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In questo video Chris Roberts e Josh Herman mostrano i volti dei personaggi di Star Citizen con alcune immagini in-engine.
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00:11Welcome to a special edition of 10 for the Chairman. I'm here with my guest Josh Furman, our art director,
00:19character art director, who's based here in Los Angeles, but he's the head of the global character pipeline.
00:23And we're doing a slightly different format. We've sort of decided to try and switch around the 10 for the
00:31dot dot dot show so that we ask questions specifically about something we want to talk to, talk about, and
00:37then you guys come back with questions and we sort of pick the most popular and the ones that are
00:42suitable for the topic.
00:44So we have 10. The topic was about sort of character and most specifically sort of heads and facial stuff.
00:52So we're going to get to that. But at first I'd like to say thank you to Davidian who sent
00:57these very nice little teddy bears of Squadron 42. Mine's got a little name on the back. There you are.
01:01Chris Roberts. Very good. I think there's quite a few more of these showed up. Now I just need to
01:05make sure I put this here where he doesn't collapse on the table and he can listen to our answers.
01:11Sit down, Teddy.
01:12Not very good. All right. One more time. Come on, Teddy. Sit correctly. There you go. See? Not too much
01:20abuse of teddy bears, as you can see. All right. First question is from the deadly Kenny and Gaz Lawl,
01:28Bacon of War, Kenzie Snow, and Steve Hunter. So I guess this is a question asked by quite a few
01:33people.
01:34Popular one.
01:34They all asked. So we know that character heads will be scanned in. However, will we be able to manipulate
01:38these scanned versions to customize them to create our own characters? Or will we only be able to select a
01:44specific set? For example, feature features, body morphology, et cetera.
01:49So, well, a couple of things. We've got sort of two levels of heads. One is we scanned a whole
01:55bunch of our actors that we had while we were doing this Squadron 42 shoot and also a bunch of,
02:01you know, Foundry 42 folks and Imaginarium folks. So I think we have over about 160 heads or so already
02:08scanned. They're in various processes, process of being sort of brought to sort of final quality.
02:14And we kind of have a plan to modulate and let you sort of change and build your own player
02:22head that's, you know, not a preset one. So our plan isn't really to say, oh, you can have one
02:30of these eight male heads or one of these eight female heads.
02:32You know, you pick sort of a base head, maybe combine a few of them and then also alter the,
02:38you know, various features on it. You know, your hairstyle, skin color, eye color, sort of the general stuff and
02:47sort of adapt it around.
02:51So, I think you'll be able as a player to sort of build any kind of face that you want.
02:57I mean, I think a little later on there's another question that's sort of relative to this, ask that question.
03:01But the way that we have it right now is we have 18 sort of, I guess, player heads, which
03:08I think are evenly split between male and female.
03:11And so those would form the base, nine architect heads for male and nine architect heads for female. And then
03:17from there on you would sort of customize it.
03:19From there you could take pieces from the other ones like you talked about that we scanned and then you
03:23could kind of create your own custom one based off of that.
03:25Yeah, but we won't let you, you can't have Mark Hamill's head or Gary Oldman's head.
03:30No, definitely not.
03:30Okay, so that's the first question. Second question comes from Lieutenant Commander Draco and Sue Kabi, I think, T-S
03:40-U-K-A-B-I.
03:41I think that's it.
03:42I'm not sure if I pronounced that right. They are asking, are both wondering about hairstyles and how customizable will
03:46they be?
03:47So we're going to have a lot of different variations of hairstyles. We have a, I mean, we've already scanned,
03:52you know, like you said, 150 actors.
03:55And so each one of those is going to have a lot of different variations. You're not going to be
03:58able to customize it in the same way, like, you're not going to be able to comb one hairstyle that
04:03granular.
04:04You're not going to be able to do that. But you will have a huge selection, both in style, parting,
04:09lengths, colors.
04:11Yeah, I mean, I think we have, I mean, we have, I mean, besides we have specific hairstyles that we've
04:15chosen for actors and we have some that are specific to the actors.
04:18But we also have, again, like set of NPC hairstyles.
04:22Yes.
