使用kitbashing实现快速的概念设计

Our small team quickly mashed up Snaps, KitBash3D, and other Asset Store packages to demonstrate what can be achieved with a little work and a whole lot of prefabs.

我们的小型团队Swift整合了Snaps，KitBash3D和其他Asset Store软件包，以演示只需少量工作和大量预制件即可实现的目标。

“Kitbashing” is combining different assets to create something original and new. The idea comes from modeling hobbyists, who would mash up model train or airplane kits to build their own custom projects. Today, it’s popular in special effects and game design worlds, where blockbusters like Thunderbirds, 2001: A Space Odyssey, and Star Wars Episode IV: A New Hope pointed to its potential for creating rich storytelling worlds. Kitbashing enables teams to produce prototypes and polished final projects much more quickly than they could by building everything from scratch.  

“ Kitbashing”正在将不同的资产组合起来，创造出一些新颖的东西。 这个想法来自建模爱好者，他们会混搭模型火车或飞机套件来建立自己的自定义项目。 如今，它在特殊效果和游戏设计世界中很流行，如《 雷鸟》(Thunderbirds) ， 《太空漫游》 ( 2001：A Space Odyssey )和 《星球大战 》 ( Star Wars)第四集：新希望 等大片都 指出了其创造丰富的故事世界的潜力。 Kitbashing使团队能够比从头开始构建所有内容更快地生产原型和抛光最终项目。

Our vision for this demo was to create a fresh take on a sci-fi environment by mixing a gloomy, dark, and wet space at the ground level, then shifting into a warm, dry skyline as the camera ascends. We achieved this dramatic mood in Unity’s High Definition Render Pipeline (HDRP) by kitbashing assets from Snaps and KitBash3D, a premium asset creator that we’ve worked closely with to bring dozens of their high-quality packages into the Unity Asset Store. In this blog post, we’ll share an overview of our production process and highlight some of the kits and effects we used. We hope you’ll walk away with a few ideas to take your kitbashed projects and prototypes to the next level. 

我们在本演示中的愿景是通过在地面上混合阴暗，黑暗和潮湿的空间，然后在摄像机上升时转变为温暖干燥的天际线，在科幻环境中创造新的景象。 我们实现了在统一的这个戏剧性的情绪 高清渲染管线 由kitbashing资产(HDRP) 捕捉 和 KitBash3D ，溢价资产的创造者，我们已经与密切合作，把几十个他们的高品质封装成统一资源商店。 在此博客文章中，我们将分享我们的制作过程的概述，并重点介绍我们使用的一些套件和效果。 我们希望您能带走一些想法，将经过精心设计的项目和原型提高到一个新的水平。

演示地址

风俗管道 (The kitbashing pipeline)

Our production unfolded in three phases. First, we developed a creative concept and scoped assets from the Snaps and KitBash3D libraries to support our art direction. We added these packages to a library scene for quick development, then mocked up a greybox with basic lighting. We split the project into three scenes, which allowed team members to work independently on the backdrop, lighting, and core environment. In the second phase, we started with our greybox blockout, then subbed in the KitBash3D and Snaps assets. Finally, we polished the demo by adding lighting, VFX, and shader updates. 

我们的生产分为三个阶段。 首先，我们从Snaps和KitBash3D库中开发了一个创意概念并确定了范围资产，以支持我们的艺术指导。 我们将这些程序包添加到库场景中以进行快速开发，然后模拟了带有基本照明的灰盒。 我们将项目分为三个场景，这使团队成员可以在背景，灯光和核心环境中独立工作。 在第二阶段，我们从灰盒封锁开始，然后将其归入KitBash3D和Snaps资产。 最后，我们通过添加照明，VFX和着色器更新完善了该演示。

We developed this project to create the look and feel of an in-engine captured game trailer or an AAA in-game opening cinematic, which allowed our team to push all the visual features and settings to the max to achieve quality and fidelity. The level of detail (LOD) levels are pushed out or set to 1, and we used a lot of VFX, lighting, and planar reflection volumes. Forward rendering is turned on, which lets us use Multisampling anti-aliasing (MSAA) and additional temporal anti-aliasing (TAA). For prototyping, these options are easy to implement and allow for fast iteration. Keeping our scene clean also lets us turn off expensive elements like VFX and planar reflections during production, so we could continue developing and iterating quickly. 

