分享您的故事，介绍#mydevstory

With the launch of the Unity Global Student Challenge on Unity Connect, students are encouraged to share their work and progress throughout the competition. As part of the challenge, we’re launching the #mydevstory Twitter campaign. We want to share the work and progress of creators working in the industry to show you the paths they took to get to where they are now.

随着Unity Connect上的Unity全球学生挑战赛的启动，鼓励学生在整个比赛中分享他们的工作和进步。 作为挑战的一部分，我们将启动#mydevstory Twitter广告系列。 我们想分享创作者在该行业中的工作和进步，向您展示他们走到现在的道路。

If you’re a creator, you can share your story on Twitter with an image of one of your first projects and compare it to a project you are working on now. The goal is to inspire students and demonstrate the power of progress and perseverance.

如果您是创作者，则可以在Twitter上分享您的故事，其中包含您第一个项目的图片，并将其与您正在从事的项目进行比较。 目的是激励学生并展示进步和毅力的力量。

Learn about Line Producer Andy Wood and his journey through the industry – how his early experiences with technology led him into a career in animation and visual effects, which brought him together with people that enabled his success.

了解制片人安迪·伍德(Andy Wood)以及他在整个行业中的历程-他的早期技术经验如何使他进入动画和视觉效果的职业生涯，从而使他与使他成功的人们团结在一起。

向我们介绍你自己。 (Tell us about yourself.)

I’m Andy Wood – I produce content for various mediums and technologies. I studied animation and visual effects in college at the Academy of Art University. I started working on projects in virtual reality and different mediums about four years ago, which is what led me to my most recent project with Unity – to create broadcast content in real-time.

我是Andy Wood –我为各种媒体和技术制作内容。 我在艺术大学的学院学习动画和视觉效果。 大约四年前，我开始从事虚拟现实和不同媒体领域的项目的开发工作，这促使我进入了Unity的最新项目–实时创建广播内容。

您从事哪些出色的项目？ (What cool projects have you worked on?)

I was the line producer for a VR short film called “Wolves in the Walls”, based off a book of the same title by Neil Gaiman. I started working on it at Oculus Story Studio and finished it at Fable Studio. We released Chapter 1 at Sundance 2018 as part of the New Frontier program.

我是VR短片《狼在墙》中的制片人，这部电影的名字取自尼尔·盖曼(Neil Gaiman)的同名书。 我在Oculus Story Studio上开始研究，并在Fable Studio上完成。 作为New Frontier计划的一部分，我们在Sundance 2018上发布了第1章。

Before that, I was the production manager at Oculus Story Studio on Dear Angelica, which was nominated for an Emmy last year and won a Peabody earlier this year. It was all illustrated in VR using touch controllers to draw in a 3D space – we developed a tool called Quill to do that.

在此之前，我曾是Dear Angelica上Oculus Story Studio的生产经理，该公司去年获得了艾美奖提名，并于今年初赢得了皮博迪奖。 在VR中使用触摸控制器在3D空间中进行绘制都进行了说明-我们开发了一种称为Quill的工具来实现这一目的。

These projects hold importance to me not only because they were cool pieces of content to work on, but also because the teams on both of these projects were defining how to tell stories in VR.  We weren’t just learning how to tell these stories, we were also developing new workflows and pipelines to tell them.

这些项目对我来说很重要，不仅因为它们是要处理的很酷的内容，而且因为这两个项目的团队都在定义如何在VR中讲故事。 我们不仅在学习如何讲这些故事，还在开发新的工作流程和管道来讲述它们。

Prior to Oculus, I had worked on various independent VFX projects. I spent some time as a production assistant at Lucasfilm, but my career really started at DreamWorks Animation as a Production Intern on How to Train Your Dragon 2 and an Outreach Intern for the University Relations team.  I met the Outreach Supervisor through a friend and joined the team later that year.

在加入Oculus之前，我曾从事各种独立的VFX项目。 我曾在Lucasfilm担任制作助理一段时间，但我的职业生涯真正开始于DreamWorks Animation，当时是《驯龙高手2》的制作实习生和大学关系团队的拓展实习生。 我通过一个朋友认识了外展主管，并于当年晚些时候加入了该团队。

是什么促使您从事动画和VFX行业的工作？ (What inspired you to work in the Animation and VFX Industry?)

When I was growing up, I loved film and games and all sorts of media. When I was around 13, I used to mess around with Source SDK and made little films using Valve’s authoring tools. That got me into animation – using tech to create stories. The nice thing was that the tools were available for free.

