Gawain is the main character from The Heretic, the real time short film made in Unity, written and directed by Veselin Efremov. This article will cover the creation of the character and give some insight into the different aspects of his production.
高文 ( Vawalin Efremov) 执导的 《异端》 ( The Heretic )是Unity制作的实时短片 。 本文将介绍角色的创作，并对他的作品的不同方面有所了解。
铸造与生产 (Casting and Production)
We worked with a casting agency to choose the actor who would perform the role. This was the first digital role for actor Jake Fairbrother. You can normally see him in theatrical plays in London.
我们与演员公司合作，选择了扮演角色的演员。 这是演员 杰克·费尔伯瑟特 ( Jake Fairbrother )的第一个数字角色 。 通常您可以在伦敦的戏剧中看到他。
The performance took place on several separate occasions. We started with a body scan at 4D Max , together with a 3D scan of the face and a first batch of 4D performance at Infinite Realities at their studio outside of London. We continued with capturing body performance at our mocap studio in Sofia, and later returned to Infinite Realities for additional 4D performance when we knew that we could scale the amount of screen time it is viable for. Voice performance was captured at SideUK studio in London.
演出在几个不同的场合进行。 我们首先从 4D Max 进行人体扫描， 再到 在伦敦郊外的 Infinite Realities 进行 3D面部扫描和首批4D表演 。 我们继续在索非亚的Mocap工作室捕捉人体表现，然后在得知我们可以扩展可行的屏幕显示时间后，回到Infinite Realities获得4D表现。 语音性能 在伦敦的 SideUK 工作室 拍摄 。
概念艺术 (Concept Art)
The project started with some early concept explorations by Georgi Simeonov. He tried different styles based on his initial discussions with Director Veselin Efremov, with some elements that were essential to the story, like the briefcase for example, being present in almost all of the versions.
该项目始于Georgi Simeonov的一些早期概念探索。 在与导演Veselin Efremov进行初步讨论的基础上，他尝试了不同的风格，其中一些对于故事至关重要的元素(例如公文包)几乎出现在所有版本中。
In the second stage, some of the ideas from the initial exploration were developed further and became more focused after Georgi and Veselin discussed what was working from the previous sketches. One thing that is interesting to note here is the subtle implementation of the medieval knight theme in the design of Gawain’s costume.
在第二阶段中，Georgi和Veselin讨论了先前草图中的工作之后，最初的探索中的一些想法得到了进一步发展，并变得更加集中。 在这里需要注意的一件事是在Gawain服装的设计中巧妙地实现了中世纪骑士主题。
The final version of the concept sketch for Gawain. Some things changed as we moved along, but we tried to stay as close as possible to the original design.
Gawain概念草图的最终版本。 随着我们的前进，有些事情发生了变化，但是我们试图保持与原始设计尽可能的接近。
头 (Head)
Screenshot of Gawain from the final film inside of Unity.
来自Unity内部最后一部电影的Gawain的屏幕截图。
Paco: After we received the initial scan and the cleaned neutral pose of the face from Infinite Realities, we had a meeting with our animation director Krasimir Nechevski to figure out some of the technical details that we needed to clear up before continuing with the outfit and animations, things like the uv layouts for the face, the different texture sets and how and where we split those, also choosing where to split the head from the body. This last one was especially important as the director Veselin made it clear from the beginning that he wanted to see as much of the neck and the area around it as possible in the closeups that he was planning with the 4D capture of the actor’s performance.
Paco ：在收到 Infinite Realities 的初始扫描和清洁的面部中性姿势后 ，我们与动画总监Krasimir Nechevski进行了会面，以弄清在继续使用服装前需要清除的一些技术细节。动画，面部的uv布局，不同的纹理集以及如何以及在何处分割这些东西，还可以选择从身体分割头部的位置。 这最后一个尤为重要，因为导演Veselin从一开始就明确表示，他希望在他计划以演员的表演进行4D捕捉的特写镜头中看到尽可能多的脖子和周围区域。
We had to be carefull with the distribution of the textures sets also because they had different resolutions, for example the body and legs had a much lower resolution compared to the face, mostly because we don’t see them pretty much anywhere, but we choose to have them just in case. After all of that was decided on, we transferred and tweaked the scanned data onto the new model and made some adjustments as we moved forward.
