Community Stories: Cinemachine and Timeline——Community Stories: Cinemachine and Timeline

Community Stories: Cinemachine and Timeline

社区故事：Cinemachine 和 Timeline

Adam Myhill, 八月 25, 2017

 

原文：https://blogs.unity3d.com/cn/2017/08/25/community-stories-cinemachine-and-timeline/

 

Adam Myhill, our Head of Cinematics has been overwhelmed by the great reactions to how our community has been using Cinemachine and Timeline. Here are a few words from him on how it came together and his thoughts on the future.

看到我们的社区中大家使用Cinemachine 和Timeline展示无与伦比的表现力，Adam Myhill,我们的首席电影艺术师感到无比的激动。以下是他的一些关于Cinemachine 和Timeline怎样诞生和一些未来想法的记录。

 

 

As someone who loves cameras and shot a lot projects both in games and real life, I designed Cinemachine to make it easy for everyone to add dynamic and beautiful shots to their projects. One of my goals was to make storytelling fun, fast, and iterative, so that you can create shot sequences quickly and with the power of procedural cameras. This lets you spend your time on the creative problems instead of technical or implementation ones.

鉴于一些人非常喜欢摄像机，并且他们用镜头在游戏和真实世界做过很多的记录，我设计了Cinemachine用来让每个人更加容易地在他们的工程中添加动态而美丽的镜头记录。我的其中一个目标就是让讲故事变得更加有趣，容易和可被重用，这样你就可以用程序里摄像机的力量非常快速地创造一组镜头序列。这让你把时间花在创造性的问题上，而不是那些技术或者实现问题上。

 

 

As a video game cinematic artist, I was frustrated by having to re-work scenes that broke when animations were changed. A huge goal I had was to make cameras ‘smart’, so I didn’t have to spend a week fixing issues I had spent two months creating in the first place. I wanted cameras to know about their targets, and I wanted to work with them in a compositional way – just like you do with a real camera. Give the cameras some direction and intention, and let them do their job in variable scenarios when things change.

作为一个游戏影片艺术家，当动画改变的时候，我就不得不被重建场景的工作所阻挠。我有一个远大的目标，就是让摄像机变得“智能”，这样我就不必花费一周的时间去解决问题，而涉及这个问题的功能我在开始的时候创造它还需要两个月时间。我想要摄像机知道他们的目标是谁，并且我想要用更加创作式的方式去工作——就像你用真实的摄像机那样。给摄像机一个方向和目标，然后当有改变发生的时候，让他们能通过自由多变的脚本正常工作。

 

 

Think of typical keyframed cameras – they don’t know anything about what they’re shooting! I wanted to create a relationship between the cameras and their subjects so they would act as an army of little camera operator robots, following your direction. That’s how Cinemachine was born.

想想典型的关键帧摄像机--他们并不知道他们在对着谁！我想要创造一种摄像机和他们的目标的关系，这样他们就会根据你的指导，如同一支小摄像机操作机器人军队那样运作。Cinemachine 就这样诞生了。

 

 

What a lot of people don’t know is that the origins of Cinemachine started with in-game camera modules. In addition to the cinematic features, there’s a lot of gameplay camera tools included for 3rd person orbit cameras, follow cameras, state driven systems to easily trigger camera changes from animations, priority systems, a really robust camera blending matrix configurator and more. The heart of Cinemachine is for interactive gameplay, but when it met Timeline, well they became BFFs pretty fast. Using them together sure makes creating cutscenes, replays and in-game cinematic moments a whole lot faster.

很多人不知道的是，Cinemachine 的原始版本脱胎于游戏内的摄像机模块。除了电影特性之外，还有很多游戏玩法摄像机工具集，包括第三人称轨道摄像机，跟随摄像机，状态驱动的易触发式动画摄像机，优先级系统，一个非常稳定健壮的摄像机混合矩阵配置器等等。Cinemachine 的内核是交互式的游戏玩法，但是当它遇到Timeline，好了，他们就会像最好的基友一样运转如飞。

 

 

Experimentation should be easy – try out those crazy ideas and see what works. I want artists and designers to be able to create sophisticated camera behaviors that reinforce gameplay and the story. This allows your precious engineers to work on other problems instead of making and maintaining a giant ‘ball of code’ camera which can so easily become this frustrating scary fragile thing. I’m happy to say, those days are behind us with Unity!

