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今天是2020年04月15日星期三

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Casper Wermuth talked about an environment, which he produced

during Anthony Vaccaro's environment art class at CGMA.

Casper Wermuth談到了他所創(chuàng)造的環(huán)境

在安東尼·瓦卡羅的CGMA環(huán)境藝術(shù)課上

Introduction

My name is Casper Wermuth, and I currently work as a Lead Environment Artist at Ubisoft Blue Byte in

Germany.

介紹

我的名字是Casper Wermuth，我目前是Ubisoft Blue Byte in的首席環(huán)境藝術(shù)家

德國。

I was born in Denmark, and took a Bachelor of Arts at The Animation Workshop, which is directed towards the film industry, animation, and VFX.

我出生在丹麥，并在動畫工作室獲得了文學(xué)學(xué)士學(xué)位，這是導(dǎo)演 電影、動畫和視覺特效。

After working with VFX in commercials for a year, I got a small job in Copenhagen doing real-time?dinosaurs for a museum which wanted an interactive experience for their visitors. That lead me to?games, and I moved to Japan working for Shapefarm and Valhalla games on a title called Devil's Third.

在與VFX的廣告工作了一年之后，我在哥本哈根得到了一份實時的小工作恐龍博物館，希望為游客提供互動體驗。這讓我搬到了日本，為Shapefarm和Valhalla games工作，游戲的名字是《魔鬼的第三》。

| was sitting at a group of desks where everyone was a much better artist than me, so it was a great?learning experience. It also opened my eyes for how interesting environment art actually is. After we?shipped, | got hired at Ubisoft Blue Byte, where I helped wrap up Champions of Anteria and have now?been here for 3%2 years, currently working on an unannounced title.

|坐在一組桌子前，那里的每個人都是比我更好的藝術(shù)家，所以它是一個偉大的學(xué)習(xí)經(jīng)驗。這也讓我意識到環(huán)境藝術(shù)是多么有趣。在我們|在Ubisoft Blue Byte找到了工作，在那里我?guī)椭b了Anteria的冠軍，現(xiàn)在已經(jīng)有了在這里工作了2年，目前正在從事一個未宣布的項目。

Environment art

環(huán)境藝術(shù)

The first time I did real-time environments was working as a freelancer for Shapefarm.

我第一次做實時環(huán)境是作為一個自由職業(yè)者為Shapefarm工作

I was paid a flat rate per package, and | would get the money when the asset was approved.

我的工資是固定的，|會在資產(chǎn)被批準(zhǔn)的時候拿到錢

My skill level was far below anyone else on the team, so I was working really hard, just to figure out that my approach had been incorrect and not optimized enough from a technical standpoint, and then having to redo everything.?

我的技術(shù)水平遠(yuǎn)遠(yuǎn)低于團(tuán)隊中的其他人，所以我非常努力地工作，只是為了發(fā)現(xiàn)我的方法是錯誤的，從技術(shù)角度來說沒有進(jìn)行足夠的優(yōu)化，然后不得不重新做所有的事情。

My hourly rate was therefore not exactly impressive on the frst few deliveries, but I quickly caught up, and the overall experience just taught me a lot.

因此，我的時薪在第一批交貨時并不是特別高，但我很快就趕上來了，整個過程教會了我很多東西。

Making environments is interesting for several reasons. One of them is the variety of tasks involved in creating one. | rarely feel it's a grind. Cliffs, boulders, grass, trees, terrain height and terrain textures. It can of course also be indoor environments and sci-fi hallways, but I haven't done those in a while.

創(chuàng)建環(huán)境之所以有趣有幾個原因。其中之一是創(chuàng)建一個任務(wù)所涉及的各種任務(wù)。|很少覺得這是一種折磨。懸崖，巨石，草地，樹木，地形高度和地形紋理。當(dāng)然也可以是室內(nèi)環(huán)境和科幻走廊，但我已經(jīng)有一段時間沒有這樣做了。

It's fun to work on so many things, although at times a bit frustrating, as I have a feeling I will never get good at any of it.

做這么多事情是很有趣的，盡管有時會有點令人沮喪，因為我有一種感覺，我將永遠(yuǎn)不會擅長其中的任何一件

此處內(nèi)容在公眾號

此處內(nèi)容在公眾號

此處內(nèi)容在公眾號

在封鎖的現(xiàn)場，|試圖作出許多領(lǐng)導(dǎo)線的焦點。

| overdid it, and the scene became extremely cluttered and impossible to read. I, therefore, had to tone back, deleting a lot of assets, to free up some space both for the eye to rest, but also for the scene to even read in the first place.

|做得太過了，場景變得極其混亂，根本無法閱讀。因此，我不得不調(diào)整回來，刪除了大量的資產(chǎn)，騰出一些空間，既可以讓眼睛休息，也可以讓場景在第一時間閱讀。

First cliffs in the engine. As this was the first completed asset, | ended up spamming it everywhere,completely overcrowding the scene:

引擎里的第一個懸崖。由于這是第一個完成的資產(chǎn)，|最后到處都是它，

完全擁擠的場景:

A great example of how NOT to spam rocks:

一個很好的例子，如何不亂擺放巖石:

Trying to expand a bit on the scene, to give some more breathing room. However, I didn't go far enough in this direction, and the scene was still too tight:

試著在現(xiàn)場擴(kuò)大一點，給更多的呼吸空間。但是這個方向我走得不夠遠(yuǎn)，畫面還是太緊:

The final composition where there is more room to breathe, but the lines are still directing the viewer to the focal point:

在最后的構(gòu)圖中，有更多的空間可以呼吸，但線條仍然將觀眾引向焦點:

When lighting the scene, | used Light Functions to create the ilusion of light passing through clouds, thus lighting the environment unevenly. It's an easy and fast way to tone down all the irrelevant areas of the environment and highlight the areas I want people to be looking at. As an afterthought, I tossed this screenshot into Photoshop, and by using a Threshold adjustment layer, I can check how the values hold up.

|在對場景進(jìn)行照明時，利用光的功能來制造光通過云層的遮擋，使得環(huán)境的照明不均勻。這是一種簡單快捷的方法，可以淡化環(huán)境中所有不相關(guān)的領(lǐng)域，突出我希望人們關(guān)注的領(lǐng)域。事后，我把這張截圖扔進(jìn)了Photoshop，通過使用一個閾值調(diào)整層，我可以檢查這些值是如何保持的。

As you can see, the path is standing out between the darker grass and cliffs, and there is a hint of?readability on the focal. It's not exactly a perfectly readable composition, so I could definitely have?improved in this area. Ildeally, the focal point and the path leading to it would be readable like this, and the background mountain would be less of a mess. The focal could also have had more of a dark ring (trees?) around it, to better contrast to the light background.

正如你所看到的，這條小路位于深草和懸崖之間，有一種隱約的感覺焦點的可讀性。這不是一篇完全可讀的作文，所以我絕對可以在這方面有所改進(jìn)?；旧希裹c和通向它的路徑將會是這樣可讀的，而背景山將會少一些混亂。焦點也可以有更多的暗環(huán)(樹木?)圍繞它，以更好地對比光的背景。

完整版在公眾號? ? ? 不想在寫一遍 排版太麻煩? ?

完整版在公眾號? ? ??不想在寫一遍?排版太麻煩?

完整版在公眾號? ? ??不想在寫一遍?排版太麻煩