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EVE Online
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| 0s | [Laughter] |
|---|---|
| 5s | hello everybody how we all doing hello |
| 9s | this is looking very good no we're all |
| 12s | good so today I'm CCP um you know for |
| 16s | those I haven't met me yet this is a CCP |
| 18s | Benson I'm a tools programmer from the |
| 21s | audio and graphics team for EVE Online |
| 22s | and this is one of our illustrious |
| 24s | concept artists it makes all the |
| 25s | beautiful artwork that you get to enjoy |
| 30s | as you see from this gigantic list if |
| 33s | people were a pretty massive team in |
| 35s | general but it makes sense when you |
| 38s | think about we don't only produce the |
| 39s | artwork that you play it's not just the |
| 41s | ships or the backgrounds but it's also |
| 43s | all of the tech that powers that we |
| 45s | manage the rendering engine and a lot of |
| 48s | the things on the front end of the |
| 49s | client so our plan for today so since I |
| 53s | have a concept artist with me we figured |
| 56s | it'd be nice to talk about the art |
| 57s | production pipeline that we have going |
| 59s | and our production there's a lot of |
| 62s | steps and you can talk about any one of |
| 63s | them but we figure what we'll try and do |
| 66s | is give you an idea about the entirety |
| 68s | of the pipeline to make a new ship from |
| 70s | the perspective of the concept stage and |
| 72s | so I'll start with a little overview of |
| 75s | everything that goes into the production |
| 77s | of a vessel and then we'll hand over to |
| 80s | Benson let him give us a run-through of |
| 82s | everything that goes into his concept |
| 84s | work and we'll see how all that ties in |
| 86s | to the rest of that pipeline at the end |
| 88s | we want to give you a little bit update |
| 89s | of what we in the art team X being up to |
| 91s | for the last six months or so a little |
| 94s | idea about where we wanted to go in the |
| 95s | future and at the end hopefully if we've |
| 98s | got some time we'll take some questions |
| 100s | all right so start with a little |
| 104s | overview of the pipeline so the first |
| 107s | stage as you can imagine is concept in |
| 110s | so at this stage we're going to explore |
| 113s | ideas we're gonna have lots of |
| 114s | conversations with gameplay what's the |
| 115s | role of the ship that we're trying to |
| 116s | make what's the point in it what's the |
| 118s | kind of feel and look that we want to go |
| 120s | for what's the kind of mood we're trying |
| 122s | to sell with a vessel that we're making |
| 124s | but the most important part for us in |
| 126s | the art team the crux of what this step |
| 129s | produces is essentially instructions for |
| 132s | everyone else in the pipeline needs to |
| 133s | do |
| 134s | so the objective is to communicate to |
| 136s | everybody in the team everything they |
| 138s | need to achieve so we can call this |
| 139s | vessel done so we can get our ship out |
| 141s | the door once we have this we'll hand |
| 145s | these concepts off to one of our 3d |
| 147s | artists they're going to work in |
| 149s | something like Maya or modal and build |
| 152s | out first a very low polygon mesh that |
| 155s | we're going to use in the client this is |
| 156s | going to be the eventual hole that |
| 157s | you're going to see in the game when we |
| 160s | finally get this done we actually get it |
| 161s | into our engine for the first time |
| 163s | we don't have to wait around for Tech's |
| 165s | referred to be complete we want to get |
| 166s | it into our engine as fast as possible |
| 168s | so we can see how everything ties |
| 170s | together and then we will either hand |
| 173s | this off to a 3d artist sometimes or a |
| 175s | 2d artist so at this point we're going |
| 177s | to paint over that hull we're actually |
| 179s | going to have people hand draw and |
| 181s | various programs to try and give the |
| 183s | ship the overall look and feeling by the |
| 185s | end of this step you get something that |
| 186s | looks pretty much like the final vet the |
| 188s | final hole that you want to go for but |
| 191s | the next step is to add all of those |
| 194s | all-important Eve details and that we do |
| 197s | entirely within our our engine using one |
| 199s | of the front end editors this is |
| 201s | actually the tools that I maintain this |
| 203s | one if you might have might be aware of |
| 205s | it already it's called Jessica my main |
| 208s | job day-to-day is actually just making |
| 209s | sure this keeps running and I can add |
| 211s | any new tools and flexible things for |
| 215s | our artists to meet yourself so the |
| 219s | engine detailing is going to involve |
| 220s | picking all the decals on for the |
| 222s | factions getting the boosters in place |
| 224s | getting the turret hardpoints so we can |
| 226s | fire our turrets to a ship making sure |
| 228s | the animations are hooked up but |
| 230s | obviously the most important part is |
| 231s | getting all those tiny little blinking |
| 232s | lights because no Eve Shep is complete |
| 234s | without them the last step of course the |
| 238s | all-important audio for us like him once |
| 241s | you've completed a ship it looks good |
| 243s | but it doesn't feel complete until you |
| 245s | have the audio in place so you can hear |
| 247s | all the animations playing through for |
| 249s | you and as a last step and this is more |
| 252s | important recently we'll do a lot more V |
| 254s | effects it previously are our holes we |
| 257s | keep the effects fairly separate and |
| 259s | most of our hulls would be animated to a |
| 261s | certain extent but they would just have |
| 263s | some little blank keys and some decals |
| 264s | but more recently we've really enjoyed |
| 266s | having a more flexible VFX pipeline |
| 268s | and we really want to get more of these |
| 269s | little electric pcs running along the |
| 271s | top of the hull and especially with the |
| 273s | Tri Glavine ships these giant balls of |
| 275s | pulsating energy in the middle that's |
| 279s | the last step once we've actually gone |
| 281s | through all of this is to hand off to QA |
| 283s | is going to double-check that we've done |
| 285s | everything correctly we've checked all |
| 287s | the boxes we haven't screwed it up |
| 288s | completely and kick anyone's ass that |
| 291s | has actually messed up so once that's |
| 294s | all done we can get it finally into the |
| 295s | game okay so keep that in mind just a |
| 298s | brief overview of what the pipeline is |
| 300s | what we're going to do hand over to |
| 302s | Benson who is going to run us through |
| 304s | the start of how we do concept thing hey |
| 308s | guys I'm CCP Ben so I joined the amazing |
| 314s | moment for me I had been playing the |
| 315s | games in stores and then 5 and the |
| 317s | artist of the game is a huge inspiration |
| 319s | for me I became a dad also so last year |
| 322s | was amazing so what is consoling |
| 332s | of course we want to deliver like a |
| 336s | whole kind of final mood image to get |
