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Are we ready for the “Netflix of gaming”?

The games industry is currently holding its breath. The start of the next gen battle is almost begun and we have some prices at last. The Xbox Series X and its smaller companion, the Xbox Series S, will cost $499 and $299 respectively (around £449 and £249). The PS5 is on an even playing field, with a cost of $499 for the standard edition and $399 for the digital edition (£449 and £359). But while we wait for the November releases, everyone is sort of just twiddling their thumbs.

To pass the time, some have turned to the wonders of Xbox’s Game Pass – a library of games you can peruse at your own pace for just pounds a month. And it isn’t the only such service out there. There’s also Uplay Plus, EA Play, PlayStation Now, and even Apple Arcade.

It’s the “Netflix-ification” of gaming and has gathered a lot of steam. This isn’t shaping up to be a flash-in-the-pan fad like motion controls; it has the potential to be what defines the next generation. Not consoles, but services. But is this a good future for gaming? Or will cracks begin to show?

 

The competition

So who are the big players shaking up to be? Xbox Game Pass might have the strongest library so far due to their heavy investment in third-party studios. Now those investments are starting to pay off. At their recent showcase, they revealed a flurry of games, all of which are headed to Game Pass day one. Recently purchased studio Obsidian released a preview build of Grounded and announced their new RPG, Avowed. Ninja Theory also showed off Hellblade 2. And we would be remiss to mention Rare’s Everwild. All in all, their library currently has over 100 games and will grow quickly.

But with Xbox’s All Access deal likely coming to the Series X, the prospect becomes harder to resist. For a $35 per month contract, players can get a Series X console plus access to Game Pass. It’s no different from a mobile phone contract and is an appealing option for anyone who can’t foot the upfront cost.

Their largest competitor, PlayStation, will struggle to match that. They have PlayStation Now, born from the ashes of OnLive (which PlayStation purchased), creating Sony’s own cloud gaming platform. Just like Game Pass, it features a collection of first- and third-party games, though we don’t see Sony pushing quite as hard as Microsoft does for Game Pass.

To complicate matters, EA and Ubisoft also have their own platforms where they serve up their games. EA Play and Uplay Plus both feature the studios’ biggest franchises. With games like FIFA and Assassin’s Creed, it’s certainly a big draw. Then, on mobile, we have Apple Arcade, which offers a more casual experience using the same model.

And while we’re here, we should mention both PS+ and the Epic Games Store. While they aren’t game subscription services per se (PS+ is an online access subscription and Epic Game Store is, well, a storefront), both give away free games to draw you into their service. Their intentions are the same as everyone above.

 

A utopian future?

On the surface, this all sounds fantastic. For a set price, you can access a library of games and play at your leisure. As games push over £50 and look to go even higher in the next generation, it’s an appealing prospect. Even more so if it’s something like Game Pass and you can access brand new games immediately. And with 10 million subscribers for that platform alone, you can’t argue it isn’t working.

You could say it’s more consumer friendly. We’re being given access to hundreds of games – mere pennies each. And the newest games too – Game Pass subscribers can play the latest Microsoft Flight Simulator. PS+ subscribers were given Fall Guys for free in August; a brand new third-party title at no cost. A more apt comparison might be Spotify, with the latest albums released day and date.

But that might not be where the similarities will end. Artists on Spotify don’t earn a lot of money from their streams – potentially as little as 0.006 cents. So 1 million streams would earn them a whopping… $6,000. Great if you’re a huge artist who can guarantee an army of loyal listeners; not so much if you have a smaller audience. If they can listen to you on Spotify, what compels them to buy your album?

The same can be said for games – why buy them if you can access them for cheaper? It might sound good if you’re a first-party developer with that insulation, but third-party developers stand to make less from actual sales.

And as pro-consumer as it is, nothing is permanent. Games can be taken off these services, potentially leaving you halfway through a game. If it’s a massive game you can pour hours into, that’s a lot of time lost.

 

In conclusion…

All of this is without even mentioning the competition presented by cloud streaming services such as Google Stadia. Its recent launch was solid and they have a strong foundation to build on. The benefit over the other options is you don’t need the hardware; theoretically, you’ll be able to play your games wherever on any device you please. Their Pro version offers a small selection of free games and, were that to grow, it could become a fierce competitor.

What remains to be seen is how sustainable the idea is. Right now, it seems like a dream. With these services, what excels aren’t the big franchises we all know, but the smaller ones who stand to gain a whole new audience.

But we need to be careful and ensure developers who need the support find the funds they need. We have no doubt that the likes of Microsoft and Sony have this in mind, and their pursuit to bring more studios into their fold is part of that.

In the end, their goal is to create an ecosystem where people stay within their loop. That’s what services like PS+ and the Epic Games Store are hoping to achieve in particular. They want to drive traffic to their stores and online services and use these sweet treats as bait. It’s a fantastic tactic and one people won’t complain about as long as they get to watch their library grow.