04:22And so we have, you know, the various, you can be a skinhead, you can have a mohawk, you can
04:28have a caesar cut, you can have a ponytail, and all sorts of different hairstyles.
04:33So if you think of a hairstyle out there, I think we've got.
04:36We'll have it.
04:37Something, yeah, if there's one out there.
04:39We have an archetype for it that you can choose, and then you can choose the color of your hair,
04:41and then you can put it on the head.
04:42So basically, you know, the base would start with an archetype head, then choose what kind of style of hair
04:48you want, what kind of hair color you want, eye color you want, maybe what skin color you want.
04:52And then on top of that, you can start to adjust facial features.
04:56So, you know, it won't be too dissimilar to a lot of, you know, sophisticated sort of avatar creation setups
05:04in other online games or even other single player games.
05:08Okay, next question comes from Malagor, who asks, with the amount of detail in character creation, will it let me
05:16make my own doppelganger?
05:19So what do you think, Josh?
05:20Do you think we'll be able to make a doppelganger?
05:21I think with the amount of heads that we've scanned, you'll probably be able to find somebody who has, like,
05:26eyes like yours, or a mouth like yours, or, you know, different facial features like yours.
05:32So with that, you could probably, like, Mr. Potato Head, like, put those pieces together and find something that looks
05:37kind of like you.
05:39So you should be able to try to get close.
05:41I mean, I do sometimes when I play games try to make the character look like me.
05:44I don't necessarily succeed all the time, but you never know.
05:47Okay, next question comes from Hearts, who asks, character heads, as in the modeling of the heads.
05:54So I guess they're trying to qualify the question that we asked when we were soliciting these a while back.
05:58If so, I'm curious about how long the process takes to model an in-game render of someone's face.
06:03For what we do, we always, currently anyway, we don't model it just from scratch artistically.
06:11We scan a person, an actor, fully.
06:16We have a whole rig of, you know, 50 plus cameras that go around the head.
06:20And we essentially use photogrammarry to digitize and take a 3D snapshot of both the geometry, or the sort of
06:303D mesh of the head, as well as what the face textures would be.
06:35And then we take that, and then we do a lot to it after that.
06:39So I don't know if you want to talk about that.
06:40Yeah, after that we kind of, especially for some of the main actors, we do full facial capture, so they're
06:45getting blend shapes on specific ways that they talk.
06:48So that adds a whole other kind of layer.
06:50So that's a really difficult thing to do if you're just going to be sculpting a head from scratch, because
06:55I think our characters have like some 100, upwards of 400 blend shapes.
07:00So that would be 400 individual sculpts that we would need to make to match what we're doing.
07:06So it's really not an approach we would want to be taking to get the realism that we want, especially
07:12for the actors that we have.
07:13We work with, there's a company called 3Lateral, who are sort of quite well known for their head rig and
07:19head animation technology,
07:20and sort of pushing forward the field of scanning live real people and bringing them into the 3D world.
07:26We've been working with them for quite a while.
07:28They've also, in the past, you know, they did Rise, for instance, back for Crytek, which is in the CryEngine.
07:33And, you know, our head rig, of the head rigs out there is, you know, we'll talk to it in
07:38a bit, but the, by far the highest fidelity head rig that they've done.
07:42I think, and it's probably higher fidelity or up there with anyone else's head rig.
07:48But, you know, so it's a big process, so if you go in and do a full set, an actor
07:52will sit in this sort of whole scanning setup,
07:55and we will take 78, basically, facial poses for them.
08:01So, you know, it's sort of like things that kind of like, you know, raise an eyebrow, and you have
08:07to do that,
08:08and each one takes about a minute, collects all the data from all the cameras, builds it on the computer,
08:13and then you take another one, and you do it.
08:14So, it takes, it can take anywhere, depending on how quick or slow the person in the seat is, an
08:19hour to two hours to do the full 78 pose set.
08:22And that builds, and that basically gets built down by a lot of the techniques that three lateral do into
08:28this sort of 300 pose blend shape setup.
08:32And then, of course, on top of the 400 pose blend shapes, I think about 440, actually, for our higher
08:38tier characters.
08:39It also has, you know, a whole bunch more, it has bones underneath that, like, I think something like that.
