carton num_Carton先生–世界上第一个卡通系列MadeWithUnity

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My name is Mathieu Muller and I am a Field Engineer in EMEA and a film specialist at Unity. Last November, during Unite Los Angeles, I organized a panel called “Unity For film”, presenting various usage of Unity in the cinematic industry (The Gift by Marza Animation Planet, Disney’s Jungle Book Previz, the Adam short by Unity, the short Sonder by Soba Productions, on set video playback for the movie Passengers and the animated series Mr Carton by Tant Mieux Productions) together with some of the people who worked on these projects.

我叫Mathieu Muller，我是EMEA的现场工程师和Unity的电影专家。 去年11月，在洛杉矶联合大剧院期间，我组织了一个名为“ 电影统一 ” 的小组 ，向大家展示了电影界对Unity的各种用法( 由 Marza Animation Planet提供 的礼物 ， 迪士尼的Jungle Book Previz ， Unity 的 Adam 短片， Sonder 的短片) 由Soba Productions制作 ， 还与一些从事这些项目的人们一起 为电影《乘客》 和 Tant Mieux Production 的 动画系列 《卡顿先生》 播放了现场录像 。

This week, Mr. Carton, the first cartoon series produced for television #MadeWithUnity is launching on the national french TV website.

本周， 卡尔顿先生 ，电视#MadeWithUnity生产出第一台卡通系列推出了国家对 法国电视网站 。

Today, Michaël Bolufer, the creator, designer, co-director, co-scenarist, main lighter, and fireman animator of the 13 episodes of the two minute series, is my guest to talk about this production.

今天，两分钟系列的13集的创作者，设计师，共同导演，共同scenarist，主要打火机和消防员动画师MichaëlBolufer是我的嘉宾，谈论这部作品。

演示地址

演示地址

– What is the story of Mr. Carton?

–卡顿先生的故事是什么？

Mr.Carton is a clumsy driver who wants to reach a lighthouse on the top of a mountain. That’s the plot! But every single vehicle, every little rock could be a danger.

卡顿先生是个笨拙的司机，他想到达山顶上的一座灯塔。 那是情节！ 但是每一辆车，每块小石头都可能有危险。

Above all, the greatest danger is himself: He has poor driving skills, as if he was not supposed to be there…

最重要的是，他本人是最大的危险：他的驾驶技能很差，好像不该在那儿……

– Michaël, are you from the game industry or the movie industry?

–Michaël，您是来自游戏行业还是电影行业？

I started 15 years ago in a video game company (Etranges Libellules in Lyon) as graphics artist, then game/level designer, and cinematic designer. After 4 years in the game industry I wanted to go further, and moved to the cinematic industry as a CG artist and art director. Being from the games industry helped me a lot in the CG industry in regards to being efficient and knowing about the machine constraints. Now I am playing ping pong between the two industries, working as a contractor or on my own productions of both games and animated series.

15年前，我在一家视频游戏公司(里昂的Etranges Libellules)开始工作，当时是图形艺术家，然后是游戏/关卡设计师和电影设计师。 在游戏行业工作了4年后，我想走得更远，并以CG艺术家和艺术总监的身份进入电影行业。 来自游戏行业的经验帮助我在CG行业中获得了很多帮助，使我得以高效并了解机器限制。 现在，我正在两个行业之间打乒乓球，担任承包商或自己制作游戏和动画系列作品。

– What game engines did you use?

–您使用了哪些游戏引擎？

I was using an in-house engine when working at Etranges Libellules, which was really great for what we were doing, especially the camera system. I used Epic UDK for six months, making a fighting system for a game. I discovered Unity 4 in 2013 at Artefacts studio in Lyon working as a contractor on a racing game, and making side projects. This is when I started to test my ideas about realtime animation.

在Etranges Libellules工作时，我使用的是内部引擎，这对我们所做的事情特别是相机系统特别有用。 我使用Epic UDK了六个月，为游戏制作了战斗系统。 我于2013年在里昂的Artefacts工作室发现Unity 4，当时他是赛车游戏的承包商，并负责其他项目。 这是我开始测试有关实时动画的想法的时候。

– How did you come up with the concept? Did you want to use a realtime engine and created Mr Carton, or the other way around?

