Posts tagged cinematic

SR3 Jobsheet – Cutscene Lighting Pass

Here is an example jobsheet that I made for the Lighting Pass on a SR3 Cutscene:

High level documentation and examples helped outline the style we were aiming for. This document provided specifics and immediate goals including which colorscript (separate reference) to refer to .

SR3 Cinematics Progressed per the following:

  1. script
  2. storyboard
  3. animatic
  4. animation pass
  5. facial pass
  6. lighting & fx pass

SR3 Jobsheet – Cutscene Prop

Here is an example jobsheet for one of the many cinematic props for SR3 that I directed the outsourcing on:

These props were significantly simpler to execute with outsourcing as they only appeared in cinematics.  Standard game constraints and specifications did not need to be adhered to (e.g. no need for collision models).

We did author these a little higher resolution than normal items in the game would normally be as they were intended to be viewed in the cinematics.

SR3 Jobsheet – Cutscene Animation Pass

Here is an example of a jobsheet for an Animation Pass on a SR3 Cutscene:

At this point in the process, the focus is on integrating final assets including:

  • Final set
  • Final characters
  • Final props
  • Final vehicles
  • Mocap & secondary animation
  • Any change requests that have developed

SR3 Cinematics Progressed per the following:

  1. script
  2. storyboard
  3. animatic
  4. animation pass
  5. facial pass
  6. lighting & fx pass

(art test) – Heist Animatic

I recently took one of our old internal art tests.  I do these from time to time to evaluate the validity of the test in terms of our instruction, time required, usefulness of the result, etc. On a side note, we generally do not administer tests with applicants unless there is a compelling reason to do so.  However, we do use work such as this from ramping up exercises for newhires or employees interested in learning about or moving into a new role.

This test was fun.  It incorporated some PS2 generation art assets from an exploratory project that we never made at Volition.  The characters with simple FK rigs, the rooftop set, and the audio voice clips were provided. For those unfamiliar with animatics, these are used to pace, time, and scope a full cinematic.  From here, motion capture, fx, and other custom work would be scheduled for integration later in the process.

In terms of evaluation (click to expand…):

Instructions: Cinematic Artist Test (click to expand…):

Summoner2.Cinematic.02-“Sangaril Leaps In”

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This is the first in game cinematic and introduces Sangaril, a Munari (aquatic race), party member.

As with all Summoner 2 cinematics, I was responsible camera work, choreography via rough character animation, and implementation into the game. Each Summoner 2 cinematic averaged about 3 days of total work.

In hindsight, most of these scenes could improve from better pacing.  There is a notable lack of anticipation and dramatic pause.  Furthermore, the animation is extremely rough exhibiting neither the realism of motion capture nor the personality of key frame.  However, under the limited timeframe and staff capacity, I still view these as a creative accomplishment.

Summoner2.Cinematic.04-“The Rune Stone”

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This scene introduces a “summoning” stone, which are scattered throughout the world and unlock Maia’s summon abilities.  Of particular interest are the environment and the stone itself, as I created each.  The stone is interesting in that I hand created the mip maps such that as the player approached, the runes would glow and as the player moved away, the orange ring around the stone would appear (dissipating upon approach).  Additionally, the surface of the stone would become transparent upon approach revealing an animated, “living” rune and star-scape below.

Regarding the scene, in addition to the usual work listed below, I created the fragmentation pass on the ground.  I modelled fragments, split them up, bound them to a ripple space warp, and then shot them up/out in successive sequences.

As with all Summoner 2 cinematics, I was responsible camera work, choreography via rough character animation, and implementation into the game. Each Summoner 2 cinematic averaged about 3 days of total work.

In hindsight, most of these scenes could improve from better pacing.  There is a notable lack of anticipation and dramatic pause.  Furthermore, the animation is extremely rough exhibiting neither the realism of motion capture nor the personality of key frame.  However, under the limited timeframe and staff capacity, I still view these as a creative accomplishment.

Summoner2.Cinematic.05-“Prince Neru Forever”

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This was a fun scene.  I remember gathering with a few coworkers to choreograph the fight.  It turned out fairly well, imo, even showcasing Neru’s awkward “hair-blade” attack.  The kick at the end could stand some improvment.

As with all Summoner 2 cinematics, I was responsible camera work, choreography via rough character animation, and implementation into the game. Each Summoner 2 cinematic averaged about 3 days of total work.

In hindsight, most of these scenes could improve from better pacing.  There is a notable lack of anticipation and dramatic pause.  Furthermore, the animation is extremely rough exhibiting neither the realism of motion capture nor the personality of key frame.  However, under the limited timeframe and staff capacity, I still view these as a creative accomplishment.

Summoner2.Cinematic.06-“Leaving Teomura”

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This scene showcases the launch and transformation of the pirate airship that the player acquires.  This was a relatively fast scene to do.  Of note, I rigged the airship and painted the matte used in the final shot.

As with all Summoner 2 cinematics, I was responsible camera work, choreography via rough character animation, and implementation into the game. Each Summoner 2 cinematic averaged about 3 days of total work.