| 338s | everybody kind of pumped up for our new |
| 341s | feature but oftentimes it's the coffee |
| 344s | break points it's the yellow sticky |
| 346s | notes that are the most important part |
| 349s | in the beginning and then we go from |
| 352s | there to something like this but the |
| 355s | sticky notes are very important so |
| 358s | scribbles on paper on to delivering a |
| 361s | final mood Tim it's Legolas its what I'm |
| 365s | gonna hint that a little bit but I want |
| 367s | to start by talking a little bit about |
| 369s | our past process and then kind of our |
| 372s | current process of coming up with |
| 374s | concepts and delivering concepts and |
| 377s | then a step by step guide in creating a |
| 381s | new vehicle for a moment and then a |
| 383s | little bit of future stuff so in the |
| 387s | past concept artists were much more like |
| 392s | making high detailed illustrations for |
| 395s | you know a longer period of time to be |
| 399s | able to |
| 401s | get 3d artists and to kind of push that |
| 405s | further down but there was a much longer |
| 410s | time before 3d was introduced and it |
| 414s | became kind of like harder to modify |
| 416s | these really nice illustrations so what |
| 419s | we're doing currently is that we want to |
| 421s | get much more disciplines within the art |
| 424s | team on board right away and get |
| 427s | conversation started get 2t and 3d back |
| 433s | and forth very early on I mean the |
| 436s | concept art is currently now are able to |
| 438s | do 3d block cuts with a fairly good |
| 443s | quality but you always need that extra |
| 445s | finish and then we get visual effects in |
| 449s | audio to kind of get that extra oomph to |
| 452s | the concept and then we have this |
| 457s | process repeated if we feel like we're |
| 459s | not and nailing it so what is the mood |
| 462s | we try to establish the mood in the |
| 465s | beginning this is a fairly small example |
| 467s | of the mood that we had regarding the |
| 470s | neutral alien ships describes kind of a |
| 475s | question opening jaws three-part breakup |
| 478s | it sparks a lot of conversations gets |
| 482s | the things going and then we try to kind |
| 484s | of come up with a new vehicle designs |
| 486s | within this mood |
| 488s | so that's on to the thumbnail face and |
| 492s | then on to block outs where we try to |
| 494s | get these thumbnails into actual volumes |
| 497s | where we can look at them in different |
| 500s | light and and actually get kind of a |
| 504s | better understanding if the thumbnails |
| 507s | actually make sense |
| 509s | because often times they don't and then |
| 512s | there's an over painting phase which is |
| 515s | like a more detailed approach to kind of |
| 517s | the functional aspects of this ship |
| 522s | so minds to paper we're trying to escape |
| 526s | the week-long illustrations we want to |
| 529s | go much faster into conversation with 3d |
| 534s | artists |
| 535s | and establish goals right away get some |
| 537s | prototypes running answer questions on |
| 541s | if the concept has any like technical |
| 543s | limitations and if they're worth the |
| 546s | pursuit or if we need to reconsider what |
| 549s | we're doing the process takes the same |
| 553s | amount of time but we feel like we're |
| 555s | delivering a much higher quality product |
| 559s | so here's an example of a call that we |
| 562s | had in mind we got the roll for the |
| 564s | heavier soft cruiser very early we |
| 568s | wanted to do much sort of a perfect girl |
| 570s | version with kind of to keep in mind |
| 573s | kind of how the empire's would modify |
| 575s | them and also at the same time if you're |
| 579s | modifying something you can strip it |
| 581s | apart and you kind of put it back |
| 583s | together but you leave out things that |
| 585s | you don't need like the hood because who |
| 587s | needs it and you want to see like more |
| 590s | of the kind of the technical foundation |
| 592s | that was kind of the goal that we wanted |
| 593s | to go for and the same thing was kind of |
| 596s | the red line down the Domino's with the |
| 601s | new process we got this kind of blocked |
| 603s | out and fairly finished in a matter of |
| 607s | days and then it was all about just |
| 609s | finishing coming up with vehicles it's |
| 616s | not just you know whatever feelings you |
| 620s | have in the day time it's more you can |
| 622s | break it down into into an actual |
| 624s | process which I'm gonna go through now |
| 629s | so it's not a dictating checklist it's |
| 635s | something that you fall back on you keep |
| 637s | it in mind and but and it's very good |
| 642s | because it has like a like an importance |
| 646s | from top down so we start with the shape |
| 652s | which is the most important part it's a |
| 657s | thing that you always remember the |
| 658s | silhouette it's the essence of creating |
| 663s | unique vehicle for the game |
| 666s | it is what penetrates your |
| 668s | subconsciousness it's it's a things that |
| 672s | you see on the back of your eyelids when |
| 678s | we're coming up with silhouettes we |
| 682s | oftentimes think about you know past |
| 684s | designs and we have already established |
| 686s | and perfection moods we have guidelines |
| 690s | in-house that we try to follow and |
| 694s | sometimes not but this process kind of |
| 700s | establishes the frame that we were gonna |
| 702s | go with into the future with with this |
| 705s | design and then then we can have like |
| 708s | internal debates very heated debates |
| 711s | about symmetry versus asymmetry or |
| 714s | horizontal versus vertical designs and |
| 717s | in this face we also kind of start |
| 720s | thinking about functional bits and for |
| 723s | example turret locators which is very |
| 726s | important you don't always know in |
| 729s | design what you want |
| 731s | so this states is very important in |
| 734s | eliminating things that you don't want |
| 740s | when we have the shape it's just a 2d |
| 743s | plane so we start to kind of track it |
| 746s | out and make it and turn it into a |
| 747s | volume and we do that with grayscale |
| 749s | values usually so we kind of pull the |
| 753s | shape out of the black silhouette and |
| 755s | when we're doing that we are already |
| 757s | starting to hint functional things on |
| 762s | the weaker when you're distributing |
| 767s | these shapes and values on top of the |
| 769s | silhouette it's kind of important to |
| 771s | keep the distribution of shapes and |
| 773s | details in mind because it's very easy |
| 776s | to come up with a very noisy image or or |
| 781s | noise the design and we want to of |
| 784s | course make it more interesting and have |
| 786s | points of interest and such things like |
| 789s | you can see in this example where |
| 792s | there's a |
| 794s | good there is a good foundation font a |
| 797s | tional shape and then you have clusters |
| 799s | of detail around the piece this piece |
| 803s | was made by CCP look so smoothly and is |
| 806s | an example of a good sense of flow where |
| 810s | you have a point of interest in the in |