我们开发了这个项目，以创建引擎内捕获的游戏预告片或AAA游戏级开放电影的 外观 ，这使我们的团队能够将所有 视觉功能 和设置最大化，以实现质量和保真度。 细节级别(LOD)级别被推出或设置为1，我们使用了大量的VFX，照明和平面反射体积。 启用了 前向渲染 ，这使我们可以使用 多重采样抗锯齿 (MSAA)和其他时间抗锯齿(TAA)。 对于原型而言，这些选项易于实现，并允许快速迭代。 保持场景整洁还可以使我们在生产期间关闭VFX和平面反射等昂贵的元素，因此我们可以继续进行开发和快速迭代。

打击资产 (Kitbashing assets)

We created most of the environment’s stunning backdrop using a mix of KitBash3D packages with a futuristic cyber-city vibe and East Asian visual references. KitBash3D is the Unity Asset Store’s first library partner, bringing a robust collection of premium 3D art assets for building virtual environments – they’re also used in major film productions by Disney, Fox, Marvel and HBO, as well as by AAA studios like Ubisoft, EA, and Tencent, as well as indies. For our project, we used the Neo Tokyo 2 and Neo Shanghai packages to stage the scene, then populated them with props from the Cyber Streets package to give the environment an edgy neon sci-fi look. 

我们结合了KitBash3D软件包以及未来派网络城市氛围和东亚视觉参考，创造了大多数环境的绝妙背景。 KitBash3D是Unity资产商店的第一个图书馆合作伙伴 ，带来了大量用于构建虚拟环境的高级3D艺术资产–迪士尼，Fox，Marvel和HBO以及AAA电影制片厂(如Ubisoft)也将它们用于主要电影制作中，EA和腾讯以及独立开发者。 在我们的项目中，我们使用 Neo Tokyo 2 和 Neo Shanghai 软件包进行场景布置，然后使用 Cyber​​ Streets 软件包中的 道具填充它们， 以使环境具有前卫的霓虹科幻效果。

Much of the foreground was created using Snaps, Unity’s own packages of themed modular art assets. There are three streams of Snaps – Snaps Prototype, pared-down, snap-in packages designed to quickly block out a project; Snaps Art, modular environment and prop assets to flesh out your prototype; and Snaps Art HD, polished, AAA-quality high-res art to add detail. We integrated elements from three Snaps Art HD packages into the demo, Asian Residential, Construction Site, and Sci-Fi Urban. 

大多数前景是使用 Snaps 创建的， Snaps 是Unity自己的主题模块化艺术资产的软件包。 Snap分为三类：Snaps Prototype，精简的嵌入式程序包，旨在快速阻止项目。 捕捉艺术，模块化环境和道具资产，充实您的原型； 以及Snaps Art HD，抛光，AAA质量的高分辨率艺术品来增加细节。 我们将三个Snaps Art HD软件包中的元素集成到了演示， 亚洲住宅 ， 建筑工地 和 科幻城市中 。

A building prefab from the Snaps Asian Residential package flipped vertically, duplicated, and offset to create an extended wall.

来自Snaps Asian Residential软件包的建筑预制件垂直翻转，复制并偏移以创建延伸的墙。

While most of the assets used in the demo came from Snaps and KitBash3D libraries, several other Asset Store packages helped us to achieve key effects. AutoProbe saved time by automating the placement of light probes, while Easy Mesh Combiner MT helped us to merge meshes and set the pivot point at mesh level. Bird Flock and the Fly Particle System added movement that brought the scene to life.  

尽管演示中使用的大多数资产都来自Snaps和KitBash3D库，但其他几个Asset Store软件包也帮助我们实现了关键效果。 AutoProbe 通过自动放置光探针来节省时间，而 Easy Mesh Combiner MT 帮助我们合并了网格并将枢轴点设置在网格级别。 鸟群 和 飞行粒子系统 增加了使场景栩栩如生的运动。

We imported a lot of VFX directly from The Spaceship Demo Project, a Unity demo using HDRP and VFX Graph that’s jam-packed with AAA-quality production-ready, optimized VFX that can be copied and used in projects. This approach gave us a quick start to implementing smoke and sparks, which we could easily import from the demo after selecting dependencies. For other content creation, we used Blender.

