Building PBR-environments for Games by Berer Siino __為遊戲建立PBR場景 Berer Siino

Reference : Berer Siino

BUILDING PBR-ENVIRONMENTS FOR GAMES

Interview

Freelance artist Berker Siino and former Crytek artist, who worked on Ryse, Crysis 2 and Crysis 3, gave a detailed breakdown of his new environment for Rick Future adventure games. This is an incredibly example of great PBR-environment created with very limited resources. Berker talked about the production of materials with Quixel SUITE, described the way he used Unity 5 and shared some of his signature tricks in this amazing breakdown.

自由工作者Berker Siino而且是前認Crytek美術，曾經在羅馬之子，末日之戰2 3，將講述他為Rick Future adventure games所作的新場景細節分析，這是一個不可思議運用非常有限的資源，所使用PBR-場景的範例，Berker和Quixel SUITE討論有關材質產品，敘述他在Unity的使用方法，和分享一些特別的技巧，都在這驚艷的解析。

Introduction

My name is Berker Siino and I am currently working as a freelancer. I have previously worked at Crytek for about 5 years. The beginning of my career started at the Games Academy in Berlin where I studied 3D art and also made the first connections to many of the local game developers, Crytek being among them. In the course of my professional career I collected credits on Ryse, Crysis 2, Crysis 3 and numerous other smaller projects. I also supported pretty much every licensee using CryENGINE during their game development efforts.

介紹

我的名字Berker Siino，我最近是一位自由工作者。我之前在 Crytek 工作5年，我一開始的生涯是在柏林的遊戲學院，我專攻3D 美術並且開始初次接觸當地的遊戲開發者，Crytek是其中之一。在我的職業生涯課題中，我被納入Ryse(羅馬之子), Crysis 2(末日之戰 2), Crysis 3(末日之戰 3)和其他許多小專案。我也被贊助想當多的認證使用CryENGINE，當他們的遊戲在開發時。

One of my personal highlights was to be one of the guys who exported the first Star Citizen ships and showcased a demo scene to Chris Roberts and Cloud Imperium Games while they were evaluating CryENGINE. Working at Crytek advanced my skills in all kinds of directions and I quickly became an ‘all­arounder’, getting proficient in many areas.. Being able to take on technical art roles and still having the passion of being a 3D modeler and texture artist made me a quite useful member of my team at Crytek.

我個人較突出的作品之一，星際公民開發第一艘Star Citizen 船，並展示一個範例場景給 Chris Roberts和Cloud Imperium，當時他們正在評估CryEngine。在Crytek工作，我的技術在各種方面都進步並且我很快變成一位"多工人員"，精通在各個領域。為當一位技術美術職位，並且仍需要有熱情在3D模型和貼圖美術上，使我成為一位在Cryrek團隊中有用的成員。

The Rick Future Project  Rick未來專案

After leaving Crytek and working as a freelancer for a few years I started working with MetalPop Games. MetalPop, also made up out of ex­Crytek devs asked me to help them out with all their art and technical art tasks for the adventure game they were working on.

在離開Crytek並成為自由工作者幾年後，我開始和MetalPop Game合作。MetalPop，也是前Crytek開發者創辦的，找我幫忙他們正開發冒險遊戲的所有美術和技術美術的測試。

The project was first developed using CryEngine but was switched over to Unity with the release of Unity 5. When I joined, one of the first things I did was to develop a new art pipeline to utilize the full strength of Unity’s new rendering features.. Being a very small team with limited capacity Unity was simply the better choice to get results quickly.

專案一開始使用CryEngine，但Unity5釋出後，就轉成Unity。當我參與時，我第一件事要做的就是開發出新的美術生產線，採用Unity的新渲染特色的完整效能。對一個非常小的團隊搭配能力受限的Unity，是單純最好的選擇並快速得到結果。

I got the chance to do the art direction and develop a new style for the game, and I think getting the chance to this meant quite a lot to me as an artist. As usual with indie development and having no publisher picking up the tab, time and money are constant worries. As an artist I still want to go as near as possible to a AAA quality with our game though. Only having a strong pipeline could realize this, which is one of the reasons why I used Quixel Suite to automate and create textures fast in PBR fashion. I took the responsibility to design, model, texture and art direct all game scenes, all in quite a short time. Our first result was the benchmark level, we call the ‘Engine Room.’

