00:11Sì, questo anno in Marche, a GDC, abbiamo fatto una live presentazione di Hellblade
00:16character Senua, facendo in fronte di un audience, usando un tecnologo di un collaborazione di
00:23Ninja Theory, Cubic Motion, 3 Lateral e ourselves.
00:26For Siggraph we thought we'd do something special, where we riff off what we'd done at GDC,
00:31but add a few more bells and whistles.
00:40We are here at Siggraph to demo a new process that we've been working on.
00:43What if you could shoot CG scenes as easily and intuitively as you could live-action?
00:48so we want to get from set to final edit in a few minutes a process that normally takes months
00:56so we're ready to begin michael yep all set mel are you ready effect is good facial is good
01:06and four three two one action we only have each other now don't abandon me
01:18we now have this system sequencer so with sequencer we're able to record performances
01:22and layer them onto a timeline just like you would do with a traditional editing system
01:27we can alter timing we can add cameras we can adjust lighting so now we can take one two three
01:33four as many as you want performances of an actor driving a digital body and layer them into a
01:38cinematic sequence and cut cool that was great cool over to you michael so as you can see we've
01:44recorded both her facial animation and her motion as well as her dialogue and we can now look at
01:51this performance against the live senoa so if we roll back uh tamim can start blocking out this
01:56next shot okay so let's get her going walking through the mirror again so mel can you step
02:01forwards a few steps and if you michael if you scrub backwards and forwards with the mirror image sure
02:10okay from there you want to step back when she steps through so rewind and play playing in three
02:16two one great so that's a moment we want to catch and then as we go around here let's shift
02:23the focus
02:24onto the real cinema sure that's it and play look back perfect okay we're all set up then mike all
02:36right
02:37set up for part b and mel you ready effect is good action
02:54in the 20th century entertainment was defined by the camera and film today we have a new revolution
03:01happening that is fueled by game engine technology it allows us to work in a way that is much more
03:07akin to live action production than traditional digital production unlike traditional previews where
03:12the representational set is very um you know very crude up and ready uh here you're getting much
03:18closer to the to the end result so you know gives the director a lot a lot more ability to
03:23say okay
03:24that's a wrap and really be confident that the shot is um is what they want and cut i'm happy
03:30with that
03:31one michael all right so now that we've uh done this part we can take a look at how the
03:36performances we
03:37just captured work in the overall piece in the last take we recorded both the camera
03:40her facial animation as well as her body animation don't leave me when she drops to her knees
03:46we're gonna actually swing this shot in and this shot was something we created in our cinematic
03:52department but we'll be using the body motion from what we just shot so this process we're calling real
03:57time cinematography allows you to see every detail of the scene in real time face voice atmospherics vfx
04:03lighting everything you can do anything you can you know you could basically put an audience in the
04:08in the middle of you know disney's fantasia it's crazy what you're gonna be able to do play back in
04:14three
04:33please stop you'll never come back if you go there's nothing to go back to we only have each other
04:41now don't abandon me
04:42please everyone suffers they were right about me senua listen to me not them
04:54they were afraid like children scared of the dark so was i they made up monsters to fill the void
05:04that doesn't make it that doesn't make them real they make them real no no
05:12they wouldn't be afraid like a little bit about me
05:40don't
05:42Grazie.
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