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| 0s | and someone was like Hey what if uh what |
|---|---|
| 1s | if the tentacle reached out from the |
| 3s | portal and grabs the guy and that turns |
| 5s | out to be really the cool the coolest |
| 6s | part of the |
| 9s | [Music] |
| 14s | scene hey everybody Welcome to forged in |
| 17s | aternum the show where we talk about all |
| 19s | things new world uh today we're going to |
| 22s | be talking about the cinematics that uh |
| 24s | are in the latest release uh for the |
| 26s | expansion and also for the msq revisions |
| 29s | that we did I am joined today by Brett |
| 32s | our lead animator and Eric our senior |
| 36s | cinematic animator and uh Nathan our |
| 41s | lead our lead cinematic artist who's uh |
| 43s | joined the team in the last few months |
| 46s | um and of course like so we'll just jump |
| 48s | in here the um you know adding |
| 51s | cinematics to new world has been |
| 53s | something that we've aspired to do for a |
| 55s | while it's been a long road as we've |
| 57s | added these in Eric you've been |
| 59s | fundamentally involved in and I think |
| 60s | everything we've done um particularly |
| 62s | some of these new ones though I think |
| 64s | we've seen some progress in what we |
| 66s | accomplished before yeah I mean progress |
| 68s | is a good way to put it uh we've taken |
| 70s | on so many new characters so much uh new |
| 72s | techniques like internally we we kind of |
| 74s | starting from Bare Bones kind of uh |
| 76s | starting a process that we hadn't |
| 78s | totally flushed out day one but we |
| 80s | definitely have picked up momentum in |
| 82s | both the amount of work we can get done |
| 84s | and also the quality of it when it comes |
| 86s | to dialogue and effects and I think just |
| 88s | general cinematic course graphy it's |
| 91s | working out right now I'm impressed yeah |
| 93s | I think I think it looks it looks a lot |
| 95s | better than I expected actually at one |
| 96s | point but I'm wondering when you when |
| 98s | you first saw these scripts and the |
| 99s | plans for this set of cinematics which |
| 102s | one were you like what the hell are they |
| 103s | thinking oh man uh well I think you know |
| 106s | when it's on paper before you see it I'm |
| 109s | saying that about all of them uh but I I |
| 111s | think when you start seeing some of the |
| 113s | storyboards and we start kind of |
| 114s | blocking up the camera I think you start |
| 116s | to see the clarity before that it's all |
| 118s | pretty confusing um there were some |
| 120s | scary ones that had the most amount of |
| 122s | dialogue that I think we've done here |
| 123s | internally uh and uh we were able to |
| 126s | pull those off which are great and I |
| 127s | think it shows kind of a path for more |
| 129s | complex cinematics in the future which |
| 131s | is important on the so the one that we |
| 134s | were talking about a little while ago |
| 135s | that I thought turned out really cool |
| 137s | the uh the Thorp at the portal scene can |
| 140s | you walk us through like the process |
| 142s | that you know yeah too much detail but |
| 144s | it's yeah I mean I think I think so |
| 146s | there you know a lot of that process |
| 148s | ends up being mine uh specifically but |
| 150s | but for something like Thorp portal |
| 152s | right it's a it's a complex scene but |
| 154s | it's important to kind of isolate the |
| 155s | things that are going to have to |
| 157s | probably peak in the Cinematic so you |
| 160s | kind of know how to frame them um and |
| 162s | then beyond framing them you kind of |
| 164s | have to time everything to that one |
| 165s | moment in the Cinematic that is supposed |
| 167s | to be kind of the uh the big gotcha |
| 169s | moment uh in the Thorp portal in |
| 170s | particular uh you know you have a |
| 172s | character that kind of gets snatched |
| 173s | away and kind of pulled into a into the |
| 176s | whole the portal hole and it's important |
| 178s | that whatever happens to that moment the |
| 180s | timing it all kind of crescendos at the |
| 183s | right time so something that looks as |
| 185s | simple as that needs to really have a |
| 187s | lot of thought at some early stages |
| 189s | right in the camera layout moments when |
| 191s | you're kind of timing out okay how long |
| 192s | is this going to take that going to take |
| 194s | and then before you know it you're kind |
| 195s | of working all your efforts towards that |
| 197s | kind of moment everything kind of gets |
| 200s | taken from the |
| 209s | visual |
| 210s | that was kind of the process and that |
| 212s | that's kind of how it evolved it's kind |
