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Author: Lauren Brady

Why the cloud could be the future of gaming

2020 will see the highly anticipated arrival of the next generation of video game consoles. Game enthusiasts across the globe are waiting with bated breath for the next sliver of information from the likes of Microsoft and Sony. This autumn we will see what the future of gaming holds. Or so we think.

In truth, many are anticipating the future of gaming to come from less likely suspects. As I said in a previous blog, quoti,.7ng Google, “the future of gaming is not a box; it’s a place”. The battlefield for the next generation of the console war will be in the cloud. And Google won’t be the only newcomer.

Amazon, Apple, and Facebook have all already heavily invested in gaming and 2020 might be the year they unveil their efforts.

 

Head in the clouds

The cloud isn’t new, both as a concept within gaming and in a wider sense. But its usage in gaming is about to see a significant increase from familiar faces in the industry and new ones from outside it. We’ve already mentioned Google who launched its Stadia service towards the end of 2019. Despite its rocky start, Google still seems committed to growing its library of games and the number of devices which can take advantage of it. And no doubt Microsoft’s xCloud will be a cornerstone of its next-generation plans along with its console the Xbox Series X.

But they won’t be the only competitors on the field. Amazon is already knee-deep in the world of games, now owning massively popular game streaming service Twitch. They are also working on a number of their own games and their website sums up their intentions: Amazon is all in on games.

What will prove to be a huge boon for them are their already established AWS servers. Many games already use these as the backbone of their own online servers, so it stands to reason Amazon will want to further the gains on their own cloud server investment. This strong foundation could even put them above Google; the strength of their servers might eclipse Google and solve the latency issues many report with Stadia. But as average internet speeds increase across the world, could their rivalry become the new Sony vs Microsoft?

 

A new challenger approaches

They won’t be the only ones in the fight though. Both Apple and Facebook have made their gaming intentions clear. In fact, all of the above companies draw in a significant amount of revenue through gaming. Apple’s comes from the App Store, with them taking 30 cents for every dollar. But now they have added Apple Arcade to their repertoire; a subscription service that offers cross-device compatibility akin to Stadia.

For just £4.99 a month, you can access a library of over 100 games made for mobile devices. While Apple aren’t yet looking to replace your home console like Google is, they are carving a niche for themselves which could serve as a jumping-off point in the future. Their service eliminates advertisements and shady microtransactions that plague other App Store games. They have created a wholesome closed environment which is – so far – one of a kind.

Then there’s Facebook, who acquired Oculus VR. They already had a storied history with gaming; for many, it was the gaming platform of choice if you had a penchant for virtual farming. But the purchase of Oculus signalled a serious move into the gaming world, with Facebook founder Mark Zuckerberg setting the lofty goal of putting a billion headset in gamers’ hands.

 

The war to come

Google. Amazon. Apple. Facebook. Currently, these four companies stand as some of the biggest in the world. If they wanted, they could accumulate the money to dominate the market. In their own way, each has already invested in new technology and gaming studios to bring something exclusive to each of their services.

And each is backing something slightly different. Will the future of gaming be entirely in the cloud? Will a subscription service become the new norm? Or will VR finally reach the mass market? No doubt the solution will be a mix of everything, but the involvement of these companies will only serve to diversify the market and bring about newer, greater innovations for gamers across the globe.

People are ramping up for the PS5 and Xbox Series X, but these four companies are lurking in the shadows and may be about to bring about the true future of gaming.

At REALTIME, we’re ready for whatever the future holds. We know that no matter what, your games will always need first-class trailers that set the world on fire. If you want to talk about your upcoming project, get in touch with me at [email protected].

The detailed guide to previs

Every step in the TV production process plays its own important part in the creation of the final product. No matter the production, there is an intricate machine of moving parts going on behind the scenes that eventually coalesce to create something special.

Today, there is one area in particular we want to focus on. It is a really useful planning tool for any production that can never be underestimated. We’re talking about ‘previsualisation’ – previs for short.

