The Amazing Unreal Engine Drones at The Vineyard

由专筑网刘庆新，vigo编译

今天在这里我们讲述的是Factory Fifteen制作的获奖项目“La Geria”葡萄园的第二部分。如果你错过了第一部分，可以先返回去看一下。今天的博文重点放在独特的火山景观和神奇的葡萄收获无人机到处盘旋。Paul也涵盖了相机设置、蓝图、音乐和包装方案如虚幻引擎4等话题。

It’s here! Part Two of the Making of the, Award Winning, “La Geria” Vineyard by Factory Fifteen. If you missed Part One, go ahead and read it first. Today’s article focuses on the unique craters landscape and amazing grape harvesting drones that hover all over the place! Paul also covers topics such as camera setup, blueprints, music and packaging projects as levels in Unreal Engine 4. Enjoy!


今天我们继续探索 Factory Fifteen的“La Geria”，这篇文章是关于他们在“葡萄园”第6届建筑可视化挑战中获奖项目。接下来我们将关注景观、无人机、相机、蓝图、音乐和包装。

这是实际场地的一张照片。

Today we continue the exploration of “La Geria”, Factory Fifteen‘s article about their Grand Prize Winning Entry at “The Vineyard” 6th Architectural Visualization Challenge. The focus in part tow will be on the Landscaping, Drones, Cameras, Blueprints, Music and Packaging it all up!
Here’s a photo of the actual site…



The Unreal Landscape of “La Geria”/“La Geria”的虚幻景观




Landscape Design/景观设计



我们设计的建筑座落在一座火山的斜坡上，能俯瞰一片长满植物的人工火山。“La Geria”的实际场地有大面积植物和火山，呈现出波浪起伏的景观，其中道路穿梭，分隔出独立的庄稼地，给我们的景观制作提供了直接的灵感。我们在远方创建出更大面积的群山。

We designed the building to sit on the slope of a volcanic mountain, overlooking a sea of man-made craters full of vines. The actual site of “La Geria” has a great range of vine and crater sizes, distributed along an undulating landscape with paths intersecting and separating crop fields. It provided a great direct inspiration to our landscape. We placed larger mountain assets in the distance to surround the space.



我们想使设计的景观，建筑和周围地形完美融合，所以我们没有使用插件通过程序生成高度图，而是在3dsMax中建模，用Zdepth进行渲染。为了使用充分的灰度，我们在相机和网孔最低点之间设置了最大距离，在相机和网孔最高点之间设置了最小距离。然后在PS中添加一些噪点来增加细节和不规则性。

We wanted to design our landscape to work seamlessly with the building and its surrounding terrain so instead of using a program to procedurally produce height-maps we modeled it in 3dsMax and rendered a ZDepth pass from above. To use the full gray-scale we set the maximum distance as the distance between the camera and the lowest point of the mesh and the minimum distance as the difference between the camera and the highest point of the mesh. We then added some noise in Photoshop to add some details and irregularity.




Landscape Modelling / Heightmaps/景观模型/ 高度图





在UE4中我们创建了一个景观参与者，设置了尺寸，引进高度图。为了从观察者位置制作景观网孔密度，Max LOD Level增加到6，LOD Distance Factor增加到10。

In UE4 we created a Landscape actor, set the size and imported the height-map. To make the landscape mesh density dependent from the viewer position, the Max LOD Level has been increase to 6 and the LOD Distance Factor to 10.





板条箱是在UE4中用雕刻工具完成。我们将不同尺寸的板条箱的位置放到最大，在平面图上渲染一种路径，将此作为纹理应用于虚幻引擎中，来帮助有针对性地放置板条箱。

The crates are created with sculpt tools inside UE4. We placed the location of the different sized craters in max, rendered a channel in plan and used this as a texture in Unreal Engine to help us place the craters in a purposeful way.


Landscape Texturing/景观纹理









景观包括三种材质：
1.        一种用于板条箱内部。
2.        一种用于道路和剩余空间。
3.        所应用材质的插图。

The landscape has three materials :
1.        One for the interior of the crates.
2.        One for the paths and one filling the rest of the space.
3.        A map is used to drive where each of this material is applied.



