陈鸽：正统或异端_异端的制作：环境艺术

陈鸽：正统或异端

My name is Plamen ‘Paco’ Tamnev, and in the last couple of years, I’ve had the pleasure to be a part of the Unity Demo Team as a 3D character/environment artist. Some of the previous projects I’ve worked on include Book of the Dead, Adam, and The Blacksmith. In this post, I will explain the creative process behind some of the environment art in The Heretic project. 

我的名字叫 Plamen'Paco'Tamnev ，在过去的几年中，我很高兴以3D角色/环境艺术家的身份加入Unity演示团队。 我之前从事的一些项目包括 《亡者之书》 ，《 亚当 》和 《铁匠》 。 在这篇文章中，我将解释 “异端” 项目中 某些环境艺术背后的创作过程 。

I will focus mainly on the environment for the second part of the film – what we call “the throne room” and “Morgan’s chamber” since I had a chance to work on these environments from the concept to the final execution of the scene. If you want to know more about other parts of the project or have questions about The Heretic, I highly recommend you join my team for a Meet the devs live session on Tuesday May 12. You can add it to your calendar through this link. We will have a live Q&A in this session, so if you have any questions you’d like us to answer you can drop them in this forum thread.

我将主要关注电影第二部分的环境-我们所谓的“宝座室”和“摩根大室”，因为我有机会在从概念到场景的最终执行这些环境中进行工作。 如果您想了解更多有关项目其他部分的信息，或者对“异端邪说”有疑问，我强烈建议您加入我的团队参加 5月12日星期二 的 Meet the devs现场会议 。您可以通过 此链接 将其添加到您的日历中 。 在本次会议中，我们将进行实时问答，因此，如果您有任何问题要我们回答，可以将其放在此 论坛主题中 。

演示地址

I was very excited to get back into environment art, since for the last project – Book of the Dead as well as for the first part of The Heretic, I’ve worked mostly on the characters.

我重新回到环境艺术领域感到非常兴奋，因为在上一个项目–亡者之书以及《异端》的第一部分中，我主要从事角色创作。

I had a lot of freedom to experiment with different ideas within the context of the film. At the same time, we had to be careful as having too many options isn’t always a good thing. In my opinion, sometimes the best creative work comes out of constraints and how we decide to work around them.

我有很多自由可以在电影的背景下尝试不同的想法。 同时，我们必须小心，因为太多的选择并不总是一件好事。 我认为，有时最好的创意工作是出于约束条件，以及我们决定如何解决这些约束条件。

After some initial brainstorming with our director Veselin Efremov, I started thinking about how to narrow the seemingly overwhelming amount of creative options that I had. I started by trying some ideas that I didn’t think would make it into the project. I knew that this would help me narrow down our options and my experience over the years has taught me that sometimes it’s just as important to find out what doesn’t work as it is to land on an idea that does.

在与我们的导演Veselin Efremov进行了初步的头脑风暴之后，我开始思考如何缩小我似乎拥有的看似压倒性的创意选择数量。 我首先尝试了一些我认为不会融入项目的想法。 我知道这将帮助我缩小选择范围，而且我多年的经验告诉我，有时候找出不可行的事物与扎根于可行的思想同等重要。

Some initial references that we gathered during the brainstorming for what type of elements could work. For the full reference board go to Pinterest.

我们在集思广益期间收集了一些最初的参考资料，以了解哪种类型的元素可以工作。 有关完整的参考板，请访问Pinterest 。

At first, I was mostly throwing stuff against the wall, trying to see what sticks. We kept some of the elements from those experiments pretty much until the end of the project. Most of my initial ideas were a bit too organic and suggestive, others had an almost cave-like feeling to them.

刚开始时，我主要是把东西扔在墙上，试图看看有什么问题。 在项目结束之前，我们几乎将这些实验中的某些元素保留下来。 我的大多数最初想法有些过于有机和富于启发性，而其他想法对他们却几乎像洞穴一样。

Then I began to experiment with arrays and symmetries. A small kitbash formed that I could base different shapes and ideas on. These experiments helped me out with the initial blockout of the scene quite a bit. They filled up the previously empty canvas so that we could get started working in context.

