2014年3月31日 星期一

Render_3ds Max export EXR with elements in Vray : 渲染_3ds Max 輸出帶有通道的EXR檔

Hello ! I try to use  EXR format with a lots elements to composition recently. There are more flexible to correct the composition and save time and money.

嗨!我最近在使用帶有很多通道的EXR格式去做合成。有更多的彈性去校正合成並且省時省錢!

__1.Add elements
       增加需要的通道



__2.Cancel Vray Frame Buffer (Exr without multi elements)
       取消Vray預覽,因為EXR不會有通道


__3.Use Max frame buffer ( EXR with multi elements)
       使用MAX內建預覽 (EXR含有通道)


__4.Render it 
       算圖!


Thanks for reading it

2014年3月16日 星期日

2014年3月9日 星期日

World Building : The Environment Art Pipeline 建構世界 : 場景美術工作流程 by: Anthony Vaccaro

____Hello guys, It's been a while that i didn't post some technique article. So today, I post a article translated for 4 weeks about environment art pipeline to share with you.

        哈囉,有一段時間我沒PO一技術性的文章。所以今天,我PO一篇翻譯有四周XD之久的,有關場景美術工作流程,和你們分享。

Article from :  Vertex Art   3Q !

World Building
建構世界

The Environment Art Pipeline by: Anthony Vaccaro
場景美術工作流程 : Anthony Vaccaro 編寫

____When creating the Caravan level in Uncharted 3 I knew its size would be the major issue that would cause the most problems. Creating the massive environment needed for a high speed horse chase through the cliff canyons and out in the desert while reducing the all too common problem of noticeable repetition would be the crux of this issue. This article focuses on aesthetic and technical decisions made to help alleviate this problem while going over a method I used to create a very vast environment within a production cycle.

  當創作uncharted 3 沙漠旅行的關卡,我已知它的規模會是重大主題,這會產生許多問題。製作大規模的場景需要有高速的馬追逐經過懸崖峽谷和出沙漠,而減少所有明顯重覆感太普遍會是這問題的關鍵。這篇文章著重在美學和技術的決策,使幫助解決這問題,回顧我曾經在一個生產週期創建一個非常廣闊的場景。



Start Smart
開始計畫

____When going about constructing an environment it is important you stay as far away from a modeling package as possible until you have a large library of reference images, this the key to creating believable words.  Without a good foundation and understanding of the location you are striving to replicate in 3d, your environment will have that all too familiar 3d look instead of being a world viewers can truly escape to.  This is where you can plan out the most important visual aspects of the environment and determine what is important to keep from your reference and what is not.  You want to include what is visually striking, what will help set it apart while keeping within the set style of your project.  You don’t want to fall into the trap of trying to do everything possible and having everything suffer for it.

  當進行建立一個場景,很重要的一點,你要盡可能遠離一點你的模型套件,直到你有大量的參考圖片資料庫。這是製作讓人信以為真環境的關鍵。沒有良好的基礎和理解你正努力複製到3D的地點,你的場景將有一個大家都耳熟能詳的3D外觀,而不是被真實世界的觀眾能夠真正跳脫。這是你可以計畫出最重要的場景視覺方面的地方,並決定甚麼重要保持在你的參考中而哪些不是。在你專案設立風格期間,你想要包含視覺重擊,甚麼可以幫助它分類。你不想要掉落"試圖竭盡所能和讓每件事都要遭受如此"的陷阱。

Rocks, Rocks and a few more Rocks
岩石,岩石和一些更多的岩石
____To help combat the problem of noticeable repetition from overusing a small handful of very unique models in such a large environment I went with the approach of creating a vast library of different models utilizing blending and tilting texture sets. There are many benefits to this approach of work with not to many downsides.  Having a much larger library of rock assets to choose from helped create a much more organic look to the environment while minimizing the noticeable repetition.  Changes to any model could be made without fear of destroying uniquely created maps at any stage of production giving me freedom to constantly improve and optimize the model as need be.