| 812s | around the circular piece and then kind |
| 817s | of like an easier out hull shield |
| 819s | plates with less detail it's a it's it's |
| 822s | you know points of interest points of |
| 825s | rest so soft and hard that is the states |
| 834s | where you kind of emphasize the style of |
| 836s | the vehicle going from like soft and |
| 841s | elegant to heart and military this is |
| 844s | the highest contrast between like Cal |
| 847s | Terry and gallant the design for example |
| 849s | it's very much of course dictated by |
| 852s | past the science law and like our |
| 854s | guidelines and we want to steer it of |
| 858s | course keep steering it in that |
| 859s | direction even though we oftentimes |
| 861s | explore like a variance on that and then |
| 865s | we have the neutral avians family which |
| 868s | is like a mix of both and that has been |
| 871s | established and will be kind of the |
| 873s | ongoing design into the future then you |
| 880s | want to clean up the different shapes |
| 884s | establish kind of basic functionality of |
| 886s | the vehicles you know shield plates and |
| 889s | Jim pacts bolts and cables and so on |
| 892s | here's an example on the left side of |
| 896s | line-drawing on top of the Tri Clarion |
| 898s | arc and kind of the resulting texture |
| 908s | this is actually the first no yeah this |
| 913s | is a shift actually er I I worked on now |
| 915s | and in the past months where you can see |
| 917s | also kind of how the this process of |
| 921s | making this line breakup can lead into |
| 924s | you know of course guiding the the |
| 927s | texturing process which we will go |
| 929s | through a little bit later so back to |
| 934s | Johnny on the pipeline alright so |
| 937s | normally when we're going through the |
| 940s | straightforward process we wait until |
| 941s | the concerts actually finished before |
| 942s | moving on but so far in this process in |
| 945s | making concept we have our silhouette |
| 947s | we've got our shapes defined it's got a |
| 949s | good volume probably got a block out at |
| 951s | this point you could actually take it |
| 952s | from here and start building 3d mesh and |
| 957s | the main thing that you want to do here |
| 959s | is build a low polygon version of the |
| 962s | ship something that's going to perform |
| 963s | well when you actually put it in game |
| 964s | and since the concept encase you can see |
| 968s | one of the the early block hooks for the |
| 970s | Tri gleaming and frigates doesn't look |
| 971s | exactly like it does in the end but you |
| 974s | get the right idea |
| 975s | puts the shapes in the right place and |
| 977s | when you have one of these they're great |
| 979s | for doing things the paint over phase so |
| 983s | you can see here where concept artist is |
| 985s | put it in 3d taking a screenshot brought |
| 987s | it back drawing lines over it to go |
| 989s | through that checklist of that checklist |
| 992s | process but with that block out you've |
| 996s | already got the idea in |
| 997s | three-dimensional space and it'll |
| 1000s | probably done using volumetric editor so |
| 1004s | there's something like 3d coat which |
| 1006s | will let you use little voxels kind of |
| 1008s | like really granular minecraft to |
| 1011s | actually put together something looks |
| 1012s | the right shape but when we actually on |
| 1015s | to get a performant in the game we need |
| 1016s | to build a proper mesh so this has to be |
| 1018s | done by one of our 3d artists ultimately |
| 1021s | built in Maya but those sometimes use a |
| 1023s | program called modal was quite popular a |
| 1025s | blender binary which you can pick up |
| 1027s | anywhere so once you have the low |
| 1031s | polygon version of the ship you're going |
| 1033s | to be missing a lot of the details so |
| 1035s | you can probably get a lot of the main |
| 1036s | shapes in there where you want to have |
| 1038s | those soft and hard edges and you can |
| 1041s | also |
| 1041s | and some of the things like where you |
| 1042s | want to have paneling and things on the |
| 1043s | model later on but you're missing a lot |
| 1046s | of the fine grain detail it's not going |
| 1047s | to be super smooth along the edge of |
| 1049s | like metal plating on your ship you're |
| 1051s | not gonna have the little groove that |
| 1052s | catches some of the light so what |
| 1054s | they'll also do at this point is make a |
| 1056s | really high polygon version the the |
| 1058s | picture here on top is actually the the |
| 1060s | high poly one has way too many polygons |
| 1063s | to see at this resolution and size so |
| 1066s | once they have this what they can |
| 1068s | actually do is they've got a lot more to |
| 1070s | work with and they can take a lot more |
| 1071s | time putting in the little granular |
| 1073s | parts that they want in it they want to |
| 1074s | express to make it feel and look more |
| 1076s | like the concept they had originally and |
| 1078s | at the very last step of this we do a |
| 1081s | process called baking where we'll take |
| 1083s | that high polygon version using some |
| 1086s | math magic we can project it onto the |
| 1087s | low polygon version and it'll generate |
| 1089s | these two images the first one is the |
| 1092s | normal map ten years ago you might have |
| 1094s | heard it referred to as things like bump |
| 1096s | mapping but this is a way of kind of |
| 1098s | cheating geometry a little bit the |
| 1101s | polygons are triangles and they give you |
| 1102s | the main shape but this is a way of |
| 1104s | saying well let's just pretend that |
| 1107s | that's a little bit more granular |
| 1108s | surface it's got different angles and we |
| 1110s | can play with how the light reflects off |
| 1111s | of it using this map so the colors are |
| 1114s | actually dictating three-dimensional |
| 1116s | directions which give you the direction |
| 1118s | of the surface and where the texture is |
| 1120s | laid by wrapping this around the hull it |
| 1122s | gives it that extra level of detail the |
| 1125s | second map the occlusion map is a |
| 1127s | another little trick that we use to give |
| 1129s | a little bit of shadowing very cheaply |
| 1132s | to our assets so this is when you're |
| 1134s | doing little grooves along where you've |
| 1135s | got an overhanging edge there those are |
| 1138s | areas that are unlikely to receive much |
| 1139s | light so they should always be a bit |
| 1141s | shadowed compared to everything else if |
| 1143s | you think about like the corner of a |
| 1144s | room received a lot less light than the |
| 1146s | rest of the walls and it'll tend to be a |
| 1148s | little bit more shadowed and being |
| 1149s | occlusion or the occlusion map allows us |
| 1152s | to kind of pre calculate this shadowing |
| 1154s | and just put it over it's kind of like |
| 1155s | pouring ink over a 3d printed model to |
| 1158s | let the ink flow into the cracks and |
| 1160s | darken it a little bit once you've got |
| 1163s | it hooked up once you've got all of |
| 1166s | these things done in the modeling phase |
| 1167s | you can just put it straight in the |
| 1168s | engine and you get this kind of Luke and |
