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Tag: 3D

The Year Automotive Events Went Digital

We absolutely love a motor show and are really excited to be back at the Goodwood Festival of Speed this week, which is allowed to go ahead at full capacity as part of the UK Government’s pilot Events Research Programme. In the run up, we look back at how successfully the automotive industry embraced digital events last year, and what the future of motor shows looks like now.

Last year, the events industry took a massive hit. It is a significant contributor to the global economy. As per the report published by Allied Market Research, the global events industry was valued at $1,135.4 billion in 2019, with corporate events & the seminar segment holding the highest market share.

That was before the pandemic. With a sudden lockdown, every physical event was thrown up into the air. Like many other industries, there was no consensus on how to handle this unfamiliar situation. Eventually, with the writing on the wall, the events industry had to make a choice: cancel outright or move to digital events. The automotive industry was no different.

But with digital events being the only alternative, did the automotive industry take advantage of everything they had to offer? And did those that took up the challenge succeed in providing a worthwhile experience? And what will happen in 2021 and beyond for motor shows? Read our brand-new E-Guide on the subject and let us know your thoughts!

Creating a AAA game trailer in lockdown

2020 has been an unprecedented year. The country went into lockdown as the world dealt with this continuous pandemic. Our way of life shifted dramatically, changing how we all work and live. For us, our entire operation was briefly flipped on its head and we were left wondering how we would deliver. 

But we were able to slip into a very natural routine that had a minimal effect on productivity. In the end, we put a video game trailer together in the midst of a lockdown, testing our artistic, communication, and management skills.

The final product has exceeded our own expectations and looks to be a massive hit, with plenty of positive feedback and YouTube views, especially on the art direction, style, and music. So how did we pull together a trailer like this under such circumstances? With insight from Art Director Stu Bayley and Head of Production Jane Forsyth, let’s look at the challenges faced and lessons learnt along the way.

 

The lockdown

From the start, this was an electrifying project for the REALTIME team. Having worked with the client previously, we were excited to work together on their latest title. Of utmost importance was making sure the game’s beautiful art style translated well in the trailer, and audiences could see how much of a visual marvel the game is. Thankfully, we have some impressive artistic talent at our disposal, along with the fantastic artists from the client.

As if staying faithful to their visionary art style wasn’t enough of a challenge, then came the lockdown. Suddenly, our art team – so used to working in proximity and bouncing off of each other – was scattered. It’s a familiar feeling to many of you, we’re sure.

With some foundation work done prior to this, thankfully, everything else could be completed from our homes. In principle. But in this situation, you have to change how you approach work. Many people were and are still dealing with other external pressures like homeschooling and supporting a partner who was still working as a key worker. Everyone needed to restructure their days to accommodate this. For us, that meant entire working days were spent in meetings; it presented a new communication challenge.

Our homes became our workspaces and our families became our colleagues. And that was just as true for our client. Working with people across the globe and with everyone working around their families, we had to be readily available at all times. A colossal number of hours went into this project to get it over the line, requiring a level of motivation you wouldn’t think possible in the midst of a pandemic. But we got it done.

 

The challenges

With such a distinctive art style, one of the key challenges was always going to be making sure it shone through in the trailer. Everything had to be perfect, so we worked collaboratively with the client. 

They valued any input we brought to the table and we each pushed the other to do our greatest, reaching new heights of fidelity. Character animations were on a whole other level. In all, we took 60 passes at this project to achieve the vision we were after, a far cry from the 10 or so times it might usually take us in a non lockdown situation. It truly is pixel perfect.

Working out of the office was a challenge, too. No matter if you went the VPN or remote desktop route (as we did with Splashtop), you were still at the mercy of the internet connection. But, for us, working from home went a lot smoother than we ever anticipated. It seemed so daunting, but everything came together in the end. And it showed us a new flexible way of working that will surely change how we all work forever.

 

The communication

One thing that had to change for all of us is how we communicate. Our colleagues aren’t just a desk away anymore. But, bizarrely, this project might have made us closer than we were before. The key is to find a communication platform that works for your situation. For us, Microsoft Teams was a godsend. And we had only recently switched to it before the lockdown!

It’s how we communicated with one another and with the client. When you both use the same platform, it just makes the whole communication process that much easier. We were always on it and so too were the client. It made the back and forth simpler, and changes can come about quicker.

 

But do you lose something by not being in proximity to one another? Stu couldn’t look at what one of our team was doing and give guidance before it went too far down the wrong road, hence why there was a need for so many meetings. It was harder to keep on top of things that you would normally have an eye on while walking through the studio. Errors will still happen – such is the creative process – but when you aren’t in that usual environment, you need to be even more attuned to the day to day in an effort to reduce their frequency. Finding ways to communicate effortlessly was a necessity.