我们必须谨慎处理纹理集的分布，还因为它们具有不同的分辨率，例如，身体和腿部的分辨率比面部低得多，主要是因为我们在任何地方都看不到它们，但是我们选择以防万一。 在所有这些决定之后，我们将扫描的数据传输并调整到新模型上，并随着前进而进行一些调整。
眼睛 (Eyes)
The eyes went through a lot of polishes and tweaks to get to where we needed them to be, a lot of that creative guidance and drive came through the director Vess, who served as a reality check on what could be improved with them.
视线经过了许多磨合和调整，以到达我们需要的位置，其中很多创意指导和驱动力来自导演Vess，他实地考察了使用它们可以改善的地方。
The tech for the eyes was made by Lasse Pedersen with some help from Nicolas Brancaccio. The eyes used a single mesh for the cornea, iris and sclera, the shader controlled many features related to the eyes directly inside of Unity. We also had a mesh around the eyelids controlling the smoothing of the normals between the eyeball and the eyelids to give us a softer transition, it also served as a tearline mesh.
Lasse Pedersen在 Nicolas Brancaccio的 帮助下，制造了用于眼睛的技术 。 眼睛为角膜，虹膜和巩膜使用了单个网格，着色器直接在Unity内部控制与眼睛相关的许多功能。 我们在眼睑周围也有一个网格，控制眼球和眼睑之间法线的平滑度，使我们的过渡更柔和，它还可以用作泪线网格。
The mesh used to blur the normals and to wetness around the eyes.
该网格用于使法线模糊和使眼睛周围变湿。
An example of some of the controls that the shader gave us, in this case the AO of the eyes instead of having to use a separate shadow mesh for that with a baked texture.
着色器提供给我们的一些控件的示例，在这种情况下为眼睛的AO，而对于具有烘焙纹理的蒙版则不必使用单独的阴影网格。
牙齿 (Teeth)
For the teeth Lasse Pedersen added an option to control the shadowing of the teeth inside the mouth, this really helped with the shading in the closeups.
对于牙齿，Lasse Pedersen添加了一个选项来控制口腔内牙齿的阴影，这确实有助于特写镜头中的阴影。
A quick model and texture that I did based on reference from the actor, since we didn’t have a scan for them.
我基于演员的参考制作了一个快速的模型和纹理，因为我们没有对其进行扫描。
The technology stack used to bring Gawain to life, the shaders and all tools mentioned in this blogpost can be found in the Digital Human package we released recently. If you want to learn more information about the tech aspects of Gawain, stay tuned to this blog, we’re working on another article that goes more in-depth on the skin attachment system, shader, and other technical details.
可以在 我们最近发布的Digital Human软件包中 找到用于使Gawain栩栩如生的技术堆栈，着色器和本博文中提到的所有工具 。 如果您想了解有关Gawain技术方面的更多信息，请继续关注此博客，我们正在撰写另一篇文章，该文章更深入地介绍了皮肤附着系统，着色器和其他技术细节。
Screenshots from Marmoset Toolbag 3 of the finished asset before getting it into Unity, it was a quick way of testing the materials under different lighting conditions during the texturing part of the process.
Marmoset Toolbag 3中截屏的成品，然后放入Unity，这是在该过程的纹理化部分期间，在不同光照条件下测试材料的一种快速方法。
The UV Layout we used for the character. I’ve tried to be as efficient as I can so that we can have as much detail as possible with the 4k texture.
我们用于角色的UV布局。 我试图尽可能地提高效率，以便我们可以使用4k纹理获得尽可能多的细节。
Now Krasimir Nechevski, our animation director will explain more in-depth the process behind the facial performance for the character of Gawain.
现在，我们的动画总监Krasimir Nechevski将更深入地解释Gawain角色的面部表情背后的过程。
面部表情 (Facial performance)
Krasimir: Making a digital human pipeline was one of the main goals of the Heretic and a major accomplishment for the team. We have been avoiding it in the past by making robots or nightmarish creatures, but it was time for us to give it a go. There are multiple challenges in achieving this- there is the skin, hair, teeth and eye shading each with a very different and difficult set of problems, but the hardest part of making a digital double in my opinion is reproducing the facial movement with all the subtleties. It is a well-known problem and falling short usually leads to an awkward feeling in the viewer a.k.a. the uncanny valley.
