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Ancient Ruins 古代遗迹
Environment Breakdown 环境分解
Matéo Chilla 马特奥奇拉
Matéo Chilla 马特奥奇拉
Environment Artist 环境美术师
Introduction 介绍
Hello everyone! My name is Matéo Chilla and I’m a passionate 3D Environment Artist Student at Artside Online.
大家好！我的名字是 Matéo Chilla，我是 Artside Online 的一名充满激情的 3D 环境艺术家学生。
I have a strong will to enter the industry with the best skills I can have to be able to live from my passion.
我有强烈的意愿以最好的技能进入这个行业，以便能够从我的激情中生活。
Project 项目
Ancient Ruins was one of the biggest environments I made during a Masterclass at Artside with Lionel Cregut for around 6 weeks!
古代遗迹是我在 Artside 与莱昂内尔 · 克雷古特（Lionel Cregut）的大师班上大约 6 周时制作的最大环境之一！I wanted to dig deeper into my realistic skills so I decided to create everything by myself.
我想更深入地挖掘我的现实技能，所以我决定自己创造一切。
Using Substance Designer for every texture and SpeedTree for the foliage.
对每种纹理使用 Substance Designer，对植物使用 SpeedTree。Even though we don’t see the foliage at a close range that much, I wanted to practice my foliage skills even more and really wanted to avoid having to put the Megascan tag on.
尽管我们不太能近距离看到树叶，但我想更多地练习我的树叶技能，并且真的想避免戴上 Megascan 标签。
I sculpted every rock on ZBrush to get a specific normal and train my rock skills a bit more.
我在 ZBrush 上雕刻了每块岩石，以获得特定的法线，并进一步训练我的摇滚技能。This project was inspired by the awesome concept of Ian_x. Please check his work out!
这个项目的灵感来自 Ian_x 这个令人敬畏的概念。请检查他的锻炼！
Software 软件
- Blender 混合器
- WorldMachine 世界机器
- ZBrush ZBrush
- Substance Designer 物质设计师
- Substance Painter 物质画家
- SpeedTree 极速树
- Unreal Engine 虚幻引擎
- Marmoset Toolbag 狨猴工具包
Goals 目标
The main goal of this piece was to create a really epic image with a high production value and show some of the best of my skills using Unreal Engine 5 and Lumen.
这件作品的主要目标是创建一个具有高制作价值的史诗般的图像，并展示我使用虚幻引擎 5 和 Lumen 的一些最佳技能。
References 引用
Here are the references I used to create my environment. Real-life references are so useful in order to get a great idea for the base colors, roughness, or how the light reacts on the objects.
以下是我用于创建环境的参考资料。现实生活中的参考非常有用，以便对基色、粗糙度或光线对物体的反应有一个很好的了解。
I came across Mad Max Fury Road on my TV and was really inspired by the way they managed their desert rocks so it was a great starting point in terms of shapes and textures.
我在电视上看到了《疯狂的麦克斯狂暴之路》，他们管理沙漠岩石的方式让我深受启发，所以就形状和纹理而言，这是一个很好的起点。
Blockout 封锁Here you can see a WIP of the whole piece that took around 6 weeks to create. The most important part in order to keep a quick and consistent workflow is to first blockout the modules and already place them with a proper pivot point.
在这里，您可以看到整个作品的 WIP，花了大约 6 周的时间创建。为了保持快速一致的工作流程，最重要的部分是首先将模块拉块，并将它们放置在适当的枢轴点上。
So when your final mesh is done you can just replace the blockout and not worry about replacing it. It’s really a time saver.
因此，当最终网格完成时，您只需更换标块即可，而不必担心更换它。这真的可以节省时间。
Here you can see the modules I created to realize the whole environment. They look very raw here but you will see right after that there is a solid pass of vertex paint/decals and blending to break the 3D look.
在这里，您可以看到我为实现整个环境而创建的模块。它们在这里看起来非常原始，但您会看到紧接着，顶点绘画 / 贴花和混合的固体传递打破了 3D 外观。
Master Material 主材料
I created a Master Material for the whole environment to be able to Vertex Paint two textures and a specific normal, blend the modules and meshes with the landscape (RVT), and have control over the Curvature and Ambient Occlusion thanks to a baked RGB Mask Map.
我为整个环境创建了一个主材质，以便能够顶点绘制两个纹理和一个特定的法线，将模块和网格与地形（RVT）混合，并通过烘焙的 RGB 蒙版贴图控制曲率和环境光遮蔽。
Keep in mind that my shader was not particularly thought of as game-ready but more as really complementary to get the environment set up as quickly and efficiently as possible.
请记住，我的着色器并不是特别被认为是游戏就绪的，而是真正互补的，以尽可能快速有效地设置环境。
Foliage 树叶
This masterclass with Lionel came right after one we had with Arnaud Claudet, a Foliage Artist at Ubisoft Massive.
莱昂内尔的大师班是在我们与育碧 Massive 的树叶艺术家 Arnaud Claudet 的大师班之后举行的。
It was really fun to learn how to create foliage from start to finish fully procedurally with Designer and SpeedTree.
学习如何从头到尾完全程序化地使用 Designer 和 SpeedTree 创建树叶真的很有趣。So for fun, I decided to create all of the foliage myself, from the grass to the palm trees and create all the texture on Designer.
