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Learn how a small team achieved jaw-dropping results in no time at all through CAD data import, prep, optimization with PiXYZ, Asset Store packages, and real-time rendering with HDRP in Unity.
了解小型团队如何通过CAD数据导入，准备，使用PiXYZ进行优化，Asset Store程序包以及使用Unity中的HDRP进行实时渲染，立即获得惊人的结果。
我们如何滚动…… (How we got rolling …)
As you may know, last month we announced our new offerings for the Automotive industry and held the Unity AutoTech Summit @ Unite Berlin. As part of our kickoff, we created a teaser video featuring the Lexus LC 500, using a preview version of our new High Definition Render Pipeline (HDRP), to show the high-fidelity graphics that can be achieved with our new capabilities for automotive.
如您所知，上个月我们宣布了面向汽车行业的新产品，并举办了Unity AutoTech Summit @ Unite Berlin 。 作为启动活动的一部分，我们使用新的高清渲染管线(HDRP)的预览版创建了包含雷克萨斯LC 500的预告视频 ，以展示通过我们的汽车新功能可以实现的高保真图形。
Since we released the teaser video (which we now call Part I), we’ve received many questions and comments about how we achieved such eye-catching results. So, in this post, we explain key parts of the Unity Industry Bundle – PiXYZ Studio and Unity Pro – and how we attained the high-fidelity visuals. As well, we’ve just launched our Part II video, showing the car driving through various cityscapes and landscapes, so we also share details about how we set up the changing environments and lighting, as well as list the Asset Store packages that provide the scenery.
自从发布预告片视频(现在称为第一部分)以来，我们收到了许多有关如何取得如此引人注目的结果的问题和评论。 因此，在本文中，我们将说明Unity行业捆绑软件的关键部分– PiXYZ Studio和Unity Pro –以及如何获得高保真视觉效果。 同样，我们刚刚发布了第II部分视频，显示了在各种城市景观和风景中行驶的汽车，因此，我们还分享了有关如何设置不断变化的环境和照明的详细信息，并列出了可提供风景。
认识团队 (Meet the team)
Let’s start by meeting the team responsible for the creation of both of our Lexus LC 500 videos: Adam Myhill, Head of Cinematics and Marc Cinq-Mars, Creative Director at Unity.
让我们首先与负责创建两个雷克萨斯LC 500视频的团队会面：电影学负责人Adam Myhill和Unity创意总监Marc Cinq-Mars。
They were supported by Technical Artists, Camille Rail and Dany Ayoub, Solutions Engineer, Luc Vo Van, for materials and technical support for HDRP, and special thanks to Veselin Eframov for scene environment support.
他们得到了技术艺术家Camille Rail和解决方案工程师Luc Vo Van的Dany Ayoub的支持，为HDRP提供了材料和技术支持，特别感谢Veselin Eframov为现场环境提供了支持。
Clockwise from top left: Marc Cinq-Mars, Adam Myhill, Dany Ayoub, Luc Vo Van, and Camille Rail
左上角顺时针：Marc Cinq-Mars，Adam Myhill，Dany Ayoub，Luc Vo Van和Camille Rail
网格很重要 (Mesh matters)
To start, when working with meshes in Unity, achieving real-time performance requires optimizing them to improve GPU performance and minimize draw calls that consume the CPU. Conversely, photorealistic visuals require meshes that closely preserve the curvature, character lines and geometry detail from the original CAD model, like our Lexus. The powerful tessellation algorithms in PiXYZ Studio use patch data from CAD to optimally tessellate geometry and provide excellent surface quality, even with aggressively decimated meshes.
首先，在Unity中使用网格时，要实现实时性能，需要对其进行优化以提高GPU性能并最大程度地减少消耗CPU的绘制调用。 相反，逼真的视觉效果要求网格能够紧密保留原始CAD模型(例如我们的Lexus)中的曲率，字符线和几何细节。 PiXYZ Studio中强大的曲面细分算法使用来自CAD的面片数据来优化曲面细分的几何形状，并提供出色的表面质量，即使使用大量抽取的网格也是如此。
You can use several parameters to control the data preparation process, including maximum chordal deviation and maximum angle between triangles (to preserve detail). A range of algorithms are available to repair meshes, orient normals coherently, unwrap UVs, project textures, and perform other operations.
