matched the colors between all to dont´see any differences between them:

现在如你看到得，这张照片只适合投射某一部分的脸的贴图，将上诉方法用其他图片重复多次，填满整个uv图，最后增加一下嘴唇和鼻子的细节部分。

当我全部做完了脸部贴图后，在一个psd文件里，选择每个部分的最佳匹配的像素块填到uv图中，这样看看与照片几乎看不到任何区别。

Detailing/ZBrush

I already had the base geometry and the tetxure. I subdivided in zbrush and added details using the information of the texture.

添加细节

我已经有了差不多的模型，现在只是需要补充一下面部细节和纹理。

I created a bw version of the color texture and used it as intensity masking. I created a first layer of detail:

我将展好的脸部贴服纹理去色后，适当的增强一下对比度，然后做了第一层的凹凸细节部分。

Then, without the masking I add some grains and bumps. I also add bumps with a brush with spray to give a less uniform skin, the orginal was too much smooth and “perfect”

Once I had the final detail, I choose a level of subdivision to use in maya for the render, delete the lower subdivisions and calculate the normal and cavity maps for that level using Zmapper.

接着，我用标准笔刷刷上了一些凹凸的细节，在用另一把笔刷在某一部分刷上不太相同的纹理，原来的皮肤纹理太过光滑，正常人是没有那样“完美”的皮肤的。

在做最后的细节中，我选择了一个水平的细分级别在maya里渲染，删除较低的细分级别渲染出Normal和cavity两个贴图，在合并到一切，贴在模型上。

Lighting

I wanted a soft and lateral lightning, it is called “low key” lightning. I think this kind of lighting gives great result for portraits. It also highlights the skin texture.  Here is a little sample of all the reference pictures/inspiration photos that I used:

打光

我想要一个柔软的、侧面打光，称为“暗调”的光，我认为这种打光一般出现在画素描中，也能反映出皮肤的纹理。这里有一些简单的例子，给所有人作参考，包括我。

Before deciding the Lighting, I created a quick skeleton to create different poses. I made some render tests with a lambert and a geometry hair that would give me a first idea. For each one I made different lightning set ups.

在打光之前，我创建了快速骨骼让模型摆出了不同的姿势。然后将它们依次渲染，lambert的材质和几何状的头发会使模型更加丰满些，然后我为每一个不同的姿势创建了不同的灯光。

I wasn´t sure wich one was the best, so I choose several configurations and go ahead with those.  I put each configuration in a different frame, so was easy to change from one to another.

For all the configurations, I used only one area Light that changes its position.

我不能确定哪个姿势最好，所以我把每个姿势放到不同的层里，这样就很容易从这个模型切换到另一个姿势的模型。

所有的模型里，我只是用了面光源，不同的只是改变了他的位置。

Skin Shader

I used sss mental ray shader with this textures. The epidermal and subdermal textures are variations of the original one.

我用mental ray来渲染出sss材质贴图，这样可以很清晰的看到皮肤的纹理变化和那种真实感。

I broke down the shader and compose all the layers in photoshop , so the weight values here shown are not important.

For breaking down the shader, I duplicate the original, made one for each layer and changed the values of the weights for each. For example for the diffuse pass, the weight of diffuse is 1 and epidermal, subdermal, specular, etc is 0. I only change the weight values, all the other values are the same for all.

I made these layers:

我在ps里打断了材质和贴图的构成，因为此层的权值显示在这里并不重要。

为了打断材质，我复制了一个原始的文件，每一层且改变权重值对每一个。例如传球的扩散、重量的漫反射等都是0，我只改变权重值，其它都是一样的。

我做了如下几层：

Then in photoshop, I used this blending modes to create the final skin

然后在ps里，我用混合模式，来创建最后的皮肤。

With this technique I had more control that using the original shader. I can quickly adjust the percentege of each skin layer, change colors, contrast, levels for each layer.

Look that I made a mask for the reflection pass, I only wanted that reflection on the lips.

This mask is ok because I was going to create still images. If it were for animation, I would have to paint the weight of the textures before rendering the passes...

采用这项技术我有更多的经验，利用原有的长度，我能快速的调整皮肤层，改变他们的颜色，让他们形成鲜明的对比，这样才能达到每一层都有这样的水平。

看，我做了一个面反射，而我只希望，通过反射的嘴唇。

这个面具就是我想要创建的图片，如果它是动画，我就会在之前画上纹理了。

Eyes

The eyes are three meshes. Exterior, Iris and a back cover (pupil)

眼睛

眼睛是三个网格组成的，外观，虹膜，背盖。

The “exterior” mesh uses a blinn shader with transparency in the center that allows to see the other parts. The transparency map is a maya circular ramp.

