gale game_更快获得更多动画：Studio Gale研究Unity如何加快TOMONCAR的制作

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In its quest to release 60 animated episodes of TOMONCAR in a single drop, Studio Gale was determined to streamline processes and make its pipeline more efficient. By switching to Unity for rendering, timelines, and post-processing, the studio cut its production time (and demands on the team) in half.

为了 一口气 发布60集动画片《 TOMONCAR》 ，Studio Gale决心简化流程并提高其制作效率。 通过切换到Unity进行渲染，时间表和后处理，工作室将其制作时间(以及对团队的要求)减少了一半。

“We were looking for a way to reduce rendering time and simplify the overall work process,” says Chungwun Oh, the head of visual development for the TOMONCAR series at Studio Gale. The Korean animation studio turned to Unity to streamline processes, reduce rendering time, increase overall production efficiency and stay ahead in an increasingly demanding industry.

“我们正在寻找一种减少渲染时间并简化整体工作流程的方法，” Studio Gale TOMONCAR 系列 视觉开发负责人Chungwun Oh说 。 韩国动画工作室转而使用Unity来简化流程，减少渲染时间，提高整体制作效率并在日益苛刻的行业中保持领先地位。

The result is TOMONCAR, a series of 60 three-minute animated episodes for young kids, slated for release on YouTube in a single massive, simultaneous batch.

结果是 TOMONCAR ，这是一系列针对幼儿的60分钟的三分钟三集动画，计划一次批量同时在YouTube上发行。

© Studio Gale, CJ ENM All Rights Reserved

©Studio Gale，CJ ENM保留所有权利

Created for children between three and five years old, each 3D-animated episode follows a friendly group of cars, each with its own vibrant personality and unique talents, on an exploring and learning adventure. Studio Gale also used the TOMONCAR characters to create over 100 educational videos, in which the lovable animated cars share a lighthearted educational message to teach small children about numbers, shapes, and colors in a fun and engaging way.

为3至5岁的儿童而设，每个3D动画片段都跟随一群友善的汽车，每辆车都有自己的朝气蓬勃的个性和独特的才华，进行探索和学习的冒险。 Studio Gale还使用TOMONCAR角色制作了100多个教育视频，其中可爱的动画汽车分享了轻松愉快的教育信息，以有趣而引人入胜的方式向幼儿介绍数字，形状和颜色。

The series, co-produced with CJ ENM and Eugene Media, was unveiled at the DIA Festival in Busan in late 2019, with an English-language version due online in mid-2020. 

该系列由CJ ENM和Eugene Media共同制作，于2019年末在釜山DIA电影节上首次亮相，英语版本将于2020年中在线。

© Studio Gale, CJ ENM All Rights Reserved

©Studio Gale，CJ ENM保留所有权利

认识大风工作室 (Meet Studio Gale )

Studio Gale was founded in 2008, and it had global aspirations from the very start.

Studio Gale成立于2008年，从一开始就具有全球抱负。

Founded by Seoul-based animation giant ICONIX Co., Ltd., Studio Gale’s large body of poppy and super-cute 3D content includes its parent company’s popular titles Pororo the Little Penguin (2008) and the Tayo the Little Bus (2009) series for kids, among others. Check out Pororo and Tayo.

Studio Gale由总部位于首尔的动画巨头ICONIX Co.，Ltd.创立，其庞大的罂粟和超可爱3D内容包括其母公司的热门作品《小企鹅Pororo》(2008年)和《小巴士Tayo》(2009年)。孩子们，等等。 看看Pororo和Tayo 。

One of its most popular releases is a bold slapstick comedy series called Grami’s Circus Show (2013), about a group of wacky big top lions and their ringmaster. The series garnered awards nods and a worldwide audience – including several seasons on Netflix in the U.S.

它最受欢迎的版本之一是一个大胆的闹剧喜剧系列，名为Grami's Circus Show(2013)，讲述一群古怪的大狮子和他们的表演大师。 该系列节目获得了奖项的提名，受到了全世界的关注-包括在美国Netflix上的几个赛季

更多内容，更快 (More content, faster)

Even with its strong track record producing kids’ entertainment, Studio Gale knew that it would need to integrate new tools and processes to complete and release so many episodes of TOMONCAR all at once. Specifically, the studio wanted to shave time off the rendering process and streamline the pipeline for post-processing.

尽管Studio Gale拥有创造儿童娱乐活动的良好记录，但它仍然需要集成新工具和流程来一次完成和发行许多TOMONCAR节目。 具体来说，工作室希望节省渲染过程的时间并简化后处理流程。

By pairing Unity’s real-time platform with its existing systems, the small 25-person team achieved this massive undertaking, even reducing the usual production timeline by half.  

