《致敬宫崎骏》


我是dono,来自法国巴黎的一名CG自由职业者。Blende是我个人的创作与工作的主要工具。在创作《致敬宫崎骏》这部短片的时候,我的工作流程与周期有点紧张。不管怎样,制作这样的电影有很多种方法,每个人都有自己的工作流程,所以我能做的就是简单地分享我个人的创作过程。我一直喜欢宫崎骏的作品。我已经有很多文献获取参考,包括:蓝光DVD、艺术书籍、漫画等,所以我没有花很多时间寻找参考资料,但是在项目的开始,这是一个很重要的任务,好的参考可以节省很多时间。我把这个项目作为了建模及纹理练习,只是为了练习。在模仿《逃离》的浴缸后,我想做一些更进化的事情,这样感觉会很酷。

后期揭秘


I am dono, CG freelancer from Paris, France. I use Blender as my main tool for both personal and professional work.My workflow was a bit hectic during the creation of my tribute to Hayao Miyazaki short. There’s a ton of ways to produce such film anyway, and everyone has its own workflow, so the best I can do is to simply share how I personally did it.I always loved the work of Hayao Miyazaki. I already had a lot of references from blu-ray, art books, mangas and such, so I didn’t spend a lot of time searching for references, but all I can say is that’s quite an important task at the beginning of a project. Having good references can save a lot of time.I simply started the project as a modeling and texturing exercise, just to practice. After modeling the bath of “Spirited Away”, I thought it could be cool to do something more evolved.

我首先做了一个非常低的多边形网格,创建了一个实时相机预览的“动作”。我还提取了蓝光中的关键帧(制作了蒙版),使的画面可以生成两个不同版本的电影的质量。一个版本使用低分辨率的JPG格式用于在三维视口实时预览。另一个PNG图片作为最终渲染使用。


So I first did a layout with very low poly meshes to have a realtime preview of the camera’s movements. I also extracted frames from the movies using blurays footage to make two different quality versions. One version used low res JPGs to use for realtime preview in 3D viewport. The second one used raw PNGs for final renders.

我使用实时预览编辑技术,所有都基于Blender的Sequencer(音序器)。我想把控好画面和音乐的节奏,我使用了Blender的实时预览,使用Sequencer很容易把场景的顺利建立起来。通过Sequencer加载的场景,我可以直接在3D视口中编辑,所以我并不需要渲染任何什么!


I used realtime previews to edit it all together using Blender’s sequencer. I wanted to find a good tempo and feeling for the music, and with realtime in Blender’s viewport, it was easy and smooth to built up. I edited directly the 3D viewport, by linking the scene in the sequencer, so I didn’t need to render anything! 


Sequencer:Blender中独有的一个剪辑功能。它可以将场景中的摄影机到话作为一个场景加载到Sequencer中进行剪辑编辑,等于是提前制作好了剪辑,但是在没有渲染的前提下。

接下来,我在Blender中Rotoscoping(对位)关键帧。在Sequencer编辑器使用实时的视图预览,通过Sequencer我就确切地知道有多少帧。我没有浪费任何时间在不必要镜头的Roto逐帧对位上。这是至关重要的,因为Roto逐帧对位是非常非常耗费时间的一件事情。这里说一点非常重要的事情,当你使用Mask逐帧Roto对位(连续抠图-视频抠图)的时候,你并不想将所有的元素都抠在一个层中,这个时候利用Blender的Mask Layers遮罩层来分层Roto将更加灵活并且非常快速。


Next, I did the rotoscoping in Blender frame by frame. Having used realtime previews for the editing, I already knew exactly how many frames I had to rotoscope. That way I didn’t wasted any time rotoscoping unecessary footage, which was crucial because rotoscoping is very, very time consuming. The very important thing when you do a rotoscoping is to separate parts. You do not want to have everything in one part. Having separated layers makes it more flexible and faster.

然后,我在Blender中开始了项目的资产建模,纹理绘制使用了Blender和Gimp。我为每个资产单独保存了一个单独的Blender源文件,极大的减少了文件的大小,这样也很方便的使用Blender的链接功能,将所有的项目资产内容组合到另一个场景中。我为使用了一个Blender文件将所有的材质打包在一起,(不同种类的金属、木材),因此我可以链接它们并任意创新应用它们。非常值得的推荐的一个工作流程,因为有一个模块化的工作流程通常会节省很多宝贵的时间。


Then, I modeled and unwraped the assets in blender, textured them in Blender and Gimp. I used one blend for each asset to limit blends file size, and used linking to bring everything together in one scene. I also created a blend file that contained a lot of materials (different kind of metal, wood), so I could link them and reuse them at will. It was worth it since it having a modular workflow often really saves time.

