2019年9月21日 星期六

My MRT sketch book vol 24

i can't believe that posted my sketches until now .So many things happened in rencent mounths . And i came to accept it and learn from it finally......

2019年1月6日 星期日

My New Year’s resolution for 2019 !!

1. One Matte painting ~~

2. One ZB sculpture ~~

3. Keep MRT drawing

4. Building cinematic Art culture

5. Movie frame by frame study

2018年12月30日 星期日

My MRT sketch book vol 23

    In the second half of the 2018 , i am fascinated by NBA news on MRT , So my drawing time is reduced. It's not a good news. Hope next year i could get a balance between them .

2018年12月28日 星期五

Creating a sense of magical realism through in-game lighting_透過遊戲打光,創造奇幻現實的場面

Creating a sense of magical realism through in-game lighting


Creating a sense of magical realism through in-game lighting

June 8, 2018 | By Jack Yarwood

More: IndieArt

Lighting is an often underused and underappreciated tool in the game developer’s tool kit.

In addition to its (very good) function of making your game visible and readable by the player, lighting can be manipulated to evoke a specific atmosphere or draw particular attention to a level’s design.

For this reason Midnight Hub, the Malmo-based indie studio behind Lake Ridden, aimed to take full advantage of lighting while working on the puzzle-exploration game.

基於這個原因,Midnight Hub,以Malmo為基底的獨立工作室,Lake Ridden的幕後團隊。目標是以燈光展開全程冒險,在益智探索的遊戲中實現。
Rather than simply using lighting to illuminate a scene, the team wanted to evoke a sense of magical realism, purposefully lighting each scene to accentuate the length and shape of shadows as well as draw the player deeper into the story and its mysterious forest setting.

The premise of Lake Ridden is simple: you play as a girl named Marie who is looking for her younger sister. She’s gone missing while on a camping trip in the woods, and it's up to you to explore your surroundings for clues on how to find her.

Lake Ridden的前提是單純的 : 你扮演一位叫Marie的女孩,要去尋找她的妹妹,她在森林裡露營時失蹤,靠你去探索周遭的線索尋找她的下落。
Playing from a first-person perspective, you're tasked with solving puzzles found throughout the different areas to advance and illuminate light sources, which in turn keep track of where you’ve already been. But, as you explore deeper into the woods, you’ll soon realize that there is more to the environment than first appeared. Something supernatural is afoot.


"You never want to just place a light somewhere [randomly], you want to [say] 'What can we do to make this area interesting with this light?'"

Settling on an art direction 訂定美術方向

One of the biggest problems during the development of Lake Ridden was the amount of time and resources the team had to make the game. While coming up with the art direction, the team were conscious of how time-intensive a realistic aesthetic would be and therefore decided against it, choosing to go with a more stylized look inspired by games like Among the Sleep and Firewatch.

在開發 Lake Ridden時,所遇到的最大問題之一,就是團隊製作遊戲所需大量的時間與資源。面臨美術方向時,團隊意識到時間緊迫的現實美學會是一個方法,因此決定挑戰它,並且選擇更具風格化的外貌,是來自Among the SleepFirewatch的啟發。
“We realized that if we were going to finish this game we should just do somewhat semi-realistic textures, and maybe paint them a little bit, and then do the stylized feeling with the atmosphere, and the fog, and the lighting, and so on,” explains Erik Nilsson, the art director on the game.

「我們了解到如果要完成這個遊戲,應該要做些半寫實的材質,並且也許一些手繪,用些大氣氛圍 霧氣,光線做出風格化。」Erik Nilsson解釋,Lake Ridden的藝術指導。

The look they strived for with the lighting and environmental effects was something they termed “Hollywood realism”, where the contrast between light and shadow is purposefully dramatic or exaggerated to evoke a particular atmosphere. You can see this in the quite pronounced volumetric light shafts in the daytime scenes and in the interior shadows.

他們致力於用光線和環境效果達到所謂的「好萊塢現實主義」的樣貌,燈光與陰影的對比,是具有目的的戲劇效果或誇張地想要喚起特殊氛圍。你可以在白天場景和室內陰暗處看到相當明顯的體積光軸(light shafts

Using reference material for guidance 使用資料素材當作指引

The team looked at tons of reference material to achieve this tone, including real world photography and stills from Hollywood movies such as the cinematography of Andrew Lesnie (The Lord of the Rings) and John Alcott (The Shining).