实验应该是简单的 —— 去试验那些疯狂的想法并且看看效果如何。我想要艺术家和设计师们能创造复杂多变的摄像机行为来加强玩法和故事表现。这让你宝贵的工程师们能把工作精力放到其他事情上，而不是制造并维护一个巨大的摄像机功能“代码球”，这个“代码球”可以轻易的变得令人沮丧而恐怖易碎。我高兴的宣布，在Unity的世界这样的事情一去不复返了！

 

 

Your reaction to all this has been amazing! Thank you!  People are really seeing the potential of working with instant iteration time, zero/minimal code camera systems.

Here are some comments and community projects that caught my attention:

We Love Cinemachine

你们的反应都非常棒！谢谢你们！人们正在真正看到零编码/少量编码的即时迭代式工作的潜能。

这里有一些评论和社区工程引起了我的注意：

我们爱Cinemachine

 

 

Titles Using Cinemachine or Timeline

Some Unity users had early access to these features, and put them to the test in some great game, experience, and film work. Here are some of my favorites, including the project where Cinemachine was born, that you can check out right now.

使用Cinemachine 或者Timeline的主题

一些unity用户在早期就接触了这些特性，并且把他们放在一些游戏，体验，和电影工程中进行测试。这有一些我最喜欢的工程，包括Cinemachine 诞生的地方，你可以现在就看看。

 

 

Deserts of Kharak by Blackbird Interactive

卡拉克的沙漠（黑鸟互动制作）

 

This is a project very dear to my heart, and it’s where Cinemachine was born. I’ve been building camera systems in a number of engines for many years, but this is where we built Cinemachine from the best of all those learnings, in Unity, with this amazing game. Somebody even made a movie from all of the cutscenes. The cinematics in this game are all done with procedural cameras.  We wouldn’t know the size of your fleet so we had to use procedural composition and movement – all features in Cinemachine. Also, the designers kept changing the speeds of the vehicles! I would come to work, and all the Baserunners would be 15% faster or something – no problem, the cameras still got the shots. If we didn’t have Cinemachine we simply could not have done the cutscenes in this game, let alone over an hour of them.

这是一个深得我心的工程，并且这就是Cinemachine 诞生的地方。多年以来我曾用很多款游戏引擎创建过摄像机系统，但是在这个超级棒的游戏里，我们从那些所有学到的经验中创建了Cinemachine 。一些人甚至用过场动画制作了一个电影。这个游戏里的电影艺术全部都是通过可编程的摄像机制作的。我们不知道你的团队大小，所以我们不得不使用程序上的创作和动作——Cinemachine所有的特性。另外，设计师持续不断地调整车辆的速度。也许我可能会去让所有的基础车辆提速15%或者怎么样——没关系，摄像机依然会跟得上。如果我们没有Cinemachine ，我们可能根本不会有在这个游戏里的过场动画，更别提超过一小时的过场动画了。

 

 

Life of Us by Within

我们的人生（Within工作室制作）

This multi-person interactive experience tells the story of the evolution of life on earth, and is directed by Chris Milk and Aaron Koblin – VR innovators best known for The Wilderness Downtown, an interactive Arcade Fire music video. “The characters’ movements through space presented major implementation challenges–the flying mechanic, running through the environments, etc. Those were very difficult to get right and feel comfortable,” said Koblin. “We’re also proud of our character rigs–which combine animation, IK, and ragdolls–in order to support up to 6 people in the space. The most important feature we used was Timeline. The experience is highly scripted and linear, so Timeline made it easy to trigger animations, music, and events, and so we could just slide things around and change things in real-time.”

