Animation Archives - Page 35 of 44

tyFlow Test

Our hugely talented Artist Danilo Lombardo has been testing some new tools that have caught our attention, tyFlow in particular got an amazing result.

Lucky for us he’s done a lovely little write up… take it away Danilo!

This scene started as an experiment, with the mossy forest of Wistmans Wood , in Devon, England, as our main reference.
A scene like this relies on some little but crucial fundamentals.

The main objective was to create a scattering system that could be manipulated and art directed while creating an interesting chaos throughout the scene.
In doing this, it’s really beneficial to come up with a hierarchy of growth that can be repeated across, and that helps us define the visual pattern for the elements.

In our scene we defined some elements that would act as main surfaces while the rest would simply grow on top and dress it.
These elements were the terrain, rocks and trees.

The first area is the terrain, that was achieved using Gaea powerful node based system and then exported as geo. The terrain was then scattered with rocks and trees using forest pack to have a fast random distribution , keeping a low poly version of those elements that would later serve as scatter base for all the vegetation.

The base layout is quite simple.

Trees and rocks were sculpted using zbrush and textured using substance painter, following a pretty standard approach for this kind of objects, always having the gnarly dwarf oak trees
from Wistmans Wood as a goal.

Only 5 different variations of rocks and trees were sufficient for having enough visual noise in the scene. Some smartmaterials such as moss and tree bark were developed in substance to be easily instantiated on all elements. The vegetation in the scene is a mix of megascan assets plus some additional ones obtained using textures atlases from textures.com mapped on simple planes. Every final tree is then converted to a vrayproxy and placed in the scene.

[All the trees are sculpted in zbrush and then dressed with vines , plants and leaves using zbrush fibermesh and tyFlow. The plugin “ultimate painter” was used to place some of the objects manually.]

The real fun starts with the infinite possibilities that scattering brings to the table. Forest pack was used on the ground, from small grass to bigger plants, using textures to drive the distribution and using the powerful forest material to colourise those assets.

The rest of the scattering was handled by tyFlow in order to test its capability. Although being mainly a tool for FX artists, I was blown away by the possibilities for environment artists alike. I have always been a fan of using particle flow in max for certain tasks, and tyFlow have the amazing ability of scattering a crazy amount of points to any surface and gives artist a lot of freedom in what to do with those points.

I’ve been able to create a moss system that would just work on every asset in the scene, and can be reused even in future projects. Particles are being born on objects using a position object operator, which has now been improved to take in account objects normals, material IDs and textures to drive the density of those points. Points are then converted to moss , using a shape operator with the out of the box “grass clumps” 3D template present in the shape node.

[particles are scattered on the objects using the z-axis to drive their placement. Each particle is converted to a grass clump at render time.]

This simple setup was all I needed to literally cover the entire scene in moss, with a display node set as “sprite” that kept the viewport extremely fast.
tyFlow was used to scatter all the moss plus many other smaller items like twigs on the rocks etc. and it proved to be a trustful help when it comes to scatter and art direct a huge number of points in the scene, without ever leaving max.

I was able to texture my moss using different custom V-Ray materials assigned to particle ID groups. A mesh operator then told V-Ray to treat each strand of moss a V-Ray instance.
tyFlow is fully compatible with V-Ray and is also able to output V-Ray proxies. Final lighting and fog were handled in V-Ray.

The final scene is quite light considering the amount of details involved. Different colours were used for different tyFlows.

Scattering and dealing with huge number of points is vital in 3D environments production, from creating garbage on the ground and piling of objects in a natural fashion,to parametrically dress a shelf full of items without having to do it manually to creating more complex setups with destruction in order to model decaying structures, the possibilities are endless.

I’m really excited about tyFlow and the power it brings to 3dsMax.

Here’s a little breakdown showing different stages of growth.

We have lots of lots of top tips in our insights take a look!

What can we expect from the next generation of consoles?

We are fast approaching the end of the current generation of consoles. Next year, we will most likely see the gaming landscape move into a new era. Both Microsoft and Sony will reveal and potentially release their newest offerings, and with Google releasing Stadia, the next generation could be less of a ‘war of the consoles’ and more a ‘battle of the streaming services’.

We don’t know what the future of gaming will look like but we can make some assumptions based on the trajectory of the market at the moment. So let’s don our hypothetical hats and delve into the potential future of the games industry.

