[{"data":1,"prerenderedAt":315},["ShallowReactive",2],{"\u002F2015-08-19-ue4-cel-look":3},{"id":4,"title":5,"body":6,"date":291,"description":12,"extension":292,"meta":293,"navigation":296,"path":308,"seo":309,"stem":310,"tags":311,"__hash__":314},"blogs\u002F_legacy\u002F2015\u002F2015-08-19-ue4-cel-look.md","UE4赛璐珞风格",{"type":7,"value":8,"toc":278},"minimark",[9,13,16,32,36,39,46,49,52,71,74,236,240,243,246,249,252,256,261,264,268,271,275],[10,11,12],"p",{},"UE4默认的渲染风格是写实的，以照片级为目标。而如果要做赛璐珞风格的话，就需要稍微做一些改动。",[10,14,15],{},"当前UE4版本4.10.0。",[10,17,18,19,26,27,31],{},"3D的赛璐珞风格实现是有一些现成的经验的，最近有些番组也是用的3D做的。不过作为对图形学方面的知识是外行的人而言，要自己实现还是有很多困难的。好在，已经有人将赛璐珞风格在UE4中实现了。原文的话在[",[20,21,25],"a",{"href":22,"rel":23},"https:\u002F\u002Fforums.unrealengine.com\u002Fshowthread.php?88581-%E3%82%A2%E3%83%B3%E3%83%AA%E3%82%A2%E3%83%AB%E3%82%A8%E3%83%B3%E3%82%B8%E3%83%B34%E3%81%A7%E3%83%8E%E3%83%B3%E3%83%95%E3%82%A9%E3%83%88%E3%83%AA%E3%82%A2%E3%83%AB%E6%8F%8F%E7%94%BB%E3%81%97%E3%82%88%E3%81%86%EF%BC%81",[24],"nofollow","这里","]，还有对应的PPT，里面有对相应的原理的说明。PPT的下载地址在原文中有提供，点击[",[20,28,25],{"href":29,"rel":30},"https:\u002F\u002Fwww.slideshare.net\u002FEpicGamesJapan\u002F4-unreal-fest-2015-yokohama-54129845",[24],"]可以直达。",[33,34,35],"h2",{"id":35},"最终效果",[10,37,38],{},"对参数进行少许的调整之后，最终的效果是这样的：",[10,40,41],{},[42,43],"img",{"alt":44,"src":45},"","\u002Fwp-content\u002Fuploads\u002F2017\u002F03\u002FphpiU9u6l.1453546682-1.png",[10,47,48],{},"在没有做精细调整的情况下，这样的效果基本上算是让人满意了。使用上也非常的方便，如果有在项目中使用的话，一定要记得在原文中感谢作者哦~下面对在使用过程中可能会使用到的一些东西进行总结，其中几乎所有内容都是直接翻译的，如有错误欢迎指正。",[33,50,51],{"id":51},"使用步骤",[53,54,55,59,62,65,68],"ol",{},[56,57,58],"li",{},"由PP_NPR生成新的材质实例（也可以使用生成的PPI_NPR），将PostProcessVolume的Blendables中添加刚刚生成的材质实例即可",[56,60,61],{},"控制渲染效果的参数位于NPR_ParamCollection中",[56,63,64],{},"控制皮肤的亮度（在SkeletalMesh编辑器中将头发等的投影关闭）",[56,66,67],{},"从M_CharacterBase创建材质实例并应用于角色",[56,69,70],{},"将DirectionalLight替换为BP_DirectionalLightForCharacter(与上面的材质合同工作)",[33,72,73],{"id":73},"参数相关",[75,76,77,93],"table",{},[78,79,80],"thead",{},[81,82,83,87,90],"tr",{},[84,85,86],"th",{},"名称",[84,88,89],{},"默认值",[84,91,92],{},"说明",[94,95,96,108,119,130,141,152,162,172,183,193,203,214,225],"tbody",{},[81,97,98,102,105],{},[99,100,101],"td",{},"DebugWipe",[99,103,104],{},"0",[99,106,107],{},"屏幕分割，对效果进行调试对比用",[81,109,110,113,116],{},[99,111,112],{},"LightIntensityBias",[99,114,115],{},"0.3",[99,117,118],{},"场景较为暗时可以对暗的部分进行",[81,120,121,124,127],{},[99,122,123],{},"LightIntensityStepping",[99,125,126],{},"2",[99,128,129],{},"Cel涂色步进，小于1会出现不可预知的表现",[81,131,132,135,138],{},[99,133,134],{},"FresnelFunc_ContrastDark",[99,136,137],{},"0.1",[99,139,140],{},"用于侧面判定的Fresel的暗面控制参数",[81,142,143,146,149],{},[99,144,145],{},"FresnelFunc_ContrastBright",[99,147,148],{},"1.5",[99,150,151],{},"用于侧面判定的Fresel的亮面控制参数",[81,153,154,157,159],{},[99,155,156],{},"EdgeLineThickness",[99,158,148],{},[99,160,161],{},"轮廓线的粗细",[81,163,164,167,169],{},[99,165,166],{},"CreaseLineThickness",[99,168,148],{},[99,170,171],{},"棱线的粗细（有时设定为负值，在法线方向上取样时会有好的效果）",[81,173,174,177,180],{},[99,175,176],{},"FlankLine",[99,178,179],{},"0.2",[99,181,182],{},"侧面线颜色叠加系数（0为全黑，0.5为原本的颜色的0.5）",[81,184,185,188,190],{},[99,186,187],{},"EdgeLine",[99,189,179],{},[99,191,192],{},"轮廓线颜色叠加系数（0为全黑，0.5为原本的颜色的0.5）",[81,194,195,198,200],{},[99,196,197],{},"CreaseLine",[99,199,179],{},[99,201,202],{},"棱线颜色叠加系数（0为全黑，0.5为原本的颜色的0.5）",[81,204,205,208,211],{},[99,206,207],{},"LineColor",[99,209,210],{},"(0.8, 