        為幫助試圖解決"明顯重複"的問題,從過度使用非常獨特的一小部分模型在相當大的場景,我製作一個龐大資料庫,不一樣模型利用混合和連續貼圖組。這有很多好處,這種沒有太多缺點的工作方式。擁有一個更大的岩石道具資料庫去做選擇,從製作更原型的外觀到場景,而最小化明顯重複感。可以改變任何模型,而不需要擔心破壞獨創的地圖在任何生產階段下。給我自由去不斷完善並且優化模型,如所需要。



____Not only did I utilize a high model count for the environment but I also reduced how much each model differed from each other.  Now this might seem like a counter productive thought process when the whole point of having a larger library of assets was to give you more variety, but the reason this was done was to give the level a better sense of cohesion.  The issue with creating too many “unique” rock assets is that they will eventually stand out, and they become harder to blend with the other rocks and elements in your scene.  It will look more like models are simply place next to each other instead of a solid flowing rock form that looks unique due to the diversity of models used while still maintaining the look that it is all the same cliff face.

        我不只為場景使用一高模型總量,但我也降低每個模型彼此多少的不同。現在這似乎透過這流程像是個反向生產,當有一個較大的道具庫為全部中心是給你更多種類,但這樣做的原因是讓關卡有更好的凝聚力。有關製作太多特異石頭道具套件的問題就是最後他們會太突出!
並且它們變得較難在你的場景,與其他石頭和元素混合。它將看起來更像放置在一個相鄰類似的模型,而不是固體流動的石頭,來自看起來特異,由於模型多樣性被使用,同時仍保持外觀是一樣的崖面。

Similar But different 
類似但不一樣



____Now let’s not get carried away and think each model should look exactly the same.  This is untrue, we just want to minimize the amount of unique details that will stand out and betray the illusion we are trying to create with repettous elements.  Silhouette should be the main focus of the model while maintaining a consistent look through out each piece and limitng the amount of very exaggerated unique details.  This of course does not limit you to only creating assets that look very similar.  Much like your details you want to use the more standout assets sparingly and in places that you wish to draw attention whether it is the focal point of the scene or you are trying to use it to guide the player.

        現在我們不要得意並且思考每個模型應該看起來確實一樣,這不是事實,我們只是想要最小化獨特細節的數量,這些細節太獨特並且洩露我們正試著用重複物件製作畫面。剪影應是模型主要焦點,當保持一致的外觀,透過每個部分,並且限制非常誇張獨特的細節數量。這當然不是限制你只能製作看起來非常相似的道具。就像你的細節,你想要謹慎的使用更多突出的道具,並且一個你希望被提醒注意地方,無論是它是場景的焦點或是你試著使用它去指導玩家。


____While the models themselves differ from Large, Medium to Small each carries through similar defining  elements such as the chipped/layered look.  These types of decisions on what style and types of elements you wish to carry through your models should be determined before hand to keep a sense of  cohesion throughout your level/assets.

        模型本身不一樣從大 中 到小,每個都進行透過類似制定的元件,如缺口/層次感的外型。這些決定種類在甚麼風格和你想要執行在你的模型,應事先確定,以保持凝聚力,貫徹在你的關卡和道具

But how do we make the world so large?
那我們要如何讓世界如此之大?

____The last section of the Caravan level in Uncharted 3 is a daring battle on horseback high up on a cliff ledge overlooking a vast barren sea of sand.  What most players (hopefully at least) don’t realize is that they are actually in a never ending environment loop.

        在祕境探險3中,Caravan關卡裡的最後部分,是在馬背上驚險的戰鬥,在高空岩壁突出上,俯瞰廣闊貧脊的沙海。然而,大多的玩家(希望至少)不知道,他們實際上是在一個永無止境的場景迴圈。


____This gameplay section is not on rails, there is no end point and each player will complete the level at a different point. To achieve this result the level had to be constructed in a loop, a very wide one at that to minimize the fact that you are going in a circle and to compensate for players of varying skill level.  Most players will never traverse through the entirety of the loop but it still has to all be there for those that will.

