《古墓丽影:暗影(SHADOW OF THE TOMB RAIDER )》 | 为南美洲丛林制作材质

Following the release of Shadow of the Tomb Raider, we had the chance to talk with Ken Jiang from the Tech Art team at Eidos Montréal, who explained the challenges of working with such an iconic franchise, and how the team relied on Substance software to texture the South American jungle.

在《古墓丽影:暗影(Shadow of the Tomb Raider)》(https://tombraider.square-enix-games.com/en-us)发布后,我们有幸与Eidos Montréal(https://www.eidosmontreal.com/en)技术美术团队的Ken Jiang进行了交谈,他们讲解了使用这样标志性特许经营合作的挑战,以及该团队如何依赖Substance软件构建南美洲丛林。

Hey Ken, thanks a lot for taking the time to answer our questions! Before we start, could you introduce yourself to the community?

嗨,Ken,非常感谢你花时间来回答我们的问题!在我们开始之前,你能介绍一下你自己吗?

Thank you, my name is Ken Jiang, and I’m a senior technical artist at Eidos Montreal. I worked on our Substance workflow for Shadow of the Tomb Raider.

谢谢,我的名字是Ken Jiang,我是Eidos Montreal的资深技术美术。我参与了使用Substance制作《古墓丽影:暗影(Shadow of the Tomb Raider)》中丛林材质的工作流程。

At the time of writing, most of the production work is done, but the game isn’t yet available to the public. How are you feeling right now?

在撰写文本时,作品的大部分工作已经完成,但是游戏尚未公开。你现在感觉怎么样?

It’s been an exciting journey since I came on board three years ago. Every day the team has striven to do the best they can, overcoming challenges and creating Shadow of the Tomb Raider together. It’s a pleasure working with such a talented team at Eidos. I’m really excited to see how the players react when they finally experience the game!

自从我三年前来到这里,这真是一段令人兴奋的旅程。团队每一天都在努力做好他们能做的,克服困难共同创作《古墓丽影:暗影(Shadow of the Tomb Raider)》。很高兴与Eidos Montreal这样才华横溢的团队共事。我真的很激动想看到玩家最终体验游戏时候的反应。

You’ve been relying on Substance products to texture Shadow of the Tomb Raider. Can you give us some details about how you implemented our software in your art pipeline?

你一直依赖Substance产品为《古墓丽影:暗影(Shadow of the Tomb Raider)》制作丛林材质。你能否介绍一下你是如何在艺术流程中运用我们的软件吗?

It was our first project using Substance Designer as our primary texturing package, so during pre-production our engine team and our technical art director, Frédéric Chappart, did lots of groundwork integrating Substance into our engine. We managed to skip texture exporting, so artists could link .sbs files directly to surface materials.

这是我们第一个使用Substance Designer(https://www.allegorithmic.com/products/substance-designer)作为主要材质包的项目,所以在预制作过程中,我们的引擎团队和技术美术总监Frédéric Chappart,做了大量的基础工作将Substance整合到引擎中。我们设法跳过材质导出,这样艺术家可以将.sbs文件直接链接到材质表面。

We were introduced to the Substance Automation Toolkit later in the project, and this immediately allowed us to convert most of the textures and masks exported from Substance Painter into .sbs packages. That let us further manage all the unique and generic materials through the Python API. It’s specifically useful for situations like .sbs batch processing. For example, we easily brought back the non-PBR materials of Lara’s legacy outfits from Rise of The Tomb Raider and processed all the texture dependencies with a pre-made .sbs template in one batch.

我们在项目后期介绍了Substance Automation Toolkit,这立即允许我们从Substance Painter(https://www.allegorithmic.com/products/substance-painter)中导出的大量材质和遮罩转换为.sbs包。这让我们可以通过Python API进一步管理所有特定的和通用的材质。它特别适用于像.sbs批量处理的情况。譬如说,我们轻易的从《古墓丽影:崛起(Rise of the Tomb Raider)》中收回Lara遗留配备的非PBR材质,并使用预先制作的.sbs模板批量处理所有材质的依赖关系。

How did you go about creating Substance materials in Shadow of the Tomb Raider?

你是如何在《古墓丽影:暗影(Shadow of the Tomb Raider)》中创建Substance材质的?

