00:05In molti modi è difficile creare una 3rd person game che una 1st person game
00:09perché la sua character è on screen a tutte le momenti
00:12e c'è un'esperienza che si avvicina il mondo e reagirà realistica
00:16Here's how we're approcciate questo in Hellblade
00:25In our early 3rd person action games
00:27The character was little more than a robot that you would push around through the world
00:32And in Enslade we then took the idea that the character is alive
00:35and started to incorporate some body language there so she could express back to the player
00:40We have more memory now and better animation tools
00:42So we want to make sure that Senua's appearance and movement is part of what makes her feel believable
00:49Now we already had Senua moving around the world in a basic fashion
00:53But we kept wanting to add more layers like what would she look like when she was frightened
00:58When she's wading through water, when she's wounded
01:02And the list just kept growing and growing
01:04But we only have two animators on the project and they have to cover all of Senua and all of
01:10the enemies
01:11So this was a problem that needed solving
01:14Having built our own mocap studio
01:16We decided that motion capture was the only possible way that we had a chance of achieving this within our
01:22constraints
01:23As we had never used mocap before for gameplay animations
01:26We had to test that this would work
01:28And as there was no fallback
01:30The only other option would be to severely limit what Senua was capable of
01:34We started with the basics
01:35Standing, walking, running, jogging
01:37In all directions
01:38How do you make that feel responsive and look good with motion capture?
01:49So here's an example of what the the takes look like before they've been cleaned up
01:56So you can see there are like parts where the feet are broken and the toes and things like that
02:04And then but it's easy to fix so here's a version where actually it's all been cleaned up
02:11It looks much more polished and it's at this stage that we would put it into the game
02:17I find the biggest challenge is making nice blends
02:21So obviously you want the animations to blend really well together and then to be seamless so you can't see
02:26where the transitions start and end
02:29But also keeping the responsiveness of the characters that we want
02:33I've brought all the animations all the movement animations in for Senua
02:37This is a strafe blend space
02:39As you can see all these I mean these are what like
02:43Five or six animations and then they're all in phase and in sync and they just blend together perfectly
02:52To add to the responsiveness we added things like having her lean in the direction that you're running in
02:58It gives you a response straight away as soon as you start like turning the stick
03:03It just feels more natural than her running in a straight line all the time
03:07Now we knew the basics worked we then captured all the layers walking in a fearful manner
03:12Walking through water walking through fire walking through deep water
03:16That one was particularly difficult because you have to simulate the resistance that the water would have against the character
03:30So the biggest issue with looping animations is that after a while they just look like looping animations
03:36People don't always walk in the same way so
03:39We can try and add this variety to the game by mixing together a number of different cycles with different
03:44characteristics
03:45Let's make her cough
03:48Okay, so here we're trying to simulate her walking through smoke and
03:54I've added three looping animations which it decides to play at random intervals
04:01This means that we don't always get the same loop and it's totally random each time
04:08Which adds unlimited variety
04:15We also captured all of our one-off interactions such as opening doors or traversing parts of the environment such
04:22as narrow ledges or precarious beams
04:30We now had the motion capture animation for Senua crossing the beam in a steady fashion balancing to the extreme
04:36left and extreme right and falling
04:39So code and design can now take this and vary the amount that she would
04:43naturally sway ultimately leading to her falling and in game
04:48You would have to compensate for the swaying using the left sticks to get her across safely
05:00So far we've shot three to four days worth of movement which gives us the bulk of what we need
05:05and we're in the process of adding these to the game
05:08The results so far have been promising and we'll capture more as and when we need it
05:13I don't see motion capture as a silver bullet that replaces animators in fact it's quite the opposite
05:20It's an empowering tool for animators so whenever we do the motion capture session the animators are there
05:26to make sure that they get exactly what they want
05:29Only then that can they take the raw materials and shape the character to be responsive to be
05:35consistent to be who they want the character to be
05:40In the same way that an illustrator would take a live model or photo reference to create their vision of
05:46what they want that illustration to be
05:49The end result is that animators like Chris can spend less time on the basics and the mundane
05:54and focus their attention on making the character feel responsive natural and full of character
06:03ônThat's
06:05a 2020他ず他他led他他
06:09Herdesyne por
06:11Herdesyne por
06:21Tore klamm
06:30Ingen sinne var
06:41Lairofo
06:49Te po so
07:00Shennata
07:07Grazie a tutti.
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