What is Cinemachine? : 什么是Cinemachine？
Cinemachine is a suite of ‘smart’ procedural modules which allow you to define the shot and
they’ll dynamically follow your direction. Setup shots which track and compose motion in
realtime, like AI camera operators. The procedural nature makes them bug-resistant as they
always work to make the shot based on your direction. That’s great for gameplay, but they’re
also amazingly fast for cutscenes. Change an animation, a vehicle speed, ground terrain -
whatever - and Cinemachine will dynamically make the shot. You can use really telephoto
lenses and not have to update the cutscene if things change .
Cinemachine是一套“智能”程序模块，可以让你定义镜头并且他们会动态地按照你的指示行事。如同一个AI相机操作员般，实时地设置跟踪和组成运动的镜头。程序性质使它们像它们一样具有抗病性
总是根据你的方向努力拍摄。这对于游戏玩法来说非常棒，并且它们在过场动画的表现也出人意料的快。
改变动画、车速、地面地形或者无论什么效果——Cinemachine都将动态拍摄。你可以使用真正的长焦镜头，如果事情发生变化，不必更新过场动画。
History :
Cinemachine has been in development over a number of years across multiple projects We’ve been designing camera systems for almost 20 years and have shipped millions of AAA titles across numerous genres. The Cinemachine team has an award winning cinematographer and a senior engineer with heavy math skills. Also, we love this stuff to bits.
Cinemachine多年来一直处于多个项目的开发之下，我们已经设计了相当*20年的相机系统，并已经出版了数百万种AAA级别的游戏。 Cinemachine团队拥有一位屡获殊荣的摄影师和一名具有繁重数学技能的高级工程师。 此外，我们喜欢这些东西。
Mission :
Our mission with Cinemachine is built to be an entirely united camera system bridging gameplay, cutscenes, from fully procedural cameras to entirely canned sequences and everything in between.
我们与Cinemachine的使命是建立一个完全统一的相机系统，与游戏玩法，过场动画，从完全程序相机到完全固定序列以及介于两者之间的所有内容相衔接。
Example Scenes :
Please have a look at our example scenes. They are shipped with the package under Assets/Cinemachine/Examples. This folder also includes some handy noise presets that you can use as a starting point for implementing camera noise.
请看一下我们的示例场景。 它们随Assets / Cinemachine / Examples下的package一起提供。 此文件夹还包括一些方便的噪音预设，您可以将其用作实现相机噪音的起点。
Forums :
We have a busy discussion area on the forums.
https://forum.unity3d.com/forums/cinemachine.136/
我们在论坛上有一个热闹的讨论区。
Frequently asked questions :
-
Do we have to replace our camera system with Cinemachine?
No, Cinemachine can work alongside your existing camera system and you can seamlessly blend back and forth between both systems. If you wrote some camera tech you love but want Cinemachine for something else, no problem, mix the two together.
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我们是否必须用Cinemachine替换我们的相机系统？
不，Cinemachine可以与您现有的相机系统配合使用，您可以在两个系统之间来回无缝混合。 如果你写了一些你喜欢的相机技术，但想要Cinemachine的一些别的东西，没问题，将两者混合在一起。
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Isn’t having all these cameras around kind of heavy?
No, in fact it’s incredibly light. Each virtual camera has a super low overhead - make as many as you want. If you are hypersensitive to performance you can disable all the cameras and just enable the ones you wish to have running at any given moment for extreme performance. -
是不是所有这些相机都很沉重（耗费性能）？
不，实际上它非常轻盈。 每个虚拟摄像机都具有超低的开销 - 可以根据需要进行调整。 如果您对性能敏感，可以禁用所有摄像头，只需启用您希望在任何给定时刻运行的摄像头以获得极致性能。
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How does it all work?
Cinemachine works a bit like a marionette system for your existing Main Camera. It doesn’t create any new cameras, only new virtual ones. The Cinemachine ‘Brain’ component is automatically added to the Main Camera in your scene and Cinemachine works with all its camera blending, priority, mixing magic to deliver a set of transforms to your Main Camera.Because it’s a completely unified system, you can blend from any camera type to any other. Seamlessly go from an in-game freelook system to a keyframed cutscene camera and back.
Any combination is possible and the options are limitless.
-
它是怎么运行的？
Cinemachine的工作方式有点像现有主摄像头的牵线木偶系统。 它不会创建任何新的相机，只会创建新的虚拟相机。 Cinemachine'Brain'组件会自动添加到场景中的主摄像头中，Cinemachine可以使用其所有摄像头混合，优先级，混合效果来为主摄像头提供一组变换。
因为它是一个完全统一的系统，您可以从任何相机类型混合到任何其他类型。 无缝地从游戏中的freelook系统转变为关键帧的过场动画相机和背部。
任何组合都是可能的，选项是无限的。
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Can I really save all my tunings in Play mode?
Yes! Almost everything in Cinemachine saves in play mode so jump in and tune some cameras while the game is running. When you think about it, it’s really the only way to do it. We want you to get right into the zone and massage cameras at any point in your game - while you’re in there playing it.Our engineer spent a long time on our camera system and doesn’t want to change it.
We hear this a lot. It’s never fun to throw code away but you need to think about the big picture of your project. If you can get up and running really quickly creating and tuning cameras without further bothering your engineer, isn’t that an advantage?
It’s doubtful your existing system behaves exactly as desired in every scenario so there’s yet more coding to be done anyway.Cameras are such a huge part of your project and good cameras can make the difference between an OK game and an amazing one. Try running Cinemachine next to your existing cameras and see what it’s like. If that engineer is still reluctant share this idea with them - Rockets eject perfectly great booster sections to get into space. That camera code helped push you into orbit! Great scenes are often left on the editing room floor. Make the decision that’s best for your project.
