C4D粒子小球地球栏目包装图文详细步骤教程

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admin 发表于 2022-3-31 15:00:00 | 显示全部楼层 |阅读模式
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感谢乔伊·卡马乔的指导。想看更多他的优秀作品。
本教程首次出现在第80期的3D艺术家。
使用粒子和4D影院创建有趣的图像现在比以往任何时候都更容易,使用集成插件X-Particles,创建看起来和感觉起来真实的抽象和有机图像可能是一个有趣的挑战。
创建抽象图像和创建真实世界图像一样需要技术。
需要考虑的事情很多,比如构图、色彩、灯光、比例和相机设置。虽然你可以跳进去,调整一些设置,点击渲染,创造引人注目的抽象图像的美丽在于细节。
如果你从一开始就做出好的决定,你会很快得到更有效的结果。
MAXON Cinema 4D是我们的首选3D应用程序,因为它比其他应用程序更直观。有了MAXON Cinema 4D工作室,Mograph工具集功能强大且易于使用,您可以尝试极其逼真的动态模拟。
X-Particles 3.0是4D影院最全面、最先进的粒子模拟工具,可以控制粒子管道的各个方面。虽然我们还没有深入研究高级功能——如Python或XPresso Nodes——但我们已经享受到了形成有趣模拟的便利。
4D电影院的OctaneRender是我们首选的渲染引擎。它是世界上第一个也是最快的GPU加速的、无偏见的、物理上正确的渲染器。它的发展是惊人的,它几乎实时的可视化渲染,提供了更多的创作时间和更少的等待时间。
本教程将遵循一个传统的过程,我们带着一个粗略的想法进入软件,看看几个小时后会出现什么。
然后,我们将向您展示一些混合照明技术,以及如何添加直观的辛烷材料与次表面散射,这强调了图像的有机感觉。最后,我们将使用Adobe Photoshop添加效果和瑕疵,以增强真实感。

步骤01–设立X-粒子系统 Step 01 – Set up the X-Particles system
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首先我们要先建立一个基本的X-粒子系统。这有助于我们保持组织和保持其应有的等级秩序在CINEMA 4D的操作顺序。通过这样做,我们确保错误不会发生在模拟计算。与X-粒子系统的设置,你可以想象那里的发射器,发电机,改性剂,和其他对象应该在对象管理器。
First we’ll set up a basic X-Particles system. This helps us to stay organised and keep the order of operations in Cinema 4D in its proper hierarchical order. By doing this we ensure that errors don’t occur in the calculations of simulations. With the X-Particles system set up, you can visualise where emitters, generators, modifiers, and other objects should go in the object manager.

步骤02,从一个物体的表面发射Step 02 – Emit from an object’s surface
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下一步,我们将添加一个xpemitter和球。在发射极的目标标签中,我们会告诉它使用球体的表面作为发射粒子的来源。因为您只需要从第一个帧中发射粒子,然后转到“发射”选项卡,然后从“发射模式”下拉菜单中选择“拍摄”。选择要在射计数字段中发射的粒子数。你可以开始一个较低的数字,说5000,快速预览模拟。最后,选择你的粒子的半径,在他们的规模上创建一些变化,并减少粒子的速度为零。
Next, we’ll add an xpEmitter and a sphere. In the emitter’s object tab we’ll tell it to use the surface of the sphere as the source to emit particles from. Since you’ll want to emit particles from the first frame only, go to the Emission tab, and select Shot from the Emission mode drop-down menu. Choose how many particles you’d like to be emitted in the Shot Count field. You can start with a lower number, say 5,000, to preview simulations quickly. Lastly, choose the radius of your particles, create some variation in their scale, and reduce the particles’ speed to zero.

步骤03–加X-粒子改性剂 Step 03 – Add X-Particles modifiers
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在这个场景中,我们将添加两个修饰符,xpturbulence和xpfollowsurface。改性剂的xpturbulence移动粒子在不同变化有机地。改性剂的xpfollowsurface拉运动的粒子在任何物体表面,它是引用。在这个例子中,我们要添加同一领域的xpfollowsurface对象列表。这样,物体就会在球体表面上发出,被湍流移动,并将遵循球体的几何形状。
In this scene, we’ll add two modifiers, xpTurbulence and xpFollowSurface. The xpTurbulence modifier moves the particles around in an organic manner with different variations. The xpFollowSurface modifier pulls moving particles across whatever object’s surface it is referencing. In this example, we’re going to add the same sphere to the xpFollowSurface object list. This way the objects will emit on the sphere’s surface, get moved around by the turbulence, and will follow the geometry of the sphere.

步骤04,摇一摇 Step 04 – Shake things up
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X-粒子的湍流的改性剂有许多选项,但其卷曲的噪声是非常有趣的。通过调整混合和添加值,你可以创建有趣的和有机的运动。你可以用你的模拟游戏和调整这些值,以及规模,频率,音调和强度值来达到不同的结果。
X-Particles’ turbulence modifier has many options, but its curl noise is very interesting. By adjusting the Blend and Add values, you can create interesting and organic movements. You can play with your simulation and adjust these values, as well as the scale, frequency, octaves and strength values to achieve different results.

