如何制作场景建筑以及贴图 （译）

Toivo Glumov and Natalie Kayurova showed how they created a super detailed architectural project in Unity.
Toivo Glumov和Natalie Kayurova展示了他们是如何在Unity中制作出非常细致的建筑项目。

Introduction
简介
T: We have known each other for many years and we work in gamedev. Before this project, Natalie and I were lucky to work together in Trace studio. She was a concept artist on VR project called Arktika and I created different models for Call of Duty: Infinite Warfare. I was always inspired by Natalie’s personal work, and we wanted to create a game-ready environment with a similar mood. We study everything we need for this project on our own, at home, resolving problems as we go.
我们相互认识已经很多年了，我们相识在gamedev，在这个项目之前，Natalie和我有幸在Trace工作室一同工作过，她在一个名叫Arktika的Vr项目中担任概念设计师，而我为call of duty（使命召唤）无限战争制作各种模型，我经常受到NATALIE作品的启发，正如我们有着同样的心情去创造一个游戏场景，我们去学习项目所需的一切和解决问题。

Project
项目
N: In architecture, I like it when two buildings are connected by means of an external bridge, it is a very impressive element and it makes an ordinary house way more interesting. So we began by going to St. Petersburg in search of reference material and finding a suitable courtyard.
在建筑设计方方面，我喜欢两个建筑通过一个附加的桥相连接，这时非常有趣的，这也会使一个普通的房子看上去更加有趣。所以我们开始在PETERSBUG上搜索材质参考和适合的院子

We came up with a little story which could unfold in this environment and are now planning to make it into a video game.
我们想出了一个情景是可以发生在这个场景当中并且计划做到主机游戏当中的。
T: I’m doing the more technical part – establishing the pipeline, creating modules, procedural textures, level building and rendering setup. Natalie is dealing with artistic side of things- colors, lighting, concepts, post processing setup, and also gives me useful feedback notes. Further down the pipe, she will be modeling characters and some of the interior elements.
T：我更多的是做一些技术方面的工作，创建流程，制作模型和贴图，关卡搭建以及渲染设置，Natalie制作和处理一些艺术方面的事情，例如：色彩，灯光，概念设计，后期等，并且会给我一些很有用的反馈建议，更进一步，她会做一些角色模型和一些内部元素。

T: I’ve always liked the idea of procedural solutions. And Allegorithmic provides us with some incredible tools that we wanted to test.They have solutions for the most popular game engines, like Unreal Engine and Unity. I had already had some prior experience with Unity, so I started using this technology.
You can download our tweaked shader here. To use it, simply replace the original files with these.
T：我非常喜欢这个程序化的制作流程，Allegorithmic公司为我们提供了一些难以置信的工具让我们来使用测试，它可以帮助解决和运用到多数游戏引擎当中，例如UE和Unity,我现在已经学会了unity前期制作的一些经验，所以我要开始用到这些技术。你可以下载我们的做旧的的材质球并且用到它，简单的替换到基础的文件即可。

There are several features this shader has. It works by mixing 4 tileable materials using a RGB mask, and at the same time making use of a unique occlusion and normal maps (the normal map is then blended with detail normals controlled by the RGB mask). Apart from that, Unity automatically loads all the textures, settings and materials directly from SP, which is very convenient.
The only drawback I’ve noticed so far is that the textures are generated every time the game starts, which increases the initial load time. But this problem can be resolved by assigning the regular bitmaps manually, if necessary.
这些材质球有一些功能，他可以将四钟不同的连续贴图通过RGB mask的形式混合，与此同时有用到一个Occlusion贴图和 一个法线贴图（这个法线贴图是通过RGB控制的细节法线混合的），除此之外，Unity会自动载入所有贴图，设置以及从SP中指定过来，这真的非常的方便。
到目前为止，我注意到的唯一缺点是每次游戏开始时都会生成纹理，这会增加初始加载时间。但是，如果需要，可以通过手动分配常规位图来解决此问题。
N: I sketched a general outline of the exterior, which consists of three parts, and we broke this plan down further into smaller modular parts.
N：我画了一个外轮廓的基础形，它由三部分组成，我们把这个外轮廓进一步拆分成了更细小的模块。