我有一個機會為一個遊戲去做美術主導和發展新的風格，並且我想得到這機會，對我身為一位美術意義重大。通常與獨立開發商和沒有發行商買單，時間和金錢是一直都是急迫。身為一位美術，我依然希望我們的遊戲能盡可能接近AAA水準。只有擁有牢靠的工作流程才能實現。也是我為什麼使用Quixel Suite的原因之一，自動化和在PBR潮流中快速製作貼圖。我的職責是設計，建模，貼圖，並且美術指導所有遊戲的場景，所有事情都在短時間內要處理。我們第一個成果是基準關卡，我們稱"引擎室"

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Preparation and pipeline 準備和工作流程

The main goal of creating levels and scenarios as the only artist in the team was to keep things simple but at the same time don’t lose fidelity and the details of a AAA game. In a production with more artists you can keep one guy busy with an asset to make sure to keep the desired quality level.In indie development of course this is not always possible. The main approach to achieve the look I was going for is to make use of lights and reflections. Of course those are only given when working with normalmaps and roughness/gloss maps in PBR. The beauty of PBR of course, is that you can change lights without worrying about objects looking wrong in different light conditions. If you get the material values right from the beginning, that is. Quixel Suite is a great tool for that matter. You can start by adding a base material and tweak it to your needs and of course try to break the procedural look of the mask generation. Thankfully Quixel now has a painting tool which allows you to have more artistic freedom while creating your assets. I did not have much time to model out every detail on an asset therefore I made sure that the base chamfers of an asset had the highpoly information included. To add further details I used NDO which gave me also a fast way of masking out the elements for a color ID map.

當團隊只有一位美術製作關卡和場景，此時的主要目標讓事情簡單，但同時不要失去真實度和AAA遊戲的細節。與許多美術在量產期，你可以保持一位美術專注在道具上，確保想要的品質。在獨立開發的過程上，這並不會時常發生。最主要的方法，讓外型達到我要的，就是製作光和反射。當然這些只能在PBR有Normal map 和粗糙 / 平滑Map可以給與。漂亮的BPR課題，就是你可以改變光而不需要擔心不一樣光的狀況，讓物件看起來是錯的。如果你一開始的材質是對的，就沒問題。Quixel Suite就是一套為此而生的。你可以一開始新增一個基本材質，並且微調成你需要的，當然試著打散程式生成的MASK外型(過於規律)。謝謝 Quixel 有Paint Tool，允許你在製作物件時，有更多藝術自由度。我沒有太多時間，把物件細節都建出來，因此我確立一個物件的基礎倒角必須要包含高面數Poly資訊，我使用NDO增加更多細節，也給我一個快速方法去MASK物件，做出Color ID Map。

The normal maps got baked out in XNormal by using cages that you can generate in the 3d viewer.

Xnormal在3d viewer中，藉由 Cage 烘焙Normal Map。

The more important maps to get out of the tool, were the normal map with the green channel up, the curvature map (could be also baked in DDO) and an ambient occlusion map. The color ID map can either be baked from a highpoly model with different colored materials assigned to it, or created during the detail pass in NDO. Also important is to get the Xnormal Tspace synced to the engine tangent basis. I was using a plugin for that during beta of Unity 5 and had to smooth the angles of objects in engine manually. I am not 100% sure but I think that got fixed by now and you can use the standard Mikk ­Tspace now.

使用這工具所得到的更重要的Map，就是帶有綠通道的Normal Map，Curvature map(可以在DDO烘焙)和AO Map。Color ID Map也可以用不一樣的材質球給予高面數模型，烘焙取得。或是在NDO建立細部的pass。Xnomal Tspace同步引擎的法線基礎也很重要。我是在Unity5beta版裡用外掛並且手動在引擎中把物件角度平滑化。我不是100%確定，但我想現在已經修補並你現在可以用基本的Mikk ­Tspace(Xnomal的功能)

After getting proper working normalmaps you have a foundation to build up detail in NDO. It is all about planning the asset. For example if you would see an asset from the side and you add tons of detail on a flat surface, this would destroy the purpose. You need to add geometry to keep a working silhouette, that is without question but only in areas where it makes sense.

得到適當的能用的Normal map，你就有一個基礎可以到NDO去建立細節，看如何設計物件。例如你從邊緣看這物件，你會增加細節在平面上，這會破壞原來的目的。你需要增加幾何面試著保持物件輪廓，這不會有問題，而且有效。

From this point on you generate all your masks and smart materials in DDO until you get your final texture. I highly recommend not using standard smart material and call it a day. You have to make sure to get rid of the generic look of procedural textures. Quixel is pattern based so you can scale them and that is pretty much it. But now we can use the paint tool to also add variation, which is great. The power of generating presets and smart materials was the reason why I chose Quixel suite to be part of my pipeline. After creating the input nodes like normal map and ambient occlusion I was able to automate textures based on my smart materials that worked already perfectly in my scene.

從DDO裡，你產出所有mask和聰明的材質這點，到得到你的最終貼圖，這一點。我不建議使用基礎聰明材質和就這樣結束。你需要讓他減少看起來是程序製作出來的貼圖。Quixel是模板為基礎，所以你可調整。但現在我們可以使用paint tool去增加變化，這很棒。製作一些預設和聰明材質是我選擇Quixel suite 成為我的工作流程的理由，製作Input節點類似Normal map和AO之後，我可以以我的聰明材質，自動化貼圖。

My library of presets and smart materials grew over the course of creating the scene and I was able to use it on other levels as well, to get the production speed up.

