Lost Village - Games Artist --- 失落的村庄 - 游戏艺术家

This project is highly intriguing right from the conceptual stage. I was immediately captivated by it and gave it my full attention. Secondly, I am very confident in utilizing UE5 to infuse this project with my creative spirit, making it even more resilient in the 3D world.

这个项目从概念阶段就非常有趣。我立即被它迷住了，并全神贯注。其次，我非常有信心利用 UE5 为这个项目注入我的创造精神，使其在 3D 世界中更具弹性。

Creative Background 创作背景

I am accustomed to writing a short essay describing the work during the early stages of creation.

我习惯于在创作的早期阶段写一篇描述作品的短文。

The first aspect is to enhance my understanding of the work in-depth and establish a solid and credible story background.

第一个方面是加深我对作品的理解，建立扎实可信的故事背景。

The second aspect is to have a wider range of choices when seeking references in the initial stages, in order to avoid blind searching. I hope to obtain more valuable reference material and incorporate my personal interpretation to breathe new life into this work.

第二个方面是在初始阶段寻找参考时要有更广泛的选择，以避免盲目搜索。我希望能获得更多有价值的参考资料，并结合我个人的解读，为这部作品注入新的活力。

Story Description 故事描述

At the beginning of this piece, my perception was of a tranquil countryside, far from the hustle and bustle of the city, resembling a paradise scene. In this village, windmill structures are notably abundant, showcasing steampunk styles throughout. These buildings evoke a sense of antiquity and uniqueness.

在这篇文章的开头，我想象的是一个宁静的乡村，远离城市的喧嚣，就像一个天堂般的场景。在这个村庄，风车结构非常丰富，到处都展示了蒸汽朋克风格。这些建筑唤起了一种古老和独特的感觉。

Whenever the morning sun illuminates these structures, the entire village exudes a peaceful ambiance.

每当清晨的阳光照亮这些建筑时，整个村庄都散发出宁静的氛围。

References 引用

I mainly found four types of reference content:

我主要找到了四种类型的参考内容：

The details of the stone are mainly to understand the texture of the stone surface formed between artificial and natural, as well as the general shape of the overall stone because this kind of work is more similar to a stone house shape. 石材的细节主要是了解人造和自然之间形成的石材表面的纹理，以及整体石材的一般形状，因为这种作品更类似于石材房屋的形状。

The expression of the village in reality and other works of art is very important. Because we will inevitably fall into aesthetic fatigue in the process of devotion to creation, so when I am stuck and unable to go deep, I will jump out again to look for content that can be reshaped in the picture, such as the undulations of the road, the placement of stones, the distribution of grass, and the hierarchical relationship of vegetation. 村庄在现实和其他艺术作品中的表达非常重要。因为我们在献身创作的过程中难免会陷入审美疲劳，所以当我陷入困境，无法深入时，我会再次跳出来寻找画面中可以重塑的内容，比如道路的起伏、石头的摆放、草的分布、以及植被的层次关系。

Blockout 封锁

This is the gray model built in the early stage. It is mainly used to create the undulations of the main building and the terrain, and to determine the proportion and layer relationship of the stone house.

这是前期搭建的灰色模型。主要用于创造主楼和地形的起伏，确定石屋的比例和层次关系。

At this stage, only the fixed lens needs to be considered. Once the main assets are completed, they will be split and deformed for further use.

在这个阶段，只需要考虑固定镜头。一旦主要资产完成，它们将被分割和变形以备进一步使用。

Landscape 景观

The terrain part is very simple. I used the Magic Map Material & Maker (M⁴) terrain plug-in to quickly switch between various terrain materials.

地形部分非常简单。我使用 Magic Map Material & Maker （M⁴）地形插件在各种地形材质之间快速切换。

You can watch the specific operation in the following video.

您可以在以下视频中观看具体操作。

Asset Split 资产分割

This work is different from the previous split rules because there are many different shapes of elements visible on the screen, which are essentially inconsistent and of various types.

这项工作与以前的拆分规则不同，因为屏幕上可以看到许多不同形状的元素，这些元素本质上是不一致的，并且类型多样。

Therefore, you should carefully consider in the early stage which assets must be created with Blender or Zbrush, and which assets can be assembled using models from the Megascan asset library.

