Transcript of RuneFest 2013: World Event One Art

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[00:14] welcome to the very intimate art of all
[00:17] of it one my name is Martin as you
[00:22] might've met me earlier AKA mod well
[00:24] fish and i'm in the very public position
[00:26] to be our director for runescape and
[00:28] working with some elites over here hey
[00:31] hello hello haha yeah see they got thank
[00:37] you okay so we're gonna try and run for
[00:43] you tonight tonight's afternoon how we
[00:46] get from a simple design document to the
[00:48] final kind of in-game asset and all the
[00:50] kind of little niggly bits in between
[00:53] hopefully take about 30-40 minutes with
[00:56] time for Q&A at the end so whether
[00:58] you're a aspiring concept artist or a
[01:01] seasoned 3d modeler um I'm hoping
[01:08] there's gonna be kind of you know a
[01:09] little bit in here for everybody so
[01:11] let's begin please click click there we
[01:20] go so this is a core mames document it
[01:24] all starts off with this it's normally
[01:26] like a single page design document
[01:28] bullet pointed with a couple of kind of
[01:30] paragraphs describing what the quest is
[01:32] about it on the essence of the quest and
[01:33] from here the art team will extract what
[01:36] we think are the key visual features how
[01:39] many on them out of three or four
[01:40] counting bullet points woke up some
[01:42] designers maybe an audio guy couple of
[01:44] artists few concept artists and I kind
[01:46] of look out a meeting room for the day
[01:48] and start brainstorming around a few
[01:49] ideas click
[01:55] but before any pain edited or brush we
[01:58] need to start getting our reference
[01:59] gathering in order now this can come
[02:02] from absolutely anywhere can be a film
[02:04] you saw last week something from
[02:06] Pinterest which is one of my favorites
[02:07] the internet obviously book you read
[02:10] something something cool you saw on the
[02:11] way to work one day took a picture with
[02:13] your camera phone bring into work file
[02:15] it away you never know what's going to
[02:16] come in handy the main point is it needs
[02:19] to inspire you and needs to help you
[02:21] kind of you know push forward your
[02:22] vision or what you're going to use the
[02:26] book is because that so once that's done
[02:31] we're going out the other concept
[02:33] artists and um before we get a model as
[02:36] involved where take screenshots from the
[02:38] game and start kind of walking into the
[02:40] details it's much quicker for a concept
[02:42] artist to actually go in there and paint
[02:45] directly on top of screen shots rather
[02:48] than kind of spending countless hours of
[02:49] just messing around with geometry
[02:50] putting stuff around wasting their time
[02:54] so accompanying the paint ovis we also
[02:56] start to work on mood studies these are
[02:59] only about bad about kind of two or
[03:00] three different images that really sum
[03:03] up the kind of essence of a quest and
[03:05] the team can really get behind the one
[03:07] building here was one used for the
[03:09] crater in lumbridge so it's likely a big
[03:12] kind of glowing peace in the Middle kind
[03:14] of your lung beige on fire in the
[03:16] background and the team can really kind
[03:17] of get behind this and have an idea
[03:18] about we want to go with the quest so
[03:23] while this is all going on hopefully
[03:25] design have been working up their um
[03:27] their design and we should meet in the
[03:30] middle and create an asset list now
[03:33] that's a set list is normally well
[03:35] depending on the quest pretty large for
[03:36] what event one probably good couple of
[03:38] hundred pieces and that's that list is
[03:40] can be like you know you know from like
[03:42] the humblest kind of barrel to their
[03:43] huge kind of cliff piece and it's
[03:45] basically list of everything we need to
[03:47] build to make the quest and obviously we
[03:49] can't make concept art everything you
[03:51] know what that many items just not
[03:53] doable so we've grouped stuff together, we um
[03:57] grouped stuff, not going to stand there
[03:58] again grouped stuff together and um
[04:01] prioritize what we need to build really
[04:03] um and did it do yeah so once we happen
[04:09] what we've got we'll get the environment
[04:11] artist involved now look over what we
[04:12] have and they're going to try and
[04:13] recreate these 2d images in 3d well and
[04:16] for that I will pass over to Matt who is
[04:21] our lead environment our distance why
[04:22] you're very welcome so its environment
[04:27] artists it's my team and eyes
[04:29] responsibility to basically create
[04:32] maintain and update the areas of the
[04:35] game world to give you an example of how
[04:38] long it takes to create sort of
[04:40] something like the crater and the camps
[04:42] it was around four months from work for
[04:44] quite quite a few people on my team so
[04:47] there's quite a lot involved in it and
[04:48] it goes through quite a lot of Sage's
[04:50] just to get it perfect basically and so
[04:53] i'm going to do is run you through the
[04:54] process that we use to create the crater
[04:56] and the counts greater greater create
[04:59] the greater greater so first of all we
[05:02] block out the environment and it's
[05:06] basically called white boxing and what
[05:09] we do is we speak to the developer and
[05:10] we find out what sort of scale they want