08:44And it also drives specific maps, so when they're doing those specific faces, like the forehead,
08:50it drives wrinkle maps and animated diffuse maps for our higher end ones as well.
08:54So, yeah, it's not just blend shapes, it's not just bones, it's a wrinkle map, which is sort of telling
09:00the shader kind of what parts of the skin,
09:02so that's almost like a bump.
09:03Like the wrinkle information you see here.
09:05Yeah, kind of like it's a bump map, and then the animated diffuse is sort of showing, like, how your
09:10color changes in your skin.
09:12Then you scrunch something up, maybe it'll get white or red or whatever it will be.
09:16So it's a pretty long process, but after even doing that, we bring it in, and then we actually do
09:22sort of an artistic pass touch upon it.
09:24Yeah, kind of like a makeup polish, polish or makeup pass in a way, because a lot of, when you
09:28see those actors getting scanned,
09:30it's, you know, you usually have to scrub their face, and so you can get these dots and you get
09:33really accurate information of what they look like.
09:36But that's also not what they would look like on the film set, because they don't have, like, makeup.
09:41And, you know, when you go on film sometimes, most of the time, you have, like, a very specific people
09:46that just do that.
09:47You don't look like you woke up in the morning.
09:49Exactly.
09:50Everyone makes you up to look really great in a film, light you properly, and so when we actually scan
09:56the actors,
09:57we don't want any makeup on them because it's best for how they sort of build the 3D head.
10:02Exactly.
10:02So then we have this process that we bring the head in, and then we sort of do our own
10:08sort of makeup pass on the character
10:10and set it up in such a way that they're going to look like a movie star running around in
10:17our 3D world.
10:18So that's part of our process.
10:19So we do all this kind of assembling of the data that we scan, and then we bring it in
10:24here and do our own pass on top of it
10:26to sort of take it up to that extra level.
10:28We really work on things like the eyes, the tongue, the teeth, and we still have a whole bunch of
10:33additional graphics work to be done.
10:36So the eye shader is going to get a lot more work.
10:39The hair shader.
10:39The hair shader is a big one, so that's probably our weakest point now.
10:42So a lot of the images you'll be seeing during this time for the Chairman.
10:47We don't have what our intended hair shader is going to be, but our hair shader is going to be
10:52to the level of the best hair shaders you've seen out there in real-time games.
10:58And then we'll also work a little bit on the skin shader too.
11:01So our goal is to sort of when the characters, you know, when you play Squadron 42 for instance, the
11:07level of character tech and visual level will be as good or better than anything out there.
11:14So that's what we're shooting for.
11:15We're working really hard on it.
11:16We've got a lot of time with people working on it.
11:17We're not there yet, but I think you'll be seeing in this particular episode sort of some stuff along the
11:24way and it's only just going to get better.
11:25Okay, so the next question comes from Perry Hope who asks, wouldn't it be nice to get some faces from
11:33your backers?
11:34Is that even possible?
11:35Can you tell us what is the hardest part of character creation and why?
11:39We just talked about how the process we go through is scanning.
11:42It's pretty in depth, yeah.
11:44It's pretty in depth.
11:44I mean, so we definitely could scan some backers out there, but we would have to have the full rig
11:49set up.
11:49Right now we have the rig set up at E-Link Studios.
11:52It takes a while to set it up, so we sort of kind of have a sort of semi-permanent
11:55set up at E-Link because that's where we've been doing all the Squadron 42 shooting.
11:59And so when we bring an actor in and we shoot with them, we also make sure we scan them.
12:03And at the same time if we've got Foundry 42 crew people or people from over here in L.A.
12:08or people from Imaginarium and they want to sort of appear in the game, we scan them too.
12:12It's not out of the realm possibility that we could have a set up somewhere and a few lucky backers
12:17could be scanned and we could put them in the game.
12:19And there is a reduced sort of scan set that we do if you're not going to be up front
12:23doing lots of talking, more like sort of a background player in a movie.
12:26Like an extra.
12:28Yeah, extra or something, which is instead of 78 poses, I think it's something like 18 or 16 poses.
12:36I can't remember off the top of my head, but it's a much reduced set because we don't need to
12:41do quite as much because we don't build a full 400 blend shape set up for them.