團隊觀察素材的色調去建立這類的色調,包括真實世界的攝影相片,和來自好萊塢的劇照,像是攝影師Andrew Lesnie (末戒系列) 和 John Alcott (鬼店)
This helped them decide how to render particular objects in the game’s world and how many highlights an item should have. They then used their own plug-ins to tweak the saturation and balance colors in the environment when tinting the light, giving the day scenes a warmer overall look and a blue tone to the game’s nights.

“I think [more designers] should look a lot at movies,” says Nilsson. “Look how they are lighting things, because nothing is an accident. Everything is planned. If you have a light, try to get the most out of it, because a shadow is great for breaking up a texture and making it look more interesting.” He adds, “You never want to just place a light somewhere [randomly], you want to [say] 'What can we do to make this area interesting with this light?'”

Nilsson 說 :「我認為大多(設計師)應該多看一點電影」看他們怎麼打光,因為沒有燈光是意外的造成的,每件事都是計畫好的。如果你有一盞燈,試著充分利用它,因為陰影非常適合拆散紋理並使其看起來更有趣。“他補充說,”你永遠不想在某個地方[隨機]放置一盞燈,你想[說]'我們能用這個燈,做些什麼來讓這個區域有趣?

Tackling the natural lighting 處理自然採光

You see this approach on display early on in the game, when you come across a campsite bathed in moonlight. This clearly communicates to the player that this is the next area of importance, contrasting significantly against the dark forest environment.

“We wanted to create these light islands, where if you walk through the path, you can almost always tell where you’re going from this light island space up ahead,” Nilsson explains. “It’s like, “Okay, here’s the next breadcrumb.” It should be light enough that you can explore a bit if you want to, but usually it is [only] the important parts that are lit up.”

“我們想建立這些光島,如果你走過這條路,你幾乎可以告訴自己該從這個光島走去你要的位置,”Nilsson解釋。 “就像是,”好吧,這是下一個麵包屑。“它應該足夠亮,如果你願意,你可以探索一下,但通常它[只會]點亮的重要部分。”
This technique is used throughout, such as later when you happen across a stone ruin in the garden swarming with fireflies. Not only is it a functional way of leading the player through a level, it also carries a thematic importance in the plot.

這種技法在整個過程中都會被使用,比如之後當你偶遇螢火蟲叢生花園裡的石頭廢墟時。 它不僅是引導玩家通過關卡的一種功能性方式,而且在情節中也具有主題重要性。
At times the light takes on the form of ghost lights, similar to will-o’-the-wisps from European folklore that were said to lead travelers astray. The game has you follow these moving blue lights throughout a forest to locate certain puzzles in a move that gradually introduces the player to the presence of the more magical elements.


Using light sources as markers 把光源當作標記

It isn’t just natural lighting that is important for the level design however. While exploring the manor and the garden locations, you will also often come across static light sources, including lanterns and candles. These are usually placed close to puzzles, key items, and along paths, and can be lit to keep track of where you’ve already been or to simply illuminate the environment and get a better sense of your surroundings.


"We started out with a flashlight, but it was a lot more fun just to light things [ourselves]...going around with a flashlight everywhere, you’re not only going to destroy the level design, but also the atmosphere."
The decision to add light sources had the benefit of allowing the developer to keep control of the lighting and the mood of each setting, while still giving the player some level of interaction within the scene.

But this wasn’t always the plan.

“We started out with a flashlight, but it was a lot more fun just to light things [ourselves],” explains Nilsson. “If you have a stationary light, you can decide where the light sources are going to be and how things are seen. Whereas going around with a flashlight everywhere, you’re not only going to destroy the level design, but also the atmosphere.”

“我們一開始是使用手電筒,它有趣的點是照亮東西(我們自己),”尼爾森解釋。 “如果你有一個固定的燈,你可以決定光源的位置和物體看起來的樣子。 帶著手電筒到處走,你不僅破壞關卡設計,也破壞氣氛。“
Exploring the environments for the first time in Lake Ridden, these static lights are important for slowly dispelling the mystery of the game’s world, with the player able to gradually reveal a scene through careful exploration and interaction with the objects around them. It heightens the atmosphere and sells you on the idea that you are the first person to visit the setting in a long time.

