为游戏创建逼真的照片纹理-简介

One of the major challenges of current and next-generation game development is the creation of the massive number of art resources required to create an immersive game world. Character, environment, and other supporting models must be created, and levels must be shelled out and populated with those models. But while you may have a functionally-playable game at that point (with the addition of a tremendous amount of other programming and resource work), you are lacking color, depth, and physical texture in your world.

当前和下一代游戏开发的主要挑战之一是创建沉浸式游戏世界所需的大量美术资源的创建。 必须创建角色，环境和其他支持模型，并且必须炮轰并用这些模型填充关卡。 但是，尽管此时您可能拥有一款可玩的功能性游戏(并添加了大量其他编程和资源工作)，但您的世界却缺少色彩，深度和物理纹理。

Taking a game from a gray box prototype to a completed game, suitable for public viewing, requires a lot of work for artists to create textures and materials to give the game the feeling of being in the world you've created. We've touched on this briefly in previous tutorials:

将游戏从灰盒原型制作成适合公众观看的完整游戏，需要艺术家做大量工作来制作纹理和材料，以使游戏具有您所创造的世界的感觉。 在之前的教程中，我们已经简要地谈到了这一点：

• The basic concepts of UV mapping
  UV贴图的基本概念
• Applying and painting textures for a model
  为模型应用和绘制纹理
• Manually editing UV map coordinates
  手动编辑UV地图坐标
• Cylindrical maps and dealing with seams
  圆柱图和接缝处理
• Intermediate-level UV mapping techniques
  中级紫外线制图技术

In those exercises, we used simple example maps that were hand-painted, but not designed for production work, nor realism. In this series, we're going to show you how to make realistic photo textures for your own games, and do so on a reasonable budget. The results you can achieve with a small amount of work may surprise you. Let's get started.

在这些练习中，我们使用了简单的示例地图，这些地图是手绘的，但不是为生产工作而设计的，也不是现实主义的。 在本系列中，我们将向您展示如何为自己的游戏制作逼真的照片纹理，并以合理的预算做到这一点。 只需少量工作即可获得的结果可能会让您感到惊讶。 让我们开始吧。

There are three primary ways to create photorealistic textures for games.

可以通过三种主要方式为游戏创建逼真的纹理。

• Photo reference/Hand painting. These are the original two techniques for creating game textures. This is the "simple" process of creating a bitmapped image for use in a game, whether created completely from scratch using a paint application, or converting a photo into a game-ready format. (Both of these techniques are not necessarily simple in actual practice, as you'll see later in this article.) This can be very quick, or moderately time-consuming, depending on what sort of results you desire, and how much work you're willing to put in.

  照片参考/手绘。 这是创建游戏纹理的原始两种技术。 这是创建供游戏使用的位图图像的“简单”过程，无论是使用绘画应用程序完全从头开始创建，还是将照片转换为可用于游戏的格式。 (这两种技术在实际实践中不一定都很简单，正如您将在本文后面看到的那样。)根据您想要的结果类型以及所需的工作量，这可能非常快，也可能会很耗时。愿意投入。

• Procedurally-created. This method relies on algorithms and pre-defined inputs (either photo or completely synthetic) to create tileable/seamless pattern materials. Tiled materials allow you to use a single, highly-detailed texture to apply to a large surface in the game world, and have it repeat along the entire object, without obvious seams where one instance ends and the next begins. This is potentially the most efficient way to create good materials for your game, however, most procedurally-created materials are quite clearly computer-generated-although the algorithms are improving all the time. Used wisely, however, they can be a tremendous time-saver for areas of your game which don't need to stand up to close scrutiny.

  程序创建。 该方法依靠算法和预定义的输入(照片或完全合成的)来创建可平铺/无缝的图案材料。 平铺材质使您可以使用单个高度详细的纹理将其应用于游戏世界中的大表面，并使它在整个对象上重复，而在一个实例结束而下一个实例开始时则没有明显的接缝。 这可能是为游戏创建好的素材的最有效方法，但是，尽管算法一直在不断改进，但是大多数程序创建的素材显然都是计算机生成的。 但是，如果明智地使用它们，对于不需要站起来仔细检查的游戏区域来说，可以节省大量时间。

• High-poly to low-poly model and texture conversion. This is the most labor-intensive of the three options. This is frequently used for high-detail character models, or environment art that will be seen at close range (for example, walls that the character shelters behind in a first-person shooter). To perform this technique, an artist creates an extremely-high polygon model, far greater than the game engine is capable of handling in realtime, and then uses software techniques to "bake" textures onto a lower-polygon version of the same model. This transfers the surface detail from three-dimensional polygon data into a "painted" texture on the lower-poly model. This may include normal, bump, displacement, specular highlight, ambient occlusion, and other map types to further create the illusion that the low-poly model has more detail than it does in reality. As you can imagine, the labor required to perform this process is extremely time and cost-prohibitive. The results can be spectacular, but you need to carefully assess whether this is necessary for your project.

  高多边形到低多边形模型和纹理转换。 这是三个选项中最耗费人力的。 这通常用于高细节角色模型或在近距离看到的环境艺术(例如，角色在第一人称射击游戏中躲藏的墙壁)。 为了执行此技术，美术师创建了一个非常高的多边形模型，该模型远高于游戏引擎实时处理的能力，然后使用软件技术将纹理“烘焙”到同一模型的较低多边形版本中。 这会将表面细节从三维多边形数据转换为低多边形模型上的“绘制”纹理。 这可能包括法线，凹凸，位移，镜面高光，环境光遮挡和其他贴图类型，以进一步造成低聚模型比实际具有更多细节的错觉。 可以想像，执行此过程所需的劳动非常耗时且成本高昂。 结果可能是惊人的，但是您需要仔细评估这对于您的项目是否必要。

Most AAA games that are currently on the market for consoles use a combination of all three of these methods. You need to determine what is best suited for your project. If you are creating a more stylized game, hand-painted textures may be the way to go. If you're making a military first-person shooter, you are likely to use a lot of photo-based textures and high-poly models converted down with normal maps for maximum scene detail.

当前市场上用于主机的大多数AAA游戏都使用这三种方法的组合。 您需要确定最适合您的项目的项目。 如果您要创建更具风格的游戏，则可能需要手绘纹理。 如果您要制作军事第一人称射击游戏，则可能会使用大量基于照片的纹理和高多边形模型，这些纹理与法线贴图一起转换为最大的场景细节。

翻译自: https://www.thoughtco.com/creating-realistic-photo-textures-for-games-1393977