Star Citizen: Around the Verse 3.15 – UK

Star Citizen: Around the Verse 3.15 – UK

Closed Captioning provided by Sandi Gardiner (SG): Hey everyone and welcome
to Around the Verse, our regular in depth look behind the scenes of Star Citizen. I’m your host Sandi Gardiner and joining
me today is Technical Director, Sean Tracy. Thanks for joining me Sean. Sean Tracy (ST) Of course, happy to step in
while Chris is away visiting Foundry 42. SG: Yes he is and this past week saw the Intergalactic
Aerospace Expo draw to a close. It was great being able to show those clips
from Galactic Tour. What started off a just a fun idea really
grew into something special thanks to the team and their hard work. ST: Yeah it was a really tight schedule, but
it was impressive to see what they were able to keep tweaking as the week went on and on. Even though it was one of our really older
facial rigs, they were able to polish it up a bit more with each video that we released. SG: Very cool, and the other big announcement
this week is that the 2.6 Alpha build has officially gone out ot the Evocati, Yay! [Jazz hands] SG: Jazz hands. ST: Yeah, In addition to testing Star Marine
and new ships like the Herald, the 85X and the Caterpillar, they’re also going to be
helping test the web version of Spectrum. There’s a lot of kinks to work out still,
but so far they’ve already done a lot to help us find and tackle bugs. SG: And we will keep on patching to the Evocati
until it’s stable enough to roll out to the PTU and then eventually live to you all. To keep track of the latest updates, make
sure to check out the 2.6 production schedule on the website. ST: To find out more about some of the tech
going into 2.6, lets go now to the U.K. for the Studio Update. Studio Update
Mici Oliver (MO): Welcome back to the UK, I’m Mici Oliver, QA Tester, here to give
you this week’s studio update. Now over to Ali and Luke to talk about asteroids. Alistair Brown (AB): Asteroids in our game
were previously all hand-placed, painstaking for the designers and artists who positioned
them and obviously had a practical limit of how many we could actually place by manual
process so with the new request from design was so they could place hundreds or even millions
of asteroids so the new system was designed and built to cope with any scale that we can
come up with. So, each asteroid field, will only have- the
clan has a few basic properties of how that asteroid field should look so what type of
asteroids it should be, what type of density, what colour – some fairly basic information
and from that it is able to seed where every single asteroid in the entire asteroid belt
will be from that small bit of information and the benefit of that is that every client
doesn’t really need to communicate with the server and they can on their own decide
what they need to render and what they need to simulate per frame. This is from our design document on how we
design the asteroids and how we want them to work for the designers so we produce a
texture that has four different channels to control the four different main properties
of the asteroid field – or the four properties that they want to change per asteroid field. So to achieve something like Saturn’s rings
like this we would have textures like this where we would define the height of it. The offset is a bit- the offset is like how-
if it was going to wiggle up and down – which for Saturn’s rings are perfectly flat so
it is a flat colour. Variation is to handle different colours,
different materials, made of different composites of metals, whatever we might find and there
is density control away. And if we go to another sample – this is from
Oblivion – and they have this destroyed moon which is a bit like our broken moon example
– we might have something like this where we have a lot more interesting variations
– we have a pattern in the height, it is going to have some verticality in it from this offset,
it is going to have some variation and the density has a nice feather off on it and it
should be really easy for the artists or the designers to quickly go through and make asteroid
fields or changes to them which they then have to spend an eternity coming up with. Luke Pressley (LP): What I want to show you
today is how we’re going to use the new asteroid tech in practice – first what I want
to do is show you how we used to have to create asteroid fields because you’ll see this
new tech just makes it so much easier and look so much better. So this here as you probably recognize is
Yela, it’s the moon with the asteroid ring about it that we put in our first iteration,
2.0. This here is the current density that you’ll
see in 2.5. That’s the old tech, turn that off, here
is the new. As you can see, generating- the way it generates
that is we have say, about nine or ten asteroids that are unique asteroid models in there and
it goes through and it makes them one at a time, layers them on top of each other, as
you can see there. The density, the depth, just the sheer amount
– as you can see these things are rotating very subtly – obviously the point is very
subtle, but I can show you this to the extreme just very quickly. There you go – what’s going to happen for
smaller ones will rotate much faster than the larger ones to the point where the largest
don’t rotate at all because we’ll be putting bases on them, these kind of things. For instance, in Yela there are these locations,
here, that are full of pirates – there is gameplay involved, we’ve actually hand crafted
those things – what we’ve put around here is an exclusion zone which prevents all the
