Posts Tagged video games

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!

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Popping my gaming cherry

So as I admitted in my last article, I know very little about the gaming industry.  I knew a bit more when I was younger; I played Spaced Invaders and Donkey Kong on my Atari system like a champ.

When I was about 14 or 15 my dad bought me a Nintendo Entertainment System and the game Final Fantasy.  I liked it well enough, but not enough to finish the game or even get through a complete level.  As I got older my interest in gaming went from slightly interested to completely uninterested.  When I got into a relationship with a guy whose interest in gaming was off the charts I thought perhaps he could change my mind.  He plays Starcraft and Modern Warfare and goes to places like Game Stop and Best Buy.  He would shop for hours spending his hard earned money on new consoles while I stood there dazed, my eyes glazed over in sheer boredom.  So when I got my first assignment, talk to the gaming department and write a couple of stories on the state of the gaming industry, I admit my stomach dropped a little.  What did I know about gaming?  How on earth could I write about something I hadn’t played since I was 14?  However, my feelings changed when I had the chance to sit down and interview Aaron Sternlicht, EP of Games at Zoic Studios.  Talking to Aaron gave me a fresh outlook on this billion dollar a year industry and why I should start caring about it.

Sternlicht is a ten year veteran of the gaming industry.  He is passionate about all things gaming, but just don’t tell his wife.   Sternlicht, an avid player, isn’t really allowed to play at home anymore.  “It’s something my wife went from detesting to I just can’t play it when she’s around.  I am constantly buying games so I can sample and taste them, but I can’t get too deep into them because I have two kids now.”

Sternlicht’s children are four and three months old.  He and his wife have played some PBS.org games with their daughter as well as played the occasional Wii game.  “The first thing you start playing when you are little is Peek-a-boo and tickles and these are games.  From a very early age it is the first way we learn to communicate so why wouldn’t that be something we gravitate towards and become interested in when we are older?”

Gaming became a part of Sternlicht’s life around seven or eight years old when he would go to the arcade.  His interest in gaming faded a bit in his late teens and early twenties, “I’ve always been a gamer… but took a few years off when it was no longer ‘cool’ and then I got back into it when I was twenty-four or twenty-five around the time Playstation 1 came out.  I became really interested in the first Lara Croft game and loved to explore new worlds.  Then I remember in 1999 I snuck into E3 to check out Halo for the first time.”

Two years later Sternlicht was writing and producing trailers for the game industry, primarily for Electronic Arts.  “Part of the draw to the industry was I was a huge (John) Madden fan for years and when I first started I wrote a trailer for Madden (NFL) and he was doing the VO for it.  (Madden NFL is the largest selling sports game in North America).  So I wrote up some lines, sent it out and five hours later I got a bunch of MP3’s with him reading it and it was the coolest thing ever.”

Sternlicht has been working for Zoic Studios for about three years now and he has seen the department and industry grow tremendously in that time.  “We’ve definitely grown since I have been here and are becoming one of the industry mainstays.  We have three full time producers and have about five or six projects going at any one time.  We have a full CG Project happening right now and we have game capture and motion graphic editorial for another project.  For the majority of the projects we do, we direct them and for probably 80% of the projects we are creatively directing all the scenes and the camera work and the characters.  For 80% of that we are probably doing the writing for it as well.  It’s really fun and we are working a lot direct to client.

For example right now we are working with EA directly to produce a series of trailers for Dead Space 2, likewise for (Kingdoms of Amalur) Reckoning as well.

http://www.gametrailers.com/video/sdcc-10-kingdoms-of/702014

What’s nice is we are asked to fill the role of creative and we can step in and do it  We relish the opportunities where we can help craft an entire campaign.”

It’s clear for Sternlicht and those he works with that there is a true passion for all things gaming.  “I love the industry; it’s been a lot of fun.  Our clients are fantastic.  They are the nicest clients, and the most fun because they make games.  They are in this business because they love it.   There is something really great about that, when they find out that the producers and a lot of the artists at Zoic play games.  Loni is a huge gamer too (Loni Peristere is one of the Executive Creative Directors and Co-Founder of Zoic Studios).  It’s fun, and because of that love it’s great for us because when we get projects we are really passionate about them.”

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Now Online: Zoic-produced ‘DeadSpace 2′ Reveal Trailer

deadspacereveal_630x354

The Zoic-produced “Reveal Trailer” (NSFW language) for Electronic Arts upcoming sci-fi survival horror third-person shooter DeadSpace 2 is now available on IGN.com, along with IGN Rewind Theater’s funny and obsessive dissection of the trailer.

More info: “Reveal Trailer” and “IGN Rewind Theater: Reveal Trailer” on IGN.com.

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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.

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Ripomatics and Animatics: Storyboards for the 21st Century

falling2_630x354A screenshot of a “test” animatic produced by Zoic.

In the beginning was the storyboard, a series of illustrations displayed in sequence to pre-visualize a screenplay or teleplay, and to map out such elements as camera moves, blocking and effects. The modern storyboard was pioneered by one of the entertainment industry’s greatest innovators, Walt Disney, specifically for traditional cel animation. But the technique soon moved into feature film production, and later television, commercials, interactive media and video games — even web site design.