[05:12] the area to be where it needs to be
[05:13] located and we get all the details that
[05:16] we need to be able to just quickly rough
[05:18] out the area the reason we white boxes
[05:21] that we can basically we can quickly
[05:23] create a piece of content that's
[05:26] playable to check that the main gameplay
[05:28] elements of working the distances are
[05:30] right and that the pacing is correct as
[05:32] well and what everyone's happy with that
[05:34] we can then start to move on to actually
[05:36] creating the 3d models so we create the
[05:40] 3d models in our program we actually use
[05:43] 3d studio max that's our preferred
[05:45] modeler and what we do is we rough out
[05:48] the shapes and we refer to the concept
[05:51] as much as possible system just to
[05:54] basically remain as consistent as as we
[05:56] can but sometimes you get concept art
[05:59] that's just you know we just can't get
[06:01] all of those details in so we have to
[06:03] just kind of distill it down into its
[06:04] elements and basically just put what we
[06:07] can in the game to make it as good as
[06:09] possible but obviously also run as
[06:11] smoothly as possible as well
[06:12] so once we've we've gone through the
[06:15] various stages of refining the model
[06:16] refining the model checking the concept
[06:19] checking the silhouettes and right and
[06:21] the form and the shape and of course
[06:22] making sure that Martin's happy with the
[06:24] direction we're heading we start to add
[06:26] the colors and then once we've done that
[06:28] we then move on to texturing and for
[06:32] texturing we will gather references and
[06:34] this basically just gives us an idea of
[06:36] what the material is that the models are
[06:37] going to be made of and then we can
[06:40] start to set about creating the base of
[06:42] our textures which is defines the color
[06:45] also adds extra details and we can do
[06:49] these details in layers so that we can
[06:51] basically tweak them and check them
[06:53] until we're happy with the the basic
[06:55] well with the finished texture when we
[06:59] finish with the textures we then apply
[07:00] them to the models not exactly like this
[07:03] but in some sort of fashion and we can
[07:08] treat these as we go and there's various
[07:10] back and forth between art director and
[07:12] various members of the graphics team
[07:14] helton we'd get it round of course very
[07:16] healthy very healthy once the texturing
[07:20] is complete we then move on to dressing
[07:24] the the area and its environment artist
[07:26] we're actually also responsible for the
[07:28] creighton scenery in the props that are
[07:30] put in the environment and these are
[07:34] these are actually quite important
[07:37] because you need to make the area
[07:39] believable so it has to have sort of a
[07:41] visual story to it so what's happening
[07:45] here what has happened here also
[07:48] questions such as as a player where can
[07:50] we go and what can we do and we
[07:52] basically we guide the player to the
[07:54] various items to the various gameplay
[07:56] elements through the scenery and just
[07:59] little indicators like that so once
[08:02] we're happy with the way that the
[08:03] environment is is all all created and
[08:06] all looking or looking splendid lovely
[08:08] we add the finishing touches which is
[08:10] basically add the final bit of
[08:12] atmosphere and move to the area which is
[08:14] the lighting and we had a skybox to make
[08:17] it kind of creepy and then we
[08:21] we bloom effects and the glow effects
[08:23] and on that note I'll hand you back to
[08:26] my way thank you very much I seem to
[08:28] have your old room cards you know you
[08:30] can have that I can have that there we
[08:31] go so good thank you very much I was
[08:34] very interesting learn some few things
[08:36] myself there ok so back the concept of
[08:38] so the actual life of a jagex concept
[08:42] art is pretty varied not only did they
[08:45] create concept art for environments
[08:46] character are the extorris animation it
[08:49] also have a really good go at doing some
[08:51] of the larger effects for the quest this
[08:54] could be like a single kind of inspiring
[08:55] image like your long bridge on fire and
[08:58] fire balls coming from the sky and
[09:00] people on fire oh it can't be something
[09:02] simple like you know a few thumbnail
[09:03] sketches for animo once we can I finish
[09:06] that with parties things i would do
[09:08] animation they have a really good go
[09:09] trying to recreate those for us point so
[09:14] as you know runescape with massive game
[09:16] yeah with over ten years worth of law
[09:18] countless quests it makes some you know
[09:21] creating any new content for us a bit of
[09:22] a visual minefield with access to that
[09:25] fouls the wiki pages our own internal
[09:27] database and our ever-expanding concept
[09:29] art library you're never going to get it
[09:31] right first time so we have a secret
[09:34] weapon and this guy fantastic we are
[09:37] models born he's a fantastic guy um he's
[09:40] a walking moonscape encyclopedia any new
[09:43] content i create will go past this guy
[09:45] and he'll check it if any law issues
[09:46] it's amazing the kind of things we do
[09:48] mess up on on law and he's got such a
[09:51] keen eye it's amazing nice kinds well
[09:52] like him so when it comes to creating or
[09:55] updating an existing godlike zamorak or
[09:57] so we're doing him he'll Jeremy yeah
