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Un nuovo videodiario della serie Around the Verse per Star Citizen, incentrato sui relitti di navi.
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00:32Sì, Sì, Sì.
01:01Sì, Sì, Sì.
01:11Sì.
01:16Sì, Sì.
01:23la forma che la data è storeda, modificata e accesso quando playing il game.
01:26Questo change allows us to distinguish between physical e legal
01:30ownership. This distinction è una core requirement to support many
01:33systems, such as criminality, missions, and persistent spawning.
01:38We're now leveraging this new physical ownership feature to develop tracking
01:41and management, which will allow for parking. For example, say you park your
01:45new pristine Nox inside of a Cutlass Black, it will be there the next time you
01:48call your ship. We'd hate to be the reason it's Nox where you expect it.
02:04Speaking of gameplay, we've been hard at work on the cargo-to-shopping experience.
02:09So whether you game that cargo through a mission, exploring derelict wreckage, or
02:13just outgunning a fast-moving hauler, we want to feel seamless and satisfying.
02:18So our engineers have been working on the placement of cargo crates into your
02:22ship's cargo grid, cargo debris generation on a ship explosion, and migrating
02:26lifetime policy into game rules, which is how we're going to make sure this
02:30information stays attached to you. Once your ship has your hard-earned cargo, it
02:35will generate a certain percentage of cargo in the cargo grid. Then, presumably,
02:39you'll want to sell that cargo. So our engineers have integrated this newly
02:42complete shop code with the Solar System Shopping Service, which allows the shop
02:47inventories to populate dynamically. It also allows items and commodity stock to be
02:52influenced by the purchases and sales of other players. Now, over on planets, we've
02:57put the finishing touches on our Gravity Lev system, which was needed for some ground
03:02vehicles, specifically as changes to the planets, physics zones, IFC, or Intelligent
03:06Flight Control System, and some other necessary improvements left the hovering vehicles dragging
03:11more than hovering. So our new Grav Lev system is an improvement over the original system in many
03:16important ways. So your future hovering adventures are going to be just getting
03:20better and better. Now, over on the tech content team, they've had quite a productive month.
03:24You may have seen examples of our mission giver Miles Eckhart, and meeting him in a bar is no
03:29coincidence. He tends to be at his best when he's got a couple drinks in him, so we wanted to
03:33make
03:33sure his cup was always full and moving. So we've set up some runtime simulations for the undefined liquid in
03:39his cup that
03:40not only follows his animated movements, but will also respect planetary gravity. This is a great
03:45first step in a more liquid-filled world, and to ensure that they react as expected, we've used one of
03:51our first active mission givers cup as the first implementation, which you'll see in 3.0. Now we're
03:56going to let you decide if Miles' cup is half full or half empty. Another exciting simulation to keep
04:01bringing Star Citizen alive is the springy landing gear technology we've now introduced to many ships. Up until
04:08now, ships have landed as gracefully as a cinder block, no matter how good a pilot you are. And to
04:13rectify
04:14this, we've begun implementing the landing springs and compression technology to allow for a bit more
04:19cushioned landing experience, especially on uneven terrain. Not only will you feel the difference, you'll
04:24also see the landing gear react naturally to the weight of the ship relative to the planet's gravity as you
04:30come in for landings. Sometimes the smallest things make the biggest impact. Now, as we've talked about
04:36before, our tech content team supports every pipeline across all studios, and they've made
04:41progress on improving several tools to help everyone speed things up and be a bit more efficient,
04:45including usable requests, Maya loadouts, vertex reorder, character requests, play brass, and so on.
