fbpx

Tag: Automotive visualisation

Goodwood Festival of Speed 2021: Review

For the car enthusiasts among us, it was encouraging to see the Goodwood Festival of Speed take place after a Covid-enforced hiatus last year. The event opened its doors last Thursday as part of the UK Government’s Event Research Programme and as such could run at full capacity as far as visitors were concerned, although it definitely impacted the number of motor manufacturers in attendance.

In any case, I was very happy to be there – if only as it felt like progress on the return to normality. So, ladies and gentlemen, please fasten your seatbelts for my little round up of the highlights:

Genesis

Much like Nissan’s Infiniti and Honda’s Acura, Hyundai used the Festival of Speed to launch its Genesis brand, including the G70 Shooting Brake pictured, which is unique to these shores. It is not the easiest task in the world to break the European prestige market without any heritage as such, but Genesis seems to be including all the right ingredients in its recipe.

Ineos

Goodwood was the first opportunity to get up close and personal with Ineos’ Grenadier, fondly thought of by many as the ‘real’ replacement for the workhorse Series III Land Rover Defender. Certainly, the extremely rugged construction and serious-looking ironmongery, visible within the wheelhouses and exposed door hinges, leave us in no doubt whatsoever as to its intentions.

Pininfarina

A quick rock down to Electric Avenue and it was lovely to see the beautiful yet sustainable Battista on show and accessible to the public via the very friendly Pininfarina staff team. Just like its sister car, the recently christened Rimac Nevera, deliveries begin later on this year for those with €2m burning a hole in their ecologically sound, recycled cotton-lined pockets. 

Lamborghini

Lamborghini took the opportunity to share the swansong Aventador, the Ultimae, with the appreciative Goodwood audience. Sporting a final-iteration 780PS V12, I’m sure this will fly off the shelves as we tick off yet another brand making the transition to hybrid, if not full-electric power.

McLaren

Woking’s finest continues its tradition of warm hospitality for all visitors, open chequebook or not, and welcomes you to a sit (and dream) in the stunning Elva.

The real star of the McLaren stand, however, was the new Artura, making its public debut in the UK and really looking the part. The public car was displayed in its now famous Flux Green finish but if you ask me, the car looks best off its tall show plinth and closer to the ground, to be approached as you would on the street. It’s a real testament to its design, so here’s a snap of it at the back of ‘McLaren House’ looking mean and moody in its satin paintwork:

Lotus Cars

Finally, to the storied British brand Lotus, and it’s unanimous star of the show; the new Emira. While the electric Evija still looks totally fresh as it takes its place amongst the new ‘holy trinity’ with the Pininfarina Battista and the Rimac Nevera, the sweet-as-a-nut Emira, billed as the final internal combustion-engine or ICE Lotus, saw queues around the block to have a closer look. Very well judged with even better pricing (starting at under £60k), my head and my heart are both telling me that the new £100m Lotus production facility is going to have a job on its hands to keep up with demand…

What a welcome return to an automotive event: breathe a sign of relief, everyone! EV and hybrid reveals are soon to comfortably outnumber their ICE counterparts, but it seems that the public’s enthusiasm will never be eclipsed!

 

What video games can learn from TV  

Video games might be the relatively new kid on the block when compared to film, TV, and music, but it has quickly become the most profitable industry. While video games have always trended upwards, the recent COVID pandemic certainly put more wind in its sales and drove it to new heights. 

But despite being the biggest entertainment industry around, it’s built on a foundation created by its peers. Would video games be as successful as they are without the lessons it learnt from TV or film? I’m not so sure. So, let’s look at what video games can and have picked up from the more senior industries… 

Pushing boundaries 

As technology has advanced, so too have video games. We’re a million miles away from the likes of Pong or Pac-Man. With the release of the latest generation of consoles – along with the reveal of what Unreal Engine 5 can do – we can push the boundaries of what games can achieve. 

How we tell stories has only become more refined as the room to do more has expanded. And you only have to look at film and TV to see where we’re drawing inspiration from. Some video games want that same level of prestige; to be a defining moment. Today, video games are full of spectacle and drama, pushing more and more. The narrative drives the gameplay instead of vice versa. 

Some have even adopted an episodic format to mimic TV. Where were you when the first season of Telltale’s The Walking Dead released episode by episode? It was a moment in the industry where everyone was hooked by the story of Lee and Clementine, and it’s because of its TV influences that it managed to be such a hit. 

