Posts Tagged Killzone 2

The marketing of the gaming industry: The debate of pre-render vs. in engine

You’re going through your DVR, catching up on your favorite television program after a hard day at work.  A commercial comes on and you are ready to hit fast forward on the remote until you realize it’s a commercial for a hot new video game about to come out next month.   The game looks intense and incredibly real.  You think, damn I can’t wait till the game comes out so I can run out and buy it.  Here’s the rub, the trailer that you watched may have little to no actual game play in it.  The trailer often is merely a marketing tool, a great visual element to help tell the story of what the game will be, but isn’t exactly what the game will look like and scenes from the trailer certainly won’t be in the game.  The question I have is, does it matter? Should the game play and the storytelling / marketing pieces be the same or should the storytelling / marketing piece evoke the look of the world, but not have actual game play involved in the piece?   As someone who isn’t an avid gamer, I was sort of shocked when I found out that this practice was common.  I equated it to watching a trailer for a movie that you are excited to see in the theater.  You run out and spend $15, but the scenes you were excited to see in the trailer aren’t actually in the movie.  So how do gamers actually feel?  I spoke to some to find out more about this on – going debate.

During my conversation with Aaron Sternlicht, the EP of Games for Zoic Studios (http://idesignyoureyes.com/2010/08/03/popping-my-gaming-cherry/), I learned there are two ways a gaming company can create their trailer or commercial, in engine (showing the actual game engine) and pre-rendered (CGI).  From my understanding, today most companies use both.  I wanted to know why people would have a problem with it.  Sternlicht doesn’t think they have a problem with the ads themselves as much as the CGI component of the advertisement.  “What they have a problem with is CG.  What the issue they have is most gamers when they see something their reaction is, ‘well ok cool it’s CG, but I want you to show me the game, that’s what I want to see.’  Don’t give me a head fake.  Many companies have been burned by this.  As such, the majority of the trailers we produce are under of the auspices of being ‘the game + 20%.’   So it’s CG, but leverages game assets and is still extremely tied to the games aesthetics. There are some rare cases when this isn’t true.  Blur Studios does a bunch of tremendous trailers (one of the top animation companies for game trailers).   For example, some of their work, like what they did recently for the Old Republic, is rather far removed from the actual aesthetics of the actual game.

Another example is the Ubisoft’s Assassins Creed trailers

The textures in game are in no way the quality of these incredibly hyper real trailers.  Yet it doesn’t matter.  It’s such an entertainment, story-driven vehicle that it doesn’t matter.  It’s gorgeous eye candy, true, but it’s still part of the brand, and as such a great marketing piece.”

However, sometimes this can backfire.  “The only big no-no is trying to pass off pre-rendered as in engine.  ‘Bullshots’ (doctored screen shots for marketing to make them look better) are very common, but frowned upon by gamers,” says Zach Haefner.  Haefner, a Co-founder of Downsized Games and currently the UI Director at Killspace Entertainment has been working in the gaming industry for six years and has also been a gamer since he was in junior high when he bought a Sega game console while all of his friends had Nintendo.  I talked to Haefner about his feelings on the marketing aspects of the gaming industry and whether he felt that the industry was essentially pulling a fast one on the consumer, “There is a sense of them trying to pull a fast one, but if you know in advance that the trailer is nothing like the game it excites you in a different way.  You look at it as its own stand alone thing not associated to the game at all.  You can appreciate it for the trailer, it tells a good story and it excites me.”  For Haefner, he researches the game to know what to expect and as someone working in the gaming industry Haefner feels that pre render is acceptable for marketing.  “There are a lot of factors that go into how you want to portray your game.  Pre rendered is usually kind of a turn – key solution, you just tell an outside vendor what you want and they’ll go and do their own thing.  The game company can focus on working on the game.  If you do the trailer in engine, you have to hire on all these other animators; it’s a lot more work internally rather than externally… The game comes together in the tenth or eleventh hour and you have to start the build up for the marketing of the game months before the game comes out.”   So if gamers understand this, why is it such a debate?  Why should gamers care whether the marketing of a game is done pre rendered or in engine? “It is kind of a cop out for companies to try to make their product look better.  If you are promised one thing and you get something else that is going to cause controversy.   If you are trying to make the game look like a movie and the game looks nothing like that, the gamer is going to feel cheated because it doesn’t live up to their expectations,“ says Haefner.