04:51Now, one tool that they made exciting progress on is updates to our exporter. We've now taken the
04:56latest lumberyard updates and bug fixes and incorporated some of our own to the exporter UI. This means that
05:02anyone working within the Maya pipeline benefits from these fixes and improves their overall
05:06workflow. Now, our QA team has been focused upon the now completed conversion of all ships to item 2.0
05:12and testing new other features for 3.0, such as the updated quantum travel system,
05:17new planetary missions, and the new MobiGlass functionality. They also supported the global
05:22team with various test requests as new features continue to come online. Now, since our last update,
05:28another ship has entered production. The Anvil Hurricane is now in the white box phase of the pipeline,
05:33and we've already completed temp exterior and interior lighting, proxy animations, temp interactive
05:39cockpit control layout, and set up almost final hierarchy of the ship, temp proxies, and the ship
05:44is now set up for the initial breakpoint damage. The ender and exit and seated templates for the turret
05:50and the pilot seat are also set up, and we've also got all the ship item breakouts complete. Now,
05:55during this phase, the main reason we set up temp stuff is to make sure all of the parts of
05:59the ship that we
06:00are aiming to build are all functioning as intended. For example, a temp animation doesn't articulate
06:05exactly as it will in the final, but allows us to see where we may need to adjust it in
06:09the final asset,
06:10as well as the temp lighting is, so we know exactly where to build the lighting fixtures.
06:15Now, this is all done to set a plan of action to allow for the production of the final assets
06:20to go
06:20faster and smoother. It also allows the entire ship team to have a clear vision of the plan for the
06:26ship.
06:26We're really excited to see the ship take the verse by storm. And finally, our character team is in full
06:32force,
06:33knocking out a vast amount of new high-quality work for both Squadron 42 and Star Citizen. In production,
06:39we've moved more bridge officer uniforms from concepts into the high poly phase, and they're making rapid progress.
06:45Our newest combat pilot flight suit for Shubin is also going through the high poly phase and moving into in
06:50-game modeling
06:51and texturing in the near future. Another combat flight suit that will be used by some of our outlaws
06:56is in the high poly phase, then we'll move into in-game modeling and also into texturing.
07:00Our medical corpsman has gone through high poly and into in-game modeling to get them working in our
07:05various med stations throughout the verse. With the introduction of the Levski landing zone on the
07:10Delamar asteroid, we have a few civilian costumes ready to go in the verse to help populate the
07:15people's alliance of Levski. And now on the topic of customization, we're starting to explore other
07:20opportunities, and one of which will be tattoos. While I may not have any in real life, I may be
07:25rocking a sleeve like our character art director Josh Herman in the verse. We've also made a lot of
07:30progress on several concepts, like the new shipjacker concept. You may want us to keep this one in
07:35concept because once he's in-game, we can't take it back. Speaking of healing in battle, we've made solid
07:42progress on battle damage versions of our costumes for our NPCs to help you understand how or why
07:49someone passed away in the verse. And lastly, we're establishing the look of the new Moby Glass.
07:54As you know, Moby Glass is quite a difficult asset as it has to exist constantly on the player while
07:59also being grounded in the future world. While a lot of games get away with obvious HUD projections
08:04or holographic displays, our Moby Glass has to come from a piece that's physically placed on the
08:08character, which means it needs to be present on a naked wrist, a wrist with long sleeves,
08:13a wrist with jackets, and then to add complexity, it needs to also fit on undersuits and armor.
08:19With this in mind, and are really excited by the prospects of this new piece.
08:22And that's it for us here in Los Angeles.
08:24Thanks for watching and thank you to all of our subscribers for providing the support that allows
08:28us to give you this in-depth look at the nitty-gritty. Have an amazing weekend and LA out.
08:35Lots of impressive work being done by the character team.
08:39Yeah, the team is killing it. A lot of effort and detail goes into each character to make sure
08:44that players can get a sense of personality just by looking at them.
08:47As part of the push for 3.0, our team of vehicle artists have been creating a look and feel
08:52for
08:52all the destroyed vehicles that will be scattered on the moons of Crusader.
08:56The team tackled a number of issues besides making sure the wrecks don't all look the same.
09:00For one, they had to figure out a way to place them on uneven ground.
09:04For more details, let's check in with the team to see what went into making those wrecks look so good.
09:17The whole derelict process started last year. You probably remember the demo that we done
09:22at Gamescom. You saw a staff area in a kind of a derelict state. We also then took that information,
09:28or that kind of data, should we say, and started to kind of prototype using the same geometry on
09:33planet. So the R&D process was kind of done mid last year. It's kind of exponentially grown from there.