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我可以在Play模式下真正保存所有调试吗？
当然！ Cinemachine中的几乎所有内容都保存在播放模式中，因此在游戏运行时跳入并调整一些相机。 当你想到它时，它确实是唯一的方法。 我们希望您在游戏中的任何一个时间点都能直接进入区域并调整相机 - 即使您在运行中时。
我们的工程师花了很长时间在我们的相机系统上，并不想改变它。
我们听到了很多。抛弃代码永远不会有趣，但你需要考虑项目的大局。如果您能够在不进一步打扰工程师的情况下快速启动并运行创建和调整摄像头，那么这不是一个优势吗？
令人怀疑的是，您现有的系统在每种情况下的行为都完全符合要求，因此无论如何还有更多的编码要做。摄像机是你项目中非常重要的一部分，好的摄像机可以在一个尚可的游戏和一个惊人的游戏之间产生差距。尝试在现有相机旁边运行Cinemachine，看看它是什么样的。如果那个工程师仍然不愿意与他们分享这个想法——火箭队会弹出非常好的助推器部分进入太空。相机代码帮助你进入轨道！编辑室的场景经常留下很棒的场景。做出最适合您项目的决定。
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Can I mix between gameplay and cutscene cameras?
You can mix between any cameras. Seamless transitions from gameplay to cutscene and back are as easy as turning on a camera or playing a Timeline with CM clips on it. -
我可以将游戏玩法和过场动画相机过渡吗？
你可以在任何相机之间过渡。 从游戏玩法到过场动画和后背的无缝过渡就像打开相机或播放带有CM剪辑的时间轴一样简单。
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How do you typically configure the cameras for a project?
Instead of one big ball-of-code camera trying to do everything, you make lots of custom vcams for every given moment and turn them on when needed. Blending or cutting to a new camera is as easy as turning one on. If the priority is the same or higher, CM will use the new camera and blend to it based on how you’ve defined the default blend or any other blends in the Custom Blends section of the CM ‘Brain’ on the Main Camera. -
您通常如何为项目配置摄像头？
区别于一个大的代码相机试图做所有事情，你为每个给定的时刻制作了许多自定义vcams，并在需要时打开它们。 将新相机混合或切割就像打开一个相机一样简单。 如果优先级相同或更高，CM将使用新相机并根据您在主相机上CM'Brain'的自定义混合部分中定义的默认混合方式或任何其他混合的方式进行混合。
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I don’t want to drastically change the camera in X scenario, I just want a little tweak.
Camera changes can be really subtle. You can duplicate your main camera, only change the FOV or Composition and then blend to that camera just when a player enters a trigger volume. You can turn on vcams with only the subtlest of differences to get exactly the behavior you want in whatever situation. Projects can have many vcams all with only minor changes, ready and waiting for whatever game scenario demands them.
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我不想在X场景中大幅改变相机，我只想稍微调整一下。
相机的变化可能会非常微妙。 您可以复制主摄像头，仅更改FOV或构成方式，然后在玩家进入触发音量时混合到该摄像头。您可以只使用最细微的差异打开vcams，以在任何情况下获得您想要的行为。 项目可以拥有许多vcams，只需进行微小的更改，准备好并等待任何游戏场景需要它们。
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When would I use the State Driven Camera? Why have so many camera rigs?
The SDC makes it super easy to link animations and states to different cameras. Picture your character’s local-motion system and orbit camera. It makes your game feel so much more alive when the camera shakes a bit more when your character is running, when the camera pulls back to a larger orbit when they go outside, when the camera gets all close when the character is sneaking around. The SDC allows you to craft the cameras to best suit what your player is doing. -
我何时使用状态驱动相机？ 为什么有这么多摄像机装备？
SDC可以非常轻松地将动画和状态链接到不同的摄像机。 想象你角色的本地运动系统和轨道摄像机。 当你的角色在跑步时，相机可以轻微的抖动；当角色向外走时，相机可进入一个更大的轨道；当角色偷偷摸摸移动时，相机可以全部靠*，这些会使你的游戏感觉更加生动。 SDC允许您制作最适合您的播放器正在进行的相机。
For example, one project in dev had 20+ different camera rigs all listening to animations and game events. Stand, walk, sprint, jump, attack, >3 enemies arrive, inside, outside, trigger volumes in particular areas of the map, health <20%, etc. So much control is easily possible.
例如，开发中的一个项目有20多个不同的摄像机装备都在收听动画和游戏事件。 站立，行走，冲刺，跳跃，攻击，3个以上的敌人到达，内部，外部，触发地图特定区域的体积，健康<20％等。如此多的控制很容易。
Overview :
Cinemachine is a modular suite of camera tools for Unity which give AAA game quality controls for every camera in your project. It’s an easy to install plugin which lets you add functionality to cameras you’ve already got, or make new ones with amazing behaviors.
