Lauren Brady, Author at REALTIME

Creating 3D assets for your TV production

The creation and implementation of 3D VFX in a television show is a long and multi-faceted process. We have talked previously about the different areas this can encompass but even those articles were but brief dips into the deep pool of visual effects, creating 3D Assets for your TV production is no different.

One step we’ve mentioned previously is the creation of 3D assets. Believe it or not, this is a topic worthy of its own blog. There are many stages to creating a 3D asset before you have a fully formed, TV-ready model.

Planning

We won’t spend too long talking about this because we have recently written a blog about planning your VFX solutions, but it is still worth mentioning here. You can’t jump the gun and create a 3D model without first figuring out what is the best way of designing it and bringing it to life. If it is a character from an existing story or piece of IP, you may need to follow an existing design idea, or you may need to create something based on the underlying book or story. In the early stage of planning a CGI character model, it’s generally a good idea to start with some concept sketches so you can share these with key members of the team, including writers, showrunners, producers, directors, production designers, and your broadcasters and investors.

If the character is integral to your production – say if your main character is an alien – you will need to know where it will be and how it will move in a scene. You can use previs to help work this out, so when you film the scene you are framing correctly to allow for the character’s or model’s movement. From creating initial storyboards to previs, collaboration with a VFX studio will make this part a breeze.

Modelling

This is where the fun starts. Once you have agreed on what your character or other CGI model needs to look like, the first thing you need to do is create a basic model – a featureless grey sculpture that acts as a foundation for the stages to come. ‘Sculpture’ is very much an apt word; CGI modellers carve their model from a pre-existing 3D block as if they were Michelangelo himself.

Although this will need a lot more work before it looks like the final product, you can still use these basic greyscale versions of the character during the planning stage. Your chosen VFX studio can also put them into test plates so you can get an idea of how the model will look in the scene.

Texturing

This is the stage where your model starts resembling something. Texturing creates a flat, 2D image that you can apply to your model, giving it things like skin, clothes, or facial features.

This is where a lot of the realistic detail that brings your model or character to life will come from. Often, texture artists will use texture libraries of photo-realistic textures captured from real creatures, buildings, or vehicles to help them texture their models. Over the years, texturing has become more complex and detailed. Compare the models from the original Toy Story to 2019’s Toy Story 4 to see how far we’ve come. This has been driven by technology – as we are able to render more material to a higher resolution, we have been able to achieve more photo-realistic texturing.

Rigging

Now you have a fully detailed 3D asset, but it can’t do anything. Until you rig the model, it won’t have any joints and will be nothing more than a motionless statue.

Rigging is the process of creating a skeleton that allows the model to move. If it was for a human model, for example, it would detail the movement of the joints in places like the elbows and knees. This also includes rigging the muscles in the face so they can change their expression. Depending on the model, it will most likely have a unique skeleton that can be manipulated in the next stage.Riggers and animators study the skeletons and musculature of the animals and creatures that are going to be animated. If the creature is imaginary, they will study the skeletons and muscles of real creatures – for example, for a dragon, they might look at lizard, eagle, or bat skeletons

During the rigging stage, animators will look at reference footage of the creatures or vehicles who they are rigging to animate. They may also do tests of their own to replicate the movement of the creature.

Animating

This is where you actually make your model move. When you apply the rigged skeleton to your model, you can freely move it as you wish. Animating is the process of creating fluid movements that match you want it to do.

If the model needs to crouch, you can apply this to the skeleton. But animating will also take into account what changes in the model when it does this. How do other parts of their body move? How does the face change? The more realistic you want to be, the more fine details there will be.

Lighting

At this point, you will have a fully finished model. But to correctly integrate it into your footage it has to look like it belongs. This is where lighting, shadows, and shaders come in.

If you are working on a fully CGI scene or project, the lighting will all be created in CGI by Lighting artists. If your model or character is being incorporated into live action plates, then compositors will take the model and the lighting created by 3D Lighting artists to then incorporate into the shot.

If you are putting your new model into real-life footage, you will need a lighting system that mimics the one from your shoot. That means the model has to be illuminated from the same angle and shadows have to fall in the same way real objects’ and actors’ shadows do. The better the lighting, the more your asset fits into the scene.