12:44So that could potentially happen, although it requires a lot of work to do it at the fidelity that we're
12:51putting into the game.
12:52Because even our background characters have to stand up to the quality we do for our main characters.
12:57Yes.
12:58So, you know, we've talked about it, haven't made any decisions.
13:05We may do something like that for fun in the future.
13:08We've also looked at some sort of standard kind of techniques you can do.
13:12Like, you know, for instance, you could take a webcam and you could look into it and go here and
13:16go here and you could probably map your face there.
13:17Yeah.
13:18The question we would have is, is it going to look weird at that level and then...
13:22Yeah, the question you run into with like that self, you know, homemade either iPhone or whatever photogrammetry is that
13:28the lighting condition and then the fidelity.
13:31So as we were just talking, we want all of our characters to be able to stand next to each
13:34other.
13:35So you should be able to stand next to as a player character next to Gary Oldman or any of
13:40our top tier characters.
13:41And if your lighting is weird when you're taking your pictures, it's going to give us wrong information and the
13:46textures might not be as good quality.
13:48And it just creates a scenario where one can look worse than the other.
13:52And that's not really what we want.
13:53Yeah.
13:53No, we don't want you to pull you out of the game.
13:55Yes.
13:55Someone looks like they were shot in a really cheap camera with, you know, not great lighting and everyone else
14:02looks like a movie star.
14:03So, you know, I guess to be determined, it is possible, but to do it at the level that we
14:09would like would be difficult.
14:11Okay, so the next question comes from Coopernicus, I guess.
14:16I think it's Coopernicus.
14:18Coopernicus.
14:19Well, it's got two O's.
14:21Coopernicus.
14:22Coopernicus.
14:23Coopernicus.
14:23Yeah, I think so.
14:24How soon will we be able to see the heads on the NPCs or players in the Persistent Universe?
14:29That would make for some nice variety and how editable will they be once implemented for character creation?
14:35We are working on getting a variety of heads into the Persistent Universe.
14:42We're actually kind of working on some of that stuff now because we want to mix it up some.
14:46And obviously we're working hard at work on Squadron 42 because as you can appreciate with the, I mean, in
14:52Squadron 42 we actually have about 350 speaking parts,
14:58which is an insane amount of speaking parts.
15:00Like, you know, most movies would have maybe 30, 40 speaking parts or 50 speaking parts.
15:06You know, it's a lot.
15:07And so each one of those will obviously need their own unique heads.
15:10So a lot of it's going to be supplied by the custom actor scans.
15:13But some of the stuff will be also done sort of background characters where we would almost assemble the heads
15:19kind of like how you'd assemble a player head.
15:20Yeah, much like the character creation that we were talking about earlier.
15:23So it is kind of one of those things where once we've got that system in place for Squadron for
15:27the background and for all the speaking roles,
15:30it's really not much work to get it over to the PU as well because it's basically the same system.
15:37Yep. So I would say not in 2.5 and we're going to try and get a few things in
15:46for the next release in the Star Marine one.
15:49But, you know, as we move on to widening out the Persistent Universe with procedural planets and having some more
15:55landing locations,
15:56we're going to get more variety in there.
15:58And then, of course, Squadron 42 is going to feel like a movie.
16:01Everyone's going to feel like their own, you know, cast member running around.
16:04It's all going to be very high quality and very cool.
16:06So, but yes, we are very focused on that.
16:09So we're sort of feeling like we're coming over the hump of getting the tech kind of to the place
16:13where we'll be able to mix and match some stuff.
16:15We've still got some more stuff to do on the kind of morphing, build your own face stuff.
16:21But just generally having a wide set of NPCs to be able to use is very close now.
16:28Okay, so the next question comes from Lil Mac, L-apostrophe-M-A-C.
16:35I don't know if they're a French Macintosh or not.
16:38But who asks, will the faces we see on our characters, other players and regular NPCs be of the fidelity
16:45we saw on the character in Pupil to Planet or better or more simple like characters in the Morator?
16:52Okay, so forget the Morator.
16:56That was a whole combination of things, bad lighting, broken shaders, quick assets that hadn't gone through any of our
17:05pipeline.