The next evolution in previsualization also came from animation. An animatic is a series of storyboard illustrations arranged on film or video, incorporating timing, simple movement, and sometimes dialogue and music. By making editing and story decisions at the animatic stage, animators can avoid the wasteful process of animating scenes that would eventually have been edited down or cut entirely.

More recently, ripomatics have evolved to help filmmakers design and express the look and feel of a project before any shooting or animating takes place. Originally developed in the commercial production industry, ripomatics are like animatics, but assembled from elements of previous films, television shows, and commercials; plus still images and other preexisting assets. A ripomatic for a television commercial might be composed entirely of clips from other commercials for similar products, combined with new music and messaging. They are often used to pitch projects to clients.

Zoic Studios is pioneering the next phase in storyboard evolution, offering a new kind of animated storyboard that lives halfway between existing animatics or ripomatics and a full 3D animated previsualization.

Zoic Studios compositor Levi Ahmu says “ripomatics were originally designed to make a moving storyboard. And when I got here [to Zoic], I thought it would be cool if we could enhance it a little bit.

bullet_630x354A screenshot of an animatic created by Zoic for a commercial, for Guerrilla Games’ Killzone 2,
entitled “Bullet.”

“The problem with storyboards and making them move [is] the storyboard is very flat. By cutting up the storyboard into layers, you can give 3D motion to it, which is what you’re eventually going to be doing anyway. It gives artists and clients a better sense of what’s going to happen. It also helps you time things out better; you have actual motion in the storyboards, so you can get a more relative frame count of what the product will be.”

But even these animatics gave only what Ahmu calls a “vague representation” of the final product. “So what we ended up doing was creating these 3D environments in a 2D setting. We’re taking 2D cards and arranging them so they’ll represent a room or a street or any kind of environment; then having a virtual camera move through that environment. You can take the 2D actors from the storyboard and put them in this environment; and the advantage of doing it this way is you’ll be able to have a [virtual] camera, with lens properties and animation curves that are more easily equated to what the 3D artists will wind up having to do.

“It’s all being done in Adobe After Effects, which is not at all what the software makers were intending. But the cool thing about doing it in After Effects is that you can put in particles, stuff you would never get in traditional previz, that enhance the experience. “

Some more elaborate ripomatics prepared by Zoic have included 3D vehicle models composed from 2D drawings; rough motion capture; and dialogue, sound effects and music.

Zoic executive producer Aaron Sternlicht, head of the studio’s Games Division, has supervised Ahmu in the production of a number of advanced ripomatics for a variety of clients over the last several years.

saboteur_630x354A screenshot of a ripomatic created for Pandemic Studios’ The Saboteur.

“It’s kind of like a 2½D ripomatic or animatic,” Sternlicht says. “We actually do all of our storyboards so that they’re laid out in layers, which actually allows us to get into production a lot more easily. We’re able to have an edit that is exciting, entertaining and really good to look at, for our clients to view within a few days, as opposed to having a rudimentary gray-shaded previz or just edited storyboards.

“The big reason we like working this way is that we’re able to have clients pretty much sign off on shot design, composition and pacing of camera work in 2D before we ever go to 3D. That allows us to be a lot more efficient once we go to 3D, and [to] give our artists a real clear path of what they’re supposed to be doing once we start building the scenes. So it’s a tremendous tool for us.

“Clients love it because they quickly get to see a massive leap from looking at storyboards to really understanding what the quality of the piece is going to be, the timing, and how exciting it might end up being. So we’re pretty psyched by the whole process.”

Ahmu agrees that clients are benefiting from the new technique. “As opposed to a traditional previz, which is all gray-shaded, and doesn’t have very much ambiance to it, a ripomatic the way we’ve been doing it can have stylized textures, rough animation, that will get the point across in such a way that it’s not like previz where it’s the first step. This is our goal, to have this motion, with these effects on top of it. You can get a rough idea of what the whole thing is supposed to be.”

falling1_630x354Another screenshot of a “test” animatic produced by Zoic.

Sternlicht is quick to point out that advanced ripomatics not only better represent the final product, but also save both Zoic Studios and its clients time and money. Even a complex animatic composed of multiple, animated elements can be produced in only a few days. And because the client is able to sign off on so many elements of the final product while still in the 2D stage, Zoic saves time and effort, and can pass that savings along to the client.

Zoic has applied the technique to video game and commercial projects, and plans to offer advanced ripomatics to its feature film and television clients where appropriate. “We have just had more opportunities for video games to implement it,” Sternlicht explains, “because we often are responsible for direction and creative.

“I think it’s already being used [in TV and feature work]. The technique we’re using is a little more advanced than what is commonly done. But we’re really pushing our ripomatics more towards motion comics, than necessarily your standard edited storyboard. So, full animation of characters, full animation of vehicles, full animation of camera, full animation of effects. It’s really kind of the whole package.

“It’s part of our service. It’s part of working with Zoic and being creative.”

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