09:39So initially, the sort of task that was given to us was to create these derelict sites.
09:44And at the beginning, it was sort of more of a technical challenge where we were just trying to
09:48break the ship apart. But then I think gradually over time, the more we started to delve into it,
09:51the more the possibilities of what could be done with it was just sort of growing and growing
09:56in scope. So by the end of it, we were thinking things like inhabited like space sites, sites that
10:03have been taken over by bandits. You could be set up as decoys for potential enemies that could be
10:09kind of waiting there for place to then sort of jump into and then surprise them. And the more we
10:15thought about it, the more it sort of grew and the more ideas that sort of came about from it.
10:19So
10:19it started off as more of a technical sort of challenge and just trying to get something
10:22in there. And it sort of grew and grew in scope as we went along, which was for us like
10:27a really
10:28exciting thing. We obviously, we have to populate the planets with a certain amount of, you know,
10:34stuff like, you know, Outpost which you've already seen and the derelicts which you see in today.
10:39And it's kind of a really kind of good opportunity to just sort of get really creative with the assets
10:45that we've already made. There's no real kind of breakdown of the ship that exists because we
10:50already have to kind of break the head off and break the body into parts for the whole damage
10:54system to work in the engine. So it's about taking that geometry with its interiors, obviously,
11:00and getting really creative with it and kind of, you know, scattering these things on planets. So
11:07you'll come across several different scenarios of derelicts. So we wanted to kind of get down to
11:13a key of like how long something has been on a planet. And that obviously dictates how it's aged
11:21over time and potentially, you know, how it's aged. So if you come across something in a desert,
11:27it's generally a very kind of dry erosion kind of type that you see on metal. If you come across
11:34something in the snow, it's completely different. If you come across something in a swamp, it's
11:38completely different again. So we have all this information that we need to kind of make work
11:43on these assets with as little human input as possible, should we say. So we had to be very kind
11:49of clever with the shader setup to work in different biomes efficiently. It all really comes down to how big
11:54the ship is and how the interior was laid out. For example, the ship I was working on, the Caterpillar,
12:03is very, very modular ship by the design and how it was built in universe. So I was allowed to
12:10go
12:10actually quite big with how many modules I could use for it. And that allowed me to create as many
12:19different scenarios and sets from just two small pieces to the almost full complete ship
12:27laid on the ground. But if it comes down to smaller ships like Freelancer, we pretty much resolved
12:34by just using the existing damage and just spicing it up a little bit. Because obviously,
12:39when you don't have explosions, when you don't have all the fire, fireworks, and it's just on the planet
12:46and you can go there and study and kind of come up, come up close to it, you kind of
12:50need to put a
12:51little bit more detail into it. With these direct sites, we kind of wanted to give the player a point
12:56on a planet somewhere in the universe, which gave them a destination. And we didn't want the destination
13:02to be simply just some pieces in the floor. So for us, we wanted to explore the idea of these
13:09direct
13:09sites being a character within themselves. So when you approach a direct site, you could then,
13:16just by looking at it, seeing what it offered, whether it's hostile, whether it's something that
13:21was a severe crash, whether it's a place that's been taken over by bandits. And so with that, we wanted
13:28to create these little pockets and space where players could go and feel like they were part of
13:35history and there was a bit of story behind them and a bit of growth behind them. And for us,
13:40it was
13:41a great opportunity. For sure, if a ship has kind of been laid to rest, shall we say, in a
13:47desert,
13:47then it does kind of almost kind of mould in with the sand in a certain direction. So you can
13:54get very
13:54kind of creative with how that kind of merges in with different terrain types for sure. But also,
13:59you can go completely other spectrum, like what are you going to do if you find something in a lake?
14:04What are you going to do if you find something hanging off the edge of a waterfall? You know,
14:07there's so many kind of creative opportunities to create these moments that a player vividly
14:15remembers, like the first time they come across that site. It's our job for them to switch the game
14:21off and go, guys, have you seen this crash site here? It's like, it's totally awesome.
14:25So we want to create opportunities like that for the player to see.