| 1171s | at this point with just the normal map |
| 1174s | of the occlusion map |
| 1175s | it's got the right shape it's not got |
| 1176s | any of the colors and there's nothing |
| 1178s | that expresses the kind of materials |
| 1180s | that make up that hole but all of the |
| 1182s | shapes are in the right place you've got |
| 1184s | that silhouette captured you have all of |
| 1186s | those lines breaking up the geometry and |
| 1188s | between those soft and hard areas on the |
| 1190s | hull and it ultimately has all of the |
| 1192s | right shape it's also at this point that |
| 1194s | we've probably got a lot of the |
| 1195s | animations done it's become increasingly |
| 1197s | important to us over the last few years |
| 1198s | it's also something that's evolving in |
| 1201s | how we describe in the concept in phase |
| 1203s | which parts we want to have move which |
| 1205s | parts we want to give it a little bit |
| 1206s | more vibrance okay so we'll go back to |
| 1211s | the concept and see where we go from |
| 1213s | that that section there so we're onto |
| 1218s | the material States this is where we |
| 1221s | give the ship more functional depth to |
| 1225s | the values that we already have |
| 1226s | established and it starts to already |
| 1228s | look more like a like an EVE ship so |
| 1232s | this is kind of like going from |
| 1233s | grayscale on the left to kind of hooked |
| 1236s | up version of the ship and game where |
| 1240s | you have the material selections |
| 1241s | correctly mapped |
| 1250s | then we have the decals it's a stickers |
| 1254s | logos and bling keys it's a thing that |
| 1257s | kind of is very important in grounding |
| 1260s | the ship in the universe the molesta in |
| 1267s | this process is the color it's not last |
| 1272s | because it's the least important it can |
| 1276s | come in at any point in the design but |
| 1280s | usually it has been established already |
| 1282s | if it is signing within a family of |
| 1284s | ships and it's also important when we're |
| 1291s | concepting effects we want to give that |
| 1296s | ship that extra kind of layer of of |
| 1298s | visual you know that's and and they're |
| 1303s | the colors is very important in selling |
| 1305s | their the mood and this is a this is a |
| 1312s | concept image it kind of describes how I |
| 1315s | felt in my belly this morning but but it |
| 1321s | is an older concept of the entropic |
| 1323s | disintegrator and we have moved a little |
| 1327s | bit away from that currently but this is |
| 1330s | kind of where it all started |
| 1336s | color is also very important in your |
| 1338s | skin two signs they're kind of the whole |
| 1342s | color spectrum is on the table pink also |
| 1347s | where we where we explore you know |
| 1350s | shapes patterns color hues and all types |
| 1354s | of effects we have been kind of pushing |
| 1360s | the ads of what we want to deliver with |
| 1362s | with skins and and we are still making a |
| 1365s | lot of exploration that we're not |
| 1366s | showing you guys but the recent skins |
| 1370s | kind of show that that that there are |
| 1374s | guys that are mainly doing skins like |
| 1377s | CCP blue screen and CCB school bus |
| 1381s | they are they are doing some really good |
| 1384s | stuff here's the in North skin we wanted |
| 1401s | to of course give the skin to our newest |
| 1404s | Zeppelin and the concept for the even |
| 1410s | north sporty and sleek making use of |
| 1414s | natural colors some hints of snow and |
| 1416s | ice and some sticky maple syrup |
| 1423s | [Laughter] |
| 1427s | excellent skin back to the pipeline |
| 1434s | okay so with the concept complete at |
| 1437s | this point once it's gone through that |
| 1438s | checklist and then we've had a lot of |
| 1440s | internal arguments had our back and |
| 1442s | forth we've eventually got it through |
| 1444s | our 3d modeling stage we're ready to |
| 1446s | texture it so texturing the texturing |
| 1449s | process it's really about adding that |
| 1451s | that paint on the top the we in the end |
| 1456s | we and our pipeline need eight of these |
| 1458s | eight separate maps and the reason we |
| 1461s | have these is because we move to a |
| 1463s | pipeline which was on a dev blog in 2014 |
| 1465s | called PBR physically based rendering |
| 1468s | and what this does is it gives us a more |
| 1470s | realistic light interaction with the |
| 1472s | surface of each of our ships which gives |
| 1474s | them just an overall nicer look if you |
| 1475s | want actually the details of that you |
| 1477s | can go back to this dev blog from 2014 |
| 1479s | and our pipeline seems a little bit from |
| 1482s | then but most of the maths this |
| 1484s | explained on this page is still the same |
| 1485s | if you're curious about that but from |
| 1488s | that modeling phase with our high poly |
| 1490s | and low poly we've already got our |
| 1492s | ambient ambient occlusion and normal |
| 1494s | Maps done so the next one that we can |
| 1497s | actually pick off really quickly is the |
| 1499s | dart map it's very simple it's just that |
| 1500s | map that we fade in as your ship gets a |
| 1502s | little bit older we start from bleeding |
| 1504s | in around the edges this we can generate |
| 1506s | pretty easily with a program called |
| 1508s | substance painter |
| 1508s | it takes a lot of configuration with our |
| 1510s | artist but it's one of the easiest ones |
| 1512s | for us to do but the rest of these well |
| 1514s | they get done by hand |
| 1517s | mostly by someone like Benson here |
| 1520s | sitting with Photoshop drawing on an |
| 1522s | image and then watching it pop up on the |
| 1524s | script another monitor on top of the |
| 1526s | vessel the first one probably the most |
| 1528s | important is the albedo so this release |
| 1531s | back to the materials part of the |
| 1532s | concept where they're deciding whether |
| 1533s | an area's carbon-fibre they want little |
| 1535s | details of piping working things or a |
| 1537s | vent over the top of the hull this |
| 1540s | albedo map is where you can express |
| 1541s | those final details they're typically |
| 1544s | black and white we allow a little bit of |
| 1545s | color in ours but their black and white |
| 1547s | because most of our color is added in |
| 1549s | engine so we'll do it later by defining |
| 1552s | which faction we want to have or which |
| 1553s | skin we're going to apply but what we do |
| 1555s | is we will shade that albedo map and the |
| 1558s | orbital map essentially represents how |
| 1560s | much light gets reflected off at the top |
| 1562s | of the surface it's like a sheer quality |
| 1564s | or reflection and reflective nature of |
| 1567s | it |
| 1567s | this is coupled with the one next to at |
| 1569s | the roughness map which gives it the I |
| 1572s | guess how shiny it is the rougher the |
| 1577s | surface the more the light is going to |
| 1578s | bounce off in every direction and look |
| 1580s | really matte and really scuffed up but |
| 1583s | if you make it brighter on this map |
| 1584s | it'll start to get shiny up to the point |
