cinemachine
Adam Myhill, our Head of Cinematics, has been overwhelmed by the great reactions to how our community has been using Cinemachine and Timeline. Here are a few words from him on how it came together and his thoughts on the future.
我们的电影学负责人亚当·迈希尔(Adam Myhill)对我们社区如何使用Cinemachine和时间轴产生了巨大的反响。 这是他的一些话，说明了如何结合以及他对未来的看法。
As someone who loves cameras and shot a lot projects both in games and real life, I designed Cinemachine to make it easy for everyone to add dynamic and beautiful shots to their projects. One of my goals was to make storytelling fun, fast, and iterative, so that you can create shot sequences quickly and with the power of procedural cameras. This lets you spend your time on the creative problems instead of technical or implementation ones.
作为一个热爱相机并在游戏和现实生活中拍摄大量项目的人，我设计了Cinemachine，使每个人都可以轻松地为他们的项目添加动感十足的照片。 我的目标之一是使讲故事变得有趣，快速和迭代，以便您可以使用程序相机的功能快速创建镜头序列。 这使您可以将时间花在创造性问题上，而不是技术或实施问题上。
As a video game cinematic artist, I was frustrated by having to re-work scenes that broke when animations were changed. A huge goal I had was to make cameras ‘smart’, so I didn’t have to spend a week fixing issues I had spent two months creating in the first place. I wanted cameras to know about their targets, and I wanted to work with them in a compositional way – just like you do with a real camera. Give the cameras some direction and intention, and let them do their job in variable scenarios when things change.
作为视频游戏的电影艺术家，我不得不重新制作动画更改时破裂的场景，这让我感到沮丧。 我的一个宏伟目标是使相机“变得智能”，因此我不必花一个星期的时间来解决最初花两个月创建的问题。 我希望照相机了解它们的目标，并且我想以一种合成的方式与它们合作-就像您使用真实照相机一样。 给摄像机一些方向和意图，让它们在事物发生变化的可变场景中完成工作。
Think of typical keyframed cameras – they don’t know anything about what they’re shooting! I wanted to create a relationship between the cameras and their subjects so they would act as an army of little camera operator robots, following your direction. That’s how Cinemachine was born.
想想典型的关键帧相机-他们对所拍摄的内容一无所知！ 我想在摄影机和拍摄对象之间建立一种关系，以便他们按照您的指示像一支由小型摄影机操作员组成的机器人大军。 这就是Cinemachine的诞生方式。
What a lot of people don’t know is that the origins of Cinemachine started with in-game camera modules. In addition to the cinematic features, there’s a lot of gameplay camera tools included for 3rd person orbit cameras, follow cameras, state driven systems to easily trigger camera changes from animations, priority systems, a really robust camera blending matrix configurator and more. The heart of Cinemachine is for interactive gameplay, but when it met Timeline, well they became BFFs pretty fast. Using them together sure makes creating cutscenes, replays and in-game cinematic moments a whole lot faster.
很多人不知道的是Cinemachine的起源始于游戏中的摄像头模块。 除了电影功能外，还有许多用于第三人称轨道摄影机，跟随摄影机，状态驱动系统(可轻松触发动画中的摄影机更改)的状态驱动系统，优先级系统，强大的摄影机混合矩阵配置器等功能。 Cinemachine的核心是交互式游戏，但是当遇到Timeline时，它们很快就变成了BFF。 一起使用它们肯定可以更快地创建过场动画，重播和游戏中的电影时刻。
Experimentation should be easy – try out those crazy ideas and see what works. I want artists and designers to be able to create sophisticated camera behaviors that reinforce gameplay and the story. This allows your precious engineers to work on other problems instead of making and maintaining a giant ‘ball of code’ camera which can so easily become this frustrating scary fragile thing. I’m happy to say, those days are behind us with Unity!
实验应该很容易–试试那些疯狂的想法，看看有什么用。 我希望艺术家和设计师能够创造出能够增强游戏玩法和故事情节的复杂相机行为。 这样，您宝贵的工程师就可以处理其他问题，而不必制造和维护巨型的“代码球”相机，而这很容易成为令人沮丧的可怕脆弱事物。 我很高兴地说，那些日子已经过去了！
Your reaction to all this has been amazing! Thank you! People are really seeing the potential of working with instant iteration time, zero/minimal code camera systems.
您对所有这一切的React都很棒！ 谢谢！ 人们真的看到了使用即时迭代时间，零/最小代码相机系统工作的潜力。
Here are some comments and community projects that caught my attention:
以下是引起我注意的一些评论和社区项目：
使用Cinemachine或时间线的标题 (Titles Using Cinemachine or Timeline)
Some Unity users had early access to these features, and put them to the test in some great game, experience, and film work. Here are some of my favorites, including the project where Cinemachine was born, that you can check out right now.