首次在Lake Ridden中探索環境,這些靜態燈對於慢慢消除遊戲世界的神秘感非常重要,玩家可以透過仔細探索和與周圍物體的互動來逐漸顯露場景。 它增強了氣氛,讓你覺得長久以來,你是第一個參觀環境的人。

Dynamic over baked lighting 動態烘培照明

It should be mentioned, though, that the Midnight Hub’s approach to lighting wasn’t without its technical problems. The game was supposed to be lit using baked lighting, which is often a low-cost approach as light and shadows are pre-computed using lightmaps. However, Unity’s lighting system seemed unsuited to the large open environment of the game, meaning they couldn’t get the shadow baking to work properly. It would either be of a low quality or crash the game.

有件事應該要被提及,Midnight Hub的照明方法並非沒有技術問題。 該遊戲應該使用烘焙照明,這通常是一種低成本的方法,因為使用光照貼圖預先計算了光線和陰影。 然而,Unity的照明系統似乎不適合大型開放環境的遊戲,這意味著它們無法讓陰影烘焙正常工作。 它要嘛質量低,要嘛讓遊戲當機。

The compromise was using dynamic lighting instead. Although, allowing players to light up individual light sources around the world proved taxing on the game’s performance. Johan Bernhardsson, the project director, therefore had to rewrite his own personalized lighting system, to ensure that light and shadows would turn off at a certain distance. This helped maintain performance and ensured that the gameplay didn’t slow down to a crawl if the player lit all the available light sources in a level.

折衷方案是使用動態照明替代。 儘管如此,讓玩家照亮世界的獨立光源,已證明會耗損遊戲效能。 因此,專案總監Johan Bernhardsson不得不改寫自己的客製化照明系統,以確保光線和陰影在一定距離內關閉。 這有助於保持性能並確保如果玩家點亮關卡中所有可用的光源,遊玩體驗不會變慢到爬行速度。
“The main reason [we did this] was because the original lights that are in Unity are pretty good if you want to bake everything, but since we had an open-world area we had some real big problems getting the baking to work,” explains Nilsson. “It just didn’t like the scale of the game. We tried to do real-time outside and baking inside and that didn’t work either.”

“我們這樣做的主要原因是因為你想烘焙所有東西,Unity中的內建燈光非常好,但由於我們有一個開放的世界區域,我們有一些真正的大問題讓烘焙工作,” 尼爾森解釋道。 “它只是不喜歡比賽的規模。 我們試圖在室外進行實時烘烤,但這也沒有用。“
Lake Ridden demonstrates just how effective a tool lighting can be. It is not only used to sell the player on the supernatural nature of the game, but to carefully lead the player through the world. I ask Nilsson how challenging it was to get the lighting right for the game.

Lake Ridden 展示一個運用燈光的效果會是怎樣呈現。它不只被利用賣給玩家,讓他們在一個超自然的游戲裡,也小心地讓玩家探索整個世界。我問Nilsson,正確燈光對這款游戲是多麼挑戰的事。
“We have internal jokes about how much of a pain in the ass the fog and the light has been,” says Nilsson. “I think we have like learned of what not to do for the next project, but yeah, it has been a big thing to get right because it does so much for the atmosphere to get those two things right.” He highlights having to use their own dynamic lighting as one of the biggest lessons they learned. “It’s definitely been a real uphill struggle.”

Nilsson説 : 我們內部有個笑話有關,到底在霧跟光有多令人討厭,我認為我們已經了解了下一個項目不該做的事情,但是,正確的做法是一件很重要的事情,因為它讓氣氛變得如此之大,以至於讓這兩件事情變得正確。”他強調必須使用 他們自己的動態照明是他們學到的最重要的教訓之一。 “這絕對是一場真正艱難的奮戰。”

2018年6月29日 星期五

Fortnite Trailer Pipeline | Unreal Dev Day Montreal 2017 | Unreal Engine _要塞英雄預告生產流程

Fortnite Trailer Pipeline | Unreal Dev Day Montreal 2017 | Unreal Engine

(請放大150%~200%閱讀) 影片

哈囉,我是Brain Pohl,是北美EPIC Game的媒體和娛樂解決方案工程師。我想今天你們已經看了很多技術展示,我的展示會稍微轉換一下。我們會爬到30000英呎,看看未來的遠景,今天我們要討論生產流程(pipeline),跟工作流程(workflow)。

