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Paradise in Acid Rain(堕世界)
Updated 7 months ago
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大家好,我们为这次unity挑战赛带来我们的作品——“堕世界”,这是基于当今世界人工智能快速发展的趋势对未来生活假想的一个视觉展现——人类生活完全被科技绑定在家中,足不出户。城市面貌被往来的机器人和智能机械所取代,表面看似繁茂,灯火阑珊实则冰冷而了无生气。
Let us talk a walk along this dark, raining alley and behold what may very likely be our future.
The rapid development of technology has finally eliminated all need for being outdoors.
We can get everything we desire right in our homes, all can be made and delivered by assistant droids and drone fleets.
And the pollution, still left unchecked, has made exposing ourselves to nature an ordeal only for the society's less fortunate.
Our neon-lit world has never been so flamboyant, yet so lifeless, like a paradise in acid rain.
我所就职的“玖万里”是一家游戏开发公司,自2014年起我们就开始开发移动游戏产品。unity强大得功能,扩展性以及发布流程从一开始就是我们的首选。所以这次unity2017所发布的新功能立即受到我们的好奇和关注。借由这次比赛的机会,公司内的感兴趣的同事们自发利用业余时间组织起了制作小组,以熟悉新版unity的新技术并以我们以往的制作经验来向大家展示作品成果,成为我们参赛的最大动力。
Our studio, 90KM is a game developing company based in Shanghai. Since 2014, we've been producing and self-publishing mobile games internationally. And Unity, with its powerful functionality, awesome extensibility, and support for easier publishing, has always been the first of our tool of choice.
Naturally, we've been keeping a close watch on what's new with Unity2017 and familiarizing ourselves with the new options it brings.
When we heard about The Neon Challenge, we found it to be a great chance to give what we've got a good practice.
So, half a dozen of our studio members and myself, have gathered to take the challenge in our spare time.

准备周(2017.12.4——2017.12.10)

-安排人员分工
-确认作品方向
-制定制作计划和每周目标
-讨论资源如何实现
由于我们每个人都身处在原本公司项目开发各个环节内,能分配给作品的时间只有工作外的私人时间,这就使得在一开始确认作品的方向,计划以及制作方式和时间管理尤为重要。最后,我有幸成为这个制作小组的组长,制定接下5周的计划和作品方向
We nailed down the team members on Dec. 4, which was set to be the Day 0 of our project.
Preparation Week (2017.12.4——2017.12.10)
During this week, we talked about:
-Division of personnel
-General direction of the submission
-Production timeline and weekly objectives
-Resources and methods.

As we are an impromptu team and only work in spare times, about 5 hours per week, it was very important for us to make proper directions in the production and time-management.
In the end, we divided the team into 3 sections, Assets, Post Processing and Tech.
I was chosen to coordinate the project, and we made a 5-week plan for the challenge.

第一周:

目标:完成场景框架和基础物件,供技术测试
美术资源
场景框架搭建完成(模型)
可动物件模型完成(模型)
调研,学习插件和unity,提出需求
后期
后期插件调研学习
提出技术需求
基本剧本搭建,提出需求
技术支持
技术调研

Week 1

Objective:
Complete the framework of the environment and models of basic objects for Technical assessment.
Assets Team:
Modelling of the scene environment for a rough layout.
Modelling and importing Assets in the scene.
Testing and practicing with the Unity plugins.
Post Processing Team:
Writing a script of the scene.
Testing and practicing with the Unity plugins.
And mark out hard points for further studying.
Tech Team:
Studying the new engine and plugins.
Provide support in building the layout.

第二周:

目标:美术持续制作,基础剧本完成,技术完成支持
美术资源
场景制作,细化
可动物件模型制作,细化
后期
基本剧本搭建完成,提出需求
依据剧本进行调配后期效果
技术支持
完成技术支持部分

Week 2

Objective:
Complete the script of the scene, further asset production with tech support.
Assets Team:
Add more details to the environment.
Adding more details to the modular and movable objects.
Post Processing Team:
Finalizing the script and come up with a list of requirement for the tech team.
Working on a cookbook for post-processing effects.
Tech Team:
Providing tech support.

第三周:

目标:美术持续制作,后期和镜头完成初步调整
美术资源
场景制作,细化
可动物件模型制作,细化
后期
运镜基础在unity中完成,提出需求
依据剧本进行调配后期效果
技术支持
提供支持

Week 3

Objective:
Further Assets production and basic camera work post-processing effects
Assets Team:
Adding more details and props to the environment.
Modelling props and objects in the scene.
Post Processing Team:
Completing the camera motion in Unity, refining, and tweaking the track of the camera.
Begin adding post effect layers
Tech Team:
Providing tech support.

第四周:

目标:美术基本完成制作,后期,镜头基本完成制作
美术资源
场景制作,细化
可动物件模型制作,细化
后期
运镜继续细化,提出需求(本周截止)
依据剧本进行调配后期效果
技术支持
提供支持

Week 4

Objective:
Completion of Assets production, first draft with camera motion and most of the post effects.
Assets Team:
Polishing the environment and props
Post Processing Team:
Adjustments to the camera motions
Adding Sound effects and BGM
Tech Team:
Providing tech support.

