00:00www.uncharted 4.0
00:32What makes Uncharted 4's graphics unique is we have a physically based render. The material response, the lighting, everything obeys
00:40as close as we can the physical rules of reality.
00:44But the art direction specified almost a more painterly look. The landscapes are rich, the clouds are rich, nothing is
00:50bright and overexposed.
00:52It doesn't look like somebody's photo that they posted on the internet, it looks like somebody painted it.
00:57And there's a lot of subtlety that went into the rendering tech but also just the way our artists use
01:03the tools to achieve that sort of painterly realist look.
01:07The biggest technical challenge with Uncharted 4 was just the sheer variety of stuff that we have to do and
01:12do well.
01:13As a lead technical artist, what we usually do is just try to find that kind of bridge between programming
01:19and art and try to make sure that kind of the needs of both are met.
01:25Graphics programming is not a very sexy task. It's like there's a lot of like very low level stuff. We
01:31can see very things from very high level systems like oh how we're going to be rendering skin or how
01:37we're going to be able to portray hair or water.
01:40So they see the graphics but they don't see like the amount of work from the graphics perspective.
01:45There's a lot of challenges not seen straight away but it's like rendering a lot of like the hair and
01:52anything with that glass surface. It's actually very complicated.
01:55First basically there's the geometry phase where we render all of the objects in the world. After that we have
02:01atmosphere. That kind of includes particles too.
02:03whether that's dust or environmental effects. And then there's post-processing which is a mix of just kind of technical
02:09features like anti-aliasing but also artistic features like color tint.
02:14So here in the engine we have to support different types of lighting from ambient lighting to direct lighting from
02:18the sun.
02:19Rendering a cinematic is fundamentally all of the same tech as rendering gameplay. The only difference is in the way
02:25we use the tech. We do a lot more custom runtime lights.
02:28We'll often do a standard three-point lighting setup with the key fill and a rim light on the character.
02:33Sometimes we do special lights to put an extra glint in the character's eye.
02:36To render a character in cinematics you have to bring out what the character is. You have to have these
02:42very dramatic lights which just to create like more mood into the scenes.
02:46Lighting is really critical to making our wide vistas look really believable. It's not just a matter of placing the
02:54sun and some blue sky. The atmosphere is also controlled by the lighting artists.
02:58So the way things get hazy in the distance. The fall off of that haze is really important to the
03:03sense of depth.
03:04And we actually have two layers of fog if we need to kind of exaggerate parts that are further in
03:08the distance or change something up for stuff that's up close.
03:10And then obviously effects plays a huge role because they take a pass on the vista and add all the
03:18sort of clouds and volumetrics that are more localized and specific to the environment rather than being a global fog
03:25effect.
03:25A big part of creating these gigantic scenes where you can see really, really far off is composition.
03:30And it's really great because we try and create our environments in a fashion that would lead you to look
03:35at a particular set piece in the distance.
03:37The planes of Madagascar were actually one of our major kind of optimization efforts on the engine.
03:43Because you can see so far, and this really isn't an open world game, we had to find ways to
03:48be able to push just tons and tons of geometry through the renderer.
03:52So our engineers kind of teamed up with a couple of the environment artists and we did some just raw
03:57brute force engine optimization, but we also came up with a bunch of clever techniques.
04:01Basically what we ended up doing is every single section that you went through had a low resolution version of
04:07it that we would just swap behind your back.
04:08So when you're looking back or left or right or in front of you even, there are all these multiple
04:13versions of these environments that look indistinguishable at a distance, but they lack all of the super high fidelity detail.
04:19And at the same time it's like be able to fade them like very smoothly closer to the camera and
04:24have this high quality.
04:25At the same time you have the grass or the leaves is like in the trees, it's like those are
04:29things that they need to be transitioning as well as we are driving from one side to the other of
04:34this vast suspense of the rain.
04:36I guess the great thing about Naughty Dog is we don't ever set out to make the biggest game out
04:42there.
04:43We just go out there to make the biggest thing that we can possibly make every time.
04:47For the longest time I forced myself not to like it as we were developing it because I felt that
04:53it was more productive.
04:54Because there were all these things that I wanted to pick apart and be like oh we can make this
04:57better, we should make this better.
04:58But towards the end of it it was so hard not to like it.
05:06PlayStation
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