other asteroids from spawning in there – the dynamic asteroids. So as you can see, all of this combined, we’re
going to end up with a really much more cinematic asteroid experience – you can imagine flying
through here – it’s going to be really exciting and we are finally getting the kind of density
and movement that we’ve been aiming for. AB: There’s literally no limit on the scale
– we can have them millions and millions of miles wide, the asteroid fields, and we can
have them moving as well and you’ll never find the same pattern twice – every single
asteroid is positioned uniquely. I think that’s quite exciting for the gameplay
that you literally – every single place you go in this asteroid field will be unique. MO: Thanks guys, this will give us richer,
more detailed environments and really help the development process when designing new
systems. Now over to Steve who will guide us through
the new camera options. Steve Turberfield (ST): Last time around,
we did a bit of a brief overview of the camera and what tools our community are going to
have to play with and today I’m just going to go a bit more in-depth with that – show
you what exactly it is you’re going to be able to play with and give you a bit of a
overview of how the spectator mode is going to work as well. Going forward in 2.6, all ships and vehicles
will have the default first person cameras which you’re familiar with – we have the
third person flight, which we commonly call a chase camera. We have our orbit cam, which as the name suggests
allows you to orbit around the ship from different angles, and then the passenger orbit so you
can basically focus in on your pilot and manipulate the camera around him. So just to give you a bit of a rundown of
how the controls work – we’ve decided to build more upon what our players already know
with the little camera control that they’ve had previously – so we’ve always keybound
everything to the F4 key so you just cycle through the views by pressing F4 and they
just go in order – so we’ve built in that by using F4 as what we call a modifier. So basically in order to operate the camera,
you just hold down F4 and plus and minus will change the lens size to a preset one – so
you can to an angle like that where it zooms in close and flattens out the view or you
can pull right back and like I say it’s changing your depth of field. With all the camera features I’m about to
show you, we have a nice reset key – simply because if you wanted to change things on
the fly or you’ve done something you’re not happy with and you want to go back to
the start – you simply hold F4, press the star key and that’ll reset exactly where
you were previously. So that’s your lens sizes. The other new control I want to show you is
the target offset and that basically just allows you to move the position the camera’s
pointing at. Rather than focusing bang on the centre of
the ship, if you want to look a bit to the side, a bit above, a bit below you can do
that as well. So just like before, hold F4 and to manipulate
the offset, use your arrow keys primarily. So left arrow will move you left in the x-axis,
right in the x-axis, forward and back in y is your up and down arrows and if I just reset
that I can just show you F4 page up, strafe up, page down, will strafe down in the z-axis
as well. So now if I change to the orbit camera which
I mentioned before, what we’ve basically done is very, very similar to what our players
have had before but by pressing Z as a toggle, it toggles on the orbit controls – this will
allow you to move around the ship – you can still, in this mode, change your offsets and
lens sizes and then you can reset them at the touch of a button. All of the controls that are described before,
such as lens sizes changes and target offset all that is included but we’ve also gone
the extra mile and added a few additional features in here which we think our community
will make a rich use of. So, just to give you a bit of an overview,
this is basically the screen that you see when you die – and if you are anything like
me, this is going to happen regularly – so when you are in a team deathmatch mode, when
you die, you’ll automatically start viewing your teammates, so the camera will lock onto
those and you can cycle through any teammates who are still alive during the game using
the mouse buttons. From here, by default, the orbit controls
are unlocked – because you are not controlling the player, we can get those ready straight
away so you can manipulate the orbit as they are running around the level and it will track
the player as they go. Probably what I think is the most exciting
thing for our community is we’ve also included a freecam function – because our orbit controls
are live all the time in spectator mode, you can use the Z key instead to detach the camera
from the player – this enables you to basically move the camera wherever you want in the level. In addition to this, you can make use of the
save/load system. So if you are making cinematics, you can cut
to different cameras on the fly that you’ve set up in advance. So I can just give you an example of that
now – I like that shot now, I can save that to slot one – so holding F4 and holding the
one key on the number pad. I like this one as well – just getting all
the different angles that you can’t normally reach while you are playing the game – so
a real high up angle there, save that. And then in addition to this, we’ll do a
nice close-up on the player and then let’s go ahead and change the lens size so we can
look quite close and see all that detail – I’ll save that to slot three. So, while the game is going on, you can literally