因此，您应该在早期阶段仔细考虑哪些资产必须使用 Blender 或 Zbrush 创建，以及哪些资产可以使用 Megascan 资源库中的模型进行组装。

Everything is difficult at the beginning, but with sufficient preparation in the early stage, the subsequent process will be much smoother.

一开始一切都很困难，但前期准备充分，后续的过程会顺利得多。

Stone House Making Process 石屋制作过程

First, I use UE5 to model the general shape and proportions, and then I import Zbrush for detailed sculpting.

首先，我使用 UE5 对大致的形状和比例进行建模，然后导入 Zbrush 进行详细的雕刻。

I did not consider using too high a number of faces for the model of this stone house because it would put excessive pressure on modeling, rendering, and running.

我没有考虑使用太多的面来建模这座石头房子，因为这会给建模、渲染和运行带来过大的压力。

Therefore, I kept the main structure in ZBrush as a low-polygon model. I then used Marmoset Toolbag 4 to bake the normal map, resulting in the following outcomes.

因此，我将 ZBrush 中的主体结构保留为低多边形模型。然后，我使用 Marmoset Toolbag 4 烘焙法线贴图，结果如下。

The Material Production Process Of The Stone House 石屋的材料制作过程

The shader used is also very simple, using a three-layer mixed shader from Megascan. First, select two stone materials and use them as the main materials for the surface. Next, apply the mixed material to the low-poly stone model. At this point, you will notice that the details on the stone surface are significantly enhanced, which is the desired effect.

使用的着色器也非常简单，使用来自 Megascan 的三层混合着色器。首先，选择两种石材，并将它们用作表面的主要材料。接下来，将混合材料应用于低多边形石材模型。此时，您会注意到石材表面的细节得到了显着增强，这是所需的效果。

It is important to note that each layer in the mixed shader has its own purpose. Finally, we utilize the vertex color of the model to paint and apply other materials in areas of focus to avoid repetition. By adjusting the transparency and color between each layer using the height mixing feature in the mixed material ball, you can achieve the desired final effect.

请务必注意，混合着色器中的每个层都有自己的用途。最后，我们利用模型的顶点颜色在焦点区域进行绘画和应用其他材料以避免重复。通过使用混合材料球中的高度混合功能调整每层之间的透明度和颜色，您可以获得所需的最终效果。

Stone House Final Performance In UE5 石屋在 UE5 中的最终表演

In the end, you can see that the building, after I adjusted the color, is still very well integrated with the environment. In fact, the production of stones is quite simple. I hope that everyone will not limit themselves to a single production method but instead use their creativity to expand their production ideas.

最后，你可以看到，在我调整颜色之后，建筑仍然与环境很好地融合在一起。事实上，石头的生产非常简单。希望大家不要局限于单一的生产方式，而是用自己的创造力来拓展自己的生产思路。

For example, you can directly replace some attractive stone textures on the low-polygon model using displacement maps. Although the number of triangles has increased, the level of detail in the model will also increase significantly.

例如，您可以使用置换贴图直接替换低多边形模型上的一些有吸引力的石头纹理。虽然三角形的数量增加了，但模型中的细节层次也将显着增加。

How The Metal Part Is Made 金属部件是如何制造的

This part of the production is also very interesting. When I create these metal elements in Blender, I need to consider the interconnected relationship of these structures at all times and then unwrap the UV for each part.

这部分制作也很有趣。当我在 Blender 中创建这些金属元素时，我需要始终考虑这些结构的相互关联关系，然后为每个部分展开 UV。

I must pay special attention to the fact that the UV must be vertical and flat because the textures in the Megascan material library are horizontal and vertical, which include these stains and details.

我必须特别注意 UV 必须是垂直和平坦的，因为 Megascan 材质库中的纹理是水平和垂直的，其中包括这些污渍和细节。

Finally, each part of the metal element is assigned a different ID so that the metal material can be flexibly matched in the UE5 engine to achieve our desired effect.

