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Bay Raitt is a veteran and pioneer within the digital arts space and joins the keynote lineup at the Vision VR/AR Summit. Raitt’s accomplishments span comics, games, film, and software tools. You may know him best for his work creating the groundbreaking facial animation behind Gollum from the Lord of the Rings trilogy; or at Valve building the Source Filmmaker; or, better yet, establishing the Steam Workshop which introduced your favorite hats in Team Fortress 2! He’s now Founder of The Spiraloid Workshop Company, paving the way and rebooting comics in the VR space with their first project, Nanite Fulcrum, released last February on Oculus. We had the opportunity to connect with Bay and ask a few questions about his work habits, life as a creator, and what his projects mean for the future.
Bay Raitt是数字艺术领域的资深人士和先驱，并加入 Vision VR / AR Summit 的主题演讲阵容 。 Raitt的成就涵盖漫画，游戏，电影和软件工具。 您可能最了解他，他的工作是在《指环王》三部曲中创造了Gollum背后的突破性面部动画； 或在Valve制造Source Filmmaker时； 或者更好的是，建立Steam Workshop，在Team Fortress 2中引入您最喜欢的帽子！ 他现在是 The Spiraloid Workshop Company的 创始人 ，为他们在VR空间中的漫画铺平了道路，并于去年2月在Oculus上发布了他们的第一个项目Nanite Fulcrum，从而重新启动了漫画领域。 我们有机会与Bay交流，并就他的工作习惯，作为创作者的生活以及他的项目对未来的意义提出了一些问题。
Let’s start off with some easy questions. How would you briefly describe yourself as a creator and do you have any mottos you live by?
让我们从一些简单的问题开始。 您如何简单地形容自己是一个创造者，您有什么座右铭？
I’m the guy who looks for the unaccomplished impossible thing around us and takes a run at it. I’ve had some luck at it, so it means my title is always weird and usually made up. Creature Facial Lead, Valve Employee, etc. I usually joke that I have every 14-year-old’s dream job. I make comics, movies, games and tech for a living. On all aspects. Board room to pixel. I’m an Omni talent. I like to think of myself as a creator of entertainment minutes.
我是一个寻找我们周围未完成的不可能的事情并奔波的人。 我很幸运，所以这意味着我的头衔总是很奇怪，而且通常都是虚构的。 生物面部主管，阀门员工等。我通常开玩笑说我有每一个14岁的梦想工作。 我以漫画，电影，游戏和科技为生。 在所有方面。 董事会会议室到像素。 我是全能的人才。 我喜欢认为自己是娱乐记录的创造者。
Mottos? Definitely. Sing for your supper. Never turn your back to the audience. Do your warm-ups. Come to play. Take the stage.
座右铭？ 绝对是 为你的晚餐唱歌。 切勿将自己转回观众面前。 做热身。 快来玩 上台。
A various collection of works throughout Raitt’s tenure at Valve
Raitt在Valve任职期间的各种作品集
Who are the role models that helped shape your career?
谁是塑造您职业生涯的榜样？
Too many to count. My grandad has to be on the top of the list. He was a broadway star and I remember watching him play Don Quixote as a kid and being awestruck. I’ve also been really lucky to have worked alongside some truly exceptional people who have all taught me so much. Of course, my art heroes were legendary graphic novelists like Moebius, Frank Miller, Louisel and Hermann. I loved the idea that the pop culture awesomeness I was so into could be created by real people and that if I were lucky I could find them and lend a shoulder to the impossible efforts. Those impossible dreams my granddad sung about.
太多了。 我的爷爷必须在名单上。 他是百老汇的明星，我记得看过他小时候扮演Don Quixote并为之着迷。 我也很幸运能和一些真正杰出的人一起工作，这些人对我有很多启发。 当然，我的艺术英雄是**的图形小说家，例如Moebius，Frank Miller，Louise和Hermann。 我喜欢这样一种想法，即真正的人可以创造出我所喜欢的流行文化，如果我幸运的话，我可以找到他们并为不可能的尝试提供帮助。 我爷爷唱的那些不可能的梦。
Speaking of your grandfather, John Raitt, I also see singer song-writer, Bonnie Raitt, is your aunt. It seems creativity runs in the family — did this lead you to the arts or was there a single moment you can trace that brought you down this path?
说到您的祖父约翰·雷特(John Raitt)，我还看到歌手歌曲作者邦妮·雷特(Bonnie Raitt)是您的姑姑。 似乎创造力在家庭中流传-这是否将您带入艺术领域，还是您可以追寻到的一瞬间使您走上了这条道路？
Having your family name on a few stars on the walk of fame is certainly a gift. But more than genes, I think context is the ultimate teacher. As for a single moment, I’d say losing my hearing for a few years as a kid shaped me. Being deaf in a musical family kinda put me on a different path. Instead of picking up a musical instrument, I’d sit on the louder speakers and draw monsters by stagelight and show ’em to random people in the crowd. In a way I’m still doing that.