[10:00] either working people create us a new
[10:01] bio bio for the character and that give
[10:03] us a really kind of good kind of first
[10:05] step on what we're creating it's much
[10:07] better have that then just go in and
[10:09] completely blind and getting it wrong
[10:13] do-do-do-do so once again you've seen to
[10:17] quite a few times now whilst our
[10:18] reference gathering and for a new
[10:20] creature or god like this we look at
[10:22] kind of textiles skin type skin tone
[10:24] weld lee another kind of hung worldly
[10:27] kind of creatures for inspiration once
[10:29] again anything that inspires you get
[10:31] going on it
[10:33] we start creating the actual final piece
[10:35] of concept art now once we're happy what
[10:39] we have within the actual concept art
[10:41] team we get the character artist and the
[10:43] lead animator involved and they're just
[10:45] check that what we've got plan isn't to
[10:47] bonkers and that perhaps some of the
[10:49] kind of slightly less insane ideas might
[10:51] just be doable sometimes normally not
[10:55] are you so once that's once the style
[11:00] for that character was established it
[11:01] really opens up the floodgates to create
[11:03] a whole new kind of family of creatures
[11:05] so we have like seed fests siege pets
[11:08] teach pets pests I'll say pests thank
[11:12] you recruiters the player kids you know
[11:15] the list goes on there's so many of them
[11:17] but the most important thing here is
[11:19] that all these this whole family you can
[11:22] tell what they are from is looking at
[11:23] them they're for certain visual kind of
[11:24] features and iconography that all
[11:26] matches them together and you can tell
[11:29] they're from Tamara which is nice so how
[11:32] do we get these to the images into 3d I
[11:34] hear you ask well I love Barcia of Dalek
[11:37] who will take you through how that is
[11:39] done i hope it to you you want that name
[11:43] again gotta juggle everything at once am
[11:47] I gonna do this okay
[11:52] hello so what does a character artists
[11:56] do want to escape we're responsible for
[11:58] everything human player kit weapons and
[12:02] creatures and today I'm going to take
[12:04] you through the process of making one of
[12:06] those creatures and that is the butcher
[12:08] demon fishing in well rent one so Martin
[12:12] comes along and plunks a bit a concept
[12:13] down the desk and runs away pretty quick
[12:15] and it's our job to try and interpret
[12:18] take this and make it into a 3d model
[12:20] and so before we start modeling we have
[12:23] to start thinking about how we're going
[12:25] to tackle this we start like in our
[12:26] heads start to kind of dissect each
[12:29] individual bit and start thing how we're
[12:30] going to tackle it are there any issue
[12:32] areas that we might come across just
[12:35] sort get the foot presses going there's
[12:40] a few key points which we need to think
[12:41] about before modelling what is the size
[12:44] of the creature this is usually
[12:46] determined by the content developers and
[12:48] the the sort of project needs so a kadai
[12:52] would be a massive boss creature that's
[12:54] needed which is pretty fitting with this
[12:56] guy or like a small player pet so when
[13:02] we've established that we know kind of
[13:04] how many polygons we want to use which
[13:05] is the amount of detail that we can
[13:07] throw into the character we also want to
[13:10] speak to the animators that guy they're
[13:13] going to be working after us and sort of
[13:16] taking the model that created and we
[13:17] want to kind of really make it as
[13:19] efficient and usable friendly as
[13:21] possible for them so they'll sort of
[13:22] speak to us about got any issues that
[13:25] they might be concerned with like on the
[13:28] butcher demon this or wings are a bit of
[13:29] a problem area so I want to really make
[13:31] sure that's working well for them also
[13:35] we very rarely get a 360 view of our
[13:38] concept wicking eva go to the concept
[13:41] artists and beg them for more concepts
[13:43] which kind of really happens because
[13:45] they strain your busy gonna happen no
[13:47] nice people that or we use the internet
[13:51] which is abundant in reference so it's
[13:54] great so here we use like a kind of
[13:56] bodybuilders back which is kind of
[13:58] really in fitting with the demons kind
[14:00] of physique so we go really great sense
[14:02] of like how that might
[14:03] look and there's another one yes so then
[14:09] we can start modeling and we start off
[14:11] with a process called sculpting which is
[14:14] basically kind of like using digital
[14:16] clay it's like extremely kind of similar
[14:18] to traditional clay and this allows us
[14:22] to model really really quickly get like
[14:26] really basic shapes extremely quickly
[14:28] and we start with a sphere in this case
[14:30] and it's basically a case of kind of
[14:33] like traditional clay again just like
[14:35] molding pushing pulling and
[14:38] concentrating on the overall form of the
[14:40] demon and in this stage we really don't
[14:43] want to worry about any detail it's just
[14:45] just all getting the proportions really
[14:48] sort of bang on and then once we've done
[14:51] that we can start to pick out other
[14:54] areas we've got like the armor for
[14:57] instance we want to be able to kind of
[15:00] make that stand out from like the skin
[15:02] areas for instance so and we can kind of