我預設的收藏和聰明材質在建立場景過程中，不斷成長。我也可以使用它在其他的關卡，讓製作速度提升。

Unity 5 Needs Plugins  Unity 5需要外掛

The problem that I had during creating the pipeline was that I didn’t have access to certain tools that I got used to while working with CryENGINE. Unity 5 doesn’t have a solution for decals for instance, which is really not understandable for me. I was hoping to use POM and certain other next gen dx11 features on decals which I couldn’t. We didn’t change the standard shaders however and stuck to them. I was mainly focusing on getting the big picture and not the craziest shader setups. Rick Future is a point n’ click adventure game, so you have certain camera shots that track and pan slightly along the movement of the protagonist. You can’t come up close to a wall like a FPS game. It will probably happen that the game gets changed to a more advanced shader system in the future but that is not the case for now. I used certain plugins like SE Natural Bloom & Dirt Lens from Sonic Ether, Light Shafts and Easy Decals though.

我在建立工作流程時的問題，就是當我在CryENGINE工作時，我習慣我沒有使用特殊工具。Unity 5 沒有為立即衰減做處理，這讓我不解。我希望可以使用POM (Parallax Occlusion Mapping )和DX 11的功能，但我不能。

Light and reflections 燈光 和 反射

We are using deferred rendering in our project with the specular PBR workflow. Therefore we can use many lights without killing the performance of the game. The way I start my light setup is usually out of a dark scene. I mean, what is better than adding controlled information to get a certain look instead of starting from a default lid scene? A scene usually uses 3 lights. Key light as a main source of light, rim light to highlight silhouettes and a fill light to boost some of the too dark shadow areas. At this point I set all my non­dynamic assets to be static to let the system know which assets getting bounce during light generation. That is also the way to get access to glow. And we did need glow for certain science ­fiction elements of the game. I used dynamic lights mainly for the key lights to get shadows and light variations in the game. At any time the lights can be baked though (make sure to generate a second uv with non overlapping uv shells for lightmapping).

我們使用deferred rendering(deferred rendering中文) (燈光與算圖介紹中文 英文)和specular PBR的工作流程在我們的專案 ，因此我們可以使用很多燈，而無需犧牲遊戲表現。因此我一開始光的設定通常是在黑暗場景中，我指的是，什麼會比增加控制資訊得到更精確的外觀，還是一開始就從有預設光的場景開始，來的更好? 一個場景通常使用3盞燈，Key light為主要來源光，Rim Light 打亮出剪影輪廓並且Fill Light提亮太過黑暗陰影的地方。在這點，我會設置非動態物件(non-dynamic assets)保持靜態(static)，可以在燈光產生時，讓系統知道那一個asset得到反彈(bounce)，這也可以得到發光(glow)，我們需要為遊戲的科幻小說的物件發光，我主要使用動態光源(dynamic lights)當作Key light，去遊戲中，得到陰影和光的變化。在任何時間，光可以烘培，透過(確定有製作第2層UV，不需要重疊UV，是為Light mapping)

You can use objects that are almost invisible to cast glow as some sort of fake light source. The tunnel area behind the main engine for example got the bounce light from a transparent object.
你可以使用無形(invisible)物件主導發光，如一些造假的發光來源，以引擎後端的隧道區為例，反彈光來自透明物體。

This effect could also be achieved by baking the bounce and then hiding the object after bake.
這個效果也可以藉由烘焙反彈光並且烘焙結束隱藏物件取得。

Usually you start by adding key lights with a default value of 1 intensity on a logical way. I got 2 major light sources in my scene, the top light from ceiling neon lamps and the engine glow light with the light shaft, both of them casting shadows. At this point the GI is also being generated and you can tweak them as you like by adding more bounce for instance.
 通常你會從新增Key light開始，預設強度為1。我在場景使用2盞主要燈光，頂燈是用天花板日光燈，引擎發光帶有光束，兩者都投射影子。此時，GI也會被產生，你可以細調他們，藉由增加燈製作更多的反彈。

The next steps are to make sure to get a bit more light in general into the scene. You do that by either tweaking the main light sources or simply adding a few more in the room.

下一步，確定場景有得到足夠的燈。無論是調整主燈來源，或在空間中增加一些燈。

One more tip:  另一個技巧

Try to avoid as much overlapping of the light radius/range as you can. It causes overdraw and hurts the performance. If you have more lights you should try to avoid it.

盡你所能試著避開太多燈光區域重疊，它會導致透支(overdraw)並且傷到效能。如果你有很多燈，試著避開。

Once you got the base lights done, you set up your reflection probe and capture all the surrounding environment into one reflection map. You can set it to real time to see all changes updating live. Finish up the light setup by placing indirect lights from monitors and other smaller light sources that should cast light. You can change the appearance of a light by using what Unity calls ‘light cookies’. It is basically a black white mask and is used to project the light in different shapes. Light is one of the best tools to model out shapes and forms. You can define them and guide the viewer through your scene with it. For example: I added spot lights to some of the areas such as the big generator close to the camera on the bottom left of the screen mainly because of the gameplay mechanics. There is a puzzle element behind the hatch which needs to be solved. In a lot of games they use these lights to guide the player. A door for example has usually some sort of light source attached, maybe a torch or a lantern to show the way.