Cinemachine has been designed to be the entire unified camera system in your project but can be used alongside your existing cameras as well. If you have a bunch of camera stuff working already and just want to use Cinemachine for cutscenes or something specific, no problem at all. However when you use it across your project it allows you to blend any camera to any other camera in a gameplay-to-cutscene-and-back-seamlessly kind of way. The heart of Cinemachine is two components; everything else builds on those. They are:
Cinemachine是Unity的模块化相机工具套件，可为项目中的每个相机提供AAA游戏质量控制。 这是一个易于安装的插件，可以让您为已经拥有的相机添加功能，或者制作具有丰富行为的新相机。
Cinemachine被设计出来作为您项目中的整个统一摄像系统，但也可以与现有摄像头一起使用。 如果你有一堆相机的东西已经工作，只是想使用Cinemachine的过场动画或特定的东西，没有任何问题。 除此之外，当您在整个项目中使用它时，它也允许您将任何相机混合到从游戏玩法到过场动画再返回过程中的任何其他相机，诸如此类。 Cinemachine的核心是两个件; 其他的一切内容都建立在它们之上。 他们是：
Cinemachine Virtual Camera :
The Virtual Camera is a shot, a single camera. It has child modules which you can turn on to make it do things like procedurally track and compose objects, follow things and shake with procedural noise. Together they are a very powerful combination and can yield an unlimited number of results.
These modules have been designed, re-designed and re-designed again to offer the widest range of possibilities with the least number of controls. The math driving these camera behaviours is complex and sophisticated, having gone through many different scenarios across all sorts of games.
The reason for the ‘virtual’ camera scenario is because Unity renders from the main camera. Out-of-the-box Unity is limited to only one camera being active camera at a time – which makes the blending of two shots effectively impossible. Cinemachine is engineered to solve this and provide a wealth of simple, powerful functionality at the same time, allowing unsurpassed camera behaviors which are fast and easy to setup.
虚拟相机是一个镜头，一个相机。它有一些子模块，您可以打开这些模块，使其执行程序跟踪和组合对象，跟踪事物并使用程序噪声进行抖动。它们是一个非常强大的组合，可以产生无数的结果。
这些模块经过设计，重新设计和再次重新设计，以最少的控制提供最广泛的可能性。推动这些摄像机行为的数学复杂而精密，在各种游戏中经历了许多不同的场景（的考验）。
“虚拟”相机场景的原因是因为Unity从主相机渲染。开箱即用的Unity限定在同一时间仅能有一台摄像机是有源摄像机 —— 这使得有效地无法混合两个镜头。 Cinemachine旨在解决这个问题，同时提供丰富的简单，强大的功能，允许无与伦比的相机行为，并且它们快速，易于设置。
Cinemachine Brain :
This is the central Cinemachine component that does all the magic. It’s a component attached to the Unity camera and it monitors all the Virtual Cameras in the scene and drives the Unity camera using the shot it likes best.
这是中央Cinemachine组件，可以完成所有效果。 它是连接到Unity摄像头的一个组件，它监视场景中的所有虚拟摄像机，并使用它最喜欢的镜头驱动Unity摄像机。
Installation and Getting Started ：安装并开始
Installing Cinemachine is easy.
- Drag the Cinemachine unitypackage onto your assets folder in Unity, OR Install it directly: Assets->Import Package ->Custom Package… and point to the Cinemachine unitypackage.
- Setup the Cinemachine Virtual Cameraenvironment Cinemachine-> Create Virtual Camera. This is also the way to create additional Cinemachine shots.
- That’s it! You now have Cinemachine installed on your machine.
安装Cinemachine很容易。
- 将Cinemachine unitypackage拖到Unity中的assets文件夹中，或直接安装：Assets-> Import Package - > Custom Package ...并指向Cinemachine unitypackage。
- 设置Cinemachine虚拟摄像机环境Cinemachine->创建虚拟摄像机。这也是创建其他Cinemachine镜头的方法。
- 仅此而已！您现在已在计算机上安装了Cinemachine。
You will notice two changes to your scene:
- The main camera has a little icon next to it in the scene hierarchy. This indicates that your camera has been Cinemachine-enabled using a new component: the CinemachineBrain.
- A new GameObject CM vcam1 with a CinemachineVirtualCamera component, which is a single camera or shot.
您会注意到场景的两处变化：
- 主摄像机在场景层次结构中旁边有一个小图标。这表示您的相机已使用新组件启用Cinemachine：CinemachineBrain。
- 带有CinemachineVirtualCamera组件的新GameObject CM vcam1，它是一个摄像头或镜头。
There’s more info below on how to use these new things. Don’t forget to check out the example scenes included in Cinemachine/Examples/Scenes, and please visit our user forum at https://forum.unity3d.com/forums/cinemachine.136/
下面有关于如何使用这些新东西的更多信息。不要忘记查看Cinemachine / Examples / Scenes中包含的示例场景，请访问我们的用户论坛：https：//forum.unity3d.com/forums/cinemachine.136/
User Guide ：用户指南
This guide is organized in logical sections that cover the ground from simple basic setups all the way through to advanced cinematic features of Cinemachine. Each of the classes and behaviours that make up Cinemachine are described in detail.
本指南按逻辑部分组织，涵盖了从简单的基本设置到Cinemachine的高级电影功能。 组成Cinemachine的每个类和行为都将详细介绍。
Cinemachine is by no means limited to the classes and behaviours described here. It has an open pipeline architecture, and we look forward to seeing the exciting new behaviours and intelligence that our users will build into the system.
Cinemachine绝不仅限于此处描述的类和行为。 它具有开放的管道架构，我们期待看到用户将在系统中构建的令人兴奋的新行为和智能。
Basic Virtual Cameras
Each virtual camera is a ‘shot’, or a single camera. You can animate them directly or blend two together to create camera moves. The reason they are ‘virtual’ cameras is to allow for blending, camera selection based on priorities and the ability to have Cinemachine hold multiple cameras in memory with the final product being presented to the current active Unity camera(s) which are rendering.
Cinemachine allows you to create an unlimited number of virtual cameras, blend them together with the result being presented to the single Unity camera. It does all this automatically.