[15:05] do this really effectively like without
[15:07] the use of Texas or anything we can
[15:08] really start to work into just the model
[15:11] and make it feel like a different
[15:12] material and then the farm stage for us
[15:17] so we're sculpting is kind of adding the
[15:19] sort extra little bits of detail like
[15:21] teeth defining the chest area a bit more
[15:23] but for us in particular Isco we don't
[15:26] really want to go into too much detail
[15:27] so it is just sort of a starting point
[15:29] for us and this isn't the model that
[15:31] you're seeing game that's another shot
[15:38] so then after we have with the high poly
[15:42] sculpt the other soar high detail we
[15:45] need to make a low detail version and
[15:47] you might be thinking why do we need to
[15:49] do this you know we've got a really nice
[15:50] detail to go we really have within its
[15:53] blooming amazing that we spent ages
[15:54] doing it we need to make the low poly
[15:58] version basically runescape is a
[16:02] browser-based game and like all games we
[16:05] kind of need to think about how much
[16:06] detail we want to put into the character
[16:08] against the performance and so it really
[16:13] is like the amount of
[16:16] the amount of the amount of detail said
[16:22] that I really I've had a really a much
[16:23] better word for it it's got the moat the
[16:26] more we want something to look wicked
[16:29] against like your gaming experience and
[16:32] so the the low poly version is kind of
[16:37] called reet apologizing and this is
[16:40] basically a kind of fancy word for
[16:41] tracing over new geometry / / s of high
[16:45] poly mesh that we've already made and as
[16:50] you see this is what we kind of end up
[16:51] with and it's a stripped-down version of
[16:54] character and this is getting rid of all
[17:00] the excess detail but kind of keeping
[17:01] the overall the overall detail that
[17:04] makes it the demon so you can read it a
[17:06] really good silhouette of of what's
[17:10] going on that's extremely important for
[17:11] you guys you want to know exactly what
[17:13] that creature is when you see it in game
[17:15] you want to know whether you can kill it
[17:17] or whether you need to run a million
[17:18] miles at this stage also we've added a
[17:22] process called poly shading which is
[17:24] what we use to define color and give the
[17:27] the demon its overall color and it's a
[17:30] kind of another level of also adding in
[17:32] details such as muscle definition and
[17:35] things like that and we also use this as
[17:40] kind of to get kind of artificial
[17:42] lighting within our model and we start
[17:45] kind of shading darker areas at the
[17:49] bottom and working away up and up and up
[17:50] which kind of gives their characters a
[17:52] real sense of weight and makes it feel
[17:54] really planted in the game world so it's
[17:55] not all floaty and so the next stage is
[18:01] texturing which mats kind of mentioned
[18:03] with these environments it's exactly the
[18:06] same process and here we're sort of
[18:09] applying a skin texture with a highlight
[18:12] to the shoulder area and it kind of
[18:15] really makes that bony kind of area
[18:17] really stand out well and gives it a lot
[18:19] more form an overall or finish and the
[18:24] final stage for us is readying it for
[18:26] animation
[18:28] and we need to rig the character and
[18:29] that is what makes the the character
[18:31] move once it's in the animator and we
[18:34] used a process called labeling the whole
[18:38] model is made up of tiny polygons and
[18:40] each of those polygons we have to assign
[18:43] a label and as you can see like with
[18:45] this one for instance with a butch demon
[18:47] it gets extremely busy very quickly it's
[18:51] very hard to fight see what you're doing
[18:52] sometimes we got like wings we have
[18:56] weapons everything so it gets really
[18:59] really clustered we're looking close to
[19:02] that you can see we've got different
[19:05] sections we've got a head section we
[19:09] have kind of different label groups so
[19:12] the whole head is labeled head obviously
[19:15] shoulder neck and it's these individual
[19:19] groups that allow the individual parts
[19:21] of the model to be moved in the animator
[19:24] in the case of the butcher demon it uses
[19:27] existing animations it uses the greater
[19:30] demon animations that's already in game
[19:32] and hello and it's it's we kind of need
[19:39] to make sure that these are working so
[19:40] when you check it in the animator and it
[19:43] doesn't usually happen first time we
[19:45] need to kind of sort of recheck and
[19:48] recheck sometimes it's horribly mutated
[19:50] and the wings fall and often it's it's
[19:54] pretty awful so we need to go back it
[19:57] could be anything due to like a tiny
[19:59] little like spelling mistake in in the
[20:02] label so you know in that sea of labels
[20:05] it can take quite a while so we recheck
[20:07] and hopefully everything's alright the
[20:12] whole process for making this was
[20:13] probably around about four to five days
[20:16] so it's quite a quick turnover for us to
[20:18] get something done in this state and
[20:22] then once that's happened we can then
[20:24] pass over to the animators who add any
[20:27] extra animations that's needed and for
[20:29] that mod Paul will speak to you more
[20:30] about
[20:36] Thank You Alec so work so once we are
[20:47] given in the animation seen the lovely