        這個遊玩部分不是在軌道上,沒有終點並且每個玩家在不一樣的地點完成關卡。為了達到這個結果,關卡必須被建構在一個迴圈,一個非常寬闊的,降低現實,你會接近一個圓形,並且,彌補各種技術等級的玩家。大多的玩家將不會遊歷整個迴圈,但它還是必須完整在此,為玩家們。

____Utilizing the fact that we have a huge library of rocks at our disposal will help us create these large environments while keeping every area looking unique.  How was this done then within the constraints of a normal game production cycle?  Simply making things more modular!

        利用現況,我們有大量石頭資料庫在我們的布置,將幫助我們製作這些大型環境,同時保持每個區域看起來是獨特的。這如何做到的,在一個正常遊戲製作週期的限制內?只要讓物件更模組化!


Modularity within Modularity
模組化中的模組化



____At Naughty Dog I use what we refer to as “Nested Scenes” to create the miles and miles of track needed for this section of the level.  These Nested Scenes are modular mini scenes within themselves.  They are constructed much like any area of the level, they are built using many modular assets, unique terrain, specific game flags, and include things such a collision and shadow proxies.  Everything about them is created exactly as a normal gameplay section would be except they are created with the intent that the start and end section will link up with another Nested Scenes much like a piece of train track.  Using this method I created about 5 unique sections of terrain and assembled these modular sections in 1 master scene file.

        在頑皮狗,我使用我們稱之為嵌套場景,去製作千里長的軌道,為這關卡的地區所需要的。這些嵌套場景是模組化的微縮場景,包含自己。它們由像是關卡的任何區域所建構,它們是使用很多模組化道具去建立,獨特的地形,特別的遊戲旗幟,和包含像是碰撞和陰影代理的東西。每件東西關於嵌套場景是被確實製作,如同一般遊玩部分,除了製作它們是傾向開始和結束的部分,將和其他嵌套場景連接,類似一段火車軌道。我用這個方法製作了五個獨特的地形場景並且組裝這些模組區塊在一個主要場景檔案裡。

____Example of a Nested Scene.  Created much like a regular level section that can be placed in a master scene like any normal instanced asset.
To give a sense of scale the flat terrain section the player can move around in is about 5 truck widths wide.

        一個嵌套場景的範例。製作類似一般關卡區域,可以放置在一個主要場景中,像是任何一般實體化的道具。
為了給予一個規模感,這平坦地形約5個卡車寬度寬,玩家可以在裡頭四處移動

____This method lends its self well to the continual demands of design changes without requiring too
much work.  Changing things within each Nested Scene will then update all copies in the larger
master scene, much like any individual modular asset being updated in its base scene, the changes
will be reflected in all subsequent scenes it’s being used in.

        這個方式藉由他自己以及對設計更動的不斷要求,不需要太多工夫。在每個嵌套場景內改變事物,將更新在主場景上所有的複製,類似任何獨立的模組道具,被更新在底層場景裡,這改變會被反應在所有隨後的場景上。


____A top down view of the main scene file for the Cliff Loop.  With the Nested Scene above selected you can see how large the loop actually is and attempting to create this any other way would be an extreme waste of time.

        一張主要場景的懸崖迴圈空照圖。因為選擇崁套場景,你可以看到迴圈的真正大小而且試著去製作這樣的場景,會是相當浪費時間。

Breaking up the Boring
打破無聊

____When creating large Nested Scenes like this, much like with individual assets, you want to keep the extreme uniqueness of these scenes to a minimum to reduce the chance players will begin to notice that they are traveling past the same chunk again and again.  To break up the boringness of this and add spice to our level we will then want to go into the master scene where all our large track pieces are laid out and then add in extra details on top.  These extra assets added into the master scene will help make each section of your level look unique and disguises the fact that you are repeatedly going over the same track section again and again.