在星光大道上拥有几颗星上的姓氏无疑是一件礼物。 但是我认为，除了基因以外，上下文是最终的老师。 至于一小段时间，我会说几年后我的孩子失去了我的听力。 在一个音乐世家中充耳不闻有点使我走上了一条不同的道路。 我不用拾起乐器，而是坐在大声的扬声器上，在舞台灯光下吸引怪物，然后向人群中的随机对象展示。 在某种程度上，我仍在这样做。
You’ve worked on some amazing stuff, including comic books, groundbreaking animation, and filmmaking tools. The Spiraloid Workshop seems to be a culmination of your career. Are there specific influences that shine through more than others at your studio?
您已经完成了一些惊人的工作，包括漫画书，开创性的动画和电影制作工具。 螺旋车间似乎是您事业的高潮。 在您的工作室中，是否有比其他影响更大的特定影响力？
There are so many. My time in New Zealand was a bit of a crucible. Sir Richard Taylor mentored me a lot when I was the Weta Workshop. He’d chide me that I was a concept artist who got waylaid by all this digital stuff. Meanwhile I’d go geek out with Jason Schliefer about how to build the CG pipelines at Weta then talk performance and animation with Adam Valdez and Randy Cook. Later at Valve, Gabe Newell and I spent a lot of time together and he got me thinking a lot about process and how to to run a content company. My cohorts at Valve and Weta are all really my mentors. They have all shaped the ethos that we’re using to grow the Spiraloid Workshop Company.
有这么多。 我在新西兰的时间有点艰难。 理查德·泰勒爵士(Richard Taylor)爵士在我担任Weta Workshop时为我提供了很多指导。 他会嘲笑我，我是一个概念艺术家，他被所有这些数字东西迷住了。 同时，我将与Jason Schliefer讨论如何在Weta建立CG管道，然后与Adam Valdez和Randy Cook讨论性能和动画。 后来在Valve，Gabe Newell和我在一起度过了很多时间，他让我思考了很多有关流程以及如何运营内容公司的问题。 我在Valve和Weta的团队都是我的导师。 他们都塑造了我们用来发展Spiraloid Workshop Company的精神。
Mentors and mayhem: Weta LOTR crew shot. (Raitt pictured center front in a black shirt.)
良师益友：Weta LOTR机组人员射击。 (雷特(Raitt)穿着黑色衬衫时居中。)
What led you to VR comics over more established verticals such as games or film?
是什么促使您在游戏或电影等更成熟的垂直行业中观看VR漫画的？
I don’t see comics, games, and movies as that separate anymore. Especially if you’re working in 3D. The traditional “media” divisions mean less and less these days. It’s pretty clear that modern audiences like to read, watch, play, and make stuff in the worlds they fall in love with. Being focussed on a single format format doesn’t really acknowledge the whole experience the audience has with a given creation.
我看不到漫画，游戏和电影分开了。 特别是在3D模式下。 如今，传统的“媒体”部门越来越少了。 很显然，现代观众喜欢在他们钟爱的世界中阅读，观看，娱乐和制作东西。 专注于单一格式格式并不能真正确认观众对给定创作的整体体验。
There’s this impulse to think that bigger is always better, that maximum fidelity with complexity equals quality. Can be true for sure, but it’s also very costly. Which limits how creatively risky you can be. When I looked at the story I had created, I realized that I wanted to iterate on it as I went; that if I were to combine everything I’ve learned with my childhood love of comics, I’d be in a position to create some of the short form entertainment that VR needs. Then I thought of my fellow creators, the armies of aspiring 3D artists, indie game devs and movie makers out there with an original idea that just isn’t reaching the stage. It seems like the time is ripe for something like VR comics to emerge so I started the Spiraloid Workshop Company.
有这样一种冲动，认为越大越好，保真度和复杂度就等于质量。 可以肯定是正确的，但是它也非常昂贵。 这限制了您的创造力风险。 当我看着自己创造的故事时，我意识到我想在旅途中对其进行迭代。 如果我将学到的所有知识与童年对漫画的热爱相结合，我将有能力创造一些VR所需的简短娱乐形式。 然后，我想到了我的同伴创作者，有抱负的3D画家，独立游戏开发者和电影制作人的军队，但他们的初衷只是没有达到舞台。 VR漫画之类的东西出现的时机似乎已经成熟，所以我创办了Spiraloid Workshop Company。
I think that as we progress, we’re going to have the option to expand out naturally from VR comics into movies, games and toys. But we’re going to grow in those directions based on how the audience is reacting, taking advantage that we are starting small. And reaching the stage much earlier than a movie or a game production would. Building up a compelling, unique, real-time 3D world to create VR comics seems like a smart way to incubate an original franchise and let it grow naturally.
我认为随着我们的进步，我们将可以选择自然地从VR漫画扩展到电影，游戏和玩具。 但是我们将根据观众的React在这些方向上发展，并利用我们从小处开始的优势。 而且比电影或游戏制作要早得多。 建立一个引人入胜的，独特的实时3D世界来创建VR漫画，似乎是一种孵化原始特许权并使其自然增长的明智方法。
Why was Unity the choice for Spiraloid to realize its vision for VR Comics? 为什么Unity会选择Spiraloid实现其对VR漫画的愿景？We’re a cross media entertainment company. Unity can publish to nearly every platform and make movies, games and tools from a single project, which is an astounding technological accomplishment.
