Around the Verse: Episode 2.35
Jun 9, 2016
Brian Chambers & Sean Tracy
@ 16:20
Brian Chambers:
Hey everyone, Brian from Frankfurt office, uhm... this week instead of running through all the disciplines we have a LARGE amount of people here this week, ahm... one of 'em, Sean Tracy as you guys know, ahhh... this week we have (nods to Sean Tracy) yourself, CHRIS is out here, we have ah... TONY from AUSTIN, ah... we have RICKY from the UK, there's another eight or nine people out here?
Sean Tracy:
That's right, right, we've got people from EVERY STUDIO
Brian Chambers:
We're BUSTIN' at the seams, but I mean everyone's coming together for good reasons to cover some pretty good strong TOPICS, things that we need to get SORTED, a lot of times when we work REMOTE... oh, absolutely we make good PROGRESS and TIMEZONE, HANDOVER and all that stuff... but if we can pull everyone together into a room for a WEEK like we're doing now, we can churn through stuff a lot quicker. So, what are some of the things you guys are covering this week?
Sean Tracy:
Well there's a lot of LITTLE STUFF but there's some BIG TICKET ITEMS and some of the BIG TICKET ITEMS all centre around SQUADRON 42 so we've got AI and CINEMATICS... and a lot of people would think that they're not necessarily related, but within STAR CITIZEN they absolutely are, because we NEED to be able to SIGNAL these AI to transition into the very CINEMATIC MODES that we've got... we've got SO MUCH performance capture that we want to ahhh... allow this player to experience... we've got these HUGE NAME ACTORS, we want you to be WITHIN THAT STORY but at the same time we don't wanna just cut out to a... DECOUPLED CUT SCENE where a camera's flying around... we want you to be LIVING in this world...
Brian Chambers:
That's the one thing, I mean the... I was answering some questions earlier and they were like 'oh, are you gonna do a TRANSITION and then it's a... just a BIG CUT SCENE with no interaction and the answer is IT'S ALL OVER THE PLACE, there's so many things that we're creatively doing seamlessly... sometimes the player's on rails... sometimes you cut away but only for CERTAIN REASONS if it helps with the STORY and all that... and all that with AI in it, that's just... MESS
Sean Tracy:
That's right and we... you know... we... we got them REACTING to you, we need them having CONVERSATIONS with you, we need them giving you MISSIONS, we need... ah... all level of... all levels of different INTERPLAY between it... and then... we've got so much CONTENT that we HAVE TO GET IN so we have to figure out the BEST WAY to get it in because... uhm... SURE we can do these... the... the kind of OLD STYLE WAY were actually plugging in very bespoke scripted sequences... but AGAIN when we've got HOURS AND HOURS OF CINEMATICS, when we've got... hours and hours of GAMEPLAY that has to play between the two... we have to be very intelligent over how we actually implement this... this WORK
Brian Chambers:
And in part of that process, at least that I've been involved in, I mean, we're creating a system that from the foundation is going to... allow for all these different TYPES of events, behaviours, the different WAYS we want them triggered... all the VARIABLES we want them to do and not do... and that I think is what a lot of that focus has been on, is 'OK, what is that SOLID FOUNDATION' and get the rest of those, just FEW QUESTIONS that are UNANSWERED, get those SORTED.
Sean Tracy:
Right and when we have so many questions like that... it's a lot easier for everybody to get TOGETHER, uhm... because... like... LIKE YOU SAID we... we... we COLLABORATE really well across the STUDIOS... BUT!... Ah... There is something to be said for ALL OF THE PEOPLE being in ONE PLACE because you get this one little question HERE, this one little question HERE, before long you're DEATH BY A THOUSAND PAPERCUTS because... ah... if you've gotta wait a few hours for that answer you can't just really quickly COME UP WITH A NICE DESIGN PLAN so... there's things we're ADJUSTING like the ANIMATION PIPELINE to make it so we can accomplish all these AI AND CINEMATICS
Brian Chambers:
What kind of stuff have you... have you had to take... one or two examples on PIPELINE actually, to be able to pull that off?
Sean Tracy:
Ah... one of the BIG ONES is some TOOLS that we do within MAYA and our... our... MOTION BUILDER... ah... ahh... SETUP... there's a BIG ONE that we use with a company called RED NINE called SCENE MANAGER and uh... SCENE MANAGER and ASSET MANAGER is basically a way within MAYA to take all our PERFORMANCE CAPTURE in basically TWO CLICKS... and you're WITHIN MAYA, builds up all the CHARACTERS, they've got all their WEAPON ATTACHMENTS... TWO CLICKS and it's OUT TO ENGINE
And then as a BIG BONUS, you know... oh... oh... we can't talk... well as a... as a BIG BONUS anyways for me personally is that the other two TECH DIRECTORS on the ENTIRE PROJECT... SENIOR tech directors right? So CARSON WENSEL and MARCO CORBETT... I talk about them a LOT and everybody within the game industry INCLUDING ME... ah... ahm... needs to learn from SOMEBODY and... luckily I can come out here and pick their brains about all sorts of stuff... and we know what's happening out here around... PROCEDURAL PLANETS...
Brian Chambers:
We can't wait to get to the point were we can actually show you more of what we're doing but what would you say as far as your... at least your high level takeaway...
Sean Tracy:
It's MINDBLOWING. It's really good. The SCALE is MINDBOGGLING. It's AMAZING.