Console wars

When it comes to the next generation of consoles, we’ll no doubt see the same game of Top Trumps we’ve seen before. Each will claim to have bleeding-edge graphics, unbeatable processing power, and a tantalising frame count. There are plenty of buzzwords already floating around in relation to the new consoles – ray tracing and SSD drives were particular highlights of Microsoft’s E3 wink-and-a-nod reveal of what they are currently calling ‘Project Scarlett’.

But what will the games be like? We’re already seeing a shift towards a ‘games as a service’ model with ongoing support planned for future releases like Square-Enix’s ‘Avengers’ game. Coming so late in the current cycle’s life, we may we see it become a cross-gen release. Will the next generation have fewer sequels, instead choosing to focus on advancing just one game? Or will a game continue to be relevant up until the point the sequel releases, meaning players have no downtime from said game?

It will also be interesting to see where VR fits into the landscape, which was, at one point, all the rage but has since taken a backseat. PlayStation hasn’t said much about their VR unit in recent months, though that may only be a feeling exacerbated by their no-show at this year’s E3. Of course, will consoles even stay relevant?

Enter Google

In Google’s own words, “the future of gaming is not a box; it’s a place”. While we have yet to see the long-term effects of Google’s efforts, you can’t deny they have the power behind them. What separates them from previous attempts to bring game streaming to the masses is their sheer size. The future of gaming could move from Microsoft vs Sony to consoles vs streaming.

How they fight that remains to be seen. Microsoft is planning their own streaming service; Sony already has one in the form of PlayStation Now. The alternative might be a ‘games-on-demand’ sort of service. Microsoft has Xbox Game Pass and if their E3 presentation is anything to go by, it will play an integral role in their future plans. They aren’t alone; EA has EA Access, Ubisoft will have Uplay+, and PlayStation Now allows you to download PS4 games to your console for offline play.

It all depends if Stadia can be truly stable. It’s biggest mountain to climb will be delivering a seamless, lag-free experience. If it can’t accomplish that for the majority of people, they may well stick with something that lets them avoid that issue. Stadia also doesn’t have the Netflix-esque subscription model other services have. In this age of binging, could a service that delivers hundreds of games at the touch of a button win out?

The future is bright

Regardless of which way the games industry goes, it’s good news for the consumer. Having multiple options is never a bad thing.

Whatever happens, there will always be new games. Traditional releases, games as a service, free to play – there’s something for everyone. What won’t change is the need for a quality trailer. With more options comes more competition, so you need to think now about how you will separate yourself from the pack. A quality trailer is your way of making your game known to the masses and could be the big difference between a successful launch and a damp squib.

At Realtime, we have worked with many great developers and helped them deliver a quality trailer befitting of their game. If you have an upcoming project and want to discuss it, get in touch with me at [email protected].

Making a CGI trailer for your video game

So you are developing a game. Years of passion are coming to fruition. Your heart and soul – your vulnerability – laid out for the world to see. The time to show your hard work to the general public draws near. It’s a moment you both dread and gleefully anticipate. It’s time for the marketing to begin as you only get one chance to impress.

Like anybody else, you want your game to sit on a pedestal for the world to see. But in a market rife with so much competition, it can be so easy to fade into obscurity. Kickstarting your campaign with a CGI trailer can be an ideal way to attract the attention your game deserves. But putting trust in someone else to deliver on your vision is a big leap. How does that process work?

The start of the journey

There is no paint-by-numbers roadmap that works for everyone. The first thing to understand is the journey is pretty much different for everyone. And that’s a good thing.

Producing a high-quality trailer is only half the battle. What separates the good from the bad is the level of dedication to accurately representing your IP and key USPs. This only comes from a company that cares about working collaboratively with you; as part of you.

You need a studio that maintains a constant line of contact. Whether this is through in-studio meetings or more convenient over-internet communication, what matters is they listen to you. Worried you don’t have your own in-house creative available? That shouldn’t get in the way; a good production company should mould to your situation and should be able to help with any script development and suggest creative solutions that won’t blow the budget.

The initial discussions should help outline the direction of the CG trailer. Working with you, the production company should pin down which characters or assets you’d like to feature in the trailer that can get across the USPs and distinctive brand of your game. If you have these ready to go then great. If not, then a good partner should be able to make these assets in-house, carefully updating you with their progress as the pre-production process begins.