| 214s | of cool to think about how it evolves as |
| 215s | we go because I I can say when I we |
| 217s | first started talking about that one I I |
| 219s | was imagining Thorp standing there |
| 221s | threatening you and the narrative |
| 223s | whatever he said there was going to be |
| 224s | so important yeah um and but it turns |
| 227s | out of course like and someone was like |
| 228s | Hey what if what if the tentacle reached |
| 230s | out from the portal and grabs the guy |
| 232s | and that turns out to be really the cool |
| 233s | the coolest part of the scene it does it |
| 235s | does and it's funny because thorp's the |
| 237s | the actual delivery of that line could |
| 238s | have been played both ways could have |
| 239s | been really really more aggressive and |
| 241s | it could have been toned way back and we |
| 242s | went with the more ton because it felt a |
| 244s | little more ominous and it fit a little |
| 247s | better to the way the timing was working |
| 249s | out towards the end for that building to |
| 251s | that for that yeah for that technical |
| 253s | snatch so it worked out cool and Brett |
| 256s | you've been you know involved in this uh |
| 258s | thoroughly this whole time you know I'm |
| 261s | wondering what your take is on on you |
| 263s | know kind of what we've accomplished so |
| 265s | far particularly with this round yeah I |
| 267s | mean it you know it was obviously pretty |
| 268s | big stretch for you know just diving |
| 271s | into cinematics and not having kind of |
| 274s | the pipeline and and support completely |
| 276s | there yet so we you know just jumped in |
| 278s | and started tackling stuff and figuring |
| 280s | out as we go so you know this is just |
| 282s | kind of the beginning of it right now |
| 284s | it's these will get better and better |
| 286s | we're going to get more support more you |
| 289s | know um better facial rigs better better |
| 293s | character animation better cameras all |
| 295s | that's going to just keep improving uh |
| 298s | you know exponentially I would say of |
| 300s | these that we just did this round the |
| 302s | ones we did for the expansion with um |
| 304s | which which would you like us to see us |
| 306s | do more of like which ones do I guess |
| 308s | did you like the most I mean I I love |
| 310s | the Thorp one uh that one's great lots |
| 312s | of good action in there the argument |
| 313s | scene was was I like that you know it's |
| 316s | got a lot of Storytelling elements to it |
| 318s | and and like would like to push that |
| 320s | acting uh as well for for character |
| 322s | development for new world yeah you know |
| 325s | the big ones for the expansion are um |
| 327s | the menar charging in getting turned to |
| 329s | stone with |
| 337s | Medusa I think and uh and then Artemis |
| 340s | kind of rising up Nathan joined us in in |
| 343s | you know in progress here and coming in |
| 345s | with trying to you know kind of bring a |
| 347s | new vision to our cinematics you know |
| 350s | what's your read as you walk in the door |
| 352s | is you know are you like uh oh I made a |
| 354s | mistake |
| 356s | oh no not at all you know it's uh it's |
| 359s | exciting espe especially having a |
| 360s | context of of you know like six well now |
| 364s | 9 months ago there was there was nothing |
| 366s | there was no cinematics there was no |
| 368s | pipeline there was there was not much |
| 370s | happening at all and so to be able to |
| 372s | see where everything is now and being |
| 374s | able to witness what was pulled off and |
| 378s | what we're shipping with it excites me |
| 380s | so much what the potential is now moving |
| 382s | forward I mean the balls rolling you |
| 384s | know it was good to see that especially |
| 386s | with um prison argument you know a lot |
| 388s | more bodies on screen and choreography |
| 391s | and the cinematography kind of you know |
| 393s | elevating a little bit more um you could |
| 395s | kind of see the growth you know the |
| 397s | progression of growth from first igc |
| 399s | that was pushed out to to to to then |
| 401s | very excited excited to be here |
| 402s | surrounded by a lot of really fantastic |
| 404s | people brilliant artists you know it |
| 407s | would be just fantastic storytellers |
| 409s | that you know the in the osmosis too you |
| 412s | know you're just saying that no yeah |
| 414s | yeah yeah yeah yeah but yeah but but but |
| 417s | you know but but to that said you know |
| 419s | there is there is is a lot more people |
| 421s | um that aren't at this table that kind |
| 424s | of really push these igc's over the |
| 426s | table um over the line which is Chris |
| 428s | Chris Andress in production Kim wood igc |
