00:25I'm Marty Stoltz, I'm the Cinematic Director here at Big Huge Games.
00:28Cinematics have changed over the years. It used to be you would get your opening cinematic and your ending cinematic
00:33and you'd get a couple other ones in the middle of the game.
00:36That's changed now that we do a lot more run time stuff. What is a cinematic? Is it the little
00:40mini vignette that you get for two seconds when you break away to a character?
00:44Is it a boss battle scene that you get? What a cinematic is has changed a lot over the years.
00:51But generally I try to think of it as we do the things that the gameplay can't do. We tell
00:55the story elements that you can't do in the mechanics in the engine of the game.
00:59From the beginning we were wrong.
01:01It starts with a script. And a lot of our script supports a main quest that you do in the
01:06game. So obviously they had to work out what the main quest and all the elements of the main quest.
01:11And then they determine, well, what's going to be a cinematic? What's not going to be a cinematic? What can
01:16we do in the game? What can't we do in the game?
01:18We take that script and we block it out into an animatic, which is really just a rough example of
01:23what the movie looks like.
01:24And you can see here, this is our opening sequence where we have two gnomes that wheel your character's body
01:30down a hallway.
01:31And really, I mean, the character models aren't even really the final models at all. It's just a max biped.
01:37But we get an idea of what our shots are going to be, what the timing's going to be like,
01:42even a rough action of what the characters are going to do.
01:45And so we'll take these shots and we'll go into the motion capture studio. And this time we went to
01:49EA Vancouver to do our motion capture sessions.
01:53And we would get actors or in some cases, if it's a fight scene, stunt performers, and we will have
01:58them act out their actions.
02:00If they're talking, we'll have them talk as we're playing the video and they get their timing from the, from
02:04the animatic video.
02:06So that way, when we go into shoot, all our timing is already worked out in the motion capture studio.
02:11So when we bring that footage back here, it's much easier to time out.
02:15What do you think this one is then? Alpha? Donani? Could even be a Jotun?
02:21Always a surprise, eh, Garand?
02:23Eyes on the job, boy. Don't matter what it is. Dev's dead.
02:29The biggest challenge, I think, and some of the challenges we had on this project, and more than others, is
02:34space.
02:35What space does the scene actually happen in?
02:37Because when you shoot it in a studio, it's just a studio. It's a bunch of blank walls.
02:42But when you put it into an actual physical environment that our people are building, then, you know, guys might
02:47walk into walls.
02:48Cameras might bump into walls. There might be objects there.
02:52And the thing you have to remember is, cinematics aren't, we're not making movies, we're making games.
02:56And so the movies have to support the game.
02:58How are you looking at it?
02:59What are you looking at?
03:00How are you looking at it?
03:00Ooh, I'm looking at it!
03:13Probably out of the Visionaries, I probably worked with Ken Ralston the most.
03:18And when we really hadn't talked, he doesn't sit down with me and say, I want you to do this
03:22shot or try this.
03:23Abbiamo un po' di parlare, parlare sulle esperienze.
03:27In molti giocatori, ci sono concentrati sull'attività principale.
03:30Ma in questo caso, ci sono creati il tuo attività principale.
03:32Quindi non abbiamo una voce per il attività, non conoscevano come il face.
03:36Quindi devi sorti rinforzare da questo attività principale e concentrare sull'attività
03:41e sull'attività di altri personaggi che gli interagni con, e cercare di mettere un'emphasia sull'attività.
03:47Se sei un film, come potrebbe fare questo attività più interessante?
03:51Se sei un buon personaggio, potremmo la camera più, potremmo la scuola più, potremmo la scuola più.
03:56Ma Gadflò, il nuovo king di l'antività di l'antività, ci sorprende tutti i nostri.
04:01Sincontro tra gli altri, è stato un po' di loro.
04:04Abbiamo molti miei miei miei miei miei miei miei.
04:05Il primo è in questa sequenza, dove gli gnomi sono prendendo il tuo corpo e sono diventato in una città
04:11in una città in una città in una città.
04:13Certo di scartare il tuo corpo, che è già morto, e sono pensato, dicendo, beh, let's rinforzare di questo.
04:17Certo di scartare il tuo corpo, e abbiamo questo momento, dove vi sentire i suoi effetti.
04:23E noi fai ad un'attività, e come si rinforzano più informazioni, come la camera si rinforzano.
04:32E noi rinforzano, oh mio Dio, siamo rinforzati con le persone.
04:35e questo punto, il punto di vista, il punto di mettere un piacere di questa scena
04:40e poi pensano che stiamo all'interno, perché stiamo all'interno di questi bambini?
04:46E poi si scopriamo al wide shot e vediamo che siamo in un paio di bambini
04:49e questo, per me, è interessante perché la scena builda solo da la face
04:53e come un punto di vista, stiamo a vedere elementi di questo come together
05:15When you work on a lot of licensed titles, things are sort of locked
05:18You have your certain set story, characters act a certain way
05:21and you can certainly be creative, but it's far different than when you work on a brand new IP
05:26and, you know, the door's open for what you want to do creatively
05:36There's a lot of personal ownership and a lot of the different elements and the different facets of this game
05:41that you don't always get on a video game
05:43Power like none we had ever seen, terrible and deadly
05:52When I shoot a movie or I work on a movie, you go into the theater
05:56and they have a premiere and everyone stands around and they clap
05:59and you actually get to see people react to the work you do
06:03In this business, you don't really get to do that
06:04You get to see the game on the store shelf and that's kind of your reward
06:09And that's it. So you kind of hope, imagine while you're playing it
06:14that people are going to interact the way you do
06:17Perhaps we should have foreseen what might be born on this rising tide
06:23What force might awaken
06:25If the cinematic plays well enough, they're going to grab that control and want to play the game
06:29and that's probably our ultimate goal
06:31And at that point, when we can do that, when we can get the audience to stop realizing they're watching
06:36a cinematic
06:36then we got them at that point
06:38That's the time that we really are bringing entertainment to people
06:41And that's really what it's about
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