unity 实验演示 教程
Since showing our short film The Blacksmith at GDC 2015 in March, we’ve received many questions from our community. Here we introduce the team that created the demo, and answer some of the most common inquiries they get from our users. And that’s just the start. Over the coming days and weeks we’ll publish more blog posts on every element of The Blacksmith’s production.
自三月份在GDC 2015上放映短片《铁匠》以来，我们收到了来自社区的许多问题。 在这里，我们介绍了创建演示的团队，并回答了他们从用户那里获得的一些最常见的查询。 这仅仅是开始。 在接下来的几天和几周内，我们将在铁匠的作品的每个元素上发布更多博客文章。
内部Unity演示团队 (Inside Unity’s Demo team)
Our Stockholm-based Demo team is a small and rather autonomous unit within Unity’s R&D department. We use Unity for production, and we aim to create our content alongside development of the next Unity versions. This makes us the first users of certain new features and systems.
我们位于斯德哥尔摩的演示团队是Unity研发部门中一个规模较小且自治的部门。 我们将Unity用于生产，我们的目标是在开发下一个Unity版本的同时创建内容。 这使我们成为某些新功能和新系统的第一批用户。
Although working with early alpha or even pre-alpha versions of the engine might not be very efficient production-wise, we think it is very useful to do it, because early usage exposes potential issues and gives time for the intended workflows to mature.
尽管使用早期Alpha或什至预Alpha版本的引擎可能在生产上不是很有效，但我们认为这样做非常有用，因为早期使用会暴露潜在的问题，并为预期的工作流提供了成熟时间。
我们以前的演示 (Our previous demos)
Once work started on developing Physically Based Shading in the Unity engine, our team produced several demos of gradually increasing complexity, which were intended to contribute to the more robust implementation of the PBS.
一旦开始在Unity引擎中开发基于物理的阴影的工作，我们的团队便制作了一些演示，这些演示逐渐增加了复杂性，旨在为PBS的更强大实现做出贡献。
We started as small as possible, with the Doll demo; a single object designed to combine a variety of materials and provide an early test case for the new shading system.
我们从Doll演示开始，尽可能地小。 一个旨在结合多种材料并为新遮光系统提供早期测试案例的对象。
We built on it with the Teleporter, a huge object which is animated and put in an environment, meaning image-based lighting and reflection probes also come into play.
我们使用Teleporter在此基础上构建了一个巨大的物体，该物体经过动画处理并放置在环境中，这意味着基于图像的照明和反射探针也将发挥作用。
We did some side-quests to explore specific shading cases – skin, car paint – and then continued with the development of Viking Village: an actual game-ready environment where we touched on many neighbouring systems that the PBS interacted with. We released this project and shared some production techniques in this blogpost.
我们做了一些附带的尝试，以探索特定的阴影情况(皮肤，汽车漆)，然后继续开发Viking Village ：这是一个实际的游戏就绪环境，我们在其中接触了PBS交互的许多相邻系统。 我们发布了该项目，并在此博文中分享了一些生产技术。
In Viking Village, we worked a lot with the new lighting system while it, too, was still very much under active development. We took the opportunity to explore how content authoring based on scanned textures would work in Unity. We believe that the role of scanning in content creation is about to expand a great deal in the future, because of its potential to reduce production costs while at the same time raising the quality immensely in the cases where visual realism is the goal.
在维京村，我们在新照明系统上进行了很多工作，而新照明系统也仍在积极开发中。 我们借此机会探讨了基于扫描纹理的内容创作在Unity中如何工作。 我们认为，扫描在内容创建中的作用将在未来扩展，因为它有可能降低生产成本，同时在以视觉现实为目标的情况下极大地提高质量。
The next obvious step on this path of gradually increasing complexity was to make a project where we work with a character, and this ended up being our short film The Blacksmith. Besides enhancing the work on PBS, this project was also designed to provide early feedback for a storytelling toolset which is currently in development.
在逐渐增加复杂性的道路上，下一个显而易见的步骤是制作一个我们与角色一起工作的项目，最终成为我们的短片《铁匠》 。 除了加强PBS的工作外，该项目还旨在为当前正在开发的讲故事工具集提供早期反馈。
铁匠短片背后的人 (The people behind The Blacksmith short film)
Veselin Efremov has 14 years of experience as an artist and art director in the game development industry. He was previously at Scattered/DeNA, Crytek and Black Sea Studios. Having built and led art teams of various sizes, and himself taken on different artistic roles through his career, he joined Unity for a creative and artistic experiment. That experiment resulted in The Blacksmith real-time short film. Veselin is passionate about researching and applying efficient pipelines for the production of high quality art. He lives in Stockholm.
