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项目Project 02 · 材质 · 灯光 · 镜头Materials · Lighting · Camera
Last Stop
我负责材质、灯光和镜头：让一个还原出来的地铁站，有温度，也有空气。I handled materials, lighting and camera — giving a rebuilt subway station warmth, and air.
概述Overview
团队以一张纽约地铁站的照片为目标，在 UE5 里还原机位、构图和空间。我负责让它“看起来对”：材质、表面细节、灯光、雾效和镜头动画。短片在两种氛围之间切换——暗而暖的站台，亮而冷的车厢。
Our team set out to rebuild a photo of a New York subway station in UE5 — camera, composition and space. My job was making it look right: materials, surface detail, lighting, fog and camera animation. The film moves between two moods: a dark, warm platform and a bright, cool train interior.
参考Reference
左边是目标参考，右边是最终画面；下面是用来定氛围和灯光的辅助参考。
Target reference on the left, final frame on the right; below are the supporting references used for mood and lighting.
模型与搭建Modeling & layout
模型和 UV 由团队其他成员完成：管道灯按参考从零建模，地铁车厢在现有资产基础上拆分、修正并重新展 UV，为后面的材质工作打好基础。
Modeling and UVs were done by other team members: the pipe light was modeled from scratch to match the reference, and the subway car was split, cleaned up and re-UV’d from an existing asset — groundwork for the material pass.
材质Materials
我在 Substance Painter 里以 Fab 上的材质为起点，逐个资产调整磨损、污渍和颜色，让所有东西看起来属于同一个车站。
In Substance Painter I started from Fab materials and adjusted wear, grime and colour asset by asset so everything feels like it belongs to the same station.
现成材质不够细的地方，我用 Substance Designer 做了一套细节贴图，补上更细的表面层次。
Where the stock materials fell short, I built a set of detail textures in Substance Designer to add a finer layer of surface definition.
最后用贴花在墙面、车门这些位置叠加局部细节，让表面不再“太干净”。
Finally, decals add local detail on walls, doors and other surfaces so nothing looks too clean.
灯光与镜头Lighting & camera
站台用暖光，强调地下空间的封闭感和旧墙面的质感；车厢换成冷白光，显得干净、开阔。两种色温一对比，两个空间各有各的性格。
The platform is lit warm to stress how enclosed the underground space is and to bring out the old walls; the train switches to cool white light so it feels clean and open. The contrast gives each space its own character.
我在体积雾里掺了一点蓝，让冷色混进暖光，同时把远景压暗、拉出纵深；再叠一层尘埃粒子，空气就不再是静止的。镜头运动在 Sequencer 里编排，配合列车进站的节奏推进。
I tinted the volumetric fog slightly blue to mix cool tones into the warm light, pushing the background back for depth, and layered dust particles on top so the air doesn’t feel static. Camera moves were choreographed in Sequencer to follow the rhythm of the train pulling in.