我们是一家跨媒体娱乐公司。 Unity可以发布到几乎每个平台，并可以从一个项目中制作电影，游戏和工具，这是一项了不起的技术成就。
When we were looking at how to build our pipeline, we knew that more than just a level editor, or some golden feature du jour, we needed our pipeline to grow and be shareable. Because of how the core architecture of Unity connects to the Asset Store, each production can sell pieces of their pipelines back to each other, creating a massive à la carte feature list that no other software, let alone game engine, can touch. Unity has created essentially a feedback loop where the community is amplifying the community. And since we’re looking to build VR, comics, movies, and games across nearly every platform, choosing Unity was the only choice. It’s going to be ground zero for the future of pop culture entertainment and we want to be a part of it.
当我们在研究如何构建管道时，我们不仅知道关卡编辑器或某些黄金功能，还需要管道发展和共享。 由于Unity的核心体系结构与资产商店的连接方式，每个产品都可以将其管道的各个部分相互卖回，从而创建了一个庞大的单点功能列表，这是其他软件(更不用说游戏引擎)所无法触及的。 Unity本质上创建了一个反馈循环，社区在其中放大社区。 而且，由于我们希望在几乎每个平台上构建VR，漫画，电影和游戏，因此选择Unity是唯一的选择。 对于流行文化娱乐的未来，它将是零。我们希望成为其中的一部分。
The Spiraloid Workshop comes across as a master/apprentice kind of a studio where you have experts working with industry beginners to create exciting new things. Did this idea come from a past experience? What do you hope to achieve from it?
螺旋车间作为工作室的主人/学徒经历，您可以与专家一起与行业初学者一起创作令人兴奋的新事物。 这个想法是否来自过去的经验？ 您希望从中获得什么？
It did. I used a similar atmosphere when I was advocating edge loop modeling for Gollum. I started up this Spiraloid Digital Sculpting Forum where the creators of ZBrush, Mudbox and digital artists from all over the world could discuss creating 3D on the computer. I was a bit of a hardcase about the forum rules, but the idea for them came from Rodin’s teacher, Edouard Lanteri. He wrote the definitive book on sculpting. In it, he talked about the culture of the sculpting guilds that created the Statue of Liberty. Masters and dedicated apprentices pulling off the impossible struck a chord.
它做了。 当我提倡 Gollum的 边缘循环 建模 时，我使用了类似的气氛 。 我启动了这个Spiraloid数字雕刻论坛，来自世界各地的ZBrush创作者，Mudbox和数字艺术家可以讨论在计算机上创建3D的问题。 对于论坛规则，我有点不敢恭维，但是关于这些规则的想法来自罗丹的老师爱德华·randint里(Edouard Lanteri)。 他写了关于雕刻的权威著作。 在其中，他谈到了创建自由女神像的雕刻行会的文化。 摆脱不可能的大师和敬业的学徒深感共鸣。
Gollum from digital to physical
从数字到物理的Gollum
What we’re doing in the Spiraloid Workshop means rethinking a lot of format centric assumptions, so spreading the knowledge in a similar atmosphere seems to make sense.
我们在Spiraloid Workshop中所做的工作意味着重新思考许多以格式为中心的假设，因此在类似的氛围中传播知识似乎是有道理的。
My hope is that aspiring creators out there see our VR comics and think, “Hey, I could do this! Who are these Spiraloid Workshop folks and how can I learn to do it to?”
我希望有抱负的创作者可以看到我们的VR漫画，并认为：“嘿，我可以做到！ 这些Spiraloid Workshop的人是谁？我该如何学习呢？”
Any words of wisdom for the community?
对社区有什么智慧的话吗？
Make messes but put them inside containers you can build with. Make sure you take the art of editing seriously. Being able to iterate a rough idea into something shippable is important. Be wary of being too precious. Har har. There are ideas you’ll want to make sure stick, but let the rest fall away as you hone the experience. Always be ready to show what you’re working on to people. The outsider insight is one of the most valuable tools you have — don’t be too secretive.
弄乱但将它们放在可以构建的容器中。 确保认真对待编辑技巧。 能够将一个粗略的想法迭代成可交付的东西很重要。 警惕自己太珍贵。 哈哈哈 您需要确保保持某些想法，但在磨练体验时让其他想法消失。 随时准备向他人展示您正在做什么。 局外人洞察力是您拥有的最有价值的工具之一-不要太秘密。
To learn more about what Bay Raitt and Spiraloid Workshop are up to check out Nanite Fulcrum on Oculus and Spiraloid.net. And make sure to learn about the rest of our amazing speaker lineup here.
要了解有关Bay Raitt和Spiraloid Workshop的更多信息，请在Oculus和 Spiraloid.net 上查看Nanite Fulcrum 。 并 确保在此处了解我们其他出色的演讲者阵容 。
翻译自: https://blogs.unity3d.com/2017/04/13/vision-summit-speaker-highlight-bay-raitt/
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