首先的亚当和末后的亚当
When we showed the Adam demo for the first time at GDC last year, everyone was blown away by the look and quality achieved with Unity. But soon, on everyone’s lips, including my hairy ones, was the question: “How did they do it?”. So I decided to prepare a live demo explaining how to recreate one entire scene of Adam from an empty scene.
去年 我们 在GDC上首次 展示 Adam演示 时，每个人都对Unity的外观和质量感到震惊。 但是很快，在每个人的嘴唇上，包括我多毛的嘴唇，都出现了一个问题：“他们是怎么做到的？”。 因此，我决定准备一个现场演示，解释如何从一个空的场景重新创建亚当的整个场景。
I gave this talk at Unite Los Angeles 2016, which you can watch below, and this blog post gives most details about it.:
我在 Unite Los Angeles 2016上 做了这个演讲 ，您可以在下面观看，这篇博客文章提供了有关此主题的大多数详细信息。
资产 (Assets)
The first question I asked myself, was what do the assets look like in normal conditions. At the time I was working with the internal repository, while the Demo team was hard at work to release some nicely wrapped up asset packages containing indoor and outdoor environments and characters which would allow anyone to play around with Adam assets.
我问自己的第一个问题是，正常情况下资产的外观如何。 当时，我正在使用内部存储库，而演示团队则在努力 发布一些包装精美的资产包，其中包含室内和室外环境以及人物 ，任何人都可以使用Adam资产。
Clearly, when put in a new empty project, the raw assets did not look as in the Adam demo! The project had to be first setup the proper way (deferred rendering, linear rendering, HDR camera) and some reflection probes added to get the “real material feeling”. This was a good lesson on how to work collaboratively with PBR assets, the importance of cross-industry compatible materials, and how key is lookdev tools in this process.
显然，当放入一个新的空项目时，原始资产看起来不像亚当演示中那样！ 必须首先以适当的方式( 延迟渲染 ， 线性渲染 ， HDR摄像机 ) 设置该项目 ， 并添加一些反射探针以获取“真实的材质感”。 这是关于如何与PBR资产协同工作， 跨行业兼容材料 的重要性以及 在此过程中 lookdev工具的 关键是 一个很好的课程 。
In these conditions one could finally really appreciate the quality of the assets creation and their design.
在这种情况下，人们最终可以真正意识到 资产创建 及其 设计 的质量 。
视觉特效 (VFX)
Adam’s look is the combination of all visual effects used, from nice particle effects, to vertex cache animation, baked physical simulation and an entire custom volumetric fog and lighting system. Demo team’s VFX Artist Zdravko Pavlov explains in detail his work process in the dedicated blogpost about VFX in Adam. The great news was that by Unite LA time, most of these systems were already publicly available:
Adam的外观是所使用的所有视觉效果的组合，从漂亮的粒子效果到顶点缓存动画，烘焙的物理模拟以及整个自定义的体积雾和照明系统。 演示团队的VFX艺术家Zdravko Pavlov在有关Adam的VFX的专门博客中详细说明了他的工作过程。 令人欣慰的是，到了Unite LA时代，这些系统中的大多数已经公开可用：
The particle effects used the built-in version of Shuriken and make intense use of flipbooks. The image sequences for the fog were created with Chaos Group’s Phoenix FD plugin for 3DS Max and rendered with V-Ray. Initially they were put together in Adobe After Effects, but as of Unite LA, the VFX toolbox developed by our internal VFX artist was made available and open source. It allows a much easier management and processing of the image sequences. We also recently released a package of ready-to-use fires, smokes, and explosions sequences!
粒子效果使用了Shuriken的内置版本，并大量使用了活页簿。 雾的图像序列是用Chaos Group的Phoenix FD插件(用于3DS Max)创建的，并使用V-Ray渲染。 最初，它们是在Adobe After Effects中组合在一起的，但是从Unite LA开始， 由我们内部VFX艺术家开发 的 VFX工具箱 就可以使用并且是开源的。 它可以更轻松地管理和处理图像序列。 我们最近还发布 了现成的火灾，烟尘和爆炸序列包 ！
The alembic plugin used in Adam to replay the cloth ripping simulation is available and open source as well. Unity Japan who developed it is now working on a USD importer/exporter also open source.