 

Defining previs 

The Visual Effects Society (VES), the Art Director’s Guild (ADG), and the American Society of Cinematographers (ASC) define previs as a ‘collaborative process that generates preliminary versions of shots or sequences, predominantly using 3D animation tools and virtual environment’. They also say ‘it enables filmmakers to visually explore creative ideas, plan technical solutions, and communicate a shared vision for efficient production’.

Previs is a valuable communication and collaboration tool for directors, writers, producers, VFX supervisors, directors of photography (DOPs), and production designers – plus many more involved in a production. Previs helps everyone visualise and plan for a shot, sequence, or even an entire production, as now happens with animated features and productions that use virtual production pipelines.

 


The different types of previs

Like many other areas of VFX, previs has grown to encompass an entire suite of terms. Along with typical previs as defined above, the VES, ADG, and ASC also recognise these sub-genres of previs:

  • Pitchvis – As the name implies, pitchvis will help visualise the potential for a project while it is still being financed. Sequences or environments for the project will be created to help secure finance or a green light.
  • Technical previs (techvis) – This version of previs incorporates actual camera, lighting, design, and set layout information to show how a shot can be realised using real-world measurements.
  • On-set previs – This creates real-time visualisations on set to help the director, VFX supervisor, and crew understand how and where any 2D or 3D VFX elements will appear in a shot by combining live-action footage with 2D or 3D elements to get immediate visual feedback.
  • Postvis – This happens in post-production once you have shot your master plates. There are more evolved 3D animation ‘blockouts’ of creatures or other 3D assets that need to be incorporated into a scene. Postvis can be helpful during post-production to enable VFX producers to get the ‘sign off’ from executives and to help with planning and budgeting for complex scenes.

 

Previs techniques

Before digital technology came to prominence in the film and TV industries, filmmakers used a wide variety of techniques for visualisation. One technique still in common use is to create storyboards. These are often also used to help create a visual idea for a CGI previs sequence.

Other techniques that are used include:

  • Animatics – An edited assembly of storyboards and other key frames from an animated film or sequence to give an idea of the pace and look of a film.
  • Riopmatics – An assembly of existing live-action footage, often used to help plan an action sequence. George Lucas famously created a ripomatic of WW2 plane ‘dog fights’ to help plan for the original 1977 Star Wars.
  • Slap comps/precomps – These are often created by VFX editors or the editorial team during post-production to help tell a complete rough visual story for a production. These are often 2D backgrounds or matte paintings for early assembly edits of a production.

 

Who uses previs?

Previs has traditionally been used as a planning tool. The VFX supervisor and producer will commission previs of complex scenes or shots, usually involving 3D animation or set builds, to help the director, DOP and other head of departments understand what the final shot or sequence might look like.

For example, you might have a flying creature, such as a dragon, which flies through a CGI cityscape while your live-action cast members look on. In order to understand how and where the dragon will fly and ‘behave’, previs can be a helpful tool for the team to understand how to frame shots, what camera lenses to choose, and where greenscreens might be needed to insert backgrounds later. Previs can be helpful for the whole team to understand the scale of a creature or cityscape in a shot. By planning ahead, you can ensure you shoot the right coverage and framing for your CGI creatures and sets.

For producers, previs is often a tool that helps control costs. CGI and animation are expensive, and by creating previs of a key scene, you can help control the shot count and the overall cost of any animation. Previs is also helpful to producers for both internal ‘selling’ of key sequences to financiers, but also for creative and budgetary sign-off during post-production. It’s far better to get ‘buy-in’ from your funders to the overall pace and look of an animation sequence before you start the expensive process of full animation.

For Directors, DOPs and production designers, previs is a creative and logistical planning tool. For this reason, it is also important that these departments are involved in the previs planning, to ensure they feel involved and can give their input on their respective areas.

 

What are the benefits?

Two key benefits of previs are the time and money it can save you. It’s no wonder it has been a reliable staple of the production process for so long. It is a great way to condense creative and logistical approach visually, which helps ensure the entire production team understands the overall vision for a sequence or shot. You can collect the scattered thoughts from you, your team, and your creative partners and bring them together to create a singular, coherent vision.