17:06So you'll be interesting to know that the character in Pupil to Planet is a character called Joachim Steiger in
17:13Squadron 42, scan of the actor.
17:15And what you saw in Pupil to Planet was an untouched up head and that was a tier two character.
17:21Our rating is, our top is tier zero.
17:23So that is what we use for Gary Oldman, Mark Hamill, Liam Cunningham, Mark Strong.
17:29They're all tier zero.
17:30Then tier one is the next level.
17:32So actually the actor Stephen Bisslin that was playing Morrow is a tier one head.
17:36And then the next one down is a tier two head, which was Joachim Steiger.
17:40And then we have a tier three head and that's basically our ratings.
17:43But all the heads have pretty much similar fidelity and they all have to stand up next to each other.
17:51Because you could be standing in a conversation with a tier zero, a tier one and a tier two.
17:55And really the big difference between the tier zero and the tier ones and the tier twos is a tier
18:00zero just has more facial density in the mesh.
18:07So like for instance we use about 40,000 polygons when you're up close to a tier zero.
18:12Whereas a tier one, tier two and tier three are about 10,000.
18:15Yeah, much less.
18:16Much less.
18:17But 10,000 is up until now the top level of a triple A up close cinematic head character.
18:24Even our bottom level is the top level of most of the games.
18:26Yeah.
18:27You'd have to look close to really see that much difference.
18:30And we do it for the Gary Oldman or the Mark Hamels of the world because we really want to
18:35capture every single nuance of their face when they're performing and talking.
18:39Yeah, their facial performance.
18:40And so in those ones for the main characters you're right up close to them and you want to have
18:44some emotion to it.
18:45We're just going for a little extra fidelity in the character.
18:47But, you know, a tier zero and a tier one essentially have almost the same number of blend shapes, almost
18:53the same number of bones.
18:55And so outside of the mesh itself having just more density of faces, it's pretty much the same.
19:01And so the difference is really just, you know, the wrinkle maps and everything also give you a lot of
19:05detail, but maybe just kind of, you know, a little detail.
19:08A little bit of subtle bits in the animation I think is going to be some of it.
19:11But the texture sizes are the same between all the heads, so that really doesn't, it really doesn't change much.
19:18You know, certain characters, like you mentioned, like Mark Strong has a very specific way that he speaks.
19:23So he kind of like me actually speaks mostly out of one side of his mouth, so you really want
19:27to capture that.
19:28Right?
19:29And that's because he's a tier zero, so you really want to get that across.
19:33Yep.
19:34So, like I said, ignore Morrow's tour.
19:37That's the past.
19:38We've moved on quite a lot and, you know, you can see in this video some of the differences for
19:45what it is.
19:46And like we were talking earlier, there's going to be a fair amount of improvement even from here in terms
19:52of what we're doing in the shader.
19:53So it's generally the way it works in development is, you know, you think something looks good and then next
19:58year it looks better and the year after it looks better.
20:00And, you know, you could just look at the Hornet or the Bengal carrier that we had when I launched
20:06the 2012, you know, crowdfunding campaign.
20:10And, you know, I thought that was awesome looking and I think a lot of other people did.
20:14But, you know, every year I see stuff moving.
20:15Now, if you've just seen the video with Christmas New Hornet or the stuff that Nate was showing of the
20:22Bengal, it's like a whole other level.
20:24Totally, yeah.
20:25And that's kind of where we're pushing on the heads.
20:27But, yeah, what we want to do is we want you to feel like you're in, say, Squadron 42 or
20:32even in the PU having a conversation, interacting with NPCs.
20:37And the quality of the character animation and the facial animation is what previously you would have experienced in a
20:43pre-rendered cinematic.
20:44And so that is the goal to really try to put you in the story, so to speak.
20:48So that's what we're shooting for.
20:50I think we're going to get there.
20:52Yeah, I think so too.
20:53But definitely taking a lot of hard work.
20:55We've got a lot of good people doing it like, you know, Josh here and, you know, his character team.
21:00We have a whole facial animation team over in the UK and a whole really talented cinematics team over in
21:05Germany.
