top of page

DIRECTOR, ENVIRONMENT & LIGHTING

That is the second project for the Shatterline game that I worked on, and it was one of the most challenging, but we were able to handle it! Many thanks to my Playsense and Frag Lab teammates for their trust, and feedback. That project is a great teamwork example, each decision was carefully considered and made jointly with the entire team. I'm proud to be part of this project and work closely with the highly professional teammates, without you, it wouldn't have looked as it does!

I worked with the surface of the battle sequence and assembled from various assets the entire New York City location for the action battle sequence. I started lighting all the shots from this scene and fully ended two of them. The final comp was done by our compositing department.

As an example, that is one of the last rendered iterations that I did for this shot.

STORY BREAKDOWN

This story is about the TELLY and NYX award-winning projects. Wee worked with an impressive creative concept from our partners. The main task was to involve the player by highlighting three sides of the Shatterline lore conflict. Below you can see how this story grew.

8ccbf42e-41c2-4545-83d6-a17b387380ff.jpg

CONCEPT ART

The clear concept allowed our supervisor to run the development process simultaneously, otherwise, it would be impossible to do such a project in time with the required quality. We knew exactly who our main heroes were, what would happen in the key events, and even how they would look. Our art department helped us to find the look & feel of this story. That was a unique investment that literally allowed us "to catch the unicorn". Many thanks for the amazing works and sensitive art direction of such an amount of content!

712e48ef-09ed-47b3-974b-8a941bfc6077_rw_1920.jpg
08944449-16f9-4a1b-90d4-93e9bcb805f3_rw_1200.png
748dd528-beba-46d1-a622-5d531b30aded_rw_1920.png
e15626ef-e8ab-42f5-bbec-90bc26088fa0_rw_1920.jpg
e3c872f0-757b-41a6-b9c5-a61764f94bfa_rw_1200.png
7c37c38d-1f82-432e-843c-ea95470944c7_rw_1920.png
93016380-e81f-4d13-8395-2c21f31e2bf3_rw_1920.jpg
bed9c33e-370c-4834-b0ef-22618b3a816a_rw_1920.jpg
d1a5c1da-6c2b-4bf6-bea6-05a3a5a75489_rw_1920.png
33a34707-8f5d-4f38-a707-db441d37ebcc_rw_1920.png
cdefa2d1-d750-4fb0-bda5-afb82af7888d_rw_1920.jpg
39be0a88-af27-4034-ae23-3f5f98d43877_rw_1920.png
2027992d-0695-4150-bf97-d1b439eef1bb_rw_1920.png
a91be92f-3007-4ff1-ab13-f72bd39619db_rw_1920.jpg
2e4431cd-23be-45a8-9734-c652b25faa77_rw_1920.png
61af4a21-3e20-4a32-b1ff-0ed3fe5f70b2_rw_1920.png
6704f0bb-d7ed-44c9-ba40-bf3c68ec22b6_rw_1920.jpg
2d8db885-2c8c-4f7c-b255-96e6b868b53b_rw_1200.jpg
6e62bc08-6d95-43ef-951c-3c8eac8bcfd3_rw_1920.jpg
7556295c-6202-49a8-9c5d-3944fde69adf_rw_1920.jpg
018d6136-0996-4709-85c3-1264e5e339f6_rw_1920.jpg
d4be8fd5-ce43-420f-9303-4e8daa197fec_rw_1920.jpg
e2db07cd-f60c-48b7-8228-c822935be0cf_rw_1920.jpg
32005c8c-6542-4f42-a8dc-270a0fdce804_rw_1920.jpg
22a114f0-325f-4747-b0da-5123bec5f80f.jpg

CHARACTERS DEVELOPMENT

The Shatterline characters have fascinating qualities for a game engine. They could close our tasks for the Full Shots, but for the Close-Ups that weren't enough, especially when you know that they have to deliver some actions and feelings. Our team recreated some of the main characters from the Shatterline game for this story.

7e1b80c3-1e6c-4b93-baec-eede7957b50a_rw_1920.jpg
897229b3-2804-4551-beaf-3e084221cf4a_rw_1920.jpg

We also created the main antagonist - Alan Seer. While developing Alan's look, our concept artists did some fantastic research. I literally can't show all the concepts, because there were an insane amount of variants and iterations, but that was only the beginning of Alan’s birth.

712e48ef-09ed-47b3-974b-8a941bfc6077_rw_1920.jpg
69d652b8-c4b5-46e0-828e-15047f9e6246_rw_600.jpg
b3164c66-a14a-4110-a82e-ef9e3f720fe9_rw_600.jpg
a060288f-48fe-4bc6-9f80-187467f6920c_rw_1200.png
a2e29d6d-19a7-4316-8612-3f42a3b5abab_rw_1200.jpg
95b7339f-3070-4d8e-98c6-47bd0d6b86b4_rw_600.png
32bf9508-a19c-4114-8574-7739d7747920_rw_600.png
a54e79ec-03f0-483b-a8a1-720fa067ade2_rw_600.jpg
3d338f69-bf8c-48f8-8ee1-3432e5a10ff5_rw_600.jpg

Extreme Close-Up shot for Alan's vision idea. It wasn’t the easiest task.