[20:49] models from Matt and Alec we have the
[20:53] great job of bringing these characters
[20:55] and these environmental models to life
[20:58] so in order to do that much in the same
[21:01] way that human beings have a skeleton
[21:04] inside their body we put a rig inside
[21:06] the characters so in there an example of
[21:10] the demon here we'll put a skeleton
[21:12] inside to allow us to take areas of the
[21:16] body and pose them to move them around
[21:18] put them into different poses to
[21:20] describe an action so in order to work
[21:27] out exactly how this creature is going
[21:29] to move we need to look at reference so
[21:31] we'll look on youtube will look on BBC
[21:32] motion gallery various DVDs that we have
[21:35] in the studio so basically really work
[21:38] out the anatomy of this creature and
[21:40] work out exactly how it would be able to
[21:41] move the problem being working on a
[21:44] fantasy game of course that something
[21:46] like a demon doesn't exist in the real
[21:48] world so it's not as if we can just
[21:49] scoot on to youtube and check out a
[21:51] demon walking down the high street in
[21:52] your local town so we have to kind of
[21:54] work out exactly what that creature is
[21:57] made up of so in the case of a demon its
[22:00] legs are very similar to a colleague to
[22:02] a goat leg so this is kind of reverse
[22:04] leg feeling so obviously there's a big
[22:07] difference between the anatomy of a big
[22:08] demon and a goat but it gives us a place
[22:10] to start and we can look across various
[22:13] creatures and kind of try to piece
[22:15] together how that creature would act and
[22:17] move but mixing the goat legs and the
[22:21] wings of an eagle for it for example
[22:22] with a demon and it gives us a good
[22:25] starting point obviously we're working
[22:28] in we work in exactly how that's going
[22:31] to move from my imagination as well but
[22:32] it gives us a good start so when we want
[22:35] to once we come to actually animating a
[22:40] certain action if we take an attack
[22:42] animation here as an example what we'll
[22:44] do is we'll start by posing the care
[22:46] into what's called keyframes now these
[22:49] are literally keyframes they are key to
[22:51] it to describing the action that you
[22:54] want to be showing so each of these
[22:57] motions which keeps playing through and
[22:59] I don't have time to talk about them as
[23:01] they go it's describing all these key
[23:05] points in this action that need to that
[23:08] are necessary to show you that this
[23:10] guy's attacking so they have to be clear
[23:12] the silhouette of the creature has to be
[23:14] readable for multiple angles obviously
[23:16] because it's a 3d game so you can view
[23:18] these creatures from any angle so it's
[23:20] really vital to get this right straight
[23:22] away it's not the real groundwork so
[23:28] after we've established these keyframes
[23:29] and we're happy that the poses that were
[23:32] using are really describe this action as
[23:34] I say then we can start putting in the
[23:36] detail now this process is called
[23:37] tweening so this is really where this is
[23:43] really really where we're putting in
[23:44] weight and we're putting in a kind of
[23:47] sense of the muscle groups that are
[23:49] working and a sense of inertia and so
[23:52] with this guy obviously he's got a very
[23:53] heavy weapon but he's also strong so
[23:56] it's quite difficult to show that he's
[23:57] able to really swing that that sword
[24:00] with his strength but that the sword is
[24:02] still actually heavy and this this is
[24:04] all achieved by timing and spacing of
[24:07] the frames so you're putting not only
[24:09] detail in to to smooth out the action
[24:14] but also to describe things like the
[24:16] wings overlapping how there's a
[24:18] nurturing object so they carry on moving
[24:20] once the main mass of the creature is
[24:22] stopped and this is really where the art
[24:24] is this is where the animators are
[24:27] taking these keyframes and kind of
[24:29] trying to hide the building blocks of
[24:31] how they've constructed this animation
[24:33] and really giving it its personality as
[24:35] well so the animators and all the other
[24:40] artists and the team never really work
[24:42] in isolation so they're creating a set
[24:44] to a certain level their work so they're
[24:46] building up from basics and then they're
[24:48] getting feedback from other artists to
[24:51] make sure that they're moving in the
[24:53] right direction asking for advice about
[24:55] whether things can be improved and
[24:58] generally just getting a sec
[25:00] opinion on what they're making before
[25:01] they move too far in and produced too
[25:03] much very kind of time costly work so
[25:10] they go for a couple of rounds of his
[25:12] feedback really refining down as I say
[25:14] to the point where they're really
[25:16] producing great work and not wasting
[25:18] anything and only then do they start
[25:19] polishing up the assets they really
[25:21] start putting going that extra mile in
[25:23] to really make the asset look great and
[25:24] really give that life and feelings to
[25:26] that animation so obviously in content
[25:32] like world event it's a very strong
[25:35] sense of narrative and there's that
[25:37] there's a big story elements that run
[25:39] throughout it and these can't really be
[25:42] told sufficiently well just with in-game
[25:44] animations which these require cutscenes