对于烟雾,我使用了搅拌机烟雾,直接使用Blender的内部OpenGI渲染。通常可以让我很容易地看到任何错误并及时修正。我还制作了一些灰尘在雾中穿过的效果。


For the smoke, I used the blender smoke, directly rendered in openGL in Blender Internal. You can see and correct very easily any mistakes. I did also some dust and fog pass with it.

海洋是在Blender使用Ocean变形修改器制作完成的。我烘培了的海洋生成器的EXR图像序列,并利用这些图像来做波位移和泡沫。


Ocean was done using ocean modifier in Blender. I baked an image sequence in EXR, and used these images to do the wave displacement and foam.

渲染我使用了Octane渲染器,我想通过这个项目尝试一个新的渲染器,当然也可以使用对我来说不会如何烦恼的Cycles渲染器。我将渲染分层设置为:characters人物,sets相关设置,backgrounds背景、FX特效。分层渲染是一个很好的解决方案:渲染速度快,你可以用更多的多边形,可以搭建更大的场景,你可以再次渲染场景中的的一部分,如果必要的话(这是很经常发生的情况)不需要重新渲染整个图像。渲染输出的图像:颜色通道保存16bit PNG, Z层通保存为32bit EXR。我还设置了相关的ID和Mask。这些设置在合成过程中能迅速的纠正并修改细节,即使有一定的错误需要调整也不必重新渲染整个图像。在此基础上渲染一帧的时间在4分钟到15分钟之间。


For rendering I used Octane since I wanted to try a new renderer for this project, but it could have been done using Cycles without any troubles. I rendered layers separatly: characters, sets, backgrounds and fxs. It was very good to have rendered things separatly: the render is more fast, you can have more bigger scene with more polys, and mostly, you can render again a part, if necessary (and it was very often the case) without to render the whole image all over again. Renders were saved in PNG 16 bits for the layer color, and in EXR 32 bits for the Z layer pass. I also rendered some masks and ID mask. This allowed to correct details very quickly during compositing without having to render again the whole image. The rendering time for one frame was from 4 minutes to 15 minutes.

我合成在Narton中完成,添加辉光,图像暗角,运动模糊。Z通道用来添加一些雾,ID(材质ID\物体ID)修正一些物体的颜色。当你从Blender中渲染出大量的层导入到Narton中,依然可以很容易的合成,并且调整相关的效果速度也很快。我记得当时我习惯于渲染到一张图像中,我过去并没有是分层渲染,结果最终图像的错误导致反复的修改,这非常的浪费时间。Sozap,我的朋友,一个非常有才华的艺术家,教我使用分层渲染。这真是一个很棒的建议,多亏了他,我才能更有效地工作。


I finished the compo with Natron, added glow, vignetting, motion blur. The Z layer pass was used to add some fog, and ID mask to correct some objects colors. When you have a lot of layer pass from blender, it is very easy to do compositing and tweak things very quickly. I remember when I used to do everything in one single pass at the time. I did renders over and over to fixe errors and it was very time consuming. Sozap, a friend of mine and a very talented artist taught me to use separate layers. It was a really great tip and thanks to him I could work more efficiently.

在制作过程中,我向我的朋友展示了WIP(work in process 在制件),为我的工作带来全新的灵感。有时候,批评是很难接受,但是认真的倾听还是很重要的,因为他们可以给我提供不同的意见,可以帮助你改善工作。没有批评,我这个矮个子当然不会像现在这样。再次感谢Thanks again to Blackschmoll, Boby, Christophe, Clouclou, Cremuss, David, Félicia, Frenchman, Sozap, Stéphane, Virgil! 并且感谢吨·罗森达尔(Blender 之父), Blender社区,Blende开发者,GIMP(图像处理软件)和Natron(后期节点合成软件)!


During the production, I showed wip to my friends, because they could provide a new and fresh look on my work. Sometimes, it is hard to have critics, but it is important to listen as they can help you a lot to to improve your work. Without critics, my short most certainly wouldn’t have looked as it does now. Thanks again to Blackschmoll, Boby, Christophe, Clouclou, Cremuss, David, Félicia, Frenchman, Sozap, Stéphane, Virgil! And Thanks to Ton Roosendaal, the Blender community, developers of Blender, Gimp and Natron!


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从来没有哪款软件愿意像它一样提供一套完整创作流程的解决方案,也从来没有人想过软件本应该如此。Blender 正是这样一款默默无闻,为此付出了不懈努力并付诸了实际行动的孤独强者。从你尝试它直到熟悉了它的操作习惯之后,你再也离不开它先进的创作理念,也会被它先进的技术而深深的震撼。作为唯一款无需破解,无需安装,内置上百款强大插件的三维动画创作套件来说,Blender无疑是最低调的一款。