我们直接从 The Spaceship Demo Project(太空飞船演示项目)中 导入了许多VFX， 这 是一个使用HDRP和 VFX Graph 的Unity演示 ，它与AAA质量的可立即投入生产的，优化的VFX打包在一起，可以在项目中复制和使用。 这种方法为我们提供了一种快速实施烟雾和火花的方法，选择依赖项后，我们可以轻松地从演示中导入烟雾和火花。 对于其他内容创建，我们使用 Blender 。

着色器和贴花 (Shaders and decals)

We used the Lit Shader, Layered Lit Shader, and Decal Shader on nearly every material in this project, and we created simple custom shaders for emissive signs and decals. 

我们在该项目的几乎所有材质上都使用了“ Lit Shader”，“ Layered Lit Shader”和“ Decal Shader”，并为发光的标志和贴花创建了简单的自定义着色器。

Decals add an extra layer of polish to our project. Many of the effects we used them for could also be achieved within shaders, such as dirt build-up or crack details, but the decals were a faster solution for our tight production timeline, and they gave us more control over placement.

贴花为我们的项目增加了一层抛光。 我们使用它们的许多效果也可以在着色器中实现，例如灰尘堆积或裂纹细节，但是贴花是我们紧张的生产时间表的更快解决方案，它们使我们可以更好地控制放置。

Both the Snaps and KitBash3D packages include graphic elements like graffiti, utility signs, and ads, which can be turned into decals. Package materials came with normals and alpha channels, so creating projected decals was just a matter of plugging textures into the Decal shader.

Snaps和KitBash3D软件包都包含图形元素，例如涂鸦，实用程序标记和广告，它们可以转换为贴花。 包装材料带有法线和Alpha通道，因此创建投影贴花只是将纹理插入 Decal着色器中的问题 。

We created a few different decal materials to give our scene greater depth. We used them for puddles, graffiti, dirt, and signage, sometimes playing with opacity levels and sort order to allow graffiti and dirt to render above a decal layer. 

我们创建了一些不同的贴花材质，以使场景更深。 我们将它们用于水坑，涂鸦，污垢和标牌，有时会使用不透明级别并进行排序，以使涂鸦和污垢可以在贴花图层上渲染。

Puddles were created as decals using the Shader Graph. This required placement control and introducing randomness to break up repetitive tiling. The shader would take three generated puddle shapes, then lerp between each mask based on its world position to give the puddles a random shape, and there were additional controls to let us tweak the values for puddles’ smoothness, shape, color, and opacity. 

使用 Shader Graph 将水坑创建为贴花 。 这需要放置控制并引入随机性以破坏重复的平铺。 着色器将采用三种生成的水坑形状，然后根据其世界位置在每个蒙版之间进行修剪以使水坑具有随机形状，并且还有其他控件可让我们调整水坑的平滑度，形状，颜色和不透明度的值。

We added more life to the scene by pulling VFX from demo tools. Smoke and sparks were adapted from the Spaceship Demo, while we grabbed the hologram’s core from Unity’s Visual Effects Graph Samples project. The hologram model uses a depth-based camera to render out, so you can project any correctly tagged asset – we created some basic characters and a quick looping animation.

通过从演示工具中提取VFX，我们为现场增添了更多生命。 烟雾和火花来自 太空飞船演示 ，而我们从Unity的 Visual Effects Graph Samples项目中获取 了全息图的核心 。 全息图模型使用基于深度的相机进行渲染，因此您可以投影任何正确标记的资产–我们创建了一些基本角色和快速循环的动画。

灯光 (Lighting)

Lighting is essential to the mood and composition we wanted for this demo. Since the project was rendered as an offline cinematic, we focused on achieving the right atmosphere and color transitions for our storytelling over optimization concerns. We worked on lighting in tandem with creating the environment across numerous iterations, but the compartmentalized structure of the scene let us play with different lighting ideas and iterate on them quickly.

