Lauren Brady, Author at REALTIME

E3 2019 – The Elephant Not in the room

E3 2019 has drawn to a close. It remains to be the King of Games Industry events, but is its Crown slipping? Any regular attendees to the show would be forgiven for thinking that, when viewed from the outside, all was as usual at the Los Angeles Convention Center. All entrances to the show were adorned with the usual marketing imagery from the year’s biggest games and every vestige of available space was crammed with branded inflatables and marquees to entertain the masses. Inside though, the story was very different.

With Sony, Activision, EA, and many others electing to stay away from the show floor, the show seemed to be a shadow of its former self. Even XBOX stayed away from the show floor, again preferring to take up a presence at the Nokia theatre next to the Staples Center. It was just a short walk away, but metaphorically, it could have been several miles, further fracturing the event itself. But in the end it didn’t – E3 as a brand is a far bigger than the show itself, and continued to flourish online where millions tuned into the hugely lavish press conferences that have become a staple of the show itself.

One of the biggest moment’s of this year’s show was the XBOX press conference, the highlight of which was the new trailer for ‘Cyberpunk 2077’. The hugely impressive CG trailer was a major marketing beat for a game which was first announced in May 2012, which goes to show the impact that pre-rendered trailers continue to play in the ever-lengthening marketing cycle for a game in the build up towards finally being released. With the game finally set to be released in April, 2020, just shy of Eight years from its first announce, the trailer was a fantastic achievement in story-telling that successfully served to build the brand and whet the appetite of gamers world-wide – You couldn’t possibly be left unimpressed. But, even if you were, CD Projekt waited for the closing moments to pull out their biggest guns – the introduction of Keanu reeves as ‘Johnny Silverhand’ in the closing moments of the trailer itself.

The inclusion of a Hollywood A lister was perhaps a nod towards some of the glitz and glamour that this year’s show might have been missing when compared to previous years as it continues its shift towards becoming a more consumer focused event. With much of the gameplay demos being only available to play behind closed doors, the floor space as ever continued to be taken by the huge booths and snaking queues of gamers eagerly waiting to play the latest demos. However, there were not as many as in previous years with the West Hall in particular seeming particularly sparse. Nonetheless, the show as ever remained heavily reliant on trailers to help market the games set for release. Many of this year’s biggest trailers took a pre-rendered route with games like Deathloop, Gears of War 5, The Elder Scrolls online, Sniper Ghost Warrior, Baldur’s Gate III and many more opting to for the very highest levels in visual fidelity and storytelling to seduce gamers. REALTIME’s own contribution this year included trailers for ‘Evil Genius 2’ and ‘Zombie Army 4: Dead War’ – further proof of the continuing role of CG in the marketing of video Games. We were delighted to see some marketing imagery we had created for Bigben’s ‘Overpass’ game which made an appearance on their stand.

Whilst the halls themselves might have been much more sparse both in terms of attendees and exhibitors, E3 as an online event continues to flourish. The millions that streamed in to view the spectacular press conferences continue to be a testament to the success of the show, even if the show itself is becoming more fragmented year after year. Hopefully next year the likes of Sony, Microsoft and others will return to the main halls – Only once the elephants return to the room can the circus that is E3 feel complete.

The road ahead is strong for diversity in digital media

In the past few decades, digital media has made tremendous progress in the pursuit of diversity. Protagonists, directors, and developers are just some of the roles that are being increasingly occupied by under-represented minorities in video games, film, and TV.

Industry-wide encouragement for more representation is enjoying success in several ways. Let’s dive into the figures and see what people are doing to increase engagement with a more diverse audience.

Video game participation

Studies are challenging the inaccurate ‘gamer’ stereotype that assumes they are straight, white, and male. Look at the fact that:

In 2018, 45% of video game players were women.
In the USA, there has been a 9% increase in female players since 2006.
83% of African American teens report playing video games compared to 71% of white teens.
Latinx youths spend more time than white youths playing console games.

Stereotypes are clearly not an accurate representation of gamer demographics. Many developers have seen this as an opportunity to engage with a larger audience.

Successful models of diverse engagement

Diversity in video games is growing and some adopters are enjoying roaring success. Apex Legends, a free-to-play Battle Royale game, has taken the gaming world by storm. With relatively little marketing efforts, they hit 50 million players in the first month. They also instilled diversity into the core fabric of the game’s characters. Out of the eight characters so far, two of them are black women, one non-binary, one mixed race, one Hispanic, and the other non-hetero.

Other developers are creating narratives that represent the experiences of different backgrounds. In Assassin’s Creed III: Liberation, the game revolves around interacting with the world as a biracial woman. Naughty Dog’s The Last of Us explored Ellie’s sexuality. It’s a theme that will be expanded upon as she steps into the light as the protagonist in The Last of Us Part II.

Elsewhere, in-game character customisation gives players even more options. They don’t have to be bound to any race, gender, or even sexuality. BioWare might be the trendsetter in this regard, and relative newcomer Stardew Valley lets you marry NPCs no matter what the gender.