By saving yourself time, you are also saving yourself money. Your budget will constantly be under intense scrutiny, and to prevent it from spiralling out of control, you can plan your future decisions down to the finest detail.

And, at the end of the day, it helps you tell your story. Be it a historical fantasy series or a whimsical space adventure, previs allows you to communicate your story visually in the most effortless way possible. 

At REALTIME, we work on all types of previs. So whether you need some postvis, a ripomatic, or some storyboards to plan your project, our team of artists, creatives, and directors will guide your project through this step with their wide range of expertise. If you would like to discuss your upcoming project, feel free to get in touch with me at [email protected].

The smart technology set to change the automotive industry

The term ‘smart technology’ isn’t as alien now as it once was. Everything in the home is ‘smart’ and every gadget can seemingly link up to your phone. You know, just in case you need to set the kettle boiling from the comfort of your bed.

But there is no bigger gadget than the car; the automotive industry is readily embracing the ever-changing world of tech and is on course to undergo more change in the next decade than it has in its entire history. How we drive – if we drive – will change for the better, so let’s look at what’s on the horizon for the automotive sector.

 

The future inside your car

Everything is seemingly connected to everything else and your car isn’t exempt from that. We already have examples of how your mobile phone can integrate with your car, connecting via bluetooth to control various aspects and that idea will only continue to grow.

Predictive vehicle technology is a burgeoning market; it uses artificial intelligence (AI) and machine learning to personalise your driving experience. Basic implementation of this can already be found in some cars – aspects like entertainment settings and seat adjustment can be set to individual profiles but this is only the start. It will no doubt expand to feed you all the information you want and need. It might notice you like to stop for a coffee on your morning commute and find you a route to work that passes by a Starbucks.

It goes beyond convenience; new safety features are a guarantee. One technology currently emerging in the high-end market is virtual wing mirrors. Instead of the usual wing mirrors, the idea is to affix a camera to either side of the car and have a live video feed play inside the car. Without the bulky mirror, you reduce drag, increasing the efficiency of the car. It’s a worthwhile pursuit, especially since the question of range is such a hot topic right now for electric vehicles. As they say, every little helps. It’s an innovation you can already see in a couple of hypercars very close to REALTIME’s heart and as with most new car technologies, it will most likely filter down into the mass market eventually, it’s just a matter of when.

We will no doubt reach a time where every part of the car is smart; we already have discussions around ‘intelligent tech’ – intelligent windows that show you a heads-up display, intelligent lights that automatically adjust to protect other drivers and intelligent tyres that alert you when they suffer a puncture or need replacing. Soon enough we won’t even be driving cars ourself is self-driving technology reaches the consumer market. Owning cars might become a foreign concept in our lifetime.

 

The future outside your car

That’s a drastic statement and slight hyperbole – some could never let go of the idea of owning a car – but we are already seeing the emergence of ‘cars as a service’ (CaaS). Or, to put it another way, ‘Netflix for cars’. They already exist and are subscription services where you don’t own a car or even lease it, you are effectively renting it. Yet it’s an appealing offer: For a flat rate every month, you get everything you need and can change up any time. Long-term or short-term, it doesn’t matter. They have yet to see mass adoption but given society’s proclivity for subscription services, that day may soon be here.

Smart technology will also undoubtedly make its way to our roads too. AI will be able to determine when and where certain changes are needed. Opening and closing lanes, adjusting speed limits, closing roads to divert traffic – all are possibilities with smart roads. Of course, it requires a level of investment in infrastructure far beyond many local councils and governments, so expect this to be a slower build.

But it can get even more futuristic; some have floated the idea of lining roads with photovoltaic panels to store electricity. This could be used to charge electric vehicles as they drive, heat roads to prevent ice build ups, and – if they have LED lights in them – create dynamic road crossings for pedestrians.

It all seems very Westworld, but these aren’t hypothetical ideas – they are being worked on as we speak. In many ways, we are already living in the future, so these concepts don’t seem too out of place. It’s an exciting world we live in and I for one can’t wait to see where we are 10 years from now.