亚当使用 的 Alembic插件 可以重放布料撕裂仿真，并且 该 插件 也是开源的。 开发它的Unity Japan现在正在对 USD进出口商进行 开源。
Wires, cloth, and fractures requiring complex and high fidelity physical simulations were realised thanks to the CaronteFX plugin on the Asset Store. Sebastian’s character package contains a CaronteFX player showing how this baked simulation runs on his clothing.
借助Asset Store上的CaronteFX插件，可以 实现需要复杂且高保真度物理模拟的电线，布料和断裂 。 Sebastian的角色包中 包含一个CaronteFX播放器，该播放器显示了此烘焙模拟如何在他的衣服上运行。
The volumetric lighting package, developed for “Adam” by Demo team’s GFX programmer Robert Cupisz, is now publicly available. It includes fog lights, soft shadows and volumetric shadows, noise and wind simulation that makes most of the indoor scene atmosphere. More details about it can be found in Robert’s talk at Unite Europe 2016.
的 体积照明封装件 ， 研发的 歼 öR“A D A M”由演示球队的GFX程序员罗伯特Cupisz，I S N 2 O 值WPùB1 中 I C 升 Y A V A I L A B L E。 我 T包括雾灯，柔和的阴影和体积阴影，噪声和风力仿真装置，使得大部分的室内场景的气氛。 关于它的更多详细信息，可以在 2016年欧洲联合会的Robert演讲中 找到 。
灯光 (Lighting)
The lighting is probably what is the most specific to a short versus a classic game. Just like in a movie, when doing a cinematic sequence, the lighting artist can light each shot in his own way, placing lights to get the best shadows and highlights for this camera angle in particular. In my talk I wanted to show and explain how the lights were placed in one of the shots. Some shots can utilize many lights to get nice lighting on the walls, arms, hands, face, eyes, back of the head, chest, body shadows, etc.
对于经典游戏而言，灯光可能是最特别的。 就像在电影中一样，当执行电影序列时，照明艺术家可以以自己的方式照亮每张照片，放置灯光以获得最佳的阴影和高光，尤其是在此摄影机角度上。 在我的演讲中，我想展示和解释如何在其中一张照片中放置灯光。 某些镜头可以利用许多光线在墙壁，手臂，手，脸，眼睛，头后部，胸部，身体阴影等上获得良好的照明。
The lighting is particularly improved in Adam thanks to the new real time area light technology presented by Unity at Siggraph 2016. Our demo team made the first implementation of this research and used it in production. Working with a light which does not come from a point, but from a surface, produces much more realistic results. Apart from the most obvious – sharp specular highlights having the proper rectangular shape as the light source, there’s also a more subtle, yet arguably more important effect. That effect comes from replacing point lights, which don’t exist in real world and we’re not used to seeing materials affected by them, with area lights producing a much more familiar material response, increasing perceived image quality. Combined with the PCSS soft shadows, volumetric shadows, tube lights and fog lighting from the volumetric lighting package, I could recreate the exact same scene as presented in Adam in a few minutes.
Unity在Siggraph 2 0 1 6展示 了 新的实时区域照明技术， 从而特别改善了Adam的照明 。我们的演示团队首次实施了这项研究，并将其用于生产中。 使用不是从某个点而是从一个表面发出的光来工作，会产生更加逼真的结果。 除了最明显的高光反射高光(具有适当的矩形形状作为光源)之外，还有更细微但可以说更重要的效果。 这种效果来自替换点光源，而点光源在现实世界中并不存在，而且我们不习惯看到受它们影响的材质，而区域灯会产生更加熟悉的材质响应，从而提高了感知的图像质量。 结合 体积照明组件中 的PCSS柔和阴影，体积阴影，管状照明和雾状照明 ，我可以在几分钟内重新创建与Adam相同的场景。
后期处理 (Post processing)
Finally, just like any movie production, compositing and camera effects are the heart of cinematography. During Adam production, the team had to deal with various effects from various sources (standard assets, cinematic effects, Keijiro’s effects, asset store, custom TAA with an alpha version of Unity supporting motion vectors…) to get the final result. The Demo team also developed its own tone mapping and color grading effect, as well as motion blur.
