unity广告投放技巧_是否需要快速投放动画广告系列？ 只要在Unity中做到

unity广告投放技巧

Find out how a creative agency used Unity to land an ad campaign for Nike and produce four heart-pumping video spots featuring animated, video game-style versions of top athletes in just one month.

了解一家创意机构如何使用Unity来为耐克公司进行广告宣传，并在短短一个月内制作出四个令人心动的录像带，其中包括动画，视频游戏风格的顶尖运动员版本。

The artists at Nashville-based creative agency IV Studios aren’t just advertising pros; they got game, too. That’s how they were able to land the newest four-spot Nike sneaker drop ad campaign in April – and wrap it in May – using Unity.

位于纳什维尔的创意代理商IV Studios的艺术家不仅是广告专业人士，还包括广告专业人士。 他们也有比赛。 这样，他们便可以使用Unity在4月发布最新的四点耐克运动鞋投放广告活动，并在5月完成包装。

Zachary Dixon is Co-Founder and Executive Creative Director of IV Studio, a US-based animation studio in Nashville, Tennessee.

Zachary Dixon是IV Studio(位于田纳西州纳什维尔的美国动画工作室)的联合创始人兼执行创意总监。

He and Samuel Cowden cofounded IV in 2012, with the creative business covering both video production and animation. (And a little bit of game development, too.) They soon realized that animation was where they wanted to focus as a studio, and since then, they’ve had the opportunity to work with tons of amazing clients like Reddit, Amazon, Netflix, Bad Robot, the Cleveland Browns – and now Nike.

他和塞缪尔·考登(Samuel Cowden)于2012年共同创立了IV，其创意业务涵盖视频制作和动画。 (还有一些游戏开发。)他们很快意识到动画是他们想要作为工作室集中精力的地方，从那时起，他们就有机会与Reddit，Amazon，Netflix等众多出色客户合作，坏机器人，克里夫兰布朗队-现在是耐克。

We caught up with Zac following the Annecy Festival of animation, where he was Unity’s guest panelist in our online session, Join the Real-time Animation Generation with Unity. Zac had a lot to say about using Unity for a video campaign his studio, along with the brand’s ad agency, produced for Nike’s recent sneaker launch.

在阿讷西动画节之后，我们赶上了Zac，在我们的在线课程“与Unity一起加入实时动画生成”中 ，他是Unity的嘉宾小组成员。 扎克(Zac)关于使用Unity进行视频广告活动有很多话要说，他的工作室以及该品牌的广告代理商是为耐克最近的运动鞋发布制作的。

Take a minute to watch the making of the Nike avatar ads, all made with Unity.

花一点时间观看所有由Unity制作的Nike头像广告的制作过程。

演示地址

尝试新工具的游戏 (Game to try new tools)

Zac’s studio does all different kinds of animations, with a lot of experience in frame-by-frame animation and motion graphics design-driven animation, all the way to 3D characters, high-end CG work.

Zac的工作室制作各种动画，在逐帧动画和运动图形设计驱动的动画方面一直拥有丰富的经验，一直到3D角色，高端CG工作。

“When a client comes to us, we’re able to look at a job, look at the problem that they’re trying to solve. We look at the message they’re trying to communicate and pick the right style, or combine multiple styles, to really suit the brief.”

“当客户来找我们时，我们可以看工作，看他们要解决的问题。 我们会查看他们正在尝试传达的信息，以选择正确的样式，或者将多种样式组合在一起，以真正适合简短的要求。”

A couple years back, the studio made their first video game in Unity and learned everything about how to use it on Unity Learn. “And from there we just started to really like the platform – really, really enjoy it.”

几年前，该工作室在Unity中制作了他们的第一个视频游戏，并在Unity Learn上学习了有关如何使用它的所有知识。 “从那时起，我们才开始真正喜欢该平台–真的，真的很喜欢它。”

In the world of traditional animation, it can take an hour to render a single frame; video game engines do it at 60 frames per second – or faster. “It’s a whole new way of thinking about rendering an image. We saw the visual power that was possible.”

在传统动画的世界中，渲染单个帧可能需要一个小时。 视频游戏引擎以每秒60帧或更快的速度进行播放。 “这是一种思考渲染图像的全新方法。 我们看到了可能的视觉效果。”

As the studio started doing more 3D work, they thought, “what would it look like if we made Unity one of the tools in our tool bag for working on client work and any of our 3D projects?”

随着工作室开始做更多的3D工作，他们认为：“如果我们将Unity作为工具包中用于处理客户工作和任何3D项目的工具之一，那会是什么样？”

With so many different departments – from layout to lighting to compositing to effects – Zac credits Unity with bringing them all together technologically, on a single platform. “For me as a director/compositor, that’s amazing, because it just gives me all these different tools that I can bring together at any time, work with at any time, and change at any time.”