The future is bright, and you’re taking us there. If you have an exciting project you would love to talk about, feel free to get in touch at [email protected].

The Design of a Story

Stu Bayley, our very talented Director and Art Director, talks us through why he thinks having strong visual design skills are a huge benefit when directing a story.

Take it away Stu…

So, for me the most exciting time of any project is the pre-production phase, when you are developing various creative routes in response to a brief. My background in concept design where I spent most of my days developing cool concepts to bring stories to life, gave me the core skills to start directing my own shows. I truly believe having this fundamental understanding of design principles gave me the foundation to become an effective storyteller. The principles of design are the skeleton key to the creative universe.

Learning to see with an artists eye gives you the ability to apply a filter to the world. It is a powerful tool to be able to compose various elements in a story and convey a narrative.

Below are the seven main elements of design that I apply to projects I’m working on. You may recognise these principles by different names, but what I’m talking about is a universal to creativity. The eighth principle I also use would be ‘unity’ which is the balance of the other principles to make the whole, but that’s another article.

Firstly I want to highlight the general elements used when constructing a story.

Character / Context / Conflict / Creation

So, at a base level you need a character, existing in a location who has conflict they need to overcome. These are the building blocks you need to create a story. For the sake of this blog I’m going to focus my attention on one of those key elements, the character, and break that down into four key components that will normally be present in any film or script you write. I will also show you some examples from film and TV that will hopefully demonstrate my thinking.

 

Designing a silhouette is the same as creating a unique personality

The key to great image composition is a well defined focal point. This visually arresting point will always draw you back to it, your eye may wander but it always comes back to the part of the image you have designed to have the greatest contrast. This in my opinion is the key to a great lead character. The Assassination of Jesse James by the Coward Robert Ford is a great example of a truly engaging lead character. Its a stunning performance from Brad Pit. Every second he is on screen you feel tension due to the unpredictable nature of his character. He truly draws you in even though he feels dangerous. That’s the dichotomy of human nature.

 

  • Main Character development describes changes that a character undergoes during the course of the narrative (contrast/variety).

Here are two examples of characters that have possibly the greatest character development in recent TV. Looking at the images it is as clear as day. I think the saying goes ‘variety is the spice of life!’. When designing anything this should be your mantra because without variety there is no journey. Think of your characters as a painting that needs light and shade, that needs hard and soft edges. This contrast is appealing because your eye and your mind will be entertained by the discovery of the differences you play against each other.

 

  • Supporting cast provides your story with different perspectives to the narrative (variety), and moves the story forward through each scene (continuity)

In the ensemble cast for ‘No Country For Old Men’ the three leads display totally opposing perspectives on life, yet they are inexplicably linked through an event that has occurred. The variety of these characters are key to creating interest. The extra element I think about when writing a supporting cast is movement. These characters help to move the story forward by revealing information that progresses the lead characters journey. Just as a beautiful landscape photo, there are pathways with secondary and tertiary focal points for your eyes to wander across, but they always lead you back to the main focal point. This is what makes a beautiful image, the same can be said for stories.

 

  • Character interactions /dialogue or lack of can support the mood or tone of the story (rhythm/economy)

Here are two examples of polar opposite ways of dealing with character interactions. Clint Eastwood in ‘The Good the Bad and the Ugly’ is a man of few words. The intentional choice by the Director Sergio Leone to have minimal dialogue creates tension within the story. His economy of words leaves our minds open to interpret his thoughts, and economy is the same when painting. If you leave some areas abstract and less refined the viewer can fill in the blanks with their imagination and often this is when you will get the best engagement.

Another way to deal with character interaction is through more dialogue heavy interactions , and director Quentin Tarantino is the master of this. In this classic opening scene from’ Reservoir Dogs’ he uses rhythmic monologues to cleverly foreshadow events that will occur later in the film. The flow of conversation sets the tone and creates a chaotic rhythm of interactions that we see from the outset.

As with mark making and shape language in design, the choice of smooth or angular forms will have a great impact on the rhythm of your work. Smooth horizontal lines with create a sense of calm and stability, while jagged angular lines are dynamic and aggressive, this is the same dialogue. I would argue if this scene was a painting it would have more of the latter.