每个虚拟摄像机都是“镜头”或单个摄像机。 您可以直接为它们设置动画或将两者混合在一起以创建相机移动。 它们是“虚拟”摄像机的原因是为了允许混合，基于优先级的摄像机选择以及使Cinemachine在内存中保持多个摄像机的能力，最终产品被呈现给正在渲染的当前活动Unity摄像机。
Cinemachine允许您创建无限数量的虚拟摄像机，将它们混合在一起，并将结果呈现给单个Unity摄像机。 它自动完成所有这些。
Key components of the Virtual Camera are:
- Priority: The priority of this shot. Equal or Higher value camera priorities compared to the current camera priority will be activated. This allows for camera state machine setups where cameras are called based on trigger volumes, animations, health states, etc. Important cameras will trigger over lower priority ones.
- Lens Settings : What kind of lens to use for this shot: FOV, clipping planes, and dutch (camera roll). Post-processing effects can also be included here.
- Body: Where the camera is placed in your scene, and procedural ways to ‘mount’ your camera to any object and move the camera with it.
- Aim: What the camera looks at, and procedural ways to track and compose any subject.
- Noise: Procedural Perlin multi-layered noise system for handheld behaviors, shakes, and vibrations.
- Extensions: These are add-ons to the basic Cinemachine pipeline. Post-Processing and Collision Avoidance are examples of standard extensions shipped with Cinemachine. The API is open, so that you can author your own extensions as well.
虚拟相机的关键组件是：
- 优先级：此镜头的优先级。与当前摄像机优先级相比，优先级相等或更高值的摄像机将被激活。这允许摄像机状态机设置，使得基于触发音量，动画，健康状态等调用摄像机。重要的摄像机将触发优先级较低的摄像机。
- 镜头设置：此镜头使用哪种镜头效果：FOV（画幅），剪裁*面和荷兰（相机胶卷）。这里也可以包括后处理效果。
- 主体：摄像机放置在场景中的位置，以及将摄像机“安装”到任何物体并用它移动摄像机的程序方法。
- 目标：相机所看到的内容，以及跟踪和撰写任何主题的程序方法。
- 噪音：程序Perlin多层噪音系统，用于手持行为，震动和振动。
- 扩展：这些是基本Cinemachine管道的附加组件。后处理和冲突避免是Cinemachine附带的标准扩展的示例。 API是开放的，因此您也可以创建自己的扩展程序。
The Solo Button in the Virtual Camera inspector panel will make the virtual camera temporarily Live so that you can have immediate visual feedback in the game view when tweaking the behavioural parameters of the camera.
The Game Window Guides checkbox toggles the visibility of any screen compositional guides that the virtual camera might want to display in the game window. This toggle is a static global, and applies to all virtual cameras.
The Save During Play checkbox enables the Cinemachine feature of taking camera settings tweaks made while in Play mode, and propagating them back to the scene. This allows in-game fine tuning of cameras without having to do a whole lot of copy/pasting. After you exit play mode, the scene will be updated to reflect the changes made during play. Pressing Undo will revert those changes.
The following sections describe the behaviours and classes that make up the Cinemachine Virtual Camera, and some of its standard procedural components.
虚拟相机检查器面板中的Solo按钮将使虚拟相机暂时生效，以便在调整相机的行为参数时可以在游戏视图中立即获得视觉反馈。
“Game Window Guides”复选框可切换虚拟摄像机可能要在游戏窗口中显示的任何屏幕组成指南的可见性。此切换是静态全局，适用于所有虚拟摄像机。
“Save During Play”复选框启用Cinemachine功能，即在播放模式下进行相机设置调整，并将它们传播回场景。这允许在游戏中对相机进行微调，而无需进行大量的复制/粘贴。退出播放模式后，将更新场景以反映播放期间所做的更改。按撤消将还原这些更改。
以下部分描述了构成Cinemachine虚拟相机的行为和类，以及它的一些标准过程组件。
CinemachineVirtualCamera
This behaviour is intended to be attached to an empty Transform GameObject, and it represents a Virtual Camera within the Unity scene.
The Virtual Camera will animate its Transform according to the rules contained in its CinemachineComponent pipeline (Aim, Body, and Noise). When the virtual camera is Live, the Unity Camera equipped with a CinemachineBrain will assume the position and orientation of the virtual camera.
A virtual camera is not a camera. Instead, it can be thought of as a camera controller, not unlike a cameraman. It can drive the Unity Camera and control its position, orientation, lens settings, and PostProcessing effects. Each Virtual Camera owns its own Cinemachine Component Pipeline, through which you provide the instructions for dynamically tracking specific game objects.
A virtual camera is very lightweight, and does no rendering of its own. It merely tracks interesting GameObjects, and positions itself accordingly. A typical game can have dozens of virtual cameras, each set up to follow a particular character or capture a particular event.
此行为旨在附加到空的Transform GameObject，它表示Unity场景中的虚拟相机。
虚拟摄像机将根据其CinemachineComponent管道（目标，主体和噪声）中包含的规则为其变换设置动画。当虚拟摄像机处于实时状态时，配备CinemachineBrain的Unity摄像机将采用虚拟摄像机的位置和方向。
虚拟相机不是相机。相反，它可以被认为是相机控制器，与摄影师不同。它可以驱动Unity相机并控制其位置，方向，镜头设置和后处理效果。每个虚拟相机都拥有自己的Cinemachine组件管道，通过它您可以提供动态跟踪特定游戏对象的说明。
虚拟相机非常轻巧，不会自行渲染。它只跟踪有趣的GameObjects，并相应地定位自己。典型的游戏可以具有数十个虚拟摄像机，每个摄像机设置为跟随特定角色或捕获特定事件。
A Virtual Camera can be in any of three states:
- Live : The virtual camera is actively controlling the Unity Camera. The virtual camera is tracking its targets and being updated every frame.
