00:09Sì, è stato il momento di raccontare la storia con Ciri.
00:15C'è stato fatto molto.
00:16C'è un grande compasso moral, e si può usare queste emozioni per agire.
00:23Ciri è tutto per diventare la Witcher, e è molto determinata a seguire questo passaggio.
00:34La storia di Ciri è una storia di Ciri, e la storia di Ciri è una storia di Ciri.
00:47C'è un'ottima storia che Ciri e Ciri sono un po' di mirror di un altro.
00:53La tradizioni di Stromford significa che Ciri ha bisogno di essere sacrificato, che è la sua destina, e che accettava
00:59la destina.
01:01Ciri è conosco come una persona che non accettava la destina, che si fanno avanti.
01:06Ciri era proprio sento che Ciri era sento.
01:09Ancora, anche se guarda la sua voce, quando diceva che c'è un po' di salvezza.
01:17E tu puoi sentire che c'è una destina, che c'è qualcosa che si cresceva, che c'è qualcosa
01:22che si cresceva, che c'è qualcosa che si dovrebbe fare.
01:23Ma che c'è una storia di Ciri, che c'è una storia di Ciri.
01:53C'è una cosa che si cresceva, che c'è una storia di Ciri.
01:56C'è una storia di Ciri, per la visione che si cresceva, che si cresceva con Ciri.
02:00E si cresce un po' di più emotione che si cresce, che si cresce la situazione di Ciri.
02:11è diverso da quello che Geralt farà.
02:14Si vive con queste emozioni, si è collegata con herself.
02:17È tutto ciò che vogliamo, per andare in giù, per andare in giù...
02:22...per andare in giù...
02:22Abbiamo sempre cercato di camminare con la style Slavic
02:26e continuare con il libro Sapkowski.
02:29Penso che la style per i personaggi, le faces, le hairstyles...
02:33Puoi trovare questi tipo di faces
02:35in le villaggi, qui e qui.
02:38Quindi è molto importante vedere la possibilità di tutto il centro Europa.
02:44Juste l'ambiguità della storia di tutto,
02:47penso che sia molto più in cui Sapkowski ha creato gli storici.
02:52È anche in la nostra storia europea,
02:57che c'è la scuola di grigia,
02:59non c'è la scuola,
03:01e la famosa Lesser Evil.
03:05È un grande progetto.
03:07Inizialmente, la storia che abbiamo creato con il nostro direttore
03:11e con la team CDPR,
03:12e poi la grande mock-up session.
03:15È durata circa 14 giorni.
03:18Molte persone sono coinvolte,
03:19e sono sicura che non sarebbe così incredibile
03:23se non abbiamo avuto così un'ottima crew.
03:25Grazie a tutti.
03:55In a trailer, for example, when you see Ciri, when she enters the fog, you can see that she's confused,
04:02that she doesn't know where to look, that the camera is more aggressive with motion, and we wanted to express
04:09more of this confusion. We wanted to have this glimpse of truth in it.
04:13But also there are scenes when magic happens, and then we want to switch from those handheld cameras to more
04:20like creative one.
04:21The style completely changes, so we go with cranes now, we go with dollies.
04:26That was quite a lot of work to animate them properly and have this magical feeling to them. And they
04:32are no longer handheld, they are all created by the animators.
04:35There are these nuances that we really want to take care of and to make it feel really like a
04:43movie.
04:45We organized three shooting days with rented movie gear. We had lenses that we picked before, and we gathered lots
04:54and lots of shots with different features on it, like distortions, lens flares, bloom, how the bokeh behaves.
05:00Based on that, we could really create digital representation of those lenses, gathering all those features, so we can really
05:08have something unique, and I'm pretty glad about it, because this was something, I think, pretty extraordinary in a gaming
05:15engine.
05:21My favorite part is the beginning, essentially. It's where we parallel the traditional preparations that Meoni goes through, and then
05:30the Witcher preparations that Ciri goes through.
05:33For the Meoni, we had a lot more pleasure to eye a color palette, and a bit warmer, but for
05:39the Ciri, we set up our environment darker and more moody.
05:42We wanted to create a bit more mysterious mood, which allows us to create more dense atmosphere and bring to
05:51the table a bit different story, because at the end, both of the characters have a unique story behind preparation.
06:01Ciri is watching Zyvan saying goodbye to Mioni, saying about destiny, saying that she was kind of born, almost, meant
06:12to make it, right, kind of save them.
06:15It was really important for us to actually write this monologue in a way that Geralt could have said that
06:21about Ciri as well.
06:23Dearest daughter, I've watched G grow from a devilishly curious child into a remarkable young lass with much grace, wisdom,
06:35and kindness.
06:39That makes me emotional, because this is also something that she was fighting her entire life.
06:46Almost all the time, someone wanted something from her.
07:04We created a physical representation of Pauk's shoulders and his attacking arms, and having four operators, we kind of recreated
07:16the whole monster.
07:17On the screen, we saw in real time a moving bow.
07:21We created Pauk's style sequence, just practiced it a couple times.
07:25We practiced how to move the bow, how to synchronize, and it worked.
07:31It worked beautifully.
07:45When it comes to cooperation, you know, like from the animation perspective, we did start with animation guidelines for the
07:51Bauk.
07:51I've known Bauk for a while, and I kind of found a way to divide him into three specific parts.
07:57So when it comes to the head, for us, it's kind of like a goblin head on the neck of
08:01a snake.
08:02The front arms are as similar to a jaguar as possible, while the pincers are literally scorpion claws, and the
08:09tail and the back legs are literally dinosaurs.
08:11And because of that, we're able to actually create this kind of animation Bible for the Bauk, and then it
08:17kind of allowed us to really quickly build this common language to make sure that what we animate at CD
08:23Projekt is actually as close as possible to what you see in the trailer.
08:26The journey with Unreal Engine was wonderful.
08:30We were able to have much more tries and instant previews, and much more iterations to get to the proper
08:38final result.
08:40Oh, please, no!
08:44She wants to go to the woods.
08:46The chosen one is tradition.
08:55Well, the first thing that puts a smile on my face is the runtime, of course.
08:59I'm really glad we could pull up six minutes of that.
09:02Even if you don't know anything about The Witcher, you can just play it, watch it, and it's a short
09:07story that's understandable from the start to finish.
09:10I love the slow burn, which is something very unique for a game trailer, I would say.
09:22Every movie that we do, our goal is to have the best knowledge of the IP, to stay true to
09:29the IP, to understand the vision of the developers.
09:33Also, the purpose of the asset that we're creating, knowing The Witcher universe inside out is a key to do
09:39something that feels equally original as well as true to its foundation.
09:45This trailer is an adaptation of a story that we actually want to tell in the game.
09:50We're not going to give you a black or white situation.
09:53We expect you to consider some situations, make some tough choices, and as an example, that situation that may happen
10:01after the trailer is over is such a tough choice.
10:04Gods? There are no gods here.
10:08There are only monsters.
10:15We're not living with ghosts.
10:18Cheier
10:19...
10:20Be
10:20...
10:20You
10:20...
10:21...
10:21Grazie a tutti
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