Here is a render without textures, only with the transparency:

外表模型是用blinn材质的，在中心部位是透明的，能看到别的部分，在maya里做一个圆环的形状，贴上透明贴图。

这里是一个渲染出来的，只有不透明。

I took photos of my own eyes to create the textures

我把自己眼睛的照片作为参考的创作纹理。

Here is the shader values that i used. As a special thing, it uses a bit of translucence:

这是我曾经用过的材质贴图，作为一个比较特殊的东西，它使用起来有点半透明。

For the reflections of the eyes, I  mapped a HDR texture on a sphere and deleted the faces that didn´t had the light source. I placed it where was the light to simulate that the light comes from a window

眼睛反射出来的倒影，我在一个球体上绘制了一个HDR纹理贴图，删除灯光找不到的面，我把他放置在模型的前面，用光来模拟阳光从窗户照进来的景象。

Apart from this, I created extra geometries to create the tear line and to improve the blending between the eyeball and the face. Also adjusted the eyelid to the shape of the eye for each pose.

除此之外，我又创建了额外的几何体用来模仿眼睛的泪腺，在改善一下眼球和眼眶融合在一起的部分，也调整了一下眼睑和眼睛形状的每个姿势。

Teeth

I used photos to create the textures. For the shader, I  made several tests to simulate a good translucency. Finally i used the sss fast skin shader with this configuration

牙齿

我用照片来创建牙齿的纹理，为了创建好材质，我做了几次检查来模拟一个有些半透明的物体，最后我试用了快速的皮肤着色和sss渲染设置。

The reflection is in a extra pass. I made it with a blinn shader to compose later in photoshop.

反射是额外的部分，我在ps里用blinn材质组成。

Hair

For the hair there are two stages: the generation and the shading.

头发

创建头发有两个阶段，生成和材质。

Hair generation:

I made many tests to create the haircut that I wanted, and was so painful. The best that I found was shave and haircut, using nurbs curves to create the hair (Something like a loft, but with hairs). With this method I could control the style of the hairs.

For that, select 2 or more curves, create the hair and select “Interpolate Guides”.

I created different hair systems for each style to give some variety. If only create one, the result is very “smooth”.

产生头发

我用了许多模式来创造出我想要的发型，这个过程很痛苦。最后我发现最好的发型创建就是试用nurbs曲线来创建，用这个方法我可以很轻易的控制头发的风格。

因此，我选择了2个或者更多的曲线，创造自己的头发和选择最好的那个。

我为每一个不同风格不同发质的材质加了一点变化，如果只创建一个，那样会显得很平，没有立体感。

I created 2 different hairstyles, that also with the bald version (with the hairs froms the skin texture) I had 3 different haistyles to choose for each pose.

In this image you can see the different systems used for each style.

我创建了两种不同的发型，加上之前的秃头版本已经有了三个不同的风格来选择不同的姿势。

在这个图片中你可以看到不同的发型的风格。

Once the systems are created, I ran a dynamic simulation to lay down the hairs in the final position.  I used a version of the geometry with smoothed ears to avoid problems with the dynamic simulation

一旦头发被创建出来，我就要模拟出动态的头发，我用了一个版本的几何来创建平滑的耳朵，避免了动态仿真上的问题。

Hair Shading:

For the shader, I used “shaders_p” hair system. I played with different shaders and this was the one that gave me best results.

It can be downloaded here:

http://www.puppet.tfdv.com/download/shaders_p_e.shtml

For using that shader instead of the shave and harcut one, you have to uncheck “OverrideGeomShader”. Then you can apply the shader that you want to the hair system.

I made different shaders with little variation in the position of the specular and assigned to the different hair systems.

I rendered the hairs in a different pass to compose later in photoshop.

头发的材质

为了这个材质，我试用了“shaders p”头发系统，我测试了不同的材质，而这个就是我最满意的结果。

点击下面的链接就可以下载到

http://www.puppet.tfdv.com/download/shaders_p_e.shtml

要想替换头发的材质，你需要选中“overrideGeomShader”，然后你用材质选择你想要的头发风格。

最后我在ps里做了最后一点调整。

Fur

I wanted to add fur to the face because the camera is so close to the face and I think this adds much realism.

I created different systems, each one with different width, lenght, orientation. I used  “Paint Fur Attributed tool” to paint the baldness of each system.

I rendered in a separate layer, and composed in photoshop with screen blending mode.

我想为人物的脸加一些细小的绒毛，因为摄像机很接近人物的脸，这样会显得更加真实。

我创造了不同的方法，每一种都不同于宽度、长度的定位，我使用了“Paint Fur Attributed ”工具，来绘制出不同的毛发。

我在ps里新建了一个图层，和渲染出来的图片进行混合模式。

Composition

I merged all the layers that I had previously rendered. Nothing special here, only configure all the layers and passes in photoshop. Finally I added a layer of noise, a bit of blur and some chromatic aberration, trying to reduce the cg appearance. Also a B/W version for each one.

And that´s all! More or less this is the way I created these images.

组成

我合并了所有的图层，这是在之前很少见的，其实在这里也没有什么特别需要注意的，只是在ps里所有的图层我都加了一层的噪声，让她有点模糊和一些色差，在减少一下cg外观的小缺憾。

这里就是全部了，多多少少的，我制作出来的最终图片。

感叹高手啊

高手啊高手

这得怎么学啊？

感谢分享哦。。好像看过。不过还是收藏了

看看{:soso_e100:}

非常棒，谢谢了！

太棒了！~学习学习！·

OMG, cool waaaaa

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