Producing brilliance

The length of time a production may take will vary, depending on the scope of the piece. A typical pre-rendered trailer can often take several months, so planning on your side will be an essential element to the success of the piece. Even with this in mind, it is crucial to keep the studio up-to-date with your plans, allowing enough time for the studio to produce the trailer and apply the specialist resources to accommodate the project.

Also, be wary of when you want to enlist their service. In the run-up to any major industry event, such as E3, many studios will be fully booked up. With this in mind, you should look as far down the road ahead as possible to avoid disappointment. What matters most is that the final trailer is a creative testament to your game and an open line of communication can go a long way to help with this.

Collaboration

A consistent and collaborative attitude to communication throughout production will inevitably help you arrive at a CG trailer that all stakeholders are happy with. So having a permanent point of contact within the production company is key. The studio’s Head of Production should be your day-to-day contact who keeps you informed of any changes and respond to feedback.

Over the course of the production cycle, you should be privy to many milestones, initially beginning at the pre-production stage with concept art. Storyboards and rudimentary animatics are intended to give you insight into the direction of the trailer. These are created with the intention of providing your team with an opportunity for feedback. Over time, you should see the final product start to form, as the production company sculpts a work of art before your eyes.

If you have stayed communicative throughout, you should have a final product that trumps every expectation. A cinematic tour de force sure to capture the attention of any audience. Something that encapsulates your game with ease.

It seems like an almost impossible task; how can you find someone who can deliver on your expectations? How can a company ever truly understand your product? A specialist CG studio that understands games can – if you allow them.

RealtimeUK is that company. We aren’t just a production company; we are an extension of your studio. We work intimately with our clients from the start, working with a focus on open communication. If you would like to discuss your next project, get in touch with me at [email protected].

The rise of free-to-play games

We recently discussed the new trend of autobattler games such as Auto Chess, Dota Underlords, and Teamfight Tactics. All are showing signs of becoming the next big genre in games to follow in the footsteps of MOBAs and battle royales. What one thing do they all have in common and indicative of a wider trend? They’re all free to play.

In the age of the internet, there’s never been greater access to a plethora of games that can be played almost instantaneously. With such immediate access, many have seen the potential for games that can be distributed for free and monetised in a variety of ingenious ways.

Free to a good home

While you could argue the genre goes back to early PC shareware, most credit South Korea as the home of free-to-play (F2P) at the turn of the century. Across South Korea and Russia, these games gained significant prominence. They continued to spread across the world and, in the mid-2000s, games like MapleStory, RuneScape, and Neopets grabbed the attention of many cash-strapped kids and adults alike.

Games that were once paid for moved to a F2P model. Games such as Team Fortress 2 and MMO Star Wars: The Old Republic reached new heights of success. The stars of the current F2P market include Fortnite, League of Legends, and its aforementioned autobattler spin-off Teamfight Tactics. All three currently enjoy being amongst the top five most viewed games on Twitch. Heavy-hitting ‘AAA’ titles are making the switch too – most notably, Destiny 2.

So why have F2P games become so widely adopted? While they will cost more upfront to produce and distribute, in the long-term, they have the potential to enjoy greater levels of revenue than if they had been a ‘traditional’ full-priced game. Their appeal lies in their ease of access and free availability. Committing to these games costs nothing but the player’s own time and most in-game purchases are merely cosmetic or completely optional. But therein lies the issue – if there are so many high-quality F2P games, what separates yours from the rest?

Watch and learn

The biggest F2P games have one thing in common – they know how to foster a community. Most of the dominant F2P games on the market were once newcomers themselves and had to build their community from the ground up. While word of mouth works wonders – you’ll struggle to find a man, woman, or child who hasn’t heard of Fortnite today – how do you convert those people to regularly playing – and paying – customers?

What can help attract more attention is a cinematic trailer. Cinematic trailers grab the imagination of the audience, weaving a story filled with intense action that plays out in a matter of minutes. It’s even more important in the mobile gaming market. Competition is fierce as you vie for the limited time of the average smartphone user.

What people crave is a community they can feel a part of. With a F2P game, you’re expected to update regularly, and people search for the in-jokes and easter eggs that reward their time investment. Look at the way Fortnite holds its audience with a changing map and sly winks to those in the know.