T: I made the basic modules in 3ds Max, then I sculpted some elements in ZBrush, for further normal maps baking.
One consideration when unwrapping Uvs was that the UV shells should be in the same UV square for the unique maps (masks, AO, normal). I also had to take the direction of the tileable materials into account, and the possibility of seamless connections with neighboring modules.
T：我在3D MAX中创建这个基础模型，在ZB中雕刻一些元素细节和烘焙NOR。一个需要考虑的问题是，分UV时所有UV需要在同一个UV框中（MASK,AO,NORMAL），以及不得不去考虑连续贴图在整个场景中的连续性性问题。
Wall modules should be mapped to a square layout, to correctly display the texture tiles. I chose the size of 400X400 cm for my modules, and the texel density of 512 pixels/meter with 2x tile, 1024 at 4x etc. Some modules are two time larger than the others, so a higher tiling value is used on them to preserve the texel density.
墙体模型应该是可以拼成的正方形布局，贴图最好是展开的连续的贴图，我将我的模型尺寸定为400400CM，贴图精度为:512512.1024*4等等。。。有一些模型会比其他模型大两倍，所有更高的TILING精度用在上边可以保留更好的纹理密度。
Details
T: When the larger part was done, I have finalized some of the smaller props which could then be reused throughout the environment. Since I use a mask to blend materials, the same module will look different every time, even if you just mix different materials using the same mask. And if you add a second mask, you can get a few more variants of the same module.
T：当多数部分完成是，我开始完成制作一些小道具，他们可以重复使用在整个场景当中，因为我用MASK混合材质，所以同一个模型看上去总是不一样的，即使你使用不同的材质同一个MASK时候也是一样的，当如果你增加了第二张MASK时，你可以得到不同的效果，但模型是 一样的。

Defects
缺点
T: When sculpting, it is good to consider the texture of the materials that will eventually be assigned in SP, i.e. in Zbrush I was trying to create some general volumes, without going into small detail.
T：当雕刻模型时要很好的考虑到在SP中如何去制作材质贴图，在ZB雕刻时尝试雕刻一些自然纹理，而且没有那种太细小的细节。

For instance, I added some geometry to my terrain in order to have some irregularities. To avoid unwanted artifacts when baking, I set all the normals to point upwards (except for the cutouts I made for hatches).
例如，为了使地形有一些不平整的效果，我增加了一些几何模型在我的地形当中。为了避免在烘焙中不出现问题，我将所有的法线点方向向上，除了那些切开的位置

Materials
材质
T: Most objects in the scene, with the exception of a few small props, are sharing the same few materials. There are about 40 procedural materials made in Substance Designer for this project. it is very convenient to adjust the textures in the engine when you see the whole picture.
The wall material basics on the following structure
T：这个场景中的大多数物件，除了小道具以外，其他都是公用了一些相同的材质，有大约40种程序化材质在这个场景中是用SD制作出来的，在引擎中查看整张贴图时用SD调整是非常方便的。这面墙的材质就是依据如下节点构成的。

Cracks on the walls were made as shown below
墙面破损是有如下材质制作的

Roofs mainly use different configurations and combinations of these materials
屋顶材质主要是用到这些不同的配置和混合得到的材质
In other words it should be metal, rough coating and rust mixed with dirt.
换而言之，这个屋顶是由金属，涂料，锈迹混合脏迹得到的
N: When repeating elements use a lot of diverse materials, it definitely looks better. For example, one section of the wall can be made of smooth plaster, and the other has textured lines or can be made of a decorative stone. The same applies to general principles of texturing of any objects, for example metal pipes in this scene are made of different types of metal. In this case, you should pay close attention to the masks and textures for each material, it is desirable that they have a different amount of detail.
N：当重复元素素材使用到了一些不同的材质时，确实能让他看起来更不错，例如，墙面的一部分是由一块光滑的水泥头构成，而另一块贴图是由充满石头的墙面构成的，这个制作原则适用于其他模型以及贴图制作，再例如，这个场景中的金属管道是由不同类型的金属构成的，在这种情况下，你应该将更多的注意力放到这些材质的MASK和贴图上去，那么就会得到许多不同的细节，这真是令人满意的。

T: Here are some pictures of some of the materials from our scene
T：这里是我们场景当中的一些材质截图