The future of gaming might not necessarily be a war of platforms, but a war of services. The industry is no stranger to operating at a loss to bring in numbers, and this could be an extension of that. The mark of a winner may not be the amount of consoles sold but the number of subscribers you have. How that plays out who knows; we’ll have to wait and see.

At REALTIME, we’re ready for the future of gaming. And with our clients, we’re working on bringing it to the gaming community. If you’re looking for a creative partner for your next project, get in touch with me at [email protected].

REALTIME Appointed Key VFX Vendor on Sky Original Drama

VFX Studio REALTIME has been appointed a key VFX vendor on the second season of Sky One drama ‘A Discovery of Witches’.

The second season of ‘A Discovery of Witches has been commissioned by Sky One and is being produced by British television production company Bad Wolf.

REALTIME has been briefed to create and design a variety of different magic techniques, using a mixture of FX and 2D techniques. They have also designed and animated a hero creature for the series.

The drama is a TV adaptation of the bestselling novel A Discovery of Witches by Deborah Harkness. It stars Matthew Goode (Downton Abbey) and Teresa Palmer (Hacksaw Ridge) and is shot in Wales and on location in Italy

Jonathan Rawlinson, executive producer at REALTIME, said: “We all watched and loved the first series of A Discovery of Witches. It’s great to be working with Bad Wolf on Season 2 of A Discovery of Witches. We’ve flexed our creature and FX designing skills to help design a truly unique character. Here’s hoping our skills stand us in good stead to help create another memorable digital on-screen experience for fans of the series.

“The project comes at an exciting time for REALTIME. We are developing a reputation for projects where creativity and literary excellence combine to make compelling TV series. And it’s always a thrill to work alongside partners who share our passion for screen dramas that live long in the memory.”

REALTIME is also currently working on The Watch for BBC America. The Watch is a fantasy police procedural series inspired by characters from Sir Terry Pratchett’s Discworld series. REALTIME is developing a number of creature and atmospheric assets for the show.

Last year, REALTIME worked on the BBC adaptation of the 2019 The War of the Worlds. REALTIME was a key VFX partner for the production, creating visual effects for the first-ever British television adaptation of H.G. Wells’ iconic novel. 

To meet demand, the VFX Studio launched a recruitment campaign which is ongoing. The campaign will see the studio become one of the largest in the North West UK region, employing a mix of up to 100 full-time staff and freelance digital artists by the end of 2021.

 

Notes for editors

  • More information about A Discovery of Witches Season 2. Season 2  opens with Matthew (Matthew Goode) and Diana (Teresa Palmer) on the streets of Elizabethan London, where they are hiding in time from the Congregation. Here in Elizabethan London they must find a powerful witch teacher to help Diana control her magic and search for the elusive Book of Life. Alongside the Elizabethan action, back in the present day, Diana’s beloved aunts, Sarah and Em, must take shelter with notorious witch hunter Ysabeau De Clermont at her ancestral home, Sept-Tours. Meanwhile, in Oxford, Marcus and Miriam take on Matthew’s mantle to protect daemons Nathaniel and Sophie, whose pregnancy is advancing. And Gerbert, Knox, Satu and Domenico are determined to hunt down every clue they can to Diana’s and Matthew’s disappearance, and the secrets their allies are keeping from them.

 

    • Executive Producers: Jane Tranter, Deborah Harkness, Lachlan MacKinnon, Susie Conklin, Pete McTighe
    • Directors: Farren Blackburn
    • Screenwriters: Sarah Dollard, Susie Conklin, Pete McTighe
    • Producer: Edoardo Ferretti
    • Production Designer: James North
    • VFX Supervisor: Steph Coren
    • VFX Producer: Antony Bluff

 

https://bad-wolf.com/productions/a-discovery-of-witches-season-2/ 

 

Four ways to boost your trailer visibility with performance marketing

Our friends over at attract mode have written up some hints and tips on how to boost the number of eyeballs you can get on your video game trailers with performance marketing.

Stefan Wehler has been working in video game marketing for over 15 years and has supported all sorts of game developers, from Independent to AAA including Riot Games, Funcom, Remote Control Productions, Astragon, Zeuz and more.

Take it away Stefan!

You have pushed that publish-button and dropped your trailer like it’s hot. Sure, you know your way around video SEO and have used all the little growth hacks to get it discovered by your desired audience. You named it with a keyword-heavy title, tagged it with the most relevant search terms, and distributed it across all your social consumer touchpoints. You asked your team, friends, and partners to engage and share the video to the max.

But what if you are still not getting the number of eyeballs you have been looking to achieve? I’m not surprised! In May 2019, 500 hours of video content was being uploaded to Youtube every minute. That’s a lot of content to consume, and a year later I’m sure this number is even higher. The good news is that one-third of the global internet population view more than 1 billion hours of video each day on YouTube (source YouTube). The bad news is you have to find your relevant audience amongst these billions of eyes.

The is where Performance Marketing is here to help!.. Let’s have a look at your options on YouTube first. You have 2 choices on Google’s video platform.