步骤05添加粒子碰撞 Step 05 – Add particle collisions
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到现在为止,我们的粒子只与球体的表面相互作用。他们不是相互作用,是相交的。为了防止这一点的方法之一是增加一个xpppcollisions动态对象和自我碰撞检查。粒子现在会相互作用,跳跃和滑动,一旦他们碰撞。有些仍然会相交,但没有以前那么多。记住,将增加X-粒子需要的计算量,并模拟不会跑的一样快。不要担心,虽然我们可以缓存我们的粒子模拟。
Up until now, our particles only interact with the surface of the sphere. They are not interacting with each other and are intersecting. One way to prevent this is to add an xpPPCollisions dynamics object and check Self Collisions. The particles will now interact with each other, bouncing and sliding away once they collide. Some will still intersect, but not as much as before. Keep in mind, adding this increases the amount of calculations that X-Particles needs to make, and the simulation will not run as fast. Not to worry though as we can cache our particle simulations.

步骤06缓存模拟 Step 06 – Cache the simulation
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的xpcache对象必须保存,观想,洗涤容易通过重粒子模拟。它还确保你看到在你的视图中,辛烷值的现场观众是什么你会看到在CINEMA 4D的图片浏览器,你的最后的渲染。这样,xpcache对象添加到你的场景,然后点击生成缓存。X-粒子将保存到您的硬盘驱动器和仿真可以擦洗通过选择在您的时间表,你喜欢怎样的颗粒外观框架。
The xpCache object is essential to saving, visualising, and scrubbing easily through heavy particle simulations. It also ensures that what you see in your viewport, or Octane’s Live Viewer is what you will see in Cinema 4D’s Picture Viewer and your final render. With that, add an xpCache object to your scene, and click Build Cache. X-Particles will save the simulation to your hard drive and you can scrub through to select a frame on your timeline where you like how the particles look.


步骤07,设置辛烷值相机 Step 07 – Set up the Octane Camera
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由于这是一个有机的,几乎分子结构,你应该考虑到你的相机的焦距和深度的一些考虑。微距镜头的浅景深闻名,经常是100mm以上。这强调我们试图模仿小规模。建立一个辛烷值的相机,在属性管理器改变焦距200mm和其他值实验中看到不同的效果。其中一个最方便的OctaneRender特点是快速点击你想专注于物体或粒子选择你的焦点距离的能力。你可以在现场观众这样做。取消自动对焦相机的辛烷值标签的薄型透明片的选项卡,然后增加光圈值来创建一个更浅的景深。
Since this is an organic, almost molecular structure, you should give some consideration to the focal length and depth of field of your camera. Macro lenses are famous for their shallow depth of field, and often are 100mm or more. This emphasises the tiny scale we’re trying to emulate. Set up an Octane Camera, and in the Attributes manager change the focal length to 200mm and experiment with other values to see the different effects. One of the most convenient features of OctaneRender is the ability to quickly select your focus distance by clicking on the object or particles you want to focus on. You can do this in the Live Viewer.Deselect Auto Focus in the thinLens tab of the Octane Camera tag, then increase the aperture value to create a more shallow depth of field.

步骤08,地下散射材料 Step 08 – Subsurface scattering materials
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我们选择了使用一种物质的地下散射,因为它可以增加一个生命感的对象。首先,创建一个新的辛烷值扩散材料,并在漫反射标签中选择一个基本颜色。下次去传输选项卡,并添加一个辛烷值rgbspectrum纹理的纹理通道。选择你想传输的颜色一旦光穿过粒子。最后,在“介质”选项卡中,向纹理通道添加一个散射介质纹理。这将给你的吸收和散射纹理。大多数时候,你可以在0处留下吸收和0.5的散射。标尺滑块是什么控制如何容易地光被吸收和传播通过的对象,或在这种情况下,颗粒。我们已经使用了1.75。
We chose to use a material with subsurface scattering because it can add a sense of life to objects. First, create a new Octane Diffuse material, and choose a base colour in the Diffuse tab. Next go to the Transmission tab, and add an Octane RGBSpectrum texture to the Texture channel. Choose the colour you would like to transmit once light goes through the particle. Finally, in the Medium tab, add a Scattering Medium texture to the texture channel. This will give you absorption and scattering textures. Most times, you can leave Absorption at 0 and Scattering at 0.5. The scale slider is what controls how easily light can be absorbed and transmitted through the object – or in this case, the particles. We’ve used 1.75.