| 431s | designer you know you got Austin our |
| 433s | audio uh lead and you know many many |
| 437s | more in engine um Eric Chu and yeah so |
| 441s | you know without without that Collective |
| 443s | this this all wouldn't happen and and to |
| 445s | be able to now work with all of you is |
| 448s | is fantastic so which would you so now |
| 451s | you can't say the Thorp one but which of |
| 453s | these that we released uh do you look at |
| 455s | as the best example of what we should do |
| 456s | going forward I think in terms of |
| 458s | structure and performance what we were |
| 461s | able to get in probably prison argument |
| 464s | prison argument or ion bench mark moving |
| 466s | forward wow uh and what to build on on |
| 469s | the subject of the prison argument one |
| 470s | because I'd like to talk about that more |
| 471s | because I think from a from a um a |
| 473s | writing perspective I can tell you that |
| 475s | the first time I saw that script it was |
| 477s | three times as long as when you guys saw |
| 478s | it um and I cut it down and I was like |
| 480s | yeah I think I got it trimmed up nicely |
| 482s | here then we share it and it's like |
| 484s | let's cut it let's and then now let's |
| 486s | cut it again and now you know and uh and |
| 488s | there's good reason for that and you |
| 490s | maybe you could explain why yeah you |
| 492s | know it's uh yeah there there was good |
| 494s | reason um and now kind of thinking back |
| 495s | I remember it having a much longer uh |
| 498s | presentation and also with that I think |
| 501s | on paper it it actually read well but as |
| 504s | soon as we started blocking in the |
| 505s | camera I think we realized that some of |
| 506s | the some of the things being discussed |
| 508s | and some of the the amount of work was |
| 509s | going to roll out of it um we were able |
| 511s | to kind of trim down some areas for both |
| 514s | to save time but also to actually um I |
| 518s | suppose the best way to say it is to to |
| 520s | to uh put a put an exclamation on some |
| 522s | of the dialogue that was kind of already |
| 524s | existing so we could actually cut some |
| 526s | out and it it would Elevate some of the |
| 527s | other things that were occurring that |
| 529s | that that igc in particular was probably |
| 532s | the highest level of choreography both |
| 534s | on camera side and character and uh the |
| 537s | camera side alone took me a while to lay |
| 539s | out because we're we're dealing with so |
| 541s | many characters kind of coming at camera |
| 543s | away from camera and having to switch |
| 545s | around and get people's reactions not |
| 547s | necessarily their actions um it's super |
| 551s | critical when we making these igc's that |
| 552s | you're kind of capturing people's |
| 554s | thoughts and not necessarily the actions |
| 555s | that they're saying so when you have |
| 557s | five people or four people talking it's |
| 559s | important that you're like shooting uh |
| 561s | you're not necessarily shooting the |
| 562s | dialogue that you're writing but you're |
| 564s | instead you might be shooting the |
| 565s | reaction or the the uh the the thing the |
| 568s | person's thinking about |
| 570s | so it's super critical and that one was |
| 572s | really um it took a lot of effort to |
| 574s | choreograph it it really did from the |
| 575s | camera perspective only the the |
| 577s | technical choreography of the map was |
| 579s | difficult as well because everyone's |
| 581s | kind of passing each other yeah um but a |
| 584s | lot of characters the um and you know I |
| 586s | mean I was super excited about this for |
| 588s | for giving you know that moment where |
| 590s | characters are arguing with each other |
| 592s | you know uh galahad's gonna gonna charge |
| 595s | in there to help uh look for artorius |
| 597s | inside this weird interdimensional |
| 599s | prison and Morgan thinks he's an idiot |
| 601s | and like just the relationship between |
| 603s | those two I thought um was captured |
| 605s | there which is which is fantastic and we |
| 607s | also had the player kind of show up for |
| 609s | the first time more more than any other |
| 611s | I igc we done I think right yeah I I I |
| 613s | think so and and you know it starts to |
| 616s | make us ask a lot of questions about |
| 617s | well what's the player doing in these um |
| 619s | especially in this one where he's in the |
| 620s | back and you don't want him to look um |
| 622s | you know not significant but you also |
| 624s | don't want him to steal the show so he's |
| 626s | got to kind of find his role in that |
| 627s | kind of choreography a lot of effort |
| 629s | went into that as well and to be said |