TrueView Instream ads

When it comes to length, many people have the misconception that you are limited to tv commercial like ad formats
with YouTube PreRolls. To be honest, indeed, short-form videos perform quite well. But assuming your trailer is of top quality, the actual time limit is 3 minutes. Viewers will be able to skip after 5 seconds, which is why especially movie or tv trailers have been putting a micro- teaser for the full trailer in the first 5 seconds for quite some time now. Its ultimate goal is viewer rentation for the full length of the video.

But even if users opt to skip your video, it’s no drama as you will not get charged for the impression. The charge applies either if a user watches at least 30 seconds or engages with your TrueView ad, for example, by liking it or clicking on the link.

You can have these ads run on either YouTube exclusively or expand to partner sites on the Google Display Network with the whole wealth of targeting options coming with advertising on the Google Ads ecosystem. Go broad with an affinity audience and topics or niche with in-market audiences, custom audiences, or even single keywords and creator videos where you would like to see your trailer running.

 

TrueView Video Discovery ads

The Video Discovery Ads are a different breed of video advertising compared to instream ads. If you have ever done search engine marketing, you know that it takes a heroic effort to set it up, manage the campaign, and keep costs under control. But don’t forget: YouTube is considered to be the 2nd largest search engine on the internet, processing 3 billion searches a month. And it’s much more accessible and even more relevant when your target audiences are millennials, Gen Z or younger.

To place your video in the search results is much easier to achieve and cost effective with TrueView Video discovery ads compared to classic SEM with a video creative. Where In-Stream Ads play in front of other videos, Discovery Ads show up on the YouTube search result page, on the right-hand side-bar of the YouTube watch page, and YouTube’s mobile app homepage. Most importantly, these ads require excellent copywriting as you only have 25 characters for a catchy headline and two lines of 35 characters for the description. Your video thumbnail needs to be eye-catching as well to attract searchers to click on your ad. Motion only happens if users hover over the thumbnail, which will give them a short glimpse of the video content. The other big difference to In-Stream Ads is how you get charged. No matter how long users watch your video, you only pay per click. Sound expensive? It’s not!

People tend to think that both YouTube formats must be quite expensive. But in reality, you can run campaigns on a cost per view of 0.05 € or even lower. So as your trailer is top-notch, you shouldn’t have problems running on a 30% view rate. A quick calculation backward shows that a 10k € spend would give you 200,.000 views and around 6.6 M Impressions. That’s what I consider quite a return for your money.

Facebook Video discovery

As mentioned at the beginning of this blog, you will have distributed your trailer via social. The Facebook ecosystem holds another opportunity to boost your video performance. As context, you have to be aware that video has become a focus for Facebook. Mark Zuckerberg kept mentioning this in earnings calls over recent years. The agreement between Microsoft’s sunset streaming platform Mixer and Facebook live is only the latest sign of how much effort Facebook has been putting into upping their game when it comes to video on the core feed as well as on Instagram.

Boosting video views is baked in to the Ads Manager as one of the 11 campaign types delivering to both platforms. By default, the video view ad type will focus on pushing ThruPlays, which equals a watch time of 15 seconds minimum. Right after, you will be given a choice if you want to be charged by impression or ThruPlay.

To inform your campaign setup, take a look at Creator Studio first. The insights tab of Creator Studio is your go-to place to explore the organic performance of your videos. What is the average time people spend watching your video, how many 1-minute views did you achieve, and most importantly, which audiences have engaged with your video. Before you set up any targeting and budget make sure that you check these stats thoroughly and use it to your advantage on the hunt for more eyeballs.

 

Twitch Trailer blasts

In 2020, I cannot leave out Twitch for boosting your trailer’s visibility. You think the live streaming platform is only for gamers showing off their game skills? Think again, the number of monthly visitors has risen 88% between November 2019 and April 2020 (Source: Twitch), and the viewers come for more than games, not just since COVID. Music has gained popularity, sports as well and just lately Twitch has introduced watch parties where the users can enjoy the latest tv shows together.

On Twitch you can opt for classic pre-rolls, but, in my opinion, what works even better is getting your trailer delivered right to the community by their favorite influencers. Enter Bounty Board, Twitch’s platform to connect with millions of micro-influencers. It works on a Cost per engaged view (CPEV) basis, which means viewers will have to watch your trailer for at least two continuous minutes before you get charged. Once set up, your campaign is posted as a bounty to the connected streamers. The creators who see it and see that it lines up with their community can accept the bounty and start distributing your video. As micro-influencers typically have a highly engaged fanbase, the CPEV makes total sense as you can expect some good engagement numbers. Handpicking them would be tedious to impossible (read this blog if you want to dive deeper into the influencer funnel topic), but Bounty Board facilitates it for you at scale.

 

Hopefully the above has given you a good overview of some things you can start exploring yourself to improve the performance of your marketing campaigns. Ideally, you can even leverage a mix of them if you have the budget to do so. It will pay off!

 

 

 

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 [email protected].

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 [email protected].