0.084908, 0.045, 0)",[99,212,213],{},"以上三种线的颜色，Alpha值代表叠加颜色的程度，可以超限以达到发光效果",[81,215,216,219,222],{},[99,217,218],{},"CharacterLightVector",[99,220,221],{},"(0, 0, -1, 0)",[99,223,224],{},"角色表情等会用到的光照向量（建议直接复制DirectionalLight的向量）",[81,226,227,230,233],{},[99,228,229],{},"CharacterLightColor",[99,231,232],{},"(1, 1, 1, 0)",[99,234,235],{},"（当前未使用：角色用光照颜色）",[33,237,239],{"id":238},"m_characterbase相关","M_CharacterBase相关",[10,241,242],{},"一般情况下只要利用Postprocess Materia就可以达到效果了，当角色由于阴影的影响过强导致着色浑浊现象出现时，建议使用M_CharaterBase作为对象材质的基础生成材质实例，并在该材质实例中进行属性的调整。",[10,244,245],{},"如果材质的贴图中本来就有阴影等信息的话，可以在材质实例宏将DiffuseBase调整为0.01使得BaseColor接近于0，将DiffuseEmissive设定为1.0以将阴影效果降到最低。",[10,247,248],{},"对于追求与现实系相近的中间型的着色效果的情况，可以将材质实例中的Shading Mode更改为Subsurface，这样以来就可以通过对SubsurfaceColor的调整来对颜色效果进行微调。",[10,250,251],{},"在有发光部件的情况下，勾选UseEmissiveTexture，并将发光部件的贴图彷如EmissiveTexture中，同时设定EmmissiveScale为很大的值就可以达到发光的效果了。",[33,253,255],{"id":254},"faq","FAQ",[257,258,260],"h3",{"id":259},"q-想要关闭掉角色的反光效果","Q. 想要关闭掉角色的反光效果",[10,262,263],{},"A. 在PostProcess的内部，可以某种程度的削弱反光效果，但是想要完全取消掉的话很困难，因为会增加额外的运算负担。对原有的材质的Roughness进行上调以及下调Metalic的值可以达到类似与消除反光的效果。这样的话就可以对模型的效果进行个别控制，一些闪闪发光的材质也能保留原来的效果。",[257,265,267],{"id":266},"q-将漫反射的贴图变得平滑不是更能实现动画风格吗","Q. 将漫反射的贴图变得平滑不是更能实现动画风格吗？",[10,269,270],{},"A. 虽然对相近的像素进行采样并平均的话能够达到平滑的效果，但是以贴图为采样目标的话运算负担就会过重，推荐直接对原有的材质进行修改。这样也可以实现对不同材质的控制和调整。",[257,272,274],{"id":273},"q-角色激烈运动时会导致线条杂乱","Q. 角色激烈运动时会导致线条杂乱",[10,276,277],{},"A. 这是Temporal AA的影响导致的。在PostProcessVolume-Settings-Misc中有AA Method的属性，将其设定为FXAA可以有效的防止这种情况（静画的情况下Temporal AA的画面质量更好一些）。另外，如果是面向在线游戏的画质的话，通过将Screen Percentage设定为200与Temporar AA进行组合，或者将AA关闭（设定为FXAA亦可）以2×2倍的分辨率渲染等方法将渲染目标缩小的方法也是可以的。",{"title":44,"searchDepth":279,"depth":280,"links":281},2,3,[282,283,284,285,286],{"id":35,"depth":279,"text":35},{"id":51,"depth":279,"text":51},{"id":73,"depth":279,"text":73},{"id":238,"depth":279,"text":239},{"id":254,"depth":279,"text":255,"children":287},[288,289,290],{"id":259,"depth":280,"text":260},{"id":266,"depth":280,"text":267},{"id":273,"depth":280,"text":274},"2015-08-19","md",{"layout":294,"status":295,"published":296,"author":297,"author_login":298,"author_email":299,"author_url":300,"wordpress_id":301,"wordpress_url":302,"date_gmt":303,"excerpt":304},"post","publish",true,{"display_name":298,"login":298,"email":299,"url":300},"chaoshikari","chaoshikari@gmail.com","\u002F",1495,"\u002F\u002F?p=1495","2015-08-19 01:03:52 +0000",{"type":7,"value":305},[306],[10,307,12],{},"\u002F2015-08-19-ue4-cel-look",{"title":5,"description":12},"_legacy\u002F2015\u002F2015-08-19-ue4-cel-look",[312,313],"UE4","Materia","-YGfnoTBCuFUJHxFFE3zFTNTplzJ2UdvV1LeiYnQOn4",1788763180404]