Zac拥有众多不同的部门-从布局到照明到合成再到特效-Zac赞扬Unity在一个平台上将所有技术部门整合在一起。 “对于我作为导演/作曲家来说，这是令人惊讶的，因为它为我提供了所有这些工具，我可以随时将它们组合在一起，可以随时使用，并可以随时更改。”

大胆 (Go big)

A digital marketing agency working with Nike invited IV Studio to pitch for the company’s springtime ad campaign for its new sneakers. The agency’s brief boiled down to, essentially, “We want to put these four athletes in a video game.” The IV team said, “We’ve made a video game, we’re used to doing production for animation in Unity, and so we plan to use Unity.” The lightbulb went on, and IV got the job.

与耐克合作的一家数字营销机构邀请IV Studio为该公司的新款运动鞋进行Spring广告宣传。 该机构的简介基本上可以归结为：“我们希望将这四名运动员放在电子游戏中。” IV团队说：“我们制作了一个视频游戏，我们习惯于在Unity中制作动画，因此我们计划使用Unity。” 灯泡继续亮着，IV接了工作。

The brief was demanding, to say the least. “One video has earthquakes rumbling and buildings falling down. Another video has tornadoes, storms, and other weather effects. We said ‘We’ve got to do it, we’ve got to go big. And we’ve got half the time we usually do.’”

至少可以说，简短的要求很高。 “有一个录像带说地震不断，建筑物倒塌了。 另一个视频有龙卷风，暴风雨和其他天气影响。 我们说：“我们必须做到，我们必须做大。 而且我们的时间是平时的一半。'”

They needed to animate four different athletes across three different shoe releases, with five Instagram stickers and GIFs each. The stickers were all their own character animations: Brittney Griner spinning a shoe on her finger. Ben Simmons as a kangaroo jumping around the screen. De’Aaron Fox walking with a victorious stride. Luka Dončić levitating above the court. All appearing to be lifted directly from their own video games.

他们需要为三种不同的鞋子版本中的四名不同的运动员制作动画，每个版本有五个Instagram贴纸和GIF。 贴纸都是他们自己的角色动画：布兰妮·格林纳(Brittney Griner)用手指在鞋子上旋转。 本·西蒙斯(Ben Simmons)作为一只袋鼠在屏幕上跳来跳去。 德亚伦·福克斯(De'Aaron Fox)迈出了胜利的步伐。 卢卡·唐奇(LukaDončić)在球场上空飘荡。 所有这些似乎都直接从自己的视频游戏中解脱出来。

“Ultimately, using Unity is what got us this job, and what let us finish it on schedule.”

“最终，使用Unity是使我们完成这项工作的原因，也是让我们按计划完成任务的原因。”

运动员头像 (Athlete avatars)

One of the biggest challenges was getting the characters right. Each character needed to resemble the actual athlete, while also looking like they belong in a video game.

最大的挑战之一是使角色正确。 每个角色都需要像实际的运动员一样，同时看起来也像属于电子游戏一样。

“In our previous projects, all the characters just came out of our heads, drawn from our imaginations. Here, all of a sudden, we were recreating real players, with fans who know their faces and their personalities really well, and who love these people. It was incredibly important to do that justice, to make them look like animated, supercharged versions of themselves.”

“在我们之前的项目中，所有角色都是从我们的想象中汲取灵感的。 在这里，突然之间，我们正在重建真正的球员，他们的球迷非常了解他们的面Kong和个性，并且热爱这些人。 做到正义，使它们看起来像自己的动画，机械版，非常重要。”

Art director Michael Cribbs and the modeling team of Rafa Zablaza and Ivan Lopez drew and sculpted the characters, working through many rounds of revisions. If these spots were going to succeed with the players and their friends and fans, the characters had to be recognizable and bring their attitudes to life.

艺术总监Michael Cribbs以及Rafa Zablaza和Ivan Lopez的造型团队绘制并雕刻了角色，并进行了多轮修订。 如果这些地点能够在玩家，他们的朋友和粉丝中获得成功，那么这些角色就必须能够被认出来，并将他们的态度变为现实。

To get the video game feel in the scenes, they used different types of animation after everything was rendered out in 3D. A team of talented animators and frame-by-frame artists then drew on top of the output, adding lightning, wind, and dust using a more traditional 2D cel animation technique.

为了使视频游戏具有现场感，在将所有内容都以3D渲染后，他们使用了不同类型的动画。 然后，由才华横溢的动画师和逐帧艺术家组成的团队在输出的上方进行绘制，并使用更传统的2D cel动画技术添加了闪电，风和灰尘。

“It gave the final look a sort of ‘video games meets anime’ feel to make something that worked, and that collision of styles made this piece feel especially fresh and unique.”

“它给了最终的视觉效果，使某种“电子游戏与动漫相遇”的感觉使作品变得可行，而风格的碰撞使这件作品显得特别新鲜和独特。”

打蜂鸣器 (Beating the buzzer)

IV Studio had to perform all kinds of athletics to get the job done on time: The production kickoff was on April 1, and the entire project wrapped on May 7.

