Lauren Brady, Author at REALTIME

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!

Testing Quixel in UE4

Our outstanding senior automotive artist Damian has been kind enough to share some of his process, testing Quixel in UE4 creating this beautiful image.

I created this scene as I wanted to try my hand at some environments after finding out that Quixel’s Megascans are now part of Unreal Engine. Also Inspired by my recent trip to Scotland, which was one of the most beautiful places I’ve ever been to, I really wanted to do a nice and realistic scenario similar to Isle of Skye from Scotland. So after realising that Megascans contains a really nice and realistic package of ‘Islandic’ mesh and material content, I decided to give it a go and try to replicate that mood which inspired me out in Scotland.

Using Megascans meshes and materials was really simple and user friendly, placing an object by one click, and adjusting them straight away In Unreal Engine as they are being created while exported from Quixel ‘Bridge’. The biggest challenge for me as an Automotive artist was to design the actual 3d background to create a nice and moody composition. But after all, everything was really quick and easy thanks to all of the Megascans assets and intuitive workflow which Unreal Engine 4 gives you.

First thing I realised was that if I wanted to make a really good looking scene I needed to Scale the assets at least 10-15 times to achieve effect I was looking for. So I created a simple terrain using plain objects from 3dsMax. I started adding assets to the scene and when it reached the level of detail i was looking for I added atmospheric fog to bring everything together.

Also I decided to keep making materials as simple as possible, I always tend to receive the best results when using simple properly matched materials.

The next step was to create some matching lighting for the car in this particular scene. After few different approaches, the best solution was to use just few spot lights and horizon from the sky HDRi. Again… simple equal best result!

When the car was lit and i’d chosen the body colour I wanted, I deceived to add some livery to the car. For that I simply used decals which gave me quick and best result I required.

Next I decided to do some more shots to show how powerful the Megascans assets looked.

You should always keep everything tidy and organised, doing that meant that every light scenario I created was packed into a separate level with cameras, this means have an instinctive workflow for later. Every level works like different camera view, plus different lighting setup. You can also see that even some objects have a separate level.