–您是如何提出这个概念的？ 您是否要使用实时引擎并创建Carton先生，或者相反？

In 2008, I won a prize at the Annecy animation festival with the scenario of a short film about the game industry, and that would have been made with a game engine. The aesthetic of Feist was the revelation that a game engine could visually generate something so singular and attractive that it could be used for an animated film. This short never happened, but the idea of making a film with a real-time engine was planted forever. The worm was in the apple, as we say in French…

2008年，我在阿讷西动画节上获得了一部有关游戏行业的短片场景的奖项，而这本来是由游戏引擎制作的。 Feist 的美学思想 是，游戏引擎可以在视觉上生成如此奇异而诱人的东西，以至于可以用于动画电影。 这种短暂的经历从来没有发生过，但是用实时引擎制作电影的想法被永久地植入了。 正如我们用法语所说，蠕虫在苹果中。

In 2012, I was making a lot of commercials which was very lucrative but boring, and I had a paper under my keyboard accumulating ideas for a story taking place in a cardboard world.

2012年，我制作了很多非常有利可图但很无聊的广告，在键盘下有一张纸，上面积累了一个关于纸板世界中发生的故事的想法。

Then I did the first “Teaser” of Mr Carton with 3DSMax and VRay. My machine was slow, and the “worm” kept telling me that maybe using Unity would make my life better.

然后，我用3DSMax和VRay制作了Carton先生的第一个“ Teaser”。 我的机器运行缓慢，并且“蠕虫”不断告诉我，也许使用Unity可以使我的生活更好。

In 2013 it all came together. I was working in parallel on the writing of Mr Carton, a racing game made with Unity at Artefacts Studios, and a small side project on Unity for my tween girls. Unity 5 was just around the corner, and the french-german TV station, Arte, asked Artefacts Studios to realise a title sequence for their children program. And we decided to make it with Unity.

在2013年，一切都融合在一起。 我同时从事Carton先生的写作工作，Artifacts Studios用Unity制作的赛车游戏，以及为我的青少年女孩制作的Unity小型项目。 Unity 5指日可待，法国德国电视台Arte要求Artefacts Studios为他们的孩子节目实现标题顺序。 我们决定使用Unity来实现。

It went very well, and soon I was starting the production of Mr Carton using Unity. We were very lucky to have the full support of our beloved producer (Tant Mieux Prod.) in this adventure. They strongly believed in the potential of Mr.Carton and in the way we wanted to craft his universe using Unity.

一切顺利，很快我就开始使用Unity制作Carton先生。 我们很幸运 在这次冒险中 得到了我们挚爱的制片人( Tant Mieux Prod。 ) 的全力支持 。 他们坚信卡顿先生的潜力以及我们想要使用Unity制作他的宇宙的方式。

Title sequence made in Unity for Arte children program (french-german TV channel)

Unity for Arte儿童节目中制作的标题序列(法语-德语电视频道)

– Can you explain the production and the pipeline and how it differs from standard CG pipeline?

–您能否解释一下生产和管道以及它与标准CG管道有何不同？

Fabien Daphy co-director, Nicolas Le Nevé our chief storyboarder, and I, made the storyboard and animatics in ToonBoom. The storyboard is a key element to communicate with the production and the rest of the team all along the project. I made the first 3D models, rigs and animations in 3DSMax, and they were reworked, finalised and cleaned up by our 3D supervisor Olivier Roos using the same tools. Everything was exported to Unity through FBX.

法比恩·达菲(Fabien Daphy)的联合导演，我们的首席分镜设计师Nicolas LeNevé和我在 ToonBoom中 制作了分镜和动画 。 故事板是在整个项目中与制作人员和团队其他成员进行沟通的关键元素。 我在3DSMax中制作了第一个3D模型，装备和动画，然后我们的3D主管Olivier Roos使用相同的工具对其进行了重新加工，定型和清理。 一切都通过FBX导出到Unity。

Four animators (Raphaël Gauthey, Christophe Devaux, Samuel Chauvin and Fabien Bougas) and Benedicte Peyrusse, the animation supervisor, produced most of the animations over a period of about 2 months. We started with the principle of having all animations made in 3DSMax, including retakes. However we ended up doing more and more of the retakes directly in Unity’s animation window, because it was the best place to adjust things in the context of the shot (camera, lighting,…).

四个动画师(RaphaëlGauthey，Christophe Devaux，Samuel Chauvin和Fabien Bougas)和动画主管Benedicte Peyrusse在大约2个月的时间内制作了大部分动画。 我们从让3DSMax制作所有动画(包括重拍)的原理开始。 但是，我们最终直接在Unity的动画窗口中进行了越来越多的重拍操作，因为这是在拍摄环境(相机，灯光等)中进行调整的最佳位置。

We soon had to hire an extra modeler (François Beudin) for a few months, because we ended up reusing less models than planned. Especially, developing the model with cardboard edges was very time consuming.