最后，就像任何电影制作一样，合成和照相机效果是摄影的核心。 在Adam制作期间，团队必须处理来自各种来源的各种效果( 标准资产 ， 电影效果 ， Keijiro的效果 ， 资产存储 ， 具有支持 运动矢量 的Unity的Unity版本的 自定义TAA …)才能获得最终结果。 演示团队还开发了自己的色调映射和颜色分级效果以及运动模糊。
Moreover, the right order and the right effect setup had to be mixed to achieve good result.
Explaining all this would have taken an entire talk (which I did a few weeks before!).
此外，正确的顺序和正确的效果设置必须混合在一起才能达到良好的效果。
解释所有这些内容将花费整个演讲的时间( 我几周前就做了！ )。
But fortunately, we released a new post processing stack, assembling together most of the needed effects with latest improvements (eg: HDR color grading) and in an artist friendly way. In a few clicks one can enable temporal anti-aliasing which gives this very sharp image in the Adam demo, motion blur and depth of field to get the feeling that it was shot through a real camera, and tone mapping and color grading to get the cinema look.
但幸运的是，我们发布了一个 新的后期处理堆栈 ，将大多数所需的效果与最新改进(例如：HDR颜色分级)组合在一起，并且以艺术家友好的方式组合在一起。 只需单击几下，便可以启用时间抗锯齿功能，从而在Adam演示中获得非常清晰的图像，运动模糊和景深，从而获得通过真实相机拍摄的感觉，并进行色调映射和颜色分级以获得看电影。
On top of that, grouping effects together allowed to use minimal number of passes and hence great gain of performances… so that it could all run on my MacBook Pro 2014!
最重要的是，将效果分组在一起就可以使用最少的通过次数，因此获得了巨大的性能……因此它们都可以在我的MacBook Pro 2014上运行！
结论 (Conclusion)
What used to require a lot of additional work and features from various sources at the time when the Adam demo was originally produced, is now possible for anyone to achieve with only publicly available assets and Unity 5.4.1.
在最初制作Adam演示时，过去需要从各种来源获得大量额外工作和功能的现在，任何人都可以仅使用公开可用的资产和 Unity 5.4.1 来实现 。
What I did not have time to show, was how to make all this come together as one big sequence and export it as a video. First, most animations for characters and cameras came from motion capture and camera tracking. So for my talk I decided to take advantage of the publicly released characters being Humanoid to do the character layouting using Inverse Kinematics in Editor. Second, at Unite LA, our sequencer (Timeline) was still in private alpha, but will available publicly in the coming weeks.
我没有时间来展示如何将所有这些作为一个大序列组合在一起并将其 导出为视频 。 首先，角色和摄像机的大多数动画来自运动捕捉和摄像机跟踪。 因此，在我的演讲中，我决定利用已公开发布的 人形 角色来使用 Editor中的Inverse Kinematics进行 角色布局 。 其次，在Unite LA，我们的音序器(时间轴)仍处于私人Alpha状态，但将在未来几周内公开提供。
I hope to make a full cinematic talk one day, to inspire more people to make films and cinematics with Unity. “Creating a short film from an empty scene in one hour”. Maybe another talk for one of the 2017 Unites!
我希望有一天能进行一场完整的电影讲座，以激发更多人 使用Unity进行电影和电影制作 。 “在一小时内从一个空旷的场景制作短片”。 也许是2017团结之一的另一个演讲！
翻译自: https://blogs.unity3d.com/2017/01/11/adam-step-by-step/
首先的亚当和末后的亚当
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