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00:41in environments that have all this wind gusting around and it can be this nice little breeze and
00:46we can then push through an actual gust that like churns it up a little bit and then it settles
00:51back
00:51down. To achieve cinematic quality we looked at a lot of foams and the kind of things they were
00:56doing. One of the things in foam that we weren't able to do on the PS2 that we're able to
01:00do on
01:00the PS3 now is they have complex shaders and complex rendering techniques. That allows us
01:05to create multiple layers of textures that we can pipe into a shader that gives us complex skin
01:10The PS3 really opened up the floodgates for us to achieve the goals that we wanted to with the
01:17animation. We need much more CPU power than we've ever had before and the amount of memory that we
01:24have to work with now just really allows us to have the quantity and quality that we need
01:30especially with the layers that we're doing and all the processes that are going on right now
01:35you just could not be done in any other way. The RSX chip is the graphics chip and
01:42without that sucker you couldn't do any of this stuff. PlayStation 2 was extremely powerful for
01:49pushing a lot of polygons and this generation it's all about shaders and what the RSX chip allows us to
01:56to do is have these complex shader instructions pushed through relatively quickly and drawn pixel
02:03for pixel drawn very quickly as well. We have the power now to really take on human characters and
02:09make them believable. This is something that you know was an incredibly overwhelming task but we really
02:14took on head first. The PS3 was able to allow us to create subtleties that we wouldn't be able to
02:20do
02:20previously. Skin detail, pore detail, have you know anatomically correct body structures, elaborate
02:26facial expressions. These are all things that the power of the PS3 has really allowed us to actually
02:31create. One of the things that makes Drake so lifelike is the sheer volume of animations that
02:36we're doing on this game. We're doing about 10 times more than we've ever done in the past which is
02:41huge. I mean it's a huge step 10 times the amount of animation. Skin movement plays a huge role in
02:47keeping humans alive and when that skin moves it creates wrinkles. So we really knew that one way
02:52or another we had to get wrinkles in. We wouldn't be able to have dense enough geometry to create
02:57modeled in wrinkles so we basically figured out a technique of wrinkle mapping that generates wrinkles
03:02through textures. If Drake lifts up his brows one brow up and the other brow down he's going to get
03:08two
03:08different areas of wrinkles in his face based on how the muscles either expanding or contracting.
03:13That technology has really allowed us to create convincing characters that when they emote you
03:18really get a sense for the certain poses that they're creating. So we did water. You want to make
03:23really nice water. So it has to feel wet, it has to look like the player is interacting with it
03:29and
03:29if you shoot the surface you want it to react to that shot. If you shoot near the surface maybe
03:35there's
03:36some sort of a an impact on the soil that you also want to kind of that wind would impact
03:41and we get
03:42that as well and without the PlayStation 3 and without Naughty Dog being crazy I mean I mean we
03:50wouldn't be doing water that's for sure because it's crazy. We also spent a lot of time developing
03:56systems that allow us to emulate muscle structure inside of the body so when the character actually
04:01flexes his arm there's a bicep bulge. When he moves around his chest actually has volume and form to
04:06it so we created underlying joint structures that actually emulated muscles and now when Drake moves
04:11around he has a solid mass and solid form and he really feels like a believable character that's there
04:15and it's tangible. A lot of the ways that we're able to tell the story is through the environment
04:21through the other characters in the scene. Don't you guys usually just cut off a finger or something?
04:27We don't have to cut to a cutscene in order to deliver a line of dialogue or a story or
04:32or things that we want to portray to kind of lead the character on and lead Drake and the player
04:37on to
04:38the bigger story that's unveiling. So all that will happen while you're playing the game.
04:42We also looked at a lot of rendering techniques that take place in film, post blur effects,
04:47specific lighting per character, soft shadows, all of these things is what really brings cinematic
04:53quality characters to life and we try to emulate those things in the game.
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