克拉西米尔(Krasimir) ：建立数字化人力管道是Heretic的主要目标之一，也是团队的一项重大成就。 过去，我们一直通过制造机器人或噩梦般的生物来避免这种情况，但是现在是时候让我们放弃了。 要实现这一目标有很多挑战-皮肤，头发，牙齿和眼睛的阴影都存在着一系列非常不同且困难的问题，但我认为进行数字双重化的最困难的部分是重现面部运动。微妙之处。 这是一个众所周知的问题，不足通常会导致观看者又称奇异山谷的尴尬感觉。
There are many ways of animating the face of a character- blendshape rigs, 4D (volumetric video), machine learning, simulation, all with varying pros and cons. We chose a somewhat unorthodox method so here I will try to chronologically explain our reasoning and process. To sum it up, we decided to use 4D directly and add only the fine detail wrinkle maps from a rig.
有多种方法可以对角色混合形状装备，4D(体积视频)，机器学习，模拟的面Kong进行动画处理，并且各有利弊。 我们选择了一种非常规的方法，因此在这里我将尝试按时间顺序解释我们的推理和过程。 总结起来，我们决定直接使用4D并仅从装备中添加细微的细节皱纹贴图。
It is worth noting that lately machine learning approaches of processing 2D video have been very successful at achieving convincing results and there are some examples that manage to produce incredible results by synthesizing facial performance in 3D. Based on this it is safe to assume that ML will solve facial performance in the future. But an important aspect of ML is data, a lot of data. Acquiring clean 4D sample data is essential, so we can view 4D as a milestone for achieving fully synthesized facial performance with machine learning.
值得注意的是，最近处理2D视频的机器学习方法在取得令人信服的结果方面非常成功，并且有一些示例通过合成3D面部表情而成功产生了令人难以置信的结果。 基于此，可以肯定地认为ML将在将来解决面部表情问题。 但是ML的一个重要方面是数据，很多数据。 获取干净的4D样本数据至关重要，因此我们可以将4D视为实现通过机器学习实现完全综合的面部表情的里程碑。
First we needed a proof of this concept, so we decided to make a very short segment of facial animation with the condition that if it fails we should be able to finish the movie without it. We started by doing the first capture session at a vendor [Infinite Realities] which has been developing a 4D capture system and achieving amazing results.
首先，我们需要证明这一概念，因此我们决定制作一小段面部动画，条件是如果失败，我们将能够在没有动画的情况下完成电影。 我们首先在供应商[Infinite Realities]进行第一次捕获会议，该供应商一直在开发4D捕获系统并取得惊人的结果。
The raw mesh
原始网格
Texture of a 4D capture
4D捕捉的纹理
Above you can see how the raw, decimated data looks like and how every frame of the volumetric video is made up of random triangles that are unique to it.
在上方，您可以看到原始的，抽取的数据的外观以及体积视频的每一帧是如何由其唯一的随机三角形组成的。
Luckily there is a solution for that- a software called Wrap3D and is developed by [Russian3DScanner]. This tool is usually used for creating coherent meshes for blendshape based rigs. For most of the time during our initial research we tried cleaning the data ourselves with Wrap3D. It works by utilizing a set of small dots on the actor’s face and using those as markers to wrap the same mesh over all of the frames and thus achieving consistency between all frames. You start by wrapping the first frame and then with the help of the markers visible in the texture you wrap the first frame on to the second frame and so on.
幸运的是，有一种解决方案-一种名为Wrap3D的软件，由 [Russian3DScanner] 开发 。 该工具通常用于为基于blendshape的装备创建连贯的网格。 在最初的研究中，大部分时间我们都尝试使用Wrap3D自己清理数据。 它通过利用演员脸上的一组小点并将这些小点用作标记，以在所有框架上包裹相同的网格，从而在所有框架之间实现一致性来工作。 首先包裹第一帧，然后借助纹理中可见的标记，将第一帧包裹到第二帧，依此类推。
The markers on their own are not enough though, since there is quite a lot of error when putting those manually. To fix that there is a feature in Wrap3D that uses optical flow and by analyzing the texture makes the match between the consecutive frames pixel perfect. After projecting the textures for each frame the result is a stream of meshes with the same topology. With that out of the way we had to deal with the remaining imperfections like noise and replacing damaged sections by transplanting them from healthy meshes. The lead programmer involved in the 4D processing- Lasse Pedersen – developed a set of tools for importing and working with the data inside Unity.
