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RPG角色扮演游戏模型制作综合训练视频教程 Uartsy Creature Creation For Games

RPG角色扮演游戏模型制作综合训练视频教程 Uartsy Creature Creation For Games

本视频教程是由Udemy机构出品的RPG角色扮演游戏模型制作综合训练视频教程,Uartsy Creature Creation For Games,时长:超过10小时,大小:21 GB,MP4高清视频格式,教程使用软件:Zbrush,Maya,KeyShot,Toolbag,作者:Damian Szeibert,共10章节,语言:英语。

Zbrush是传统和创新工具的完美组合,让您创造复杂、高品质的图形,快速有效地表达自我,这些功能曾经在《指环王3:国王归来》这部影片的数字建模方面被广泛运用(主要是魔兽)。它能给於您即时反应,即时绘制您的图像,它也非常适合於情节串联图板和概念化设计,功能足於将您的作品打造完美。直观、易於使用和功能强大,Zbrush将激发您创造多面的、震撼人心的图像,不管您是个新手,还是位专业人士。Zbrush独特的2D和3D功能的组合将产生动人的效果,不需要您经过痛苦的漫长学习。

ZBrush 是一个数字雕刻和绘画软件,它以强大的功能和直观的工作流程彻底改变了整个三维行业。在一个简洁的界面中,ZBrush 为当代数字艺术家提供了世界上最先进的工具。以实用的思路开发出的功能组合,在激发艺术家创作力的同时,ZBrush 产生了一种用户感受,在操作时会感到非常的顺畅。ZBrush 能够雕刻高达 10 亿多边形的模型,所以说限制只取决于的艺术家自身的想象力。ZBrush软件是世界上第一个让艺术家感到无约束自由创作的3D设计工具!它的出现完全颠覆了过去传统三维设计工具的工作模式,解放了艺术家们的双手和思维,告别过去那种依靠鼠标和参数来笨拙创作的模式,完全尊重设计师的创作灵感和传统工作习惯。

Autodesk Maya是美国Autodesk公司出品的世界顶级的三维动画软件,应用对象是专业的影视广告,角色动画,电影特技等。Maya功能完善,工作灵活,易学易用,制作效率极高,渲染真实感极强,是电影级别的高端制作软件。Maya声名显赫,是制作者梦寐以求的制作工具,掌握了Maya,会极大的提高制作效率和品质,调节出仿真的角色动画,渲染出电影一般的真实效果,向世界顶级动画师迈进。Maya 集成了Alias、Wavefront 最先进的动画及数字效果技术。它不仅包括一般三维和视觉效果制作的功能,而且还与最先进的建模、数字化布料模拟、毛发渲染、运动匹配技术相结合。Maya 可在Windows NT与 SGI IRIX 操作系统上运行。在目前市场上用来进行数字和三维制作的工具中,Maya 是首选解决方案。

Maya参与制作的电影有:法国国宝级艺术家Jean Giraud,他原创的影片有《第五元素》、《异形》、《星战》等,并参与制作了《沙丘魔堡》、《深渊》等经典科幻电影;导演Glenn Chaika,著名动画片导演,曾在迪斯尼担任《小美人鱼》的动画师,并执导《拇指仙童历险记》、《花木兰II》等影片;模型监制Wayne Kennedy是曾参与过《隐形人》、《星球大战》、《龙卷风》、《黑衣人》、《木乃伊》的模型师;动画监制Bob Koch和Kelvin Lee是担任《 玩具总动员》、《精灵鼠小弟》等影片的资深动画师;特效指导Manny Wong曾担任《后天》的特效总监,并参与制作了《狂莽之灾I》、《星河战舰》、《巨蟒》、《魔女游戏》等影片。

Substance Designer是Substance贴图工具产品系列之一,它可以帮助美术师高效地创建并且重复应用贴图。Substance Designer是首款能够混合及应用位图, 矢量图和其他元素的专业贴图工具,使用它能够制作复杂的贴图。

用Substance Designer制作的贴图具有许多传统位图不具备的优势。后者相对静止且用线性方式制作,而用Substance Designer制作的贴图更具活力,在制作的每个阶段都可以被高度的自定义。

