- 3 ore fa
Moon Studios ha pubblicato un nuovo video nel quale vengono descritti i tool cinematici utilizzati per la creazione di Ori and the Will of the Wisps. Il lancio del gioco è previsto per il 2018.
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00:01Hey guys, in this video we would like to give you a quick update on our cinematic tools and the
00:06progress we've made taking the tools from the original Ori game and significantly revamping them to be able to produce
00:13all of our in-game cinematics, boss fights, any of those smaller interactive sequences, potentially even NPC encounters, all within
00:21one really streamlined system that focuses on integrating all of our different tools and features of our pipelines
00:30into one previewable interactive iteration tool, right? Because the biggest problem is how do we allow artists to be fast
00:37and efficient at getting the content to that quality level that they need? Because usually if you create stuff in
00:42the engine, you have to go ahead and set something up, you have to hit play, wait 10 seconds for
00:48something to happen, and if you're looking at a sequence such as the trailer, for instance, or one of the
00:54cinematics, you would have to wait for the right moment in the sequence to happen
00:59for you to be able to evaluate how the animation and the art and the camera and all of the
01:03other tons and tons of layers of polish, how they all interact so that you can get a good result,
01:10right?
01:11So, Timeline was designed to solve all of that. It's designed to allow basically having sort of like interactive, almost
01:18like After Effects approach, but to a video game engine content.
01:22Content that's simulated and interactive and content that is not, you know, predefined necessarily, such as, you know, physics and
01:31stuff like that. And we just basically wanted to tie it all together into one super, super easy to use
01:37system.
01:38So if you think about it, we have the teaser trailer, it's built out of multiple shots. And here you
01:44can see all of those shots are actually loaded into memory at once. And I can very quickly jump here
01:51between any of the shots and jump into any point in the shot.
01:54And you can see as I jump into any point in the shot, all of the shot details such as
02:00particles, environmental animation for the wind, the trails, the depth of field, I mean, absolutely the animations of the characters,
02:10absolutely everything is previewable and gets into the right state.
02:13So basically, I'm able to put the engine into the right state for what should happen in that frame with
02:19absolute 100% predictability.
02:21And, you know, an artist can go ahead and pose on a certain frame and go ahead and adjust the
02:27set dressing or just how the art looks.
02:29And animators can go ahead and adjust the animations. You know, if I want to take a look at this
02:32guy, for instance, how it animates, you know, I can really look at that guy and sort of like scrub
02:37this area or focus on the timeline of this area and preview it and get this animation perfect.
02:42Then the artist can go ahead and adjust the blob shadow on the sky and make sure that the blob
02:46shadow, you know, is absolutely, looks absolutely good on this log.
02:49And, you know, the other artists can go ahead and adjust the lighting on this character to make sure that
02:54the lighting works really well so that the character is integrated into the environment really well.
02:58And somebody that works in the visual effects of something like this leaf could go ahead and adjust the trail
03:04on the leaf that's dynamically generated, by the way, simulated based on the animation of the vertices of this object,
03:11right?
03:11And all of that is basically this huge integration between all of these different systems that we have.
03:18And it ties it together and allows a very direct control, like very quick iteration on anything, absolutely.
03:23So, for instance, if we go into the opening shot and we want to wait for the leaves to start
03:30falling and the wind start blowing,
03:32I can go ahead and adjust the particles and just re-scrub this and immediately see or just hit play,
03:37right?
03:38And immediately see the effect, immediately see exactly how the particles react when the wind starts blowing and all of
03:44that is animated.
03:45The particle parameters are animated and I can preview all of it, you know, pretty much immediately and adjust it.
03:51If I go here, we can take a look at the depth of field animation where the background comes out
03:59of focus and the foreground comes into focus.
04:02And that's all, you know, animated and I can control that.
04:04So, for instance, you know, I want to expand that and I go into depth of field and I go
04:09ahead into seeing this depth of field.
04:11I see, okay, well, here is when this depth of field setting kicks in.
04:14I have a curve for it and I can animate.
04:16I say, well, let's say that I want this depth of field setting to kick in a bit later.
04:19I can do that and do this like that.
04:22And then you can see that it takes longer for it to kick in.
04:27Or if I can go ahead and say, okay, I want to adjust the, you know, the depth of field
04:31curve and I potentially want to make, you know, the environment even blurrier.
04:36See, I can go ahead and adjust it and boom, I preview it.
04:40I just made the whole thing a lot blurrier.
04:42If that's what I wanted, you know, you can see how quickly something like this can be done.
04:46and, you know, the content is being serialized and then basically you commit it to RSVN and, you know, you
04:52can immediately make tweaks like that.
04:54Otherwise, it would be very difficult to navigate, find those right objects or whatever.
05:00Another thing is physics.
05:01We have our own custom Verlay solver and it's being applied at the tentacles of this big creature and the
05:07physics is simulated basically in real time with the timeline, with being able to sample it, with being able to
05:13go backwards and forwards because we have pretty smart solution for caching and how we allow making it predictable and
05:20allow iteration on the physics, right?
05:24In the engine without ever hitting play, which is remarkable because, you know, usually these systems take a long time
05:30to develop because how, how tight they are, how difficult they are to fine tune, how many parameters there are
05:36and how sensible they are and here, because it's everything so fast, you can just tweak the parameter, you see
05:41how it behaves and you adjust it and you know, in five minutes, you can get a pretty nice satisfying
05:45physical behavior.