When Zoic Studios did a trailer for Killzone 2 in 2009, it was mandated that Zoic produce the commercial in engine.  They learned from 2005, and wanted to show off how great the product actually looked.  Says Aaron Sternlicht EP of Gaming at Zoic, “When we went to do the commercial, we ended up doing it in their engine.  They were very excited about that because they could showcase an original idea that was just designed to be an advertisement, but using their game.  The quality came out fantastic and the final result was SONY releasing a playable version of the spot on PSN.   Everyone could see for themselves that it wasn’t a head fake, and the game just looked that good.”

http://link.brightcove.com/services/player/bcpid1896788887?bclid=1745181321&bctid=16942867001

Louis Goldberg has been an avid gamer for years and he says that gamers know when a game trailer is pre rendered or not.I personally don’t mind it so much, but I do prefer it if advertising is done with actual game play. In many pre-rendered cases, what you are seeing is a cut scene in the game so you at least expect to see that scene when you play.  Does it piss me off to see pre-rendered CGI in game marketing? Not really, but I often wish they’d at least show some game play.”  Goldberg normally doesn’t buy a game solely on the commercial, “There are online videos of game play, early player reviews, and a lot of times there are demos you can download (those save me money when I play a demo that I don’t like). Maybe the point of those ads is to get gamers to hear the name and look into it more, because I think often they will.”

Matt West, an avid gamer and former CNN correspondent who covered the intersection of tech and entertainment – with a heavy focus on the gaming industry believes that it is virtually impossible to have the marketing piece showcase the in engine of the actual game.  “What ends up happening is that pre-release animation is created and used as marketing content and ends up becoming  the ‘image of record’ representing the game.   West sites the game “Call of Duty: Black Ops” as an example.  “From my eye, it looks almost entirely to be created out of cut-scene animation vs. actual gameplay. The mechanics of actual game play are so much more complex than that required for cut-scenes and as I said before, is usually the primary reason this practice exists. Unfortunately, the length of time it takes to develop a game prevents the marketing department from waiting until a product is fully completed before going out into the marketplace with content and game play. It’s the nature of the business… but not necessarily one that serves the product – or for that matter, the medium very well.”

As technology changes and games can be produced faster, in five years will the issue of pre render vs. in engine still be a debate.  For Sternlicht he isn’t sure.  “I honestly don’t know.  I personally love doing the CG projects. They’re fantastic.  Judging by a lot of the reactions, they are very successful. With that said, look at a game like Modern Warfare 2, which came out last fall.  All of the marketing for that was game capture from the game and edited really well.   Ant Farm did the advertising for that and that is the largest selling entertainment vehicle ever.  They did a billion dollars in like two months.   It was crazy. So you know I think in the end if you have a great product and you can sell it, do it. “

I personally agree with Sternlicht, I think if the company can show the game play in the trailer it would be better.  I am all about creating an entertaining and engaging marketing component, but as someone just getting into gaming I would want to actually see what it is I was about to play.

So I Design Your Eyes Readers I ask you, if you are a gamer how do you feel about pre render vs. in engine in game marketing?  Let me know your thoughts and reactions to this post!

, ,

2 Comments

VIDEO: Zoic’s Loni Peristere on Creative Destruction & Making Ideas Happen

loni_sxsw_630x354

Last month, Zoic Studios’ executive creative director Loni Peristere gave a presentation at SXSW Interactive 2010 in Austin, Texas. In the following video, he discusses the relationship between ideas and technology; encouraging clients to take risks; and how technology now allows anyone with a great idea to produce a professional product.

A transcript of the video follows; the remarks were extemporaneous.