| 631s | those each one of those characters were |
| 632s | shot individually it wasn't a group |
| 634s | scene so choreographing all those |
| 636s | different you know beats of the story |
| 639s | interacting with other characters done |
| 641s | by yourself was you know I'm sure |
| 643s | challenging for Eric yeah yeah hilarious |
| 646s | because it's it's you know you know |
| 647s | that's that's me playing the part of you |
| 649s | know a few characters so I'm moving out |
| 651s | of my own way so um it's it's important |
| 654s | it's important to State how complex it |
| 655s | is but I think it's also important to |
| 657s | state that I think it shows the |
| 658s | potential of where we're going I think |
| 659s | it's the beginning of I think what's |
| 661s | going to be what's going to be pretty |
| 662s | cool as we move forward that's cool yeah |
| 664s | the uh you know to the extent that you |
| 666s | know we want to have the player more |
| 667s | involved in these scenes and have kind |
| 669s | of a you know be featured I think that's |
| 671s | something we want to do in general for |
| 673s | sure as we look at like where we want to |
| 676s | go you know we obviously don't want we |
| 679s | this is an interactive game we want the |
| 681s | player to be in charge of their |
| 682s | character as much as possible so we |
| 683s | really try to identify the best moments |
| 684s | where we can we really want to tell a |
| 687s | story beat but like figuring out you |
| 689s | know the ideal times to do those and how |
| 693s | long and how much energy like how do we |
| 695s | figure that out I don't know I'm just |
| 697s | guessing yeah I mean that's that's |
| 699s | interesting conversations with |
| 700s | especially the narrative designers and |
| 702s | and the and the game designers too is is |
| 706s | yeah |
| 706s | finding the right moment to enter a |
| 709s | scene you know is it is it right on the |
| 711s | is it after the death of a soul trial |
| 713s | right let the death play out or or is |
| 716s | there an emotional beat there that we |
| 718s | just recently tried to you know explore |
| 719s | with a new scene um and kind of carry |
| 722s | that into the cut scene and just see you |
| 723s | know see how that plays off and is that |
| 725s | a is that a good way to you know to to |
| 728s | springboard into the scene and um and |
| 731s | sometimes it works sometimes it doesn't |
| 732s | um you know so the iterative process too |
| 735s | is is part of our work we're we're |
| 737s | laying pavers down as we're running on |
| 739s | top of them and uh but uh but I can we |
| 741s | can see it we can see the tech |
| 742s | developments and and uh and I know what |
| 745s | our Northern Star is and that's exciting |
| 748s | yeah well there's I mean we also have to |
| 749s | consider that you know there's different |
| 751s | kinds of players who have different |
| 752s | levels of appreciation some players we |
| 754s | know we're going to skip the cutscenes |
| 756s | and you know and then there's the and |
| 758s | and whether it's related to that or not |
| 760s | I think it is related to that is the |
| 761s | question of like do we bias more towards |
| 763s | cutscenes that show like epic you know |
| 766s | action moments like the worm coming up |
| 768s | and you know and and the portal and |
| 770s | stuff like that or do we bias towards |
| 771s | these type of scenes where this is |
| 773s | argument and we're trying to get that in |
| 774s | the enhanced dialogue but I guess as we |
| 776s | think about like the value of igcs the |
| 778s | you know the actual cut scenes that we |
| 780s | take player control away from I'm |
| 782s | curious Brad if you think that we should |
| 785s | do more of these action scenes or more |
| 787s | uh I think we should do them both right |
| 789s | I I think it's good to get those good |
| 791s | storytelling elements draw the |
| 793s | characters out get PE more of a |
| 795s | connection with the with those |
| 797s | characters in the game and then uh I |
| 799s | mean doing some awesome action shots |
| 801s | can't you know can't complain about |
| 804s | [Music] |
| 808s | that |
| 811s | yeah it's the fun stuff yeah that's |
| 812s | right animator l i mean is it am I right |
| 816s | to say it's almost easier than this I |
| 818s | mean definitely I mean speaking as an |
| 820s | animator oh the action is so easy um but |
| 823s | so easy well it is but comparatively |
| 826s | yeah comparatively uh but the uh the |
| 829s | dialogue I think if you approach the |
| 831s | dialogue seems the way you you you |
| 833s | should or at least if you pay the |
| 834s | attention we should be paying to them I |
