Cyber week

获取促销礼品。限时优惠。12 月 4 日结束。
获取促销礼品。限时优惠。12 月 4 日结束。

Unity帮助在《相对世界》中进行人群控制

日本的Craftar Studios利用Unity的实时3D功能创建复杂的人群场景。

Craftar Studios:Unity开发人员案例分析

Craftar’s recent feature film, The Relative Worlds, includes dramatic sequences in the world’s most populous city, but their existing rendering solution couldn’t easily handle the most complex scenes. So they turned to Unity’s real-time 3D capabilities to achieve their goals.

目标

为《相对世界》创建复杂的人群场景

平台

DLP/SXRD(戏院放映)

项目工作人员

大约10个角色使用Unity(建模者、动画师、合成师和编程人员)

地点

东京

The Relative Worlds 预告片

Unity的实时功能加快了项目速度并降低了渲染成本

《相对世界》的主要背景是标志性的新宿,这是东京的一个繁华商业区,也是世界最繁忙的火车站所在地,人来人往。建模和渲染极其复杂和重复的场景需要全新的方法和强大的渲染功能,因此他们选择了Unity来完成这些序列。

成果:

  • 通过构建和管理序列(实时生产)而不是分别剪切(瀑布式生产)加快了项目速度
  • 使用嵌套预制件轻松创建和更新充满动画元素的复杂场景 
  • 通过使用导航网格设置具有和不具有自动化寻路功能的行走周期创建了逼真的人群移动 
  • 通过在Unity而不是他们的传统3D程序中渲染降低了生产成本

为年轻观众制作平行世界动画

The best science fiction enables better understanding of age-old issues. For Yuhei Sakuragi, the film’s writer and director, animated sci-fi is a powerful storytelling medium, and he’s applied it to a specific goal: awakening Japan’s youth to the fragility of peace and the specter of conflict. “Few remember what it’s like to live through a war, so youth in today’s Japan have little idea of what war is really like.” 

The Relative Worlds is a story of parallel universes: a high-school student in a relatively tranquil, colorful world confronts a doppelgänger from a dark, war-torn nightmare. Yuhei uses the stark juxtaposition to shock and awe: “I want people, especially the young, to think seriously about Japan’s future in case these relatively peaceful times suddenly come to an end.”

设置复杂的人群场景

Since Yuhei wanted the film to reflect the real world, he chose Shinjuku for the setting as it’s one of the most iconic locations in modern Japan. This meant the team would need to draw and render large animated crowds. However, because it would be too difficult to do it with their traditional 3D software, they tapped Unity.

“We were planning to create huge and repetitive sequences such as crowded street scenes, so we knew we would need file reference and namespace options to easily load and edit our original model/rig files,” says Ken Uchida, Craftar’s lead animator. “But we didn’t have those options in our standard 3D rendering tool. To build these scenes, we also took advantage of Unity’s capabilities like nested Prefabs, relatively light scene-loading, and Navigation Mesh (NavMesh).”

In contrast to Craftar’s traditional rendering tool, Unity manages data based on assets rather than just individual shots. That allowed the team to build entire crowd sequences with nested Prefab assets, which provided them with a more comprehensive – and faster – production method. As the name suggests, nested Prefabs contain other Prefabs, which retain their links to their own assets, so any updates are reflected throughout the scene in real-time. (In Unity, a Prefab is a GameObject that includes all its components and property values, making it easy to duplicate, modify, etc.)

使用导航网格和机器学习移动人群

引导这么多动画元素的一个挑战就是决定和控制其运动,因此Ken依靠Unity的内置导航网格工具达到此目的。“我用了两种不同方式使用导航网格。首先,我对人群过马路的大多数镜头使用了导航网格。为此,我准备了几种行走周期FBX文件模式,并调整了每个周期的NavMesh属性。最初,我试图在脚本中随机化周期和步行速度,但后来我对它们进行了手动设置以得到更逼真的效果。“

他们还将导航网格与首选网络的机器学习功能组合起来以实现自动寻路行走周期。机器学习是由首选网络的服务器进行的,对于创建的每个行走周期,团队都会从Unity对其进行访问。他们直接在Unity中设置速度、目标和其他导航网格参数。

添加逼真的阴影

To finesse the crowd scenes, Craftar customized Unity’s Recorder to capture frames that had previously been rendered outside Unity. Then they applied the Unity-Chan Toon Shader (UTS) to optimize cel-shaded images, particularly with shadows that accentuate every part of the character models. UTS does this by automatically adjusting the position and intensity of light sources in character design. 

To further enhance shading, Ken adds, “We relied on Unity’s Timeline feature in conjunction with Shader Forge. For shading in our next project, we’re planning to try Shader Graph and Visual Effect Graph.” Shader Graph lets developers easily author shaders by building them visually and seeing the results in real-time, connecting nodes in a network graph instead of having to write code. Visual Effect Graph creates a wide range of node-based VFX, also with a visual, real-time UI. 

借助Unity探索新的创意世界

While Craftar only used Unity for portions of The Relative Worlds, Yuhei is sold on the platform and its deep toolset for artists and other creatives. For example, he looks forward to producing an entire animated film in Unity. “I’d really like to make something that highlights many of Unity’s unique features.”

So as well as looking forward to using Shader Graph and Visual Effect Graph, Yuhei sees the promise of Unity’s upcoming ray-tracing capabilities. “Shadows are particularly difficult to do for crowd scenes, so I can’t wait to see Unity’s new features for challenges like that.”

Finally, Yuhei sees another big advantage of using Unity for future projects. “Since Unity makes it very easy to create mixed media simultaneously, we’ll be able to produce game and/or virtual reality content at the same time we’re working on a film project.” And that perfectly reflects this innovative Japanese studio’s motto: “To create new ways of creating.” We’re excited to see what Craftar launches next.

Ken Uchida, Lead Animator, Craftar

“为构建这些场景,我们还利用了其他Unity功能,比如嵌套预制件、相对灯光场景加载和导航网格(NavMesh)。”

Ken Uchida, Lead Animator, Craftar
Yuhei Sakuragi, Writer and Director, The Relative Worlds

“由于Unity使同时创建混合媒体变得非常容易,因此,我们可以在进行电影项目的同时制作游戏和/或VR内容。”

Yuhei Sakuragi, Writer and Director, The Relative Worlds

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