第五周:

目标:最终调整,说明文档
美术资源
提高美术品质
后期
运镜调整
后期提高特效品质
技术支持
提供支持

Week 5

Objective:
Final Polishing and prepare the documents for submission
Assets Team:
Polishing.
Post Processing Team:
Final adjustments to the camera motions
Balancing the post-processing effects.
Tech Team:
Providing tech support.
作品方向方面,为了推进速度,我决定由我单方面先给出一个方向:参考一个宇宙空间站内部为我们的场景展开制作。(我们没有原画支持,所有的概念都是口头上表述)
这个方案的好处是方便扩展,美术资源制作难度,质量,数量方便把控。各部门统一在一个框架内思考和制作避免思维发散浪费不必要的时间。
同时把作品期望目标分为3个阶段:
最小版本
资源集中在空间站内部所有资源完成
目标:在大赛规定时间内的最小可提交的完整版本

第2阶段
视频制作可扩展至飞船机库 ——>空间站内,资源额外制作机库的内容
目标:在进度顺利,提前的情况下提高作品质量

第3阶段
视频制作可扩展至飞船机库 ——>空间站内——>空间站外宇宙和星球
目标: 进一步提升视频品质。发表到Unity,CGTALK等主流作品网站上获得认可

技术支持和后期的同事在这一周已经着手调研Unity2017相关的新特性和插件
During the preparation week, we spent most of the time looking for a direction to focus our imagination on.
The inspiration we landed on was something like a small scene within a Coriolis-type Space Station from game Elite: Dangerous.
Every one of us loves this game, which makes it a lot easier to bring everyone together on the art direction as well as the quality and quantity of the assets.
We planned to build the environment by 3 stages:
The first and minimum stage:
We focus on the interior of the space station, which will be the first submission to the challenge.

The second stage:
After completing stage 1, we will work on improving the quality and adding more distant objects like hangers and their interiors.

The third stage:
We would expand the scene further and go outside of the station hull, adding distant celestial bodies and traffics.

第一周(2017.12.4——2017.12.10)
During Week 1 (2017.12.4—2017.12.10)
所有人都进入了前期的制作准备阶段!我的方案的原本打算是美术制作空间站的框架环境,再制作一个高精度的停机坪单元并在这个环境中复用,最后再使用一些桥梁,支架等等物件把重复性性打破。但是事实上这个想法在后一周出现了问题。。。
美术的同事们按期搭建了一个供测试用的巨大场景供技术成员,镜头,后期成员使用测试新功能和插件。一切进展看起来按计划进行...
All hands on deck!
We planned to start building the environment on a full-station scale. featuring a massive barrel-like world, fully packed with highly-detailed structures units we modeled in-house or imported from the asset store.
A basic layout was very soon completed.
While the assets team is still adding more bridges and pipelines to break the repetitive of the reused assets, our post-processing and tech team can use it to test out the plugins.
It was working great during the first a few days.

第二周(2017.12.11——2017.12.17)
这是令人沮丧的一周,在这一周制作小组在实际制作发现2个重大问题:
1.虽然拆解下来的美术资源量看似很少,但是我们找不到合适的对应原画的资源,大多数的场景需要全新制作。然而我们组内的美术成员只有2名,且其中的一名还肩负的研究shader,灯光和资源管理的事务,这就导致空间站这个方案的美术资源在有限的业余时间内几乎无法达成
2.Unity2017lightmap渲染是按实际长度单位来计算的,这使得我们长达上百米的空间站以及数量庞大的物件加在一起渲染lightmap的时间非常惊人,大大拖延美术进行灯光调整的效率。若完全使用实时阴影也同样因为电脑计算时间过长影响效率。尽管技术成员查阅了相关资料,但似乎这个问题无法有效解决
In our frustration, we encountered 2 major issues that halted our progress.
The 1st, despite the benefit of reusing assets, we found that there are still too many objects we had to produce by ourselves.
We had only 2 modelers, one of whom was also working on shaders, lights, and other resources.
So we had to switch to another direction with less pressure on the assets team.
And the 2nd one was that in Unity2017, the time it takes for lightmap rendering is based on the actual size of the scene.
The time it takes to render the massive space station along with all the structure units we have in mind is beyond our estimation.
And the situation didn't improve with the real-time shadowing.
With no alternative walk-around from our tech team's research, we'd have to switch routes.