然后，我开始尝试数组和对称性。 我形成了一个小的基布巴什，可以根据其不同的形状和思想。 这些实验帮助我解决了最初的场景阻塞问题。 他们填满了以前是空的画布，以便我们可以开始在上下文中工作。

Exploring different artistic directions helped the director and animation director identify possibilities for the cameras for the scene. Later on, I came back to the actual design and asset creation.

探索不同的艺术方向有助于导演和动画导演确定场景相机的可能性。 后来，我回到了实际的设计和资产创建。

The earlier experiments that I did were pretty much using only the kitbash set. The rest of the space was blocked out with very simple shapes and primitives with tiled materials and textures using the Triplanar UVs in the HDRP Lit shader.

我所做的早期实验几乎只使用kitbash套件。 使用 HDRP Lit着色器中 的Triplanar UV，可以使用非常简单的形状和原始图元，并使用平铺的材质和纹理将其余空间封闭 。

Example of one of the very first experiments for the scene, those were a lot more abstract compared to the later versions.

场景的第一个实验 范例 之一，那些有更多抽象相比，更高版本。

Most of them used at least one detail texture on top as well for close up detail. This helped us to quickly bring the assets to a presentable state with minimal effort.

他们中的大多数人也至少在顶部使用了一个细节纹理来关闭细节。 这有助于我们以最小的努力将资产快速恢复到可展示的状态。

Experimenting with lighting was a bit of a double-edged sword. On one side, it helped me to sell the specific design that I was currently showing, but on the other it was difficult to anticipate how the scene will look under drastically different lighting conditions and camera angles. 

进行照明实验有点像一把双刃剑。 一方面，它帮助我出售了当前正在展示的特定设计，但另一方面，很难预测在完全不同的光照条件和摄像机角度下场景的外观。

As you can see, the design had morphed a lot as we got further into the project. 

如您所见，随着我们对项目的进一步深入，设计发生了很大变化。

In hindsight, I should have committed to a specific concept a bit earlier. That is probably my main takeaway from this project. Even though I’m actually happy with how the scene came out in the end, I also think that each of the previous versions could have worked too. Sometimes it’s just too difficult to stay objective when you look at something for too long while still adding some new ideas to the mix.

事后看来，我应该早些时候致力于一个特定的概念。 那可能是我从这个项目中获得的主要收获。 尽管我实际上对场景的最终结果感到满意，但我也认为以前的每个版本也可以使用。 有时，当您长时间观察某件事时仍然很难保持客观性，同时又会添加一些新的想法。

Here are some more iterations of the scene that are a bit closer to what we ended up with.

这是场景的更多迭代，与我们最终得到的场景有点相似。

This is one of the last concepts that I did for the throne room before I started focusing more on the execution and refining for the various shots that we needed.

这是我在王座室上所做的最后一个概念之一，在我开始更加专注于执行和完善所需的各种镜头之前。

For those scenes I made temporary lighting that uses only the standard Unity lights and some reflection probes. The final lighting in the movie was made by the director and also the setup was very different. Initially, I set this up more like a typical game level, with the purpose to present the concepts and give some potential ideas. The final lighting setup was built per shot.

对于这些场景，我制作了仅使用标准Unity光源和一些反射探针的临时照明。 电影中的最终照明是由导演制作的，设置也大不相同。 最初，我将其设置为更典型的游戏级别，目的是介绍概念并提出一些可能的想法。 最终的照明设置是按镜头拍摄的。

We wanted to have as many opportunities for interesting camera angles as possible for the director to be able to choose from and not be constrained by having just one or two good angles for a specific section of the scene.

我们希望为导演提供尽可能多的机会来拍摄有趣的摄影机角度，以便导演可以从中进行选择，而不会因为场景的特定部分只有一个或两个良好的角度而受到限制。

That’s why I didn’t want to overly focus on a certain element or camera angle. I have to admit that this is easier said than done. When you think something looks good from a certain angle, it could be quite tempting to overwork it for the shot that you personally prefer.