Film and TV diversity

Minority-led movies and TV series are taking off across many platforms. Black Panther enjoyed a record-shattering box office success. It was the biggest February opening weekend ever, the biggest non-sequel debut ever, and the top-grossing film by a black director. It breaks the Hollywood illusion that actors and directors of colour generate less revenue than their white counterparts.

Before the major motion picture Crazy Rich Asians, Hollywood hadn’t released a film with a majority Asian cast for 25 years. This romantic comedy topped the box office, once again proving the power of diversity and the importance of engaging with a variety of audiences.

In terms of TV series, Netflix has done well to reflect diverse perspectives and progressive points of view. Important social and political conversations are opened when popular shows tackle stigma on mental illness (Lady Dynamite) and highlight problems with the prison industrial complex (Orange Is The New Black), the immigrant experience in the U.S. (Master Of None), and systemic racism (Dear White People).

For gaming, film, and TV industries, it’s clear that minority represented or minority-led productions can thrive. The movement to actively seek out engagement from wider audiences has begun and is largely enjoying success. There’s still a long a way to go, but representation and diversity in digital media has a bright future ahead.

RealtimeUK understands the importance of diverse engagement and can bring that to life in your cinematic trailers. Get in touch with me today on [email protected] to discuss your next steps.

Strength in storytelling

As we saw in part one, the evolution of storytelling in games has come a long way since its inception – from simplistic backstories for basic interactive experiences, through to the more compelling ‘Hollywood’ experiences we enjoy today.

The industry has matured, both literally and figuratively. One of 2018’s biggest games was God of War, a half-sequel, half-reimagining of what was once a brutal bloodbath of a series. It still is, but now it has a nuanced narrative that won it many awards for its storytelling. So how did we arrive at this point?

The start of something good

Video Games have moved on significantly from early interactive entertainment in which thinly veiled backstories were intended to flesh out the most basic of visuals. Games now offer richly detailed worlds in which compelling storylines are complemented by stunning visuals. If done right, they can add a whole new layer of nuanced storytelling to your game.

French developer Quantic Dream have become leaders in cinematic game experiences that perfectly blur the lines between Hollywood movies and games. One of their earliest titles, Fahrenheit, was released on both the PS2 and Xbox in 2005. When it was announced, Quantic Dream defied convention, and labelled the game as the first “interactive film”. Indeed, it relied heavily on motion-capture technologies and other techniques first pioneered by the games industry that have become commonplace in Hollywood productions (and have even become standard practice in REALTIME’s own TV & Film division).

The game featured a split-screen camera, a time-based decision system, and a branching narrative – all huge advances for the time and something that would grow in popularity.

Future games from Quantic Dream included ‘Heavy Rain’, ‘Beyond: Two Souls’, and 2018’s ‘Detroit: Become Human’, which further underpinned the advances and importance of successful storytelling in games. The former had multiple main characters that could die at any time, further reinforcing the complex and rich narratives that players could now experience.

Massive effect

At the other end of the spectrum, games like Mass Effect realised everything that BioWare, its developer, had been working towards. They created a sci-fi story that is still regarded by many as a classic 12 years after its initial release. Regardless of what you might think of the end of the trilogy, BioWare crafted a beginning, middle, and end that had some of the most compelling characters ever committed to video game history. And they did it with a huge focus on choice. This wasn’t just BioWare’s story – it was yours.

The decisions you made affected how everyone saw you and how they responded to you. You could choose to be a merciful paragon or a merciless renegade. You chose what to say in conversations and what tough decisions to make. And it had consequences – not all of your team would necessarily make it through alive.

Key to its success in storytelling was the heavy use of cinematics within the game, rendered in-engine to create a seamless experience. Although realising the storyline in-engine remains a key technical challenge, the tools and technologies have continued to advance. Advances in engines like UE4, Unity, Frostbite, and Lumberyard mean that achieving great visual storytelling has become less of a technical challenge and more of a ‘craft’ that is now more reliant on the key talent of directors, animators and VFX artists.

Where are we now?

The democratisation of these technologies has attracted key acting talent like Andy Serkis, best known for his pioneering motion-capture performance in ‘Lord of the Rings’. He brought his talent to the critically-acclaimed Heavenly Sword. Most recently, he was used to demonstrate the advances in facial performance using UE4 technology, to show the extent to which this technology can be used to convey emotion in storytelling.

Advances in in-engine technologies have allowed developers to push the boundaries of storytelling, delivering eerily-accurate digital duplicates and award-worthy, show-stopping performances. However, achieving such an effect can only happen when an understanding of the technical complexities of the technologies is married with successful direction and creativity.

At RealtimeUK, we understand how important story is to not just the game, but the trailer too. Combining compelling storytelling and excellent direction, we have delivered many examples of outstanding work. If you’d like to discuss your next project, get in touch with Dave Cullinane at [email protected].

Car dealerships are failing

The user experience should always be the primary driver behind sales. But on closer inspection, traditional car dealerships are failing. Many automotive businesses describe themselves as being in “significant financial stress”. But are they doomed to fail or could virtual technology bridge the gap and bring new life into an old industry?

