00:02Hello, my name is Mike Yeomans and I'm a lighting lead here at Motive. Today my teammates and
00:07I are going to talk a bit about the lighting on Dead Space Remake. First of all we're going
00:12to talk about how we are recreating the fantastic lighting design of Dead Space 1, we'll follow
00:17up with our lighting process and advances in real-time lighting, and lastly we'll show
00:22you how we create an immersive sense of atmosphere which is an important visual pillar for us.
00:26Dead Space had iconic design down to the last detail, and the lighting fixtures weren't
00:32left out of this equation, they just felt unique and that they fit into the design of the ship
00:36perfectly. We have reimagined the lighting design of the Ishimura and Valor, staying true to the
00:42originals while creating additional fixtures that fit into this established direction. The fixture
00:47design feels modern while the bulb technology feels grounded in the present day. We are creating
00:53the illusion of depth in our fixtures so you can see the inner workings of the bulb beyond
00:58the glass using emissive shaders with a parallax effect. The brightness of the fixture respects
01:03the intensities of their real-world counterparts and our lighting system uses the surface area
01:08of our emissive surfaces to determine how bright the bulbs get. Our volumetric lighting creates
01:14realistic cones of light that are unique to each fixture design, so we get really interesting
01:19shards of light with a hint of colour. Much like in the real world, we use Kelvin temperature
01:24to determine the hue of our lights so once again they feel familiar to what you would
01:28expect in real life. Area lights were previously reserved mostly for cinematics due to their
01:34increased performance cost. We are using them more extensively in Dead Space Remake as they
01:39help to create convincing specular shapes, diffused lighting and shadows, and a more accurate volumetric
01:45shape. Simply put, they have lighting qualities that standard spotlights just can't achieve.
01:51Area lights make the most sense for rectangular looking light fixtures such as signage. It
01:55would have been hard to reproduce the lighting from these types of sources with more punctual
01:59lights. Hi, my name is Mathieu Tétrault and I'm a senior lighting artist on Dead Space Remake.
02:05Our lighting artists are able to craft the lighting in real time and control exactly how much
02:11indirect light or global illumination is bouncing around the sea. In previous game, we had to
02:17do offline calculations to pre-compute lighting and apply it to geometry in the form of light
02:22maps. This was time consuming for artists and would limit any drastic lighting changes.
02:27Our remake is using a new GPU probe system which allow real-time approximation of indirect light.
02:34Artists can get direct feedback from the change and can better match the amazing concept art.
02:39Our tools allow lighting artists to visualize individual lighting passes and material properties
02:45to isolate issues and iterate on quality. As each light is activated and dialed in, we can see
02:51the bounce lighting react in real time. This approach was essential to ensure we can accommodate
02:57all drastic lighting changes that occur in real time in front of the player. Scary lighting changes,
03:06quarantine,
03:16light flickering.
03:17Light flickering.
03:19We place fixture in the ship much like it would have been assembled in a shipyard. Then, we give an
03:25area a distinct character
03:27by changing the behavior and setting on each fixture instance. This allows each area to have its own
03:33signature mood, ambience, and level of horror. We focus on developing credible light
03:39behavior such as flickering that is specific to different types of light, from fluorescent to
03:44incandescent and allogen. Imagine an old fluorescence light tube constantly flickering while trying to turn on.
03:52In this video, we can see how the electrical current is driving the behavior of different fixture technology, from fluorescence
04:00to incandescent.
04:09In game development, we often use fog to simulate atmospheric perspective and add ambience to a level. It is used
04:17to communicate a sense of depth and detach the different elements of the background. In dead space, the atmosphere of
04:24the ship is one of the key contributors of the sense of horror. To create that atmosphere, we've gone one
04:30step further.
04:31We are putting a lot of energy into creating a realistic volumetric fog solution.
04:36First, we need a lot of control to create the dreadful atmosphere expected in dead space.
04:43With our system, we can simulate a layered fog approach.
04:48We have control over the textures that move and shift inside of the fog.
04:54We can control the speed of the movement and detail in the texture.
04:59We can recreate a fog creeping along the floor.
05:03We have also control over the absorption.
05:06It gives the feeling of a thick, dense smoke that absorbs light.
05:11Very much like the smoke that collects on the ceiling during a fire.
05:15We can also control the color of the fog for those moments when we need a little extra punch.
05:21Second, we need a convincing light interaction with the fog.
05:26When we combine our lighting and the fog, we immediately see the impact.
05:32We can easily sculpt and tweak the shard of light cutting across the room.
05:37It really adds a lot to a scene.
05:40We can go from the simplest environment to a gloomy looking scene.
05:44Lastly, we need something flexible.
05:46Whenever we have a big change and we need to adjust the mood of the scene, we can animate and
05:52adjust the environment fog.
05:54This is especially useful when we do transition from the inside of the USG Ishimura to the outside.
06:02We will be able to contrast the heavy ambience of our interior with the complete lack of atmosphere in the
06:09outer space.
06:18of the reflective states to the outside of the outside of the 수도 barrier town.
06:22In this former妳 to open my eyes and recognize the outlet itself here.
06:24Because underneath the material lines are very distinct, the temperature of the speed of the wind itself.
06:24There's an empty space here.
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