【国外教程】Add to FavouritesMaking Of 'Cais das Artes (Quay of Arts)' ...

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Add to FavouritesMaking Of 'Cais das Artes (Quay of Arts)'

by Ricardo Canton————码头的艺术

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转自：http://www.3dtotal.com

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Hello everyone! My name is Ricardo Canton; I live in S漀 Paulo and graduated in architecture in 2004. Since then, I have been collaborating with several architecture studios in the 3D visualization of their projects. I received an invitation from 3DTotal to share a bit of my 3D techniques and skills with the community, through the Making Of my image of the Cais das Artes (Quay of Arts).

Hi  大家好！我是理查德.卡图。住在圣保罗（巴西南部一城市），2004毕业于建筑学院，从那时起我已经参与了一些建筑事务所的3D可视化设计的项目。我收到3Dtotal的邀请在论坛上分享一些我的3D技术和经验，通过我的作品码头的艺术！

This image was produced a little bit before construction began on the Cais das Artes museum and served as an illustrative support during the presentation of the project in lectures and publications in architecture magazines.


Before starting the tutorial, I will briefly explain what the Cais das Artes project was. The building was designed by Paulo Mendes da Rocha and Metro Arquitetos Associados, and comprised of a museum and a theater equipped to host large scale art events. Located on the Suá Bay, near the island of Vitória in Brazil, the main brief behind the project was that it should reflect the value of the landscape and historical surroundings of the city, and complement it. The design included platforms that allowed people to appreciate the beauty of their natural surroundings and the new square was intended to become a cultural attraction for the city.
开始我的教程前，我先简要介绍下Cais das Artes 这个项目。它是由Paulo Mendes da Rocha and Metro Arquitetos Associados 设计，由一个大量艺术物品的博物馆和剧院组成，它位于sua 海湾，离巴西维多利亚港口很近。这个项目最初的构想是它要反应出建筑的唯美和这个城市的历史感。还设计了平台允许人们欣赏周围的风景，还有一个广场是想成为这个城市的一个文化中心。

In this project I used the following tools: AutoCAD for modeling, 3ds max and V-Ray for texturing and illumination and photoshop for post-production of the image.

在这个项目里我用以下几个工具: AUTOcad 用来建模、3ds Max and V-Ray用来贴图和灯光照明、还有ps作为图像的后期处理。

Modeling
Given that AutoCAD is still the most common architectural software used by my clients, and because it contains all the design models and perfectly fits my needs, I still consider AutoCAD the main tool for modeling. Only when projects are more complex, will I combine the AutoCAD process with 3ds Max. In this specific project simple commands were used, such as Extrude, Polyline, Box, Union, Subtract and Slice. Fig.01 – 03 show the main stages and construction components of the building.

模型
在我们这一行CAD  还是最多的用来建模的软件，因为它几乎可以设计所有的模型能够很完美的表达我的思想。我认为CAD是最重要的建模软件，只有在遇到很复杂的模型我才会和3dsmax结合。在这个项目里许多基本的命令被运用，比如挤出、多边形样条线、盒子、切割等。图片01-03展示了主要步骤和设计元素。

                                                


After finishing the modeling phase, the DWG archive was imported into 3ds Max. After that I adjusted the internal units of the 3ds Max to meters.
在完成了模型制作后，DWG格式导入3dsmax,之后我调整单位为米。

Lighting and Camera Setup
The next step was to configure the lighting of the scene. To simulate the skylight, a hemisphere was used in which a vraylight material, with a JPEG texture of a sky, was applied (Fig.04).
接下来开始在场景里布置灯光。为了模拟天空光，在场景里加入了一个球天，给它加入一个天空的纹理并赋予自发光。如图04



In the internal lightning of the museum several V-Ray planes were used, which received orange tone variations (Fig.05 – 07).

在建筑里面的灯光，我用了一些VR片灯，给他橘黄色的灯光颜色。详细参数如图片05-07



Materials
The application of materials in this scene was quite simple, taking into account the fact that I did not intend to spend much time on tests and configurations (the color corrections and contrast were left to a later stage in the Photoshop phase). Among the few materials I used are: a V-Ray default material with white diffuse and a little bit of reflex in the beams, frames and cladding sheets, transparent glass, water, asphalt for the streets, and some variations of concrete textures for the slabs, pillars, pre-fabricated panels for the fa愀搀攀 and the great gable of the museum. Several textures were found in internet databases, like CGtextures (Fig.08 – 09).
材质
场景中的材质是什么简单的，实际上我没有打算花费更多时间去测试他（色彩矫正和对比度我放在最后，在PS里调整）。我用了这几个材质，默认的VR标准材质，白色漫反射、一点点反射在框架、门窗上，透明的玻璃，水，柏油马路还有一些带有变化的混凝土材质来表现石板,柱子、预制面板等。一些纹理贴图是在网上找到的像CGtextures这样的网站。如图08-09