- Standby : The virtual camera is tracking its targets and being updated every frame, but no Unity Camera is actively being controlled by it. This is the state of a virtual camera that is enabled in the scene but perhaps at a lower priority than the Live virtual camera.
- Disabled : The virtual camera is present but disabled in the scene. It is not actively tracking its targets and so consumes no processing power. However, the virtual camera can be made live from the Timeline.
虚拟摄像机可以处于以下三种状态中的任何一种：
- 直播：虚拟摄像机正在主动控制Unity摄像头。 虚拟摄像机正在跟踪其目标并每帧更新。
- 待机：虚拟摄像机正在跟踪其目标并每帧更新，但没有Unity摄像机正在被它主动控制。 这是在场景中启用的虚拟摄像机的状态，但可能比实时虚拟摄像机的优先级低。
- 已禁用：虚拟摄像机存在但在场景中已禁用。 它没有主动跟踪其目标，因此不消耗处理能力。 但是，虚拟摄像机可以从时间轴生成。
The Unity Camera can be driven by any virtual camera in the scene. The game logic can choose the virtual camera to make live by manipulating the virtual cameras’ enabled flags and their priorities, based on game logic.
In order to be driven by a virtual camera, the Unity Camera must have a CinemachineBrain behaviour, which will select the most eligible virtual camera based on its priority or on other criteria, and will manage blending.
Unity Camera可以由场景中的任何虚拟摄像头驱动。 游戏逻辑可以通过基于游戏逻辑操纵虚拟相机的启用标志及其优先级来选择虚拟相机来实现。
为了由虚拟摄像头驱动，Unity Camera必须具有CinemachineBrain行为，该行为将根据其优先级或其他标准选择最符合条件的虚拟摄像机，并将管理混合。
| Setting | Type | Description |
|---|---|---|
| Look At | Transform | The object that the camera wants to look at (the Aim target). If this is null, then the vcam’s Transform orientation will define the camera’s orientation. |
| Follow | Transform | The object that the camera wants to move with (the Body target). If this is null, then the vcam’s Transform position will define the camera’s position. |
| Lens | LensSettings | Specifies the lens properties of this Virtual Camera. This generally mirrors the Unity Camera’s lens settings, and will beused to drive the Unity camera when the vcam is active. |
| Priority | Int32 | The priority will determine which camera becomes active based on the state of other cameras and this camera. Higher number shave greater priority. |
| 设置 | 类型 | 描述 |
|---|---|---|
| LookAt | Transform | 相机想要查看的对象（Aim 目标）。 如果为null，则vcam的Transform方向将定义摄像机的方向。 |
| Follow | Transform | 相机想要跟随的对象（Body目标）。 如果为null，则vcam的Transform位置将定义摄像机的位置。 |
| Lens | LensSettings | 指定此虚拟摄像机的镜头属性。 这通常反映了Unity Camera的镜头设置，并将在vcam处于活动状态时用于驱动Unity相机。 |
| Priority | Int32 | 优先级将根据其他摄像机和本摄像机的状态确定哪个摄像机变为活动状态。 数字越大，优先级越高。 |
LensSettings
Describes the FOV and clip planes for a camera. This generally mirrors the Unity Camera’s lens settings, and will be used to drive the Unity camera when the vcam is active.
描述摄像机的FOV和剪裁*面。 这通常反映了Unity Camera的镜头设置，并将在vcam处于活动状态时用于驱动Unity相机。
| Setting | Type | Description |
|---|---|---|
| Field Of View | Single | This is the camera view in vertical degrees. For cinematic people, a 50mm lens on a super-35mm sensor would equal a 19.6 degree FOV. |
| Orthographic Size | Single | When using an orthographic camera, this defines the half-height, in world coordinates, of the camera view. |
| Near Clip Plane | Single | This defines the near region in the renderable range of the camera frustum. Raising this value will stop the game from drawing things near the camera, which can sometimes come in handy. Larger values will also increase your shadow resolution. |
| Far Clip Plane | Single | This defines the far region of the renderable range of the camera frustum. Typically you want to set this value as low as possible without cutting off desired distant objects. |
| Dutch | Single | Camera Z roll, or tilt, in degrees. |
| 设置 | 类型 | 描述 |
|---|---|---|
| 视野 | Single | 这是垂直度的摄像机视图。 对于电影人来说，超35mm传感器上的50mm镜头等于19.6度FOV。 |
| 正交尺寸 | Single | 使用正交相机时，它定义了摄像机视图的世界坐标的半高。 |
| *裁剪*面 | Single | 这定义了相机*截头体的可渲染范围内的*区域。 提高此值将阻止游戏在相机附*绘制物品，这有时会派上用场。 较大的值也会增加阴影分辨率。 |
| 远裁剪*面 | Single | 这定义了相机*截头体的可渲染范围的远区域。 通常，您希望在不切断所需远处物体的情况下将此值设置得尽可能低。 |
| Dutch（镜头倾斜） | Single | 相机Z以度为单位滚动或倾斜。 |
CinemachineComposer ：
This is a CinemachineComponent in the Aim section of the component pipeline. Its job is to aim the camera at the vcam’s LookAt target object, with configurable offsets, damping, and composition rules.
The composer does not change the camera’s position. It will only pan and tilt the camera where it is, in order to get the desired framing. To move the camera, you have to use the virtual camera’s Body section.