灯光对于我们演示所需的心情和构图至关重要。 由于该项目是作为离线电影呈现的，因此我们专注于实现正确的氛围和色彩过渡，以解决优化问题。 我们通过多次迭代来创建环境，一起进行照明工作，但是场景的分隔结构使我们可以处理不同的照明想法，并快速对其进行迭代。

HDRP provides tools and parameters that let us push the scene’s realism – details like giving neon signs and billboards emissive material for indirect lighting contributions as well as real-time lights that bring a layer of specular lighting to nearby objects. We used the highest shadow filtering settings available in HDRP alongside screen space effects like Contact Shadows and Screen Space Ambient Occlusion (SSAO) to flesh out the scene’s details.

HDRP提供的工具和参数使我们能够推动场景的逼真度-诸如提供霓虹灯和广告牌发光材料等材料的间接照明作用以及为附近物体带来一层镜面照明的实时照明等细节。 我们使用了HDRP中可用的最高阴影过滤设置以及诸如“ 接触阴影” 和“ 屏幕空间环境遮挡 (SSAO) ”之 类的屏幕空间效果，以充实 场景的细节。

Volumetric fog and density volumes were used to unify the scene’s elements and create depth. The HDRP allows for high-quality volumetric fog settings to achieve smooth results, but since this demo was created as an offline rendered cinematic, we also “cheated” by placing point lights near some of the more prominent neon signs to artificially boost the local volumetric effect. 

体积雾和密度体积用于统一场景的元素并创建深度。 HDRP允许高质量的体积雾设置以获得平滑的结果，但是由于此演示是作为脱机渲染的电影创建的，因此我们还通过在一些较突出的霓虹灯附近放置点光源来“欺骗”，以人为地提高本地体积影响。

后处理和抛光 (Post-processing and polishing)

These are some of the HDRP features and post-processing effects that we used to create our demo’s finishing touches. 

这些是 我们用来创建演示的画龙点睛的 一些 HDRP功能 和 后处理效果 。

感言 (Reflections )

We placed reflection captures all over the scene to make metallic and glass surfaces reflective, while planar reflections on water puddles and shiny floors mirrored details of the surrounding scene. HDRP and planar reflections allow captures of up to 8K, while layers and cullings systems offer the flexibility to define what will be captured onto those reflections. We used the layers system to create clean results with moving cameras and planar reflections that were updated each frame.
A few specular-only lights were added to create rim highlights around some of the more eye-catching props in the scene, making them more prominent against the background while placing them to subtly lead the eye to key points in the scene.  

我们在整个场景中放置了反射捕获，以使金属和玻璃表面具有反射性，而水坑和发亮的地板上的平面反射则反映了周围场景的细节。 HDRP和平面反射最多可捕获8K，而图层和剔除系统可灵活地定义将在这些反射上捕获的内容。 我们使用图层系统通过移动相机和每帧更新的平面反射创建干净的结果。
添加了仅镜面反射的灯光，以在场景中一些更引人注目的道具周围创建边缘高光，使它们在背景下更加突出，同时将它们巧妙地引导到场景中的关键点。

音量和视觉效果 (Volumes and visual effects)

We used HDRP’s volume system throughout the scene, both to control screen-space effects and for localized color grading. We controlled the main generic overrides in the scene under the Global Post-Processing Volume, so these settings are kept in a single, central location. This global volume setting made the system easier to manage, especially for effects that don’t change much in different regions of the scene and can be controlled by a single value, including Chromatic Aberration, Ambient Occlusion, Fog, Bloom, Film Grain, and Vignette.

我们在整个场景中都使用了HDRP的音量系统，既可以控制屏幕空间效果，也可以进行局部色彩分级。 我们在“ 全局后期处理量” 下控制了场景中的主要通用替代 ，因此这些设置都保存在单个中央位置。 这种全局音量设置使系统更易于管理，尤其是对于在场景的不同区域变化不大且可以通过单个值控制的效果，包括色差，环境光遮蔽，雾气，光晕，胶片颗粒和小插图。

Screen effects like Film Grain, Vignette, and Chromatic Aberration – all designed to mirror imperfections of a camera lens and film – help CG to look more realistic by preventing the image from looking unnaturally clean. Use very small values in these effects’ settings, because a little goes a long way, but these details really help to sell the cinematic feel of the image.

