Archives For Cutscenes

Valve have opened the beta for their in-house cinematic tool, the Source Filmmaker. Below is a video taking us through its various features, but those I’m most interested in are the abilities to not only pause and reframe shots in realtime, but also pose and and animate characters on the fly.

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This is one of the new directions I’ve been anticipating we take as an industry as a whole as we do away with the idea of creating animations and rigs in content creation packages such as Maya and 3DS Max and animate directly in the engine, removing both the export step and more importantly the disconnect between what you make in the DCC and later see in the game with the correct camera, rigging, and all the motions blending together – allowing us to truly work in a WYSIWYG environment.

Currently the darlings of the CG Game Trailer world after stealing the title from Blur Studio, Digic Pictures have just released their latest reel.

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Although only containing a handful of updates from their 2010 version, this video shows that they owned pretty much every CG Trailer you got excited about in the last few years.

A long video, and relevant only for pre-rendered cinematics due to the high-res nature of many of their challenges, but this cinematics panel from Blizzcon 2011 hammers home the importance of reference gathering for top-level animation.

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Once again, the Japanese Softimage site has posted information on another showpiece title – and they spend a heavy amount of time talking about how Softimage interfaces with Motionbuilder. This is encouraging for me as I’ve decided to dive fully into Motionbuilder for my current project after finding it to be the most rounded solution for mocap, keyframe and facial animation out there.

Final Fantasy XIII Hair Rig

When we initially showed Mass Effect at E3 2006 I recall a handful of Square developers attending to evaluate the facial animation. While it looks like their production methods are somewhat dated due to the long development cycle, playing FFXIII shows the eventual result to be outstanding – presumably due to their dedicated engine for facial closeups and meticulous planning.

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Cinematics Sans Cutscenes

April 23rd, 2010 — 4 Comments

Due to the heavy reliance on video examples it was insufficient to simply post slides of the session I gave at the Montreal International Game Summit in November, so here is the full write-up outlining a proposal for a different approach to cutscenes as a form of delivering cinematic experiences in videogames.

Halo 3 Sniper Scope

First, a little bit of background about where I’m coming from. I’ve been working on games now for nearly a decade in a variety of both in-game and cinematic roles, with the in-game side mostly focussing on player control, cameras and animation-system design relating to gameplay, whereas the cinematic part is about pure art and storytelling, getting information across to the player in as efficient a manner as possible.

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Mass Effect 2 Out Today

January 26th, 2010 — 1 Comment

Today in North America – Friday in Europe. Go pick it up for Xbox or PC!

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This is the launch trailer, and I count some 75% of the shots here were done by the Montreal Cinematics team. So far the reviews have been overwhelmingly positive, but I still nervously await the ultimate litmus test – the ever-critical girlfriend…

With two weeks to go from today, I thought I should plug that I’ll be speaking at the Montreal International Game Summit, with the talk entitled Cinematics Sans Cutscenes. Here is the abstract:

Cutscenes are a divisive subject amongst videogame developers. We rely on them as a relatively production-safe solution for imparting exposition and story progression, to give the player objective location information, and to reward achievement and successes like level completion. However, they cut more than just the camera. The flow, immersion, and most of all, interactivity uniquely enjoyed by the medium of videogames all take a hit for their (often unskippable) duration.

In their defense however, attempts to forego their inclusion can result in a weaker visual presentation and take us further away from an emotional connection with characters and story. Additionally, a quick scan of screenshots previewing upcoming games illustrates our growing reluctance as an industry to present titles from the in-game perspective, where cameras are rightly skewed towards gameplay.

This talk explores various techniques used by games over the years to create a cinematic look outside of the traditional reliance on cutscenes, with the pros and cons of each, finishing with suggestions on how these might be combined in the future to offer cinematic moments while keeping the player in the game.

Takeaway: Techniques alternative to cutscenes for imparting interactive story and cinematic moments in games.

Intended Audience: Game Designers, Writers, Animators and those involved in storytelling.

Should you be attending the conference please stop by at 2.45 on Monday afternoon. If at least one of my observations is taken onboard then we might just reduce our reliance on cutscenes for storytelling.

This, the final talk I’ll post from GDC’08, centred on the development of the first company-wide technology platform (or engine) for Square Enix. Despite the heavy tech-focus, this was the largest lineup I attended at the conference due to the chance of gleaning any information from these Japanese RPG masters.

Square Enix: The Technology of FINAL FANTASY

Taku Murata – General Manager, Technical Research Division

Traditionally, a new platform was created for each title, with the game first made in Japanese and translations following much later. This looks set to change with the latest upcoming releases which will be very exciting to many western fans, and the target platforms (for the engine) are PS3, PC and XBOX360.

Murata’s history reads like something of a chronology of technological breakthroughs in Japanese game development, with much of his work driven by animation – in particular facial animation. Of interest most of all was the admission that several of the driving forces for this new engine centred on displaying characters’ faces to a very high fidelity in close-up.

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