Any great thing comes first from a great idea. And a great idea really is the evolution of any process. You can talk until you’re blue in the face about technology, innovation, Internet and interactive, and social media, and you can say all those things until you’re blue in the face; but what it comes down to is a creative concept that has a need that doesn’t exist, and it’s finding a partner in the right technology that works for that creative idea.

I mean, at a very simple level, when you’re a carpenter sometimes you use a hammer to put a nail in, but sometimes you use a screwdriver. They get the same job done, but they get them done in a different way with a different effect. And I think that, again, starting at the idea first, and really utilizing the tools of the ability to communicate with the world, and the tools of instant feedback to create something new, is really what it’s about. It comes right down to the idea, and that’s what we have to build upon.

How do you get a client to take a leap of faith?

That is where personal relationships really come into play. How do you get people to take a leap of faith and creatively destruct boundaries? Well, it comes with trust, so it’s a relationship that’s built on years of success doing other things. And it’s built on trial and error. It’s built on exploration, and “taking a flyer.” We are constantly taking flyers, and I know that can be expensive and trying at times, but if you combine trust with taking a risk – which is how Killzone happened, it was taking a risk, and really Guerrilla Games took a giant risk by saying that they could produce this spot, and they produced the spot. It was Jan van Beek and his crew in Amsterdam that made Killzone 2 happen; it was them taking a flyer to change the way that advertising was going to work, based on a concept that Deustch had. I was just fortunate to come along for the ride and make a cool bullet shoot across the thing.

The power of creativity lies in the passion of the user

What’s really good in the world of what we do today in advertising is that, from a production standpoint, you can go to the store and pick up a viable HD camera for $1,300 with professional lenses, which gives you a product that’s as good as anything on the air. You can download editing software that costs hundreds of dollars instead of thousands of dollars. You can download visual effects software that costs hundreds of dollars instead of thousands of dollars. You can download Flash tools for hundreds of dollars instead of thousands of dollars, and literally you can make your own studio. You can have audio equipment, same deal. The technology in Moore’s Law has put the power of creativity in the passion of the user.

So how does one create their spec work? You just gosh darn do it. And you just get up there and do it. And when I started at 38 years of age, gosh it seems so long ago in 1996, you know, I had to go learn the Flame at night – and I never really learned the Flame, I tried, but it took too long because I also had to learn to use Excel spreadsheets to track things, and I had to learn to how to monitor QuickBooks, and all this all this kind of crazy antiquated stuff. Today you don’t need to do any of that because it’s all given to you in software.

So if you are passionate and persistent enough, if you have the right creative idea, you just make it happen.
As a learning experience, you just absorb what your passion is. If you want to be Steven Spielberg, you watch Steve Spielberg movies. If you want to be Ridley Scott, you watch Ridley Scott movies. If you want to be Jeff Bezos, do that – I don’t know that. But if you want to be Bill Gates, you work with the highest in computing software. You immerse yourself in that. There’s a really great book out there, and I’m going to stump for Malcolm Gladwell because this book Outliers really hits it right on the head. It’s practice that makes perfect, and that cliché really rings true. It’s the 10,000 hours of doing what you do really really well. So if you want to be a filmmaker, make films. If you want to make web content, make web content. If you want to make a game, make a game. And that can start at the moat basic level by practicing by learning from the best around you, and the good news is that the web provides that to you instantly.

More info: “Zoic’s Loni Peristere to Present ‘The Future is Now: Immersive Advertising as Gameplay’ at SXSW Conference” on IDYE; “Zoic’s Loni Peristere Discusses How to Make Your Creative Ideas Happen at SXSWi” on Wiredrive; the Wiredrive SXSW microsite.

, , , , , , , , , , , ,

No Comments

Zoic’s Loni Peristere to Present “The Future is Now: Immersive Advertising as Gameplay” at SXSW Conference

loni_peristere_sxsw_630x354

Zoic Studios’ Loni Peristere will present “The Future is Now: Immersive Advertising as Gameplay” at SXSW Interactive 2010 in Austin, Texas on March 16th.