The vcam’s LookAt target is the Composer’s target. Common Composer targets: include bones on a character like the upper spine or head bone, vehicles, or dummy objects which are controlled or animated programmatically.
这是组件管道的Aim部分中的CinemachineComponent。 它的工作是将摄像机对准vcam的LookAt目标对象，具有可配置的偏移，阻尼和合成规则。
Composer不会改变相机的位置。 它只会将摄像机*移和倾斜，以获得所需的取景。 要移动相机，您必须使用虚拟相机的“身体”部分。
vcam的LookAt目标是Composer的目标。 Common Composer目标：在角色上绑定骨骼，例如上部脊柱或头骨，车辆或虚拟对象，这些对象可通过编程方式进行控制或动画处理。
Once you’ve set the vcam’s LookAt target and are tracking something, you need to define where you’d like it to be on the screen and how aggressively you’d like to camera to track it. The degree of lag, or how tightly the camera follows the subject is defined by the two controls:
Horizontal/Vertical Soft Damping: Setting these values to zero means the camera will hard track the subject and the blue regions above will act as rigid barriers locking the camera movement to keep the target inside those values. Setting the larger will allow the target to ‘squish’ into the blue regions, giving you some really nice camera weight and lag. This is what real camera operators do!. The vertical and horizontal values are separated so you can let the camera squish more left to right or follow tighter up and down, etc.
SoftZone/DeadZone: Tune these to define where you want the subject to be onscreen. These controls are incredibly versatile. The blue areas are the ‘squishy’ areas based on how much horizontal/vertical damping you have, and the red areas define the ‘no pass’ limits where the camera will always track the subject. Opening up the soft areas to create a ‘dead zone’ in the middle allows you to make areas of the screen immune to target motion, handy for things like animation cycles where you don’t want the camera to track the target if it moves just a little.
一旦你设置了vcam的LookAt目标并跟踪某些东西，你需要定义你想要它在屏幕上的位置以及你想要相机跟踪它的积极程度。两个控件定义了延迟程度或相机跟随主体的紧密程度：
水*/垂直软阻尼：将这些值设置为零意味着摄像机将硬跟踪主体，上方的蓝色区域将作为锁定摄像机移动的刚性障碍，以使目标保持在这些值内。设置较大的将允许目标“挤压”到蓝色区域，给你一些非常好的相机重量和滞后。这就是真正的相机操作员所做的！垂直和水*值是分开的，因此您可以让相机从左到右更加挤压，或者跟随上下更紧，等等。
SoftZone / DeadZone：调整这些以定义主体在屏幕上的位置。这些控件非常通用。蓝色区域是基于您具有多少水*/垂直阻尼的“柔软”区域，红色区域定义了摄像机始终跟踪主体的“无通过”限制。打开柔和区域以在中间创建“死区”允许您使屏幕区域免受目标运动的影响，这对于像动画周期这样的事情很方便，如果它只是移动一点点的话，你可能不希望摄像机跟踪目标。
| Setting | Type | Description |
|---|---|---|
| Tracked Object Offset | Vector3 | Target offset from the target object’s center in target-local space. Use this to fine-tune the tracking target position when the desired area is not the tracked object’s center. |
| Lookahead Time | Single | This setting will instruct the composer to adjust its target offset based on the motion of the target. The composer will look at a point where it estimates the target will be this many seconds into the future. Note that this setting is sensitive to noisy animation, and can amplify the noise, resulting in undesirable camera jitter. If the camera jitters unacceptably when the target is in motion, turn down this setting, or animate the target more smoothly. |
| Horizontal Damping | Single | How aggressively the camera tries to follow the target in the screen-horizontal direction. Small numbers are more responsive, rapidly orienting the camera to keep the target in the dead zone. Larger numbers give a more heavy slowly responding camera. Using different vertical and horizontal settings can yield a wide range of camera behaviors. |
| Vertical Damping | Single | How aggressively the camera tries to follow the target in the screen-vertical direction. Small numbers are more responsive, rapidly orienting the camera to keep the target in the dead zone. Larger numbers give a more heavy slowly responding camera. Using different vertical and horizontal settings can yield a wide range of camera behaviors. |
| Screen X | Single | Horizontal screen position for target. The camera will rotate to position the tracked object here. |
| Screen Y | Single | Vertical screen position for target, The camera will rotate to position the tracked object here. |
| Dead Zone Width | Single | Camera will not rotate horizontally if the target is within this range of the position. |
| Dead Zone Height | Single | Camera will not rotate vertically if the target is within this range of the position. |
| Soft Zone Width | Single | When target is within this region, camera will gradually rotate horizontally to re-align towards the desired position, depending on the damping speed. |
| Soft Zone Height | Single | When target is within this region, camera will gradually rotate vertically to re-align towards the desired position, depending on the damping speed. |