There’s a bit of Indiana Jones in Uncharted. There’s a touch of Star Wars in Mass Effect. We even see video games cross the boundary to become TV shows and films themselves; HBO’s The Last of Us is sure to be a heart-breaking must watch.

Technology 

Part of this drive for more emotive narrative is our ability to better capture the drama. Taking a leaf from Hollywood’s book, motion-capture technology allows us to bring an actor’s exact performance to the game. How they move and how they emote are transferred to the game flawlessly. 

We’ve just wrapped on a series of dramatic cut-scenes for a game releasing this summer. Our mission was clear: we wanted to capture the actors’ performance and translate that into the game. Using innovative performance capture technology from our friends Di4D, we were dedicated to getting as realistic performances as possible to translate to the screen. We wanted to tell a story and bring the players into it, too. 

The technology also means the actors can be, well, actors. They can make character choices that reflect who they think they are. It goes along well with the maturation we are seeing in some series. Just look at God of War, which went from a gore-fest hunt for gods to an emotionally driven gore-fest hunt for closure. 

Saying all this, technology isn’t a requirement for a compelling story. The fact that creating a game is more accessible means the doors are open to countless indie developers who can tell the story they wish in a more lo-fi way. Something like Undertale or Disco Elysium are built on a strong narrative foundation and don’t have the same bells and whistles other AAA titles do. Because they don’t need them. It mirrors indie movies, which do exactly the same. 

Video games have taken what TV and film have created and ran with it. Those industries walked so video games could run. And we’re extremely thankful for it. They say we’re in a golden age of TV and film, but I would say we’re in a golden age of games, too. Who knows what the future holds; all I know is I’m excited to see where it goes. 

At REALTIME, we know the importance of a strong narrative, both in your game and in your trailers. To discuss how we can help you, reach out to me at [email protected] 

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!

How an outsourced CGI partner can add to your in-house team

A great deal of talent exists in the world. Think how much untapped potential exists that we miss out on when we restrict our approach. Many businesses recognise this, leading to a rise in outsourcing as a way to benefit from the plethora of skilled professionals. When polled, people highlighted several reasons why they go that route. It may be to reduce costs (69%) or as a part of their transformation (64%). In a separate study, other reasons given included doing it for the improvement to their service (31%) or to focus on their own core functions (57%).

In this interconnected world, is there an excuse to miss out on the opportunity? It doesn’t have to replace what you already have, but the wealth of specialists out there can effortlessly complement your current automotive operations. Here are three simple qualities you can find in a CG visualisation specialist that could add to and improve your output.

 

Flexibility

An external company provides you with a great deal of flexibility. For one, they aren’t a constant expense and can be called upon only when you need them. You only pay for what you need and can dip in and out as you please, saving you from hiring any extra staff beyond your current in-house team. It means you can work with another company in the way you want to, taking as much of a lead as you want.

A good CGI partner will be malleable in their approach to your project. They can bring their own expertise to the table and weigh in on any decisions, ultimately providing you with all the information you need to make an educated choice.

You know it’s a great fit when this external specialist fits right into your current operations as if they were there all along. They’ll be in tune with your brand’s aims, goals, look, and feel, perfectly capable of replicating what makes you, you. With an understanding of your car brand, they can deliver something akin to your own in-house team.

 

A breadth of knowledge

If you find a CG specialist working in multiple fields, you might think they’re spreading themselves too thin. But take the time to look at the quality of their output and see how the different teams complement one another.

Their knowledge in other fields can perfectly transfer to the automotive industry. With this expertise, they can bring skills such as rigging, VFX, soundtrack editing, environment building, shoot management, and cinematography to the table. This can only benefit you, adding artistic value to what is being produced.

 

A depth of knowledge

Of course, you also want them to have a deep knowledge of the automotive industry. This goes without saying. But it ties into many of our points above. For a company to be flexible, receptive to your brand, and knowledgeable of skills outside of the industry, they need to first have a deep understanding of this sector. They need to be intimately familiar with cars and love them beyond their work.

Above all, they need to know what it means to be ahead of the curve; at the top of their game. Both artistically and technologically, they need to prove why they’re a good fit for you. A love of the industry will be what drives them to deliver their best work.

Outsourcing doesn’t have to be a dirty word, nor does it have to intrude on your current operations. Done right, it builds on what you already have, allowing you to focus your in-house team’s attention where you think it is needed and leave the visualisation work to other professionals. The best projects will draw from both resources, creating a final product that you can be proud of.