Communication plays a much more important role beyond this. It’s about making sure everyone is feeling their best. Everyone needs support, whether they live alone or have their family with them. It’s why we made sure to talk to everyone as much as possible. Not just about work, but also about life outside of it. As they say, humour is the best medicine.

The side effect of this is our interpersonal relationships have never been better. They’re stronger because of the constant communication. This carried across departments, with different teams excited to share what they’ve been working on. It makes for a better work-life balance, a better team, and a better working environment.

 

The lessons

So what can we take away from this? What will we keep with us to make REALTIME a stronger business going forward? The importance of communication might just be the biggest lesson. Not just on the usual level you might have in the studio; it’s more than that. You need to communicate more and in a more genuine way, both in and out of work. It encourages teamwork, creating a sense of unity that brings everyone together.

It proved that we can pull off such a project and, with some tweaks, could easily be a new way of working. The studio will always have its place, but we have learnt so much about working across distance, making any future collaboration that much smoother. The flexibility can’t be underappreciated; being around family more can only be beneficial.

Something else to take away is the importance of giving yourself the breathing space. Jane knew when she needed 5 minutes away to run around the room and do anything that wasn’t work and Stu found solace in oat milk, of all things. But we all need to let off steam, and that’s a message we brought to our staff. We made sure to add some levity to proceedings to keep it lighthearted and spirits high. After all, we’re in this together as a team. Sometimes what you need is for someone to post a silly gif or just talk about their interest outside of work. It’s a coping mechanism that’s always appreciated.

Above all, we learnt we can adapt to any situation and still deliver an amazing end product. We can still collaborate effectively and work well with our clients. We can pull together as a team and deliver on our client’s artistic vision. And we can communicate better than ever.

The client appreciated all the time we put into the project to make it a reality and we are appreciative of the space they gave us to stretch our creative limbs. We know this lockdown won’t stop us and we can still create a AAA game trailer no matter what the situation.

At REALTIME, we’re always ready to step up to the plate and challenge ourselves. We focus on open communication and collaboration to deliver exactly what you’re looking for and more. If you would like to discuss your upcoming project and how you plan on handling it in this situation, feel free to reach out to me at callum@realtimeuk.com.

A guide to crowd replication

The pandemic and its associated restrictions have left many industries with a quandary. How do we go about our business as usual when we’re far from ‘business as usual’? It’s something we’ve all had to adjust to and the TV industry is no different.

Many productions have kicked back into life, albeit with a new way of working. Filming a series or movie has become a puzzle as production teams find novel ways around the problem. Some are going as far as quarantining their entire cast and crew prior to filming, something that is sure to be expensive and outside many productions’ realm of possibility.

While you can figure out an on-set workaround for most issues, what can you do if you need an entire crowd? In our recent survey, we found crowd replication was a key concern for getting TV productions back up and running. With social distancing measures, having a live-action crowd isn’t safe or feasible, unless you want to spend a lot of money paying your extras to quarantine so they can be used to film in a ‘bubble’. Removing them altogether will make your show or film feel lifeless and empty. So what solutions are there?

 

Defining a crowd

Through a process called ‘crowd replication’, we can create lifelike crowds indistinguishable from the real thing. But what constitutes a crowd? Strictly speaking, the term only applies to groups of above 20 people. Think a platoon of soldiers, a raucous crowd at a football game, or a hoard of zombies. Below 20 people, you could still call it a crowd, but because of the smaller size, you would go about choosing a different workflow.

It’s also worth noting that there is a 2D way to do crowd replication and a 3D way. 2D crowd replication usually involves filming a cluster of people (5-20 at a time) at one spot, moving them, then filming again, on and on until you have filled your scene. That wouldn’t abide by social distancing rules, so isn’t an ideal solution. So we’ll be talking about 3D crowd replication solutions that we can reasonably do in these times.

 

How to make a crowd – below 20 people

There are several ways you can do this. The first is to film actors against a green screen, decked out in the right costume, and combine them into a group. You could film them together in socially distanced groups and replicate and fill in the gaps with individual people.

The second is to buy CGI models of the character asset you want. These could be individual people or groups. They would be dressed in whatever the model comes with. If you have a group where people don’t need to be unique individuals, such as in a crowd of soldiers, then it’s a good solution. 

But if you need them to be diverse in how they look and dress, it isn’t ideal because you will need to texture the models individually in different ways to make them look different in a crowd. You can always texture models with your own costume, using different software like Marvellous Designer, but this is time-consuming and expensive. However, if you are doing a period show or require specific costumes, then this is the best way.