IV Studio必须执行各种田径运动才能按时完成工作：生产开始于4月1日，整个项目于5月7日结束。

“It was an absolute sprint. The whole month of April. And the project started two weeks after my son was born and the quarantine started, it was a very crazy time. It was also our first fully work-from-home project too.”

“这是绝对的冲刺。 整个四月。 在我儿子出生并开始检疫两个星期后，这个项目就开始了，那是一个非常疯狂的时期。 这也是我们的第一个完全在家工作的项目。”

According to Zac, the toughest span of the project was delivering the first video on the deadline. They needed to have the video ready to launch alongside the release of the new Nike sneakers, Air Jordan 1 Mid SE “Mindfulness.”

据扎克(Zac)称，该项目最艰苦的工作是在截止日期之前交付第一部视频。 他们需要准备好与新耐克运动鞋Air Jordan 1 Mid SE“ Mindfulness”一起发布的视频。

The schedule had animation beginning on a Monday and the first draft of the entire video due the next week. Often for a first draft in a traditional pipeline, the studio would deliver an animatic. But the agency wanted to see the whole thing in final look dev, full fidelity, so they could show it to the client.

时间表中的动画从星期一开始，而整个视频的初稿则在下周开始。 该工作室通常会以传统形式制作初稿，提供动画效果。 但是该机构希望在最终外观开发中完全了解整个事情，因此他们可以向客户展示。

“That was a sprint of a week. It was getting roughs from animators, loading them into our scenes in Unity, starting to light the assets and build scenes around it, getting the look. We had particle effects, weather, electricity, and we were running as fast as we could to get everything together.”

“那是一个星期的冲刺。 它是从动画师那里获得的粗糙图像，然后将它们加载到Unity中的场景中，开始照亮素材资源并围绕其构建场景，从而获得外观。 我们产生了粒子效应，天气，电力，并且我们正在以最快的速度运转，以使所有部件融合在一起。”

At the initial review, the agency wanted a big change: the storminess and moodiness of the look was too dark. The IV team needed to lighten everything up.

在最初的审查中，该机构希望做出重大改变：外观的暴风雨和喜怒无常太暗。 IV团队需要减轻所有负担。

Traditionally it would take days to turn that around. And relighting the scenes would mean taking several steps back. Re-rendering everything traditionally, it would have been nearly impossible to pull off.

传统上，要解决这一问题需要几天的时间。 照亮场景意味着要退后几步。 按照传统方式重新渲染所有内容，几乎不可能完成。

But working in real-time, revisions were done in about half a day.

但是，实时修订大约需要半天的时间。

广告的未来 (The future of advertising)

Traditionally, the job in an advertising project used to be to produce a 30-second spot.

传统上，广告项目中的工作过去是制作30秒的广告位。

Now it’s a 30-second spot, but with four or five 10-second videos on top of that. And ten 3-second stories for Instagram.

现在是30秒，还有4或5个10秒的视频。 还有十个3秒的Instagram故事。

It’s also becoming interactive. Projects now even require augmented reality (AR) stickers.

它也正在变得互动。 项目现在甚至需要增强现实(AR)贴纸。

“That’s what’s coming,” Zac believes. “The future of advertising is going to continue to evolve into… not just one thing. It’s not just print. It’s not just a video. It has to be all these different platforms. Because people engage with brands everywhere. Now they want to engage in so many different ways.”

扎克认为：“这就是即将发生的事情。” 广告的未来将继续演变成……不只是一件事。 不只是打印。 这不仅仅是一个视频。 必须是所有这些不同的平台。 因为人们随处可见品牌。 现在，他们想以多种不同方式参与其中。”

Game developers have been using real-time interactive technology for some time. Animators bring a long tradition and a vast range of techniques to the table. There’s a lot these communities can learn from each other, says Zac. The lines between these art forms are blurring.

游戏开发人员已经使用实时交互技术已有一段时间了。 动画师将悠久的传统和广泛的技术带到了桌子上。 扎克说，这些社区可以互相学习很多。 这些艺术形式之间的界线是模糊的。

Zac and his team love working with new tools. “I think they can unlock new ideas in your brain. And I think it can unlock interesting new potentials for your clients. And, as an advertising studio, to ignore real-time and to ignore interactively – that’s really shortsighted.”

Zac和他的团队喜欢使用新工具。 “我认为他们可以在您的大脑中释放出新的想法。 而且我认为它可以为您的客户释放有趣的新潜力。 而且，作为一家广告工作室，忽略实时和交互式忽略是非常短视的。”

************ Discover more about how you can use Unity for your animation projects.

************了解有关如何将Unity用于动画项目的更多信息。

翻译自: https://blogs.unity3d.com/2020/07/28/need-to-deliver-an-animated-ad-campaign-lightning-fast-just-make-it-in-unity/

unity广告投放技巧