adam

我叫Plamen(Paco)Tamnev，负责我的演示Adam中使用的许多资产。 我之前曾在Black Sea Studios，Crytek担任角色艺术家，此后我加入Unity演示团队从事实时演示，如Adam， The Smith和一些较小的环境演示( Viking Village ， Bedroom ， Courtyard )。 (My name is Plamen (Paco) Tamnev and I was responsible for a lot of the assets used in our demo Adam. I previously worked as a character artist for Black Sea Studios, Crytek and after that I joined the Unity demo team to work on real time demos like Adam, The Blacksmith, as well as some smaller environment demos (Viking Village, Bedroom, Courtyard).)

Asset creation starts with a thorough understanding of the creative goals and values of the project: the backstory of the world, the story we’re telling, and how the character design contributes to conveying the message. You can read more about it in my teammate Georgi Simeonov’s blogpost about the design process in “Adam” demo.

资产创建始于对项目的创造性目标和价值的透彻理解：世界的背景，我们正在讲述的故事以及角色设计如何有助于传达信息。 您可以在我的队友Georgi Simeonov的 博客文章中了解有关“ Adam”演示中设计过程的 更多信息 。

I work very closely with Georgi and with our director Veselin Efremov, in both my character and environment work. The first things we have to get right are the overall proportions, distribution of detail, and nailing the right silhouette. We rely on an iterative approach, starting with proxy models which are gradually detailed and refined.

在角色和环境工作方面，我与格奥尔基(Georgi)和我们的导演维斯林·埃夫雷莫夫(Veselin Efremov)紧密合作。 我们首先要正确的是整体比例，细节分布和确定正确的轮廓。 我们依靠迭代的方法，从逐渐详细和完善的代理模型开始。

亚当的介绍和功能(Building Adam) (Adam previz and functionality (Building Adam))

Building Adam was a bit of a challenge, as we had to make him functional, while still preserving the look and mood of the concept. We knew that he had a large range of motions to perform, as well as some pretty extreme closeups in a few of the shots. Adam also had to function as a base for the crowd, and our other two main characters also used parts from Adam where it made sense to do so. I had to keep this in mind during the modeling stage and build Adam almost as a sort of flexible reusable modeling kit. We began with a blockout version of the character, which was updated incrementally. There was a lot of back and forth between our animation director, the production designer, and me: quite a few things had to be tweaked or redone all together as they looked good initially, but had to be reworked to improve the character’s range of motion, or the silhouette.

建立Adam有点挑战，因为我们必须让他发挥作用，同时还要保留该概念的外观和风格。 我们知道他有各种各样的动作可以执行，并且在一些镜头中还有一些非常极端的特写。 亚当还必须作为人群的基础，而我们的其他两个主要角色也使用了亚当的零件。 在建模阶段，我必须牢记这一点，并将Adam几乎构建为一种灵活的可重用建模套件。 我们从角色的*版本开始，该版本逐步更新。 我们的动画导演，制片设计师和我之间来回往来很多：很多事情必须进行调整或重新做，因为它们一开始看起来很不错，但必须重新设计以改善角色的活动范围或轮廓。

Here are some of the functionality previz renders I did for the parts of Adam that had more complex motions, before moving on to the low poly models. The arms were one of the more complex parts: they had layers of details, most of which had to be able to move and slide properly. Not all of them are visible in the final film, but they did help to get the right proportions and also give us some fresh ideas about details.                                                    

下面是我为亚当的那些具有较复杂动作的部分所做的功能预览，然后再继续介绍低多边形模型。 手臂是较复杂的部分之一：它们具有多层细节，其中大部分必须能够正确移动和滑动。 在最终的电影中，并非所有这些元素都可见，但是它们确实有助于获得正确的比例，并且还为我们提供了一些有关细节的新思路。                                                    

The previz renders also served as a material guide to quickly see the high poly models with the base materials and colors in place, before moving on to the actual low poly models and textures, and gave us time to iterate on those. The setup was fairly straightforward: I used mostly auto uv’s that were relaxed in Zbrush, and then I set up the Vray materials with tiled textures to break up the roughness and albedo a bit.

previz渲染还可以作为材质指南，以快速查看具有适当基础材料和颜色的高多边形模型，然后再转到实际的低多边形模型和纹理，并为我们提供了时间进行迭代。 设置非常简单：我主要使用在Zbrush中放松的自动uv，然后设置具有平铺纹理的Vray材料以消除粗糙度和反照率。

For the wrapped material I used Marvelous Designer as a base. It gave me something that looked good right away, and then it was much easier to continue with detailing and polishing it in Zbrush to get the final result.