Marketing and sales teams in the automotive industry have come up against new challenges in putting the customer at the centre of the business in the last decade. Many people seeking a new or used car are not enjoying the buying process of traditional car dealerships. People are put off by the aggressive selling and pressure to make quick decisions. It can generate a certain level of anxiety or discomfort that does sales teams no favours in selling cars.

Virtual reality showrooms

Dealerships are failing to truly showcase a the range/choice and personalization available to customer. Normally, these buildings only have space for several car models or colours. A virtual reality showroom, on the other hand, has limitless space for offering a truly unique user experience.

Consumers have options to customise any make or model in exactly the way they see fit. They can be fully immersed in the car’s experience, without it needing to be in the showroom. This is particularly useful for cars that haven’t even rolled off the assembly line yet.

In practice, sales teams can realistically demonstrate a specific colour on someone’s dream car, a customer’s idea for a modification that they need to visualise, or even explore different interior upgrade possibilities to potential prospects.

Feeling free

With virtual reality tools, customers in a UK showroom can interact with the vehicle in various scenarios or situations to generate a strong sense of freedom, adventure, and need. Users can virtually test their dream vehicle in the rolling Tuscan hills of Italy or breathtaking Swiss mountains. Even better, these virtual technologies aren’t exclusive to the showroom. Some can be used by customers in the comfort of their own homes, providing a sense of time and user control that a showroom cannot offer.

The bottom line for virtual reality and the automobile industry – companies can create virtual reality experiences to immerse customers into their brand universe. This is much more than a marketing gimmick though; it drives day-to-day sales volumes. Customers will begin to associate an easier buying experience with your brand, keeping them in your brand’s ecosystem for years to come.

The possibilities of virtual reality in the automobile industry are practically limitless. The technology’s applications go far beyond the dealership and help engineers with car conception and employee training. Along with the newly personalised and enjoyable customer purchasing process, these applications all go towards a greater user experience that drives sales in the automobile industry.

Never underestimate the impact your technology can have. Consumers crave a sleek, efficient experience. You can’t afford to have a subpar configurator. That’s why RealtimeUK delivers the best, like our Bentley Bentayga configurator – so you can be the best. Get in touch with me at [email protected] to find out more.

Meet Jono!

What’s your role at REALTIME?

I’m the Executive Producer for Film & TV. The main focus of my role is identifying new projects for us to work on. I work with our in-house team of Artists and Producers to create costs and prepare a creative pitch to win the work. I am then the key point of contact for our clients throughout the production.

How did you come to work in broadcast?

Like many people my first break into the broadcast industry was as a runner. I worked on a tacky sky dating show that was filmed in the old Granada studios in Manchester. My fellow runner was a young woman who was very keen to get into TV presenting by the name of Zoe Ball. She succeeded! I also worked with a runner called Tom Vaughan and ended up making several short films with him and co-writing a screenplay. Tom is now a successful TV and feature film drama director.

What sparked your interest in TV?

I’ve always enjoyed watching good TV – from comedy through to drama. I was also drawn to the performing arts at school but I wasn’t cut out to be an actor so a creative career in TV appealed because you get the same fun creative people you get in theatre.

So, what does an average day consist of for you?

It’s very varied but could involve reading scripts or series outlines, drafting costs on the VFX that are going to be in a show, meeting potential clients or working with Artists to create concepts or tests for pitches on TV series. There is also quite a bit of strategic thinking and planning and I also need to think about our VFX pipeline and the technology side of how we deliver projects. Clients care about the creative and the cost, but are also very focused on delivery. We are reliable and always deliver on time so we need to regularly refine and develop our VFX pipeline.

What’s been your favourite project to work on and that you’re most proud of?

The most fun to work on was an indie move Human Traffic – many moons ago! Filmed on location in Wales and it ended up being a top ten box office film that year in the UK in spite of its low budget. I also introduced the Producers to the Distributor who had released a short of mine in front of a Richard Linklater film. In terms of VFX I was proud of the work we did on Lean On Pete – an indie movie directed by a really talented writer / director Andrew Haigh. The VFX was integral to a key moment in the story and it involved a horse being hit by a car (oops plot spoiler!)

What’s the best thing about working here?

It’s great to have such a large and varied team of in-house artists. For me it’s particularly helpful to have an Art Director and Concept Artist to help visualise VFX ideas for pitches. I also like working out in the countryside when I am in the Westby Studio.

Are there any upcoming things in the industry that you think people need to keep an eye out for?

The content goldrush we are experiencing in which Amazon, Netflix, Apple and the US studios all battle for market share continues apace, which means more VFX work being commissioned at increasingly higher budgets. These companies are concerned about being able to deliver shows on time so there are lots of opportunities for companies like REALTIME – so it’s an exciting time.

Tell me a fun fact about yourself?

I was born in Zambia and lived there and in Ghana and Sierra Leone as a child but I didn’t see snow until I was 8. Because of that I love the stuff and I particularly enjoy skiing.