Rendering Setup
The rendering configuration has no special features and the parameters adopted were basic with low values. I have used the classic method: irradiance map and light cache, adaptative dmc and exponential for color mapping. In this project, I have not used the LWF (Linear Work Flow), thus I have not changed the gamma settings in the 3ds Max preferences, even though I have been using this technique in my recent work. Here are the render presets (Fig.10).
渲染设置
渲染设置没有什么特别方面，参数也是开的很低的值。我用了最经典的设置；发光贴图和灯光缓存，采用DMC采样器、指数曝光模式。在这个项目里有没有用线性工作流，所以我没有改变3d里面伽马值，尽管在我最近的工作运用了这项技术。这里是渲染设置 图片10





Post-production
As you can see from the raw render, the image passed through a great transformation in Photoshop until it reached its final result. To facilitate the editing process and work more efficiently, several folders were created to maintain the layers organized. The use of adjustment layers and layer masks also allowed a non-destructive editing of the pixels. These tools are extremely important if you intend to easily recover any of the commands in future manipulations of the image.
The raw render can be seen in Fig.11.
后期处理
你看到了最原始的渲染图像，最终图像经过PS的处理发生了很大的改变。为了提高处理过程使工作更有效率，建立了一些图层文件夹。调整图层和蒙版图层也是在一个新建的图层上操作，避免破坏原始图像。这些工具非常重要假如你准备恢复任何步骤在这个图片上。渲染图片11




The background was inserted (with some adjustments related to the lightning and saturation) below the folder (3D Base), containing the duplicated raw render (Fig.12).
背景天空被调整过的（调整了亮度还有饱和度）在渲染的基础上。图片12





In this phase, the idea was to reinforce the lights of the scene – mainly the artificial lights emanating from the museum. In order to do this, the layers of the render and the sky were duplicated, flattened and adjusted to linear dodge mode. After, with an inverted mask and a soft white brush, the effect was cautiously been revealed. (Fig.13)
在设个步骤，我的想法是强调一下场景的灯光，只要是从博物馆照射出来的灯光，为了调整它再复制一层建筑图层和背景天图层，并调整为线性减淡模式。之后加入蒙版图层用柔软的笔刷涂抹，效果慢慢的就出来了！图片13





In a new layer with the Screen blending mode, a white brush was used to highlight the lights of the annex (Fig.14).
在一个新建的图层上用屏幕混合模式，白色的笔刷来提亮建筑物的灯光图片14



The use of orange filters served to accentuate the bluish tone of the original image and reach a hotter atmosphere (Fig.15).
增加一个橘黄色的过滤图层来加强图像的色调使其达到一个热闹的氛围图片15




Adjustment layers (Curves, Levels) were used to reinforce the shaded areas and highlight the lights (Fig.16).
调整图层（曲线、色阶）用来强调明暗区域 图片16




Below the adjustments group a new layer was created with the Color Burn blending mode (Fig.17).
接下来的色彩调整新图层是用来混合图层图片17



The application of new concrete textures (Overlay mode, with low opacity) added tone variations and a little dirt to the original textures (Fig.18 – 19).
这个混凝土纹理贴图（叠加模式，低透明度）增加了一些变化和一些做旧的效果叠加到原始图层上！图片18-19




To give life to the scene, I inserted some people and trees, adjusting their contrast and color (Fig.20).
为了给场景增加一些生命的活力，加入了行人，树，并调整他们的对比度和色彩！图片20



To reach a more dramatic result, vibrating and with more color effect, I repeated the process in Fig.17 using the following blending modes: Linear Burn and Overlay (Fig.21).

未来达到一个更吸引人的效果，加入动感模糊和更多的色彩效果，我重复了第17个步骤通过混合模式，线性倍增和覆盖模式。图片21



I have removed a little bit of the general saturation (Fig.22).
降低了一些饱和度图片22




I made a new copy (blending all the layers below) and added a mask. After that, I accessed Filter > Blur> Lens Blur to apply a very smooth blurring effect in the volume of the annex (center) and in the borders of the image (Fig.23).
我又新建了一个图层（叠加了所有图层）并加入一个蒙版。之后用滤镜下面的模糊
，镜头模糊运用很光滑 ，很低的值来增加建筑的体积感在图像的边缘！图片23





The final image can be seen in Fig.25.
最终图像如图25



That's all. I would like to thank 3DTotal for the opportunity to publicize my work and I hope that everyone that reads the tutorial likes the methodology I have used in it.
就是这些，我要感谢3Dtotal 给我这个机会来讲述我的作品同时我也希望看到教程的每个人能够喜欢我所用过的技术！

小豆子

The rendering configuration has no special features and the parameters adopted were basic with low values. I have used the classic method: irradiance map and light cache, adaptative dmc and exponential for color mapping. In this project, I have not used the LWF (Linear Work Flow), thus I have not changed the gamma settings in the 3ds Max preferences, even though I have been using this technique in my recent work. Here are the render presets (Fig.10).