05:46The same thing again for the trails on these guys, the same thing for motion blur that is happening while
05:51the camera is moving, you can see the motion blur on the camera, you can see the motion blur on
05:55the characters and all of those settings and the light, for instance, if I want to adjust the way the
05:59light behaves or if I go into this scene, again, see how the depth of field is shifting from the
06:04center layer, sorry, the foreground into the, into the background, I can go ahead and adjust the lighting effects.
06:10I can go ahead and adjust the way the light affects the surfaces. You can see how the smoke and
06:15the fire is being taken out by the rain. You can see how the rain intensifies and gets thicker and
06:20all of that is being, or the clouds start become animated a lot more. You have all of these zippy
06:29lighting effects on top of the clouds that start appearing, the lighting effects, the clouds, and you can see the
06:34clouds are calmer here and they sort of like build up like this.
06:37So all of this, you know, this crazy layer sequence with a lot of atmospheric effects also that come in,
06:44the environmental animation, you can see that the wind intensifies from this shot to this shot to this part of
06:50the shot and all of it is basically completely previewable, right?
06:54So if I, you know, if I go into, if I want to go into the lighting effects or the
06:58effects for, you can, you know, adjust the particles or adjust all the rain, sort of the rain effects or
07:04the clouds or the, you know, this effects, see how, how, even when I pause the frame, I can adjust
07:11the animation that happens on the, these clouds because this is a shader animation completely free from the CPU standpoint.
07:19So it's, it's very easy to set up. It's very easy to adjust. It's done in our shader framework.
07:22So our shader framework with all of its environmental animation, because you can see the environment moving and the, and
07:27the particles even being animated with the shaders.
07:30When the frame is frozen, you can go ahead and adjust all of that and it's still completely integrates with
07:34a timeline, super convenient.
07:36And here, if you go into this shot, you can see that we are also integrating all this with the,
07:41with the 3D characters that are, and you know, the, the lighting effects affect the characters.
07:48And all of that is previewable. You can go ahead and adjust the shader, um, uh, light the character nicely.
07:52You can adjust effects like the glow on the eyes that, you know, if you can see the glow in
07:57the eyes, basically it doesn't exist here, but it enables here.
08:01Or when the, when the, when cool blinks, you can see that the glow actually disappears and that's all animated
08:07through the timeline.
08:08Those, you know, simple little touches that you can add very quickly are, um, extremely important for the, for the,
08:14you know, 100% of polish that we're going for.
08:16But you may need to make it easy to, to do that stuff. You make, you need to make it
08:20easy to be able to iterate like this.
08:22And you can see that the scene has variation in color because it's the very moody environment.
08:26So you can see that, you know, different parts of the scene get brighter and darker.
08:29You can see how we transition from different post-processing and fog settings.
08:33So for instance, here, this is very foggy, very blurred, but as the shot progresses, um, you know, at this
08:39point we are transitioning and we are making this come into focus, right?
08:43And making it less foggy and Ori comes into, uh, and we have the light from Ori, uh, that can
08:49be tweaked and the, the, the trail on him and all the particle leaves that are coming off him and
08:53all the rain and all these particles also.
08:55So, so it's, it's basically perfect in terms of how you iterate.
08:59It's just, there's really no more direct way.
09:01And if you work with unity or any of the cinematic tools like an unreal or, um, you know, the
09:05tools that are, uh, that exist in the asset store, you'd see how, you know, how far along, I believe
09:10our tool is in terms of tying all of the different systems together in one very streamlined iteration tool.
09:16So, um, of course we have some polish to do in terms of optimization and, you know, just streamlining some
09:23more things and, uh, making all of the new systems be supported here.
09:27Uh, but we're taking this really, really far.
09:30And then, you know, we already have prototypes of actual physical simulation being simulated in a different unity instance and
09:36allowing to actually adjust not only the relay physics as our custom physics, but actually unity physics from physics, being
09:42able to iterate on it and, and adjust physical setups through the timeline.
09:46Um, as if they're being animated by the timeline, but really just driving the simulation and previewing it or things
09:53like AI, we will be able to actually set up the enemy behaviors and tweak the AI of the enemy
09:58behaviors and preview how the enemies respond and traverse the, the environments or fight, um, right directly in the timeline
10:04and have almost instant iteration time.
10:07So no heading play, waiting, seeing what happens, you know, frame by frame pixel, perfect control over exactly what the
10:14enemy behaviors and the AI is doing may, you know, just already take a boss fight, send it to the
10:19artists and say, or the animators and make the animations perfect.
10:22All of that is, all of those crazy opportunities are opening up and we definitely are pursuing that for, uh,
10:28for the full production of, of, of will of the wisps.
10:30And a lot of these things are already in, um, pretty, pretty good prototype, uh, stage.
10:36So, but here's a little glimpse of the current state and, um, of the cinematic tool and how we used
10:40it to create, uh, will of the wisps teaser.
10:43So absolutely no editing all of the, you know, transitions between shots, you know, the, the, the, the, the transitions
10:49of lighting, the transition of fade to black, fade from black, and the crossfade transitions.
10:54All of that is completely supported, um, through timeline.
10:57So literally, uh, to record this, all we've done is, uh, we've made this timeline tool, we've made this timeline
11:03set up and then we just have, we have a mode in the timeline that allows recording frame by frame,
11:08perfect 60 FPS recordings.
11:10We just hit play, record it, and you have it, you have your, your E3 teaser all done in engine
11:16without, um, with every single bit of editing and polish done right in the engine without ever having to hit
11:23play.
11:24Um, really happy with this.
11:26So I hope you guys enjoyed it and, uh, we'll see you soon.
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