第三周(2017.12.18——2017.12.24)
During Week 2 (2017.12.11—2017.12.17)
我们商讨下来作品方向需要紧急改变,从大规模场景转向第一人称视角内的小场景,美术资源全部由unity的asset shop和其他资源购买网站上获得。这样可以使美术的重心放在于灯光气氛的搭建和一些细节区域的加强上。
由于我们没有原画的加入,单由我和美术成员讨论新的方案“堕世界”的场景方案由我们口头上达成一致,并由 美术成员在unity中直接搭建。而他也有更多精力进行灯光测试。上周和本周的计划目标并没有完成,但幸运的是我在当初计划中已经预留了一周应付紧急情况的时间。
We spent most of this week on deciding which direction to turn our mid-air project towards.
Our conclusion is to turn away from massive spaces and focus on a single, first-person perspective scene, with the entire asset library from asset shops.
So we could focus our attention on lighting and details.
As we didn't have a concept artist in the team, our chief artist, Li, directly made a new layout in unity and began our work on it.
The works of post-processing and tech team were also restarted on the new layout.
Lucky for us, we left a spare week in the end that turned out to be crucial for the project.
为了平复上周沮丧的情绪,小组成员在周末一起吃了顿大餐鼓舞士气LOL

第四周(2017.12.25——2017.12.31)
新的方案进展非常快,短短一周内,场景基本搭建完成,镜头脚本也基于场景完成了一版初步方案。我们努力地追回了一点时间,但是一个新的问题也紧随其后——如何表达主旨成为接下来要考虑的问题
After a dinner party to restore the team's morale, we devoted more time to the challenge to make up the progress.
The environment was mostly completed, and we've run the camera motions for the 1st time.
As we're finally moving on to polishing the scene one week later.
We also started on adapting the original script to the new set.
我们在Unity Asset Shop中使用了一下这些资源:
It is worth to note that during this stage, the following asset packs were used:
Modular City Alley Pack
Sci-fi Design Kit
Dark City
Sci-Fi Laboratory Pack 2
SCI-FI Top-Down

第五周(2018.01.01——2018.01.07)
这一周我迎来久违的出国旅行~但是我的同事还加紧得工作!这一周美术不断添加我们所需要的动态物件,机器人,醉汉,飞行器等等同时灯光和特效气氛的搭建也在快速进行当中~
Personally, I was away from the project for a trip.
But to my great joy, the team worked hard on the scene to make it coop well with the new scripts.
The characters, the drunken wanderer, walker droids and flying drones are all set with animations.
Smaller props like neon signs, street lights, and vending machines are added.
The lighting and shadows are added to the overall atmosphere.

We had some setbacks with unity like crashes on high memory usage, but the work was almost done.
期间也有些小插曲
1.负责镜头的成员电脑比较差,在unity内存占用较高的情况下频繁得会发生崩溃并且丢失工作进度
2.技术成员告知由于未知原因unity导出的视频无法播放声音(我们最后计划用后期视频编辑工具来解决)
这周我们在Unity Asset Shop中选择下面这些动态资源:
Assets used during this stage:
Eric - Male Human
Sci Fi Drone Pack

第六周(2018.01.08——2018.01.14)
我回来以后兴奋得看到整个作品已经趋于完整了~

镜头方面也提供一套思路:一个人类的醉汉坐于街角,往来的机器人偶尔会向他施舍几个“钱币”
这是一个很有意思的剧本。但是在最终呈现的效果并不是很好,原因是我们使用购买的角色资源中的动画无法表达我们想要的东西。所以我们制定了另一个类似Neon的方案:镜头主要来搭配背景音乐来展现场景的生活化,并打算在下周向公司内部呈现以寻求意见确定最终的一个方案
Final lap of the project.
We reviewed the submission repeatedly and made as much polishing as we can.
Little touches like where a busy droid tosses some "coins" to the drunken hobo were added to add some bleakness.
And a new soundtrack was selected for the final submission.
最终冲刺!(2018.1.15)
今天可以说是最后截止的一天了!最终我们确认了2个方案的镜头合并的方式作为我们提交的作品并抓紧完成最后的优化和剪辑工作!

回顾整个过程虽然有些坎坷但还是非常有趣并且充满成就感的,我感谢我的制作小组在这一个多月的时间里牺牲大量的私人时间来完成我们共同的目标,我以你们自豪!
对于这个作品我们还会在未来的时间内持续提高品质并分享出来~
It is finally done and we're proud of it.
I want to thank all the team members we donated their free time to the project, and to other studio members for helping us out in various ways, and finally to Unity for the gift of this powerful beast of a tool that created the career we have, joy for our players.
同时也希望大家支持我们,为我们点赞!谢谢!!!

作品中使用Unity2017新插件的截图如下:
These new plugins of Unity2017 were used:
Cinemachine & Timeline
PostProcessing Stack

Shijiawen
策划 - Designer
1
Comments
格格巫
7 months ago
赞!
0
Shijiawen
7 months ago
策划 - Designer
Michael GelonGreat atmosphere and pacing. I like how it starts off close and slowly works up to the full scene reveal
Many thanks!We glad you like it~lol
0
Michael Gelon
7 months ago
Digital Media Specialist - Artist
Great atmosphere and pacing. I like how it starts off close and slowly works up to the full scene reveal
0
g
george
7 months ago
很赞啊,还有故事情节,不错不错,努力
0
sj
shen junjie
7 months ago
招ta 有意向留言给我
0