我们很快不得不雇用一个额外的建模师(FrançoisBeudin)几个月，因为我们最终重用了比计划少的模型。 特别是，开发具有纸板边缘的模型非常耗时。

Fabien and I made the greyboxing in 3DSMax and Blender, based on the storyboard, and gave it to the animators and modelers to create what would become the prefabs of each scene. The scenery was a big object containing a bunch of individual objects already in place (mountains, roads,…) that we could adjust later in Unity. Trees, rocks, and other details were each an individual FBX and soon became prefabs that we painted in the scene directly in Unity using Quickbrush from the Asset Store.

Fabien和我根据情节提要在3DSMax和Blender中制作了灰盒，并将其提供给动画制作人员和建模人员以创建将成为每个场景的预制件。 风景是一个大对象，其中包含一堆已经放置的单个对象(山脉，道路等)，我们稍后可以在Unity中进行调整。 树木，岩石和其他细节都是单独的FBX，很快就变成了预制件，我们使用 Asset Store中的Quickbrush 在Unity中直接在场景中进行 绘制 。

Fabien and I did all the lighting and compositing, and had in average 2 days per episode for it. We were too lazy and busy to do external compositing, so we did it all in Unity. Color grading were per episode, and depth of field, bloom, ambient occlusion were per shot.

Fabien和我负责所有的照明和合成，平均每集2天。 我们太懒惰又很忙，无法进行外部合成，因此我们在Unity中完成了全部工作。 每集颜色分级，每张照片的景深，水华和周围遮挡。

Where the workflow gets really different from standard offline pipeline (long CG rendering, compositing) is sequencing. We used Flux from the Asset Store to do all the sequencing of each episode directly in the Editor. We chose Flux because it was frame based and allowed a precise sequencing of animations at 24 frames per seconds. Nuno Afonso, the creator of Flux, was very reactive to implement features and fix bugs all along the production.

工作流与标准脱机管道(长CG渲染，合成)真正不同的地方是排序。 我们使用 Asset Store中的Flux 直接在编辑器中对每个情节进行所有排序。 我们选择Flux是因为它是基于帧的，并允许以每秒24帧的速度对动画进行精确排序。 Flux的创建者Nuno Afonso对在整个生产过程中实现功能和修复错误非常有React。

Each animation was provided with an extra margin around what was required in the storyboard, and we assembled animations, models, cameras, lighting, and compositing all together in the sequencer. The sequencer is where a big boost, time and creative wise, is happening in a realtime animation production pipeline.

每个动画都在情节提要中提供了额外的余量，我们将动画，模型，摄影机，照明和合成都组装到了音序器中。 在实时动画制作流水线中，定序器可带来巨大的推动力，时间和创造力。

Finally we exported the sequence to a video (via a custom script exporting PNG sequences) and did the final cut in Adobe Premiere. Each shot in the sequence was a bit longer than planned in the storyboard to allow the final cut to be made externally. It also allowed to cover precomputed real-time GI “pumping” that we experienced sometimes when transitioning in one frame between two distant locations.

最后，我们将序列导出到视频中(通过导出PNG序列的自定义脚本)，并在Adobe Premiere中进行了最后的剪切。 序列中的每个镜头都比情节提要中的计划要长一些，以允许在外部进行最终剪辑。 它也可以覆盖我们在两个遥远位置之间在一帧中转换时有时会遇到的预先计算的实时GI“泵送”。

Finally, all the music and sounds (made exclusively by mouth) were done live on top the animatic.

最后，所有音乐和声音(仅由嘴巴制作)都以动画形式现场播放。

– How did you do the lighting?

–您是如何照明的？

We used Deferred (allows many realtime lights) and Linear (more realistic lighting) rendering. I generated a second set of UVs to use with the precomputed realtime GI in Unity for each object of the scenery. I did not use the automatic generation of UVs inside of Unity in order to keep a strong control over it. We had mainly one light doing indirect lighting, and the rest with direct lighting only. In some shots we used up to 40 lights. On some occasions we used extra indirect lights (eg: the UFO blue light bounced, and the red light lighting on the road was direct only).

我们使用了Deferred(允许许多实时光照)和Linear(更逼真的光照)渲染。 我为场景中的每个对象生成了第二组UV，以与Unity中的预先计算的实时GI配合使用。 我没有在Unity内部使用UV的自动生成来保持对其的强大控制。 我们主要有一个灯用于间接照明，其余的仅用于直接照明。 在某些镜头中，我们最多使用40盏灯。 在某些情况下，我们使用了额外的间接灯(例如：UFO的蓝色灯弹起，而道路上的红色灯仅是直接灯)。

Direct and indirect lighting, volumetric lighting

直接和间接照明，体积照明

We used a lot of projectors with cookies (more than 40, all hand made!) to have precise control over the lighting, and give life to the light. On some episodes we used volumetric lighting like in the image above for the lights of the car and the laser of the UFO.