LOOK DEV

Besides the characters, hard to count how many assets were delivered to this project. To cut the story short, I'm going to show only one of the thematic collections, and then the standard look dev process that we did for each asset. Some of the assets were done from scratch, others were improved according to the story and pipeline requirements.

dbdf0a69-43f8-4e46-a38a-7f83f6e6f303_rw_1200.jpg

ENVIRONMENT

In the early pre-production stage, our in-house hero did some concepts with the assets. The raw scene was assembled in Blender where we tested some concept ideas and the most interesting and potential assets. They were dramatically improved in the further steps depending on the camera view, otherwise, it would be too expensive to support such an amount of content.

4e8542df-f333-4ce2-b8ab-be8985651cdb_rw_1920.jpg
efec1808-06d0-40e0-b93f-0a04657bce62_rw_1920.jpg
8f7a1cc8-caf5-4899-a041-901b9ff20b6d_rw_1920.jpg
a9b8a470-8358-43f9-85b4-951cfb06b6c1_rw_1920.jpg
3d695658-dfee-4276-bd8c-5b0f8b1bfcc1_rw_1920.jpg
61a594df-3108-4de0-8df4-a866684c40bb_rw_1920.png

Terrific!

Below you can see how the locations look in the development stage. Almost all objects are instances, it means that one object could be copied as instances many times, but it would be stored in memory once. It allowed us fluently work with such an amount of content and saved tons of render time as well.

7f528d49-43df-46d3-84e6-cddeb1147bd2_rw_1200.jpg

CAMERA & TRANSITIONS

The language of this story is the smooth movements of the camera that travels between different scenes and connects them through common elements like glue. Here are some transition examples that our team did.

eb2e87b4-eade-4ba3-9073-f82a1669561f_rw_1200.gif
ce227d56-391a-4cd4-8d28-88af92edf426_rw_1200.gif
2a7dec23-2deb-49ca-9ca3-3cae897031c4_rw_1200.gif

Crystals refractions looked so cool that this element literally became a visual accent of this project.

MOTION CAPTURE

The action scenes were not as long as they were in the teaser, but they were massive, and we had only one shooting day. At a certain point, we realized we wanted to be 100 percent realistic, that’s why we found airsoft shotguns, which were very similar to what we needed. They definitely made it more difficult for the actors to move, but as the end result - made everything more plausible. I'm really grateful to our motion capture actors who were ready for this challenge!

CHARACTER ANIMATION

The next step was polishing all that data, and our team did it with passion! Our animators literally filled digital heroes with the right feelings and even added some extra movements to their props. Such small details couldn't be visible to your eyes till you find them, but in general, such an exclusive artist's investment helps your brain to notice the realism in a digital picture.

VISUAL EFFECTS

There were a few important themes that we had to highlight with some cool VFX. The "Strafe" event, the infection & the v-gen cure, and the special abilities of our heroes, of course. That was the main accent where VFX artists tried to do their best, and they did.

The apocalyptic "golden hour". My favorite part of such stories. After this moment - the world will never be the same.

3ca1054e-3683-4a94-b5a9-f5bebbb2c45c_rw_600.gif
e5523a3a-dd91-40cb-b136-71f7dc941e1b_rw_1920.png

LIGHTING & COMPOSITING

The common task in the digital graphic is to make the unbelievable - believable. And the cheapest way to do this - is the right way. The more iterations you do the better quality will be. As an example, below you can see the 41's raw rendered iteration of one of the NY battle scenes shot.

Thanks to the composition artists who implemented all hot patches, and scrupulously worked with each pixel. Usually, colors are important as a visual and semantic accent, and compositing is the cheapest way to find the final look of your story. As an example, below you can see some art-direction comments and the final result of this shot.

4e73693f-0e8c-44a2-8fa9-33605784fe98_rw_1920.jpg

The last panoramic sequence was well done with a great deal of the Nuke magic!

MUSIC & SFX

To deliver the right feelings, or even say something that going on behind the screen - often the music and SFX are all you need. And of course, you should hear what you see, and the balance of those sounds - is the sound design that our composer tried to save all the way while the project grew. As for the music, it was written especially for this story, you wouldn't find that mood anywhere else. 

BREAKDOWN

Assembled this video breakdown. Thanks to my teammates for the all help and feedback! And thanks to my friends from GESTALT. PROMO for letting me work with that awesome Acid Storm track, by Rokl0m!

I want to thank all of our colleagues who contributed ideas that truly made the project shine. A big thanks to everyone for allowing me to share so much behind-the-scenes content. It’s been a pleasure working with such talented people. I hope you enjoyed the story as well, and don’t miss the previous one about the  Shatterline Teaser, where I focused more on the directing and pre-production phases.

And thanks for your time!

AWARDS

CREDITS

credits.png

SPECIAL THANKS

WargamingPlaysenseFrag LabHammer CreativeMocap OneVAL StudioActionscool.

Thanks to Dmitry Popok for the inventory ;) Nikolay Popov for the constructive article feedback, and Daria Ivanchyk for the proofreading.

YOU MAY ALSO LIKE

bottom of page