00:00PEGGI SEDICI
00:30and we definitely wanted to find a way to
00:32represent that in the art.
00:34So what we have here is we have a shift
00:35from the lighting style at the start
00:38of the game which is very much a found lighting
00:40style. It's all lit by the
00:41sunlight and bounce light, there's no artificial
00:43light sources at all and for the first time
00:46then in the storm scene we changed to a much more
00:47filmic, set-lit feel
00:49and that is to get that little feeling
00:51of unease there.
00:53There's a colour change also so we go from
00:55a natural grade to more of a blue-green
00:57tint and that also brings that feeling
00:59of unease that everything might not be quite
01:01right and it's the first time in the game that we
01:03really see that. So it kicks off then
01:06what is to follow in the rest of the game in
01:07terms of the horror aspects when they do get on board
01:09the ship.
01:11As well as that there's a really important change
01:13of camera in terms of when the storm starts
01:16so we go from a more
01:18composed, steady camera to
01:19a really hand-held feel and
01:21the idea there is that we want to emphasise
01:24the effects of the storm and have a lot more
01:25kinetic feel to the camera work.
01:28Also the feeling there is that
01:29you want the audience present in the scene
01:31so having a hand-held it gives this feeling
01:33that there's almost an unseen participant
01:35following around the characters filming this stuff.
01:38So for example we try things like
01:39every time there's movement or a character's
01:41dragged or pushed off the camera goes with them
01:43and follows them just to get the impression that
01:45you're right there with them and you're taking part
01:47in the storm as well. So that was quite an important beat.
01:50Once the characters journey
01:51into the ghost ship the wards are still
01:53ever-present and we use audio to remind
01:55the players of this with the waves
01:57pounding against the hull of the boat
01:59like the heartbeat of an enormous beast
02:01with these metal creaks and groans
02:03just revive and ready to swallow them up
02:05at any moment.
02:08The underwater content is a very different
02:11challenge. There's a different timing
02:13mindset you have to consider
02:15and it's all about observing
02:17and absorbing yourself into that area.
02:21We looked at various different reference
02:23film, TV and game reference too.
02:27Luckily two of us on the team
02:28scuba dive before which was good.
02:30We even went to a local pool
02:33and did some film reference
02:34for some of the more complicated scenes
02:36in the game, the fight scenes.
02:38We found in a lot of the reference
02:40the divers would do a small paddle movement
02:43with their hands to readjust
02:45and centre themselves and also
02:47we found a lot of the divers
02:49use the environment to pull
02:51themselves along and push off from.
02:53So we tried to incorporate those details
02:55into our work.
02:57There's something really fun about shooting
02:59on stormy conditions and there's something
03:00fun about conveying that but interestingly
03:03one of the things in conveying that
03:05in terms of CG is that you have to do
03:07a lot of things you'd maybe get for free
03:08if you were actually shooting it.
03:10So if you were really out there in a storm
03:12holding your camera you would be getting
03:13blown around and you'd be getting rain on the lens
03:15or whatever you might get.
03:16When you work in CG everything's automatically clean
03:19so sometimes it's about how you can
03:21dirty up the shots and bring back some of those
03:23natural elements to convince the viewer
03:25that actually that storm is real.
03:27So for example in the stormy sea
03:29you have a lot of mist, a lot of rain
03:31moving around, showing how windy it is,
03:33showing how stormy it is, blowing into the camera
03:35so that really adds a lot of life.
03:37In the underwater scene we used it for silt
03:39for plankton, for any kind of dirt
03:41and noise in the ocean and without
03:43that it can really seem quite lifeless
03:45so that was a hugely important element.
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