景观材质在大小尺寸上都有不同颜色变化。置换材质用于增加细节，它只用在观察者周围的有限地形 中。我们使用一个样例材质，这样可以更容易控制，特别是能在景观表面确定正确的反射光强度，以及调整置换避免碰撞。

The landscape material is designed to have a different color variation both on a large and a small-scale. A displacement texture is used to add details and it is applied only to the piece of terrain surrounding the viewer. We used an instance material to have more control, especially to find the right amount of reflection on the landscape surface and to tweak the displacement to avoid cracks.


Landscape Detailing/景观细节

我们使用UE4里的SpeedTree创建了葡萄树的四种不同模型尺寸。它们和UVW、灯光贴图、碰撞、LOD、材质和风变形一起构成虚构引擎。材质在UE4中进一步改进，除了给树叶和葡萄增加了半透明度外，树叶还添加了颜色变化。

We have created four models of different size of the vine trees using SpeedTree for UE4. They come into Unreal Engine already with UVW, lightmaps, collisions, LOD’s, materials and wind deformation. The material is further developed in UE4 adding translucency to leaves and grapes and a node that gives a color variation to the leaves.




我们使用Grass工具和纹理将树散列分布。小树用绿色通道放置，大树用红色通道，并且它们都设置一个随机旋转。

The trees are scattered using the Grass tool and a texture. Small trees are placed using the green channel and big trees the red and they all have a random rotation.





草的叶子和石子使用Foliage工具散落分布，并在需要的地方进行涂色。我们可以进行高度定制，尽可能使每片叶子有任意的尺寸，散落的石子也大小不一，并且密度也有差别。

圆形墙壁和大的石子通过手工放置。

The blades of grass and the rocks are scattered with the Foliage tool and painted where needed. The settings allow a high level of customization giving the possibility to randomly scale and rotate each of the scattered meshes and set their relative and absolute density.
The round walls and the big stones are placed manually.


Additional FX/附加FX



我们添加的一个非常简单但是强大的特点就是风。这是高度定制的，允许设置方向、风力、风速、最小/最大阵风。

A very simple but powerful feature we added is the Wind. It’s highly customizable, allowing to set direction; wind strength; speed; min / max gust amount.


The UE4 Wind Settings/UE4风设置

我们又添加了由于风和无人机的移动产生的尘土效果，这样景观就最后完成了。这是通过Particle System工具完成的，它可以在场景中产生尘土材质，在尘土移动时，控制尘土初始位置、旋转、速度和尺寸、颜色、加速度等。

The landscape is finally completed adding the effect of dust moved by wind and drones. This is done through the Particle System tool that allows to spawn a dust material in the scene controlling its initial position, rotation, velocity and its size, color, acceleration, etc. during its lifespan.



我们使用一个相似的效果用于在SPA中生成水蒸汽。

We used a similar effect also to simulate the water vapor in the SPA.


Unreal Engine Cameras/虚幻引擎相机


在三角支架上的相机图片，带有复古效果/picture of an old camera in a tripod with a retro effect


Matinee Editor/Matinee编辑器



使用相机的时候，你可能首先做的事情就是抓来一个相机就投入到景中。但是通过日场创建相机确实更好一点，这是虚幻的一个时间轴特征。你可以在里面编辑，但是除非你要给实时文件减少序列或介绍，否则我不会轻易做任何复杂的东西，因为在现实的编辑中并不容易操作。

当你用日场创建一个相机轨迹的时候，在Unreal中从你的视角能自动创建一个相机。如果你点轨迹旁边的相机按钮，它会自动变黄，显示你在相机里面。它也会在相机创建的地方放置一个关键帧，这样你就可以准确地删除、移动相机位置，创建一个你想要的新关键帧。然后你就可以将相机移动到你想要的位置，创建另一个关键帧。你可以编辑曲线、长度、贝塞尔曲线类型等基本相机动作。

你可以实时进行一下相机动作。一旦你有兴致了，你就必须把它连接到指导轨迹。我们为每一个相机创建了一个指导轨迹，同时转换它们就会一一呈现出来。

需要注意的重要一点是当你想操作或输出相机时，不要从零帧创建你的卡通制作，因为Unreal需要一点时间来加载场景。我们在所有相机前面放了一个6到20秒的缓冲存储器，这样一旦引擎启动，允许广泛的景观有一个缓冲期。