但是，仅靠标记本身是不够的，因为手动放置标记时会出现很多错误。 要解决此问题，Wrap3D中有一个功能可以使用光流，并且可以通过分析纹理来使连续帧像素之间的匹配完美。 在为每帧投影纹理之后，结果是具有相同拓扑的网格流。 因此，我们不得不处理剩余的缺陷，例如噪音，并通过从健康的网格物体中移植它们来替换受损的部分。 涉及4D处理的首席程序员Lasse Pedersen –开发了一套用于在Unity内部导入和处理数据的工具。
Even though the result was great it still lacked micro details because the processing and noise removal somewhat smooths the surface and loses the pore level details. We knew it could be pushed even further by adding fine details which are animated. To achieve this we used a FACS based rig developed by SnappersTech, which had the same topology as our 4D. Lasse developed a solver that managed to give accurate activations of the wrinkle maps from the rig adding this level of detail back. Here is an example of a later stage of our research.
即使结果很好，它仍然缺少微观细节，因为加工和去除噪音会使表面有些光滑，并失去了Kong隙水平细节。 我们知道可以通过添加动画细节来进一步推动它。 为此，我们使用了由 SnappersTech 开发的基于FACS的钻机 ，该 钻机 具有与4D相同的拓扑。 Lasse开发了一种求解器，该求解器设法从装备中准确激活了皱纹贴图，从而增加了该细节级别。 这是我们研究后期的一个例子。
Later all of the mesh cleanup was done in DCC, but the tools Lasse developed have great potential and other uses. If you want to know more about that, Lasse is currently writing another blog post where he describes all of his work in-depth. The tools are also included in the Digital Human package we released recently.
后来所有的网格清理都在DCC中完成，但是Lasse开发的工具具有巨大的潜力和其他用途。 如果您想了解更多信息，Lasse当前正在撰写另一篇博客文章，他在其中详细介绍了他的所有工作。 这些工具也包含在我们最近发布的Digital Human软件包中 。
By a lucky coincidence not long before our deadline for the first part of the project I met the guys behind Wrap3D at a conference and they agreed to collaborate. It was hugely successful and they delivered the cleaned 4D for our initial test extremely fast and with excellent quality.
幸运的巧合是，在项目第一部分的最后期限临近之前，我在一次会议上会见了Wrap3D背后的家伙，他们同意合作。 它取得了巨大的成功，他们以极快的速度和出色的质量交付了清洗后的4D用于我们的初始测试。
After seeing the final result we were more confident than ever that it is a path worth exploring further. It was still far from perfect, but it did not feel uncanny. After the test was done and our pipeline proven we decided to add many more closeup shots with facial performance in the second part of the project relying completely for the 4D processing on our partners at Infinite Realities and Russian3DScanner. They also continued improving their tools and equipment and delivering even better results.
看到最终结果后，我们比以往任何时候都更有信心，这是一条值得进一步探索的道路。 它仍然离完美还很远，但是并没有感觉到不可思议的感觉。 测试完成并且经过我们的验证后，我们决定在项目的第二部分中添加更多具有面部表情的特写镜头，完全依靠Infinite Realities和Russian3DScanner的合作伙伴进行4D处理。 他们还继续改进其工具和设备，并取得了更好的结果。
To achieve our final result by adding wrinkle maps we needed a really good facial rig. We planned on using it for facial performance that was further away from the camera.
为了通过添加皱纹贴图获得最终结果，我们需要一个非常好的面部装备。 我们计划将它用于距离相机较远的面部表情。
FACS based rigs are a mainstream approach for solving facial performance. They are inspired by the so-called FACS (Facial Action Coding System) developed in 1978 by Paul Ekman, which is a common standard to systematically categorize the physical expression of emotions, and it has proven useful to psychologists and animators alike. A FACS based rig mixes hundreds of blendshapes of extreme poses for each AU (action unit) which is roughly every muscle of the face. Often adding some of these shapes together produces incorrect results which are fixed with the so called corrective and intermediate blendshapes. The result is a very complex system which is then usually controlled by capturing the performance of an actor with an HMC (head-mounted camera) and solving which blendshapes need to be activated.
基于FACS的钻机是解决面部表情的主流方法。 它们的灵感来自于1978年由保罗·埃克曼(Paul Ekman)开发的所谓的FACS(面部动作编码系统)，该系统是对情感的物理表达进行系统分类的通用标准，并且已被心理学家和动画设计者所采用。 基于FACS的装备为每个AU(动作单位)混合了数百种极端姿势的混合形状，这些AU几乎是面部的每一个肌肉。 通常将这些形状中的某些形状加在一起会产生不正确的结果，这些结果已通过所谓的校正和中间混合形状固定。 结果是一个非常复杂的系统，然后通常通过使用HMC(头戴式摄像头)捕获演员的表演并解决需要激活哪些混合形状来控制该系统。
The facial rig in Maya viewport
Maya视口中的面部钻机
To animate the eyes Christian Kardach developed a tool that used a computer vision approach to track the irises from a render in Maya.