所以为了好玩，我决定自己创造所有的树叶，从草地到棕榈树，并在 Designer 上创造所有的纹理。
Lighting 照明
The lighting is pretty simple, it consists of just a Directional Light and a SkyLight to debunk shadows that are too dark. What is selling it is all the light blockers that I placed in the world so they can cast shadows and create a focus of light on the main subject.
照明非常简单，它仅由定向光和天窗组成，以揭穿太暗的阴影。卖它的是我在世界上放置的所有光阻隔器，这样它们就可以投射阴影并在主要主题上创建光线焦点。
One important thing to note with Lumen is that there is Global Illumination roughly everywhere when a material is above the 0.5 range of lightness.
使用流明需要注意的一件重要事情是，当材质的亮度范围高于 0.5 时，几乎到处都有全局照明。
This can result in unwanted bouncing on different objects and ruin the look you want to achieve.
这可能会导致不同对象上出现不必要的弹跳，并破坏您想要实现的外观。
To counter this effect, you can actually place some darker planes with the normal facing in the other direction that you are looking at to avoid seeing it. This way you can cancel the bouncing on a specified area.
为了抵消这种影响，您实际上可以将一些较暗的平面放置在您正在查看的另一个方向，以避免看到它。这样，您可以取消指定区域的弹跳。
The other way around you can actually create some lighter planes to generate bouncing in a desired area to create reflections.
反过来，您实际上可以创建一些较轻的平面，以在所需区域产生弹跳以创建反射。
Mountain Mesh and Atmospheric
山网和大气
The background mountain mesh was modeled and textured in Worldmachine to match the reference the best and have a little reminder on the masterclass we had on Terrain Art with Robert Farrand, the Technical/Terrain Artist at Ubisoft Québec.
背景山网格体在 Worldmachine 中进行了建模和纹理，以最佳匹配参考，并提醒我们与育碧魁北克的技术 / 地形美术师 Robert Farrand 一起举办的地形艺术大师班。
One of the main challenges of this environment was the atmosphere, it’s a solid percentage of the image and it helps with the overall readability and epicness of the piece.
这种环境的主要挑战之一是氛围，它占图像的坚实百分比，它有助于提高作品的整体可读性和史诗感。
This scene would look completely different if I didn’t have some fog planes and Exponential Height Fog to create some depth and separate the layers.
如果我没有一些雾平面和指数高度雾来创建一些深度并分离图层，这个场景看起来会完全不同。
The difference is day and night and it shows how strong of an impact these subtle changes can make on an environment.
区别在于白天和黑夜，它显示了这些微妙的变化对环境的影响有多大。
I’d like to give a big thanks to William Faucher for his amazing EasyFog tool to quickly add fog cards and drastically change the look of the piece. I made some changes to his blueprint to have a slight deformation of the clouds over time so they wouldn’t stay static on video render.
我要非常感谢 William Faucher，他提供了惊人的 EasyFog 工具，可以快速添加雾卡并彻底改变作品的外观。我对他的蓝图进行了一些更改，使云层随着时间的推移而略有变形，这样它们就不会在视频渲染上保持静止。
Textures/Rocks 纹理 / 岩石
Every texture was created fully procedurally on Substance Designer. The palm leaves texture was created on SpeedTree to make an atlas so I can model the palm tree.
每个纹理都是在 Substance Designer 上完全程序创建的。棕榈叶纹理是在 SpeedTree 上创建的，用于制作地图集，以便我可以对棕榈树进行建模。
For the sculpts, I mainly used the TrimSmoothBorder with the square alpha and sometimes the AverkinRock_01 from Andrew Averkin brush Pack to create some surface grunge.
对于雕塑，我主要使用带有方形 alpha 的 TrimSmoothBorder，有时使用 Andrew Averkin 画笔包的 AverkinRock_01 来创建一些表面垃圾。
Then to get the little spot splatters I used the Jronn_Grunge01 from Jonas Ronnegard.
然后为了得到小斑点飞溅，我使用了乔纳斯 · 罗内加德的 Jronn_Grunge01。
Decals 贴花
I created some decals as well to stick against the temple so I could quickly get those details with a lot of controls thanks to my Decal Material that I will share with you.
我还制作了一些贴花来贴在镜腿上，这样我就可以通过很多控件快速获得这些细节，这要归功于我将与您分享的贴花材料。
Concerning decals, I also benefited from normal edge decals to avoid having a sculpt pass on every prop since they’re seen from afar.
It can really help to give that sculpted feeling and break the edge silhouette to boost the production value of the overall image and make you gain a lot of time. Here is a comparison between without and with the decal applied.
I will also share with you my normal decal master material so you can try it by yourself.
Conclusion
To conclude, I would say that this project really gathered a lot of skills that I developed in the past months and I’m proud that I was able to combine them all in one piece. I learned so much in the process and will still be learning since I still have my final studies project incoming.
This was an awesome project that could never have happened without my awesome mentors for Foliage and Landscape Art, Arnaud Claudet and Robert Farrand respectively. And obviously Lionel Cregut for all the feedback and supervising!
If you have any questions, feel free to contact me on my social media, I will try my best to answer them!
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