And the rest

When you’ve done all of this, all that’s left is to render it out and composite it into the scene. Rendering can take hours depending on the detail of the model and is very much a hands-off process – just let the computer do its thing. Compositing takes your 3D assets, the real-life footage, and any other elements and puts them all together.

There are sometimes strong differences of opinion between 3D artists (so animators and modellers) and 2D artists (compositors and VFX Supervisors) about whether it is more important to favour the lighting conditions created by the 3D team or whether the 2D compositor and team should be allowed to light the 3D asset. 3D artists are sometimes said to favour lighting their models to show showcase them, whereas 2D artists can place much of their emphasis on ensuring the model beds into the live action plate and looks as photo- real as possible.

If you are working on a production that is mainly or completely CGI, then you will need to work in a full CGI lighting workflow. If you have large rendering capacity, there are benefits to using a CGI lighting workflow if you have lots of models that need to be incorporated into live action plates.

Creating 3D assets may sound like a complicated and arduous process, but in the right hands, it can be simple and streamlined. It is likely the VFX company will have experts solely dedicated to each stage, which means you end up with the best final result. The key is to work with a studio that has the experience to make the process as smooth for you as it is for them.

REALTIME is one such studio. Our work speaks for itself. If you would like to talk about your next project, feel free to get in touch with me at [email protected].

The rise of triple-I games and how to get ahead

Every year we are treated to a slew of high-quality new game releases. Often the result of years of development, there is a huge expectation for the biggest titles to perform both critically and commercially. Typically regarded as ‘AAA’ titles, their release is the culmination of lengthy development cycles and enormous marketing expenditure.

The continual marketing efforts in the months (and years!) that lead up to their eventual release, and subsequent ongoing monetization efforts can seemingly make them ever-present; ensuring that all possible exposure to the public are taken full advantage of – from featuring on stage at one of the now many gaming conventions, right through to final launch trailer. Such is the typical marketing life-cycle of the quintessential AAA game.

There’s no doubt about the level of commitment and passion that goes into the development of ‘AAA’ titles from both the publishers and developers. But not having access to the huge levels of resources needed to develop such games is no longer a barrier to creating ambitious, high-quality titles at a fraction of the cost, that can still find a huge audience. The power and availability of off-the-shelf game engines like Unity, UE4, and Lumberyard, as well as many other tools, has led to a democratisation of games development, enabling the rise of some incredibly talented indie teams and the development of incredible gaming experiences.

Whilst they may not have the same level of bombast, nor the same level of marketing resources of your typical AAA release, they are no less important to the gaming landscape. So let’s celebrate the rise of the triple-I game.

What is a triple-I game?
How we categorise games – whether they be AAA, triple-I, AA, or even A and below – is largely subjective, but budget is often a major factor. There is no exact cut-off for how much must be spent on the development of a game for it to neatly fit into any one of these categories, but the amount of resource and scale of the team is a good indication.

Whilst triple-I developers typically might have a smaller amount of resources available to them, the scale of ambition and passionate commitment to the success of the game can deliver big results. However, if they are to achieve the commercial and critical success they strive for, they will need to make every penny count during development. Just because they have less resources needn’t mean a sacrifice to quality. We see plenty of triple-I releases every year, welcomed with great acclaim. One of the standout examples in recent years is Ninja Theory’s Hellblade: Senua’s Sacrifice, which was lauded for its incredible script and unique way in which it addresses mental health issues.

Other examples include the acclaimed Subnautica and the recently released The Outer Worlds. There is seemingly a renaissance in their popularity, filling the gap neatly between behemoth AAA games and smaller scoped indie titles.

The triple-I secret
Often with a lower price point than your typical ‘AAA’ blockbuster, triple-I games still provide hours of entertainment for less; what’s not to love? And, freed from the constraints of the juggernaut publishers, the ability to create games for a fraction of the budget can let new ideas thrive.

Ninja Theory’s development of new performance capture techniques with Cubic Motion shows that innovation can pave the way to creating fantastically immersive experiences, fooling the player into believing the game has been developed by a huge team (it was actually developed by just 20 people).

Arguably, with so much money invested into a typical AAA release, it has to have a more ‘safe’ approach to its development and marketing in order to achieve mass-market success that is expected of such games. However, such an approach is no guarantee of success.

But triple-I games are free to explore new themes, experiment with different game mechanics, and generally dive into areas rarely explored. Arguably, there’s a greater freedom that can make for a more diverse range of games which can only enrich the wider market.

