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Neon is a small environment created by our Demo team’s creative director Veselin Efremov in just a couple of days, with Unity 2017.1 and models from the Asset Store. In this blog post he will be sharing some thoughts around the project and how it came about.

霓虹灯是由我们的演示团队的创意总监Veselin Efremov在短短几天内使用Unity 2017.1和Asset Store中的模型创建的小型环境。 在这篇博客中，他将分享有关该项目及其实现方式的一些想法。

演示地址

Starting with a bit of background: we were on the lookout for an environment artist, and I’d invited a candidate to an on-site interview in our Stockholm office. My idea was, rather than asking questions, to just build an actual small scene together for the two days we had. I’d been working on a larger project for a while, so it was a welcome break for me. The “art jam” experience felt refreshingly creative, so after we were done, I decided to do another one from scratch, with the help of our tech lead Torbjorn Laedre — and it became Neon.

从一些背景开始：我们正在寻找一名环境艺术家，我邀请了一位候选人在我们的斯德哥尔摩办公室进行现场采访。 我的想法是，而不是问问题，只是为我们度过的两天一起建立一个实际的小场景。 我从事一个较大的项目已有一段时间了，所以这对我来说是一个可喜的假期。 “艺术果酱”的体验令人耳目一新，因此，在完成之后，我决定在技术负责人Torbjorn Laedre的帮助下从头开始制作另一幅-后来变成了Neon。

I started with downloading the latest public release of Unity from the website, and brought in the Post-Processing stack v1 and the Realtime area lights / Volumetric fog on GitHub. These are the first things I usually put in a new project, because I like to use the high quality effects and lighting to guide my creative decisions later on. I can’t bear to look at ugly stuff even if it’s just a box in an empty scene.

我首先从网站上下载了Unity的最新公共发行版，然后在GitHub上引入了Post-Processing堆栈v1和Realtime area light / Volumetric fog 。 这些是我通常在新项目中要做的第一件事，因为我喜欢使用高质量的效果和照明来指导以后的创意决策。 我忍不住看丑的东西，即使它只是一个空荡荡的场景中的一个盒子。

Torbjorn had suggested to go for a cyberpunk vibe, so I added some emissive boxes and cranked up the atmosphere density. Having made this rough layout, I liked the mood that the lighting and the fog were creating, and decided to develop it a bit further. I decided to use the Asset Store to achieve a finished look as quickly as possible.

托比约恩曾建议去做一个赛博朋克氛围，所以我加了一些发光盒，提高了大气密度。 进行了这种粗略的布局后，我喜欢灯光和雾气在营造的氛围，并决定将其进一步发展。 我决定使用Asset Store尽快完成外观。

There’s a huge choice of assets, so I’d just grab whatever looked like it would fit the overall idea, and used these to detail the scene in passes. Many of the Asset Store assets were very cheap and some were even free, so I had a lot of choice and was able to advance from the first generic sketch to a fairly finished look in less than two days:

有很多资产可供选择，所以我会抓住适合整体想法的任何东西，然后用这些来详细说明场景。 Asset Store中的许多资产非常便宜，有些甚至是免费的，因此我有很多选择，并且能够在不到两天的时间内从第一个通用草图升级到相当完成的外观：

演示地址

I take many screenshots as I work – here they are in a sequence which shows how the look evolved.

I quickly realised that I can go for a relatively polished look with these assets, so I decided to turn it into a deliberate challenge to not move a single vertex but rely entirely on the stock models. Instead of creating custom props, I would experiment with what was available and often used the assets in unlikely ways. For instance, the mechanical underside of this building overhang is actually a part of a spaceship. And I got an entire factory set only to use the cables.

我很快意识到我可以使用这些资产进行相对优美的外观，因此我决定将其转变为不移动单个顶点而是完全依赖库存模型的蓄意挑战。 我不会创建定制道具，而是尝试可用的东西，并经常以不太可能的方式使用资产。 例如，该建筑物悬挑的机械底面实际上是一艘飞船的一部分。 我得到了整个工厂的设置，只使用电缆。

This is obviously a very unoptimised way of working, but its value is in how quickly it allows me to build a space which, to the “naked eye”, has the look and feel of something complete and visually appealing.

这显然是一种非常未经优化的工作方式，但是它的价值在于它允许我以多快的速度建造一个空间，“肉眼可见”的外观和感觉就像是完整的视觉效果。

Early prototyping to final quality is essential to the way I work, and applies to larger projects as well — for instance, the cinematic demos we do at Demo team. If we were making a Blade Runner-inspired demo, this small vignette would serve as our starting point for the breakdown of the project. On a small team, having a prototype on day 2 from project start means that everyone gets a very good idea of what needs to be done. It’s especially important that the artists get to discover what potential the engine tech can give them, when it is early enough to change course creatively and decide to make use of some opportunities they wouldn’t otherwise foresee. It is even more important that the programmers get a clear picture of the art- and rendering-related tasks on the project, and can identify pitfalls early on. Game designers can dive right in and start experimenting with the experience. Needless to say, it also helps guide the decisions about where to put most effort in asset production. You don’t always need to design and create your own custom set of pipes and cables, when some existing ones might do a perfect job, while the art team is focusing on the most important assets that are unique and style-defining for the game.