just change this on the fly – that camera one that I saved is there, back to camera
three, over to camera two for that high angle shot – the tools have been designed for not
just use in gameplay, so you will be able to create new views and bespoke camera angles
for while you are actually playing the game but we’ve also given this to people who
want to create their own content, their own cinematics, their own screenshots and all
that manner of thing that people are doing but we’re just giving them the tools to
make it easier and get better results at the end of the day as well. MO: That’s awesome Steve, that’s something
that really helped me in my character testing and I can’t wait to see all the screenshots
and the videos that you guys post to show off our beautiful game. I’m a big fan of these updates because they
are going to make my job a lot easier and that’s all for our studio update, so back
over to LA. Back to the Studio
ST: Thanks Mici, that asteroid tech is really going to help the designers a lot, when tech
like this comes online, it can drastically reduce how long it takes to implement things
which will allow for new content to be added faster in the future – I’m really excited
to see what the artists and designers will come up with for players to explore. SG: As cool as the asteroids were, I’m really
excited about the new camera system – our community was already creating some amazing
videos and I can’t wait on them to get their hands on these new tools. Speaking of community, let’s go now to Tyler
for the latest. Community Update w/Tyler Witkin
Hey everyone, Tyler Witkin, Community Manager in the Austin Texas studio, here to bring
you this week’s community update. The Intergalactic Aerospace Expo has concluded
and we hoped you enjoyed the Galactic Tour videos as much as we did making them. In other news, throughout the month of December
we’re going to be making the MISC Freelancer flyable to all subscribers. So if you’re a subscriber and you’ve been
wanting to fly the Freelancer, now is your chance. Now it’s time for this week’s MVP award. A huge congratulations to the Noobifer for
his detailed efforts in creating a video called “The Birth of a Starship”. Now this video outlines the ship development
pipeline here at CIG and has a lot of interesting tidbits and I encourage you to check it out
for yourself over at our community hub. Lastly, the week would not be complete without
Reverse the Verse, so make sure to tune in live tomorrow at 8 AM Pacific Standard Time
at where we’re going to be talking about everything you saw on
today’s episode. Thanks for all the support everyone and we’ll
see you in the ‘verse. Back to studio SG: Noobifer that was a really great walkthrough. A really great explanation of all the massively
complex elements that go into building a ship. ST: Yeah it was really solid, although to
be honest this week’s a little light on weird gifs of me. SG: Yeah we can maybe fix that, sorry Sean,
maybe they need fresh some material. ST: Good call. Make some extreme expression as fodder. [Extreme facial expressions] SG: For our next Behind the Scenes feature,
the audio team walks us through all the work they’ve been doing to get Star Marine ready
to play. 13:50 Behind the Scenes: The Sound of Star
Marine Ross Tregenza (RT): Overall Sam Hall, the
coder, and I we spent a lot of time, first of all unifying the music across the game
because Star Citizen is so huge and there are so many different aspects of it that we
were working very hard in these different areas but it was all getting very compartmentalised. We’ve managed to bring it back into this
one whole, global system. And that’s given us a really nice foundation
for Star Marine now. We have this great clarity. We know how to build these systems and get
the best out of them. While we have the music logic system for the
PU and for Squadron 42, for Star Marine the conditions that you’re involved in and way
the game plays out is a little more set which is a luxury we don’t have when you have
the more open world situation where people could be doing anything anywhere. So we’re able to be a little bit more authored
and bespoke in the flow of it which is nice. So we … we obviously have the game rules
for the different Star Marine game modes and that gives us the foundation we work from. So we’ve got a nice cinematic flow that
we’ve built that picks up pace as the game progresses. Here we have six layers of music. This is the main, sort of, bed of the music
during the game mode. From the start of the match this is all actually
active but it will be completely quiet because the two parameters that feed into this at
this point are both on zero. The two parameters we have are control and
time limit. So the first one is a parameter that feeds
into the main body of the music and as that number rises up, as you get more and more
successful in the game, the music will slowly start fading in and we use a lot of low-pass
high-pass filters, volume effects, etc., etc., so that these three stages of music are quite
subtle as they start edging in. So I’ll take it up to about 25% … and
here it comes. As you are playing game, you’re doing well,
you’ll start to hear this little gentle bubbling of electronic music. And if we take it up to just over 50% … you
can really hear it starting to pick up now. And you’re about 50% successful at this
point, you start to feel the energy – it’s getting exciting. We take it up again. See these three layers of music are starting
to build up now. Take it up to here. At this point it’s really starting to pick