In hindsight, most of these scenes could improve from better pacing.  There is a notable lack of anticipation and dramatic pause.  Furthermore, the animation is extremely rough exhibiting neither the realism of motion capture nor the personality of key frame.  However, under the limited timeframe and staff capacity, I still view these as a creative accomplishment.

Summoner2.Cinematic.11-“The Heirophant’s Ritual”

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As with all Summoner 2 cinematics, I was responsible camera work, choreography via rough character animation, and implementation into the game. Each Summoner 2 cinematic averaged about 3 days of total work.

In hindsight, most of these scenes could improve from better pacing.  There is a notable lack of anticipation and dramatic pause.  Furthermore, the animation is extremely rough exhibiting neither the realism of motion capture nor the personality of key frame.  However, under the limited timeframe and staff capacity, I still view these as a creative accomplishment.

Summoner2.Cinematic.14-“Imarbeth’s Riddle”

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One trick employed with this scene is the shot where the three characters simultaneously press the crystals.  I fake three cameras by placing the characters next to one another with to black bars dividing them.  I complete the effect by using a camera that is far away with a very narrow fov to minimize the parallax and depth of field.

As with all Summoner 2 cinematics, I was responsible camera work, choreography via rough character animation, and implementation into the game. Each Summoner 2 cinematic averaged about 3 days of total work.

In hindsight, most of these scenes could improve from better pacing.  There is a notable lack of anticipation and dramatic pause.  Furthermore, the animation is extremely rough exhibiting neither the realism of motion capture nor the personality of key frame.  However, under the limited timeframe and staff capacity, I still view these as a creative accomplishment.

Summoner2.Cinematic.16-“Morbazan the Invicible”

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This was another fun scene as I was able to show Morbazan playing with his opponents and then ruthlessly eliminating them.

As with all Summoner 2 cinematics, I was responsible camera work, choreography via rough character animation, and implementation into the game. Each Summoner 2 cinematic averaged about 3 days of total work.

In hindsight, most of these scenes could improve from better pacing.  There is a notable lack of anticipation and dramatic pause.  Furthermore, the animation is extremely rough exhibiting neither the realism of motion capture nor the personality of key frame.  However, under the limited timeframe and staff capacity, I still view these as a creative accomplishment.

Summoner2.Cinematic.18-“I am Iari”

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This scene was fairly straightforward, with the exception of the droid.  I accomplished this effect by splitting the mesh and animating it exploding.  Then I reversed the keys to make it come back together.  After this I added the rotation by linking the exploded pieces to dummy objects animating at different speeds.

As with all Summoner 2 cinematics, I was responsible camera work, choreography via rough character animation, and implementation into the game. Each Summoner 2 cinematic averaged about 3 days of total work.

In hindsight, most of these scenes could improve from better pacing.  There is a notable lack of anticipation and dramatic pause.  Furthermore, the animation is extremely rough exhibiting neither the realism of motion capture nor the personality of key frame.  However, under the limited timeframe and staff capacity, I still view these as a creative accomplishment.

Summoner2.Cinematic.21-“Gods of Hunger”

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This scene introduces the brain creature and its guards that the player must defeat.  It fell below my expectations, primarily due to poor pacing on my part as it was a rush job.

As with all Summoner 2 cinematics, I was responsible camera work, choreography via rough character animation, and implementation into the game. Each Summoner 2 cinematic averaged about 3 days of total work.

In hindsight, most of these scenes could improve from better pacing.  There is a notable lack of anticipation and dramatic pause.  Furthermore, the animation is extremely rough exhibiting neither the realism of motion capture nor the personality of key frame.  However, under the limited timeframe and staff capacity, I still view these as a creative accomplishment.

Summoner2.Cinematic.22-“A Rift Between Worlds”

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This scene was pre-rendered in 3dsmax as it was simply easier to pull in the vfx and distortion.  It does blend in nearly seamlessly with the game visuals.

As with all Summoner 2 cinematics, I was responsible camera work, choreography via rough character animation, and implementation into the game. Each Summoner 2 cinematic averaged about 3 days of total work.

In hindsight, most of these scenes could improve from better pacing.  There is a notable lack of anticipation and dramatic pause.  Furthermore, the animation is extremely rough exhibiting neither the realism of motion capture nor the personality of key frame.  However, under the limited timeframe and staff capacity, I still view these as a creative accomplishment.

Summoner2.Cinematic.23-“The Logosarch”

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The only thing of special note here is the initial camera move which entailed the handoff of the camera between several dummy objects to move the camera along a specific spline and then rotate about a specific point all the while looking at a specific target.

As with all Summoner 2 cinematics, I was responsible camera work, choreography via rough character animation, and implementation into the game. Each Summoner 2 cinematic averaged about 3 days of total work.

In hindsight, most of these scenes could improve from better pacing.  There is a notable lack of anticipation and dramatic pause.  Furthermore, the animation is extremely rough exhibiting neither the realism of motion capture nor the personality of key frame.  However, under the limited timeframe and staff capacity, I still view these as a creative accomplishment.