我们使用了很多带有cookie的投影机(超过40个，都是手工制作的！)来精确控制照明，并赋予照明以生命。 在某些情节中，我们使用 体积照明 ，如上图所示，用于汽车的照明和UFO的激光。

An example of a light cookie

轻饼干的例子

For shadows, I used real-time shadows, mostly on the directional light and sometimes on a few extra lights. I also tweaked the quality settings per shot to get various aspects of the shadows. On top of this, I used two kinds of screen space ambient occlusions with different radius and intensities for extra shadowing (SSAO Pro and Unity free Cinematic effects pack from the Asset store). We did not use the latest Unity post processing stack because we locked our version of Unity before it became available.

对于阴影，我使用了实时阴影，主要是在定向光上，有时在一些额外的光上。 我还调整了每张照片的质量设置，以获得阴影的各个方面。 最重要的是，我使用了两种具有不同半径和强度的屏幕空间环境光遮挡来实现额外的阴影效果( Asset Store中的 SSAO Pro 和 Unity免费电影效果包 )。 我们没有使用 最新的Unity后处理堆栈， 因为我们在Unity版本可用之前将其锁定。

These are a few examples among many. There is no recipe in lighting, only methods and tricks. The story is the one telling the lighting, and we used many different tricks on each episode.

这些只是许多例子。 照明没有配方，只有方法和技巧。 故事是一个讲述灯光的故事，每一集我们都使用了许多不同的技巧。

– Did you have issues with aliasing?

–您是否遇到混叠问题？

To have the stop motion effect, we wanted to shoot at 12 frames per seconds. Animations could be created at 12 or 24 frames per second, but we only took even frames when exporting to video at 24 FPS. All this to say that we did not want any kind of motion blur effect! This discarded temporal anti-aliasing. So in the end we only used SMAA (Subpixel Morphological Anti Aliasing). We have some shots where anti-aliasing could have been improved, but we were generally satisfied with what we had and did not have time to work on it more.

为了获得定格效果，我们希望以每秒12帧的速度拍摄。 动画可以每秒12或24帧的速度创建，但是当以24 FPS的速度导出到视频时，我们只获得了偶数帧。 这一切都说明我们不希望有任何运动模糊效果！ 这丢弃了时间抗锯齿。 因此，最后我们仅使用了SMAA(亚像素形态抗锯齿)。 我们有一些可以改善抗锯齿的镜头，但是总体上，我们对已经拥有和没有时间做更多的工作感到满意。

– This cardboard looks great! How did you do it?

–纸板看起来很棒！ 你是怎么做到的？

We used real photos of cardboard that we worked and cleaned up in the classic gaming tradition style, to tile and render nicely. On the entire seasons we use about 10 textures for it. We had about six shaders made in Shader Forge depending on the complexity of the characters, managing different normal and occlusion maps, plus the pen markings on top.

我们使用以经典游戏传统风格处理和清理过的硬纸板真实照片，以很好地平铺和渲染。 在整个季节中，我们使用大约10种纹理。 根据角色的复杂性，我们在Shader Forge中制作了大约六个着色器，管理不同的法线和遮挡图，以及顶部的笔标记。

– Now the production is finished, would you say it was worth using a realtime engine compared to more “traditional” methods?

–现在生产完成了，您是否认为与更多的“传统”方法相比，使用实时引擎值得吗？

We probably could have never finished on this time and on this budget with an offline process. But actually the question never came out, because we wanted to do it this way anyway and everything went quite as planned. The worm in the apple was right!

我们可能无法通过离线流程在这个时间和预算上完成任务。 但是实际上问题从来没有出现过，因为我们无论如何都想这样做，并且一切都按计划进行。 苹果虫是对的！

– What would be your advice to someone who wants to start his own film with Unity?

–对于想要与Unity一起开始自己的电影的人，您有什么建议？

Don’t try to redo what you can do now with offline. Build a good vision in the technical art direction, take the technical constraints as an art choice, and the art choice as constraints. It is consequently necessary to get some knowledge about how real-time rendering and engines work. And then, have fun with the creative freedom you will get!

不要尝试重做离线时可以做什么。 树立技术美术方向的良好视野，以技术约束为艺术选择，以艺术选择为约束。 因此，有必要获得一些有关实时渲染和引擎如何工作的知识。 然后，尽情享受您将获得的创作自由！

翻译自: https://blogs.unity3d.com/2017/02/23/mr-carton-the-worlds-first-cartoon-series-madewithunity/

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