您可以使用几个参数来控制数据准备过程，包括最大弦长偏差和三角形之间的最大角度(以保留细节)。 一系列算法可用于修复网格，法线连贯地定位，展开UV，投影纹理以及执行其他操作。
PiXYZ Studio also allows you to maintain product structure and metadata, which is important for downstream use and can be used together with PiXYZ’s Python scripting to automate the data preparation process. In the case of the Lexus LC 500 model, the source data for the car was quite well organized – thanks to Lexus and Light & Shadows, whose efficient CAD data preparation made the entire process of importing and preparing data straightforward.
PiXYZ Studio还允许您维护产品结构和元数据，这对于下游使用很重要，并且可以与PiXYZ的Python脚本一起使用以自动化数据准备过程。 对于雷克萨斯LC 500车型，由于雷克萨斯和光影公司的高效CAD数据准备工作使导入和准备数据的整个过程变得简单明了，因此汽车的源数据井井有条。
HDRP FTW(致胜！) (HDRP FTW (For The Win!))
From the beginning of the project, we decided to use HDRP to take Unity’s rendering quality to the next level. HDRP was developed to provide realistic visuals built on physically based rendering with a new unified and coherent lighting system. (To learn more about HDRP, read Sebastien Lagarde’s post: The High Definition Render Pipeline: Focused on visual quality.) The lighting system is one of the major upgrades with HDRP. The use of linear lighting with temperature control, physical units, and physically based attenuation contributes to the quality of the results.
从项目开始，我们决定使用HDRP将Unity的渲染质量提升到一个新的水平。 HDRP的开发旨在提供基于物理渲染的逼真的视觉效果以及新的统一且连贯的照明系统。 (要了解有关HDRP的更多信息，请阅读Sebastien Lagarde的文章： 高清晰度渲染管线：关注视觉质量 。)照明系统是HDRP的主要升级之一。 将线性照明与温度控制，物理单位和基于物理的衰减一起使用有助于提高结果的质量。
While we worked on Part I, Screen Space Reflection (or SSR) in Unity was still in development, but was ready for testing when the time came around to do Part II. Naturally, we jumped at the opportunity to use it since this technique produces more detailed reflections than other methods such as Cubemaps or Reflection Probes. SSR allowed us to add an extra dose of realism to the overall look of the second teaser. This was timely since our goal was to create a full-blown car commercial where additional lighting and reflection capabilities would be needed to shift our production into overdrive.
当我们进行第一部分工作时，Unity中的屏幕空间反射 (或SSR)仍在开发中，但准备进行第二部分时就可以进行测试了。 自然，我们抓住了使用它的机会，因为与其他方法(例如Cubemaps或Reflection Probes)相比，该技术会产生更详细的反射。 SSR使我们在第二个预告片的整体外观中增加了更多的真实感。 这是及时的，因为我们的目标是创建一个成熟的汽车广告，其中需要额外的照明和反射功能，才能将我们的生产转换为超速行驶。
Screen Space Reflection (SSR) in action
屏幕空间反射(SSR)的实际应用
这些材料被点燃 (These materials are lit)
HDRP supports richer materials and provides more control over light scattering, including subsurface scattering. For this project, we used the default Lit Shader for HDRP, with the addition of a clear coat for the paint. We carefully matched the paint color to the available color options for the LC 500 and chose silver because it’s a great color to show off different lighting temperatures. For the interior, we used some measured materials we captured with a new photometry process we’ve developed. As we announced in Berlin, we’re planning to provide a wide range of materials to all customers through the Asset Store later this year.
HDRP支持更丰富的材料，并提供对光散射(包括地下散射)的更多控制。 对于这个项目，我们使用默认的Lit Shader for HDRP，并添加了一层透明的涂料。 我们将油漆颜色与LC 500的可用颜色选项进行了仔细匹配，并选择了银色，因为它是炫耀不同照明温度的好颜色。 对于内部，我们使用了一些经过测量的材料，这些材料是通过我们开发的新的测光过程捕获的。 正如我们在柏林宣布的那样，我们计划在今年晚些时候通过Asset Store向所有客户提供各种材料。
所有正确的行动 (All the right moves)
A convincing video needs high-quality data, but it also needs the right creative concept. Unity’s Cinq-Mars and Myhill collaborated on the camera paths and angles to highlight the sensuous curves and dramatic reflections from the LC 500, showing off both the car and the capabilities of Unity’s new HDRP. All the animations were done with Timeline; Cinemachine cameras were used for the framing and movement, in addition to driving the post-processing with custom profiles on each shot.