Peristere, the director of the first ever “4-D” interactive commercial (for Killzone 2), examines the future of advertising with a look at game-changing moments in various disciplines.

It’s a new age in which viewers are participants, and brand connectivity – even loyalty – can be won by placing the consumer in a starring role, literally or figuratively. Using key examples from various industries, Peristere will examine paradigm-shifting developments past and current to posit what is coming on the horizon.

It’s a bold future where opportunity, and enjoyment, abound.

Location: SXSW Interactive
Date: Tuesday, March 16
Time: 3:30 PM

Loni Peristere co-founded Culver City, California’s award-winning Zoic Studios. He is an Executive Creative Director for the commercial, episodic, video game and feature film divisions of the company, overseeing and guiding productions with a vast scope and reach.

As a director, he has helmed numerous advertising projects for Killzone, PlayStation, Budweiser, ESPN/Nascar, Adidas and Mini Cooper. Peristere  won an Emmy for Special Visual Effects in a Television Series for Zoic’s contribution to Joss Whedon’s Firefly. His collaboration with Joss Whedon has spanned more than a decade, including work on Buffy the Vampire Slayer, Angel, Firefly, Serenity, and Dr. Horrible’s Sing-Along Blog.

The 17th annual SXSW Interactive festival will take place March 12-16, 2010 in Austin, Texas.

An incubator of cutting-edge technologies, the event features five days of compelling presentations from the brightest minds in emerging technology, scores of exciting networking events hosted by industry leaders and an unbeatable line up of special programs showcasing the best new websites, video games and startup ideas the community has to offer. From hands-on training to big-picture analysis of the future, SXSW Interactive has become the place to experience a preview of what is unfolding in the world of technology.

More info: Read about the Killzone 2 spot; the SXSW web site.

, , , , , ,

2 Comments

The End of Rendering: Zoic Studios’ Aaron Sternlicht on Realtime Engines in VFX Production

Zoic created this Killzone 2 commercial spot entirely within the Killzone 2 engine.

The level of the technology available to produce computer graphics is approaching a new horizon, and video games are part of the equation.

Creators in 3D animation and visual effects are used to lengthy, hardware-intensive render times for the highest quality product. But increasingly, productions are turning to realtime rendering engines, inspired by the video games industry, to aid in on-set production and to create previz animations. Soon, even the final product will be rendered in realtime.

Aaron Sternlicht, Zoic Studios’ Executive Producer of Games, has been producing video game trailers, commercials, and cinematics since the turn of the millennium. He has charted the growth of realtime engines in 3D animation production, and is now part of Zoic’s effort to incorporate realtime into television VFX production, using the studio’s new ZEUS pipeline (read about ZEUS here).

Sternlicht explains how realtime engines are currently used at Zoic, and discusses the future of the technology.

“The majority of what we do for in-engine realtime rendering is for in-game cinematics and commercials. We can take a large amount of the heavy-lifting in CG production, and put it into a game engine. It allows for quick prototyping, and allows us to make rapid changes on-the-fly. We found that changing cameras, scenes, set-ups, even lighting can be a fraction of the workload that it is in traditional CG.

“Right now, you do give up some levels of quality, but when you’re doing something that’s stylized, cel-shaded, cartoonish, or that doesn’t need to be on a photo-realistic level, it’s a great tool and a cost effective one.

We’re going to be able to radically alter the cost structures of producing CG.

“Where we’re heading though, from a production standpoint, is being able to create a seamless production workflow, where you build the virtual set ahead of time; go to your greenscreen and motion capture shoot; and have realtime rendering of your characters, with lighting, within the virtual environment, shot by a professional DP, right there on-set. You can then send shots straight from the set to Editorial, and figure out exactly what you need to focus on for additional production — which can create incredible efficiencies.