一但你確立基礎燈，你設完你的Reflection probe和取得整個場景的 reflection map 。你可以設定為即時(real time) 去觀察它的即時變化。從螢幕中和其他較小的燈光來源，放置間接光。你可以改變光的顯示，使用Light Cookies，它就是一張黑白Mask，被用來投射出不一樣形狀的光。光是建立形狀和型式的最棒工具之一。你可以定義它們和引導玩家通過你的場景。例如，我增加一盞spot light 到某個區域，像是巨大發電機靠近攝影機，主要位在畫面左下角，因為是可操控機械。有一個機關物件，在艙口後面，需要被解開。在許多遊戲他們使用光去引導玩家。例如一扇門，通常都有某種光在上面相連，也許是火把或提燈照出通道。

Post process, color grading and tone mapping

Also important is to add is a screen space ambient occlusion to merge the objects contact shadows into the environment. I added a few more glow related scripts to get the SE Natural Bloom effects like lens dirt and bloom. Most important is color grading and tone mapping, even if I did not use it in my final scene setup. I got the results simply by using color grading. There is a lot of documentation about what color grading is and how to do it, but in a nutshell it is basically the idea of taking a screenshot of your current level pasting it into photoshop, manipulate colors and then throw it back into the engine.

還有很重要的是增加一個screen space ambient occlusion(SSAO)去合併物件碰觸的陰影到場景上。我增加許多發光有關的腳本，去得到SE Natural Bloom效果，類似鏡頭髒汙和過曝。最最最重要的是Color Grading(分色)和Tone mapping，即使我不在我最後的場景使用。我使用分色得到一些結果。有很多有關什麼是color grading文件和如何使用，但簡而言之，它最基本概念就是到你的場景，用print screen截取一張screenshot，並貼在Photoshop，手動調色，並丟回引擎。(Color Correction Lookup Texture)

With tonemapping on the other hand you can use an S curved tone curve to enhance contrast in the middle range and compress highlights and shadows. I would recommend to keep it simple here, because with all of these tools it is easy to get confused. Get the basics right and then add stuff, and if it is too much take it away and re­add with a different approach if needed.

你也可以使用Tonemapping，使用S曲線，提高中間調對比，並壓縮高光與陰影的部位。我建議盡可能讓它簡易，因為那些校色工具很容易讓人混淆。先把基本弄對，再追加上去。如果太多就減少，並且再重新加入不一樣的方法，如果是需要的話。

Why Naughty Dog removed 'fun' from its Uncharted 4 focus tests By Alex Wawro__為什麼Naughty Dog要從秘境探險4的重點測試中移除"樂趣"

source from _ Why Naughty Dog removed 'fun' from its Uncharted 4 focus tests

Why Naughty Dog removed 'fun' from its Uncharted 4 focus tests

 By Alex Wawro

為什麼Naughty Dog要從秘境探險4的重點測試中移除"樂趣"

"'Fun' is such an interesting word. We took it off our focus tests. It was just a weird word that people were getting hung up on."

樂趣是一個多麼有趣的字彙，我們把它從我們的重點測試移除。它只是一個讓人們念念不忘的奇怪的字。

- Naughty Dog creative director Neil Druckmann.

-Naughty Dog 創意導演 Neli Druckmann.

Rolling Stone publisher Wenner Media is in the process of launching a new games-focused hub, Glixel, and part of its opening salvo is an intriguingly in-depth interview with Naughty Dog's Neil Druckmann about the design and development of Uncharted 4: A Thief's End.

滾石出版人Wenner Media在發佈最新焦點遊戲中心(Glixel)的過程中，它的序幕是一個有趣又深度的面談，與Naughty Dog的Neil Druckmann，談論有關秘境探險4的設計與開發

Druckmann's conversation with Glixel covers a lot of ground, but what's especially notable for game developers is his thoughts on "fun" and how the notion of making a game "fun" impacts game development -- and how it can potentially get in the way of making a holistic experience.

Druckmann與Glixel的談論涵蓋很多面向，但對遊戲開發者什麼是特別重要的，他的認知在樂趣，如何作一款遊戲樂趣的概念影響遊戲開發 -- 並且它要如何可能運行製作整體體驗。

"How do you rate the dive sequence at the beginning of Uncharted 4? Is that fun? There's no real challenge," said Druckmann. "But that level is important, to set up how mundane Nate's life is. Just rating it on its own, one through five, that was constantly the lowest-rated level [in focus tests]. But it kind of had to be. We're not going to change that."

Druckmann 說"你要如何評分在Uncharted 4一開始的潛水遊程? 這好玩嗎? 這不算真的挑戰" 但這個關卡很重要，為了要設定Nate的生活有多平凡。只靠自身的評價，從1到5，它會是一個低評價的關卡(在重點測試中)，但它是必要的，我們不會去改變它。

This may not be the most tantalizing bit of behind-the-scenes talk Druckmann indulges in during the interview, but it offers a big-budget example of how developers are shifting the way they talk about games and expanding the scope of their ambition beyond making "fun" experiences. Naughty Dog removed the word from its Uncharted 4 focus tests, says Druckmann, and it seems testers immediately had an easier time of things.