Bang for your buck
In order to compete against AAA games, developers of smaller indie titles often need to get more creative in the way they not only develop their game, but also market it. Bringing any game to a crowded market can always prove to be a challenge, especially when it’s a new IP.
But when you have greater budgetary considerations, it’s important to develop a marketing campaign that uses your available funds in the smartest way possible. Remember, regardless of how confident you may be about your game’s quality, you will be in competition against the many thousands of other games on the market.

A final trailer at launch is an absolute necessity. You could do it in-house, but the issue there is your staff will already be stretched thin and you want to avoid the crunch time to put out a trailer you know can be better. If you’re fortunate enough to be invited on stage by one of the big names at a games conference, this trailer is going to be your only way to make a lasting impact. Unknown Worlds have enjoyed huge success with their game ‘Subnautica’, thanks in part to their decision to create a hugely entertaining trailer that has helped propel their game into mainstream success.

There are definitely avenues you can explore to deliver a quality trailer within your budget. It’s all about choosing a company who will work within your limitations and dive into your entire ethos. Triple-I games are an essential part of the gaming landscape and they deserve every opportunity given to AAA games. So why not come out with a bang and let everyone know you’re here?

At REALTIME, we’ve worked with plenty of developers to do just that – deliver a trailer that leaves a mark. Take a look at some of our previous work to see what we’re all about. And when you’re ready to talk, get in touch with me at [email protected].

2D vs 3D VFX solutions for your TV production

There are very few productions today that don’t use some kind of VFX. It has become an everyday facet of TV and movie production. And, to the uninitiated, the plethora of jargon can be confusing. Something in particular that comes up often is 2D vs 3D VFX.

On the surface, it sounds like 2D is akin to cartoon animation and 3D is more Pixar-esque CGI. But this couldn’t be further from the truth. When we talk about 2D or 3D VFX solutions, we’re talking about techniques that can be accomplished in either a 2D or 3D space. Still confused? Let’s explore the topic further…

2D vs 3D VFX Solutions

In reality, this isn’t an issue of one versus the other. Both 2D and 3D solutions have their place in the VFX world. There will be some instances where all you need is to use some 2D techniques, such as a 2D matte painting, to add to the scene. Other times, you’ll need an entire 3D model for your production. And sometimes you’ll need to use both at once.

As you can probably guess, 2D effects work in a 2D space, which means there isn’t any “depth” or “dimension” to it. They’re useful if the camera is moving on an X and Y axis (left and right and up and down). 3D, on the other hand, adds more depth to the shot and are used when they’re likely to be front and centre and under more scrutiny. So 3D visual effects are more often used to create CGI characters or other objects (such as vehicles, planes, or spaceships) that are integral or important to the story being told.

2D

Let’s go into more detail about some of the more common 2D VFX solutions and techniques.

Matte painting

Matte paintings are one of the oldest techniques in the book. In the past, they used to be painted onto glass. Today, we can use digital painting software to create something that looks incredibly realistic. Often 2D matte paintings can be created using still images or elements from still images. However the effect is accomplished, the goal is the same: to create a convincing background for the shot.

Beauty and de-ageing

2D paint techniques can be used to remove blemishes, bags, and wrinkles on actors but also to age actors or make them look younger or older. Increasingly actors are being aged and de-aged to help tell stories cover long time periods.

Crowd replication

2D compositing can be used to create crowds for indoor and outdoor scenes. By shooting plates with a relatively small number of extras, a relatively empty cinema, theatre, or football stadium can be made to look full.

Muzzle flashes

These are a staple of many TV shows and films and are easily achieved using 2D visual effects. If suitable elements can be sourced, almost any kind of weapon or artillery can have a muzzle flash and smoke added.

Blood and gore

Many shows require blood or gore to be either added or enhanced to actor’s faces and bodies. In most instances, with good elements, this can be achieved with 2D effects.

Tracking

Tracking in a 2D sense is about following objects on-screen on the X and Y axes. With 2D tracking, you’re likely to be following a number of points in the image, something which can be made easier by placing dots or tracking markers during filming.