诸如 胶片颗粒 ， 小插图 和 色差 等屏幕效果 (均旨在反映相机镜头和胶片的瑕疵)可通过防止图像看起来异常自然清洁来帮助CG看起来更逼真。 在这些效果的设置中使用非常小的值，因为要花很多时间才能走得很远，但是这些细节确实有助于销售影像的电影感。

颜色分级 (Color grading )

Color grading was essential to this demo’s art direction. We used localized volumes, one for the ground area and one closer to the top of the scene, and a large blend distance gave the transition from one volume to the next seamless. 

色彩分级对于此演示的艺术指导至关重要。 我们使用了局部体积，一个体积用于地面区域，另一个体积则靠近场景顶部，并且较大的混合距离使从一个体积过渡到下一个无缝体积。

HDRP’s color grading overrides are robust and offer lots of options to fine-tune the colors, saturation and luminance across highlights, midtones and shadows. In color grading, simplicity is key – only adjust what’s needed, rather than overriding everything and ending up with an overly complex grade. 

HDRP的颜色分级覆盖功能很强大，并提供许多选项来微调高光，中间调和阴影之间的颜色，饱和度和亮度。 在颜色分级中，简单性是关键-仅调整需要的内容，而不是覆盖所有内容并最终得出过于复杂的等级。

We did most of the color grading using Color Adjustments for broad saturation and contrast adjustments. Next, we used the Lift, Gamma, Gain and Shadows, Midtones, Highlights effects to color shift and adjust the range, finally making more minute adjustments with Color Curves. To create some nice contrast at the ground level, for example, we color shifted the shadows to a warmer tone compared to the cool hues of the midtones and highlights. We used the color curve to override the Luminance Vs Saturation curve, so the shadows were picked out and desaturated to enhance subtle contrasts. 

我们使用“ 色彩调整” 对宽泛的饱和度和对比度进行 了大多数色彩分级 。 接下来，我们使用“ 提升”，“伽玛”，“增益” 和 “阴影”，“中间调”，“高光” 效果来进行颜色偏移和调整范围，最后使用“ 颜色曲线” 进行更细微的调整 。 例如，为了在地面上产生一些不错的对比度，与中间色调和高光的冷色调相比，我们将阴影进行了色彩转换，以形成较温暖的色调。 我们使用颜色曲线覆盖“亮度Vs饱和度”曲线，因此阴影被剔除并去饱和以增强微妙的对比度。

使用kitbashing更快地创建场景 (Create scenes faster with kitbashing )

Sharing this demo seems like a great way to welcome KitBash3D as the Asset Store’s first-ever library partner, giving artists premium building blocks to create stunning virtual environments in Unity. We hope you’ll explore the power and potential of kitbashing in your own projects – so we’re offering the Snaps and KitBash3D packages used in this demo at steep discounts to get you started. 

共享此演示似乎是欢迎KitBash3D作为Asset Store的第一个图书馆合作伙伴的好方法，它为艺术家提供了高级构建块，以在Unity中创建令人惊叹的虚拟环境。 我们希望您能在自己的项目中探索kitbashing的力量和潜力-因此，我们将以折扣价提供此演示中使用的Snaps和KitBash3D软件包，以帮助您入门。

For a limited time, save 30–50% on the Cyber Streets, Neo Tokyo 2, and Neo Shanghai packages from KitBash3D, and get 70% off the three Snaps Art HD packages into the demo, Asian Residential, Construction Site, and Sci-Fi Urban. Just starting out? Try the KitBash3D Neo City Mini Kit for free to get a taste of what’s possible. We can’t wait to see your kitbashing creations. 

在限定时间内，可以 从KitBash3D 的 Cyber​​ Streets ， Neo Tokyo 2 和 Neo Shanghai 软件包中 节省30–50％的 费用，并从演示， 亚洲住宅 ， 建筑工地 和 Sci- Fi Urban 。 刚开始？ 免费试用KitBash3D Neo City Mini Kit ，以了解可能的情况。 我们迫不及待想看到您的风俗习惯。

Learn more at the Unity Asset Store. 

在 Unity Asset Store中 了解 更多信息 。

翻译自: https://blogs.unity3d.com/2020/08/11/realizing-rapid-conceptual-design-with-kitbashing/