令人信服的视频需要高质量的数据，但也需要正确的创意概念。 Unity的Cinq-Mars和Myhill在摄像头的路径和角度上进行协作，以突出LC 500的感官曲线和戏剧性的反射，既展示了汽车又展示了Unity新HDRP的功能。 所有动画均使用时间轴完成； 除通过每张照片的自定义配置文件进行后期处理外，还使用电影摄影机进行取景和移动。
It was easy to cut and blend between cameras with Timeline and Cinemachine
使用Timeline和Cinemachine可以轻松在相机之间进行剪切和融合
For Part I, we didn’t want to merely fly over the car – we wanted a compelling piece that brought tension and mystery, making the car feel alive, as if it is taking you on a journey. Our idea was to create something short and intimate, so we used tight shots and close-ups, never revealing too much to keep the mystery going as the music tempo slowly builds. The car itself is gorgeous, but really shines – pun intended – as it reflects the different High Dynamic Range (HDR) environments. The music plays a big part in bringing the piece together, especially when cut and synced to the beats using Timeline.
对于第I部分，我们并不想只在汽车上空飞行-我们想要一个引人入胜的作品，它带来张力和神秘感，使汽车充满生机，仿佛带您踏上了旅途。 我们的想法是创造一些简短而私密的东西，因此我们使用了紧凑的镜头和特写镜头，在音乐节奏缓慢建立的过程中，从不透露太多内容以保持神秘感。 该车本身很漂亮，但确实闪耀-双关语-因为它反映了不同的高动态范围(HDR)环境。 音乐在将乐曲融合在一起方面起着重要作用，尤其是在使用时间轴将其剪切并与节拍同步时。
For Part II, we wanted to put the car in motion – and not just a simple drive past. We challenged ourselves to create a full-on car commercial that would not only showcase the Lexus from many perspectives but capture it in a wide variety of urban and rural environments and in different times of day/lighting conditions, including in a modern city at dawn, in a dark highway tunnel, and rolling through mountainous and forested regions. To take you on this scenery-rich journey, we tapped numerous packages from the Asset Store (see the full list at the end of the post).
对于第二部分，我们希望让汽车动起来-而不是简单的过去。 我们挑战自我，打造一个全方位的汽车广告，不仅可以从多个角度展示雷克萨斯，而且可以在各种各样的城市和乡村环境中以及白天或采光条件的不同时间(包括在黎明的现代城市)捕捉到雷克萨斯。 ，在黑暗的高速公路隧道中，穿过山区和森林地区。 为了带您进入这个风景秀丽的旅程，我们从Asset Store中挖掘了许多软件包(请参阅文章末尾的完整列表)。
聚光灯和头灯 (Spotlights and headlights)
Proper lighting is the secret to visual quality and starts with understanding the star of the show – the object to be lit. In the case of the Lexus, it was important to bring out key reflections to highlight the character lines and curves of the vehicle. For Part I, we mainly used a garage environment with multiple rectangular area lights to emphasize the curvature of the bodywork. We mixed things up a bit with different light temperatures and, at the end, you can see reflections of a few different environments to demonstrate how they change the character of the car’s appearance.
适当的照明是视觉质量的秘诀，首先要了解表演的明星–被照明的物体。 对于雷克萨斯来说，重要的是要突出关键的反射，以突出车辆的特征线和曲线。 对于第一部分，我们主要使用带有多个矩形区域灯的车库环境来强调车身的曲率。 我们将不同的光线温度混合在一起，最后，您可以看到几种不同环境的反射，以演示它们如何改变汽车外观的特征。
If you look closely in Part I, for example, you will see a forest reflected in the side window of the LC 500. To keep the focus on the car, we used the environments only for lighting and didn’t render the environments in the scene. Lighting was mostly done with a high-res HDRI. The interior lighting used two omnidirectional point lights (one of them animated) to give a specular hit on the Lexus logo right near the end. Check out Part II also for some realistic reflections in the body panels, tail light, and back of the driver-side mirror, as well as headlights and running lights.