SP was mainly used only to create blending masks and customize materials, with a standard substance material layering shader. But it was easier to make some objects with a standard metal-rough shader
SP主要用于制作很混合MASK以及自定义贴图来用，基于他的substance材质图层的shader，不过基于SP的标准的金属度-粗糙度的shader可以更简单的制作项目

Windows
窗户
T: Windows are actually also a procedural material, except for the window frame – it was easier for me to model and bake it down to a bitmap.
T：窗户是一个经常制作的材质，除了窗框，对我来说制作这个模型和烘焙是非常容易的
The windows’ design is the same as in real life. Usually, in those old houses, you’ll find double windows, with closed curtains behind them. In SD, I added fake refraction, the shape of the curtains, a slight glow behind the windows to add more volume (lamps, TV, etc.), grime and dust, small scuffs on wooden window frames and a few more auxiliary parameters.
这个窗户的设计是源自于现实生活中的，通常，这些老房子里你可以找到两扇窗户，以及在他们背面拉着的窗帘，在SD中，我添加了假的反射度，在这个窗帘的形状中添加了一些微弱的亮度，污垢和灰尘以及小的磨损在这个木质的窗框上会有一些辅助的参数节点可以来控制。

Lighting
灯光
N: The goal with lighting here is to add contrast and make similar elements look different. Which is why one part of the location is lit, and the other is in shadow.
N：打灯光的目的就是为了增加对比，让同类元素看起来不同，这就是为什么一部分看起来会亮一些，而另一部分却在阴影里。
T: For lighting, we used “progressive” lightmaps in Unity – it’s quite a powerful and convenient tool for working with GI. It allows you to make nice shadows scatter, and it handles tile sets very well. For higher lightmap quality, I manually made the second UV for objects with a minimum number of uv seams and with a high padding value. For some light sources, we used point lights, some of them with IES textures. There were also light probes for very small objects and decals in the scene. To get correct reflections, we used reflection probes.
T：对于灯光，我们使用“progressive”灯光贴图在Unity中，这对于GI来说是非常强大和便捷的工作方式。他能使你的阴影分散的非常自然并且可以很好的处理贴图重复度，对于高质量的lightmap,我会真对模型制作第二套UV并且手动设置将UV接缝控制在最小值和高的边界溢出值，对于灯光资源，我使用了点光源其中一些使用了IES贴图，在场景中，对于非常小的物件以及贴花为了可以得到正确的反射效果，我们会使用反射探针


N: Post-processing is another thing to consider. In this case the gray-yellow hues prevail in the scene, which makes the overall picture very similar in hue, so to make it more “clean” I added some blue in the shadows, and I lightened the yellow a little. This way, the gradation of colors became more pronounced, introducing more hues. Eye Adaptation effect played an even bigger role, and the Bloom effect creates a feeling of “volumetric” light.
N：后期处理是我们需要考虑的另一个问题，在这个实例中的灰黄的占据了绝大部分，他会使整个画面看起来非常的单一，为了使他能够更有变化，我添加了一些蓝色阴影，而将黄色光减轻一些，通过这种方式可以使渐变的颜色更加明显一些，再更多的介绍一下色彩，眼睛对于适应效果起着决定性的作用，并且营造出空间的作用

Time Costs
时间投入
T: We have long wanted to work on a joint project for a long time, and the idea of this “interactive” novel was something we both found appealing. This is our primary motivation with this project. In addition, we are interested in the work process itself – it’s not just our profession, it’s our life. Technology is constantly evolving, and we have a lot to learn in the course of this work, this is perhaps our main challenge.
T：我们长期以来一直希望能够在一个共同的项目上去投入更多的时间，这个对这个交互剧情的想法都有一些共同的吸引人的想法。另外，我们都对推进这个项目都很有兴趣，这是我们做这个项目的初衷，这不仅是我们的职业，也是我们生活方式，技术在不断的进步，我们也不得不去学习更多的技能，这或许是我们面临的主要的挑战吧。
T: In the near future we plan to prepare all of the assets as well as the entire scene for sale in Unity Asset Store, so everyone will have the opportunity to explore this environment.
T：在不久的将来我们计划准备将所有的资源以及整个场景在Unity上出售，所以大家可以有机会去探索整个场景。

                                       Toivo Glumov and Natalie Kayurova

                                       Interview conducted by Kirill Tokarev.