| 1586s | of being almost Metro like shine and so |
| 1588s | what you've got is the combination of |
| 1590s | those two maps how much light or reflect |
| 1591s | and that the way in which it will |
| 1592s | reflect it give you much of the |
| 1594s | character of the ship that you're going |
| 1595s | for in the end the two over here on the |
| 1598s | right the paint and the glow there |
| 1601s | obviously look basically black that's |
| 1605s | because there for real fine details the |
| 1606s | paint map we use reasonably often mostly |
| 1610s | to do little fine details of painting |
| 1612s | where we don't want the color to change |
| 1613s | later on or be changed by switching |
| 1615s | faction well the glow map is for all |
| 1618s | those tiny little windows are gonna |
| 1619s | flicker when you go into hull so the |
| 1621s | mask map the last one here in the bottom |
| 1623s | left corner this is what lets our system |
| 1626s | know when we are choosing some faction |
| 1629s | or we want to go for a color scheme this |
| 1631s | map is tells our engine where to put the |
| 1633s | colors where to replace the color on |
| 1635s | that albedo map so if you layer them all |
| 1637s | for the top of each other essentially |
| 1638s | the mask map has four values in it for |
| 1641s | different values of black white and two |
| 1643s | kinds of gray and what they do is you |
| 1645s | can define an area and say this is |
| 1646s | material one and we'll paint it white |
| 1649s | and you can have another area that's |
| 1650s | black no sets material to later on when |
| 1653s | we actually get it in our system that |
| 1654s | means it's very easy for us to just |
| 1656s | flick through different color schemes or |
| 1658s | apply our galantai scheme or a navy |
| 1660s | scheme whatever it is and it wickley |
| 1663s | just replace all of the colors on the |
| 1664s | map so we can see the overall look of |
| 1666s | the ship so at this point you've got |
| 1670s | something that's well painted up we're |
| 1672s | probably giving it to a concept artist |
| 1673s | to work on for a week or two weeks they |
| 1676s | got all those fine little details in |
| 1677s | there put all the little bits of |
| 1679s | character into the overall image and but |
| 1682s | the next thing you have to do to make |
| 1683s | sure that it feels like a complete ship |
| 1685s | is all of the in engine detailing so |
| 1687s | this is where we go back to the the |
| 1689s | decal stage of that concept where we're |
| 1693s | going to add in all of the little parts |
| 1694s | that give it character so the first |
| 1698s | thing that we have to add is all of the |
| 1700s | visual details so |
| 1701s | this is placing decals picking on the |
| 1704s | blinkie's adding the kill marks we have |
| 1706s | to have that put in someplace will even |
| 1708s | mark out areas which will get damaged so |
| 1711s | that these can come through and finally |
| 1714s | adding things like you know a haze |
| 1715s | effect over bay areas and having things |
| 1718s | like the boosters put in the right place |
| 1719s | and are working but the next step you |
| 1724s | may not think about so much from us but |
| 1726s | what will I have to do is that shield |
| 1728s | that you can see illuminating when you |
| 1729s | get shot out we have to make sure that |
| 1731s | that's defined somewhere as well and |
| 1733s | actually you can see here there's lots |
| 1735s | of these tiny little blue orbs with |
| 1737s | arrows sticking out of them over the |
| 1738s | creek over the top of the hull these are |
| 1740s | actually damaged locators which well we |
| 1742s | can generate a little bit and mostly |
| 1743s | have to be catered by hand by one of our |
| 1746s | artists what they're actually doing is |
| 1748s | picking an area for you to be shot at so |
| 1750s | that when we play one of the damage |
| 1752s | impact effects of a projectile smacking |
| 1754s | into your hull when we overlay the the |
| 1756s | damage effect over the top of it it |
| 1758s | doesn't do anything crazy |
| 1760s | particularly it's really bad if it goes |
| 1761s | aren't an edge intends to bleed over |
| 1763s | different parts of the geometry in a way |
| 1765s | we don't like so what they have to do is |
| 1767s | make sure that they've surrounded the |
| 1768s | entire ship in these points and make |
| 1770s | sure all of them are in sensible |
| 1773s | locations that don't go crazy and so the |
| 1779s | final stage as we say adding the audio |
| 1782s | quite often the audio comes at the end |
| 1784s | once we've got a good established idea |
| 1787s | about what the ship is and what kind of |
| 1789s | animations are going to be in place and |
| 1791s | we've probably got something already |
| 1793s | kind of hooked up an engine for our |
| 1794s | audio team to play with |
| 1796s | we'll start having them craft the actual |
| 1798s | sounds for all of the ships so the |
| 1802s | important part of this stage I have no |
| 1804s | idea how that guy actually makes all of |
| 1805s | the audio that we do i've tried looking |
| 1808s | into it before but it's beyond me a |
| 1810s | little bit but what we'll do is at this |
| 1812s | point we'll just make sure we've got it |
| 1813s | hooked up and it plays at the right time |
| 1814s | with the right cue also at this point |
| 1817s | we're not allowed to touch any of the |
| 1818s | animation speeds again or the audio |
| 1820s | director will get very angry and the |
| 1823s | final step and this is the thing that we |
| 1825s | want to do a lot more of and this is |
| 1827s | tying VFX into our holes |
| 1829s | our holes used to be know very stocking |
| 1832s | standard they were just very solid |
| 1834s | shapes |
| 1835s | we're very identifiable and we love the |
| 1837s | look of them but giving them a character |
| 1838s | with the way that they can move and they |
| 1840s | can morph it's just way more interesting |
| 1843s | for us to do and adding on to that |
| 1845s | ability to express character in new ways |
| 1847s | is the V effects so with a lot we've |
| 1850s | invested a lot of work in the last |
| 1852s | couple of years and to getting our VFX |
| 1855s | pipeline a little bit more robust and |
| 1857s | that means we have way more opportunity |
| 1859s | to use the effects on top of the hull |
| 1861s | this was really important for the for |
| 1863s | the Treg Levine ship suite this was a |
| 1865s | time when we went really deep on the |
| 1867s | concept side into what we want the V |
| 1869s | effects to look like and really use that |
| 1871s | to bring through ideas for the the ships |
| 1874s | we were making but I figured it would be |
| 1877s | fun to actually see this in action so |
| 1881s | again this is Jessica the program that I |
| 1882s | maintain it's built on top of the client |
| 1886s | so actually uses a lot of the the same |
| 1888s | infrastructure as the client that you're |
| 1890s | playing on but with our front-end that |
| 1893s | we built on top of it which allows us to |
| 1895s | do all those detailing processes this is |
| 1897s | actually me this video was getting quite |