21:06So next question comes from Fathom who asks, will animations adapt to our characters as they get older or recover
21:13from past injuries?
21:14For example, if my character is lucky enough to reach old age, will he or she take longer to stand
21:19up after sitting or perhaps start to walk with a limp having been shot in the leg earlier in the
21:24game?
21:24So we were definitely planning to do some animation that is specific to injuries and stuff like that.
21:33You know, if you get shot in the leg or shot in the arm, we're actually planning to have that
21:37sort of impact and reflect on the character's animation.
21:41We haven't specifically thought about you aging as a character.
21:45It's actually a very cool suggestion.
21:47We do, and we have done in Squadron 42, specifically captured different walking and running sets and locomotion sets for
21:54the different actors.
21:55Because, you know, obviously, you know, someone like, say, Mark Hamill, who's a little older, will move differently than, you
22:01know, a 20-year-old.
22:02The younger Mark Hamill.
22:04Yeah, the younger Mark Hamill.
22:06So, you know, you never know.
22:08I mean, we're definitely going to have sort of, you know, older person locomotion walking around and see animation sets
22:15and we'll have the younger ones.
22:17So, at that point, it may actually not be that difficult to sort of move you through those.
22:22But we haven't got it implemented yet, but I think that's actually a pretty cool idea.
22:26It's a really cool idea.
22:27You never know in the future.
22:28Next question comes from Kairan, who asks, with a large number of incredibly detailed characters at once, both NPC and
22:35player, what's the design plan to keep this from blowing up client resources within the persistent world game?
22:40We've thrown a bunch of numbers around, like, you know, the tier zero has got 40,000 polygons for the
22:45face.
22:46It's got 440 blend shapes.
22:49The mesh itself, I think, with all the blend shapes and everything was about 300 megabytes without LEDs.
22:54It was really, really expensive before.
22:56Yeah, and, you know, so you could have maybe one or two heads on the screen.
22:59And we had, like, 44 different areas of, like, blended wrinkles and blended diffuse and the texture was really high.
23:05So we used to have about 96 megabytes of blend textures, which is quite a lot of that.
23:10And then we had the diffuse normal spec transmissions and the scattering mask, which were all these extra layers to
23:15bring the stuff in.
23:16So we had about 150 megabytes of texture memory per head at the resolution we're doing at these characters.
23:23That's a lot.
23:24That was a big focus of the graphics group and how to bring that down.
23:28So we brought both the mesh data down and also the texture data down.
23:32So we basically reduced the 300 megabyte mesh stuff down to about 30 megabytes.
23:37So that was more about the base mesh and how we were going to delta it and some clever compression
23:42stuff they're working.
23:43And then we also took the cost of all the textures down.
23:49You know, from something I think for, you know, we did a special thing for the wrinkle and the blend
23:55maps and stuff,
23:56where we went from 72 megabytes just for those down to six.
23:59So, you know, essentially we've done sort of a 10x saving, which makes it much more viable to have a
24:04lot of these heads and that detail in the game, which is good.
24:10And then the last sort of segment that we've worked on is, of course, you know, when you've got 440
24:16blend shapes,
24:16and I think there's like something like 175 joints or whatever.
24:19I don't think we put this on our Cliff Notes.
24:21But that's a lot of controllers.
24:23So we have the blend shapes, we have the joints, and I believe there's also some other controllers for the
24:29wrinkle maps and the diffuse map.
24:32So in all, we ended up with very close to about a thousand controllers to animate a face.
24:37So that's kind of the equivalent of animating a thousand joints.
24:40And if you have 10 characters, you know, that's 10,000 of them.
24:4410,000, right.
24:44And that's, if anyone knows about game animation, that's a lot of joints to do.
24:52So one of the things that's quite nice is we've been working with 3Lateral and they have a sort of
24:57rig logic that has a lot fewer inputs.
25:00That's sort of more about kind of the facial poses and positions.
25:03And then that gets translated into where to move, what blend shape to fire or where the joint is or
25:10what blend or what, you know, normal map or, you know, diffuse maps, wrinkle maps firing.
25:16And that's what we call the runtime rig technology.
25:18And it's also very critical because we use that.