Veselin Efremov拥有14年游戏开发行业的艺术家和艺术总监的经验。 他之前曾在Scattered / DeNA，Crytek和Black Sea Studios工作。 他建立并领导了各种规模的艺术团队，并在自己的职业生涯中担当了不同的艺术角色，随后他加入了Unity进行创意和艺术实验。 该实验制作了《铁匠》实时短片。 韦斯林(Veselin)对研究和应用高效管道以生产高质量艺术品充满热情。 他住在斯德哥尔摩。
Torbjorn Laedre has spent a great many years wrangling code for a bunch of well-known AAA engines and games. He’s held several lead and principal roles in projects across DICE, Ubisoft and EA, and in later years even managed to ship a couple of games built on Unity. These days, his code check-ins are mostly delivered by carrier pigeons from somewhere deep in the Swedish wilderness.
Torbjorn Laedre用了很多年的时间为一堆著名的AAA引擎和游戏编写代码。 他曾在DICE，Ubisoft和EA的项目中担任过多个主要负责人，并且在后来的几年中甚至成功发布了一些基于Unity的游戏。 如今，他的代码检入大部分是由信鸽从瑞典荒野深处交付的。
Damien Simper has a background in film, TV and games. Having started his career in animation with Walt Disney Studios in Australia, later he moved toward video game content, and spent several years as Lead Animator and Director for Game Cinematics at Plastic Wax Australia. Nowadays he lives in Copenhagen, Denmark with his family, where he worked for several years as a Lead at IO Interactive, before finally joining Unity.
Damien Simper具有电影，电视和游戏的背景。 在澳大利亚的Walt Disney Studios从事动画工作后，他开始涉足视频游戏内容，并在澳大利亚Plastic Wax担任首席动画师和游戏电影导演多年。 如今，他与家人一起住在丹麦的哥本哈根，在IO Interactive担任负责人数年之久，然后才加入Unity。
团队位置和国籍 (Team locations and nationalities)
The team behind The Blacksmith has never gathered in the same place. In fact, Torbjorn and Damien have never met at all. And Torbjorn and Veselin didn’t meet during The Blacksmith’s production; the first time they got to talk about the demo in person was on the airplane as they headed towards GDC, when we were about to ship. The two had met two or three times before work started on The Blacksmith; they shipped two games on Unity at their previous company, also working remotely.
铁匠背后的团队从未在同一地点聚集过。 实际上，托比约恩和达米安从来没有见过面。 铁匠的制作过程中，托比约恩和韦斯林没有见面。 他们第一次亲自面对演示是在我们要出厂的时候，他们飞往GDC的飞机上。 在铁匠铺开始工作之前，两人相识了两三遍。 他们在原公司的Unity上发布了两款游戏，并且也可以远程工作。
At the moment, there are two more people who recently joined us. Counting in the producer as well, this makes the current team consisting of six people located across four cities – Umeå, Stockholm, Copenhagen, and Vilnius – and they represent five nationalities; namely Norwegian, Bulgarian, Australian, Polish, and Lithuanian.
目前，还有另外两个人最近加入了我们。 加上制作人，这使得目前的团队由六个人组成，他们分布在四个城市-于默奥，斯德哥尔摩，哥本哈根和维尔纽斯-他们代表五个国籍； 即挪威语，保加利亚语，澳大利亚语，波兰语和立陶宛语。
Additionally, the team working on the storytelling toolset in Unity was also instrumental in this production. They are in Montreal. And the composer of the music is an American from Swedish descent living in Paris.
此外，在Unity中使用讲故事工具集的团队在该制作中也发挥了作用。 他们在蒙特利尔。 音乐的作曲者是居住在巴黎的瑞典裔美国人。
向前走 (Going forward)
At the time of writing this post the PBS and new lighting system in Unity 5 are a fact, and are being used by many developers already. The storytelling toolset continues to evolve and will need some dogfooding again. The need for high quality post effects to match the improved shading and lighting in Unity is now taken very seriously, and we’ll continue to be at the forefront as early users, providing the content production environment that is needed from the very start of a feature design and throughout the whole cycle of its development and implementation in Unity.
