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We’d like to share with you a project that was built during the R&D period of the Physically Based Shader and Reflection probes.

我们想与您分享一个在“基于物理的着色器”和“反射”探针的研发期间构建的项目。

This benchmark project is one among several which helped us identify what improvements of functionality were necessary from an artist’s production perspective.

该基准项目是帮助我们从艺术家的作品角度确定哪些功能需要改进的几个项目之一。

We compared offline to realtime rendering methods and output with the aim to achieve both an increase of visual quality, and a better streamlined, smoother production workflow for artists, which will open playful possibilities for graphics to be extended beyond realism to stylism.

我们将脱机与实时渲染方法和输出进行了比较，目的是实现视觉质量的提高，以及艺术家更好，更流畅，更流畅的制作工作流程，这将为图形扩展从现实主义到文体的可能性。

The demo uses the Standard PBR shader and displays a range of shiny and rough metallic, plastic and ceramic materials, which naturally use the new native cubemap reflections (or HDR reflection probes). The material output in the movie is at a prototype stage and the shader is still evolving.

该演示使用标准PBR着色器，并显示一系列有光泽和粗糙的金属，塑料和陶瓷材料，这些材料自然使用新的本机立方体贴图反射(或HDR反射探针)。 电影中的材质输出处于原型阶段，着色器仍在不断发展。

The textures consistently changed throughout the process as the shader evolved. In total, it is composed of 30 texture sets or so, both manually authored and procedurally generated textures. At this point, scanned textures were not used whatsoever. Typically, a texture set consists of albedo, specular, gloss, occlusion and a normal map and the sizes range between 256px to 4k. Background surfaces demanded less surface detail and amount of textures. In some cases, we casually created materials by pushing sliders to adjust color and float values until it matched the references. The secondary (detail-map) slots give a layer of dust, cracks, and crevices on the surfaces, which can be spotted on the close-up camera shots.

随着着色器的发展，纹理在整个过程中不断变化。 它总共由30个左右的纹理集组成，包括手动创作和程序生成的纹理。 在这一点上，根本不使用扫描的纹理。 通常，纹理集由反照率，镜面反射，光泽度，遮挡和法线贴图组成，大小范围在256px至4k之间。 背景表面需要较少的表面细节和纹理数量。 在某些情况下，我们通过推动滑块来调整颜色和浮点值，直到与参考匹配为止，随意创建了材质。 次要(详细贴图)插槽在表面上提供了一层灰尘，裂缝和缝隙，可以在近摄镜头中发现这些缝隙。

The heated up revolving core is achieved by simply animating emissive values and combining the results with HDR bloom to give a glowing hot impression.通过简单地设置发射值动画并将结果与​​HDR光晕结合在一起，即可获得加热的旋转核，从而产生发光的热印象。

The cave is a large scaled environment and the 100 meter tall machine itself was used intentionally to challenge performance and to serve as a lighting benchmark. This asked for a variety of convoluted HDR reflection probes/cubemaps to be placed along its body that could adapt during the changes of light that gradually diminishes towards the bottom of the cave and when the heated core lights up. Certain elements use real-time reflections while many are kept to static reflections. The application of the HDR reflection probes remains true to Unity’s ideology of keeping workflows simplified and are nearly effortless to apply and use.

该洞穴是一个大型环境，有意使用100米高的机器本身来挑战性能并用作照明基准。 这就要求沿着其主体放置各种回旋的HDR反射探头/立方体贴图，这些贴图在光线变化时会适应，光线的变化会逐渐减小，并朝着洞穴的底部消散，并且当加热的岩心点亮时。 某些元素使用实时反射，而许多元素保持静态反射。 HDR反射探针的应用仍然遵循Unity的简化工作流程的思想，几乎可以轻松地进行应用和使用。

The background scene uses directional lightmaps, while the machine is composed of partly skinned- and dynamic meshes that are hooked up to light probes and use Image-Based Lighting and a variety of light sources.

背景场景使用定向光照贴图，而机器由部分蒙皮的和动态的网格组成，这些网格连接到光探头，并使用基于图像的照明和各种光源。

To be able to see the output of the shader during production, it is crucial to have HDR rendering represented in the sceneview.为了能够在生产过程中看到着色器的输出，在场景视图中显示HDR渲染至关重要。

We are most excited to share this short film with you and are impatient to see what our talented community can produce with the new set of tools which is coming. We are looking forward to seeing  artists amaze us with their limitless creativity.

我们很高兴与您分享这部短片，我们急于看到我们的才华横溢的社区可以使用即将推出的新工具来产生什么。 我们期待看到艺术家以无限的创造力惊叹于我们。

翻译自: https://blogs.unity3d.com/2014/05/19/teleporter-demo/

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