在面談過程，這可能不是與Druckmann對談最誘人幕後，但它提供一個大預算範例，有關研發人員如何轉換他們討論的遊戲和擴展他們的企圖心，超越"樂趣"的體驗。Druckmann 說 : Naughty Dog從Uncharted 4的重點測試移除這個字，它似乎讓測試立刻簡單了一些。

"It used to be, 'How fun did you find this level?' Now it says, 'Overall, how would you rate this level?' Druckmann added. "It becomes less about, 'Did I have fun? Did I have an interesting challenge?' and more about, 'Did I like it?' And I hope people interpret that as, 'Was I engaged? Would I recommend it?''"

Druckmann 補充，"它曾經是"，你覺得這關卡有趣嗎? 現在會說，"整體下來，你會對這關卡打幾分?"它會變得較少的"我覺得有趣嗎?" "我有一個有趣的挑戰嗎?"或類似我喜歡它嗎? 我希望人們能夠轉成，我能投入嗎? 我會推薦它嗎?

As a side benefit, Druckmann says removing the word "fun" from Uncharted 4 focus tests actually caused test scores to rise dramatically. 

一個附帶的好處，Druckmann說在Uncharted 4 重點測試中，移除了"Fun"，事實上，導致測試分數戲劇性的上升。

For more of his comments on how Naughty Dog's latest big-budget hit was designed and developed, including how lessons learned from The Last Of Us were applied to Uncharted 4, check out the full interviewover on Rolling Stone.

想要更多他在如何設計與研發Naughty Dog最新大作的意見，包括他們在The Last Of Us所學到的課題，並應用在Uncharted 4，到滾石網站看full interview

My MRT sketch book vol 15

Now, Houston, we have a problem ! My sleep quality is fucking bad.

My eyes will not be part of mine soon. I don't know why i  wake up so early . It's even not at 7: 00 am. 

'Powerful stories require ambiguity': A story about Her Story _ "強大的故事需要模稜兩可" : 一個有關她的故事

source from : 'Powerful stories require ambiguity': A story about Her Story

Game-makers who want to tell deeply-engaging stories must rediscover the power of ambiguity, and the power of the player’s imagination. This was the message from Sam Barlow, the British creator of the game Her Story, speaking at the Game Developer's Conference.

遊戲製作者，想說些引人入勝的故事，必須重新探索模稜兩可的力量，和玩家的想像力。這則資訊是來自Sam Barlow，Her Game的英國製作人，在GDC所演講內容。

Her Story plays with narrative and chronology by applying the flexibility of video game structure with the ambiance of the murder mystery genre. Barlow explained that his 2015 game has been a triumph, not only in terms of critical and commercial success, but also in proving to the designer that, in the video game medium, a player’s brain is still the world's most powerful game engine.

Her Story玩法使用敘述和年表，應用在電視遊戲靈活的架構上，伴隨謀殺謎團的類型氛圍。Barlow解釋，他的2015遊戲已是一個成就，不止在評論而言，和商業的成功，也向設計師證明，在電玩媒介裡，玩家的腦袋仍是世界上最強的遊戲引擎。

“This game was an attempt to push a certain type of storytelling in an extreme direction to prove a point to myself,” he said. “It reinforces my belief that the directions in which I was pushing were fruitful.”

"這遊戲是傾向去推廣一種故事敘述的明確類型，以一個極端的方向去對我自己證實這一點。”他說”它增強我曾經推動的方向是成果豐碩的信念”。

That power derives specifically from the player’s imagination, which is agitated by ambiguity in storytelling. In the game, players trawl a database as they try to piece together the story of a murder, told via 300 dispersed clips, spliced from a series of interview sessions with detectives. Players cannot access the clips in chronological sequence. Rather, they must use search terms to query the database. If a chosen term appears in the transcript of one or more clips in the database, it is presented for viewing. In this way you begin to dredge through the archive, gradually piecing together the story in a non-linear order.

這種能量明確的取得，是來自玩家的想像，在故事中，藉由模稜兩可的敘述激發玩家。在遊戲中，玩家收尋一個資料庫，當他們試著拼湊一個謀殺的故事，由300個分散的片段訴說，從與偵探一系列的面談錄影中連結。玩家不能按照順序播放片段。而是，他們必需收尋關鍵詞去詢問資料庫。如果一個關鍵詞出現在資料庫裡一個或多個片段標記中，這表示它可以被觀看。這樣你透過檔案室開始翻閱舊檔，以非線性的指令,逐漸地拼湊故事。

Barlow, who had the idea of using found police tapes as a delivery mechanism for a story after watching Sharon Stone’s audition tapes for the film Basic Instinct, referenced Ernest Hemingway’s maxim that writers should only show the 'top of the iceberg', leaving the reader to use their imagination to fill in everything below the water, and therefore deepen their involvement in the story.

