adam_ADAM –实时短片制作设计

adam

We are launching a series of articles about the making of our latest demo, ADAM. Over the course of the next several weeks, we will cover various aspects of production: concept art, assets production, in-engine setup, animation pipeline, VFX, and custom features as well as the tools we created for the project. We also plan to release various character and environment projects – basically all the material we can with no dependencies on Unity’s upcoming (but currently not publicly available) sequencer tool.

我们正在发布一系列有关制作最新演示ADAM的文章 。 在接下来的几周中，我们将涵盖制作的各个方面：概念图，资产制作，引擎内设置，动画管道，VFX和自定义功能，以及我们为该项目创建的工具。 我们还计划发布各种角色和环境项目–基本上是我们所能获得的所有资料，而无需依赖Unity即将推出(但目前尚未公开提供)的音序器工具。

In addition to publishing a series of making of blog posts, we’re working hard to prepare as much as possible from this project for release. The plan is to make our assets and custom tech available this autumn.

除了发布一系列博客文章之外，我们还在努力为该项目准备尽可能多的发行版本。 该计划是在今年秋天使我们的资产和定制技术可用。

关于我 (About Me)

My name is Georgi Simeonov and I was responsible for a lot of the art direction and production design on the project. I previously worked as a concept artist on games like Brink, Batman: Arkham origins, and Dirty Bomb as well as designing Volund for the Blacksmith Demo.

我叫Georgi Simeonov，负责该项目的许多艺术指导和生产设计。 我以前曾在Brink，Batman：Arkham的起源和Dirty Bomb等游戏中担任概念艺术家的工作，还为铁匠演示设计了Volund。

世界 (The World)

The film is set in a future where human society is transformed by harsh biological realities and civilization has shrunk to a few scattered, encapsulated communities clinging to the memory of greatness. Adam, as our main character, was the starting point of our visual design process. He was designed to provide a glimpse into the complex backstory of the world, by revealing himself as a human prisoner whose consciousness has been trapped in a cheap mechanical body.

这部电影的拍摄背景是未来人类社会将因严峻的生物现实而发生变化，而文明则缩小为几个分散的，封闭的社区，这些社区紧紧抓住了伟大的记忆。 作为我们的主要角色，亚当是我们视觉设计过程的起点。 他的设计目的是通过展示自己是被囚禁在廉价机械体内的意识的人类囚犯来瞥见世界的复杂背景。

亚当 (ADAM)

机械式装饰–车身 (Mechanical écorché – The Body)

One of the early ideas that stuck was of that the mechanical body, while being functional, should still resemble and reference the human anatomy and organs in multiple ways, being in a way a mock écorché – a twisted stripped down copy of the real thing. This broad idea gave direction to multiple smaller details and decisions, both functional and decorative like – the cranium as a steel box reminiscent of human brain, covered by geometric machine cuts to create a pattern resembling the brain folds; the part exposed ribcage and spine – resembling a patient or a corpse awoken mid surgery/autopsy.

留下来的早期想法之一是，机械身体虽然功能正常，但仍应以多种方式类似于人体解剖学和参照人体解剖学和器官，以某种方式模拟假装 -一种扭曲的，剥落的真品。 这种广泛的想法为功能和装饰等多个较小的细节和决策提供了指导。颅骨是一个让人想起人脑的钢制盒子，被几何机器切割覆盖，形成了类似于大脑褶皱的图案； 该部分暴露了胸腔和脊柱-类似于在手术/尸体解剖中醒来的病人或尸体。

犯罪记录-屏幕 (A Walking Crime Record – The Screens)

Another key concept for the design was reducing the convicts to walking records of their crimes, manifested in the chest monitor or tablet perpetually showing their sentence. For most of the production the sentence had their original mugshot as an additional reference to their human past and to provide a stark contrast with the near blank expressionless masks. At the end having a human face on the chest proved too distracting, so we went with the simpler design.

该设计的另一个关键概念是将罪犯减少为步行记录犯罪行为，这种行为表现在胸部监视器或平板电脑上，永久显示其刑罚。 在大多数作品中，这句话都带有最初的面部表情，以作为对人类过去的补充，并与近乎空白的无表情口罩形成鲜明对比。 最后，人脸在胸部显得过于分散注意力，因此我们采用了更简单的设计。

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The very first set of exploration sketches for Adam. The beginning of the project caught me during my holidays so a lot of the initial exploration was done in a small pocket sketchbook, with a red pencil and a ballpoint pen. Veselin Efremov, our Director, wanted the convicts to look more human, so we dropped the one-eyed designs and the stranger proportions in favour of a more human silhouette

亚当的第一套探索草图。 这个项目的开始让我在假期里着迷，所以很多最初的探索都是在一个小口袋里的素描本上完成的，上面有一支红铅笔和一支圆珠笔。 我们的总监Veselin Efremov希望罪犯看起来更人性化，因此我们放弃了单眼设计和陌生人比例，转而采用更人性化的轮廓

Exploring some variations in element layout, a lot of key elements of the design already settled. 探索元素布局的一些变化，已经解决了设计中的许多关键元素。

Exploring of the mechanics of the legs and arms. Here again we had to balance the priorities of having something that is mechanically believable but also laid out in ways that resemble bones, muscles, and sinews. We ended with a lot of cables similar to bike brake wires pulling the parts driven by motors mostly hidden away in the torso.