尽早制作出最终质量的原型对于我的工作方式至关重要，并且也适用于较大的项目，例如，我们在演示团队中进行的电影演示。 如果我们要制作以《银翼杀手》为灵感的演示，那么这个小插图将成为我们对该项目进行细分的起点。 在小型团队中，从项目开始的第二天就拥有一个原型，这意味着每个人都会对需要做的事情有个很好的了解。 尤其重要的是，艺术家必须发现引擎技术可以给他们带来什么潜能，而这还需要足够早的时间来创造性地改变路线并决定利用他们原本无法预料的一些机会。 更加重要的是，程序员必须清楚了解项目中与美术和渲染相关的任务，并尽早发现陷阱。 游戏设计师可以立即投入并开始尝试这种体验。 不用说，它还有助于指导有关在资产生产中投入最大精力的决策。 当一些现有的管道和电缆可能做得很好时，您并不需要总是设计和创建自己的自定义管道和电缆集，而美术团队则专注于游戏中独特且定义样式的最重要资产。 。

At the end stretch, we pulled in some help from the others on our team in order to make the scene feel more complete.

最后，我们从团队的其他成员那里获得了一些帮助，以使现场感觉更加完整。

The rain was an important part of achieving the look, and Torbjorn had been working on it in the meantime. Our VFX artist Zdravko Pavlov rendered the rain texture.

降雨是获得外观的重要部分，与此同时Torbjorn一直在努力。 我们的视觉特效师Zdravko Pavlov渲染了雨的纹理。

The characters were static, as I was using them to populate the space and for scale reference, so it was great that our Animation Director Krasimir Nechevski could pitch in with some animations he had lying around from another project, and made the humans walk around and idle.

角色是静态的，因为我正在使用它们填充空间并用作比例参考，因此，我们的动画总监Krasimir Nechevski可以插入他在另一个项目中摆放的某些动画，并让人们四处走走，这是非常棒的闲。

Aleksander Karshikoff made the audio.

Aleksander Karshikoff制作了音频。

By now many others from Unity are using this small scene to try something out, stretch a feature, or have some creative fun; and I’ve gone back to my main project.

到目前为止，来自Unity的许多其他人正在使用这个小型场景来尝试一些东西，扩展功能或获得一些创意乐趣。 我回到了我的主要项目。

Hope you enjoyed this glimpse into my work process. Here is the full list of the stock assets I used:

希望您喜欢我的工作过程。 这是我使用的库存资产的完整列表：

资产清单 (Asset List)

Asset Store Assets
Package Name	Publisher	Price (EUR)
Umbrella Pro	Indie_G	4.02
Assorted Prop Pack	Volumetric Games	10.71
Dragon Statue	Viacheslav Titenko	Free
Fire Escape	Undead Studios	4.47
SciFi Industrial Level Kit	Ximo Catala	62.53
The Probe	MACHIN3	13.40
The Starfighter	MACHIN3	44.67
Pipes Kit	Mojo Structure	Free
Neon Signs Asset Pack	Zymo Entertainment	8.93
Street Props Pack	Coded Soul	8.93
RainDrop Effect 2	Globe Games	Free
Retro Cartoon Cars – Cicada – Free	Retro Valorem	Free
SF Buildings (RTS, FPS)	GESO Media	17.87
Unity Particle Pack	Unity Technologies	Free
Sci-Fi Top Down Pack 1	Velkin Labs	35.73
Street Lights	AI Games	2.23
Total		213.49
Other Assets
Four surfaces	Quixel Megascans	Subscription
Sky HDRI	NoEmotionHDRs.net	Free (CC 4.0)
Human Character – Male Écorché	3dscanstore.com	45.00

资产商店资产
包裹名字	发行人	价格(欧元)
伞Pro	独立_G	4.02
什锦的道具包	体积游戏	10.71
龙雕像	维亚切斯拉夫·季滕科(Viacheslav Titenko)	自由
火灾逃生	亡灵工作室	4.47
科幻工业级套件	西莫卡塔拉	62.53
探针	机器3	13.40
星际战士	机器3	44.67
管道套件	Mojo结构	自由
霓虹灯招牌资产包	Zymo娱乐	8.93
街头道具包	编码之魂	8.93
雨滴效果2	全球游戏	自由
复古卡通车–蝉–免费	复古从价	自由
SF建筑物(RTS，FPS)	GESO媒体	17.87
Unity粒子包	Unity技术	自由
科幻自上而下包1	维尔金实验室	35.73
路灯	人工智能游戏	2.23
总		213.49
其他资产
四个表面	Quixel Megascans	订阅
天空HDRI	NoEmotionHDRs.net	免费(CC 4.0)
人格–男性Écorché	3dscanstore.com	45.00

翻译自: https://blogs.unity3d.com/2017/10/04/neon/