步骤09,照明 Step 09 – Lighting
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下一步添加一个辛烷值的日光对象到场景中。它配备了两个标签,一个辛烷值日光标签,和太阳表达标签。首先,确保太阳表达式标记是通过检查它在基本。控制太阳的位置,通过使用不同的经度和纬度值,和实验与不同的外观(日出,中午和日落)。现在选择辛烷值日光标签。这里的选项是直观的和灵活的。您可以增加浊度,功率,北偏移和太阳的大小,所以实验。我们改变了天空的颜色和太阳的颜色是温暖和明亮。
Next add an Octane Daylight object to the scene. It comes with two tags, an Octane Daylight Tag, and Sun Expression Tag. First, make sure the Sun Expression Tag is enabled by checking it under Basic. Control the placement of the sun by using different longitude and latitude values, and experiment with different looks (sunrise, midday and sunset). Now select the Octane Daylight tag. The options in here are intuitive and flexible. You can increase turbidity, power, north offset and sun size, so experiment again. We’ve changed the sky colour and sun colour to be warmer and brighter.

步骤10,创意照明选择 Step 10 – Creative lighting choices
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添加一个辛烷值的目标区域是做出一个决定,因为我们想有一种定向照明和推动更多的光进入特定区域的颗粒。要做到这一点,选择的范围,然后添加一个辛烷值的目标区域。光将永远指向球体。您可以调整辛烷值的光的温度是温暖的或冷却器,和光的功率和分配要更强或更弱。如果你停用的日光,你可以观想区域灯光是多少贡献。
Adding an Octane targeted Arealight was a decision made because we wanted to have a sense of directional lighting and push more light into a specific area of the particles. To do this, select the sphere, and then add an Octane targeted Arealight. The light will always point at the sphere. You can adjust the temperature of the Octane Light to be warmer or cooler, and the power and distribution of the light to be stronger or weaker. If you deactivate the Daylight, you can visualise how much the area light is contributing.

步骤11,进行创造性的调整 Step 11 – Make creative adjustments
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现在,你有你的照明设置,回去,并作出一些调整,你的材料,相机和组成。花时间微调整体的外观,同时回顾一些你以前的决定。也许你想让湍流稍微小一点?也许你的颜色太亮了?你的太阳太亮了吗?你的眼睛去哪里?这些都是很好的问题,问自己,当准备你的最终渲染。
Now that you have your lighting set up, go back and make some adjustments to your materials, camera and composition. Take time to fine-tune the overall look while reviewing some of your previous decisions. Maybe you’d like to make the turbulence slightly smaller? Maybe your colours are too bright? Is your sun too bright? Where does your eye go to? These are all good questions to ask yourself, when preparing for your final render.

步骤12渲染考虑 Step 12 – Rendering considerations
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OctaneRender有许多渲染内核的选择。我们通常选择1.14直接照明和gidiffuse选项。这不是公正的路径追踪,但它提供了非常逼真的效果快,因为这是一个抽象的渲染,我们可以使用它,而不用担心准确性。你可以增加镜面,光泽和弥漫在辛烷值设置面板的深度的方式来提高光反射在最后的渲染。由于我们使用的材料与地下散射,我们增加了漫反射的深度为8,使光与粒子在一个更令人信服的方式进行交互。再次,你可以尝试不同的设置,看看什么作品。较低的设置加速渲染时间,但降低了质量。点渲染然后让我们在Adobe PS图象处理软件。

OctaneRender has many render kernels to choose from. We usually choose Directlighting and the GIDiffuse option. This isn’t unbiased path tracing, but it provides very realistic results quickly, and because this is an abstract render, we can use it without being worried about exactness. You can increase the Specular, Glossy and Diffuse depths in the Octane Settings panel to improve the way light bounces in the final render. Since we were using a material with subsurface scattering, we increased the Diffuse depth to 8 so that light would interact with the particles in a more convincing manner. Again you can experiment with the different settings to see what works. Lower settings speed up render times, but reduces quality. Hit render and then let’s head over to Adobe Photoshop.


步骤13–添加缺陷和完成最后的调整 Step 13 – Add imperfections and finish with final tweaks
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Adobe,PS图象处理软件,加上这样的镜头畸变、色差和晕影,强调在现实世界的摄像机发现的缺陷。这些选项可以在镜头校正滤镜下拉菜单下找到。色彩分级是一种主观的物质,是一种很有创意的选择。你选择做什么与你的颜色会说不同的东西关于你的形象。在一般情况下,一个不太活跃的形象似乎更真实。此外,世界上没有纯黑色的东西,每一个黑色都有一种颜色的颜色。最后,加尘,PS图象处理软件光泄漏或其他纹理有助于创造一个空间感和深度。灰尘可以创建一个软边刷与高散射设置,或与扫描的灰尘颗粒从互联网上的高分辨率图像。

In Adobe Photoshop, add things like lens distortion, chromatic aberration, and vignetting to emphasise the imperfections found in real-world cameras. Most of these options can be found under the Lens Correction filter dropdown. Colour grading an image is always a subjective matter, and a very creative choice. What you choose to do with you colour will say different things about your image. In general, a less vibrant image seems more real. Also, there is no such thing as pure black in the world, and every black has a touch of colour to it. Finally, adding dust, light leaks or other textures in Photoshop helps to create a sense of space and depth. Dust can be created with a soft-edged brush with high scattering settings, or with hi-res images of scanned dust particles from the internet.
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