探索腿部和手臂的力学原理。 在这里，我们再次必须权衡拥有机械上可相信但又以类似于骨骼，肌肉和筋骨的方式布置的东西的优先级。 我们以许多类似于自行车刹车线的电缆作为结束，将由电机驱动的零件拉开，这些电机大多隐藏在躯干中。

死亡面具–脸 (A Death mask – The Face)

To continue the theme of a rough, inferior copy, the face was created as a Death Mask, from a hastily-scanned 3d print of the original. The concept included a mouth for quite a while, but a frozen expression, no matter if it was neutral or not, proved distracting from the eyes’ expressiveness. At the end, removing the mouth completely not only helped draw the focus to what mattered, but also helped to emphasize the convicts’ oppression.

为了延续粗糙，劣质复制品的主题，从草草扫描的3d原始图片中将其创建为“ 死亡面具” 。 这个概念包括了一段时间的嘴巴，但是冻结的表情(无论它是否中性)都分散了眼睛的表情。 最后，完全张开嘴巴不仅有助于把重点放在重要的事情上，而且还有助于强调罪犯的压迫感。

Face/Mask reference sheet. 面/面罩参考表。

Some of the many iterations Adam’s mask went through.

亚当的面具经历了许多次迭代。

Adam early concept sculpt. 亚当早期的概念造型。

Exploring various alternate faces for Adam and the rest of the Convicts, we quickly discovered that it’s extremely easy to completely lose the impression of a human character and turn them into faceless or alien bots. 探索亚当和其他罪犯的各种面Kong时，我们很快发现，完全失去人性化的印象并将其变成无面Kong或外来的机器人非常容易。

收缩包装–衣服 (Shrink wrap – The Clothes)

We needed the characters partially dressed in orange, a color evocative of prison uniforms. But since mechanical bodies don’t exactly need clothes, and painting them in any risked pushing them far into the realm of maintenance or utility robots, our way of hinting at clothing was through a shrink wrap package – such as could be used for mechanical elements before they are unwrapped, in a factory, mass-production setting.

我们需要角色部分穿着橙色，这是监狱制服的颜色。 但是，由于机械主体并不完全需要衣服，并且以涂漆的方式将它们推入维护或公用机器人的范围之内，所以我们暗示衣服的方法是通过收缩包装来完成，例如可以用于机械元件在拆开包装之前，应在工厂进行批量生产。

Adam: Skin & Clothes reference sheet. 亚当：皮肤和衣服参考表。

Convict Shrink Wrap packaging exploration.

定罪收缩包装的包装探索。

ADAM –最终设计 (ADAM – Final Design)

Final mask design.

最终面膜设计。

Final concept/model sheet.

最终概念/模型表。

Convict wrap coverage example. 定罪套保示例。

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塞巴斯蒂安，卢及瓜德斯 (SEBASTIAN, LU & GUARDS)

The first set of sketches exploring the two characters. 探索这两个角色的第一套草图。

Initial reference sheets for Sebastian and the Lieutenant. 塞巴斯蒂安和中尉的初始参考纸。

Our two other key characters were supposed to work as a pair from the start. We needed Sebastian to look wise and majestic but also fearsome, but in a non combative way. The Lieutenant, whom we came to call Lu, was to be his right hand, near equal, and counterpoint: the person of action and wielder of aggression when needed.

我们另外两个主要角色从一开始就应该成对使用。 我们需要塞巴斯蒂安显得睿智而庄严，但也要胆怯，但要采取非战斗方式。 我们来称呼陆军的中尉是他的右手，几乎平等，又是对立的：需要时的行动者和侵略者。

塞巴斯蒂安 (SEBASTIAN)

Pursuing the design of the two strangers we blended eastern and western archetypal savior influences, designs that can specifically serve their function and yet convey universal ideas and narratives beyond their few minutes of screen time.

追求两个陌生人的设计时，我们融合了东西方原型救世主的影响力，这些设计可以专门发挥其功能，并在几分钟的筛选时间内传达出普遍的思想和叙述。

Some of the main goals with Sebastian’s design were to show the two travelers an embodiment of a new culture that has developed outside, and to showcase the effort of its people to preserve their humanity and regain the ability to express their individuality.