When working with cameras you might think the first thing you would do is drag a camera into the scene. It actually works much better creating the camera through the matinee, which is a Unreal’s timeline feature. You can edit inside here too but unless you’re creating cut sequences or introductions to a real-time file then I wouldn’t bother doing anything too complex as it’s not easy to use for actual editing.
When you create a camera track within the matinee, it automatically creates a camera from your viewpoint within Unreal. If you click the camera button just next to the track then it will turn yellow, indicating that you are inside the camera. It will also place a keyframe where the camera was created which you can delete, move the camera exactly in position and then create a new keyframe as desired. You can then move the camera to where you want it to finish and create another keyframe. You can edit the curve, length, bezier type and so on as you would expect to do most basic camera moves.
You can play the camera move in real-time. Once you are happy with it you have to link it to a director track. We created a director track for each camera and then switched them one at a time to export them which I’ll come onto in a minute.
One important thing to note is that when you want to play or export a camera, don’t create your animation from frame 0 as Unreal will need a few moments to load the scene. We put a 6-20 second buffer before all cameras to allow our extensive landscape to load once the engine runs. More on this later.


Camera Settings/相机设置



在日场里创建一个相机后，一个相机装置也会出现，只要你没有在相机里，就会看到它，选择并进行编辑。它们看上去很熟悉，因为和后期制作体量相同。一些额外的相机特征也存在着，比如视野范围和作物。你可以分等级、添加效果，比如密集区、地块深度和动态模糊。我们在整个后期制作中将场景分等级，然后在个人相机中改变深层设置。

如果你没有在相机中，在底部一个小窗口中点一下就会展示出其视野。

Once you have created a camera within matinee, a camera gizmo will appear and as long as you are not inside the camera you will be able to see it and select it, editing it’s properties. The properties will look familiar as they are the same as the post process volume properties. A few additional camera specific ones exist like field of view and crop format. You can grade and add effects like boom, depth of field and motion blur. We graded the scenes with overall post process volumes and then tweaked the settings further within individual cameras.
If you are not inside the camera it will display its view once you click on it in a little window at the bottom.


Exporting a Sequence/输出序列

输出序列可能比你想象的要难一点。

Exporting a sequence is a little more complicated than you might imagine.



你必须记住这是一个游戏引擎，能做任何动作。要引进一个序列你首先必须选择日场，这是使相机能产生你想输出的效果的必要条件。去它自己的目标中，在水平荷载中选择播放。然后在日场中，用引导轨迹检查、使用附属相机、点击电影。创建的电影对话框打开，你可以选择格式、尺寸和fps值。

点OK键，一个新的相同场景的.EXE文件就会加载，电影就会播放出来，将图自动保存到项目的根目录中。等相机停止移动，你就需要关闭.EXE文件，否则它会继续捕捉场景。也许在相机停止后，有一种方式可以关闭文件，但是我们还没有找到。虚幻引擎在演示模式中能从实质上捕捉场景，在游戏引擎中保存图。比起在编辑器中渲染，这可能是你所希望的。我想这个过程应该会在接下来一个或两个发射中改变。

You have to remember that this is a game engine and behaves as such. To export a sequence you have to first select the matinee which the camera is within which you wish to export, go to it’s own object properties, and select play on level load. Then within the matinee, with the director track checked, with the attached camera, click movie. The create movie options dialogue box opens and you can select the format, size and fps.
Once you hit OK a new .EXE file of the same scene will load and the camera will play out, saving the images within the project’s root directory. You will need to copy these images into it’s own folder before exporting another camera. Once the camera move is complete you will need to close the .EXE otherwise it will keep capturing the scene for eternity. Maybe there is a way to close the file after the camera has stopped but we haven’t figured that out yet. Unreal Engine is essentially capturing the screen in play mode and saving the pictures within it’s game engine. Rather than rendering it within the editor, which you might expect. I think this process should and will change in the next release or two.


Drone Harvesting/无人机



Drone Concept & Design/无人机概念&设计



无人机的设计过程相当快。我们起初的想法是设计须用当代技术、要轻，并且与有趣的收获战略结合在一起。我们的设计结合了在三脚架、铰链台灯和真空吸尘器。

The design of the drones came quite quickly. Our internal brief was that they had to be design with today’s technology in mind, be lightweight, and incorporate an interesting harvesting strategy. Our design combines mechanics found in tripods, hinges desk lamps and hoovers.



在装配之前我们手工把概念模型放置在一定位置来展示它怎样盘旋、落地、在灌木上方低空飞行。

Before rigging we would manually place the concept model in certain positions to illustrate how it would hover, land, and lower itself into the vine bushes.


