战船

高压锅

一个非常全面的教程（工业方面），从建模到最终渲染，包括很多细节，非常棒！

英文太面就别看了

高压锅

Modeling of the ships It was a very nice contest theme for me, because I really like ships, especially sailing ships and I made loads of plastic and wood models in my young ages. For this reason my first step was that I went up to the attic and I took out a dusty box with some blueprints. I chose of a Swedish battle frigate from the XVII century called Vasa. This quite interesting ship is the base of both models in the picture. During the building of the Vasa ship the main goal was to make a fast but dangerous frigate with heavy armament, therefore was designed with two cannon rows (64 cannon) however, with a lower diving level. My goal was to make a painting like picture like some famous paintings from the XVII century from P.J De Loutherbourg and other famous painters. I scanned the blueprints and used them as reference pictures in the 3DSMax viewports: The body of the ship was modelled with spline patch modelling. First I drew the main frames with splines and after that I used the surface modifier to get the desired surface. I made the side of the pop and quarter decks in the same way, and the balconies and cabins were made using standard primitive objects. The gunports were made with boolean substraction operation. As the side of the ship's body doesn't have thickness, I made frames around the gunports as it can be seen on the real ship.

高压锅

The rails around the decks are loft objects and the rods come from a spline with lathe modifier. I tried to use not too highly detailed loft and lathe objects, because without that the face number of the scene could increase easily. I used planes with lattice modifier to make the 6 ledges on the deck.. The making of the masts and sails took the longest time in the modelling process. Of course I'm not talking about the simple sails which are risen by the wind, but, about the sails which are destroyed, tore and bound up. These come from planes distorted by FFD and noise modifiers and modified on vertex level. The holes on the main sails are object based (I used opacity maps only for the small holes), because I could reach a more realistic look with the small parts of the sails which lean out around the holes. (and the borders of the holes are much sharper in this way, because you have to use very big opacity maps if you want to see sharp holes and it increases very much the rendering time)

高压锅

I wanted to make all the stays and shrouds in the right place and position therefore I took the blueprints into serious consideration. I used renderable splines with black textures. Finally I made the small details on the model, for example: the rivets on the rudder, cannons, lids upon the gunports, anchor cables and catheads, and so on.... There are three different ships in the final picture, the other two were made by modifying the Vasa ship model. The ships in the background are more damaged with torn sails and broken masts, and the bigger ship on the left side has one more cannon row and a new bonaventure mast and some differences on the head side. (It has now 106 cannon.) I always tried to decrease the face number, but unfortunately my effort was useless :) , and the face number grown up to 300.000. It doesn't look too much, but in the final picture there are 4 frigates. Some pictures of the models rendered with Brazil, the brand new global illumination renderer.

高压锅

Texturing the ships I made some different wood textures for the deck and mast with high mixed cellular bump map which makes the wood textures more realistic and noisy. I paid attention to the planking on the back side of the ship's body, as you can see on the blueprints. The materials of the sails had opacity maps because of the smaller holes, the bigger holes were made by tearing the sail mesh. A pictures of the textured Vasa ship: I thought about a little trick to make the ships a little bit darker in the background. First I attached all parts of the texturized ship to each other, after this process the ship's texture became sub object material (instead of the several simple standard material) and thus I could easily change it to blend material and mixed (with 70%) a dark, brown material with it, and I changed the opacity to 85%.. In this way the whole ship become darker and little bit transparent and really melted into the background.

高压锅

Environment modeling The preparing of the environment took the most time, and it was the most difficult part in making procedure. It consists of two parts, the water and the smoke/fog. Water The water is a simple mesh object with a difficult material on it. The waves were modelled too, and I didn't use only a simple noise modifier, because I had a concrete idea about its place. You can see the material here: Smoke I used Afterburn 2.0 (Afterworks) plug-in for the making of the smoke and fog. This is a particle based plug-in which gives a very nice result and excellent for smoke, steam or any environment effects. Unfortunately, the rendering time will increase considerably, especially after 10-12 different particle systems and afterburn parameters. I had to make a lot of test renders to reach this result, therefore I show here the full parameter list of the signed smoke:

高压锅

As you could see there are more than 10 particle systems in the final picture, and almost everyone had different Afterburn parameters. (smoke of the firing cannon, dark grey smoke between ships, white smoke in the background, etc...) As I wrote earlier, the ships had too many faces, therefore I only used the ships' body in the final lightning process and when I set up the particle systems and Afterburns. This way you can modify the environment much easier and you can save lots of test render time. Finally I made a small colour correction and used some film grain and Afterburn fog. If anyone has questions, just write me to my email address or visit my homepage, where you can see the final version of the picture (with damaged ships :)) The final image is shown below as a wireframe and full rendered.

高压锅

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链接在这http://www.3dluvr.com/content/article/34