So to conclude, this is a brief glimpse into the way I think about story in relation to my design background. I feel the more you learn in life the more connections you see. For me that makes learning new things exciting and, more importantly, not something to be scared of.

If I can recommend one thing for your artistic career, whether that’s FX, Concept art, Script writing, Animation. Knowing the fundamental principles of design will help you to see the world through a new lens and unlock a code that is present in all artistic endeavours. Below are some of the best sources of information on the subject I know of. I hope they help!

 

Composition 1 Workshop: Design Theory – START! and Level Up on ConceptArt.Org from Jason Manley on Vimeo.

Free Resources For Artists

If you are not working at the moment, perhaps now is a great time to learn new skills or brush up on old ones. Maybe it’s more about how you market yourself or manage your freelance business. Or managing fellow artistic brethren. Or anything related to your career – no limits!

So I’ve been chatting to our artists and some of the awesome partners we collaborate with and have pulled together a little list of free resources – here’s some cool content that we think could help you level up (whatever level you are now!), ready for that next challenge when things pick up!

  • The Foundry’s Nuke – we love it! It was a dream on our Game of Thrones trailer. 

You have to check out the workflow Wednesday playlist https://www.youtube.com/playlist?list=PLi2GhhsPL-RrqMRhbMNX6D2SN8ilI2601

There’s some really cool live events that are short bursts of info covering lots of techy topics https://www.foundry.com/events/virtual-events

And you can trial Mari the brilliant texturing tool and nuke for free here – MARI / Nuke

We’re a max studio so it would be crazy not to share with you what the wonderful people at Autodesk have been putting together!

Win, manage and keep clients as a freelance 3D artist https://area.autodesk.com/life-in-3d/win-manage-and-keep-clients-as-a-freelance-3D-artist/ 

3ds Max tutorials https://area.autodesk.com/all/tutorials/3ds-max/

Download assets https://area.autodesk.com/downloads/ 

There are lots of resources here from managing teams for the first time, know-hows on running a business, to portfolio/asset creation advice. Not all are free – but many are.

We use V-Ray so it only makes sense we encourage you to as well. It also discusses working with V-Ray in MAX and Unreal (which we also use – brilliant!).

And – for those of you wanting to use Maya there’s a free edition of V-Ray PLE so you can learn how it works,

THE resource for getting to grips with UE4 if you are relatively new to it.

Great resource for tips, tricks and how-to’s when it comes to MAX modelling and ZBrush sculpting.

Talented concept, key frame and illustration artist sharing his workflows and process for digital painting and more. Recommended by our Art Director, Stu

Immense resource for training and learning on all things art – they cover a very wide range of topics, programs and technical aspects – including essential art fundamentals. Recommended by one of our Senior CG Generalists, Chris.

Tutorials made by, or hosted by, SideFX. Terrific resource for this powerful program.

  •         Materials and Shaders in UE4

Thomas Harle and  Ben Cloward are highly experienced tech artists from the games industry and in their channels they do a great job of breaking down how to handle some intermediate material and shader examples in UE4.

  •         ActionVFX

Great website for junior and seasoned VFX Artist alike so you should check them out. They have a wide number of tutorials and educational content you can learn from. Not to mention a raft of free assets to leverage what you have learnt!

Allan is legendary in the world of VFX and has done much to help people develop their careers, skills or personal brand in FX – he has a ton of resources you can grab at his site (many are free) but here are a select few of his recommendations specifically around marketing yourself and being productive while remote. All very useful in the current climate:

o The Ultimate Demo Reel Guide (also includes some videos)

o Mastering Your Freelance Career

o Extreme Workflow and Productivity Hacks

o Killer Tools to Help You Get s!#% DONE!

o Working from Home

 

There’s more we could share, and MUCH more out there, we just want to give you a head start on some resources we would recommend. This selection of resources is a great starting point if you are in between projects and looking for inspiration to become the artist you aspire to be.

Got any suggestions not on this list? Let us know and we can get this shared!

Thanks for being awesome and stay safe. Much love.