Barlow,再看完莎朗史東為Basic Instinct(第六感追緝令) 的試演影片，有個為故事利用收尋警察影帶當傳遞工具的點子，參考來自海明威的格言: "作家應該只秀出冰山一角"，讓讀者運用他們的想像力去填滿水面下的所有事情，並因此加深他們參與故事。

“When a player’s imagination adds the detail, the story becomes a lot more powerful,” he said. “The art is in not showing things.”

"當玩家的想像增添了細節，故事將會變得更強大"他說。"不表現事件的藝術"

This is something that games generally do badly, said Barlow. “Modern video games are obsessed with continuous time and space,” he said. “All of the story beats are controlled by the player. This removes the ambiguity. We have less and less of a role for the imagination in this kind of game.”

有些事情，遊戲大多作的不好，Barlow說。"現在電玩遊戲著迷在不間斷的時間與空間"他說。"所有故事的節奏被玩家所控制"。這會移除模稜兩可。在這種遊戲裡，我們有越來越少的角色是為了想像。

Barlow pointed out that some of the problem is related to the fact that, if a game’s story is also the delivery mechanism for its mission objectives, then there’s no room for ambiguity; abstruseness becomes a user interface issue. “This is detrimental to telling an interesting story.”

Barlow指出有些問題是有關要素，如果一個遊戲故事，也是為他的任務事件當傳遞機器，然後沒有空間可以給模稜兩可；難解變成使用者介面問題。"這決定說一個有趣的故事"

Barlow began the creative process for Her Story, he explained, by writing a mission statement, in which he tried to outlay those aspects of interactive storytelling that felt special and unique to him. “I asked myself: ‘What is the stuff I do just because it feels like part of the template of making a video game?’ ‘What are the assumptions I can throw away?’”

Barlow 開始為Her story創作過程，他解釋，藉由寫任務狀況，他可以試著支付那些互動故事的各種面向。我問我自己”我做的那種東西，只是因為它感覺是製作遊戲樣板的一部份。什麼假設是我可以丟棄的。

He wrote a pitch to guide his thinking, that stated:

‘I will go deep on story, explore authentic and true characters. For my first trick I will make a game --

• A game with no meaningful state change
• A game without ‘presence’
• A game about subtext.’
• 
  
• 他定標準去規範他的思考，列出：
  我會深入故事，探索真實和真實人格，對我第一個計策，我將製作一款遊戲
    這遊戲無有意義的狀態變化
    這遊戲不需要"出現"
    這遊戲有關潛文本

“I wanted to make a point that not only could we have a game that involved subtext,” he said, “but one that revolved around subtext.”

他說"我想要提出一個觀點，我們的遊戲不止參與潛文本，而且還會圍繞著它。

Barlow pointed out that interactivity in storytelling is not something that is unique to the game medium. “If you’re watching a movie you’re desiring some kind of outcome,” he said. “You might want the couple to get together, or the protagonist to get the bad guy. You’re thinking through the potential outcomes, willing the character to work in a certain way.

Barlow 指出在故事發展時互動，對遊戲媒體並不是特別獨特，他說"如果你正在看到電影你會想要某種結局。"你也許希望那對情侶在一起，或"主角逮到壞人，你正想著這些潛在的結局，讓角色在某種狀況運行。

"If it’s well constructed, the character will do what you wanted, but there are unforeseen drawbacks. You then have feeling of complicity and guilt. I wanted to not pretend that interactivity is something that only games can do, but rather to look at how traditional storytellers have used dialogue with the listener and build on that.”

如果結構完整，角色將會做你想要的，但這會有無法預測的缺點。你會感到自己是共犯和罪惡感。我不想要假裝互動某些遊戲才做的某件事，而是看著傳統故事敘述，與聽者使用台詞，並建立遊戲。

Her Story has a disordered structure. You’re finding a jigsaw, with clips of information that you put together in your mind. “You’re seeing clips, and your imagination is crunching trying to put the pieces together,” he explained. “But because the audience is highly familiar with genre, they have a tool set of the imagination when you work in a genre.”

Her story 有一個混亂的解構。你要找出拼圖，用這些資訊片段，在你思緒裡把它拼起來。他解釋"你尋找片段，和你的想像運轉試著把片段拼湊出來"。"但因為觀眾很熟悉遊戲風格，當你是某種風格，他們有一種想像力工具套件去運作。"

Barlow also presented some ideas for how to create a greater level of investment, that might initially seem counterintuitive, “If you have a player who is deeply involved in your story, I’ve found that, if you push back against their engagement, there’s a Newtonian reaction where the player will work even harder to try to make things real,” he said.

Barlow 也展現一些點子，如何製作一個投資很棒的關卡，它可能最初有悖常理。"如果你有一名玩家，深入你的故事，我發現，如果你再倒退一次他們的參與，會發生牛頓反應，玩家會更加倍執行的讓事情成真"他說

“Twists are fantastic for this, as they reboot the simulation. Everything that came before will be seen in a new light. The imagination scurries to get everything up and running again, to convince you that it’s real.”

對此，曲折是很棒的，當他們重新模擬，在之前的任何事情，將看到新的曙光，想像力奔走讓一切重新啟動和運作，說服你這是真實的!

