00:00Peggy 16
00:30Peggy 16
00:30Peggy 16
00:30Peggy 16
00:31Peggy 16
00:37Peggy 16
00:39Every second of movement you see in Beyond
00:41is motion capture, ranging from
00:44you know, simple in-game motions,
00:45walking, turning, all the way
00:47to stunts, fights,
00:49four-person fights on train roofs
00:51to performance capture to full facial
00:53and body capture at the same time.
00:55It's not your call, Iden.
00:57I can do what I want.
00:58It is unusual to go in and wear the suit
01:01and have these dots on your face and
01:03it's interesting because you're kind of like
01:05limited in certain ways, but you're also
01:07way more free than when you shoot a movie.
01:09I mean, you could kind of do whatever you want.
01:13The games we make at Quantic Dream are
01:14based in reality. Everything that actually
01:17happens in real life has to happen in our game
01:19and the only practical way to get that is to
01:21capture the real thing.
01:22We have to rebuild the world
01:24out of cardboard and tape and foam.
01:27We have to make sure it matches
01:28what's in the game
01:30and we have to make sure that we can actually
01:32capture with it because there are limitations
01:34to motion capture.
01:35So we have these very strange props
01:37that look really miserable,
01:39but they respect exactly
01:42the dimensions of the real set
01:45in 3D in the game
01:46so all the contacts are fine.
01:48and we can't use a car door in motion capture
01:52because it's shiny and it's really heavy.
01:55We can't see through it, so we have to build
01:56the approximate of a car door, but it has to
01:58at least have some of the real properties
02:00in the car door. Because just closing
02:02a cardboard doesn't play the same as a real car door.
02:05You're in a car
02:06and it's this ridiculous looking
02:08thing made out of 2x4s
02:11with a, you know, steering wheel.
02:15I'm a guy that likes to
02:16when I'm going through a casual environment
02:18I like to have my hands in my pocket.
02:20Well, your performance capture doesn't have pockets.
02:22So we created these velcro straps
02:25that became my pockets
02:26that I would have something to put my hands in.
02:28It's like pure imagination.
02:30Not just the fact that you're, you know,
02:32shooting a scene in a submarine.
02:35Cool!
02:37I was sure I'd love that.
02:40Or you're getting briefed about this
02:42intense mission that you're about to go on in Somalia.
02:45Jamal Sheik Sharif.
02:47It's like being a seven year old
02:49with your best friend
02:50and you're pretending that the world's gonna end
02:53and the bad guys are coming
02:54and we have to jump from couch to couch
02:56and avoid the lava.
02:57I think that that's also what makes it challenging
03:00but also really incredible and like raw.
03:04Everything becomes kind of bare
03:07and essential.
03:09But also it's sort of disturbing sometimes.
03:12You know, when you're eating in a scene
03:14and say we're eating pizza
03:15it's like a little piece of triangle cardboard
03:17that thank God says pizza on it
03:19or else I would not know what it is.
03:21We build the helicopter
03:22where there is this very intense dialogue
03:25between Judy and Clayton.
03:26So everything was on wheels
03:28and we were moving the helicopter.
03:30Because I trusted you!
03:32Performance capture is digital acting.
03:34The trickiest part of performance captures
03:36is the preparation.
03:37It's getting people ready to perform.
03:39Depending on how many actors you have
03:41it takes a while to put the 90 plus markers
03:44on the face.
03:45They all have to be placed specifically
03:46for them to work right on the rig.
03:48So you have 88 dots.
03:50These beads all over your face.
03:52Not only that, but you got all these
03:53hard ball like velcro things
03:56all over your body as well.
03:57it's going to pose a little bit of a challenge.
03:59I mean...
04:00All these little balls!
04:03All these little balls!
04:04Oh, fuck!
04:07I've got like ten bruises in my arm!
04:09Everything's very refined
04:10because they want to have
04:11a vocabulary to play with.
04:13So you try to be the material.
04:16You try to give them as much as you can.
04:19In our game we have dozens of hours
04:21of our mission.
04:24Capturing everything
04:26among the enormous amount of focus
04:28of the team to shoot almost every day
04:31during one year.
04:32And then of course, treating all this data
04:35bringing it to the character in the game.
04:38Nathan?
04:39Jody.
04:40Jody, where are you?
04:42Thirt Mac.
04:43The game itself really requires
04:45emotion and subtlety
04:46and I think there's no other way
04:48to capture all that
04:49than the way we're doing it.
04:50You know, they rely on each other.
04:52We couldn't get this performance
04:53without performance capture
04:54and it wouldn't be worth getting
04:57unless it was from these people.
04:58It's a really great mix
04:59of technology and talent.
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