最后，为金属元素的每个部分分配不同的 ID，以便金属材质可以在 UE5 引擎中灵活匹配，以达到我们想要的效果。

About The Design Of The Stone House 关于《石屋设计》

Here is the corrected version of the article:

以下是文章的更正版本：

Because this stone house did not appear in the concept of the original painting, it involved how to redesign it. The design process needs to consider our basic aesthetics and the proportion of elements. The main blue stone is actually relatively rough. I simply carved a rough shape to ensure that the proportions and area meet the requirements. Secondly, I deformed and reused the metal elements marked in the red area. At this point, you can see that the texture of each piece of the metal element is different. This is why we need to distinguish the ID of each piece of material mentioned above in order to facilitate flexible collocation and reuse.

因为这座石屋没有出现在原画的概念中，所以涉及到如何重新设计。设计过程需要考虑我们的基本美学和元素的比例。主要的蓝色石头实际上比较粗糙。我只是简单地雕刻了一个粗略的形状，以确保比例和面积符合要求。其次，我变形并重复使用了红色区域中标记的金属元素。此时，您可以看到每块金属元素的纹理都不同。这就是为什么我们需要区分上面提到的每块材料的 ID，以便于灵活的搭配和重复使用。

The stone part with green, accounting for 15%, is also very important because we need to ensure that not all parts of the picture appear messy.

绿色的石头部分，占 15%，也非常重要，因为我们需要确保图片的所有部分都显得凌乱。

Some parts need to be relatively flat to highlight the hierarchical relationship of the entire building. The part where purple accounts for 5% is mainly to add more details to the main building, ensuring its rationality, but not overdoing it.

有些部分需要相对平坦，以突出整个建筑的层次关系。紫色占 5% 的部分主要是给主楼增加更多细节，保证其合理性，但又不过分。

The upper limit needs to be controlled. Lastly, the road with a yellow proportion of 5% may be small in area, but it serves a specific purpose and has a good guiding effect on the visual experience. Therefore, the road is also an essential element.

上限需要控制。最后，黄色比例为 5% 的道路面积可能很小，但它具有特定的用途，对视觉体验有很好的引导作用。因此，道路也是必不可少的元素。

Ground Details 地面详情

The raised surface part is actually very interesting in how it is made. I set aside all the complicated production processes and tried to use UE5’s modeling tools to create an undulating general shape with a box and adjust it in real-time on the screen. Furthermore, I subdivided this box, resulting in approximately 5000 triangles, and then I used the sculpting brush in the UE5 modeling tool to sculpt it, striving to make this shape more accurate and in line with the design reference. In fact, this part is also the finishing touch in the close-up shots.

凸起的表面部分实际上在制作过程中非常有趣。我抛开所有复杂的制作流程，尝试使用 UE5 的建模工具，用一个盒子创建一个起伏的形状，并在屏幕上实时调整。此外，我细分了这个盒子，产生了大约 5000 个三角形，然后我使用 UE5 建模工具中的雕刻画笔来雕刻它，努力使这个形状更准确，并符合设计参考。其实这部分也是特写镜头的点睛之笔。

Once I was completely satisfied with the shape, I used the same method as with the stone to select grass and mud. These two materials were mixed together, and I utilized the vertex color brush to delineate the specific material areas. The top was covered with grass, while the sides were coated with soil. Finally, I added some flowers and plants on top of the model to achieve the desired final effect.

一旦我对形状完全满意，我就用与石头相同的方法来选择草和泥。这两种材料混合在一起，我使用顶点颜色画笔来描绘特定的材料区域。顶部覆盖着草，而侧面则覆盖着土壤。最后，我在模型顶部添加了一些花卉和植物，以达到所需的最终效果。

Tree Resources 树木资源

For the tree resources, I utilized free resources from the internet. This collection of scanned vegetation is of exceptional quality and offers a wide variety of tree types.

对于树木资源，我使用了互联网上的免费资源。这一系列扫描的植被质量卓越，并提供多种树木类型。

It includes a wind effect and is particularly suitable for realistic scenes. In the original concept painting, there were no trees. My intention was to effectively fill the void within the image.

它包括风效果，特别适合逼真的场景。在最初的概念画中，没有树木。我的目的是有效地填补图像中的空白。

Other Resources 其他资源

Except for the assets I made myself, all of the above resources are from the Megascan asset library.