| 1900s | all the views that in quite a few places |
| 1901s | but not being an artist is very hard for |
| 1903s | me to recreate this it's very time |
| 1905s | consuming the I really liked what CCP |
| 1908s | angler did originally with the detailing |
| 1912s | for the vector II designed so I decided |
| 1915s | I would sit down and try and recreate |
| 1916s | this myself a little bit and you can see |
| 1919s | me trying to like get the decals in the |
| 1920s | right place and I've tried to copy all |
| 1922s | of the things that he's done you can't |
| 1924s | see here but I've got on another screen |
| 1925s | a picture of the ship for a reference so |
| 1928s | I can see what it looks like as I try |
| 1929s | and get everything in the right spot one |
| 1932s | of the nice things there's a the in the |
| 1934s | bottom right you can actually see our |
| 1935s | interface for our which is what we call |
| 1938s | the space object Factory if it's an |
| 1940s | object in space it's a space object and |
| 1942s | this builds them so it's a factory and |
| 1945s | what we can do here is it's all you also |
| 1948s | notice if you talk to artists we don't |
| 1949s | know the names of any of these ships we |
| 1950s | call them by codes there's one is gc3 a |
| 1953s | nice inventive name so what we can do |
| 1957s | here is we can define we can define our |
| 1963s | factions when we say faction we don't |
| 1966s | mean the same thing as in game |
| 1968s | what we actually specifically mean is |
| 1970s | essentially a color scheme so we have |
| 1973s | things like the asteroid faction and the |
| 1976s | rock faction and then a rock base |
| 1978s | faction and then I think we've got |
| 1979s | things like beat one two three four all |
| 1982s | the way to ten but what we'll do is |
| 1985s | we'll use this to kind of give the color |
| 1987s | scheme that we're looking for when |
| 1988s | adding all these little details and |
| 1989s | it'll do things like decide which decal |
| 1992s | that is I'll put in a code for that and |
| 1995s | it will go oh you're using this factions |
| 1996s | we'll use this specific decal for that |
| 2000s | area one of the things I really liked on |
| 2006s | this was actually when he did the bling |
| 2007s | keys on it and he made this lovely |
| 2008s | circle around them around this this |
| 2012s | little midsection to give her a back |
| 2014s | character where it blinks around and a |
| 2015s | lovely lovely circle but yeah it's it's |
| 2020s | good once in a while to try out the |
| 2021s | tools that you've made for your artist |
| 2023s | and then you feel really bad about all |
| 2024s | the work that they actually have to put |
| 2026s | in as you can see it's taking me quite a |
| 2028s | long time to make a second blinky it's a |
| 2031s | lot of effort so one of the things you |
| 2037s | can do I'll be safe you've already got |
| 2039s | an artist that you're copying is in the |
| 2041s | end you can actually just give up yeah |
| 2046s | so if you just tell it will reload the |
| 2049s | ship and you can just pretend you did it |
| 2050s | which is super nice okay so that's there |
| 2054s | the whole process end to end when we've |
| 2057s | gone from our concept through it to our |
| 2058s | final hull and we've gone through all |
| 2060s | that texturing work and we put all the |
| 2061s | little bits together and hopefully by |
| 2063s | the end of that we have an asset that |
| 2065s | you can all enjoy |
| 2071s | so what have we been up to we are |
| 2078s | creating more of these three tickets |
| 2081s | that capture the mood of the factions |
| 2084s | and the empires and they come already |
| 2088s | textured and ready to be a set being as |
| 2092s | assembled so it's a little bit like |
| 2094s | playing special space Legos we get a lot |
| 2099s | of variants really fast with a really |
| 2101s | small amount of set pieces and we get in |
| 2106s | my opinion really nice designs and these |
| 2109s | were concept straight in 3d so no |
| 2113s | drawings required and the results are |
| 2117s | quite unique in my my view and this |
| 2122s | return by CCP left rook and CCP angler |
| 2126s | and I was not needed on this task we've |
| 2132s | been thrown together is that allows us |
| 2136s | to get more variation on the assets that |
| 2137s | we put out so rather than just making |
| 2139s | one tower we'll put in every site that |
| 2141s | we use throughout the game maybe we can |
| 2143s | have very quickly a selection of five |
| 2145s | six seven of them then we can spread |
| 2147s | them around a little bit more give all |
| 2149s | of space a little bit more variation in |
| 2150s | character |
| 2158s | I've kind of like to I think it'd be |
| 2161s | nice let people decorate space |
| 2162s | themselves with these but there's no |
| 2164s | plans for that kind of thing yet most of |
| 2166s | these will remain internal let's whit |
| 2168s | will see a bit of ambient life with the |
| 2175s | same set of kind of pieces we want to |
| 2181s | get more depth to the EVE universe so we |
| 2185s | are considering going from just simple |
| 2187s | blinky light traffic to actual volume |
| 2189s | traffic here are some concepts for some |
| 2194s | 3d shuttles made from a small set of |
| 2196s | pieces and this can be expanded very |
| 2199s | rapidly here are some more shuttles made |
| 2206s | from the same set or similar set with |
| 2209s | the possibility of also turning and be |
| 2211s | into security traffic they don't mess up |
| 2214s | some possibilities more variants of |
| 2220s | traffic with the same parts some |
| 2227s | civilian escort vessels you can see the |
| 2229s | setup in the right top right corner |
| 2232s | trains and buses where are all these |
| 2235s | people going some industrial traffic |
| 2241s | cargo shipments in station traffic |
| 2249s | more industrial parts and also different |
| 2252s | kind of scale and that they were also |
| 2255s | trying to capture kind of like out of |
| 2257s | the how do these parts function when |
| 2260s | they're built in small scale up to a |
| 2262s | much larger scale and if we can use the |
| 2265s | same parts here the pieces have already |
| 2271s | been hooked up in the engine what we are |
| 2277s | hoping to do with this remember the the |
| 2279s | little lights that fly around the |
| 2281s | citadel's that we added them to look a |
| 2284s | bit like the headlights of traffic when |
| 2286s | you're high above in a plane so the hope |
| 2288s | is that at some point we'll be able to |
| 2289s | use more interesting things like this to |
| 2292s | give that same kind of idea of the |
| 2294s | civilians that also occupying you-you'd |
| 2296s | and living out their lives around you as |
| 2298s | you fly your ships so just give life a |
| 2300s | little bit more of a character maybe |
| 2301s | Express little bit about the environment |
| 2303s | that you're in |
| 2304s | about where traffic tends to go maybe |
| 2306s | kind of have them flying off in places |
| 2308s | that players tend to travel off in build |
| 2310s | kind of traffic lanes throughout the |
| 2311s | system so we're hoping to do this and |