 

REALTIME is dedicated to being the sort of CGI partner that exemplifies all of the above. We work with you to deliver the best work, using our knowledge of the automotive industry – and that of the TV and video game industries – to create cutting-edge solutions. If you would like to find out more, get in touch with me at [email protected].

Operating a consistent global automotive brand

Of all of life’s mod cons, is there one more important than the car? You could argue the television or the plane is a bigger invention, but the car might be the one that has affected the cultural zeitgeist the most. Most of the towns and cities in the world are designed around their existence after all.

As such, every corner of the world has its own approach to the world of automobiles. This means the biggest car manufacturers in the world have to adjust how they approach every country, accounting for their differences in taste while also trying to keep a consistent message.

It can seem like an impossible task; so how do car manufacturers change their approach from country to country? What factors might affect that decision? And what can they do to still keep the same brand image across the globe?

 

Cars across the world

So how does car culture vary across countries? It used to be, some 15-20 years ago, that each region had its clear preferences. Over in the US, pickup trucks like the Ford F-series were far and away (and still are) the best sellers. Yet over in Europe, they had a liking for smaller diesel hatchbacks. And while prestige in the west was linked to any expensive cars, over in China, a mark of wealth was a big saloon car. And in India, they were mainly interested in models that could cope with the more challenging road surfaces and conditions.

But we live in a much different world now. In a globalised market, with social media giving us a glimpse into life around the world and emissions standards changing for the better, the differences are far less marked.

There has been a shift; pickup trucks are still best sellers in the US but are losing market share; for example, the Honda Civic and Accord were some of the most popular cars for three years in a row. With the dieselgate scandal in Europe, and the political to-and-fro around nitrous oxide emissions, sales of diesel cars have nosedived. Over in China, meanwhile, all manner of cars are doing well, with the deep-pocketed children of the old political elite buying the prestige cars they see across the world. SUVs, in particular, are faring well over there – from big-name brands too, beating out the state-owned manufacturers. And in India, the burgeoning middle classes also want their fair share of western prestige brands. Mercedes-Benz, BMW, and Audi are the top three luxury brands in the country, closely followed by Jaguar Land Rover.

So the lines between countries have blurred. While each location might have its own particular brands, there’s a greater desire for these big, global names. Not to mention the fact everyone is looking at EVs.

It isn’t insular, local culture that drives things anymore; people are aligning with a brand that represents a certain lifestyle as opposed to simply just a type of car. People trust brands. When doing their online research, 74% of consumers turn to branded video content for information. It’s something the savvier car brands are hoping to capitalise on. This presents an issue, though: how can you be a consistent ‘global’ brand?

 

Maintaining consistency

Somewhere this can trip car brands up is in the marketing. After all, how can manufacturers ensure dealerships around the world are representing your car in the right way? They will be operating in a very local context. If your cars are popular in different regions, you want to make sure it comes across as effectively to your US audience as it does to your European audience as it does to your Indian audience, and so on.

The important part is making sure the car itself comes across in the right way. It can be a limitation of on-location shooting for marketing materials. It might look good on the sun-drenched roads of LA, but will that speak to your audience on the other side of the world? Won’t they want to see it in a context more familiar to them?

That’s why CG imagery and sting movies are being used more and more across global brands like ŠKODA and are proving to be very effective. A CG render of your car can be inserted into any location you wish, be it the streets of Berlin or those of Bangladesh. They work particularly well as bookends to commercials and ensures your car looks the same in every shot. It means everyone across the world sees the car as you intend it to be seen.

 

Online solutions

It streamlines your marketing efforts; if you set out to convey one key message in your material you can rest assured it will happen in all your target markets. It’s a consistent through-line that keeps your branding on track, especially online. 95% of consumers find their information online when looking at cars, with twice as many people starting their research online versus at a dealership. So you want your online solutions for engagement, brand-building, and configuration to be global in nature.

Globalisation has changed the face of many markets and the automotive sector is no different. Companies have this delicate balancing act of assimilating to cultural differences while maintaining their global image. It’s a fine art but something that can easily be achieved by finding solutions that save you time while putting your best self forward.

At REALTIME, we are proud of the relationships we have with many leading car manufacturers who operate in markets all over the world and we have faced these challenges with them. If you would like to talk about collaborating on a future project, you can reach out to me at [email protected].