up its pace. And we can take that all the way up to 100%. And now it’s big, full spectrum music. You get a real sense of excitement. What we really wanted to do was make sure
it wasn’t too … too jarring and too obviously tied into … events in the game. It is, but we want to make that a slow evolving
sound. As opposed to “oh, you’ve done X, so now
Y has happened”. That’s a really old, old style of game mechanic
that we avoiding. So while information is being fed into the
music system it’s rising very slowly and we have a lock on the speed it is allowed
to progress through its various stages. So you don’t get this bam, bam, bam, bam
of increased steps of intensity. You get this cinematic flow upwards that gets
more and more intense. And there are two different elements at play
as well. There’s the gameplay element that’s the
main factor of how the music progresses and gets more dramatic. But there’s also a time element that’s
independent from the other one. And although it works as one piece of music,
the time element controls the percussion and that will start coming in as time runs out
regardless of where we are in that overall intensity layer. Nicola Grelck (NG): So I’m Associate Producer
for the Audio team. My role is to communicate with all the other
studios and with all the other producers all over the world. So in Germany and LA and Austin. I have to make sure my team gets the right
information and right on time so we can actually work on the highest priority first to make
sure everything is just good in the game and has a proper sound and proper music and dialogue. I’m really looking forward to see sound
went into the game because it is … we have so many features that are coming in from the
audio side as well. We have the pressurising and depressurising
states and when you’re outside in a depressurised area everything sounds muffled and you know
actually that you are outside. And all sounds sound like this. The other way round, when you are inside and
pressurised everything is … it’s just normal but the people outside actually have
the muffled sound so you know there are some people outside and not that loud. We also have the Music Logic System which
is reacting to the state in the game where you are. So am I losing? Am I winning? Is it the beginning of the match? Is it the end of the match? So it’s well reactive and gives you a lot
of audio feedback of where you are. And on top of that we have the dialog edits. So we have the Announcer – which is a female
announcer I’m very proud of – because she’s giving the rules of the game. So she explains the game mode, she’s telling
you when the match started and when the match ends – so she’s actually rules the game. But additionally to that we have the Leaders
from the Marines side and the Outlaws side that is a bit like the music logic system
so it gives you feedback depending on where you are in the game so when you have to hack
more control points in the Control game mode for example, it gives you the advice and tells
you that you have to do that. I’m really looking forward to Star Marine. Barney Oram (BO): When I was thinking about
creating the atmospheric sounds, one thing that I thought about a lot was whether it
should be more subtle or more in your face and very intense and dense. Because obviously the focus is in on the first
person weaponry – the shooting and the action and that kind of thing and the other players
– but I decided not to be too subtle with the ambients and try to push more of a character
of the space into the mix of the audio. So this is part of the engineering area of
Echo Eleven. It’s quite an industrial, dark sounding
space. There’s a lot of steam and rattles and groans
of metal contracting and stuff like that. It’s quite ominous – it’s supposed to
be quite dense and quite heavy I think. All of these little spots are placed audio
that are emitting a … one specific sound. And … they all work together to build up
a sound of the level – a sound of the room – in one area. This is some pipey type things. And you can hear … hopefully you can hear
the water and stuff like that moving through the pipes and … there’s steam and things
that that emit from the floor and occasionally you’ll get bursts of steam and air and stuff
like that, both like that in the audio and visually. There’s a little bit here that I’m quite
proud of. It’s a vent that you can crawl through and
get into another area but I spent quite a lot of time trying to make it sound very encased
and isolated and small. So it’s got things like … it’s got the
same kind of metal rattles but with very tight reverb on them so it feels like you’re really
in this tiny little crawling space. Another thing we are looking at doing in this
first iteration of Star Marine is creating sounds that react in their environment to
weaponry. So if you’re in a particularly junky room
– and especially in some of the maps we’re putting out for Star Marine soon – it’s
got a lot of bits and bobs and junk and stuff like that. So when you shoot your gun in this room it
will rattle and resonate. And some of the big metal objects – like pipes
and stuff like that as well – if you get close to them and shoot you’ll hear that resonance
– which is really cool and really … I think it’s very engaging – it really immerses
you in the experience of being in that world. Firing your guns and everything reacting around
it. Back in the Studio ST: The Dynamic Music System is another example
of a new tool that really let our creative team shine. To be able to have the game adjust the music
on the fly depending on what’s going on is going to add a lot of dimension to the
