00:06La storia di Senua è reale in la visione e la voce che she hears,
00:11così che la più profondità e più profondità in Hell, la più rivela la sua storia.
00:22Non ho mai dato l'espero che possiamo trovare un modo a visibli vedere le personaggi
00:28invece di solo chiedere i voici.
00:32So, quando è come a casting,
00:34a sneglie di castare i loro facci,
00:37come what they look like,
00:38come come come come come come come come come come come come come come come comeare.
00:41So, during development,
00:42we started to run some tests
00:43to see if we could bring characters into the game in a different way.
00:47For example,
00:48we ran a few tests with Kinect cameras
00:50to see if we could use them as cheap 3D scanners,
00:53but the noise levels of what we were capturing were far too high.
00:56We also did a test with green screen video, where we captured Melina and projected her face back onto a
01:053D model within the game world.
01:07And this worked pretty well, but it was quite technically difficult and fiddly to set up and get right.
01:20We also tried using 360 video to capture scenes. The problem with this is the resolution of the video images,
01:27you can see the pixels.
01:28And even with heavy post-processing, it's still logistically quite difficult to shoot 360 video that fits well in a
01:353D world.
01:38Not all of these experiments were successful. In fact, none of them were. But in the process, I learned what
01:43doesn't work and what could work.
01:45And I felt like there was a way to mix video with 3D real time in a way that wouldn't
01:52look out of place.
01:53Now, by this time, the video sessions were coming up in a matter of days. And so I made a
01:58very late call to shoot video during these sessions
02:02because I didn't want to miss the chance of having the characters in the game, even if we weren't 100
02:08% sure of how we were going to get them in there.
02:11But there was one problem, which was it meant we had to get all of the actors in costumes.
02:16Luckily, my friend Jess happens to be a costume designer and makeup artist. So I asked her if she could
02:23help out.
02:24And she only really had a day or two per character. It was such short notice. But in the end,
02:29she did a really great job and it was a lot of fun.
02:42The main cast consists of Stephen Hartley, who plays Senua's druid father Zimbal.
02:47How much movement is going to happen in your town?
02:50It's not going to be action.
02:52OK.
02:53Well, there'll be a bit of movement.
02:54Let me go!
02:57No!
03:00No!
03:01No!
03:01No!
03:03No!
03:05No!
03:06Ever put sugar in my tea!
03:09Oliver Walker, who plays her lover Dillian.
03:13My father cannot understand her darkness.
03:17Ellie Pearcy, who plays her mother Galina.
03:20Oh, do you see their faces?
03:22Chi Po Chung, who plays the narrator.
03:24Once again, hell is reaching deep inside of her.
03:28I'll be right here.
03:31Nice and close so I can speak without alerting the others.
03:34As well as Melina Juergens, who plays Senua.
03:37I shall be.
03:48And Nick Bolton, who plays Senua's old friend, Bruce.
03:53It's an email for you, Senua.
03:55Your agent.
03:57I want you for Vikings.
04:00Yeah!
04:00Early on in development, one of the service users described their flashback visions in vivid detail,
04:06and it wasn't quite like in the movies where you have lots of quick cuts.
04:10She described them as happening all around her, as if they were sort of unclear or out of focus,
04:17and she was present during them.
04:21Who's that?
04:23So based on these descriptions, Mark went away and did some tests in Unreal
04:28to see if you could come up with a style for the flashbacks that represented these ideas.
04:33And we were pretty happy with the results.
04:39After we shot everything, we picked one scene featuring Senua as a real-time CG character,
04:46and Ruth, played by Nick Bolton, as a green screen video,
04:50to see if we could mix them and actually make them work.
04:52It's a good habit to have in these dark times.
04:55So our challenge was to integrate the green screen video of Druth into a scene that we had already captured
05:01featuring Melina.
05:03Druth, is that you?
05:05We did this by first blocking out the timings for both performances in an edit so that they matched.
05:10Druth, is that you?
05:14For my tales of the Northmen, they call me Druth.
05:19Druth.
05:20Next, we had to make sure that the in-game camera matched exactly what we had shot during the live
05:25-action video shoot.
05:27Get your valve.
05:29To guide you in this life and the next.
05:33The tricky part was then to apply post-processing effects so that the two characters felt like they were part
05:39of the same scene.
05:40So we applied the flashback post-processing effects first, making him go in and out of focus.
05:45Blooming the image so that you wouldn't see any pixels.
05:48Applying a light that affected both him and Senua in the same scene to help connect the two.
06:01The very next day, Game Informer actually turned up in the studio to do a feature on Hellblade.
06:07And so I watched them play the game and I was waiting for this scene to come up and I
06:11was just hoping that they wouldn't notice that it was video.
06:14I will tell you my stories of Hell if I may walk with you.
06:24They played through the game.
06:26They played past the scene.
06:27They didn't say anything.
06:29They carried on playing.
06:30It was only about 30 minutes later when they reached another scene featuring Druth.
06:33This one that we hadn't post-processed and fixed that they went, hang on a sec, is that video?
06:39It was only then that I felt like, wow, that was mission accomplished then.
06:44Boom!
06:57Go and speak to your daddy.
07:03Hi dad!
07:03Burt.action.
07:07God punishment!
07:07Ah! ESO.
07:10ederim. EN�
07:23ORD. No.
07:28That's
07:29tried it
07:31yet. Ah! Again. Awesome! solely a
07:33Who amazed me! He
07:33Grazie a tutti.
08:06Grazie a tutti.
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