一些Unity用户可以尽早使用这些功能，并在一些出色的游戏，体验和电影作品中对其进行了测试。 这是我的最爱，包括Cinemachine诞生的项目，您现在可以签出。
黑鸟互动的哈拉克沙漠 (Deserts of Kharak by Blackbird Interactive)
This is a project very dear to my heart, and it’s where Cinemachine was born. I’ve been building camera systems in a number of engines for many years, but this is where we built Cinemachine from the best of all those learnings, in Unity, with this amazing game. Somebody even made a movie from all of the cutscenes. The cinematics in this game are all done with procedural cameras. We wouldn’t know the size of your fleet so we had to use procedural composition and movement – all features in Cinemachine. Also, the designers kept changing the speeds of the vehicles! I would come to work, and all the Baserunners would be 15% faster or something – no problem, the cameras still got the shots. If we didn’t have Cinemachine we simply could not have done the cutscenes in this game, let alone over an hour of them.
这是我心中非常宝贵的项目，也是Cinemachine诞生的地方。 我多年来一直在使用多种引擎来构建相机系统，但这就是我们在Unity中利用所有出色的知识并通过这款出色的游戏来构建Cinemachine的地方。 甚至有人从所有过场动画中拍了一部电影 。 此游戏中的电影都使用程序相机完成。 我们不知道您的机队规模，因此我们不得不使用程序组成和移动-Cinemachine中的所有功能。 此外，设计师还不断改变车辆的速度！ 我会上班，所有的Baserunners都会快15％左右，没问题，相机仍然可以拍摄。 如果没有Cinemachine，我们根本无法在本游戏中进行过场动画，更不用说一个多小时了。
内在的我们的生活 (Life of Us by Within)
This multi-person interactive experience tells the story of the evolution of life on earth, and is directed by Chris Milk and Aaron Koblin – VR innovators best known for The Wilderness Downtown, an interactive Arcade Fire music video. “The characters’ movements through space presented major implementation challenges–the flying mechanic, running through the environments, etc. Those were very difficult to get right and feel comfortable,” said Koblin. “We’re also proud of our character rigs–which combine animation, IK, and ragdolls–in order to support up to 6 people in the space. The most important feature we used was Timeline. The experience is highly scripted and linear, so Timeline made it easy to trigger animations, music, and events, and so we could just slide things around and change things in real-time.”
这种多人互动体验讲述了地球生命进化的故事，由克里斯·米尔克(Chris Milk)和亚伦·科布林(Aaron Koblin)指导。VR创新者最著名的是互动式Arcade Fire音乐视频“荒野市区”。 Koblin说：“角色在太空中的移动面临着巨大的实施挑战，包括飞行技工，穿越环境等。这些很难正确地做到并让人感到舒适。” “我们也为我们的角色装备感到自豪，这些装备将动画，IK和布娃娃结合在一起，可以在太空中支持多达6个人。 我们使用的最重要的功能是时间轴。 这种体验具有高度的剧本性和线性，因此“时间轴”使触发动画，音乐和事件变得容易，因此我们可以随意滑动并实时更改事物。”
零日VR (Scatter) (Zero Days VR by Scatter)
This VR adaptation of the Zero Days film by Scatter took Sundance by storm. Timeline allowed Scatter to iterate and experiment with different timings quickly when building the effects and transitions for ZDVR. The familiar non-linear editing style interface granted non-programmer members of the team the power to easily tweak animations without requiring any coding skills. “I think pretty much everyone on the core team used Timeline in this project, from the programmers to the 3D artists, and even the director” says Elie Zananiri, the Scatter Lead Interaction Developer. “I’m honestly not sure how we would have built Zero Days VR without Timeline.”
Scatter的零日电影的VR改编风靡了圣丹斯。 时间线允许Scatter在构建ZDVR的效果和过渡时快速迭代并尝试不同的时序。 熟悉的非线性编辑样式界面使团队的非程序员成员可以轻松调整动画而无需任何编码技能。 “我认为核心团队中的几乎每个人都在该项目中使用了Timeline，从程序员到3D艺术家，甚至还有导演。” Scatter Lead Interaction Developer的Elie Zananiri说。 “老实说，我不确定如果没有时间轴，我们将如何构建零日虚拟现实。”
时间轴，Cinemachine和您 (Timeline, Cinemachine and You)
There are a lot of great ways to use Cinemachine and Timeline to help your stories!
有很多很棒的方法可以使用Cinemachine和Timeline来帮助您编写故事！
Here’s a video from my Siggraph talk – Real-time Cinematics and Storytelling – it gives an overview of a number of the features, plus Timeline and the Post Processing Stack.
这是我Siggraph演讲中的视频 -实时电影和讲故事-它概述了许多功能，以及时间轴和后处理堆栈。
Below is a brand-new walk-through tutorial setting up a character in Timeline and some camera clips in Cinemachine.
以下是全新的演练教程，该教程在时间轴中设置角色，并在Cinemachine中设置一些摄像机片段。
I’ll be posting more demos soon. Until then, check out the Unity YouTube Playlist to see some other great examples such as:
我将很快发布更多演示。 在此之前，请查看Unity YouTube播放列表以查看其他一些出色的示例，例如：
时间轴和Cinemachine概述：学习基础知识，从头开始构建一些东西(作者Mike Wuetherick和Adam Myhill)
Extending Timeline with your own playables: unleash more power (by James Bouckley)
翻译自: https://blogs.unity3d.com/2017/08/25/community-stories-cinemachine-and-timeline/
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