| Bias X | Single | A non-zero bias will move the target position horizontally away from the center of the soft zone. |
| Bias Y | Single | A non-zero bias will move the target position vertically away from the center of the soft zone. |
| 设置 | 类型 | 描述 |
|---|---|---|
| 跟踪对象偏移 | Vector3 | 目标对象在目标 - 本地空间中心的目标偏移量。 当所需区域不是被跟踪对象的中心时，使用此选项微调跟踪目标位置。 |
| 前瞻时间 | Single | 此设置将指示Composer根据目标的运动调整其目标偏移。 Composer将会看到一个点，它估计目标在未来的多少秒内到达目标点。 请注意，此设置对噪声动画很敏感，并且可能会放大噪声，从而导致不需要的相机抖动。 如果在目标运动时相机抖动不可接受，请调低此设置，或者更*稳地为目标设置动画。 |
| 水*阻尼 | Single | 相机在屏幕水*方向上试图跟踪目标的程度如何。 小数字响应更快，快速定向相机以使目标保持在死区。 较大的数字给出了一个更加沉重的慢响应相机。 使用不同的垂直和水*设置可以产生各种相机行为。 |
| 垂直阻尼 | Single | 相机在屏幕垂直方向上试图跟踪目标的程度如何。 小数字响应更快，快速定向相机以使目标保持在死区。 较大的数字给出了一个更加沉重的慢响应相机。 使用不同的垂直和水*设置可以产生各种相机行为。 |
| 水*屏幕位置 | Single | 目标的水*屏幕位置。 相机将旋转以将跟踪对象定位在此处。 |
| 垂直屏幕位置 | Single | 目标的垂直屏幕位置，摄像机将旋转以将跟踪对象定位在此处。 |
| 死区宽度 | Single | 如果目标位于该位置范围内，相机将不会水*旋转。 |
| 死区高度 | Single | 如果目标位于该位置范围内，相机将不会垂直旋转。 |
| 软区宽度 | Single | 当目标位于此区域内时，摄像机将逐渐水*旋转，以根据阻尼速度重新对齐到所需位置。 |
| 软区高度 | Single | 当目标位于此区域内时，摄像机将逐渐垂直旋转，以根据阻尼速度重新对齐到所需位置。 |
| 水*非零偏差 | Single | 非零偏差将使目标位置水*移动远离软区域的中心。 |
| 垂直非零偏差 | Single | 非零偏差将使目标位置垂直移动远离软区域的中心。 |
CinemachineTransposer
This is a CinemachineComponent in the Body section of the component pipeline. Its job is to position the camera in a fixed relationship to the vcam’s Follow target object, with offsets and damping.
The Transposer will only change the camera’s position in space. It will not re-orient or otherwise aim the camera. To to that, you need to instruct the vcam in the Aim section of its pipeline.
Transposer is a component which mounts a camera to any object. It has a number of advantages over just putting the camera under the object you want to have the camera follow. Hood Cam, Door Cam, POV Cam, Missile Cam - if you want to mount the camera to something, use Transposer.
这是组件管道的Body部分中的CinemachineComponent。 它的工作是将摄像机定位到与摄像机的跟随目标物体固定的关系，具有偏移和阻尼。
Transposer只会改变相机在空间中的位置。 它不会重新定位或以其他方式瞄准相机。 为此，您需要在其管道的Aim部分中指示vcam。
Transposer是将相机安装到任何物体上的组件。 与将相机放在想要让相机跟随的物体之下相比，它具有许多优点。 相机遮光罩，门镜，视点相机，投掷相机（类似R6的女武神？）如果你想将相机安装到某物上，请使用转换器。
Using Transposer for your camera body motion has advantages:
- The position tuning is kept, even if the game is running. Tune a regular camera in game mode and the position is lost once you quit, not with Transposer. Tune it up while the game is running and you’re done.
- Add damping to the camera - if your camera follows something, the damping values can give you some ‘weight’ to the camera so they feel smoother.
- Organization: Put all your cameras in one place, instead of having them hidden under all sorts of assets in your project - you pick their targets vs. put the camera under them in the hierarchy.
使用Transposer进行相机机身运动具有以下优势：
- 即使游戏正在运行，也会保持位置调整。 在游戏模式下调整普通相机，一旦退出，位置就会丢失，而不是使用Transposer。 在游戏运行时调整它并完成。
- 为相机增加阻尼 - 如果你的相机跟随某些东西，阻尼值可以给你一些相机的“重量”，让它们感觉更顺畅。
- 组织：将所有摄像机放在一个位置，而不是将它们隐藏在项目中的各种资产下 - 选择目标而不是将摄像机置于层次结构中。
Follow Offset: The camera will go to the centre of the object you’re targeting in the Transposer Camera Target, so if you want the camera to be further behind, put in some offsets. We default at -10 so the camera is behind whatever you’re targeting.
Damping: Per channel damping which will cause the camera to lag behind the target. You can control both the position damping, and the orientation damping.
跟随偏移：摄像机将转到您在转置相机目标中定位的对象的中心，因此如果您希望将摄像机放在后面，请放入一些偏移。 我们默认为-10，因此无论您的目标是什么，相机都会落后。
阻尼：每通道阻尼，这将导致相机滞后于目标。 您可以控制位置阻尼(线阻力？)和方向阻尼（角阻力？）。
Binding Mode: There’s options in the relationship between the camera and the target object.
- Lock To Target interprets the camera offset in target-local coords. As the target rotates, the camera rotates around it to maintain the offset.
- Lock to Target With World Up is the same as the above but it keeps the camera pointing up. Handy if your target flips over.
- Lock to Target On Target Assign mounts the camera relative to the target’s local coordinate system at the time the camera is initialized. This offset remains constant in world space, and the camera will not rotate along with the target.
- World Space offsets positions the camera relative to the target in world coords no matter what direction the target object is facing.
- Simple Follow this will follow the target at the desired distance and height while moving the camera position as little as possible. This is quite similar to what a human camera operator would do when instructed to follow a target.