14:29We then need to kind of go hunting across planets to find sites. So if you if you worked in
14:35film,
14:36you'll generally have like a location scout at pre-production who will kind of go through a script
14:41and they'll be appointed to go out around the world and find these these key locations that
14:46would suit the script. So it could be anywhere in the world. So it's very much we have to do
14:51like a
14:51mini version of that in the editor. So we have to go out and find these locations that kind of
14:55complement the sites that we're trying to make. It's not as simple as place site here done and walk
15:02away. If you were to fly around a planet on a ship, it would take you an extremely long time,
15:06right? So you'd have staff sat there all day flying their ships just going, oh, I think down there
15:09look nice and great. I'm sure they'd love it. But the fact remains, we can't do that. So in the
15:14editor,
15:15we can just kind of essentially walk speed around these planets, locate sites, locate valleys, you
15:21know, and you just it's really interesting that a certain site may look a certain way at a certain
15:27time of day. But when that planet rotates and the sunset kicks in, it's a completely different animal.
15:32So we have to kind of, you know, you think about that as well. And the habitation side of things,
15:36like we want to get into sun goes down, lights go on. You know, there's all these kind of cycles
15:43that we
15:43need to think about. Maybe a campfire lights up. There's all these kinds of things that add so
15:48much more than just a derelict lump of metal in the middle of nowhere. You want to also have enough
15:54room so you can place your derelict in a nice kind of complementing light on the derelict itself,
16:00which further kind of intensifies the effect. It's interesting because, you know, it's almost
16:04you're doing exactly what they're doing in real life. And kind of you're setting the scene up to be
16:10hopefully beautiful when the player comes across it. When players sort of navigating around,
16:15they might just see a sneak peek of a little bit of a star fair or a little bit of
16:19a gladius or
16:21whichever ship that may be. And suddenly it becomes an intriguing point. And then suddenly you lured
16:27into this location that you never imagined. And I think it's moments like that, which just adds the
16:32whole universe where you never expect to come across something. And suddenly you find something
16:37which just tells the tale of the story. When we come to work on a derelict site and how we
16:42approach
16:42it, we sort of have to use our own imagination and kind of come up with our own scenarios of
16:47what
16:48could have possibly happened in this crash site, what could potentially have developed over time
16:53with a crash site. Because it might just be an initial crash, but then over time different
16:59factions might have taken it over. So they might have all left a little trace of history. And for us,
17:05there's no, there's no written law in any of this. It's kind of up to us to just go a
17:12bit sort of wild
17:13with our imagination, sort of really, really push it. And it's great for us as an artist because it's
17:18a bit different from just a sterile ship. With these derelict ships, it was a way to take the
17:24existing assets and do so much more with them. The first part of the process, obviously, we kind of
17:28built, we build off the stuff that we've done last year. The shader setup that we've done just kind of
17:32wouldn't work anymore for the way the planets work. So the second layer on a ship's shader needs to inherit
17:39what the biome is, right? So there's always going to be metal, but then that second layer could be
17:44snow, it could be sand. So it harmoniously blends with the terrain, right? It doesn't look like it's just
17:48been stuck on. And it's a case of really kind of understanding what you're trying to do with the site.
17:54So as we've worked and the guys have kind of worked on this stuff, we've been going, oh,
17:59you know what would be really cool? Like, you know, could we could we set up a little base here
18:03where
18:03someone's kind of taken the husk of or, you know, the hull of a Cutlass and they've created a little
18:09hacking pod out of it that instantly transforms that ship into being something completely different.