3D

3D VFX haven’t been around as long as some of the techniques used in 2D VFX, but you can achieve everything that can be done in 2D with 3D. Here are some common 3D VFX solutions:

Assets

Your CG assets will most likely be 3D. They will need to blend into the scene so need to appear as if they are at home in a 3D space. In today’s world, even the most innocuous of items will be CG assets. It could be a giant spaceship, or it could be a futuristic gun. It could even be a cardboard box if you need it to be.

Match moving

This is another term for 3D tracking. It involves extracting the camera movements from the live-action shoot and replicating it in a CG environment. There was a time where this process was laboriously done by hand but with advances in post-production software, this is much simpler. This is a necessary process if you want any 3D assets to move with the shot as if it was always there.

Particle effects

When you need to go even smaller, you can use particle effects. These can be added after filming to prevent them from being cumbersome for your actors. So if you have a fire in a scene, you can create realistic-looking smoke or embers. If it’s supposed to be a winter scene, add snow. Is it raining? You can create individual raindrops. Modern systems are capable of creating particle effects that appear and disappear over time, as they would if they were real.

Lighting

This is used in tandem with your 3D assets. To make them look as if they are actually in a scene, the lighting and shadows need to match the environment around them. It also adds depth and helps cement the asset in the scene.

3D matte painting

You aren’t seeing things – matte painting is in both the 2D and 3D section. A growing area in 3D VFX, 3D matte paintings are a way of creating a 3D environment illusion by creating a layered digital painting. In the past, they would layer different panes of glass, but now we can use digital programs to create simple 3D geometry that matches the environment. It saves you the effort of creating incredibly detailed 3D models if the shot doesn’t call for such level of detail.

2D and 3D

All of these techniques are integral to post-production VFX. Different situations will call for a mixture of them all. Maybe you need a matte painting to show a war-torn London in the background while your 3D alien wreaks havoc in the foreground.

While most shows will require some 3D VFX, the majority still use 2D visual effects for their shots. The amount of 3D you have versus 2D will depend on your budget and the time available. If you project has lots of 3D elements – such as characters, assets, or even environments – you will need more time and budget to achieve them

What solutions you need will depend entirely on your individual circumstances. Today, it is much cheaper and quicker to use VFX to solve any problems you have.

If you need a VFX company to support you during your production, look no further than REALTIME. You can see our impressive CGI work in the upcoming BBC adaptation of War of the Worlds. If you would like to know more about what we can do for you, or if you’d like advice on 2D vs 3D VFX get in touch with me at [email protected].

Why we love cars!

This is a letter to my true love in life: cars. I am one of many individuals around the world passionate about cars. Even before Henry Ford first brought them to the masses, there has always been a community of people who love cars in the way others love movies, or walking, or their family.

I jest, but sometimes it’s not too far off. For some, cars are more than a way to get from A to B. They’re more than a daily convenience or just another piece of technology like the TV or the microwave. For some, a car is an expression of their personality. There’s a make or model for each individual. You ask 100 people what their favourite car is and you’ll have 100 different answers. But there is no universal reason why we love cars; everyone is driven by a different quality (pun not intended).

When it comes to a love of cars, you can put people into many different categories.

The driver

If you need to get from A to B, why not do it in style? Who even cares about B – sometimes you go from A to A just for the thrill of the drive.

This person loves the feel of the car when they drive. They don’t necessarily have to love cars; if it has some horsepower underneath the hood, then that’s all they need. They enjoy the personality of the car itself. How it handles. How the gear stick snicks into place. How it glides around a corner. They’d feel right at home on the Top Gear track. Whether they feel like the car is an extension of themselves or they love taming a beast, there’s nothing better in life than getting behind the wheel.

The enthusiast

This person is almost the opposite of the driver. For them, they don’t have to be in the car to appreciate it. They might not even have a licence. They just love the craft of the car.

They can tell you the detailed history of McLaren. They’ll talk for hours about Britain’s illustrious car history. You might not want a lesson about the Morris Minor but you’re getting one. New or old, petrol or electric, this is their hobby. If they have the money, they might be a collector, wishing they could have a garage like Jay Leno’s. Some people collect stamps; some collect cars.

The Zen mechanic

For this person, they love a car that is in desperate need of that love. It’s seen better days, but the mechanic doesn’t think its glory days are over yet.

For them, fixing up the car is an escape. Leave behind the stresses of modern life like the job and the bills, and the spare room that needs painting. They can spend hours in the garage tweaking the engine. It’s like meditation for them. It’s actually a psychological concept. ‘Flow’ is the term for when someone gets in the zone, their focus unbreakable. Eight hours later and they realise they haven’t eaten all day.