在撰写本文时，Unity 5中的PBS和新照明系统已经成为事实，并且已经被许多开发人员所使用。 讲故事的工具集在不断发展，将需要再次尝试。 现在，我们非常重视对高质量后期效果以适应Unity中改进的阴影和照明的需求，我们将继续作为早期用户站在最前沿，提供从一开始就需要的内容制作环境功能设计及其在Unity中开发和实施的整个周期。
We are passionate about researching and implementing smart content production tricks that will improve quality while keeping the costs down. We believe that high-end content creation should rely on the combination of artistic talent and smart technological pipelines, rather than on brute force and crunch.
我们热衷于研究和实施智能内容制作技巧，这些技巧将在降低成本的同时提高质量。 我们认为，高端内容创作应依靠艺术人才和智能技术管道的结合，而不是依靠蛮力和紧缩。
We’re also happy to answer questions from our community. For that reason, here we’ve compiled an FAQ to share responses to the most commonly asked questions about The Blacksmith from Unity users. If you have more questions, please ask us in the Comments. We will do our best to answer them in the coming weeks.
我们也很乐意回答社区中的问题。 因此，我们在这里编制了一个FAQ，以分享对Unity用户有关铁匠的最常见问题的回答。 如果您还有其他问题，请在评论中询问我们。 在接下来的几周内，我们将竭尽所能回答他们。
铁匠常见问题 (The Blacksmith FAQ)
The Blacksmith演示在什么机器规格上运行？ (What machine specs does The Blacksmith demo run on?)
The short film runs at 30 FPS in full-HD – so 1920×1080 – on a desktop PC. We use a Core i7 4770 with a GeForce GTX 760 as a standard for showing it. The Blacksmith also runs at the same framerate on a laptop – for example, a recent MacBook Pro – at 720p.
这部短片在台式PC上以30 FPS的全高清(即1920×1080)运行。 我们使用带有GeForce GTX 760的Core i7 4770作为显示它的标准。 铁匠还可以在720p的笔记本电脑(例如，最新的MacBook Pro)上以相同的帧速率运行。
But to be on the safe side, we used GTX 980 for the first public showing at GDC, as that machine also had to run other demos.
但是为了安全起见，我们在GDC上首次使用GTX 980，因为该机器还必须运行其他演示。
Video and audio were both output directly from Unity to the final MPEG compressed movie, which you can see on YouTube.
视频和音频都直接从Unity输出到最终的MPEG压缩电影，您可以在YouTube上看到。
您使用哪个Unity版本创建铁匠？ (What Unity version did you use to create The Blacksmith?)
We used builds based on the official alpha- and beta-versions of Unity 5, plus a sequencing tool developed internally .
我们使用的是基于Unity 5官方alpha和beta版本的版本，以及内部开发的排序工具。
The visual aspect of the project, including the shading, lighting, post effects and everything related to rendering, is based exactly on Unity 5 as it shipped. We wanted to make sure that the looks of the demo are truly representative of what can be done with the engine we ship to our users.
该项目的视觉方面(包括阴影，照明，后期效果以及与渲染相关的所有内容)完全基于Unity 5出厂时的外观。 我们想确保演示的外观真正代表了我们交付给用户的引擎可以完成的工作。
As an R&D team within Unity, it made sense for us to also use the production of The Blacksmith for early usability testing and feedback on a sequencing tool. That tool is being developed by our engineering team in Montreal as a part of a larger storytelling toolset currently in R&D phase. If we were not a part of Unity, we would have used an Asset Store package such as uSequencer or Cinema Director to deal with the storytelling aspects of the project, such as aligning cameras, animations and VFX on a timeline.
作为Unity内的研发团队，我们也可以将The Blacksmith的产品用于早期可用性测试和对排序工具的反馈。 该工具由我们位于蒙特利尔的工程团队开发，是目前处于研发阶段的更大的讲故事工具集的一部分。 如果我们不是Unity的一部分，我们将使用Asset Store程序包(例如uSequencer或Cinema Director)来处理项目的讲故事方面，例如在时间轴上对齐摄像机，动画和VFX。
生产团队的结构是什么？ (What was the structure of the production team?)