这就是为什么我不想过分关注某个元素或摄像机角度的原因。 我必须承认这说起来容易做起来难。 当您从某个角度认为某事物看起来不错时，可能会很想为自己喜欢的镜头过度劳累。

I tried adding a bit more verticality to the scene with some visual elements. See, for example, the section under the floors. Together with various other elements, they add to the perceived depth of the whole environment, even though the character is walking on a flat plane. This also gave us some additional opportunities to add light sources for certain shots.

我尝试通过一些视觉元素为场景添加更多的垂直度。 参见，例如，地板下的部分。 即使角色在平坦的平面上行走，它们也会与其他各种元素一起增加整个环境的感知深度。 这也为我们提供了一些额外的机会来为某些镜头添加光源。

The final design changed quite a bit in comparison to the earlier versions, but some elements, like human figures and the geometric arrays, made it all the way from the initial experiments to the final project.  

与早期版本相比，最终设计发生了很大变化，但是从人体实验到最终项目，从人体模型和几何阵列等一些元素一直到完成。

The rotating element underneath the glass in the middle of the chamber, for example, was an important part of many earlier iterations of the scene. It served as another important element that added depth. I also see it as the beating heart of the throne room.

例如，室内中间玻璃下方的旋转元件是场景中许多早期迭代的重要组成部分。 它是增加深度的另一个重要元素。 我也将其视为宝座室的跳动心脏。

I didn’t want to rely too much on assets with custom UVs and textures, but instead wanted to use tiled materials and textures whenever possible. In many cases, I used the triplanar mapping feature of the Lit shader instead of having to manually unwrap each individual asset. For additional details I used trim sheet textures and some geometric decals where needed.

我不想过分依赖具有自定义UV和纹理的资源，而是想尽可能使用平铺的材料和纹理。 在很多情况下，我使用了Lit着色器的三面贴图功能，而不必手动解开每个资产。 有关其他详细信息，我在需要的地方使用了修剪表纹理和一些几何贴花。

A very essential part of bringing everything together without using too many custom assets and textures was the extensive use of the Unity Decal Projector. It helped me quickly iterate on the scene in a non-destructive way and they were great to add natural wear and tear to the scene. That also helped a lot with bringing a more hand crafted feeling to the assets, something that is easy to be lost when there are too many tiled materials.

在不使用太多自定义资源和纹理的情况下将所有内容组合在一起的一个非常重要的部分是 Unity Decal Projector 的广泛使用 。 它帮助我以一种非破坏性的方式在场景中快速迭代，它们很好地增加了场景的自然磨损。 这也给资产带来了更加手工的感觉，这很有帮助，当瓷砖材料太多时，这些东西很容易丢失。

Here you can see the throne room from slightly different angles, as it looks in the Unity Editor. In a way, this was supposed to be the heart of the throne room.

在这里，您可以从略有不同的角度看到宝座室，就像在Unity编辑器中一样。 在某种程度上，这应该是宝座室的核心。

Another alternative camera angle example.

另一个替代相机角度示例。

Screenshots from the scene view in the Unity Editor during the last stages of production for the film.

电影制作的最后阶段，在Unity Editor中从场景视图中截取屏幕截图。

The praying worshippers are based on a concept design by Georgi Simeonov.

祈祷的朝拜者基于Georgi Simeonov的概念设计。

For the part after the throne room itself, when we’re about to meet Morgan, we knew that we wanted to have a bridge and show the outside facade of the throne room. This went through some changes as well, but it was almost exclusively prototyped with the same set of geometries as before.

关于宝座室本身之后的部分，当我们要与摩根见面时，我们知道我们想要一座桥，并展示宝座室的外立面。 这也经历了一些更改，但几乎完全是使用与以前相同的几何集进行原型制作的。

In those early versions, it felt a bit more claustrophobic and confined than what we were going for, so for the next iterations of the design, I removed everything except the main building.

在那些早期版本中，它感觉比我们想要的更加幽闭恐怖和局限性，因此在设计的下一个迭代中，我删除了除主体建筑之外的所有内容。

Even though the outside area changed a lot, the general look of the building and the bridge are still somewhat similar to what we ended up with in the final version. Again, I relied almost exclusively on the kitbash set that I did previously for the interior as well, plus a lot of decals.