18:14And it's a makeshift home for someone. And yeah, kind of like if you if you were to find a
18:21site
18:22potentially up high in a high altitude, for sure, like where are you going to get power from? Obviously,
18:27you've got solar panels, which you can use, but we're also trying to get movement into the scenes
18:31as well. So rather than these kind of static sites, just putting some windmill fans generate a bit of
18:38power, you know, a few aerials whispering in the wind, cloth obviously speaks thousands of words
18:44when it's moving. There's all these kind of little things that we're trying to do to kind of, you know,
18:50it's like that kind of subconscious meaning to everything that we're trying to execute at the
18:54same time, which is cool. I think it's really cool. And the guys, the guys have done really well at
18:58kind
18:58of creating this kit that complements the sites as they are. So as I said, we started off with the
19:03base
19:03hull and you're still going to get these sites, you know, 80% of them, you're just going to find
19:07the
19:08ship and there's going to be nothing in there. The other 20% will be someone's come across it and
19:12they've decided to make it their home, their outpost, maybe it's a smugglers den. There's all these kind
19:17of archetypes that you can kind of tap into to get really creative. Quite a big technical limitation
19:21that we had to always keep in mind was that the derelicts, we're not going on the planet and we're
19:27not
19:27going there and just created piece by piece like we would a bespoke city or a bespoke location. They have
19:34to
19:34kind of work wherever future artists or a future designer would want to place them. So we had to
19:41always keep in mind that the ground it's going to be placed on, it can be flat or it can
19:47be fairly
19:50distorted, which was a big challenge in of itself to find out that balance between how granular it has
19:57to be so it can conform to the more kind of difficult terrain and how detailed we can make
20:04it while keeping those limitations in mind. Our technical artist made a special tech, a piece of
20:10tech for us and that basically is able to track an area that we selected for all the deformities and
20:17all the, how the ground is actually, how it looks and it can sample all the areas where we want
20:23different
20:24pieces to be at and it will place it exactly so it's bedded exactly how it should be and we
20:30don't
20:30have to do anything. We actually build our derelicts on a flat surface. Everything else is done by an
20:35amazing tech done by our technical artists. Once we got all our pieces together we started having a bit of
20:41fun with putting these rec sites together. We looked a lot at reference once again just to see what
20:48happened when say for example when an airliner has a crash, how it burns, how the different components
20:55break and lay on the ground. So we looked at the reference, we assembled our pieces in a separate
21:02level that way we had a bit more control over where everything went and we could figure out exactly
21:07where things were going to go and then it was just a case of packaging that together, exporting it onto
21:12the planet and then essentially figuring out how it aligned with the planet. Just going from there really,
21:18just a lot of iteration and a lot of back and forth but it was necessary to get the result
21:24we wanted.
21:25There's the whole kind of design side of things so these they're not just there for show. Design
21:30obviously have an input in in what goes in them you know are their mission are they a mission waypoint
21:37and then and then you know once once other systems start coming online of course like you might come
21:43across a site and it may be massively hostile you know and what intrigues me and i kind of think
21:48i
21:48touched on it last year in an interview i done with jared um he was talking to me about like
21:52you know
21:52what were you thinking and i'm just like well i think in multiplayer map mode so i'm just like okay
21:57there's a staff area here there's kind of a map in itself but now i've got the luxury of kind
22:02of
22:02spreading that map around a kilometer square if i need to but then you create these things of high
22:07risk and high reward so they may be kind of like one turret that's working right um you capture that
22:14turret you you you all of a sudden become like a game objective in yourself so it's just it's just
22:20like i say you just look for opportunities with this we're creating the ultimate sandbox basically so
22:24you look for opportunities to to make the most of that i was responsible for breaking apart the
22:31caterpillar which is that big transport ship that can have a custom length which was quite a difficult
22:40challenge on its own because if you look at the starfarer for example every starfarer looks exactly
22:47the same caterpillar can have two cargo modules or can have 15 of them the the way it was the
22:53way it was
22:53built so i had to kind of either i or any artist in the future that will be working on
22:58this ship and
22:59creating new scenarios can build pretty much whatever he wants and however uh and it's not restricted by
23:05just doing like a five module one so myself i was in put in charge of the starfarer which was
23:12probably
23:12one of the more easier one of the ships purely with the fact that it was kind of confined to
23:18just a
23:18few elements in terms of the ship by overall where some ships there were many parts and many different