| 2314s | hopefully we'll be experimenting a bit |
| 2315s | more with this in the coming months and |
| 2317s | we'll see if we can get something cool |
| 2318s | out to you guys can you kill them I |
| 2325s | don't think that would let us do that be |
| 2327s | cool some read the signs also we're |
| 2334s | always looking into redesigns we've a |
| 2336s | list of ships we're always listening to |
| 2339s | you guess if you have some comments be |
| 2343s | sure of that |
| 2347s | [Laughter] |
| 2350s | so we're a concept artist joining the |
| 2355s | team fairly recently he's been doing |
| 2358s | really good he did this a Tron redesign |
| 2361s | CCP Maki |
| 2363s | that's not his official CTP name he |
| 2366s | still con something about but he's from |
| 2368s | Italy it's really good |
| 2370s | he's doing some some interesting |
| 2372s | concepts on the a Tron redesign we're |
| 2374s | kind of pushing the silhouette in |
| 2377s | different directions again heated |
| 2381s | debates exploring material different |
| 2391s | materials and turret locators you can |
| 2393s | see we are already pushing the turret |
| 2394s | locators there in the in the black |
| 2397s | circles very good to get them |
| 2400s | established very early on to actually |
| 2402s | make sense and kind of a more soft |
| 2406s | version so here we're going for an |
| 2408s | example like back and forth with snows |
| 2411s | to be like more animation exploration of |
| 2418s | course we want to much more animations |
| 2420s | to kind of just get much more depth to |
| 2424s | to these vessels to sell the remote and |
| 2427s | the idea of like where they're coming |
| 2429s | from and what they're doing here's a |
| 2435s | burst 3 design here we see a line |
| 2438s | drawing on top of a 3d model so this |
| 2441s | ship has already gone pretty far in the |
| 2445s | inner and the concert process we wanted |
| 2449s | the simular to be a little different and |
| 2452s | closer to kind of our recent military |
| 2455s | designs and the tattoos couple different |
| 2463s | silhouettes I mean that's what we want |
| 2465s | we want tack tools to feel different and |
| 2469s | some animation exploration tack and |
| 2475s | visual effects |
| 2478s | so on the tech side of things for the |
| 2481s | last six months or so we've been we |
| 2485s | haven't had as much in the way of |
| 2486s | brand-new tech to do so we're really |
| 2488s | doubling down on building more robust |
| 2491s | systems so going back taking old systems |
| 2493s | and completely replenishing them maybe |
| 2496s | doing some of them from scratch some of |
| 2497s | them just get a bit of a refactor bit |
| 2499s | with the aim to give us a better basis |
| 2501s | for the next couple of years in that |
| 2504s | realm you might have heard a couple of |
| 2505s | the big tech noma at big ticket items |
| 2507s | obviously the 64-bit client and the plan |
| 2510s | to move to dx12 to give us some dx12 |
| 2512s | support but this is all just giving us |
| 2516s | putting as a good position so we can |
| 2518s | start doing more playful and interesting |
| 2520s | things and here you mightyou this should |
| 2523s | already be out this is a complete |
| 2525s | refactor of our old sons moving them |
| 2527s | into our brand new planet tech and as |
| 2529s | you can see there is ZERO difference |
| 2531s | between the two so it makes no visual |
| 2533s | difference to anything you see in the |
| 2534s | game but for us it means that we can do |
| 2537s | a lot more with that system it's a lot |
| 2539s | more flexible for us it's a lot more |
| 2540s | stable more robust it's also easier for |
| 2542s | us to tweak now one of the problems is |
| 2545s | when you've got a bit of a messy |
| 2546s | codebase making any of the changes you |
| 2548s | want to do is too much of a nightmare to |
| 2550s | even think about |
| 2550s | so getting us the point of cleaner |
| 2552s | codebase means we can actually think |
| 2555s | about taking on some of those those |
| 2557s | operations one of the things though |
| 2560s | we've always been a bit unhappy about is |
| 2562s | the quality on low we prefer that you |
| 2565s | are played on high all of the time so if |
| 2567s | you could just do that that'd be great |
| 2568s | we can drop low but the the hope is |
| 2576s | though that we can actually just have |
| 2577s | higher quality law effects without |
| 2580s | hitting the performance too much and |
| 2585s | obviously this was a big problem for our |
| 2588s | VFX artists in particular because of |
| 2590s | this one little detail on the wormholes |
| 2592s | just why we've been looking at them |
| 2594s | recently where you can see the nebula on |
| 2596s | the other side of the wormhole when |
| 2598s | you're on high settings but not on low |
| 2599s | so that means it's gameplay missing |
| 2601s | gameplay information in the scene |
| 2602s | missing when you're on low settings and |
| 2604s | we really don't like that so that's why |
| 2606s | our VFX artist CCP Mercker |
| 2610s | has been working on this so that we can |
| 2613s | actually get the the the low shader |
| 2616s | quality to give it more of that gameplay |
| 2618s | information just look at little bit |
| 2620s | nicer and this is actually just thanks |
| 2622s | to a change that we made two weeks ago |
| 2623s | or three weeks ago I think where we |
| 2625s | finally managed to get around to this |
| 2626s | the problem was before tech wise what |
| 2629s | you could do is you could take a high |
| 2630s | quality effect and when it's on low |
| 2632s | settings you can turn things off but |
| 2634s | that's your only option so if you have |
| 2635s | to turn things off for performance |
| 2637s | reasons you had no mechanism to turn |
| 2638s | anything new on to replace it but what |
| 2641s | we did is we made a little pipeline |
| 2643s | rearrangement there a little tech change |
| 2644s | which means that he's now allowed to |
| 2646s | actually go in and say okay well on low |
| 2649s | settings turned this bit off but put |
| 2651s | this thing in an in in its place sorry |
| 2654s | if anybody's feeling a bit queasy but |
| 2657s | this was the important part of trying to |
| 2659s | get the the low shader quality version |
| 2661s | of the wormhole to actually give you the |
| 2662s | name be on the other side along with |
| 2666s | this since we're also already doing |
| 2669s | below there's no reason to not go and |
| 2672s | just touch up the high so one of the |
| 2676s | things that mercury wanting to |
| 2677s | experiment with was I'm giving the |
| 2679s | wormhole more of a 3d look make you feel |
| 2681s | more part of space less flat in |
| 2684s | particularly keep that middle part still |
| 2686s | fairly flat gives it that weird space |
| 2688s | warping look but these are still work in |
| 2691s | progress but and the idea was to give it |
| 2693s | something that felt like it was rotating |
| 2694s | around and the last bit is actually and |
| 2699s | for about a year year and a half we've |
| 2702s | had a new piece of tech that we're using |
| 2705s | for a lot of our ships we just call them |
| 2708s | controllers it's a very simple idea |