game experience. SG: We go now from gunfights to dogfights
for all the work that has gone into balancing the ships for 2.6 Behind the Scenes: Flight Balance John Crewe (JC): So, we’re going to talk about
changes to the flight balance today. I try to avoid saying flight model, ‘cause
the flight model fundamentally is still the same as it was. It’s still the same, simulated system that
John Pritchett and Chris really want in there. This is more iteration on how the values we
put in and get out have changed, that changed the way you fly not, the fundamentals of flying. We’ve had some feedback from the community
on what they’ve heard about the changes, what some of the Evocati have tested. We had some ideas that what we thought people
would like, what they wouldn’t like, so we’re looking to do some more changes and the community
feedback just sort of solidified that. So we’re going to talk about what’s changed
from a month ago when you were talking … Andy Nicholson (AN): Yeah … JC: … last time on Around the Verse. AN: The first, the first thing we were doing,
obviously everyone will know about, is the SCM speed change. Where we kind of halved those speeds from
what they were and try and increase the closeness of combat. Make it feel a bit more engaging in that sense. And that was, that just had to be addressed
in some way. And that I guess leads us to demonstrate how
cruise is no more, and how we’ve adapted afterburner to, to fill that gap to reach those speeds. Here we go. [Shows in-game footage] This is me now using
afterburner. And as you can see, I’m hitting cruise speeds
here, and I’m just holding the shift key to get there. Then when I release, the current plan is to,
once you afterburner you will stay at the velocity you’ve hit once you release the key,
and you’ll stay in what we’re terming like an afterburner active or afterburner primed
mode. Where you will continue at this velocity your
afterburner or hydrogen fuel will start creeping down slowly, but you’ve used a lot of it to
burn up to this velocity in the first place and gone out of bounds. JC: Once we have reduced the SCM speeds the
afterburn speeds get … push you back up there, but the fuel consumption has had a
complete overhaul, so you can maintain those faster speeds for longer. AN: You’ll be able to maintain it at that,
at that velocity and use less fuel pretty much as we show here, but there will be a
higher burn cost for getting up to that velocity from a point after that will be the penalty
of using afterburner quickly. You have to wait a little bit, but if you’re
using it to get over great distances you’re burning it fast, but then truck on as you
are consuming very little. But it’s, it’s those moments where you have
to quickly engage it in a combat situation that might cost you in terms of fuel use. If people are familiar with how boost works,
it’s essentially shortening acceleration times on all of your directional vectors, so that
you can maneuver a lot faster and that’s what boost has been used to. If you’re sliding off course you hit the boost
key, and you get back on course much quick than you would, but then at the cost of the
fuel, so you’ll use a penalty to that. Once you trigger the afterburner you become
a lot less maneuverable much like you do in cruise as I’m demonstrating here. [Shows in-game footage] This is me at full
afterburn. I’ve got the restricted maneuvering. This is entirely based on where your throttle
is once you enter the mode. So, the lower the throttle is the more maneuverable
you are whilst afterburning. Suppose you try to change your course quickly. You decouple. You spin round. You hit afterburner to get those main engines
to change direction as quickly as possible, as you can see by that. If you want to afterburner into six you just
press shift and hold it, and that’s … that’s all you need to do. It’s no tap and hold anymore. JC: It’s the same key that it was … AN: Yeah … JC: … on other input devices like pad, HOTAS
… AN: … We’ve just, we’ve just moved boost
away … JC: Yeah. AN: … from that key. Yeah so, so boost now being on X; it means
you can… afterburner and boost at the same time, which opens up another level of complexity
to the game-play. JC: Using the phrase turbo like we did before,
it overpowers, over-thrusts all your secondary thrusters. I think is the correct term for it. AN: Yeah. JC: So that’s all your maneuvering thrusters,
your retro-thrusters, not your main thrusters. So, it gives you increased thrust output to
all of those ones. So, when you’re boosting you can arrest your
slides quicker. You can stop quicker. So, you can combine that now with afterburner
to do a bit of both or use it independently. So, afterburn in. Let go of the afterburner. Hit boost. Do a tight turn. Something that’s going to be really useful
for racing. So, racing. Everyone was super worried that SCM speeds
were cut in half. They thought it was going to be super slow,
and it’s not, because you’ve got all these new ways of boosting. So for example as Andy tries to fly, whilst
I’m talking him through it, you can use the afterburn down the straighter sections, and
obviously you can modulate that with your throttle to sort of decide how much afterburn
speed you want. He can absolutely bomber down the straights
and then back off, hit boost, put all of the power into his maneuvering and retro-thrusters
to do tight turns. We’ve been doing a lot of testing in this
with QA and the designers here, and we’re getting pretty, pretty good times with, by
no means fantastic races, but we’re … AN: [laughs]