A core team consisting of the three people mentioned above worked directly in Unity on The Blacksmith. We felt that the combination of one artist – who also wrote and directed the film – an animator, and a programmer, is a well-rounded production unit.
由上述三个人组成的核心团队直接在Unity的铁匠铺工作。 我们认为，一位动画师和一名程序员(同时也是电影的编剧和导演)的结合是一个完善的制作单位。
A producer supported the team from the organizational side, while simultaneously being responsible for other projects.
生产者从组织方面支持团队，同时负责其他项目。
Each of our three hands-on team members had ownership of their own area of expertise, be it art, animation or code, and worked on everything related to that within the same Unity scene.
我们的三个动手团队成员每个人都拥有自己的专业知识领域，无论是艺术，动画还是代码，并在同一个Unity场景中从事与该领域相关的所有工作。
We contracted some external help, which happened outside of Unity, such as concept art, 3D art, motion capture and music. Contracted work was submitted to the respective team member – either the artist or the animator – who would then implement it into the Unity project.
我们签约了一些外部帮助，这些概念发生在Unity之外，例如概念艺术，3D艺术，动作捕捉和音乐。 合同规定的作品已提交给相应的团队成员(艺术家或动画师)，然后将其实施到Unity项目中。
团队是如何扩展Unity的，您构建了哪些自定义工具？ (How did the team extend Unity, and what custom tools did you build?)
We wanted to achieve the best visual quality that Unity can give us, within the limitation of our resources, meaning one programmer. He managed to harness Unity’s extendability to develop specific shaders and tools to better meet the Art Director’s ambitions for the project. Here are the Editor enhancements and shaders, which he built::
我们希望在资源有限的情况下，实现Unity可以给我们的最佳视觉质量，这意味着一个程序员。 他设法利用Unity的可扩展性来开发特定的着色器和工具，以更好地满足艺术总监的项目野心。 以下是他构建的Editor增强器和着色器：
为什么要将它们构建为扩展，而不是将其创建为要作为Unity标准包含的新功能？ (Why would you build those as extensions, rather than create them as new features to be included with Unity as standard?)
At Unity’s Demo team, one of our most important roles is to ‘eat our own dogfood’, and in order to be effective in this, we try to emulate, in some ways, what a typical small-scale production team would do. We use out-of-the-box features which are relevant to our project, and we also build our custom, project-specific stuff on top, just as the majority of Unity users do.
在Unity的演示团队中，我们最重要的角色之一是“吃我们自己的狗粮”，为了有效地做到这一点，我们尝试以某种方式模仿典型的小型生产团队的工作。 我们使用与项目相关的即用型功能，并且像大多数Unity用户一样，在顶部构建定制的，特定于项目的内容。
Also, adding a feature to Unity would require more resources and take more time, because then the feature would need to cover a large number of use cases which are not present in our project, and have almost universal applicability across game genres, platforms, artistic styles and so on.
另外，向Unity添加功能将需要更多资源并花费更多时间，因为该功能将需要涵盖我们项目中不存在的大量用例，并且在游戏类型，平台，艺术作品之间具有几乎普遍的适用性。样式等。
在哪里可以了解有关铁匠及其制作的更多信息？ (Where can I learn more about The Blacksmith and its production?)
There are several blog posts scheduled to appear over the coming days looking at every element of creating The Blacksmith. We’ll link to them from the dedicated page about The Blacksmith.
计划在未来几天出现几篇博客文章，探讨创建《铁匠》的每个元素。 我们将通过有关铁匠的专用页面链接到他们。
你要释放它吗？ (Are you going to release it?)
The standalone, executable version of the short film will be released publicly.
短片的独立可执行版本将公开发行。
Some of the post-effects developed as extensions are now being properly developed to go into Unity. For example, tonemapping, color grading, motion blur. This work is already in progress. We are preparing the rest of the assets and extensions for release in separate packages, which we’ll put on the Asset Store for you to use. Stay tuned.
随着扩展而产生的一些后效应现在已经被适当地开发以用于Unity。 例如，色调映射，颜色分级，运动模糊。 这项工作已经在进行中。 我们正在准备其余的资产和扩展，以单独的软件包形式发布，然后将其放在Asset Store中供您使用。 敬请关注。
unity 实验演示 教程
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