例如，如果您仔细看一下第I部分，您会在LC 500的侧窗中看到一片森林。为了将注意力集中在汽车上，我们仅将环境用于照明，而未在环境中渲染环境。现场。 照明大部分是通过高清HDRI完成的。 室内照明使用了两个全向点光源(其中一个是动画的)使雷克萨斯徽标在接近尾声时受到镜面反射。 还要检查第二部分，以了解车身面板，尾灯，驾驶员侧后视镜后部以及前灯和行车灯的真实感。
呈现无语 (Rendered speechless)
For optimal quality, we rendered the frames out of Unity in 4K then downscaled them to 1080 in Davinci Resolve. Naturally, we wanted to publish the best-possible video, so we went with the downscaled version for our reveal.
为了获得最佳质量，我们将帧从Unity中以4K渲染，然后在Davinci Resolve中将其缩小为1080。 当然，我们希望发布最有可能的视频，因此我们选择了缩小版本进行展示。
For post-processing, we used Screen Space Ambient Occlusion, Bloom, Color Grading (using ACES Tone mapping), Depth of Field, Temporal Anti-Aliasing and a tiny bit of Chromatic Aberration. In truth, the post-processing was quite mild, color-grading-wise. The new HDRP renderer works really well, so we didn’t need to do much color or exposure work.
对于后期处理，我们使用了屏幕空间环境光遮挡，光晕，颜色分级(使用ACES色调映射)，景深，时间抗锯齿和一点点色差。 实际上，后处理是相当温和的，颜色分级的。 新的HDRP渲染器工作得很好，因此我们不需要做太多的颜色或曝光工作。
In-editor color grading with Post-Processing Stack v2
使用后处理堆栈v2进行编辑器内颜色分级
在HDRP路线图上 (On the HDRP roadmap)
We’re pleased with what we accomplished here, but there’s still work to be done. We will continue to work on achieving the highest quality real-time visual fidelity possible. HDRP is still in preview, and we learned some great lessons from this project that are being applied to HDRP development. We made improvements in how highly specular surfaces with microfacets interact with high-intensity light sources, and there’s more to come. Expect even better results in the near future as we add new capabilities and more advanced materials.
我们对我们在这里所取得的成就感到满意，但仍有工作要做。 我们将继续努力实现最高质量的实时视觉保真度。 HDRP仍处于预览阶段，我们从该项目中学到了一些可用于HDRP开发的重要经验教训。 我们对具有微面的高镜面表面与高强度光源的交互方式进行了改进，并且还有更多应用。 随着我们增加新功能和更先进的材料，我们期望在不久的将来会有更好的结果。
谢谢你的旅程 (Thanks for the ride)
Of course, putting these videos together was a team effort that extended beyond Unity. We want to thank Toyota Motor Corporation and Lexus for partnering with us on this project, and for designing such a beautiful vehicle. We want to recognize our partners at PiXYZ Software for developing PiXYZ Studio, as well as Light & Shadows for helping with the data preparation process. Finally, we’d like to thank everyone in the community who took the time to send us their comments and questions.
当然，将这些视频放在一起是团队的工作，而不仅仅是Unity。 我们要感谢丰田汽车公司(Toyota Motor Corporation)和雷克萨斯(Lexus)在此项目上与我们合作，并设计了如此漂亮的车辆。 我们想在PiXYZ Software上认可我们的合作伙伴来开发PiXYZ Studio，以及在光影领域帮助数据准备过程的伙伴。 最后，我们要感谢社区中所有花时间向我们发送他们的意见和问题的人。
汽车与运输业的统一 (Unity for Automotive and Transportation)
Accelerate innovation using Unity’s real-time rendering platform, plus PiXYZ’s best-in-class CAD data solutions, to empower your teams. Bring great ideas and products to life. Learn more.
使用Unity的实时渲染平台以及PiXYZ一流的CAD数据解决方案加速创新，从而为您的团队提供支持。 使伟大的想法和产品栩栩如生。 学到更多。
技术摘要 (Technical summary)
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用于第二部分的Unity Asset Store软件包 (Unity Asset Store packages used for Part II)
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翻译自: https://blogs.unity3d.com/2018/07/03/rendering-in-the-fast-lane-real-time-results-for-automotive/
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