为了使眼睛动起来，Christian Kardach开发了一种工具，该工具使用计算机视觉方法来跟踪Maya中渲染的虹膜。
Other issues with 4D worth mentioning is combining facial performance and body performance. The system for capturing high quality facial performance is very big and has a narrow useful volume. The actor needs to perform sitting with a very limited range of motion for the head. Later when we shot the motion capture I had to create convincing movements for the body that fit as best as possible. It would have been best if there was a way to capture such high fidelity 4D with a head-mounted device, but such technology is still not available.
4D值得一提的其他问题是结合了面部性能和身体性能。 用于捕获高质量面部表情的系统非常大，并且有用空间很小。 演员需要以非常有限的头部运动范围来执行坐姿。 后来，当我们拍摄动作捕捉时，我不得不为身体创造令人信服的动作，使其尽可能地贴合人体。 如果有一种方法可以用头戴式设备捕获如此高保真度的4D，那将是最好的选择，但这种技术仍然不可用。
身体 (Body)
Preview screenshot of the full body of Gawain during the production
制作期间预览Gawain全身的屏幕截图
Paco: We used the body scan of the actor as a base for building the outfit for the character of Gawain in Marvelous Designer. We prepared a proxy version of the body that was easy to work with, especially when it was time to simulate the jacket with the many animations that Gawain had, it was only necessary to have the main shapes that the jacket would interact with like the bag on his hip and the shirt’s overall silhouette.
Paco ：我们以演员的身体扫描为基础，为Marvelous Designer中的Gawain角色制作服装。 我们准备了易于使用的代理人版本，尤其是当需要使用Gawain的许多动画来模拟夹克时，只需要像夹克一样具有与夹克互动的主要形状即可在他的臀部和衬衫的整体轮廓上。
身体装备和动画 (Body rig and animation)
Krasimir: Gawain’s body rig is composed of a few layers on top of each other. The main tool for animation and motion capture cleanup was Motionbuilder. At the base of the rig there is a skeleton compatible with both Motionbuilder and Maya.
克拉西米尔(Krasimir)： 高文(Gawain)的身体钻机由彼此顶部的几层组成。 动画和运动捕捉清理的主要工具是Motionbuilder。 钻机的底部有一个与Motionbuilder和Maya兼容的骨架。
The Maya version of the rig had an additional deforming rig layer, which added twist and fan joints, a double knee setup and other details. The Snappers rig was referenced in the Maya scene which allowed for it to be safely iterated without affecting the main file.
钻机的Maya版本具有一个附加的变形钻机层，其中增加了扭曲和扇形关节，双膝设置和其他详细信息。 在Maya场景中引用了Snappers绑定，该绑定使其可以安全地迭代而不会影响主文件。
For the first part of The Heretic we did the motion capture of the actor at our internal studio in Sofia. For the second part we used the help of a motion capture vendor TakeOne.
对于《异端》的第一部分，我们在索非亚的内部工作室对演员进行了动作捕捉。 在第二部分中，我们使用了运动捕捉供应商TakeOne的帮助。
夹克 (Jacket )
Paco: I’ve used Marvelous Designer for pretty much all of Gawain’s outfit, except for the shoes. All except for the jacket, were built with the traditional pipeline of making the base for the high poly mesh inside of Marvelous and then polish and texture it as a low poly asset that was skinned to the character.
Paco ：除了鞋子，我几乎所有的Gawain衣服都使用Marvelous Designer。 除夹克外，所有其他部件均采用传统的流水线制造，即在Marvelous内为高多边形网格制作底座，然后将其打磨和纹理化为外观上的低多边形资产。
We initially tried to simulate the jacket in real time with Caronte, but after many attempts it never felt quite right and it wasn’t what the director initially hoped for. I began making a few tests with simulating the jacket inside of Marvelous and at this point Vess had to make the tough decision of scrapping the work that we had done with Caronte so far, it was obvious that the trade off in quality was too big compared to the output that we got directly from Marvelous Designer.