当我长大时，我喜欢电影，游戏和各种媒体。 当我13岁那年，我曾经经常使用Source SDK，并使用Valve的创作工具制作了一些电影。 那使我进入了动画–使用技术来创建故事。 令人高兴的是，这些工具是免费提供的。

When I was a kid, we didn’t have access to an expensive camera or high-end film equipment, but in a game engine, you had complete control over the scene. You could place the camera, characters, and environment anywhere. The projects that we made weren’t very high quality, but we were making things, which was the fun, and important, part.

当我还是个孩子的时候，我们无法使用昂贵的相机或高端胶卷设备，但是在游戏引擎中，您可以完全控制场景。 您可以将相机，角色和环境放置在任何地方。 我们制作的项目质量不是很高，但是我们制作的东西是有趣且重要的一部分。

Learning how a game engine worked carried with me along the way. Using Source SDK especially helped me succeed in making these VR projects because they were built in a similar way to a game and were made in a game engine.

一路走来，我学习了游戏引擎的工作原理。 使用Source SDK特别有助于我成功制作这些VR项目，因为它们的构建方式与游戏类似，并且是在游戏引擎中完成的。

您从曾经从事的一些最初的项目中还记得什么？ (What do you remember from some of the first projects you worked on ever?)

My first big project going into school was a minute long short film called “Horse Herd.” That was a learning experience. There were about 20 people on the team all with different skill sets, and we were all learning how to make CG films. We worked our way through it, figured out what to do, what not to do, and broke a lot of stuff along the way.

我上学的第一个大项目是一分钟长的短片《马群》。 那是一次学习经历。 团队中大约有20个人，技能各异，我们都在学习如何制作CG电影。 我们通过它来解决问题，弄清楚该做什么，不该做什么，并在此过程中打破了很多东西。

The next project was a promotional piece for the San Francisco Giants Community Fund called “Junior Giants” – kind of like a Saturday morning cartoon. We were building content for their little league program. It was how I met Mark Droste, who I now work with on a daily basis on “Baymax Dreams” and other projects at Unity. Mark and I had absolutely no idea what we were doing, but dived into the project head first with about 50 other students, and ended up creating a 7-minute short film.

下一个项目是为旧金山巨人社区基金会(San Francisco Giants Community Fund)制作的宣传片，称为“少年巨人”(Junior Giants)，有点像星期六早上的卡通片。 我们正在为他们的小联盟计划建立内容。 这就是我遇见Mark Droste的方式，现在我每天与他合作处理“ Baymax Dreams”和Unity的其他项目。 马克和我完全不知道我们在做什么，但是首先与大约50个其他学生一起进入了项目负责人，最后制作了一部7分钟的短片。

I also worked on a bunch of independent films and went to the Sundance Film Festival for one of them. That was where I tried VR for the first time. I was instantly hooked on the idea of telling stories in a new medium.

我还制作了许多独立电影，并参加了圣丹斯电影节。 那是我第一次尝试VR的地方。 我立刻迷上了用新媒介讲故事的想法。

Working on a bunch of projects at school was a good way of figuring out what worked and what didn’t. Regardless, there was a lot of learning we did along the way. For a lot of these projects, there might not have been VFX or animation in them if it wasn’t for the students working on them, so it enabled us to work on cool projects and filmmakers got a chance to see their vision come to life.

在学校从事大量项目是弄清楚什么有效和什么无效的好方法。 无论如何，我们在此过程中进行了很多学习。 对于许多此类项目，如果不是针对学生的，则其中可能没有视觉特效或动画，因此它使我们能够从事出色的项目，电影制片人有机会看到他们的梦想成真。

分享您失败或遇到困难的时间。 (Share a time where you failed or faced hardship.)

One of the hardest moments in my career was when a studio I worked at for a few years had to close its doors. It was rough because we were working on really cool projects and had built an amazing team. It was sad to see everyone disperse. That was definitely one of the hardest moments I’ve had in the industry, but it also taught me the value of the teams you work with. While studios may not be permanent, you can always foster a community among those teams that will last well after the project has wrapped or the doors of a studio have been closed.

我职业生涯中最艰难的时刻之一是当我工作了几年的工作室不得不关门时。 这很艰难，因为我们正在从事非常酷的项目，并建立了一支了不起的团队。 这是可悲的看到大家分散。 那绝对是我在这个行业中度过的最艰难的时刻之一，但这也教会了我与你合作的团队的价值。 虽然工作室可能不是永久性的，但您总是可以在那些团队中建立一个社区，这些团队在项目结束或工作室的大门关闭后将持续良好。

您在业界工作的最佳时刻是什么？ (What has been your best moment working in the industry?)