“In relation to ZEUS, right now with [ABC’s sci-fi series] V, we’re able to composite greenscreen actors in realtime onto CG back plates that are coming straight out of the camera source. We’re getting all the camera and tracking data and compositing real-time, right there. Now if you combine that with CG characters that can be realtime, in-engine rendered, you then can have live action actors on greenscreen and CG characters fully lit, interacting and rendered all in realtime.

“People have been talking about realtime VFX for the last 15 years, but now it’s something you’re seeing actually happening. With V we have a really good opportunity. We’re providing realtime solutions in ways that haven’t been done before.

“Now there’s been a threshold to producing full CG episodic television. There has been a lot of interest in finding a solution to generate stylized and high quality CG that can be produced inexpensively, or at least efficiently. A process that allows someone to kick out 22 minutes of scripted full CG footage within a few weeks of production is very difficult to do right now, within budgetary realities.

“But with in-engine realtime productions, we can get a majority of our footage while we’re actually shooting the performance capture. This is where it gets really exciting, opening an entire new production workflow, and where I see the future of full CG productions.”

What game-based engines have Zoic used for realtime rendering?

“We’ve done a several productions using the Unreal 3 engine. We’ve done productions with the Killzone 2 engine as well. We’re testing out different proprietary systems, including StudioGPU’s MachStudio Pro, which is being created specifically with this type of work in mind.

“If you’re doing a car spot, you can come in here and say ‘okay, I want to see the new Dodge driving through the salt flats.’ We get your car model, transfer that to an engine, in an environment that’s lit and realtime rendered, within a day. We even hand you a camera, that a professional DP can actually shoot with on-site here, and you can produce final-quality footage within a couple of days. It’s pretty cool.”

How has the rise of realtime engines in professional production been influenced by the rise of amateur Machinima?

“I’ve been doing game trailers since 2000. I’ve been working with studios to design toolsets for in-game capture since then as well. What happened was, you had a mixture of the very apt and adept gamers who could go in and break code, or would use say the Unreal 2 engine, to create their own content. Very cool, very exciting.

“Concurrently, you had companies like Electronic Arts, and Epic, and other game studios and publishers increasing the value of their product by creating tool sets to let you capture and produce quality game play — marketing cameras that are spline-based, where you can adjust lighting and cameras on-the-fly. This provided a foundation of toolsets and production flow that has evolved into today’s in-engine solutions.”

It’s truly remarkable how the quality level is going up in realtime engines, and where it’s going to be in the future.

How has this affected traditional producers of high-end software?

“It hasn’t really yet. There’s still a gap in quality. We can’t get the quality of a mental ray or RenderMan render out of a game engine right now.

“But the process is not just about realtime rendering, but also realtime workflow. For example, if we’re doing an Unreal 3 production, we may not be rendering in realtime. We’ll be using the engine to render, instead of 30 or 60 frames a second, we may render one frame every 25 seconds, because we’re using all the CPU power to render out that high-quality image. That said, the workflow is fully realtime, where we’re able to adjust lighting, shading, camera animation, tessellation, displacement maps — all realtime, in-engine, even though the final product may be rendering out at a non-realtime rate.

“Some of these engines, like Studio GPU, are rendering out passes. We actually get a frame-buffered pass system out of an engine, so we can do secondary composites.

“With the rise of GPU technology, it’s truly remarkable how the quality level is going up in realtime engines, and where it’s going to be in the future. Artists, rather than waiting on renders to figure out how their dynamic lighting is working, or how their subsurface scattering is working, will dial that in, in realtime, make adjustments, and never actually have to render to review. It’s really remarkable.”

So how many years until the new kids in VFX production don’t even know what “render time” means?

“I think we’re talking about the next five years. Obviously there will be issues of how far we can push this and push that; and we’re always going to come up with something that will add one more layer to the complexity of any given scene. That said, yes, we’re going to be able to radically alter the cost structures of producing CG, and very much allow it to be a much more artist-driven. I think in the next five years… It’s all going to change.”

Read Zoic Studios’ ZEUS: A VFX Pipeline for the 21st Century.

, , , , , , , , , , , , , , , , , , , , , ,

4 Comments