JC: We’re getting some pretty comparative times too, some of the fastest ever ones that
have been set on the leaderboards. I’m sure that in the hands of the backers
we’re going to have some pretty good new records. AN: This really creates this balance of afterburn
and boost at the same time. You’re switching between one, the other,
or both at the same time, try and get the fastest laps. When it comes to a straight line I’m afterburning,
I’m trying line my ship up as straight as possible, hit the afterburner for the main
engine boost, and speed increase. We’re gonna see it restricts your maneuverability
as well while your afterburning at full throttle, so you have to be careful of that. JC: That’s another thing that’s changed,
a lot of racing at the moment is simply throttle to 100% and away you go. With this, actually managing your throttle
can give some quite big improvements to it. The M50 handles quite differently to the 350R
and not just a case of linear acceleration or turning speed now. A lot of the ships have favorable axies so
they can turn better when they’re angled one way versus another. How you do really fast lap in the m50 is not
going to be how do that fast lap in a 350R. You’re going to have to learn how your ship
works, what’s the strongest axis of thrust on your ships, and customise that. AN: I think it’s a lot of fun now with these
changes, especially when you hit the afterburn, it locks you into a straight line in the wall. Good fun. JC: It also changes dogfighting as well. Those SCM speeds have brought in the combat
massively. Another thing we haven’t really talked about
is all the weapons have had a complete rebalance as well. We’ve gone and actually ground up, across
the board, all the ships have had their turning changed, all the weapons have had their tuning
changed, the shields have had their tuning changed, the health points, the ships have
had their values changed. It’s really not a clean slate because we’ve
had for a lot of the ships we knew where we want them to be and they were getting there,
but it was sort of piecemeal. Every now and then we’d tweak one and we’re
like “Oh, that’s fine”, but it was out of whack with the others. Now they’ve all had same parts together
so it’s more comparative of the game as a whole where everything’s gonna sit. We’ll talk a bit how these changes affect
combat. We’re in Dying Star in Vanduul Swarm now
in a Sabre Comet, so Andy’s using the new Afterburn to really close the distance quickly. Bit too quickly. Ah, he’s done it. Then you use presumably the boost there to
stop yourself. Get right on the tail of this Scythe. And then hopefully do some damage. As you can see everything sort of much closer,
in your face, looks much more dramatic than it was or is in 2.5 where everything always
stay far away, everyone’s flying really fast and that’s one of the things we really
wanted to tackle with this to get combat in close, in your face. AN: You still got the advanced skill of a
pilot can use afterburner to their advantage. They still have it, as much as fuel as they’ve
got. They use it to their advantage. It’s still combat at high speed, if they’re
good enough to do it around tight spaces and around these asteroid belts for example. JC: Those who want to push themselves, those
who want to push themselves with advanced tactics, skills, and mechanics can still do
that and they’ve got new challenges to learn. We’ve also got the missile camera as well
which is in there. AN: Oh yeah, let’s do that. Alright. We’ve got a victim. Goal. JC: Works- AN: Still going now. JC: Yes. Still going. Works really nicely with some of the bigger
torpedos. That we have in the game, like on the Retaliator. AN: Yeah. JC: Seeing these torpedos go for ten kilometers
into something. So, that’s the new flight model that we’re
working on. Still lots of iterations to go. Got a lot of some of the UI elements to help
improve there. Hopefully that clears up some concerns that
people had. Makes people happy. That’s all from us! AN: Thanks. JC: Bye. Outro SG: Missile cams are pretty cool. ST: Yeah SG: It’s a great way to see explosions up
close and who doesn’t like explosions. ST: I know there’s been some concern with
Cruise Mode going away, but I think once backers get a chance to test the new adjustments for
themselves, they’ll see that all of these changes, we’re giving them a lot more options. With the weapon and component balancing along
with afterburn and boost working in conjunction, it can provide players with a lot more flexibility
while flying and finding. SG: Very cool, and I wonder what the new race
lap time will be. ST: Yeah it’s probably going to be way better
than something I can do, but of course it’s not only about the new times, now that there’s
going to be all those new ships to try out too. SG: True, we will have to see how the Herald
and the 85X do against the old favourites, but speaking of crossing the finish line. ST: That’s all we have for todays show. We’d like to thank our subscribers who help
us produce extra content like this and Bugsmashers and Loremaker’s and all our Behind the Scenes
shows. SG: Yes we do and a special thanks to all
of our backers new and old who have made Star Citizen possible and we could not do this
without all of your support. ST: To find out more about some of the features
we highlighted, tune in tomorrow at 8:00am Pacific time, oh… SG: For Reverse the Verse with Nick Elms in
the U.K. ST: in the U.K. Thanks Sandi. SG: And until then, we will see you. ST/SG: Around the Verse. ST: Oh you do this? Around the Verse [Waves his hand] SG: The other way. ST: Around the Verse SG: It’s okay, we’re all good.