That same experience was also one of the most rewarding. After the studio shut down, we were able to continue working on one of the projects we were developing. Getting the project up and running again was extremely challenging, but It was so rewarding seeing people connect to it once it was complete, and how proud the crew was to get it out into the world.

同样的经历也是最有意义的经历之一。 工作室关闭后，我们可以继续进行我们正在开发的项目之一。 重新启动并运行该项目非常具有挑战性，但是看到人们在项目完成后将其连接起来，以及使工作人员将其推向世界感到多么自豪，这真是令人高兴。

您对大学毕业后进入该行业的人有何建议？ (What would be your advice to someone entering the industry out of college?)

It’s the people you meet and work with that give you your next job. It’s the people who you spend time with and know you – whether it’s your instructors or classmates. It’s important to foster that network and keep it strong. Some of the best people I’ve worked with have been people that I met in college. These people helped get me into the jobs I’ve had, or at least get me in the door. Obviously, your skills and abilities are part of the hiring process, but if people don’t like working with you or if you don’t keep up with your network, it’s a whole lot harder to get a job.

与您会面并一起工作的人可以为您提供下一份工作。 是与您在一起并认识您的人–无论是您的老师还是同学。 加强该网络并使其保持强大很重要。 与我合作过的一些最好的人是我在大学里认识的人。 这些人帮助我进入了已经从事的工作，或者至少让我进了门。 显然，您的技能和能力是招聘过程的一部分，但是如果人们不喜欢与您一起工作，或者您不跟上您的网络，那么找工作就困难得多。

Creative industries are so collaborative and connected that you need to be able to work with the people around you and enjoy working with them; otherwise, it will take a lot of energy out of you.

创意产业是如此协作和相互联系，因此您需要能够与周围的人一起工作并享受与他们一起工作的乐趣； 否则，它将消耗大量能量。

在大学里，您通常不会教到哪些在工作世界中有价值的东西？ (What’s something that you aren’t often taught in college or university that is valuable in the working world?)

Being a self-starter is really important. It depends on where you are and what university you are at, but being able to move forward without someone to guide you is really important, and not something inherently taught in school.

自我开创确实很重要。 这取决于您所处的位置以及您所在的大学，但是在没有人指导的情况下能够前进是非常重要的，而不是学校固有的课程。

It’s a hard lesson to learn – there’s a fine line between keeping things moving in a productive fashion and going off the rails, doing things you’re not supposed to do. It can be hard to learn this at school when you have classes, and timelines, and regimented schedules that keep you grounded. You need to learn to be self-sufficient and make progress without the support structure provided through college and school. That will make you a stronger artist and team member.

这是一个很难学的课–在使事情以富有成效的方式前进和偏离轨道，做您不应该做的事情之间有一条很好的界限。 当您有上课，上课时间和有规律的时间表使自己保持扎实时，可能很难在学校里学到这一点。 您需要学会自给自足并在没有大学和学校提供的支持结构的情况下取得进步。 这将使您成为更强大的艺术家和团队成员。

您如何了解行业新闻？ (How do you stay up to date with industry news?)

I read Variety and Cartoon Brew, and Animation Magazine for my news on Film and Animation. I stay up to date with the games world through watching and reading IGN. I look at news around conferences like GDC or E3 to see what studios are developing which game. A lot of times I get my news through what people have shared on different feeds like Facebook, Twitter, or LinkedIn.

我读了《综艺和卡通啤酒》和《动画杂志》，以获取有关电影和动画的新闻。 我通过观看和阅读IGN来了解游戏世界的最新动态。 我在GDC或E3之类的会议上查看新闻，以了解哪些工作室正在开发哪种游戏。 很多时候，我是通过人们在Facebook，Twitter或LinkedIn等不同feed上分享的内容来获取新闻的。

一句话，对于您的行业来说，最重要的事情是什么？ (In one sentence, what is the most important thing to know for working in your industry?)

There’s gonna be times where things become really, really, REALLY, difficult. Don’t give up – keep moving forward.

有时候，事情会变得非常，非常，非常困难。 不要放弃-继续前进。

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Start building your story! Check out our amazing online tutorials to begin learning Unity, or join the Unity Global Student Challenge to build and showcase your project and collaborate with your friends. If you want to share your own story, join us on Twitter with #mydevstory.

开始构建您的故事！ 查看我们出色的在线教程以开始学习Unity，或者参加Unity全球学生挑战赛以构建和展示您的项目并与您的朋友合作。 如果您想分享自己的故事，请使用#mydevstory在Twitter上加入我们。

翻译自: https://blogs.unity3d.com/2018/11/29/share-your-story-introducing-mydevstory/