Understanding the Difference Between Raw, Log, and Uncompressed Footage --- 了解Raw檔, Log檔和 未壓縮檔 的不同

Reference : E.M. Taboada

____Can you view raw footage on a monitor? What's baked into the image by Log recording? What's the advantage of having uncompressed footage vs compressed footage? With more and more cameras offering a variety of outputs and formats, it's easy to lose track of just what you're getting with each option and what they ultimately mean for the final image. Well, lucky for us, there are folks like Andy Shipsides at AbelCine looking to clarify and explain the differences, as he does in this very informative breakdown for HDVideoPro.


____你可以在螢幕上看Raw黨素材嗎? 甚麼東西藉由Log 記錄被焊入到影像中? 未壓縮素材對上壓縮素材有甚麼優勢? 隨著越來越多攝影機提供多樣的輸出和轉碼，很容易忘記你在每個項目得到甚麼並且最後對成品，他們的最終意義是什麼。恩，我們很幸運，有一群人，像是在AbelCine 的Andy Shipsides，希望澄清和解釋這其中的不同，如同他在為HDVideoPro所作的大量資訊分析。


____With a new wave of cameras offering raw outputs or Log recording (Arri Alexa, C500, Sony F3, RED Epic on the high end, and upcoming cameras like Blackmagic Design's Cinema Camera and the Digital Bolex on the more affordable side), it's important to understand just what you're getting:

____隨著攝影機提供raw檔輸出的趨勢，或Log的讀寫(Arri Alexa, C500, Sony F3, RED Epic 在高端, 和即將問世的攝影機像是 Blackmagic Design's Cinema Camera and the Digital Bolex on the more affordable side)，了解你取得格式是很重要的。

____Raw is not Log because Log is in a video format, and raw is not video. Raw data has no video processing baked in and has to be converted into video for viewing. Log is video and has things like white balance baked into it. They're very much not the same; however, they're both designed to get the most information out of the sensor. Raw is getting everything the sensor has to offer; likewise, Log curves are designed to get the most tonal range out of the sensor. While they're very different formats, they have the same general application. Both raw and Log can be uncompressed, but that depends on the recording device. These terms, and many others, have all become part of our vocabulary in this digital cinema world.

____Raw不是Log，因為Log是影片格式，而Raw不是影片，Raw資料沒有影片處理被嵌入，並且必須轉換成影片才能觀看。Log 是影片並且有被嵌入像白平衡的資訊。他們相當不一樣，然而，他們都被設計從感應元件得到最多的資訊。Raw檔可以取得感應元件的所有資訊;同樣地，Log 曲線被設計可以從感應元件得到最多的色調範圍。他們是非常不一樣的格式，他們有一樣多數軟體。Raw和Log兩者都無壓縮，但要看錄製設備而定。這些項目，和其他，都已變成在數位電影世界中，我們詞彙的一部分。

____For the full breakdown, check out the article here, it really is a must read for folks wanting to get an informative and concise answer to these questions. As these options become more accessible, it will be interesting to see just what impact they'll have on people's creative process, or whether folks will opt for the immediate gratification of built-in looks. Do you think these options are must-haves? If you've recorded in Log or worked with a raw workflow, what impact have they had on your shooting? Let us know!

____需要完整的解釋，可以點擊Here，對於一般人士想要得到一些訊息和簡明的答案，這值得一看。

My MRT sketch book vol 14

  Today is the last day for vocation. I went home ,Kaohsiung,looked my parents and friends. Watching four movies in the second run theater, i feel so satisfy on ip man 3 that tell us to more concerns someone that cares about you.

I decide to sculpture a man, hope to finish in this year.

And finally, I pull off my MRT sketch book again.

There’s more than one way to pull off motion tracking in After Effects. Here’s a few of them! _在AE裡有更多方法去完成動態追蹤。這邊有一些!

資料來源 : source_from BY CALEB WARD 

After Effects is a fantastic tool for VFX work. This is especially true for motion tracking. However, the tracker you use to motion track your footage might not be the best choice depending on your specific clip. Let’s take a look at six different ways to execute motion tracking in After Effects and discuss when certain tracking features should and shouldn’t be used.

在VFX工作中，AE是一個夢幻工具，特別對Motion tracking的確如此。然而，你選的追蹤方式不一定對你的特定片段是最好的。我們看看在6種不一樣方式，在AE裡執行motion tracking並討論當主要追蹤功能應該和不應該被使用。

1. One Point Track 單點追蹤

When to Use It: Very quick 2D tracking situations centered around a single point with no warping.

使用時機 : 非常快速2D移動情況,中心環繞一個點，並且沒有包覆到。

The single-point tracker built into After Effects has long been a go-to tool for motion artists, but you need to be careful with single-point tracks because footage doesn’t normally shake in 2D space only. After Effects uses contrast to find track points, so you’ll need to make sure you set your tracker on a well-defined point. If you’re in a rush, one-point tracking will work, but for most professional circumstances, you’ll want to at least use two-point tracking.