Drone Animation & Unreal Engine Import/无人机卡通制作&虚幻引擎引入



我们通过一个相对简单的绳索体系给无人机赋予生命。风扇装置上有四个装饰部件，四个逆向运动连接器控制着装备。机体位置也有一个装饰部件，一个用于旋转，一个用于改变位置。一旦模型具有了生命特征，我们记录下来整个过程，并合并到几何学中。最后所有组件被分组输出。我们创建了三种不同的卡通无人机，让它们飞离机场、在空中盘旋、降落到一棵树上。

The drones are animated with a relatively simple rigging system. There are four dummies for the fans, four IK solvers controlling the arms, a dummy for the body position, one for the rotation and one for the absolute position. Once the model is animated a script is used to bake it into the geometry. Finally all the pieces are grouped and exported. We created three different animations of the drones, leaving the docks, hovering in the air landing on a tree.





无人机的大体框架被制作出来。要想使其具有生命，动画长度的引入很重要。

The drones are imported as skeletal meshes. It’s important to import the animation length as animated time.


Blueprints/蓝图



Drone Blueprints/无人机蓝图



蓝图是一个视觉脚本体系，是在用一个基于节点的界面从虚幻引擎编辑器中创建新型参与者和分级脚本活动的基础上生成的。你所用到的最常见的蓝图类型包括关卡蓝图和类蓝图。不同类型的蓝图编辑器使用要取决于你想制作什么类型的蓝图。大部分蓝图编辑器的主要特征就是图形模式，中心处的图表标签位于蓝图的网格中。

The Blueprints are a visual scripting system based on the concept of using a node-based interface to create new types of Actors and script level events from within Unreal Engine Editor. The most common Blueprint types you will be working with are Level Blueprints and Blueprint Classes. Different types of Blueprint Editor are available depending on the type of Blueprint you are working with. The core feature of most Blueprint Editors is the Graph mode, with its central Graph tab for laying out the network of your Blueprint.



在场景中无人机的放置作为蓝图参与者。一旦主框架网格引入到蓝图中，在动画部分就有可能将卡通制作与untick复选框里的循环和播放联系在一起。如果我们没有进行这个操作，动画会随着加载开始播放，但是我们想使它优先呈现在观察者面前。这通过周围带有碰撞盒的无人机来实现。当无人机和碰撞盒重叠时，动画就开始了。

The drones are placed in the scene as Blueprints Actors. Once the skeletal mesh is imported in the Blueprint, in the Animation section it’s possible to associate it with its own animation and untick Looping and Playing. If we were not doing it the animation would start as soon as the level is loaded. Instead we want it to be triggered by the proximity to the viewer. This is achieved surrounding the drone with a collision box. When the player overlaps with the box the animation starts.


Door Blueprints/门蓝图



无人机的门是在3dsMax中实现开关操作的。将3dsMax引入到UE4中，日场参与者被创建出来，主要团体被添加。动画被下载到动画轨迹中。日场在关卡蓝图中被提及，由一个触发器触发。

As for the drones, the doors are animated in 3dsMax. Once imported in UE4, a Matinee actor is created and a skeletal group added. The animation is then loaded into the Animation Track. The Matinee is referenced in the Level blueprint and triggered by a Trigger Volume.




Lights Blueprints/光蓝图



我们设置了简单的蓝图触发器来开关一些室内照明灯。这通过按下空格键切换其可视性，只有在他们周围的一个触发装置中才能完成。

We set simple blueprint triggers to switch on and off some of the interior lights. This is achieved by toggling their visibility pressing the spacebar and works only when inside a trigger volume surrounding them.




Packaging/包装




Level Loading/水平加载



最好是在它们自己的文件夹中组织你的主要空间或建筑。这样不管是在开始或稍后将场景分层的分离过程都会很简单。然后你就有能力下载那些高低层的不同版本。

理论上你可以为室内创建一个更详细的照明烘焙，但是当你在室外向里看时，它是一个不同层级，带有稍密的烘焙。团队中可以做的多一些。共享的人们可以打开同一个文件，操作不同层级，只节省他们正在操作的层级。版本控制软件的使用可以进行版本控制和更好地进行团队合作。水平加载的可能性很大，视频游戏行业已经使用并发展了数十年。

在建筑可视化中我把它看成控制照明和内存使用的一种方式，但是我们已经充分理解了所有情况下的工作流程。

It’s good to organize all of your key spaces or buildings in their own folders. This will make it very easy either at the beginning or later in the process of separating the scene out into levels. You then have the ability to load different versions of those levels in high res or low res.
In theory you can create a more detailed lighting bake for an interior, but when you are outside looking in it’s a different level, with a less intensive bake. It also allows you to work a bit more in teams. Multiple people can open the same file and work on different levels, saving only the level they are working on. Perforce is also used to enable version control and better teamwork. The possibilities of level loading are vast and something the video game industry has been hacking and evolving for decades.
Within Architectural Visualization I see it as a way of controlling lighting and memory usage but we are yet to fully understand the workflow in all situations.