[25:48] so as you know cutscene plays through
[25:51] shows you these elements and it's it's
[25:53] much more ink into the way the film
[25:56] industry or the television industry
[25:57] works in so much as you really need a
[26:00] proper script to work from before you
[26:02] start so this this script will have all
[26:06] these name these main story points in
[26:09] it's been written by the content
[26:11] developer and talk through by the artist
[26:13] so that everyone has a real sense of
[26:15] exactly what needs to be in that story
[26:17] what points need to be hit for you guys
[26:20] as players to really understand what
[26:22] we're trying to convey to you what that
[26:24] narrow that narrative is also at this
[26:30] stage it allows us to kind of discuss
[26:33] quite frankly with each other at times
[26:35] the practicality of the ideas where I
[26:38] our ideas are too small in scope with it
[26:41] or not impressive enough or conversely
[26:43] whether they're just too grandiose and
[26:45] whether we're not going to be able to
[26:46] actually produce these elements to the
[26:48] level of quality require in the time
[26:50] frame that we have to work them
[26:57] so again the use of concept art as
[27:00] you've seen with the other disciplines
[27:01] concept art allows us as we're talking
[27:04] through this script and presenting this
[27:06] script to to the other developers to
[27:10] really get an understanding for how
[27:11] these areas are going to look and how
[27:13] these creatures are going to look and
[27:14] how everything is going to really feel
[27:16] and hang together it's very difficult to
[27:19] work with multiple people sometimes 20
[27:22] people in a room and if you're
[27:24] describing this this big red demon with
[27:27] horns you can guarantee everyone in that
[27:29] room is going to imagine a big red demon
[27:31] with horns but they're going to imagine
[27:32] a different big red demon with horns so
[27:35] the use of concept art really allows
[27:36] people to kind of gel together and be
[27:39] satisfied but when you say a big red
[27:40] demon we're all thinking about the same
[27:42] thing so after we're all we've all
[27:46] agreed on this after many hours of
[27:48] discussion usually we sign off on this
[27:51] say so that we've all we're all bought
[27:53] into the idea and we all know where we
[27:54] are now how does it say this goes
[27:57] through many rounds of feedback many
[27:59] iterations and we don't always agree on
[28:02] things we always agree in the end but
[28:04] there but there can be some friction
[28:06] great you're prettier absolutely yeah so
[28:09] part the price oh yeah so amongst this
[28:13] process we also talked about camera
[28:14] angles now obviously in film and
[28:16] television camera angles is something
[28:20] that we're all so used to that we've
[28:22] seen watch television with what's films
[28:24] for so many years that there's there's
[28:26] many subtle tricks that filmmakers used
[28:29] to kind of draw you into the action
[28:30] little things that give you emotional
[28:32] clues and stuff a lot of which are just
[28:34] subconscious but we take these
[28:36] techniques and use them in our cutscenes
[28:38] to direct you to to direct your emotion
[28:42] and really connect you to the content
[28:44] we're making just going to get a drink
[28:47] of water
[28:52] so again we're talking about scale again
[28:55] at this point as well so we want to make
[29:05] sure that we're not over stretching
[29:07] ourselves everything's still achievable
[29:09] and now we move on to really putting
[29:13] these ideas into motion really better
[29:15] describe how we're going to get from A
[29:17] to Z basically in all the all the letter
[29:19] points in between obviously with the
[29:22] narrative cutscene there's a lot of
[29:23] animation with it with a creature like
[29:26] the demon just animating him as a
[29:28] character is quite a lot of work for the
[29:29] animation team for a combat character
[29:31] it's probably about a week's worth of
[29:33] work so you can imagine if there's
[29:35] multiple characters in a narrative
[29:37] cutscene that's it that's a hell of a
[29:39] lot of work so we really want to now
[29:41] stuff down by drawing up what's called a
[29:43] storyboard they can you can think of
[29:45] this in terms of of a really nailing
[29:49] like time points throughout the story
[29:52] like the script like really important
[29:55] points that have to be here important
[29:57] beats in the narrative and by drawing up
[30:00] a storyboard you can speak through you
[30:02] can talk through to the people that
[30:04] involve the stakeholders in the project
[30:06] and really describe the action with a
[30:08] visual representation and what this also
[30:11] allows us to to do is to to kind of
[30:15] gauge how long this cutscene is going to
[30:17] be it's kind of it's very important to
[30:20] to speak through a frame because as you
[30:23] describe what's in that frame as you
[30:25] speak through this whole story board the
[30:28] time it takes you to describe what is in
[30:29] that panel was very often very similar
[30:32] to how long that's going to be on the
[30:33] screen so you can really get a sense for
[30:35] is this far too bloated is too short as
[30:37] it going behind in a blink of an eye and
[30:39] it really gives you a sense of pace and
[30:41] overall length again we sign off make
[30:46] sure we're all on the same page so then