对于包装材料，我使用了Marvelous Designer作为基础。 它给了我立即看起来不错的东西，然后继续进行细节处理和在Zbrush中对其进行抛光以获得最终结果要容易得多。

纹理化 (Texturing )

For the texturing of Adam I used Substance Painter 2 with unique texture sets for the head, body and limbs. I also added some secondary details in the normals directly in Painter.

对于亚当的纹理，我使用了Substance Painter 2，其头部，身体和四肢具有独特的纹理设置。 我还直接在Painter中的法线中添加了一些辅助细节。

At this stage, I was testing the values and weathering distribution. In this example, the weathering of the metals turned out to be a bit too much and some color values and saturation were a bit off. After solving these issues, I moved on to the finer details and started to add the surface breakup and decals.

在此阶段，我正在测试值和风化分布。 在此示例中，金属的耐候性变得有点太多，并且一些颜色值和 饱和度有些偏离。 解决这些问题后，我继续进行细化处理，并开始添加表面破碎和贴花。

人群与变异 (Crowd and variation)

The other challenging aspect of the production is that we had to produce a crowd of convicts in real time, some of whom were very close to the camera – in some shots closer even than Adam. Since we knew we couldn’t use the default Adam model for each crowd member, we had to use several LOD models depending on the distance from the camera.

制作的另一个挑战是，我们必须实时制作大量定罪犯，其中一些离摄像机非常近-有些镜头甚至比Adam还近。 由于我们知道不能为每个人群使用默认的Adam模型，因此我们不得不根据距摄像机的距离使用多个LOD模型。

We also wanted to have some crowd variation between the different convicts, so I made a fully wrapped version of Adam to serve as a base, and we used a custom shader with a grayscale mask to add the variation in the wrapping distribution.

我们还希望在不同的罪犯之间有一些人群差异，因此我制作了完全包装的Adam版本作为基础，并且我们使用了带有灰度蒙版的自定义着色器，以在包装分布中添加差异。

亚当的面具 (Adam’s mask)

Adam’s mask went through a number of iterations as we tried to find the right look that best served the story that we were telling. The material for the mask had to be like a 3D-printed surface with imperfections and some layering, as well as some translucency to the material.

当我们试图找到最适合我们所讲故事的正确外观时，亚当的面具经过了多次迭代。 遮罩的材料必须像3D打印的表面一样，具有不完美的外观和某些层次感，以及对材料的半透明性。

One of the very first previz models was more of a realistic face than what we ended up using, but after some iterations, the director decided that he wanted it to look more like a face behind a mask, instead of an actual face, so we started simplifying it until almost all facial features were gone. For those first stages, I mainly used Zbrush. That helped me to work in a non-destructive way – keeping things in layers, using the noise maker and masking to try different levels of weathering, and blending between them on demand.

最早的previz模型之一是比我们最终使用的模型更逼真的面Kong，但是经过反复迭代，导演决定他希望它看起来更像是面具后面的面Kong，而不是实际的面Kong，因此我们开始简化它，直到几乎所有面部特征都消失了。 对于那些最初的阶段，我主要使用Zbrush。 这帮助我以一种非破坏性的方式进行工作-将事物分层放置，使用噪音产生器和遮罩尝试不同程度的风化，并根据需要在它们之间进行融合。

For the broken mask our VFX artist Zdravko Pavlov made some experiments using the intact mask with the final uv’s and textures to keep it consistent. With the help of the Bullet physics plugin for 3ds Max he made several destruction passes to choose from for the mask. After we settled on the one we liked, I took it and used it as a base to work from and started to add some additional variety and imperfections. Since it already had the uv’s and textures from the intact mask, I only had to add the uv’s for the additional geometry for which we kept uv space in the original texture, and then brought it to Substance Painter for the final detail pass and materials.

对于破损的面罩，我们的视觉特效师Zdravko Pavlov使用完整的面罩以及最终的uv和纹理进行了一些实验，以使其保持一致。 在3ds Max的Bullet物理插件的帮助下，他进行了多次破坏遍历以从中选择蒙版。 在选择了我们喜欢的产品之后，我将其用作工作的基础，并开始添加一些其他的品种和缺陷。 由于它已经具有完好无损的蒙版中的uv和纹理，因此我只需要为附加的几何体添加uv，就可以在原始纹理中保留uv空间，然后将其带到Substance Painter中以用于最终的细节传递和材质。

塞巴斯蒂安·卢，警卫队 (Sebastian, Lu, Guard)

For the other characters in the demo, we used the help of character artists Jonas Törnqvist, Vincent Joyau, and Sergey Samuilov.