Interface Overview/界面概述



在关卡蓝图中，我们添加了一个命令打开Widget设计一个主菜单。敲Esc键的作用相同，将我们带回到Widget菜单。我们也添加了一个命令设置游戏暂停，用这种方式，当Widget打开时，人物位置是不动的，也不会发生改变。

In the level blueprint we added a command to open the Widget that we designed to work as a main menu. Pressing Esc does the same, bringing us back to the Widget menu. We also added the command Set Game Pause, in this way the position of the character is freezed and doesn’t change while the Widget is open.



Widgets是一系列能用来构造界面的功能。它们是虚幻引擎运动图形用户界面设计师的基础，被分成两个标签：界面的视觉布局设计师标签（按钮、图象、滚动条、文本、油画等）。图标标签如蓝图，允许我们从视觉上抄写这些命令，和每一个图标元素联系在一起。

Widgets are a series of functions that can be used to construct an interface. They are the base of Unreal Engine Motion Graphics UI Designer and are split into two tabs : The Designer tab for the visual layout of the interface (buttons, images, sliders, text, canvas, etc). The Graph tab that works like a Blueprint and allows you to visually script the commands associated with each graphical element.



开始菜单包括能触发各种事件的按钮，包括开始游戏、解除暂停、观看影片、切换另一个菜单，从而呈现项目设计，改变设置和退出。

The starting menu consists of buttons that trigger various events like starting the game and unpausing it, seeing the film, going on another menu that presents the design of the project, changing the settings and exiting.


Packaging/包装



我们做的最后一件事情是在点击命令菜单之前通过默认状态设置播放动画。这样做就可以在播放之前允许有时间加载场景。你可以点击命令菜单选择跳过影片，这样就不会一直等着。在配置设置中我们也把它设置为全屏。

One final thing we did before exporting was to set the animation to play by default before you hit the menu. What this does is allow the scene valuable time to load everything before you play it. You have the option to skip the film and go to the menu so you’re not waiting every-time. Within the config settings we also set it to open in full screen.



最后我们制作的动画可以在windows 64 bit中运行。

Finally we can export it to run on windows 64 bit.


Film & Sound/影片&声音



作为影片制作者，虚幻引擎最强方面就是比视觉预览可以进行更多的编辑。到这一步在UE4中，照明方式看上去还可以。我们设置了视野，输出测试序列。我们没有花几秒钟进行渲染，而是从许多相机中截取10-20秒的录像带。这样整个过程很像是真实电影，因为你不用关注渲染时间。在虚幻中我们没有使用日场进行编辑，而是输出单独的一段录像带，用Premiere软件合适的编辑。

The most powerful aspect of Unreal Engine for us, as filmmakers, was the ability to have a working edit that was much more than a previs. From the moment we had something that looks ok lighting wise inside UE4 we set up views and exported test sequences. Instead of rendering only a few seconds we would export 10-20 second clips from tons of cameras. It makes the whole process a lot more like actual filming as you are not concerned by render times. We didn’t use the Matinee in Unreal for the edit, we exported individual clips and used Premiere to edit properly.



我们有很多材料播放，这是很棒的。因为影片只有几分钟的长度，所以结构比较松散。我们想把独一无二的设计和产品的生产过程连接起来，我们想用一种韵律和关系飞过空间。

我们会自然而然地碰到一些很酷的转换。首先是经过地面的地方，外部空间到内部空间的转换时间，展示了无人机和生产设备的联系。其次是从建筑图到公寓内外的转换。

We had so much material to play with it was great. We had a loose structure as the film was only to be a minute long. We wanted to communicate the unique design and production process our project had and we wanted to flow through the spaces with a kind of rhythm and connection.
There were a few cool transitions that came naturally. The first was the exterior to interior moment where we pass through the ground, showing the connection of the drones to the production facility. The second was using the pictures of the building to transition in and out of the apartment.



