A few months ago, we released Volume 1 of the Icon Collective, and it’s time to share more about what went into the animation and cinematics of Yggdrasil. Since one of the key goals of this ongoing project is to inspire developers and help them deliver amazing content themselves, in this blog post we want to reveal the tools, techniques and processes we used to achieve AAA quality.
几个月前，我们发布了Icon Collective的第1卷，现在该分享有关Yggdrasil动画和电影学内容的更多信息。 由于该正在进行的项目的主要目标之一是激发开发人员并帮助他们自己提供惊人的内容，因此在本博客中，我们希望揭示用于实现AAA质量的工具，技术和过程。
动画 (Animation)
To start, here are the main tools we used to produce the character animations.
首先，这是我们用来制作角色动画的主要工具。
MotionBuilder (MotionBuilder)
This Autodesk tool makes it easy to retarget any motion-capture animation and motion blending. We decided to use HumanIK for MotionBuilder rigging because it’s simple to set up and you don’t need any 3rd-party plugins. Consider it a “friendly” controller for IK/FK switch and position/rotation pinning. Another key benefit is that HumanIK can switch to Autodesk Maya, if you’re more familiar with that software. Because Unity provides a seamless integration for FBX format, drag and drop to finish the integration.
借助此Autodesk工具，可以轻松地重新定位任何运动捕捉动画和运动混合。 我们决定将HumanIK用于MotionBuilder装配，因为它设置简单，而且您不需要任何第三方插件。 将其视为IK / FK开关和位置/旋转固定的“友好”控制器。 另一个主要好处是，如果您更熟悉HumanIK，HumanIK可以切换到Autodesk Maya。 由于Unity为FBX格式提供了无缝集成，因此请拖放以完成集成。
搅拌机 (Blender)
Because Unity understands game developers’ needs and workflows, they made it easy for us to develop our content in third-party tools and get it quickly into Unity. For that reason, we decided to use Blender as a skinning and rigging tool, saving and importing our work in .blend files. As well, since Blender allows squash and stretch bone hierarchy scaling, it encouraged the animators to push the boundaries of their creations.
因为Unity理解游戏开发人员的需求和工作流程，所以他们使我们可以轻松地使用第三方工具开发内容并将其快速纳入Unity。 因此，我们决定将Blender用作外观和绑定工具，将工作保存并导入.blend文件中。 同样，由于Blender允许挤压和拉伸骨骼层次缩放，因此它鼓励动画师突破其创作的界限。
电影序列 (Cinematic sequence)
Unity’s Timeline, along with Cinemachine extensions, allowed us to create the cinematic trailer using a dynamic, flexible and non-destructive workflow. Once the character animation drafts were ready to be implemented in Timeline, we tailored Cinemachine’s virtual cameras around it.
Unity的时间轴以及Cinemachine扩展，使我们能够使用动态，灵活且无损的工作流来创建电影预告片。 一旦角色动画草稿准备好在时间轴中实现，我们便在其周围定制了Cinemachine的虚拟摄像机。
Using LookAt, Cinemachine allowed us to aim a virtual camera at a custom target (in this case, a specific bone of the character), which made it possible to create shots that would work even after the animations were refined by the animator, without having to recreate the camera rig or without too much human intervention.
通过使用LookAt ，Cinemachine允许我们将虚拟摄像机对准自定义目标(在这种情况下，是角色的特定骨骼)，这使得即使动画师改进了动画后，也可以创建仍然可以使用的镜头，而无需重新创建摄影机装备或无需过多人工干预。
Since all the cameras used in the trailer were procedural (not keyframed), and we needed to have some dynamic shots on our Timeline (not the usual A-to-B transition), the Timeline “Mix” mode came in handy and allowed us to blend different camera rigs as well (visualized as clips on the Timeline) literally interpolating all the camera settings and values from one camera to the other.
由于预告片中使用的所有摄像头都是程序性的(没有关键帧)，并且我们需要在时间轴上进行一些动态拍摄(而不是通常的A到B过渡)，因此时间轴“混合”模式派上了用场，并允许我们混合不同的摄影机装备(在时间轴上显示为片段)，从字面上将所有摄影机设置和值从一个摄影机插入另一个摄影机。
The best part was using the Post-Processing Stack editor during finalization. When necessary, different profiles for each camera were created. For example, on one shot we needed to animate Depth of Field according to the storyboard requirements. With Unity, this process was completely automatic when blending one camera clip into another. In the end, not a single keyframe was used in the process.
最好的部分是在完成过程中使用“后处理堆栈”编辑器。 必要时，为每个摄像机创建了不同的配置文件。 例如，我们需要根据情节提要的动画设置景深动画。 使用Unity，将一个摄像机剪辑混合到另一个摄像机剪辑时，此过程是完全自动的。 最后，在此过程中未使用任何关键帧。
Check out the webpage and download Volume 1 to start creating your own projects!
查看网页并下载第1卷，开始创建自己的项目！
比赛提醒！ (Contest Reminder!)
Along with the Substance team, we are excited to bring you the next Asset Store challenge: the Inside the Vault: Unity 3D Environment Art Contest! Using Substance Painter and Designer – and your wildest imagination – show us what’s inside Yggdrasil’s vault.
与Substance团队一起，我们很高兴为您带来下一个Asset Store挑战：保险柜内部：Unity 3D环境艺术竞赛！ 使用Substance Painter和Designer-和您最大的想象力-向我们展示Yggdrasil保险库中的内容。
Find out more here: https://connect.unity.com/challenges/inside-the-vault
在此处了解更多信息： https : //connect.unity.com/challenges/inside-the-vault