除了我自己制作的资源外，上述所有资源都来自 Megascan 资源库。

I have listed all the names of the assets used. If necessary, you can search by name.

我已经列出了所用资产的所有名称。如有必要，您可以按名称搜索。

Sign Making 标牌制作

I am accustomed to scenes with some humanistic elements, which can better highlight the history and civilization of that time.

我习惯了带有一些人文元素的场景，可以更好地突出那个时代的历史和文明。

Therefore, consider adding a signboard to the scene. Firstly, define the main purpose of each building, such as a grocery store, weapon store, pharmacy, posters, etc.

因此，请考虑在场景中添加招牌。首先，定义每个建筑物的主要用途，例如杂货店、武器店、药房、海报等。

These are relatively simple to create, and there is nothing particularly special about them. I believe that you won’t encounter many problems when making assets.

这些创建起来相对简单，没有什么特别的。相信你在制作资产时不会遇到很多问题。

Windmill Animation 风车动画

The production of a windmill animation is very simple. This production method can be applied to any moving object in your scene and can be rotated and moved along the axis. The premise is that this object must be set to be movable; otherwise, it will remain static after running the game.

风车动画的制作非常简单。此制作方法可应用于场景中的任何移动对象，并且可以沿轴旋转和移动。前提是必须将此对象设置为可移动; 否则，它将在运行游戏后保持静态。

Uniform Color 均匀颜色

The unity of color is a color correction principle that I have always followed. If you don’t follow the steps of uniform color correction, the picture may appear dull, chaotic, and messy.

颜色的统一是我一直遵循的颜色校正原则。如果不遵循统一色彩校正的步骤，图片可能会显得暗淡、混乱和凌乱。

Only by balancing the colors in the picture can the material, after being exposed to light, become more harmonious and cohesive. If you want a certain part to be the focal point, then you can adjust the contrast of that part appropriately.

只有平衡画面中的色彩，材料在暴露在光线下后，才能变得更加和谐和有凝聚力。如果您希望某个部分成为焦点，则可以适当调整该部分的对比度。

Lighting Parameters 照明参数

For the lighting part, I utilized the lighting blueprint provided with the M4 material. This blueprint combines all the essential elements, including skylight, fog, and sunlight, into a single blueprint.

对于光照部分，我使用了 M4 材质提供的光照蓝图。此蓝图将所有基本元素（包括天窗、雾和阳光）组合到一个蓝图中。

It is incredibly convenient to adjust, and I didn’t make extensive modifications to ensure control over the final image in the lighting segment.

调整非常方便，我没有进行大量的修改以确保对照明部分的最终图像的控制。

Final Render Output 最终渲染输出

The final rendered output is the best conclusion I have reached after exploration and experimentation. If you use the default material of the M4 terrain, the vegetation type layer is overly exaggerated, and each layer contains an excessive amount of vegetation information. The total amount is exaggerated as well. While you can see more details in the vegetation, the final rendering process cannot handle such a heavy load, leading to a 100% crash when using MovieRenderQueue.

最终渲染的输出是我经过探索和实验得出的最佳结论。如果使用 M4 地形的默认材质，则植被类型图层会过于夸张，并且每个图层包含过多的植被信息。总量也被夸大了。虽然您可以在植被中看到更多详细信息，但最终渲染过程无法处理如此繁重的负载，导致在使用 MovieRenderQueue 时 100% 崩溃。

Therefore, I disconnected all the vegetation Type layers in the original material, and ultimately kept only two relatively important vegetation layers, aiming to reduce the variety and quantity of vegetation layers. This resulted in a successful render. If you find that the effect is lacking, you can consider using a vegetation brush to add some grass, which is a safer option.

因此，我断开了原始材料中的所有植被类型层，最终只保留了两个相对重要的植被层，目的是减少植被层的种类和数量。这导致了成功的渲染。如果发现效果不足，可以考虑用植被刷加点草，比较安全。

Summarize 总结

Finally, I am very grateful to GamesArtist for the invitation, and I hope everyone will support Mr. Sergey Vasnev.

最后，我非常感谢 GamesArtist 的邀请，希望大家支持谢尔盖 · 瓦斯涅夫先生。