單點Tracker，內建在AE裡對動態藝術家已經是一個長期協助的工具，但你需要小心注意，使用單點Tracker，因為素材不會只在2D空間正常的晃動。AE使用對比找出track point，所以你將需要確定你設的tracker在容易定義的點上。如果你很急迫，單點追蹤也能使用，但對大多專業分工的情況下，你會希望至少使用兩點追蹤。

In this tutorial from Live Tech Australia, we take a look at how to use the single-point tracker in After Effects.

這個教學來自Live Tech Australia，我們來看如何在AE使用單點Tracker。

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2. Two Point Track 2點追蹤

When to Use It: On footage with mild to moderate levels of camera shake.

使用時機  : 當素材有輕度到中度程度的攝影機晃動。

Two-point tracking is fantastic for simple camera movements, as long as there are a few contrasted elements for the tracker to track. Two-point tracking is notably superior to single-point tracking because it can track rotation and scale, not just position.

2點追縱對單純的攝影機移動是奇妙的，只要有一些對比的物件讓tracker可以追蹤。2點追蹤比單點追蹤更好，因為它可以追旋轉和縮放，不只是位移而已。

This video from Robert’s Productions shows us how to use two-point tracking to add text to a scene.

這支影片來自Robert’s Productions，將告訴我們如何使用2點追蹤在場景增加文字。

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3. Corner Pin Track 邊角追蹤

When to Use It: Basic screen replacement.

使用時機 : 基本的螢幕置換

If you do a lot of commercial or sci-fi work, then you probably do a lot of screen replacements. In order to help make screen replacements easier, After Effects has a built-in corner pin tracker that is designed to work with any four point surface. While it’s designed to work with screens, it can also work with picture frames, signs, and simple surfaces. In this video tutorial from LinkTCOne, we take a look at how to use the corner pin tracker to replace a picture frame inAfter Effects.

如果你是做很多商業類或科幻類的作品，那麼你可能會做到很多螢幕置換。為了要讓螢幕置換更容易，AE已有內建corner pin tracker,被設計處理任何4點的表面。當它被設計來處理螢幕，它也可以處理照片，標誌，和單純表面。在此教學(原教學已失聯)，我們看看Corner pin tracker 如何在AE替換影像。

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4. 3D Camera Tracking 3D 攝影機追蹤 

When to Use It: Matte painting, set extensions, and compositing.

使用時機: 遮罩繪畫，設置擴展，和合成

One of the most powerful features to hit After Effects in recent years is the 3D camera-tracking tool. The tool essentially automatically creates dozens of track points in your footage and allows you to select which ones to use after the computer processes the footage. This is your best tracking option directly in After Effects. However, the 3D camera tracker can take quite a while if you have a long clip.

近幾年來，在AE裡最強大火紅的功能，就是3D camera tracking工具。在電腦計算處理過素材後，這工具基本上，在你的素材中自動製造出數個追蹤點，並允許你選擇其一來利用。這是你在AE中最好的追蹤選項，然而如果你有較長的片段，3D camera tracker 會花你較多時間。

This tutorial from thevfxbro shows us how to use the 3D camera tracker to ‘composite’ a Christmas tree into a shot.

這個來自thefxbro將展示如何使用3D camera tracker 在一顆鏡頭合成一顆聖誕樹。

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5. Planar Tracking Using Mocha 使用Mocha平面追蹤

When to Use It: Advanced tracking on flat surfaces.

使用時機 : 在平面上更進階追蹤

If you have a very difficult-to-track flat surface, then the planar tracking feature in mocha Pro is the way to go. Unlike After Effects, mocha Pro will use predictive tracking to track the position of an object even if a portion of the tracked object is off screen. Tracking data can then be exported from mocha into After Effects.

如果你有一個非常難去追蹤的平面，那麼在Mocha Pro的平面追蹤的功能是不錯的選擇。不像AE，mocha Pro 使用預測追蹤一個物體位置，即使追蹤物件的部分是在螢幕外。Tracking data可以從Mocha 匯入AE。

This quick video tutorial from short-form video shows us how to planar track in mocha.

這個來自short-form video，將告訴我們如何使用平面追蹤

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6. Spline Tracking 曲線追蹤

When to Use It: Complex camera tracking jobs.

使用時機 : 複雜的攝影機追蹤工作

If you’ve exhausted all of the other options on this list, or simply want the most accurate track possible, then spline tracking in mocha Pro is the way to go. Spline tracking can track any type of shape because you custom create the tracking plane. Essentially, you trace around the object you want to track and mocha will try its best to keep track of the object. Data can then be exported to After Effects.

如果你對這列表感到困惑，或只是想更精確的追蹤，那麼在mocha pro的曲線追蹤是好選擇。曲線追蹤可以追蹤任何形狀，因為你可以自製追蹤形狀。基本上，你可以追你想要物件，而mocha會試著追出最好的資料，資料也可以給AE

This tutorial from mocha planar tracking & vfx tools shows us how to use spline trackers to do beauty retouching inAfter Effects.

這個教學，mocha planar tracking & vfx tools 將告訴我們如何使用曲線追蹤