| 836s | think it's much more difficult to catch |
| 837s | the subtleties not just the subtlety in |
| 839s | the performance but also the subtlety of |
| 841s | how to capture the moment via the |
| 842s | framing right that's that could be |
| 845s | really pretty intense um it's they both |
| 848s | I guess I should say they're both |
| 850s | difficult in very different ways how's |
| 851s | that yeah that's cool makes sense um and |
| 854s | both yeah have great opportunities for |
| 856s | being useful in different parts of the |
| 858s | game yeah I think I think the uh I think |
| 860s | like the boss bottles and the Soul |
| 862s | trials and stuff I think really cool |
| 863s | mini cinematic moments not just |
| 865s | vignettes but something that really kind |
| 867s | of highlights the player plays off for |
| 869s | the for the customer for the you know |
| 871s | for the for the player who's playing it |
| 874s | uh you know there's a good payoff for |
| 876s | them as well you know there a good |
| 878s | flourish from their behavior and um you |
| 880s | know whether it be a a victory or you |
| 883s | know or even or mid battle something you |
| 885s | know those things that working towards |
| 887s | that we give a lot of flavor and value I |
| 889s | think yeah totally I think of it as a |
| 891s | reward I I think a lot of like hey make |
| 893s | make story feel like a reward um whether |
| 896s | players are appreciated or not like but |
| 898s | but give it to you as like a a a moment |
| 900s | that you've worked for in the game and |
| 902s | like and also make it something that |
| 904s | acknowledges the player and and their |
| 906s | coolness I mean cinematics do hold |
| 908s | another difficulty level if you're |
| 909s | thinking about the audience exclusive |
| 911s | right because the audience is pretty |
| 912s | smart and they're pretty sharp and |
| 913s | they're pretty quick so when you start |
| 915s | showing them these kind of cinematics |
| 916s | and we start adding more of these to the |
| 917s | game the more we're going to find out |
| 919s | whether or not they're picking up on |
| 920s | what we're asking or what we're saying |
| 921s | pretty quickly so we'll get Bor fast um |
| 924s | the action stuff keeps them kind of |
| 926s | guessing which is nice the dialogue |
| 927s | stuff is a little more difficult |
| 930s | because they're quick and they're |
| 931s | figuring out the dialog before it's |
| 932s | actually said and they're usually that |
| 934s | fast whether they realize it or not so |
| 936s | you have to be kind of one step ahead of |
| 938s | them so I think that that if we can stay |
| 940s | one step ahead of the audience I think |
| 941s | we can keep some of these dialogue |
| 943s | moments that aren't probably as |
| 944s | spectacular I think just as interesting |
| 946s | but you know I think we'll develop that |
| 949s | I think us and usually it might even |
| 950s | just be you know some subtle restaging |
| 952s | too you yeah cross a frame or you know |
| 954s | change change in space just to change |
| 956s | the dynamic instead of you know yeah to |
| 959s | eye to eye yeah absolutely yeah and |
| 961s | looking for those I like that too in |
| 963s | what you just said the uh the idea of |
| 965s | like surprising the player with what |
| 967s | happens in the scene there's a lot of |
| 969s | value to that rather than just okay the |
| 971s | scene is fairly predictable from the |
| 972s | moment you get into it it's kind of |
| 973s | important to think about those elements |
| 975s | that are a Twist whether it's in the |
| 977s | conversation or the action absolutely |
| 980s | that's uh that's always a good payoff um |
| 983s | cool well I think that's that's uh I |
| 984s | think that about sums it up and that |
| 986s | brings us to the community question what |
| 988s | cinematics do you want to see more of in |
| 989s | the game or do you what moments do you |
| 991s | think are worthy of a cinematic that |
| 993s | maybe don't have one right now if you |
| 994s | appreciate these conversations then |
| 996s | please like And subscribe it lets us |
| 998s | know that you give a about what we're |
| 999s | doing here and uh and we appreciate it |
| 1001s | and we'll we'll do more of them see you |
| 1003s | in a |
| 1006s | tum players who have dyed all of their |
| 1008s | equipment yellow if they want I I if |
| 1010s | design wanted to expose that as an |
| 1012s | attribute to our Matchmaker that we |
| 1014s | could do that we're providing the |
| 1015s | flexibility for uh game design to be |
| 1018s | able to make cool experiences for the |
| 1020s | [Music] |
| 1021s | [Applause] |
| 1027s | [Music] |
| 1031s | players |