我们最初尝试使用Caronte实时模拟夹克，但经过多次尝试，感觉从未完全正确，这并不是导演最初希望的。 我开始进行一些测试，以模拟Marvelous内的夹克，这时Vess必须做出艰难的决定，即放弃迄今为止我们与Caronte所做的工作，很明显，质量上的权衡太大了直接来自Marvelous Designer的输出。
The final sewing pattern for the jacket in Marvelous Designer. This was the mesh with the final resolution that was used for the low poly simulation. I exported it as a triangulated mesh to 3ds max where I did a custom UV layout and textured it in Substance painter after that.
Marvelous Designer中夹克的最终缝制图案。 这是用于低多边形模拟的具有最终分辨率的网格。 我将其作为三角网格导出到3ds max，在其中进行了自定义UV布局，然后在Substance painter中对其进行了纹理处理。
At this point I had a textured model with the custom UV’s and the original model in Marvelous both triangulated and matching vertex for vertex. I used the original untextured version in Marvelous for the different simulations and then I used a skin wrap in 3ds Max and used the exported simulation to drive the textured custom mesh that I did before that.
在这一点上，我有一个带有自定义UV的纹理模型和Marvelous中的原始模型，包括三角形的顶点和匹配的顶点。 我在Marvelous中使用了原始的非纹理版本进行各种模拟，然后在3ds Max中使用了皮肤包裹，并使用导出的模拟来驱动之前进行的带纹理的自定义网格。
I ended up going with this approach, because it seemed like a relatively safe and non destructive workflow, since I had relative freedom to do adjustments and have consistent results.
我最终选择了这种方法，因为它似乎是相对安全且无损的工作流程，因为我有相对的自由进行调整并获得一致的结果。
For the topology of the jacket I used the triangulated topology from Marvelous in order for the jacket to deform in exactly the same way as it would there.
对于夹克的拓扑结构，我使用了来自Marvelous的三角拓扑，以使夹克以与变形完全相同的方式变形。
Preview of the simulation on the final textured model
预览最终纹理模型上的仿真
The first iteration of the jacket removal that I did in Marvelous, using the simplified simulation proxy of Gawain. There were still a few small kinks to work out at this stage, but it worked as a proof of concept. We had some back and forth with Krasimir on how to go about it and after he took off his own jacket a bunch of times he came up with the animation that we ended up using for the simulation.
我使用了Gawain的简化模拟代理，在Marvelous中进行了夹克移除的第一次迭代。 在此阶段，仍有一些小问题需要解决，但它可以作为概念证明。 我们与Krasimir进行了一些交流，讨论了解决方法，在他脱下外套一堆之后，他提出了我们最终用于模拟的动画。
The very first iteration of the outfit that we had, a lot changed especially for the jacket. This was the version that we tried to simulate with Caronte, so we left it a bit bulkier and with no prebaked wrinkles and deformations, as those should have come naturally from the simulation itself. Another thing that changed a lot was the collar of the jacket. What we ended up with was less bloated and it worked a lot better in all of the shots.
我们拥有的服装的第一版，特别是夹克有了很大的变化。 这是我们尝试使用Caronte进行模拟的版本，因此我们将其保留得更大一些，并且没有预烘焙的皱纹和变形，因为那些皱纹和变形本来应该来自模拟本身。 改变很大的另一件事是夹克的衣领。 我们最终得到的结果不那么肿胀，并且在所有镜头中效果都更好。
For Veselin it was important that the character should have a more open design for the shirt’s neckline, especially for the closeup shots, where having unnecessary details in the way could take away from the actor’s performance. In the above shot is the first iteration of the shirt that I did based on Georgi’s designs, we tried a less typical design for the shirt’s neckline, but we failed to realize that it would turn out to be a bit of a problem in some shots, especially the ones with lower camera angles, so we had make a quick adjustment to it after seeing it in context.
对于Veselin而言，角色的衬衫领口(尤其是特写镜头)的设计应更加开放，这一点很重要，因为在这种情况下，不必要的细节可能会妨碍演员的表演。 上面的镜头是我根据Georgi的设计进行的衬衫的第一次迭代，我们尝试了一种不太典型的衬衫领口设计，但是我们没有意识到在某些镜头中这确实是一个问题，尤其是视角较小的相机，因此在上下文中看到它后，我们对其进行了快速调整。
Other than the neckline, the design remained mostly the same, with some small balancing tweaks of the design to accommodate the new silhouette of the border.
除领口外，设计基本保持不变，并进行了一些小的平衡调整，以适应边框的新轮廓。
It’s a similar story with the additional equipment on top of the shirt, after seeing more and more shots with it, Vess realized that less is more in this case as well and the cleaner look helped a lot with some of the last shots of the film, where we had the character without the jacket.