| 2710s | before if we want to play an effect |
| 2713s | based on something that happened you |
| 2715s | press the button in the game we want to |
| 2717s | play some effect that happens or a ship |
| 2719s | warps in we want to play an effect some |
| 2720s | exhaust pumping out or whatever before |
| 2724s | we'd actually have to have a programmer |
| 2725s | sit and type that in using the |
| 2728s | controller system we've managed to move |
| 2730s | to a pipeline for a V effects where a |
| 2731s | programmer can simply identify the Vote |
| 2734s | the information that an artist might |
| 2736s | want redirect that into a bucket and |
| 2738s | then it's the artist that gets to pick |
| 2740s | it out and hook it up and this meant |
| 2742s | that when we |
| 2743s | our ships we can have things like the |
| 2744s | exhaust shooting off when you go in or |
| 2746s | out of warp but in particular |
| 2748s | particularly importance here is by tying |
| 2750s | in the gameplay information we can take |
| 2755s | the the old version of the wormholes |
| 2757s | which would express their stability and |
| 2759s | give them a whole new look so there's a |
| 2761s | little bit more identifiable but this is |
| 2763s | also more flexible pipe line for a VFX |
| 2765s | artist in the first place allowing them |
| 2767s | to have a lot more fun with expressing |
| 2769s | game mechanics and gameplay information |
| 2771s | directly in the artwork that we provide |
| 2773s | in the game and so hopefully this is |
| 2775s | going to form a good foundation for more |
| 2780s | visuals in game that give you valid |
| 2782s | information about what's happening in |
| 2784s | your surroundings last little change I |
| 2789s | can't actually remember if they spun out |
| 2791s | already or if it's coming out soon as a |
| 2792s | tools programmer and I tend to be a few |
| 2794s | releases back in terms of my schedule I |
| 2797s | have to get everything done before |
| 2798s | everyone else starts but we are adding |
| 2801s | dynamic reflection maps previously if we |
| 2805s | wanted to make your ship look shiny and |
| 2806s | reflect the nebula round you we had to |
| 2808s | pre calculate this which meant that we |
| 2811s | couldn't do things like add in the |
| 2812s | planets we're trying to get more of this |
| 2814s | a bit more on dynamic nature of the tech |
| 2816s | to allow us to take the assets that are |
| 2819s | a wonderful artist make for us and couch |
| 2821s | them better in the environments that |
| 2823s | we're placing them in so I think you can |
| 2825s | I like the way that you can kind of feel |
| 2827s | that this just fits better into the |
| 2828s | scene with just a little bit of extra |
| 2830s | lighting come from and coming from other |
| 2832s | sources ok so that's everything I think |
| 2836s | we have for today so thank you all for |
| 2840s | coming it's been great |
| 2841s | [Applause] |
| 2854s | if anybody would like to we've got time |
| 2856s | for three questions if you want to come |
| 2858s | up and grab that mic hi I regret it |
| 2863s | already |
| 2866s | hi I'm kind of a new player to the game |
| 2869s | I think it's the giggles for my dad it's |
| 2871s | like that we're doing as a blind |
| 2872s | exercise and I've come from things like |
| 2875s | warframe or other games where I see all |
| 2878s | kinds of ships and the first thing I |
| 2879s | wondered when I saw the EVE ships is why |
| 2882s | are so many of them so asymmetrical I |
| 2886s | literally named my first a Tron tumor |
| 2889s | because it looks like it had a tumor in |
| 2890s | the wing asymmetry is beautiful okay |
| 2904s | what's the idea behind the art I mean |
| 2907s | what are the reasons we want to keep at |
| 2909s | a cemetery is actually just because it |
| 2910s | gives it a more unique look so we're |
| 2913s | quite happy with the art stuff that was |
| 2914s | established in the beginning we want to |
| 2915s | keep that going it's also again when we |
| 2918s | go into redesigns we don't want to |
| 2920s | completely throw away the ideas of the |
| 2922s | past but it just it's it's rare to see a |
| 2925s | cemetery in and the core art style of a |
| 2928s | game and so we just love having it so |
| 2930s | we're really enthusiastic about keeping |
| 2931s | it high so when I look at the ship |
| 2941s | models I love to sort of get an idea of |
| 2945s | in my head of what they look like inside |
| 2947s | and one thing I've always wanted to ask |
| 2950s | you guys and this is the perfect |
| 2953s | opportunity when you're putting the |
| 2956s | lights on the ships okay and you're the |
| 2960s | thing that really stands out in the back |
| 2962s | of my head is and the one that screams |
| 2965s | at me the most is think of something |
| 2968s | like the prophecy it's got all these |
| 2971s | little glowing golden or yellow like |
| 2975s | boxes they look like windows is that |
| 2978s | they're supposed to be or |
| 2980s | something else in your guy's mind and if |
| 2983s | so what purpose do they apparently serve |
| 2987s | at the time they look cool oh they look |
| 2993s | cool but like in your mind what are they |
| 2996s | supposed to represent or are they just |
| 2999s | decorations both I mean decorations |
| 3003s | mostly oh yeah |
| 3004s | but I mean it's also for you to |
| 3005s | speculate on you guys trying to improve |
| 3015s | the appearance of the ships from the |
| 3017s | outside the reflectiveness of the |
| 3020s | universe around them wouldn't really be |
| 3021s | the idea of when they're tethered that |
| 3023s | spot side of the ship being lit up more |
| 3026s | from the tether I mean I think for Doby |
| 3030s | not so for a lot of review facts we |
| 3031s | actually add lights into them already so |
| 3034s | they already have a kind of reflection |
| 3035s | on them so I think we used to avoid this |
| 3038s | quite a lot we have a lighting and tech |
| 3041s | it's called forward plus rendering it |
| 3045s | allows us to have a lot more lights than |
| 3046s | the scene anyway so we're always trying |
| 3048s | to add them you might notice we do |
| 3049s | things like on your on the fires on Rex |
| 3051s | now we have little fly lights to kind of |
| 3053s | illuminate the rest of the hall around |
| 3055s | the fire so if it's not being eliminated |
| 3057s | already by the tether when we inevitably |
| 3060s | get in our years of renovation of this |
| 3063s | game |
| 3063s | we never they give inevitably get back |
| 3065s | to taking a look at that they'll |
| 3066s | probably be some more elimination put on |
| 3068s | that as well thank you very much |
| 3076s | we are running an art corner outside the |
| 3079s | PvP room |
| 3079s | don't hesitate the common pocus we're |
| 3082s | not working we're here for you guys so |
| 3084s | just please come if you have any |
| 3085s | questions want some tips on art stuff |
| 3088s | you know want to start from arguments |
| 3092s | we're ready please drop by we will be |
| 3096s | starting it after the AMA later and |
| 3099s | we'll see you back here for the ena |
| 3101s | [Applause] |
| 3105s | [Laughter] |
| 3109s | you |