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    With those asteroids now we just need a small explosion effect every time a shot hits the deflector shields. Then we have our selves a slave 1 battle.

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    Edward Morley

    If you have sound design for your engine noise in acceleration, could you not just use that acceleration sound curve to control the acceleration? i.e: work it into the game logic that when the sound starts playing, the sound feeds back into the control of the acceleration. Then sound artists could design the acceleration for each ship in Wwise, and any variables, and have it feedback and control how individual ships, and engines, accelerate.

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    Citizen Shenanigans

    Camera stuff is really cool! Additional ideas for you.

    Intelligent Free Combat Camera
    Idea: Camera keeps you and the target in frame at all times from any orbit around the ship. It tries to be at a vantage point closest to a set orbital radius around the player ship where the distance (in the rendered frame) between you and the target is within a minimum and maximum.

    Intelligent Shoulder Combat Camera
    Idea: Camera keeps you and the target in frame at all times from a 180 degree arc over the bridge of the ship (with the bridge glass in view). It tries to be at a vantage point closest to a variable radius arc over the bridge of the ship where the distance (in the rendered frame) between you and the target is within a minimum and maximum.

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    Mike Last name

    Out of all of the videos I've seen on this game, I've hardly seen small arm combat. Someone needs to dedicate an entire video on that. I'd like to see what that looks like.

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    Too bad you'll prolly never be able to lasso an asteroid and drop it on a planet :D, I at least hope they make them orbit properly

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    Nick Wilson

    The fake news bit with Sandi and whoever is always so stilted, just let Tyler do all the talking, he is much better on camera.

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    why would you need to keep using afterburners to maintain space when not in atmosphere. There is no force to slow your momentum so once you have accelerated you ought to remain at speed.

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    Truls Johansson

    Hearing things in vacuum could easily be made explainable if you incorporate (buyable) sensors to install in your helmet/ship.
    Thus it will be speakers in your helmet/ship that are making the sounds you "hear" from the objects outside.
    This feature seem reasonable for me IRL also, as humans are greatly helped orientating themselves when they can hear shots/asteroids i e swishing by close to you, without having to see everything with your eyes.
    So… Every good helmet/ship needs a good sound-system I guess. (Like that tape deck in Guardians of the Galaxy.)

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    lol free fly spectator… Free, invulnerable spotter.

    But combat looks like a joke now… So slow and close, Super Hornet citizen bullshit all over again… Speed increases again, please, seriously.

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    Jake Fitch

    When comparing this to Sausage Party, the amount of credit that Cloud Imperium gives to its employees is far beyond it. The developers at CIG, Mark Abent especially, can use these videos as a reference when applying for other jobs.

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    gotta love the effort put into these videos. it's always crazy to see how much goes on behind the scenes to get the finished product

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    Qiang Huangsha

    if what we have now is the "stable" version of the build, i cant even comprehend what the "unstable" version is

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    Pink Cleopatra with the hypnotic eyes ! Arnold in space with lots of roids ! Ships ! Stuff ! Stars ! what is this madness ?!

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    Troll Hunter

    Chris Roberts schemes ruin fanboys dreams.


    Star citizen as Chris Roberts dreams it will never come out. P2W has been a lucrative business mode thus far, so why change it anyways? Besides, if you want a real simulation experience go pick up Falcon 4.0 and install the BMS mod, calling this nonsense a simulator is like calling RSI NASA. Look forward to seeing you all in the verse in 2420!!!