The final method is to make bespoke character models and dress them with your chosen clothes/texture, which are ‘handmade’ digitally. You can do this through photogrammetry capture of actors in the clothes you want. You can also create ‘bespoke’ costume using Marvellous Designer, but you get a more realistic finish using photogrammetry.

 

A note about crowd sizes

Something else you need to consider is the size of the people in the crowd, as they appear on-screen. If they are bigger than an eighth of their real size, they aren’t really a crowd. If they’re anywhere between a quarter and half the size they should be, then they need to behave more realistically, otherwise, audiences will be able to spot that they aren’t real actors.

If you ever need to use a ‘featured’ character (as in a ‘main’ character), then this is even more crucial. You would need an incredibly accurate digital double of them. So whichever of the above it is, it will affect how they are made. As a rule of thumb, the closer the 3D character is to camera, the more expressive/ reactive they will need to be and the more realistic. This also affects the cost – so the closer to camera the 3D model is, the more it will cost.

If the character is going to be quarter- or half-size, then using photogrammetry is the usual way. You can also use motion capture of the actor. Another way of doing this would be to use volumetric capture of the actor to create a digital puppet of them. Disney used this method in 2019’s Aladdin for actor Will Smith in his role as the Genie. Weta Digital also has volumetric capture software to create digital double humans, though this is only viable for mega-budget studio movies at the moment.

 

How to make a crowd – over 20 people

Making bigger crowds is usually done with proprietary software that the big VFX houses have spent decades developing. One of the most well-known names in this category is Massive Software, crowd created using can be seen in the likes of Game of Thrones, I, Robot, and World War Z.

These days, you can also create large crowds with a software called Houdini. It’s an entire kit of essential VFX tools, one of which just happens to be crowd replication. It’s a relatively straightforward way to create simulations of entities that behave in the same way, such as zombies or skeletons.

Another route that is opening up is 4D capture. It’s currently being used by architects to populate CGI cityscapes with people but could easily be adapted to work for TV and film. As technology tends to do, I wouldn’t be surprised if this improves in the years to come and becomes a staple technique. Time will tell.

If there is one takeaway, it’s that crowd replication is possible even in these unprecedented times. If your script calls for a diverse crowd of individuals or an oncoming army of soldiers, it can still have that. There are plenty of digital solutions available that can create realistic crowds and who knows, it might just be your new favourite way to do it.

At REALTIME, our expertise in VFX covers crowd replication, amongst many other specialities. We work collaboratively with you to deliver the results you need. To find out more, reach out to me at jono@realtimeuk.com.

Why should you find a VFX studio for your TV ASAP?

I thought I’d share with you four reasons why you should find a VFX studio for your TV production as early as possible.

Every TV production is a collaborative process. It needs to be a well-oiled machine where every party – the creative lead, the director, the producer, the writer, the Director of Photography, the Production Designer , and all the other HOD’s- pull together for the greater good.

This will often include an outside party. If your production needs any CGI, you will need the expertise of a visual effects studio. On the list of things you need to do, finding someone to handle this aspect might fall somewhere near the bottom. But partnering with someone early will pay dividends later on. Here’s why you need it can pay dividends  to find a VFX studio to work with sooner rather than later.

 

It can help you plan effectively

There are very few areas of your production where you will want to take a ‘fly by the seat of your pants’ approach. You plan your shooting  schedules and every department has some element of prep time to plan for the production. You work towards an official air date. Why would your approach to your visual effects be any different?

Locking down a VFX partner early on will allow you to plan your CGI  and 2D visual effects in greater detail. This will have a knock-on effect with your overall schedule and your eventual shoot. 

It can also help you come up with ideas for environments or characters early on. You can also  find out what is and isn’t possible technically and use previs and tech vis to help plan where and how the VFX will fit into scenes and sequences.

Another crucial benefit of working with a VFX company early on in development is that you can develop a more realistic idea of what your VFX budget is likely to be. The more developed the ideas become for VFX, the more accurate the budget estimates are likely. VFX studios can also work with clients to help reduce VFX costs at an early stage. Cheaper VFX methodologies can be suggested or sequences can be storyboarded and Previsualised to help get a more definite idea of shot count. If the shot count can ‘locked off’ before production starts for a set piece or sequence that can help to contain VFX budget overages later on.

 

It can increase your productivity and efficiency

If you’re the producer, you’ll have a lot on your plate throughout the entire production process. It’s an act of spinning plates and if one plate falls, the rest will too. You need to find a way to run the production efficiently while being the most productive you can be.

Finding a VFX partner can help with this in two ways. For one, handing off that work to someone else gives you one less thing to worry about. You can turn your attention elsewhere safe in the knowledge that the VFX is in hand. Second, it’s another thing crossed off your list. If that isn’t productive then what is?