23:22combinations such as such as the uh caterpillar the the the starfarer itself was just essentially
23:29five pieces which i sort of had to work on and work on the material so that they blended with
23:34the
23:34the correct planet but for me it was it was quite fun to do because at the scale of it
23:39as soon as you
23:39place it on a planet it just adds so much scope to walk to wherever you are in it and
23:44with the interior
23:45you've got a vast sort of structure which makes sense as a ship but then as soon as you make
23:50it a
23:50derelict site you've got a lot of opportunities sort of take that interior and do do like a quite a
23:56vast range of of things with it in terms of making it like either housing or or or like some
24:03sort of
24:04security den where there's some hidden hidden like scavenge or or like loot within i think what's really
24:11interesting is when you have these wrecksites on the ground they're transformed in terms of their
24:17character i think it's it's getting quite eerie actually uh looking at something say for example
24:23the constellation you know it's quite a sleek modern you know advanced piece of technology it's flying
24:29around it's great and then it's growing you know crashed on the ground and it's nothing you know it's
24:35just a shell it's a husk um but what we truly what we really try to get into the um
24:41uh the character
24:42of the direct sites is just how varied they are you know they could be for example have people lived
24:50in them have creatures lived in them uh how exactly did it crash what caused it to happen there are
24:55little things we can add to these crash sites which give them a lot of character and a lot of
24:59depth and
25:00i think um that's what's been really fun for me um just seeing if the players can figure out exactly
25:04you know what happened even if it may not necessarily be a mission objective it you know having that
25:10interest i think certainly helps build the universe
25:27yeah i guess you could say ships have always held kind of a power over me
25:34growing up i couldn't get enough of them
25:37i'd hang out by the pads any chance i got and listen to the pilot swap stories
25:41my dad used to tell me you weren't born you landed but yeah there was always something
26:00these aren't graveyards to me no no they they're a testament of life
26:04they think about all the lives that touched this one ship before it got to this place
26:08it's crazy right and there are a few things in this universe that have that kind of power
26:24to me it always comes down to the people who flew it the modifications that they made to make it
26:29theirs i
26:30i mean we could find 10 connie wrecks and even though the layout is going to be the same every
26:35single one
26:35of them is going to be different there'll be some kind of lingering presence to connect you to the
26:40people who lived on it
26:50when i look at a ship i see a person
26:55now i know when when people find these wrecks all they see are mounds of scrap or a payday or
26:59whatever
27:00but to me maybe it was just growing up on a dusty rock but a ship was freedom there was
27:09limitless possibility
27:27these crash sites would be a great place to run missions find valuable scrap and maybe even
27:32encounter other players should make for some exciting gameplay
27:36absolutely just be careful not to get so caught up in exploring and one of them that you don't
27:41notice another player sneaking up on you and that's all for today's episode a big thanks to all the
27:47subscribers for supporting our shows and be sure to tune in tomorrow at 11 a.m pacific to catch happy
27:53hour friday this week will maiden and gareth bourne will be talking cargo and other game systems for 3.0
28:00and beyond finally a quick message to all of our backers you guys are awesome none of this could
28:06happen without your continued interest and support so thank you for letting us build this truly unique
28:12game and until next week we will see you around around the verse
28:19i don't know what you were doing i've never done that before
28:25and by the way you may come across uh a site that we've we've not spoken about there's only one
28:30of
28:30them in the verse and if you if you find it you're in for a pretty big surprise yes there
28:35is um
28:37hopefully touch wood uh i've been very adamant about it and i and i and i and i i'm i'm
28:42100 confident
28:43it will come through but there is we have to do derelicts for for for every ship in the game
28:48right so it's
28:49actually part of the ship pipeline now so once we've finished creating the ship so it goes through
28:54the stages of white box gray box sorry concepts white box gray box production texturing optimization
29:02damage derelict so that's the other leg of all this now um so we have to do that with every
29:08ship in the
29:08game so we've got quite a big backlog to do we've done four already but one of those four is
29:13massive
29:14and you might come across one in in the verse there's only one in all the verse at the moment
29:19but it's there it's there hopefully to be to be discovered um and and yeah you can get a good
29:24sense
29:24of scale of how big these things are when they're on the ground um good luck trying to find it
29:29cool
29:31and you can see that from outer space that's like when you're going across the planet you can see
29:35just this like three four pixel thing on on the terrain going past it's that big it's huge
29:44so
30:11Grazie per la visione!
30:15Grazie per la visione!
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