对于演示中的其他角色，我们使用了角色艺术家JonasTörnqvist，Vincent Joyau和Sergey Samuilov的帮助。

For the models of Sebastian and Lu, it was important to use some of the body parts from the Adam model in order to communicate some of the backstory, as well as maintain consistency.

对于Sebastian和Lu的模型，重要的是使用Adam模型中的某些身体部位，以便传达一些背景故事并保持一致性。

环境艺术 (Environment Art)

室内场景 (The interior scene)

For the interior scene we created unique objects like the door, pipes, beds etc, and also some assets that rely only on tiled textures and geometry decals.

对于室内场景，我们创建了独特的对象，如门，管道，床等，以及一些仅依赖于平铺纹理和几何贴花的资产。

道具 (Props)

The idea behind the beds was that they were the storage unit for the convicts’ bodies and had to be made of a similar material to the one that was used for making the convict wrapping. I used Marvelous Designer for the base simulation and then brought them in Zbrush for final polish and detailing. I made two models for them, one with the convict still inside and the other one open. For the final movie, we only used the second one.

病床后面的想法是，它们是囚犯尸体的存储单元，并且必须由与用于囚犯包裹的材料类似的材料制成。 我使用Marvelous Designer进行基础仿真，然后将它们带入Zbrush进行最终的抛光和细化。 我为他们制作了两种模型，一种模型仍在囚犯里面，另一种模型打开。 对于最后一部电影，我们只使用了第二部电影。

外景 (The exterior scene)

For the movie’s exterior scene, we knew we would have some very large objects that would be fairly close to the camera. For that reason, we used a lot of tiled textures and decals on top of a base texture, so that the objects acquired the necessary resolution depending on the shots they were in. For the tiled textures we used mainly Quixel Megascans data and custom grayscale masks to mix the different textures and add variety.

对于电影的外部场景，我们知道我们将有一些非常大的物体，它们将非常接近相机。 因此，我们在基础纹理上使用了许多平铺纹理和贴花，以便对象根据所处的镜头获得所需的分辨率。对于平铺纹理，我们主要使用Quixel Megascans数据和自定义灰度蒙版混合不同的纹理并增加多样性。

This is an example of the finished city wall with the base materials and masks from Substance Painter, detail texture arrays in Unity, and geometry decals added that give the finished look and resolution that we needed for the bigger assets in the demo.

这是一个完成的城墙示例，其中包含Substance Painter的基础材料和蒙版，Unity中的明细纹理阵列以及添加的几何贴花，这些外观和分辨率提供了演示中更大资产所需的完成外观和分辨率。

For the platform concrete base, I used a similar approach to the one I used for the wall:

对于平台混凝土基座，我使用了与墙体相似的方法：

• Base textures for the Albedo

  反照率的基础纹理

• Quixel Megascans for the extreme closeup details (tiled in the Unity Standard shader)

  Quixel Megascans提供极端特写细节(在Unity Standard着色器中平铺)

• A final pass of broken details geometry used as decals for the weathered edges of the concrete.

  破碎的细节几何图形的最终通过用作混凝土风化边缘的贴花。

On Demo team we like to share our work and learnings to the best of our ability, and release as much content as possible. We’ve seen many of you use assets from our previous demos for testing, prototyping, presentation of their own work, tutorials, even research papers – and we’re happy that people find various ways to make use of what we’ve produced.

在演示团队中，我们希望尽我们最大的能力来分享我们的工作和学习，并发布尽可能多的内容。 我们已经看到许多人使用以前的演示中的资产进行测试，原型制作，展示自己的作品，教程甚至研究论文，我们很高兴人们找到了各种方法来利用我们的产品。

So we’re currently working on preparing most of the assets from “Adam” for release on the Asset Store. We aim for some time in Autumn. Please bear with us – remember I’m the only 3D artist on the team.

因此，我们目前正在准备“亚当”中的大部分资产，以便在Asset Store中发布。 我们的目标是秋天。 请多多包涵-记住我是团队中唯一的3D艺术家。

翻译自: https://blogs.unity3d.com/2016/08/09/adam-assets-creation-for-the-real-time-short-film/

adam