即使外部区域发生了很大变化，建筑物和桥梁的总体外观仍与我们最终版本中的外观有些相似。 再说一次，我几乎完全依赖 以前在内部装饰中 使用的Kitbash套装， 以及很多贴花。

Screenshot from the Unity editor of the finished bridge area.

来自完成的桥梁区域的Unity编辑器的屏幕截图。

The environment around Morgan came together surprisingly quickly. I experimented with some static meshes beforehand, but it never felt quite right.  We wanted the space to feel more distinct, as it’s not just an extension of the rest of the environment. With the help of our tech artist Adrian Lazar, who made a particle system that was very easy to use and to experiment with, I started blocking out the environment around Morgan. I started out by playing around with color and motion. Just  trying to see how much we can get away with by scaling, getting as much use as possible from the two types of particle systems in the short amount of time that we had for that particular part of the project.

摩根周围的环境令人惊讶地Swift汇聚在一起。 我事先尝试了一些静态网格物体，但是感觉从来都不对。 我们希望空间感觉更加独特，因为它不仅是其余环境的延伸。 在我们的技术艺术家阿德里安·拉扎尔(Adrian Lazar)的帮助下，他制作了一个非常易于使用和试验的粒子系统，我开始封锁摩根周围的环境。 我从玩转颜色和动作开始。 只是想看看我们可以通过缩放获得多少收益，在我们用于项目特定部分的短时间内，可以从两种类型的粒子系统中获得尽可能多的利用。

Screenshot from the Unity editor.

来自Unity编辑器的屏幕截图。

For the environments in the first half of the film, we worked together with Georgi Simeonov, Treehouse Ninjas, and Julien Heijmans. This was a very different approach, and we relied much more on custom assets. Treehouse Ninjas and Julien Heijmans helped us with these, while Georgi Simeonov did all of the concepts for the spaces there and helped with building some of the scenes directly in the Editor.

对于电影上半部分的环境，我们与 Georgi Simeonov ， Treehouse Ninjas 和 Julien Heijmans合作 。 这是一种非常不同的方法，我们更多地依赖自定义资产。 Treehouse Ninjas和Julien Heijmans帮助我们解决了这些问题，而Georgi Simeonov负责了那里空间的所有概念，并直接在编辑器中帮助构建了一些场景。

For a large part of the production The Heretic had the codename The Cave, which became an inside joke for the team since we barely had a cave in it at the end. That codename came from the initial idea that we had for the space where the lost city was located, it was supposed to be under a vast cave-like structure, but we eventually decided to try out an exterior vista that actually worked better in the end.

在大部分作品中，《异教徒》的代号为《洞穴》，这对团队来说是一个玩笑，因为最后我们几乎没有洞穴。 这个代号来自最初的想法，我们最初是为失落的城市所在的空间而设计的，它原本应该是在一个巨大的类似洞穴的结构下，但是我们最终决定尝试一个外观效果更好的外部景观。

Screenshots from the first half of the film.

电影上半部分的屏幕截图。

Work in progress shot of the corridor.

正在进行中的走廊的镜头。

The finished corridor in the film.

电影中的成品走廊。

I’ve had a lot of fun on this project and even though we had some tough times, it was an amazing journey on which I learned so much. The freedom I have on the Demo team as an artist is hard to come by in our industry and I also had an opportunity to work side by side with some amazingly talented people. 

我在这个项目上获得了很多乐趣，尽管我们遇到了一些艰难的时期，但那是一次了不起的旅程，我学到了很多东西。 在演示团队中，我作为艺术家的自由很难在我们的行业中获得，我也有机会与一些才华横溢的人并肩工作。

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Keep an eye out for more blog posts and videos about The Heretic on our channels, and bring your questions to my team’s Meet the devs session on Tuesday. We’ll have a special announcement for you, so tune in live to be the first to know!

请 随时关注我们频道上 更多有关 The Heretic的 博客文章和视频 ，并将您的问题带到我团队的 星期二 的“ 遇见开发者”会议 上。 我们会特别为您宣布 ，敬请关注第一个直播！

翻译自: https://blogs.unity3d.com/2020/05/08/making-of-the-heretic-environment-art/

陈鸽：正统或异端