这是一个类似的故事，在衬衫的顶部增加了装备，在看到越来越多的镜头后，Vess意识到在这种情况下，镜头也变得更少了，更清洁的外观在影片的最后一些镜头中起了很大作用，那里我们有没有夹克的角色。
For those shots at the end of the film it was crucial to have a clean design that is readable and helped to drive the focus towards the face. Also having a red shirt where the heart of the white golem would be at the very end is a visual that the Vess was very keen on having from the very beginning.
对于电影结尾处的那些镜头，至关重要的是要有一个清晰易读的干净设计，并有助于将焦点对准面部。 Vess从一开始就非常热衷于穿着一件红色的衬衫，白色魔像的心脏将在最后。
Paco : The pants and the leg pouch, they went through some additional tweaks later on, but overall they remained pretty close to that initial setup.
Paco ：裤子和腿袋，后来又进行了一些其他调整，但总体而言，它们仍与初始设置非常接近。
The knee pads on the pants went through some revisions as well, the idea that Georgi had for those in the concept. was for them to vaguely resemble a medieval knight’s armour, something that we wanted to have hinted in some other elements as well, things like the elbow pad on the left arm and the shoulder design of the jacket.
裤子上的护膝也经过了一些修改，这就是乔治对这个概念的看法。 是为了让他们隐约地类似于中世纪骑士的盔甲，我们也想在其他元素中暗示一些东西，例如左臂上的肘垫和夹克的肩膀设计。
Initially we didn’t have fur on the collar of the jacket, that came later from one of the talks with the director Vess, he suggested that having finer details for this part of the jacket would give us a lot of visual fidelity for the closeups where we see the face.
最初，我们在外套的领子上没有皮毛，后来与导演Vess进行了一次会谈，他建议为外套的这一部分提供更精细的细节将使我们对特写镜头有很多视觉保真度我们看到脸的地方。
I decided to use Xgen and Maya to scatter the cards for the fur and did a quick grooming pass on them to add a bit of clumping and length variance before I began to map them onto a texture atlas. The final thing that helped to ground the fur a bit more in the shots and counter some of the repetition of the texture since there were too many hair cards for them to have unique uv’s was to add vertex paint that acted as an AO and color offset.
我决定使用Xgen和Maya散布毛皮的卡片，并对它们进行快速修饰，以增加一些结块和长度变化，然后再将它们映射到纹理图集上。 由于发卡太多而无法拥有独特的uv，最后有助于在镜头中使皮草更多地面并抵消纹理重复的最后一件事是添加充当AO和颜色偏移的顶点油漆。 。
After that we used Lasse’s attachment tool to attach the fur to the collar, the same as for the facial hair and eyelashes.
之后，我们使用Lasse的附着工具将皮毛附着到衣领上，与面部毛发和睫毛一样。
Preview of the gauntlet without the wires that we have in the final version
不带最终版本中电线的手套的预览
I made a textured model for the gauntlet device on Gawain’s left arm. The lower part along the knuckles is intended to be seen directly, while the upper part serves as foundation that would be covered by the same type of animated wires that tech lead Robert Cupisz was creating for the Boston character.
我为高文左臂上的手套装置制作了一个纹理模型。 可以直接看到转向节的下部，而上部则用作基础，由技术负责人Robert Cupisz为波士顿角色创建的相同类型的动画线覆盖。
The idea that Vess had for this device was that it gives Gawain tactile feedback without him having to look at it, something that we see in one of the shots at the beginning of the film. It’s how Boston communicates with Gawain.
Vess对于该设备的想法是，它无需盖恩就可以给Gawain提供触觉反馈，这是我们在影片开头的其中一张镜头中看到的。 这就是波士顿与高文沟通的方式。
An example of the gauntlet with the wires from the finished film in Unity.
带有来自Unity中完成的电影中的电线的手套的示例。
Screengrab from Substance Painter, where the character was textured.
来自Substance Painter的Screengrab，其中角色已纹理化。
The model was broken in different texture sets at 2k resolution and exported at 4k for some of the main objects, the rest remained at 2k for the final export. All of the textures were made by using the generators and tools in Substance Painter.
该模型以2k分辨率分解为不同的纹理集，并以4k的速度导出了一些主要对象，其余的以2k的分辨率导出以进行最终输出。 所有纹理都是使用Substance Painter中的生成器和工具制作的。
公文包 (The briefcase)
Paco: Gawain’s briefcase began with a concept blockout from Georgi Simeonov and from there I took over, refined the model and textured it in Substance Painter.