        當要製作崁套場景,如這樣,就像是獨立道具,你想要保持這些場景獨特性,以一個最低限度,減少玩家會開始發現他們正在一次又一次穿越一樣區塊的機會。為了打破無聊,並且增加趣味到我們的關卡,我們將會到主場景,所有我們最大的軌道被編排並且增加額外的細節在上面。這些額外道具增加到主場景,將幫助你的關卡的每個部份而且掩飾你正重複地一遍又一遍經過同樣區塊的事實。



_____The same track section as above only with extra detailing assets placed in the master scene to break up the look of the area giving off a completely different feel while reducing the amount of unique work needing to be done.

        同樣的軌道區域,如上圖,只有額外的細節道具,擺設主場景,打破區域外觀,釋出一個完全不一樣感覺,同時降低特別定製所需的數量。

____Utilize your reference images here to help you determined what would be appropriate for the location and
aesthetics of the level. Breaking up the look of the loop is important but you don’t want to stray from the core look of the level just to make things look different.

        利用你的參考照片,去幫你決定甚麼的地點和關卡美學會較適合。打破重複的外貌很重要,但你不會想要偏離主要關卡的外貌,就只是讓東西不一樣而已。





Hey that’s Game Development
嘿! 這就是遊戲開發阿!

____Within game development an artist will always have to adjust their levels based on changes in story and gameplay. Having things extremely modular and easy to edit will alleviate a lot of the issues you will eventually face. One of the worst things an artist must deal with is when sections of a level must be cut due to changes in design or time.
This happens on all projects and multiple times within my level during the creation of Uncharted 3. Utilizing the modularity of Nested Scenes, not as much time was wasted changing or removing large sections of gameplay as opposed to if I had made every section from scratch.

        由於遊戲開發,一位美術將總是必須調整他們的關卡,依據故事的改變和試玩結果。讓事情徹底模組化並且容易編輯,將減緩你最後將面對的問題。最糟事情的其中之一就是,一位美術必須要處理刪減關卡一部分,因為設計或是時間變更。
這會發生在所有的專案上,並且發生好幾次在我製作秘境探險3的關卡時。利用嵌套場景的模組化,不會浪費太多時間改變或是移動大塊遊玩區塊,相對於如果我從無到有完成每個場景。





____This technique was also used to create the endless sea of sand dunes earlier in the level. These were a bit more difficult as they required the edges to be completely seamless not only the model but also with the textures.

        這個技巧也被用來製作無邊際的沙丘之海,在之前的關卡,這有點更困難,同時他們要求邊界要完全無縫,不只針對模型,還有貼圖。

Closing Thoughts
結語

____Remember the points I brought up in this article are by no means the correct way to go about constructing your environment. There are many factors that come into account such as art direction, design, style of gameplay, and technology used at your studio. These are a collection of thoughts and tips I used for creating the Caravan level in Uncharted 3. The biggest advice I can give is really to think for yourself, do not rely on tutorials and articles written by others. There is no right and wrong way to create environments. Experiment and decide what works best for you on any given project. Most of all have fun doing what you love.

       記住我在本文所說的重點,並非真的就是正確方法適合製作你的場景。有很多因素,綜觀像是美術方向,設計,遊玩風格,和你工作室使用的技術。這些是我在秘境探險3,製作Caravan 關卡時,一個想法和訣竅的收集。我可以給的最大建議就是真的為自己想,不要太依賴別人的教學和文章。製作場景沒有對錯,實驗和決定甚麼工作流程對你在任何專案最好。最重要是做你所愛得到樂趣。





                 

About Me 
關於我

____I graduated from the Art Institute of San Diego California and got my first job working up at Bungie on Halo Reach as an Environment Artist. After Reach I joined all the talented folks over at Naughty Dog and worked on the Caravan level for Uncharted 3.

        我畢業於聖地亞哥加州藝術學院,並得到了我的第一份工作,在Bungie的最後一戰 : 瑞曲之戰裡當環境藝術家。瑞曲後,我加入人才濟濟的頑皮狗並且規畫Caraven關卡為祕境3


Article from :  Vertex Art   3Q !