塞巴斯蒂安(Sebastian)设计的一些主要目标是向两个旅行者展示出一种在外部发展起来的新文化的体现，并展示其人们在保护人类性格和恢复表达个性的能力方面的努力。

We wanted Sebastian to look ancient, possibly one of the first or even the first to be cast out. At the same time, he carries the idea of a new beginning – of rebirth and regeneration. We mixed tribal elements like the sprouting seedling symbol on his forehead and in his chest cavity with more traditional messianic features. Material-wise, we went to one of our source inspirations and made Sebastian resemble a living bronze monument.

我们希望塞巴斯蒂安看起来古老，可能是最早的，甚至是最早被淘汰的一个。 同时，他提出了新的开始的思想–重生和再生。 我们在额头和胸腔中混合了部落元素，例如发芽幼苗符号，并带有更多传统的弥赛亚特征。 在材料方面，我们获得了灵感的来源之一，使塞巴斯蒂安像一座活的青铜纪念碑。

Faces

面Kong

Sebastian and Lu’s masks/faces had to show the lengths to which some would go to reshape themselves in the pursuit of regaining and expressing their personality. We explored a carved/moulded and painted/stained look to emphasize the self-created image of the character as much as possible.

塞巴斯蒂安和卢的面具/脸必须表现出一定的长度，以求重塑和表达自己的个性。 我们探索了雕刻/模制和绘画/染色的外观，以尽可能强调人物的自我创造的形象。

Face/Mask/Headgear explorations for Sebastian.

塞巴斯蒂安的面部/面具/头饰探险。

Final concept/model sheet for Sebastian.

塞巴斯蒂安的最终概念/模型表。

Sebastian surface and materials reference sheet.

塞巴斯蒂安表面和材料参考表。

Sebastian’s mask surface and materials reference sheet. 塞巴斯蒂安的面罩表面和材料参考表。

中尉/卢 (THE LIEUTENANT / LU)

It was important that Lu didn’t just come across as a subordinate – we wanted her to be more of a partner. The warrior counterpoint to Sebastian’s spiritual leadership. In contrast to Sebastian, Lu is lighter and more mobile, but still intimidating.

重要的是，卢不仅要当下属，我们还要她成为更多的伙伴。 战士与塞巴斯蒂安的精神领导相对立。 与塞巴斯蒂安相比，卢更轻巧，更灵活，但仍然令人生畏。

Lu early head sketches. 鲁初头像素描。

Concept sculpt plus tank tracks armor, and a line sketch.

概念造型加上坦克履带的装甲和线条草图。

警卫队 (THE GUARDS)

Initially we nicknamed the guards “surgeon sentries,” reflecting the two simple ideas behind their design. The guards of The City were one of only a few chances to directly visually communicate any aspect of the civilization within the the walls. In a way, they became a human manifestation of the city and its dwindling civilization. Closed in, wrapped, sterile, purist, desperate to retain their own identity in the face of self inflicted decline.

最初，我们将卫队昵称为“外科医生哨兵”，反映了其设计背后的两个简单思想。 The City的守卫是在围墙内直接视觉传达文明任何方面的少数机会之一。 在某种程度上，它们成为城市及其日益减少的文明的人类体现。 面对自我造成的衰落，封闭，包裹，无菌，纯粹，绝望地保持自己的身份。

Some of the initial uniform explorations for the guards.

警卫队最初的一些统一探索。

The final design we settled on. 我们确定的最终设计。

The guards’ weapons and equipment, continuing the medical-turned-militaristic theme.

警卫的武器和装备，延续了由医疗转变为军事的主题。

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细胞 (THE CELL)

Initial Research and Ideas

初步研究和想法

The Cell provided the start of our narrative and the “birthplace” of Adam. As such, it played an important role and it naturally went through a number of iterations until we arrived at the balance of key elements we wanted. We wanted it to be claustrophobic and in continuation of the theme of pseudo anatomy, we went for something resembling a mechanical womb with thick intestine-like pipes filling the space on all sides and compressing it even further.

牢房为我们的叙述和亚当的“出生地”提供了起点。 因此，它发挥了重要作用，并且自然经历了多次迭代，直到我们达到所需的关键元素的平衡为止。 我们希望它具有幽闭恐怖性，并且在继续伪解剖学的主题时，我们采用了类似于机械子宫的方式，在子宫的各个侧面填充了类似肠的粗管道，并将其进一步压缩。

Some of the initial references we looked at included cramped engine rooms, engine cross sections and submarine interiors. 我们查看的一些初始参考资料包括狭窄的发动机室，发动机横截面和潜艇内部。

Finding The Shape Language

寻找形状语言

Thumbnail explorations for the wall details of the Reformation Cell. These came at a relatively late stage in the project at a point when we already had a base variant of the room in blockout, a camera and a mocap setup: we just needed to distil the shapes and elements we wanted to use.