  • 即時(實時)
  • 身臨其境
  • 非線性
  • 互動
  • 程式控制
  • 客製化
Zafari : 兒童影集 by Digital Dimension,10月在法國首播,隔年美國放映。
Barbie Vlogger : by house of move,這是實時芭比綜藝節目。芭比和她的朋友,實時回答觀眾問題,演員穿著mocap裝,回饋串流mocap資料到引擎,並直播出去。
War : POTA : 利用引擎作previz(視覺預覽)

今天我們討論(堡壘之夜),示範Epic Game團隊如何建構這支預告。在Epic,我們知道製作動畫內容是件不容易的任務。如果我們要為藝術家提供完美的工具,我們要先使用自家的產品,自己試作一遍,所以我們決定製作這支預告,去學到所有的益處和製作實時動畫短片的挑戰。依據結果有許多進展達成中。有些進步或技術會在未來的416 417 418發布,不過還是有很多事情要做。


在2017年,EPIC GAME決定開始要為遊戲,要塞英雄製作3分鐘電影預告,發布這款遊戲的釋出,希望能引起刺激和留住玩家。
  • 6 個seqs
  • 130顆獨立鏡頭
  • 一定要實時(即時)
  • 24FPS

最高算圖時間 41.67毫秒 = 0.04167 秒

製作期從2017/1月開始,大概20週,但這沒有包括2016年的前置作業。製作期團隊的規模,從5個人到20人(Epic Game),角色動畫是外包(steamroller studio)

Unreal,MAYA(角色動畫),MAX(製作模型),Motionbuilder(動態擷取),Premiere(離線和最終剪輯),Substance Designer(材質),Blender(破壞模擬),ShotGun(專案追蹤),Perforce(版本控管),Alembic和FBX(檔案格式),Vicon Mocap(動態捕捉系統)

  • 已驗證的公式系統
  • 既定的預算模型
  • 旨在逐步分散工作量
  • 驅動現在的動畫和電影產業

  • 線性流水線方式
  • 高度各部門各自為政
  • 過時版本的處理系統
  • 緩慢的調修過程
  • 很難變更排程
  • 缺乏統一性
  • 太慢

侏儸紀公園讓流程更互相倚賴,很快我們更了解到更動某一個流程,就會戲劇性的改變預先準備和其他流程的執行。這有好有壞。好處是這讓製作團隊開始以整體去思考他們的電影,而不是流水線模式。壞處是導演開始追上CG技術,開始會提出任性要求,此時,製作人會很開心。我相信各位有聽過類似的話 fix it in post correct,這是典型的好萊塢神話。
  • 非線性
  • 互相聯結
  • 多用途
  • 更快速
  • 預防

  • 更複雜
  • 需要更多團隊合作
  • 需要更複雜的製作管理



  • DCC(數位內容製作 ex : MAYA MAX)
  • 遊戲引擎
  • 拉下 (要完成才能往下個階段製作)
  • 取和推(隨時都可以修改並且合併到主線)
  • 分散和部門化
  • 資料和產品管理
    • 集中和合作化
  • 手動符號連結
  • 版本控管
    • ACID
  • 較少平行
  • 工作流程
    • 更平行
  • 配合合成系統使用圖層
  • 輸出目標
    • 直接輸出成品(為了可以live直播)
  • 嚴格
  • 命名慣例
    • 彈性
  • 無限制拓譜
  • 資產考慮
    • 為實時做最佳化
    典型動畫工作室生產流程 - 現代/非線性
    故事階段就可以花到6-12個月,一年半載,製作出分鏡表,再送去(Editorial)剪輯出story reel,再送到Shot Blocking(鏡頭調度)做Rough Layout(粗略佈局),同時藝術部門開始繪製概念圖送去模型 綁定 材質 ,資產建構(Asset Construction)完成,最後會再送回Shot Blocking,Rought Layout由多顆鏡頭組成,當Rought Layout完成,就開始調Aniamtion,動作調完再送回Shot Blocking製作成Fianl Layout。接著再將鏡頭後製優化(Shot Enhancement and effects),再到燈光渲染(Image Output),最後剪輯配音輸出(Editing and Finalizing)。這就是目前今日的動畫工作流程。