 

It can help with any creative blocks

Running a production is like completing a puzzle. It requires a lot of creative, out-of-the-box thinking and last-minute problem-solving. And, if you’re like any other person in the world, sometimes you can reach a bit of a block. 

Creative block is something we’re all familiar with. If you find the perfect VFX studio early on, you’ll have a second, outside party who you can bounce ideas off.. They will have a different insight into production that might give them an alternative perspective you had never considered. Don’t forget they’re creatives too; they’ll be as familiar with problem-solving as you are.

 

It will make the final product better

No doubt some of the world’s greatest creative accomplishments were the result of a last-minute burst of brilliance. But the vast majority will be the labour of long-term dedication, hard work, and planning.

Your TV production is no different. Organising your CGI early on will mean it has more time in production, leading to a better final result. While it is possible to come up with VFX solutions in a short space of time, it isn’t preferable. Giving the studio plenty of notice will allow them to give the CGI the time it needs.

And, in the end, you’ll have a production you will love, critics will love, and audiences will love! Organising your VFX might seem like a hassle now, but the sooner you sort it out, the better your final product will be.

At REALTIME, we have the skills and expertise to give your production that extra special something it needs. We have a history of successful collaboration and would love to hear about your next project. Feel free to get in touch with me at jono@realtimeuk.com.

Is technology the future for car dealerships?

If you listen to the doom and gloom, you would think the traditional high street was dying. Look at big names like BHS and Toys R Us going under in recent years and the subsequent rise of online shopping. You can’t walk down your average high street without seeing boarded-up stores or newly emptied lots. Yet we’re still far from the collapse of the high street; online shopping only accounts for 17% of total sales, meaning the retail sector is still going strong.

So it’s hard not to look at the doom and gloom around car dealerships with the same scepticism. Articles titled ‘Why Car Dealerships Will be Extinct by 2025’ paint an ominous picture. But if the high street can survive, why can’t dealerships?

The new way of shopping

Of course, the two experiences are different. While retail has its fair share of pushy salespeople, it isn’t nearly as much of a pain point as it is for the automotive sector. According to Deloitte, less than 1% of people like the car buying experience. But they can learn a lesson from the retail sector; those that are thriving today know that they need to adapt. So it’s less ‘car dealerships will be extinct by 2025’, more ‘those who fail to change with the times will die out’.

All the information a consumer needs is at the touch of a button. Customers spend 10 hours on average researching their new car purchase, with 52% visiting the dealer’s website during the process. They are savvier and less likely to fall for sales patter. When they visit the dealership, it’s not necessarily advice they’re looking for.

So what are they looking for? Consumers crave convenience – they will want an easy time. Dealerships might not be the start of the car buying process, but they can still be a part of it. Allowing customers to choose their car at home – maybe even configuring it – before confirming their decision in-store is a good place to start. Adoption of technology like this will make customers feel less pressured, able to take it at their own pace.

They can learn a lot from the Apple store model. There, all of their expensive gadgets and toys are laid out to experiment with at your leisure. Salespeople approach you but don’t push you. SEAT has taken the idea and ran with it – they have two stores in the country that wear their convenience on their sleeve. Their website boasts their lack of ‘pushy salespeople’ and their ‘no haggle pricing’. They know what consumers want. They’ve adapted.

Take a SEAT

These SEAT stores aren’t dealerships but that doesn’t mean what they do can’t be integrated into them. They have less emphasis on the salespeople and more on their information kiosks. These are a fountain of information and adverts in the store make for a more natural pathway for consumers to experiment with the car configurators. It gives them something to ‘play’ with, opening up the door to conversions that weren’t there before.

The stores are also less about the cars, with only three on display. Counter-intuitive? Not quite; Green Room CCO Mike Roberts says it’s about ‘putting control in the hands of the customer’. If they want, they can even book a test drive nearby.

But there is pressure building from companies like Tesla, who let you buy directly, or ride-sharing apps like Uber. The next big trend might be car subscription services like Wagonex, who knows? We could see a trend of fewer, yet more robust, dealerships.

As we keep saying, the key is adoption. Make the journey from online to in-store a seamless one. Offer easily accessible options at your dealership. Understand that people want to feel in control. Give them the option to customise their car there and then, maybe even offer test drives in a VR environment.

Extinction isn’t likely to happen by 2025 but that doesn’t mean you’re invulnerable to any adverse effects. While the future looks bright for retail, companies like Debenhams still face problems. The same can be said for dealerships. The question is, what are you doing about it?

At RealtimeUK, we have extensive experience working with some of the biggest names in the automotive sector. If you need CGI solutions for your car configurator or app, get in touch with me at Paul@realtimeuk.com.