The community

Whatever person you are – whether it’s one of the above or something else – the best part is the community. If you love cars you’re in good company. They attract people from all walks of life and each person has something valid to say about your shared pastime.

Everyone has that same energy and lust for life. That same sparkle in their eyes when they talk about cars. And when you can all spend time together, in this mutual love for automobiles, there’s nothing greater. And – above all – cars give you freedom unlike anything else. Go wherever you like; do whatever you want. The feeling that you could hit the road at any time, just you and the car. That’s why we love them.

At REALTIME, we all love our cars – we even have a blog on it already! That passion translates into our work, examples of which you can find in abundance here. If you ever want to talk about your next project, get in touch with me at [email protected].

LA Auto Show – Automobility 2019

It was a game of two halves at this year’s LA Auto Show, known now as ‘Automobility’ to underline the shifting sands in ownership and propulsion technology within the industry. A total of 67 global debuts underline this show’s status as one of the most significant on earth and half of these debuts were EVs which, in the context of a number of big block V8 stories made for an interesting yin and yang of the modern-day US car market.

Karma

In addition to the stunning SC2 concept, Karma Automotive made a huge splash at Automobility, showcasing the voluptuous and encouragingly production-ready Revero. New for the show was the re-engineered and further-enhanced Revero GTS – still sporting the 1.5l internal combustion engine from the BMW i8 in the front and hybrid generator in the rear. A hugely special car to look and spend time inside. Just smell that Bridge of Weir leather too…

Audi

Audi debuted its attractive e-Tron Sportback model, a second derivative of the e-Tron full EV. The Sportback style brings with it greater aerodynamic efficiency than the standard car and so owners can enjoy an extra 6 miles’ range or best part of a whole average journey extra in LA between charges.

So interesting on the Audi stand too, to see the sound of the internal combustion engine actively celebrated less than ten yards away from the e-Tron. This exhibit allows you to put your foot down and experience the growl of either the RS5, TTRS or R8 powertrains. Game of two halves, y’see.

Kia Habaniro

This gullwinged EV SUV concept gives us a powerful indication of the next Niro. I’d love to have been in the meeting when they decided upon the name…

Lexus

This beautifully executed convertible, perfect for California, conceals a seemingly old-school 5.0l V8. Knowing how well Japanese brands research and understand their markets, there’s clearly still significant demand for machines like this.

Chevrolet Corvette

Motor Trend’s 2020 Car of the Year may perhaps sport the same styling details as it always has but the bold decision to move to a mid-engined layout has driven a significant change in overall proportions. Feedback from the world’s press tells me that this was the right call to make.

Land Rover

The wait for this relaunched icon is over for US eyes and we were treated to three versions on the Land Rover stand. Boasting mild hybrid technology towards the top of the range and with more green technology on the way, I for one was hugely convinced by this, Solihull’s latest upscale mud-plugger. It has managed to strike the perfect balance between solidity and out-and-out desirability – let’s hope the road tests also bear this out.

Dodge

Only in the US: The Dodge Challenger cocked a snook at the environmental lobby, celebrating 50, that’s right, 50 years of the muscle car. This anniversary edition comes equipped with the not-at-all-apologetically-named Hellcat Redeye V8 engine, pictured below. Maybe the last hurrah for this kind of car but no-one I spoke to was of the opinion that this didn’t deserve its place at the show.

Porsche

Porsche had availed itself of a completely separate room to show its latest range of staggeringly well-engineered new cars for the US market. It was a privilege for me to take a good look at the new Taycan EV, which hits all the numbers we’d expect of it, including the sticker price too, of course. Will no doubt do so very well all over the world nevertheless.

Ford

Boasting a very competitive >300 mile range from its 332 horsepower EV powertrain, the Mach-e is the blue oval’s take on the overwhelming trend in today’s search for environmentally responsible mobility, ‘bringing the famous pony into the electric age’ is how it is billed. Very neatly judged, Ford reckons that there might be so much equity in the Mustang nameplate that they’re even considering setting it up as a sub brand. A gallop too far? We’ll have to see…

So, yes, a uniquely American interpretation of the state of the art; such an interesting story of stark contrasts. I’d love to fast forward ten years to see what’s on show then!