    • 模型
    • 遊戲綁定
    • 遊戲動作庫
    • 場景組裝
    • 利用預覽過程

    有點類似,但還是有些不一樣。我們沒有專門的故事部門,但我們製作故事板,再送到剪輯室製作story reel,聽起來很而熟吧。在Rought layout中,直接拿遊戲資產,套上Mocap資料,製作成1st Unit Previs,基本上就是導演和演員,在Mocap棚裡拍攝。可以直接跟演員互動和流暢的製作鏡頭。使用真人調度動畫。這是最大的不一樣的地方,不再是手key每顆鏡頭。所有的資料都會在Rough Layout時建立。基本上它會連接到seqs,我們會做相當粗略的製作,製作level seqs,並一直保持彈性。你可以製作獨立的seqs和shots。當我們完成額外一次性(one-off)的鏡頭。會把這些鏡頭再做精煉過程(refining stage)或reindex conform(可能也是完善),所有的Level sequences都會在seqencer裡面。每顆鏡頭正式製作,sub level被定義出來,這兩者都會在seqencer裡製作,seqencer會變為成品樞紐,在傳統系統裡,剪輯和layaout是成品樞紐。第4階段,資產輸出。第5階段,資產優化,遊戲模型可能沒這麼適合電影預告所用,他們需要被評估和改善。改善綁定和貼圖,佈線(surfacing)。第6階段,動畫(Animation),之後的我們等下詳細說明。


    • 側重前期故事
    • 整合故事
  • 構思鏡頭建構
    • 實拍鏡頭建構
  • 剪輯&布局如成品樞紐
    • seqencer如成品樞紐
  • 前製之後的部門主宰
    • 整個過程以導演為中心
  • 少有互動式調修
    • 更多的互動式調修

    • 最初的想法會應用故事板
    • 多種概念都會被納入考慮
    • 利用Premiere Pro做暫時剪輯
    • 製作粗略的story reel給mocap當參考資料
    • 接近傳統流程

    要塞英雄的前製作業-ROUGH Layout
    MoCap + Previs = ROUGH Layout
    • Vicon動態捕捉系統/Mobu
    • 合理的動作,運動。當場決定動畫發生點。
    • 盡可能在單一較大的take裡,完成拍攝很多Mocap資料。
    • 在匯入引擎之前,回看Mocap take。
    • 驗證過的take在匯入引擎。
    • 這個階段定義粗略的level seqs
    • 組裝選出的level seqs,丟進一個肥大的master level seqs
    • 為鏡頭涵蓋(coverage)拍攝一次性的鏡頭,並在劇本標示改變和配音。
    • 複製FAT master level seqs並根據最初的rough shots和時間點來劃分鏡頭。
    • 從複製的master裡,刪除多餘的素材。
    • 正式的攝影機會增加在複製的level seqs裡,並基礎取景。
    • 為求提升效能,根據攝影機的FOV,移出鏡頭內不用的角色和布置。

    要塞英雄的前製作業-Conforming In Sequencer
    Rough Layout一旦完成,就要來整合seqs,這個階段會開始嚴謹。
    • Rough level seqs會被規劃成一個傳統的seqs,節拍,並且鏡頭結構通常建立在影片中。
    • Level seqs會被重建去支援新的構造組合(新的剪輯)。
    • 正式的鏡頭編號會被重新排序和指定名稱 (ex : db0030_001,op0040_001)
    • 資料會被送去shotgun,做產品追蹤。
    • 要塞英雄的預告是遊戲的分支(為這專案分支)
    各位可以看到這裡有6個seqencer,OP DB (這些縮寫)。

    再點進去就會看到有好多資料夾,有level Visibility ,audio,Camera,Character,Lighting,Props,VFX
    因為動畫師是在MAYA裡工作,所以要輸出到MAYA。但不幸的是要手動輸出(4.20出了Livelink for maya),
    • 場景組裝是由Fortnite遊戲場景提供,在rough layout流程,會被輸出到MAYA,讓動作表演對位和場面調度。
    • 與額外的rough layout 所重拍的鏡頭,不需要製作,除非非常必要。
    • 所有的攝影機運動都是在UE4完成。
    • Perforce客製化包裹
    • unreal game同步系統
    • 支援changelist,time stamps ,detail info