当我们有一个非常粗燥的框架需要编辑的时候，就使用Angus MacRae，它能提升音乐和声音的品质。我们的项目中，音乐和声音设计经常重点是设置音调、气氛和拼凑之后的感觉，所以预创建在葡萄园这个项目中很重要。开始，Angus提供给我们一个配乐，包括开始的气氛和音乐发展的原始篇章。我们使用这个拍子来转场，导演同意了，Angus就将他的魔力用于最后版本。编辑中会有一些来回反复，但是过程是比较流畅的。

When we had a very rough structure to the edit we worked with Angus MacRae who developed the music and sound scape. The music and sound design on our projects are always hugely important in setting the tone, atmosphere and feeling behind the piece, so it was important to create something bespoke to our vineyard. Initially, Angus supplied us with a score which contained an ambiance for the beginning and an original piece of music developed for the building section. We used the beat of this to cut to and then once the direction was agreed Angus worked his magic on the final version. There was a bit of back and forth with the edit but the process was very smooth.


High-Res Stills/高分辨率照片



在虚幻中创建高分辨率情景照片就是一种涂鸦之作，只要不要计较分辨率。选择显示器的左上角箭头，点高分辨率屏幕截图，会出现一个新窗口。倍频器基本上显示的是比现在展示的截屏大多少倍。

To create high-res stills of your scenes in Unreal is a doodle. Just don’t get too greedy with the resolution. Select the top left arrow in your viewer and press High Resolution Screenshot. A new window will appear. The multiplier is basically saying how many times bigger than the current display should I capture.





我们有2.5k高分辨率的显示器，所以捕捉三倍的截屏足够了。显然第一次你这样做是想将其放到最大，希望立刻得到碰撞回应。最后我们输出了分辨率为7k的图片。选择Write HDR形式的可视化目标，得到一个exr格式的16 bit的图，而不是jpg格式或8 bit 大小的png格式的图。你可以渲染出路径，如反射、折射等，但是和离线渲染比起来质量显得非常烂，我们没有采用。

虽然继续下去会很有潜力。渲染一个7k分辨率用时将近两秒，希望你不会抱怨！

We had 2.5k screens so capturing X3 was way enough. Obviously the first time you do this you crank it right up to the max, expect an immediate crash when you do this. We exported 7k images in the end. Select Write HDR format visualisation targets to get a 16 bit exr of the image instead of a jpg or 8 bit png. You can render out channels like reflection, refraction and so on but they are pretty rubbish compared to offline renderers and we didnít use them.
It has huge potential though going forward. Rendering a 7k in like 2 seconds, you can’t complain!


























End of Part Two/第二部分结尾

总之我们非常喜欢虚幻引擎的制作过程，完成这个项目感觉我们的理解力又提升了一个层次，不仅能archvis项目、提供新服务，还能创建实时游戏项目。

Factory Fifteen总是想创建它自己的IP，我们希望在不久的将来我们能设计并建造交互的世界，在里面讲述有趣的故事。

感谢Ronen，感谢Epic Games，感谢Lasse Rode和其他公众的支持。

Overall we have really enjoyed the process of working with Unreal Engine and feel that (although a lot needs to be learnt) we have developed an understanding that we can apply not only to archvis projects, offering new services, but also for working in creative real-time and game projects.
Factory Fifteen has always been about creating it’s own IP and we hope in the very near future that we can design and build interactive worlds to tell interesting stories in.
Thanks to Ronen, thanks to Epic Games, thanks to Lasse Rode and the rest of the community for your support.


信息/Credits
•        概念/建筑设计: Paul Nicholls, Matt Townsend
•        Unreal研究和开发R&D : Ares Simone Monzio Compagnoni
•        Unreal 生产: Ares Simone Monzio Compagnoni, Paul Nicholls
•        无人家设计: Prince Yemoth
•        无人机装备/动画/蓝图: Alexey Marfin / Ares Simone Monzio Compagnoni
•        音乐/配乐: Angus MacRae

•        Concept / Architectural Design : Paul Nicholls, Matt Townsend
•        Unreal R&D : Ares Simone Monzio Compagnoni
•        Unreal Production : Ares Simone Monzio Compagnoni, Paul Nicholls
•        Drone Design : Prince Yemoth
•        Drone Rig / Animation / Blueprint : Alexey Marfin / Ares Simone Monzio Compagnoni
•        Music / Score : Angus MacRae


出处：本文译自www.ronenbekerman.com/，转载请注明出处。