[30:49] we move to animatics now animatics you
[30:52] can think of the relation between a
[30:56] comic strip and a cartoon you're kind of
[30:58] going from the still image to the moving
[31:01] version in a basic form
[31:03] so so again and we're refining every
[31:05] time each step of this is allowing us to
[31:07] develop further without making costly
[31:09] mistakes to really kind of refine down
[31:11] where we where we want to move and this
[31:13] gives us again a real sense of like the
[31:15] pacing of each shot whether or not the
[31:18] storyboard feel that we got in reality
[31:23] works in the same way whether whether
[31:25] the action that we're trying to describe
[31:27] is going to take longer than we thought
[31:28] whether it's going to take less time
[31:29] whether it's not descriptive enough and
[31:31] again trying out these camera angles and
[31:33] really working out whether they're
[31:35] giving us the emotional framing we need
[31:37] and whether they're really showing the
[31:39] areas of detail but they're really
[31:41] highlighting the areas we want to be
[31:42] highlighting there's also other things
[31:47] like phase and cuts with a camera stuff
[31:50] like fading down a camera to black very
[31:53] often can suggest that a passage of time
[31:54] has happened so if you want the motion
[31:57] and it seemed to be continuous you don't
[31:59] want to be using phase you want to be
[32:00] using quick cuts in between thinking
[32:02] things in between shots and again this
[32:04] is very heavily bored and very heavily
[32:06] in grade from the film industry whether
[32:09] we under whether we know we understand
[32:11] it or not we do so again as we're in a
[32:15] as we're working in the games industry
[32:17] and not the film industry there are
[32:19] certain there are a lot of similarities
[32:21] but there are some things we can't do so
[32:22] we so we also want to check whether
[32:25] they're actually possible if we were
[32:27] directing a film there might be possible
[32:28] does actually work in the technology
[32:30] were using and did they still
[32:32] communicate as a result what was
[32:34] intended to start with so obviously
[32:40] playing a game isn't just a visual thing
[32:43] it's half and half its audio mr. visuals
[32:47] but it's also the audio so much of the
[32:50] atmosphere that you derive from playing
[32:51] a game or watching a film is because of
[32:53] that mixture of the two element if
[32:56] you're watching an animatic and trying
[32:59] to pitch that and tried discuss that as
[33:01] a group it's very difficult to do that
[33:03] without the audio because it's just like
[33:04] it's like watching a silent film it's
[33:07] worse than that it's like watching a
[33:08] film with the sound turned down so you
[33:10] don't really get that kind of buying
[33:11] from everyone you don't get that
[33:13] energized feeling in the room people
[33:15] don't know what the atmosphere of
[33:16] that contents going to feel like so we
[33:18] get an audio scratch track this is this
[33:21] is basically a cut-down very quick
[33:23] atmospheric track that's made to just
[33:26] set the tone of the content again we
[33:31] sign off from it once we're all agreed
[33:32] on how it's going to work and at this
[33:35] point this is where we're all agreed
[33:37] what we're doing we know how long the
[33:39] content is going to be we know where all
[33:41] these camera moves are going to be we
[33:42] know where how the creature is going to
[33:44] be animated and at this point we can
[33:46] start actually going into production and
[33:48] usually by this point it's been a hell
[33:51] of a lot of pre-production on the
[33:52] animators are kind of really eager to
[33:54] get going on the work and of course the
[33:56] release deadlines probably not going to
[33:58] change so they're getting a little bit
[34:00] anxious at this point as well and so am
[34:01] I so everything I've just said works up
[34:08] to a point but once you get into
[34:10] production there's always something that
[34:13] just doesn't work the way you thought it
[34:14] was going to or works but needs tweaking
[34:16] or a shot needs to be pulled out or
[34:19] someone comes up with a great idea and
[34:21] even though you don't really want them
[34:23] to be giving you feedback at this late
[34:24] stage it's a great idea and you want to
[34:26] get that shot in there so with all the
[34:28] will in the world there's still stuff
[34:29] that needs tweaking again we get
[34:34] feedback again so it seems quite strict
[34:38] and regimented that we get this this
[34:39] feedback and this sign of but this
[34:42] allows us to work smart this allows us
[34:43] to not waste work because we want to put
[34:46] all our energies into the great assets
[34:49] that we're going to give you in the game
[34:50] rather than wasting our time and stuff
[34:52] that you never see so the animators can
[34:56] get some rest after that some
[34:57] well-deserved rest so again at the end
[35:02] of all this production we're all very
[35:04] often come out with a cutscene that's
[35:06] glorious and the anima is are all happy
[35:08] with the modelers love everything and
[35:10] the art directors very happy with the
[35:12] the epic nature of it but then we have
[35:14] to be really brutal and this is this is
[35:16] quite difficult especially for all the
[35:19] animators and all the mortal is all the
[35:21] artists that put so much work into this
[35:22] cutscene but we can't afford to be