    • 從MAYA用寫腳本的方式輸出
    • 手動輸出/輸入到UE4
    • 主要痛點
    • 4.19將支援Python

    要塞英雄製作-Sub Level 管理組成
    CG總監和導演,想要每個人都可以平行工作,所以他們創造sub level。
    • Persistent Level - sub level的虛擬場景持有者(母層)
    • Environment Sub Levels (ENV) - 場景組裝
    • Character Sub Level (Characters) - 給所有level seqs的FBX身體
    • Cine Sub Levels - 每個電影level seqs 節拍?(1.OP 2.DB 3.MT 4.HF 5.SF 6.DE )
    • Lighting Sub Levels - 專屬seq與鏡頭 level light
    • Blueprint Specific sub Levels
    • Post Processing sub Level - Tonemapper

    會依據不同的seqs,使用Level Visibility來開關不同的sub level。注意:這是在最大的seq所做的level visibility,所以有很多不一樣的sub level
    例如這個是在第二層Master(db_seq)所做的Level Visibility,只會看到db開頭的sub level。
    • 遊戲資產手動匯入MAX
    • 頭部和身體分開
    • 模型和貼圖強化需要額外解析度
    • 任何烘焙燈光貼圖,都要把抽掉燈光
    • 臉部佈線使用統一的拓譜
    • 在MAYA裡,資產用w/ART 2.0綁定
    • 為Anim Physics額外增加Leaf 節點。
    • 改善電影臉部綁定和控制器應用。
    要塞英雄製作-FBX & Alembic快取工作流程
    • FBX身體 - 55,000四角面 / 110,000三角面
    • Alembic 頭 - 35,000 四角面 / 70,000三角面 (統一拓譜)
    • 每位英雄的總面數接近185,000三角面

    • 在遊戲中,臉部骨架是26根
    • 透過FBX,每個點會被8根Bone影響
    • 限制變形的可能性
    • 在電影中,臉部是201根
    • 綁定是一個骨頭,blendshape,lattice的組合在UE裡,使用FBX讓變形的模型移除影響限制。
    • ABC快取在UE4轉換成GPU morphs,並且實時混接。
    要塞英雄製作-動畫 - MAYA
    • 所有表演動畫都是委外給佛羅里達州尤斯蒂斯的steamroller studio
    • 他們使用他們的資產和產品管理生產流程,製作鏡頭和追蹤資料。
    • 當steamroller 完成每顆鏡頭的表演,Maya的檔案會上傳到Box並且Epic 動畫團隊必要時會調修,再彙整到UE4.
    • 所有MAYA檔案會用perforce追蹤,確保Epic可以版本控管。
    • 讓MAYA材質名稱與UE材質名稱相同匹配。
    • 置入Maya材質球給臉部模型,而不只是換掉整個模型。
    • 所有角色臉部幾何體,必須把四角面轉成三角面。
    • Maya以ABC快取格式輸出模型。

    • ABC檔案輸入到UE是被當成Skeleton Mesh
    • ABC的快取會轉成PCA壓縮成morph Targets
    • “Use GPU for Morph Targets”必須開啟。
    • ABC使用請看Youtube Introduction to Alembic

    • 新增的rought layout所做的重拍鏡頭,除非必要否則不做這件事。
    • 所有的camera運動都在UE4建立
    • 如果在動畫之中,攝影機需要被改造,會在MAYA做改變,在最終輸出時,再回到UE4。(是否寫錯?)
    • 角色動畫表演也是回到MAYA修改。
    • 燈光架設(light rigs) VS Spawnable 燈光
    • 燈光優先度覆蓋被利用調整每一顆鏡頭的燈光布置
    • 使用動態燈光勝過烘焙燈光 (因為烘焙太花時間)
    • Distant Field AO會和基礎材質求連接,在無陰影主燈下,提供一個較柔和的陰影。
    • PCSS被使用在動態spot light和直射燈光。
    音樂放在第一層的master level seqs

    • seqs的鏡頭是以序列圖像輸出
    • 把序列圖檔匯入Primiere做最後剪輯
    • 最後聲音在配上
    • 同樣在剪輯軟體和UE裡剪輯,都是手動的
    • 傳統的EDL,UE是支援的,但無法對Seqs提供更複雜的剪輯