绑定模式：这是一些摄像机和目标对象之间的关系选项。
- Lock To Target：解释目标局部坐标中的摄像机偏移。 当目标旋转时，相机围绕它旋转以保持偏移。
- 使用World Up锁定目标：与上面相同，但它会使摄像机朝上。 如果您的目标翻转，很方便。
- 基于目标分配锁定目标：摄像机相对于目标的本地坐标系在摄像机初始化时的安装。 此偏移在世界空间中保持不变，并且摄像机不会与目标一起旋转。
- 无论目标物体朝向什么方向，世界空间偏移都会使相机相对于目标在世界坐标中定位。
- 简单跟随：此操作将在所需距离和高度处跟随目标，同时尽可能少地移动摄像机位置。 这非常类似于人类摄像机操作员在被指示跟随目标时所做的事情。
These different modes do incredibly different things, so try them out and one should work well for whatever your requirements are. The ‘Door Cam’ or ‘Hood Cam’ ideas would use L ocal Space Locked To Target.
这些不同的模式做了非常不同的事情，所以尝试一下，某个应该适合你的要求。 “监视器”或“固定在遮光罩上的镜头”的想法应使用Local Space Locked To Target。
| Setting | Type | Description |
|---|---|---|
| Binding Mode | BindingMode | The coordinate space to use when interpreting the offset from the target. This is also used to set the camera’s Up vector, which will be maintained when aiming the camera. Possible Values: |
| Lock To Target On Assign: Camera will be bound to the Follow target using a frame of reference consisting of the target’s local frame at the moment when the virtual camera was enabled, or when the target was assigned. | ||
| Lock To Target With World Up: Camera will be bound to the Follow target using a frame of reference consisting of the target’s local frame, with the tilt and roll zeroed out. | ||
| Lock To Target No Roll: Camera will be bound to the Follow target using a frame of reference consisting of the target’s local frame, with the roll zeroed out. | ||
| Lock To Target: Camera will be bound to the Follow target using the target’s local frame. | ||
| World Space: Camera will be bound to the Follow target using a world space offset. | ||
| Simple Follow: Offsets will be calculated relative to the target, using Camera-local axes. | ||
| Follow Offset | Vector3 | The distance vector that the transposer will attempt to maintain from the Follow target. |
| X Damping | Single | How aggressively the camera tries to maintain the offset in the X-axis. Small numbers are more responsive, rapidly translating the camera to keep the target’s x-axis offset. Larger numbers give a more heavy slowly responding camera. Using different settings per axis can yield a wide range of camera behaviors. |
| Y Damping | Single | How aggressively the camera tries to maintain the offset in the Y-axis. Small numbers are more responsive, rapidly translating the camera to keep the target’s y-axis offset. Larger numbers give a more heavy slowly responding camera. Using different settings per axis can yield a wide range of camera behaviors. |
| Z Damping | Single | How aggressively the camera tries to maintain the offset in the Z-axis. Small numbers are more responsive, rapidly translating the camera to keep the target’s z-axis offset. Larger numbers give a more heavy slowly responding camera. Using different settings per axis can yield a wide range of camera behaviors. |
| Pitch Damping | Single | How aggressively the camera tries to track the target rotation’s X angle. Small numbers are more responsive. Larger numbers give a more heavy slowly responding camera. |
| Yaw Damping | Single | How aggressively the camera tries to track the target rotation’s Y angle. Small numbers are more responsive. Larger numbers give a more heavy slowly responding camera. |
| Roll Damping | Single | How aggressively the camera tries to track the target rotation’s Z angle. Small numbers are more responsive. Larger numbers give a more heavy slowly responding camera. |
| 设置 | 类型 | 描述 |
|---|---|---|
| 绑定模式 | 绑定模式 | 解释目标偏移时使用的坐标空间。 这也用于设置相机的向上矢量，瞄准相机时将保持该矢量。 可能的值： |
| 锁定目标开启分配：摄像机将使用参考框架绑定到“跟随”目标，该框架由启用虚拟摄像机时或目标分配时目标的本地帧组成。 | ||
| 使用World Up锁定目标：使用由目标的本地帧组成的参照系将摄像机绑定到Follow目标，并将倾斜和滚动归零。 | ||
| 锁定目标无滚动：摄像机将使用由目标的本地框架组成的参考框架绑定到“跟随”目标，并将滚动归零。 | ||
| 锁定目标：使用目标的本地帧将相机绑定到关注目标。 | ||
| 世界空间：使用世界空间偏移将摄像机绑定到关注目标。 | ||
| 简单跟随：使用相机局部轴，相对于目标计算偏移。 | ||
| 跟随位移 | Vector3 | 转置器将尝试从Follow目标维护的距离向量。 |
| X轴阻尼 | Single | 相机如何积极地保持X轴的偏移。 小数字响应更快，快速转换相机以保持目标的x轴偏移。 较大的数字给出了一个更加沉重的慢响应相机。 每个轴使用不同的设置可以产生各种相机行为。 |
| Y轴阻尼 | Single | 相机如何积极地保持Y轴的偏移。 小数字响应更快，快速转换相机以保持目标的x轴偏移。 较大的数字给出了一个更加沉重的慢响应相机。 每个轴使用不同的设置可以产生各种相机行为。 |
| Z轴阻尼 | Single | 相机如何积极地保持Z轴的偏移。 小数字响应更快，快速转换相机以保持目标的x轴偏移。 较大的数字给出了一个更加沉重的慢响应相机。 每个轴使用不同的设置可以产生各种相机行为。 |
| 音高阻尼 | Single | 相机如何积极地尝试跟踪目标旋转的X角度。 小数字响应更快。 较大的数字给出了一个更加沉重的慢响应相机。 |
| 偏航阻尼 | Single | 相机如何积极地尝试跟踪目标旋转的Y角度。 小数字响应更快。 较大的数字给出了一个更加沉重的慢响应相机。 |
| 滚动阻尼 | Single | 相机如何积极地尝试跟踪目标旋转的Z角度。 小数字响应更快。 较大的数字给出了一个更加沉重的慢响应相机。 |