[35:25] pressures this is where editing comes in
[35:28] this is where we really affect that
[35:29] the flow me really refined down exactly
[35:32] all these assets we've made the film
[35:35] director will tell you that a film is
[35:37] really made in the editing room they've
[35:39] filmed all these shots have been to all
[35:41] these locations but these shots and
[35:44] locations can be manipulated and put
[35:45] into it into the final piece in many
[35:48] ways and it's a real art but you have to
[35:52] be brutal you have to make sure that
[35:54] what you're displaying on the screen
[35:55] communicates exactly what you need to
[35:58] communicate that the narrative elements
[35:59] are all there but you're not bloating it
[36:02] you're not boring the people that are
[36:04] watching so you're kind of trimming the
[36:05] fat but keeping the flavor in there but
[36:09] at the same time giving it the TLC that
[36:11] it deserves making sure that there's
[36:13] still there's still that lovely working
[36:16] there really not ripping stuff out too
[36:17] harshly it's a tricky balance so here is
[36:23] an example of the world of an one
[36:25] opening cutscene before it was edited so
[36:29] this I think turned out three minutes
[36:32] 20-something and we've refined it down
[36:34] we've got a lot of bearer of this
[36:36] refined it down to just over a minute I
[36:38] thinking or a minute 30 in the earlier
[37:37] I should I
[37:41] Kratz traffic
[37:46] I thought
[37:51] so
[39:32] any of these shots here for instance you
[39:36] see a fraction of this it seems like ten
[39:39] percent of this book
[39:48] really wanting to refine down exactly
[39:50] what you need to see
[39:57] great okay but tmartn thank you very
[40:02] much okay well that's it so now you know
[40:05] it's simple as that um you know p um uh
[40:09] yeah so like we've got a bit of time
[40:12] does the floor manager but got two
[40:14] minutes lovely okay so got a bit of time
[40:17] for a few questions hopefully no we're
[40:19] trying awesome as best we can haha yeah
[40:33] yeah yeah yeah it is the actual Emma's
[40:36] old was much better much much punchier
[40:38] but it is yeah i mean the problem is
[40:41] thank you very much I felt for every one
[40:44] of you there will be 10 15 people just
[40:47] bored clicking it after five seconds and
[40:50] if we want to kick I know it's sad I
[40:52] mean it does break your heart of times
[40:55] but really yeah that's what I mean you
[40:57] have to be you can't afford to be
[40:58] Precious about it we need to communicate
[41:00] a certain amount of information that's
[41:02] that that above all is is the reason
[41:05] that we're making this cutscene to
[41:06] really explain those narrative elements
[41:08] so you have to be a bit brutal it is
[41:10] heartbreaking but the guys have got
[41:13] tough skin I mean you have to eat a
[41:15] light be creating this stuff so yes but
[41:17] but you kind of get used to it and there
[41:20] are a lot of times where you've made
[41:22] this great glorious shot and then when
[41:24] it's cut down you have to kind of go
[41:26] yeah that does work a bit better
[41:27] actually that that does that is punches
[41:29] so if everyone kind of got their way
[41:31] it'd be a seven-minute cuts in every
[41:34] time so you see the same thing we're
[41:38] filmed is the word i get like director's
[41:40] cuts of movies which are like in at four
[41:41] hours longer and maybe not quite as
[41:44] interesting sometimes but yeah I didn't
[41:47] think else yay
[41:51] come on sorry what was the favorite part
[41:55] for each of you to you know in the event
[41:59] to make favorite part I mean which
[42:03] character which samurai yeah it was bad
[42:07] guys zamorak firing stop blowing stuff
[42:12] up brilliant he's got a also exam much
[42:14] got a really good kind of silhouette as
[42:15] well they're kind of crazy homes going
[42:17] on a big wings you know it's just it's
[42:19] just a really good never even like the
[42:20] bad guy so I think we all like you
[42:22] pretty much how about you guys I mean
[42:24] environment wise what was good for you
[42:26] comment I think the the best thing for
[42:30] you aren't the environment guys was that
[42:32] we got the ability to blow up a massive
[42:34] party pain walls and it still persists
[42:37] now which is great we've got plans for
[42:40] it in the future as well we have we have
[42:41] foundation that no I would yet if I were
[42:43] you yeah okay anything else anybody else
[42:53] was not me personally personally so we
[42:57] have one over there
[43:09] think we just saw
[43:12] no no same one that might just be the
[43:15] sky a lever they're the same models yeah
[43:19] the question was when this gentleman
[43:22] played the play to cut the content and
[43:24] saw the cutscene in game they seemed
[43:26] reduced comparative to the high levels
[43:30] of detail that he's that he's seen in
[43:32] this cutscene but i think it's an
[43:34] illusion or there is illusion because
[43:36] the same models but thanks for the
[43:38] question ok feud suit one more
[43:41] apparently one more oh ok make it a good
[43:45] one one more anybody nuts not one more
[43:50] ok so that's it well um thank you very
[43:53] much thank you very much Elaine's for
[43:55] doing all this and feel free to grab us
[43:57] afterwards and the party afterwards and
[43:59] ask us more questions or grab load of
[44:01] our work from us fellows left make then
[44:03] we shall freestyle guys
[44:17] you