更多相关内容请关注:Zbursh视频教程专区

Uartsy Creature Creation For Games
In this 10-week course you will be creating 3 characters, ordered much like any RPG (role-playing game); beginning with the simple and grinding your way into the complex and most rewarding. The course will cover multiple workflows for creating compelling creatures for video games using a variety of tools, from introductory to advanced. Most importantly, while providing you with all the technical knowledge you can handle, we aim to make this course 10 weeks of intense fun for any artist with a passion for real-time beasties.
The 5 most important lessons:
Sculpting creature anatomy using real world creature mechanics
Maintaining aesthetic appeal and vision in concept art implementation
Reconciling the anatomical, physiological and morphological in the odd and fantastic
Workflow optimization for simplifying complex retopology, UVing and generating maps
Building a stunning realtime creature presentation in Unreal
Project 1 : Building a Nooblidon
In this first week we will be working on a simple character to review the concepts of producing a creature character for real-time render
Covered Topics:
Modeling A Minor NPC Creature Using ZBrush & Maya
ZBrush Texturing Fundamentals
Creating Ordered Topology Within ZBrush
UV, Height & Texture Map Generation In ZBrush
Previzualization Using Maya’s Real-Time Renderer & Keyshot
Project 2 : Leveling Up – Sculpting A Mid-Sized Enemy Beast
In these following weeks we expand on the concepts introduced in the first week of the course and introduce tools that aid in producing better results for characters with a bit more complexity
Covered Topics:
Sculpting Creature Anatomy Using Real World Creature Mechanics
Maximizing ZBrush Mesh Control For Sculpting
Project 3 : Leveling Up – Ordered Topology
Continue to expand on the concepts introduced in the first week and retopologize your mid-level creature
Covered Topics:
Fundamentals Of Ordered Topology
Retopology Using The Modeling Toolkit In Maya 2015
Project 4 : Leveling Up – Putting On The Polish
Add the finishing touches to your mid-level creature and create a final polished render
Covered Topics:
ZBrush & Photoshop Techniques To Generate Rich Textures
UV & Map Generation Using Maya
Using Marmoset Toolbag For Dynamic Presentation
Project 5 : The Boss Battle – Creating a Behemoth
During the second half of the course, the emphasis will be on getting the best possible results using an array of tools and techniques when producing a heroic enemy NPC
Covered Topics:
Reconciling The Anatomical, Physiological & Morphological In The Odd & Fantastic
Management Of A Complex Game Character Project
Maintaining Aesthetic Appeal & Vision In Concept Art Implementation
Project 6 : The Boss Battle – Sculpting To Match Scale
Continue working on your heroic enemy NPC, paying special attention to hybrid creatures that combine anatomy from multiple species
Covered Topics:
Sculptural Lighting & The ZBrush Blockout
Reference Sculpting In ZBrush
Building Creatures From The Bones Out
Sculpting In Anatomical Hybridization Guided By Morphology
Project 7 : The Boss Battle – Digging In Deeper & Adding Complex Elements
This week you will enhance the complexity of your heroic enemy NPC by adding details and creating hard surface accessories.
Covered Topics:
Final Sculptural Details Using Alphas, Brush Modification & Surface Noise
Preparation For Hair & Fur Using Fibermesh To Generate Planar Poly Hair
Hard Surface Creature Elements & Accessories Using ZBrush
Project 8 : The Boss Battle – Workflow Optimization
This week, Damian will share his tips for optimizing your workflow, as you continue working on your heroic enemy NPC and begin the process of retopologizing and generating maps
Covered Topics:
Simplifying Complex Retopology
UVing Using Maya & ZBrush
Map Generation Using xNormals
Project 9 : The Boss Battle – Creating Compelling Color & Materials
This week, you will texture your heroic enemy NPC, using a combination of programs to get the best result
Covered Topics:
Tips For Selecting Appropriate Colors & Textures For Game Creatures
Texturing With Photoshop, ZBrush, Substance Designer & Substance Painter
Project 10 : Bonus: Rigging

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