缩略图探索重整单元的墙面细节。 这些是在项目的一个相对较晚的阶段，当时我们已经有了房间的基本变体，摄像头和遮光罩设置：我们只需要分配我们想要使用的形状和元素。

3D Blockout

3D封锁

Most of the actual environment design beyond the initial reference boards and thumbnail explorations was done in Maya. This allowed us to have a working version of the world in Unity, including spaces, key structures and distances at a very early stage, allowing us the freedom and flexibility to iterate with all other aspects of production. Some of the blockout meshes worked so well we ended using them in the final version of the short.

除了最初的参考板和缩略图浏览之外，大多数实际环境设计都是在Maya中完成的。 这使我们能够在很早的时候就拥有Unity的工作版本，包括空间，关键结构和距离，从而使我们能够自由灵活地进行生产的所有其他方面的迭代。 一些封闭网格非常有效，我们最终在短版的最终版本中使用了它们。

墙–伟大的档案 (WALL – THE GREAT ARCHIVE)

Initial Research and Ideas

初步研究和想法

The Wall of the City as the primary manifestation of the setting had to express the nature of the society living behind. Medical themes and influences were also to the fore here; combining the sterile simplicity of Brutalism with the rows of indexed folders in a medical archive, thus making the wall an actual physical archive of the medical/biological memory of disappearing humanity.

城墙作为环境的主要体现，必须表达生活在背后的社会的本质。 医学主题和影响在这里也很重要。 将野蛮主义的无菌简单性与医学档案中的索引文件夹行结合在一起，从而使隔离墙成为人类消失的医学/生物记忆的实际物理档案。

Finding The Shape Language

寻找形状语言

Initial thumbnail explorations – these are some of the very first world concepts that defined much of the shape language and look of the key locations.

最初的缩略图探索–这些是一些最早的世界概念，这些概念定义了许多形状语言和关键位置的外观。

The watch tower as an element came quite late on in an attempt to add more variety to the wall. It was initially kit bashed by existing parts and later refined.

钟楼作为元素来得很晚，试图为墙壁增加更多种类。 最初是用现有零件对套件进行打击，然后进行改进。

The Wall and platforms blockout. A lot of the exterior design was done and iterated on in the blockout phase.

墙和平台封锁。 在阻塞阶段，完成了许多外观设计并对其进行了迭代。

A series of drawings done on top of the blockout to help environment artist with the details.

在该障碍之上绘制了一系列图纸，以帮助环境美术师了解细节。

Overpaint of some of the later iterations of the wall to further push details and define elements and textures.

对墙的某些后续迭代进行喷漆，以进一步推送细节并定义元素和纹理。

荒野和破碎的高速公路 (WILDERNESS & BROKEN HIGHWAY)

Initial Research and Ideas For the Broken highway or meeting point where the strangers meet Adam and the other convicts, we wanted to create the impression of a holy place: an accidental temple. We used the symmetrical shape of a broken off highway section to create our shrine-like backdrop. A strong influence here was a woodblock print by Hiroshi Yoshida (In A Temple Yard).

最初的研究和想法对于破碎的高速公路或陌生人遇到亚当和其他罪犯的交汇处，我们希望给人一个圣地的印象：一个偶然的寺庙。 我们使用断开的高速公路路段的对称形状来创建类似于神社的背景。 吉田宏志( 在寺院里 )的木版画在这里产生了很大的影响。

Concept Art

概念艺术

Initially, we envisaged the flat muddy valley Sebastian and Lu are seen crossing as a melting ice lake in order to achieve the effect of walking on water for the low angle shot we introduce them in.

最初，我们设想平坦的泥泞山谷塞巴斯蒂安(Sebastian)和路易(Lu)被视为融化的冰湖，以实现引入低角度拍摄时在水上行走的效果。

An overview of the outside space. The initial idea was for the character to gradually emerge from the deep, cold shadow of the wall into the sun. In the end we dropped the idea, since it was to restrictive in terms of lighting for a lot of the exterior shots.

外太空概述。 最初的想法是使角色逐渐从墙壁的深冷阴影中露出来进入太阳。 最后，我们放弃了这个想法，因为它在很多外部镜头的照明方面都受到限制。

Various ideas iterating on two of the later shots and exploring ground detail distribution as well as the distribution and shapes of the cliffs that form the skyline.

在后面的两张照片中，各种想法反复出现，并探讨了地面细节分布以及形成天际线的悬崖的分布和形状。

翻译自: https://blogs.unity3d.com/2016/07/07/adam-production-design-for-the-real-time-short-film/

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