So if you’re looking to enter the F2P market, ask yourself what your community will be – why is it worth joining? It’s all too easy to fade into irrelevance. So how are you going to make your mark? The best way to do it is through a trailer that lets people know you’re here to stay.

At RealtimeUK, we have perfected the art of creating cinematic trailers that deliver on all fronts. We have worked with free-to-play games in the past, including Paladins and RuneScape. If you would like to discuss your trailer needs, get in touch with me today at [email protected].

The rise of auto chess games: who will win the autobattler war?

The wider gaming scene is always defined by its biggest trend. There tends to be one huge, genre-defining game that others dream of being as successful as. First-person shooters were popularised by Call of Duty, MOBAs by League of Legends, and battle royales by Fortnite.

This year has seen the rise of a whole new genre – the ‘autobattler’. What began with Dota 2 mod ‘Dota Auto Chess’ has now spawned multiple competitors all vying to be the dominant game in this new genre. But where did they come from? Where are they heading? And how might they become king?

The opening gambit

If you’re wondering where the terms ‘autobattler’ and ‘auto chess’ suddenly appeared from, you’re not the only one. It’s a relatively new concept that became popular as a custom game type on Dota 2. It combines the characters of Dota and the layout of chess with a dash of mahjong to create a game that was like no other. First making its appearance in January this year, and created by Chinese developer Drodo Studio, it has lit the fuse to a whole new genre of strategic games.

The only fly in the ointment was that Dota is a Valve IP. After discussions with Drodo Studio, the two companies amicably decided to head their own ways. Valve spun the idea into Dota Underlords, while Drodo Studio began work on a separate, fully-fledged game simply called Auto Chess that they hope will not only conquer China but the entire world. And so the autobattler was born. Riot Games is now the latest to join by creating a spin-off of League of Legends entitled Teamfight Tactics.

The current state of play

Dota Underlords, Auto Chess, and Teamfight Tactics are the current three big players on the scene, each vying to take the crown of the king of the autobattlers. Dota Underlords has the advantage of having the character set-up people are most familiar with. Auto Chess is the progenitor; the original idea that people love so much. And Teamfight Tactics can capitalise on the enormous player base of League of Legends. In fact, to increase uptake, the game is accessible within the League of Legends client.

The next phase of autobattler games will be securing the player base across platforms. While it began on PC, the genre is aiming to attract the lucrative mobile crowd. Both Auto Chess and Dota Underlords have mobile versions of their game and, in the case of Dota Underlords, the PC version is based on the mobile iteration (for now). There will no doubt be more autobattler games that come along, but what will decide which one comes out on top?

Standing out from the crowd

It makes sense that the one eventually crowned as king of the genre will be the one that can attract the greatest community. Naturally, they all have their own in-built communities, but what will attract newcomers? While word of mouth has achieved a lot so far, there has been little in the way of marketing. While this is understandable, given they are all in the early stages of development, it makes sense that they would benefit from cinematic trailers to bring the crowds in.

The challenge will be taking the relatively dry, top-down view of the autobattler games and turning that into a stunning trailer. It will need to sell the action that is otherwise left to your imagination. It will need to weave a story that plays out in short-form. And, in the case of Dota Underlords and Teamfight Tactics, it needs to show the pre-existing communities that this is an exciting addition to the lore that justifies the hours already spent in the game. Auto Chess has an uphill battle in that regard, so will need a strong theme to attract people’s attention.

This is especially true in the mobile landscape. The competition in this space isn’t just other autobattlers, but all of mobile gaming. How will you differentiate amongst the match three games and the battle royales?

Most of all, it needs to show people this is a community worth joining. At this early stage, any of these games could fade into irrelevance. A new competitor can appear at any moment to claim the crown as its own. If they want to be the best, they need a trailer that unashamedly says “we are the best”.Given the success they are enjoying in such a short period, we think the autobattler genre is here to stay and hasn’t even begun to peak. The autobattler war is about to heat up: are you ready for it?

At REALTIME, we can craft a trailer that amazes audiences and draws in new players. We’ve worked with many free-to-play games, such as Smite and CrossFire, so we’re well-equipped to handle whatever your request may be. If you would like to know more, get in touch with me at [email protected].