I’ll talk about the process of how I created the vine material we used on the trees in the jungle.

我来讲一下如何创建用于丛林树木上藤蔓材质的过程。

Preparation | 准备

It’s important to know the surface’s average size and UVs to estimate the final texture size of the material. In this case, I know I will tile the vine material 2 to 3 times to reach around 1024px/meter, with a set of 1K texture outputs.

这个很重要对于了解表面的平均值和UV值以估算材质的最终纹理尺寸。这种情况下,我会平铺藤蔓材质2~3次以达到1024像素/米左右,并带有1k的材质输出。

I gathered as much context, and as many references and color scripts for the scene as I could.

我收集了尽可能多的内容,以及尽可能多的场景作为参考和颜色脚本。

The Foundation | 基础

I pretty much spent half of the time focusing on a clean, readable height map, checking the volume frequently in the engine to validate the material’s readability. Next, I started to add the details on top of it. Then, it was very important to start building from the largest vines to the smallest.

我花了一半的时间专注于在一个干净,可读的高度贴图上,在引擎中检查音量以检验材质的可读性。下一步,我开始在其上面添加细节。然后,从最大的藤蔓到最小的开始构建是很重要的。

The Iterations | 迭代

To be able to respond to any feedback more promptly, I tried to organize the nodes into modular blocks and expose only the key parameters. The graph does not only become easier to tweak this way, but it’s more optimized as well. A procedural material is much more versatile than plain images, especially when it’s being structured properly.

为了快速的响应任何反馈,我尝试将节点组织成模块,但是仅公开关键参数。用这种方式图表不仅变得更易于调整,而且更好将其优化。程序化材质比普通图像更通用,特别是当它被正确构建的时候。

Finalizing | 最终处理

This involves validating the final looks in-game. The point here is to make the material compliment the environment design as a whole.

这涉及到验证游戏中的最后外观。这里的要点是使用材质作为整体来补充环境的设计。

What do you think Substance tools brought to your workflow, compared to previous solutions?

你认为与之前的解决方案相比,Substance工具为你的工作流程带来了什么?

Substance is now one of the essential software tools of our art pipeline. It’s helpful because it cuts down our texturing time estimates dramatically. Its non-destructive nature makes it risk-free to iterate and optimize the final results.

Substance现在是我们艺术流程的最重要的软件之一。它是很有用的,因为其显著减少了材质制作的预算时间。它非破坏性特点使其无风险的迭代和优化最终结果。

How do you see Substance integration evolving in your next projects?

你是如何看待Substance整合在你下一个项目中的发展?

We definitely like to keep refining our core material library. To reach that goal, we’re starting to see the need for a small, dedicated material team to help push the boundaries of our texturing workflow. On that note, we’re looking forward to exploring what we could achieve with Project Alchemist for our next project.

我们绝对希望不断完善核心材质库。为了达到这个目标,我们开始意识到需要一个小型且专门的材质团队来帮助我们推动突破材质制作的工作流程。在这方面,我们希望在下一个项目中探索实现Alchemist炼金术项目。

We’re also going to continue to expand the use cases of the Substance Automation Toolkit. We’ve created some custom noises, 32-bit HDR cubemaps, and image filters without manually plugging the loops of math nodes into the pixel processor inside Designer. This also allows us to gain full control of the XML info in a .sbs package, which is a huge win on the tech art side. We’d also like to shift our quality control tools from applying passive batch fixes to setting up the plugin library in Substance Designer with the new scripting API.

我们将继续扩展使用Substance Automation Toolkit(https://www.allegorithmic.com/products/substance-automation-toolkit)的案例。我们还创建了一些自定义噪点,32位HDR立方体贴图和图像滤镜,无需手动将数字节点插入到Designer内部的像素处理器。这也使我们完全控制.sbs包中的XML信息,这是在科技艺术方面取得的巨大胜利。我们还希望将质量控制工具从应用被批量修复移到Substance Designer中使用新API脚本设置的插件库。

With the ever-growing demands of material quality and quantity in AAA production, we appreciate the benefits that Substance has brought to our workflow and we’d like to make the most of it in the future!

随着AAA产品中材质的数量和质量不断增长的需求,我们非常感谢Substance给我们工作流程带来的好处,并且我们希望能够在未来更充分的使用它!

Thanks!