这个游戏带来多人互动体验，它讲述了地球上生命进化的故事，由Chris Milk 和Aaron Koblin主导开发，他们都是VR创新者，因荒原镇而广为人知，荒原镇是Arcade Fire乐队的一个交互式音乐视频。“主角们通过空间的行为带来巨大的实现方面的挑战——飞行的修理工，跑过各种场景，等等。那些事很难做到很正确并让玩家感到舒适，”Koblin说。“我们也为主角的那些装备感到自豪——组合动作，IK，ragdolls技术——为了支持6个玩家在同一空间一起玩这个游戏。我们用的最重要的特性就是Timeline。它带来非常高的脚本化和线性的体验，所以Timeline 使触发动画，音乐，事件变得非常简单，这样我们只是滑来滑去就可以实时地改变一些东西。”

 

 

Zero Days VR by Scatter

零日VR（Scatter工作室制作）

 

This VR adaptation of the Zero Days film by Scatter took Sundance by storm. Timeline allowed Scatter to iterate and experiment with different timings quickly when building the effects and transitions for ZDVR. The familiar non-linear editing style interface granted non-programmer members of the team the power to easily tweak animations without requiring any coding skills. “I think pretty much everyone on the core team used Timeline in this project, from the programmers to the 3D artists, and even the director” says Elie Zananiri, the Scatter Lead Interaction Developer. “I’m honestly not sure how we would have built Zero Days VR without Timeline.”

Scatter 工作室的零日电影的VR改编在Sundance 引起了轰动。Timeline 让Scatter 可以在为ZDVR创建特效和过渡的时候，实时地迭代并体验。熟悉的非线性编辑风格界面给予团队里的非编程人员在没有任何编程技能的情况下，有能力非常简单的去调整动画。“我觉得几乎任何在核心团队的成员都能在这个工程里使用Timeline ，从程序员到3D艺术家，甚至是制作人。”Elie Zananiri说，他是Scatter 工作室的首席交互开发者。“说实话，没有Timeline我们根本想不到如何去创建零日VR。”

 

 

 

Timeline, Cinemachine and You

Timeline，Cinemachine 和你

 

There are a lot of great ways to use Cinemachine and Timeline to help your stories!

Here’s a video from my Siggraph talk – Real-time Cinematics and Storytelling – it gives an overview of a number of the features, plus Timeline and the Post Processing Stack.

Below is a brand-new walk-through tutorial setting up a character in Timeline and some camera clips in Cinemachine.

有很多非常棒的途径去用Cinemachine 和Timeline帮助你讲述故事！

这里有一些我在Siggraph 演讲的视频——实时电影艺术和故事讲述——它提供了很多特性的概况，另外还附加一些Timeline 和后处理堆栈的内容。

下面是一些最近的几个试验性质的教程，包括在Timeline 里设置一个主角和在Cinemachine放置摄像机

 

 

I’ll be posting more demos soon. Until then, check out the Unity YouTube Playlist to see some other great examples such as:

我会马上上传更多的demo。那时之前，请查看Unity 的YouTube 播放列表去看其他更多的很棒的例子例如：

Overview of Timeline & Cinemachine: learn the fundamentals, build something from scratch (by Mike Wuetherick and Adam Myhill)

Timeline & Cinemachine概览：学习基本概念，用拖动的方式创建事物

Timeline & Cinemachine to mix Gameplay and Interactive Cutscenes: more advanced use cases (by Andy Touch)

使用Timeline & Cinemachine混合游戏玩法和交互式过场动画：更加高级的用例

Advanced Cinemachine: From 1st person shooter to 3rd person action adventure, revolutionize your in-game cameras (by Adam Myhill)

先进的Cinemachine：从第一人称射击到第三人称动作冒险，革命你的游戏内摄像机系统

Extending Timeline with your own playables: unleash more power (by James Bouckley)

用Timeline 拓展你的可玩性：解放更多能量