通过将Unity的实时平台与其现有系统配对，这个由25人组成的小型团队实现了这项艰巨的任务，甚至将通常的生产时间缩短了一半。

“Using traditional methods it could take about two months to create a scenario, design, animation, lighting and more – and up to three months for one full episode,” says Oh. “However, using Unity, the main animation production process takes about a month, and we could finish each episode in about six weeks.”

“使用传统方法制作场景，设计，动画，灯光等可能需要大约两个月的时间，而一整集最多可能需要三个月的时间，” Oh说。 “但是，使用Unity时，主要的动画制作过程大约需要一个月，我们可以在大约六周的时间内完成每一集。”

© Studio Gale, CJ ENM All Rights Reserved

©Studio Gale，CJ ENM保留所有权利

Also, he says, additional render farms were no longer needed, and rendering time was significantly reduced. Using Unity, three minutes of 4K could be rendered on one computer in one hour. 

他还说，不再需要其他渲染场，并且渲染时间大大减少了。 使用Unity，可以在一小时内在一台计算机上呈现三分钟的4K。

This enabled immediate feedback so the team could make revisions more quickly, improving the overall quality of the resulting content, Oh says. The reduced post-processing workload also reduced the demands on the team’s time, freeing up valuable members to contribute to other projects. 

Oh表示，这可以立即获得反馈，因此团队可以更快地进行修订，从而提高所生成内容的整体质量。 减少的后处理工作量还减少了对团队时间的需求，从而腾出了宝贵的成员来参与其他项目。

定制工具 (Customized tools)

Studio Gale opted to start implementing the Unity real-time platform into its pipeline slowly, then quickly ramped up their integration of Unity workflows once the team saw the potential.

Studio Gale选择开始在其管道中缓慢实施Unity实时平台，然后在团队看到潜力后Swift提高对Unity工作流的集成。

First, they tested the pipeline over a six-month period with traditional DCC assets from Maya, which they use for modeling, some animation, and storyboarding, then sending data to Unity to create timelines and perform post-processing.

首先，他们使用Maya的传统DCC资产在六个月的时间内测试了管道，将其用于建模，一些动画和情节提要，然后将数据发送到Unity以创建时间表并执行后处理。

Using Unity’s extensive development capabilities, they created a custom tool they called an “Up Down Loader,” allowing teams to smoothly share work data with one another and improving their version management.

他们利用Unity的广泛开发功能，创建了一个称为“ Up Down Loader”的自定义工具，使团队可以彼此平滑地共享工作数据并改善其版本管理。

Studio Gale also created a second custom tool, the Sequence Maker, to automate building the timelines of all 60 episodes, handling 60 cuts per episode. Manually setting every clip on each timeline would require a huge investment of repetitive manual work, says Oh, but he estimates that “automating the timeline task with Unity increased the project’s production efficiency tenfold.”

Studio Gale还创建了第二个自定义工具Sequence Maker，以自动构建所有60集的时间表，每集处理60个剪辑。 哦说，在每个时间轴上手动设置每个剪辑将需要大量的重复性手动工作投资，但他估计“使用Unity自动化时间轴任务可以使项目的生产效率提高十倍。”

© Studio Gale, CJ ENM All Rights Reserved

©Studio Gale，CJ ENM保留所有权利

扩展实时平台 (Expanding the real-time platform)

Going forward, Studio Gale wants to move more of its previz work into Unity as well, and replace 2D storyboards with 3D ones. The studio is still in the R&D phase when it comes to using Unity for pre-visuals such as 3D storyboarding, but expects that animators will be able to visualize their scenarios more intuitively and reduce revision time on the storyboard phase significantly.

展望未来，Studio Gale希望将更多的预览工作也转移到Unity中，并用3D替换2D故事板。 当使用Unity进行3D故事板等预视时，工作室仍处于研发阶段，但希望动画师能够更直观地可视化其场景，并大大减少故事板阶段的修订时间。

“With this project created in partnership with Unity, Studio Gale has become the first studio in Asia to create an animation series with Unity,” says Chang Hwan Shin, the CEO of Studio Gale. “We believe that there’ll be more advantages yet to discover as we move on with our project.”

Studio Gale首席执行官Chang Hwan Shin说：“通过与Unity合作创建的这个项目，Studio Gale已成为亚洲第一个与Unity一起制作动画系列的工作室。” “我们相信随着项目的进行，还有更多的优势尚待发现。”

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Discover more on how you can use Unity for short films and episodic TV series on our solutions page. 

在我们的解决方案页面上了解更多有关如何将Unity用于短片和情节电视连续剧的信息。

翻译自: https://blogs.unity3d.com/2020/02/13/more-animation-faster-studio-gale-on-how-unity-accelerated-tomoncar-production/

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