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    just disable third person view, its cancerous for all shooter games. best example for this is Arma, it pretty much got the worst community due to 3rd P. When you take away third person, they cant glitch-look above walls anymore and start totally suck in the game. I bet 3rd Person will ruin this awesome game aswell so please just get rid of it.

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    Michael Tilrico

    What What??? If you reach a speed with afterburner in space you should be able to simply maintain that speed withoute fuel use because there is no air resistance in space?

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    innomi natum

    Alright. So any news about some new gimmicks that we can throw our money at, so his trophy wife can buy herself a new car?

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    Michael Hall

    It is my opinion that all work on any third person camera mechanic is a waste and should have been spent elsewhere. SC should not have third person.

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    Matthew Hughes

    Would love to see a fail video from all the different studios bet there are some good fails in the lockers!!!

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    Csősz Máté

    You know right, that planetary rings are composed of dust, not asteroid field? And asteroid fields are never this dense. Latter can be interpreted as an artistic vision, all right, but the former problem with the rings is a real un-scientific approach… Nice art work by the way.

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    Okay, the new flight model values look a tad bit too drastic. I somewhat miss the inertia and the needed skill to estimate how much/far you can push your ship. The races with afterburner look like the ship is "walking" (meaning: Step by step) and less "flying" – but I do like the new gap the afterburner/boost is presenting. A fighter without afterburner should still be able to fly the "standard" 7g maneuvers, for everything above that – boost and afterburner with the risk of black/red out. Something in that direction.

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    The Gikkio

    no cruise velocity? . And what how will they fly explorers? those who like to visit an asteroid belt, for example, without jumping, that love to fly in the space. You must press always afterburner? and gasoline the last five minutes?
    ANOTHER ARCADE FEATURE unfortunately 🙁 this casual gamers They are transforming one spacesim in a deluxe galaga!!
    WHY? because It is too hard to pilot. People who runs away whenever he sees something more difficult.

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    Best presenter combo to date! Both speak very well and he's the Cry Engine guy right? I'm English but Chris isn't the best talker, no offense mate.

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    remind me; how long did you use on the game so far? and what is it like to play it? actually you dont need to answer the last one. its a rhetorical question.

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    Doesn't really look dramatic at those low speeds, but welcome changes to the afterburner. Racing looks pretty dumb with the booster maneuverability right now. It looks more like jogging with a spaceship, strafing has to come with a larger penalty when racing. It's a crutch, and it makes the gap between good racers and bad ones really low, because you can always just strafe around an obstacle at full speed instead of practicing until you stop flying into it.

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    Sam Lucky

    That Nicola Grelck associate producer, I hope she's not a feminist. Praised WAY too much that the match narrator is a female voice 😪😪😪 yeck!!!

    Besides we all know how 3rd wave feminism screwed up Stockholm's city-wide snow plowing system in Sweden 😂😂😂 Don't want that to happen to this game!

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    That Rebel Trooper

    I LOVE the heavy ambience in the star marine station. One of the things I have been missing since the 5th game generation. Please keep this!

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    carlos gonzalez

    when you're flying in atmosphere you should only fly with the mobility of cruise mode, that way it feels like the ship is actually biting into the air

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    Cute .Beaver

    As a stealth FPS player, how in the heck is 3rd person, floating cams going to be helpful for PVP? I am a bit worried about how this could be potentially keybound to easily check whats behind cover objects far ahead. ~Cheers.

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    Window Licker

    10:31 lots of keyboards, including gaming ones do not have a numpad. No game should ever rely on it. Assign other keys.

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    bubu mic

    Game companies used to have employees that test the game and get payed … Now you pay the company to let you test the game ???

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    Peter Nemšák

    Guys, please do something with the studio sound. The hall echo is just annoying. As if you were in an empty steel room with no sound dampening.

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    I think SC has a cance to capture the mil-sim crowd. The mil-sim guys are fanatical large groups who enjoy the realistic nature of games like Arma. Dont get me wrong about Star Marine gameplay for those folks who dont have the time or patience for truly realistic war-simulator gameplay. Im not knocking that type of gameplay and there is a ligitamate call for that. look at Overwatch. That being said I believe SC has a huge oppertunity to cater to the mil-sim role play as well. Please RSI reach out the the mil-sim players and show that SC is almost made for the mil-sim community.

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    Guys, don't worry. We don't mind if rocks in space are handplaced by you because we'll just fly by. We won't look at them or not that much.
    Detail is good but don't overdo it.
    Awesome work though! Keep it up ^^

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