25:20That's how we're going to be able to have all these different heads and faces and be able to blend
25:25them and stuff.
25:26It doesn't matter. We can play the same dialogue on whatever head.
25:30It doesn't matter. It can be Mark Hamill's, Gary Oldman's.
25:33It can be a custom character one because it goes through this rig logic that takes in the inputs and
25:38puts it out to the, you know, the appropriate blend shape and joint and everything else like that.
25:43And that also has the advantage of it has about 183 inputs versus about a thousand of the controls.
25:49Right.
25:49So it's a lot less data that's going to go through on our animation data for the facial, which is
25:54another big savings too.
25:57So those are all the things that we're trying to keep the client resources down.
26:02And we, you know, have a few other plans, but I think we're going to be able to deliver the
26:07high quality that you normally would see in pre-rendered cinematics,
26:10but you would actually see it in the game, live, in real time. So that's pretty good.
26:16Last question comes from Felicia Faster Than Light, who asked the two character design approaches I'm familiar with are the
26:25traditional choose from a number of presets approach,
26:27or the newer actually being able to edit vertex points within certain ranges approach like Black Desert.
26:32Which approach is Star Citizen going to use, or has the crew come up with an even more diabolical approach
26:37that will knock our socks off?
26:38I think it's definitely a combination of both like we talked about earlier. So starting with kind of a preset,
26:43you can choose your face, your skin color, your eye color, your hair color,
26:48and then being able to mix and match from all those other combinations of heads that we've scanned.
26:53So it really is a little bit like looking at the Black Desert stuff, you can definitely, you know, change
26:58to like the cheekbone, and you can move it around,
27:00you can do stuff like that, but it's not really actually bringing in other mesh or other character information.
27:07Yeah, I think if I remember when I was playing with it, you sort of select your base hair, and
27:11then you modify it,
27:12and they have some really nice stuff for like the hair, and altering the hair, or coloring the hair, and
27:17moving some stuff around.
27:18Yeah, they have really cool stuff, but it's not actually, from what I can tell, it's not really drawing from
27:22a full another head.
27:24It's just kind of pushing and twisting and morphing.
27:26Yeah, I mean I think one of the things that's kind of cool that we're going to try is we're
27:29going to give you those tools,
27:31but we're also going to blend heads together.
27:36Yeah, exactly.
27:36So you can say, oh, I like that guy, and I like that guy, or I like this girl, and
27:40I like this girl, and let's merge them.
27:42And, you know, maybe I'll take the jaw from here, and the forehead from here.
27:45Yeah, kind of that mix and match thing.
27:47And it will blend them, and it will blend them, and that's one of the reasons why this live real
27:52-time rig technology is very important,
27:53because we can do all this stuff, and it doesn't matter because it will all fall out of the sort
27:58of rig logic that gets calculated in real time.
28:00So the inputs, the animation doesn't need to care where the eye position exactly is, or doesn't care where the
28:07mouth position is.
28:07It just needs to know that the mouth was moving, and the eyes were moving around, and then the logic
28:12for the rig sort of does its magic,
28:15and goes through and changes them just on the appropriate rig.
28:19So I think it's going to be pretty interesting.
28:22We'll see what happens.
28:24And, well, with that, that I think is our ten questions that we had.
28:29I think that's it.
28:31We'll be seeing a lot of up-and-coming episodes of Around the Verse.
28:34Probably, yeah.
28:34Showing some more of the really cool character stuff we're doing here.
28:37Yeah, I think we've got a lot of really cool stuff, and looking forward to showing it all off.
28:41Yeah, no, it's great.
28:41So I'm really psyched for sort of building this beautiful world as well.
28:45Yeah, it's nice.
28:46Okay, so thank you, everybody.
28:48I'd like to thank subscribers for making this show and the many other shows we do possible,
28:54because without your backing we wouldn't have the sort of resources and the extra staff that do all the video
28:59production stuff we do.
29:01I'd obviously like to thank all the backers out there for making Squadron 42 and Star Citizen possible,
29:07so thank you very, very much.
29:09And it's been fun.
29:10I hope you guys have enjoyed the show, and see you next time.
29:13Bye.
29:26Bye.
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