Paco： Gawain的公文包从Georgi Simeonov的概念封锁开始，然后我接手了工作，完善了模型并在Substance Painter中对其进行了纹理处理。
Screenshot of the textured briefcase – Concept by Georgi Simeonov
带纹理的公文包的屏幕快照– Georgi Simeonov的概念
One of the more interesting features of the briefcase was the self-retracting strap that is seen when we first meet Gawain. There is also a small fan that suggests cooling functions of the case to go along with the temperature display on the side.
公文包更有趣的功能之一是当我们初次见到Gawain时就可以看到的自动伸缩皮带。 还有一个小风扇，建议外壳的冷却功能与侧面的温度显示一起显示。
An interesting fact about the temperature display is that I actually made it red in the beginning as it was in the original design by Georgi and we had it like that for almost the entire production, until one day when Vess was working on one of the very last shots where Gawain drops the briefcase, he realized that it’s a bit to reminiscent of a bomb that is about to be detonated. This was a nice catch as this was definitely not his original intention, also a lot of the design was based on cooling, having things like vents and fans, so if anything it should have been cold, so he suggested the colder cyan colored display and a temperature that is more extreme and interesting at the same time, close to the absolute zero, but not quite.
关于温度显示的一个有趣的事实是，实际上我一开始就把它变成了红色，就像Georgi最初的设计一样，直到几乎整个生产过程中我们都这样，直到有一天Vess在其中高文放下公文包的最后一枪，他意识到这有点让人想起即将被引爆的炸弹。 这是一个不错的选择，因为这绝对不是他的初衷，而且很多设计都基于冷却，并带有通风Kong和风扇，因此，如果有的话它应该是冷的，所以他建议使用较冷的青色显示器，同时更极端和有趣的温度，接近绝对零，但不完全相同。
For the belt strap of the briefcase I initially made a regular opaque rubber that had slight reddish tint to it, but when Vess began working on the finals and lighting he made an experiment with the transparency feature of the Lit shader and we were pleasantly surprised how good it looked, so we ended up using this transparent silicone type of material. Vess also made a texture that controlled the roughness of the transparency and tint of the material for it to be properly grounded and weathered, otherwise it would have been too artificial and clean looking.
对于公文包的皮带，我最初制作了一种普通的不透明橡胶，它的颜色略带红色，但是当Vess开始进行决赛和照明时，他对Lit着色器的透明性功能进行了实验，令我们惊喜的是看起来不错，所以我们最终使用了这种透明的有机硅类型的材料。 Vess还制作了一种纹理，该纹理可以控制材料的透明度和色度的粗糙度，以使其正确接地和耐候，否则看起来太人造和太干净了。
硬币 (The coin)
For the coin that Gawain uses to open the portal, Vess needed something that is based on a realistic medieval design, something that would be a hint to the deeper lore behind the character’s past adventures and would make sense to have as an artefact.
对于Gawain用于打开门户的硬币，Vess需要一些基于现实的中世纪设计的东西，这可能暗示角色过去的冒险经历更深层次，并且可以作为人工制品使用。
Screenshot of Gawain about to open the portal in the finished film.
Gawain的屏幕快照即将在完成的电影中打开门户。
学到更多 (Learn more)
Working on The Heretic was a great learning experience, we tackled many challenges during the production that we never had before and hopefully we would do it even better the next time around. We would like to thank all of the people that were involved with this production, it was a great experience working with all of you.
在《异教徒》上工作是一次很棒的学习经历，我们在制作过程中解决了前所未有的许多挑战，希望我们下次能做得更好。 我们要感谢参与此制作的所有人员，这是与您一起工作的宝贵经验。
We really hope that people will find some of the information in here helpful for their own work. See our page for The Heretic for additional blog posts and webinars.
我们真的希望人们能在这里找到一些对自己的工作有用的信息。 有关其他博客文章和网络研讨会，请参见我们的异端页面 。
If you have additional questions about the Digital Human Character package, sign up for our next live Unite Now session “Meet the Devs: Deep Dive into The Heretic assets” on June 17 at 9 am PDT.
如果您还有其他关于Digital Human Character软件包的问题 ，请报名参加我们太平洋时间6月17日上午9点举行的下一次在线Unitye实时会议“ 与开发者见面：深入探究异端资产 ”。
翻译自: https://blogs.unity3d.com/2020/06/10/making-of-the-heretic-digital-human-character-gawain/
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