Star Citizen: Around the Verse – Weapons: The Game’s Arsenal

Star Citizen: Around the Verse – Weapons: The Game’s Arsenal


Closed Captioning provided by Relay.sc Sandi Gardiner (SG): Hello and welcome to
Around the Verse, our weekly look at the development of Star Citizen. I’m Sandi Gardiner and here with me is Game
Director, Chris Roberts Chris Roberts (CR): Thanks Sandi, it’s great
to be here. So if you’ve been reading the newsletter
you’ll know it’s been a busy time for our community team having just experiencing GDC
last week. Then immediately heading into PAX East this
week and following that we’ll be at South by Southwest. It’s wonderful for CIG to be on the ground
so much recently, interacting with different developers in the case of GDC and fans in
PAX East and South by Southwest. SG: To celebrate PAX East we’re holding
another Freefly sale this weekend where you can fly the Aegis Sabre around the Universe. So if you’ve been wondering what the Star
Citizen buzz is all about now is your chance to find out. CR: There you go. So the Sabre is a magnificent fighter. It quickly established its dominance in combat
with six guns on its wings including two laser cannons and two para scatter guns. So what better way to celebrate PAX East than
to blow something up in space combat. SG: Ya! While we’re on the topic of gaming conventions,
our lead Community Manager, Tyler Witkin recorded his experience at GDC last week which we’ve
included here in this special GDC lookback. Tyler Witkin (TW): Good morning everyone. It’s almost 4:30 in the morning. We just arrived at the airport in Austin,
Texas and we are about to leave town, heading to San Francisco for GDC 2017. Tyler Nolin (TN): It’s going to be exciting,
we’ll see you there. TW: Oh, hello there. It’s the last day of GDC San Francisco 2017
and we’ve had an absolutely incredible time. We’ve met so many people from students to
developers from around the world to backers and supporters of Star Citizen. It was amazing, the booth was great. Partnered with Amazing and Lumberyard, Star
Citizen, it was just a full house all three days on the show floor and we couldn’t be
happier. With this we are done, we are signing out. Lead Community Manager, Tyler Witkin here
and we will see you in the verse. CR: Thanks for the inside look Tyler and we
look forward to hearing about your time at PAX East this week. SG: We do and in today’s episode we take
a look at how weapons are concepted and developed through all aspects of production, but before
we dive into weapon creation, let’s go to our Studio Update. As Chris mentioned in last week’s episode
our Studio Updates now give a more detailed look into what various departments at each
studio have done in the past month. This way we can provide you with a comprehensive
report on the progress of Star Citizen. So let’s go the Austin studio and see what
they’ve been up to. [3:39] Austin Studio Update Jake Ross(JR): Hey guys, Jake Ross here, Producer
for CIG, Austin. Let’s take a look at what’s been going
on in our Austin studio. One of our big focuses this month is to get
the first pass and implementation of trade in the game so Austin Design team has been
designing the next round of shops, that’ll be available after the upcoming 2.6.2 patch. A few things that are required to make this
happen are the initial list of commodities, the locations at which to buy and sell them
and a variable economy to provide the player with options and places to sell their commodities. Our goal in Star Citizen is to have a functioning,
fluctuating economy that mirrors the real world in as many ways as possible. This economy will include goods flowing from
their mined or gathered states, then onto the refineries, passing through manufacturers
and ultimately turning into buyable or tradeable items. The price of these items will be an important
element of gameplay because players actions can impact the flow of resources which will
in turn affect supply and demand. For example, if trade lanes get disrupted
between the various production sites due to player interference or something else similar,
this will change both the prices they’re willing to pay for goods as well as the quantity
of goods they have available. Since we’re still in the early stages, we
begin with a basic commodity structure that represents the major groups: ore, gas, food,
medical supplies and vice… things like drugs or other illegal items. That way players can get an idea which resource
items will be fought over in the Star Citizen universe. Once the system is proven out with a small
subset, commodities will evolve and expand and grow into more specific things like gold,
hydrogen, rations, bandages, etc,etc, etc. We want to ensure it’s a fun experience
by getting the core economic structure in place and testing it out before getting bogged
down in complexity of specifics. Next, we obviously need places to purchase
and offload this cargo once you buy it, refine it and manufacture it. The next major release we’re adding a new
station type called the truck stop which is being worked on by the Frankfurt Design team. We figure that all stations have the need
for a certain level of resources in order to sustain their existence and thought it
was a little weird to sell your resources directly to the shops themselves. So we created a new shop type called the Admin
Office which will most notably focus on buying and selling station imports and exports for
the local stores on the stage. This shop would also control local storage
rentals and include a job board of complete and planned deliveries. This shop type will be in the majority of
locations that don’t have a fully fleshed out TDD which is focused more on things like
commodity trading. Ultimately the prices of commodities will
vary by supply and demand based on the dynamic economy but as a first iteration commodity
prices will probably stay within the range of their base prices and likely will be set
by hand. Basically we need to test buying and selling
around the universe before we upgrade to a variable rate, this will allow us to answer
questions like: How fun is it to actually find cargo from a derelict spaceship? How fun is it to steal things from other players? Or from some unsuspecting NPC on a planetary
outpost? How much is a reasonable reward when you run
across them in these scenarios? What type of profit margins are going to make
this compelling? We look forward to getting these elements
into the game once we have answers to questions like these. On the Art side of things, the Lighting team
has been doing both initial lighting passes and polish passes for for some of the locations
you’ll see in Squadron 42. The team’s going back to some older content
like the Retaliator and Constellation and doing some general optimizations and polish
work. These changes include fixing the infamous
strobe lighting bug in the Retaliator cockpit as well as improving performance inside these
specific ships. The Ship Art team is currently in the grey
box phase of the shipbuilding process for the Drake Cutlass Black. As shown in part I of the ship pipeline video,
the grey box phase means that the basic geometry of the ship has been built and smart normals
and UVs are completed. Now the team is concentrating on adding primary
and secondary detail within the geometry and material work. The interior of the Drake Cutlass Black has
also gotten a lot of attention this month in the form of added detail and kitbashed
pieces from the Caterpillar. The team also completed a first lighting pass
for the interior of the Cutlass. The Austin Ship Animation team has been working
with the UK and the LA studios to bring you some new badass ships. We just wrapped up the grey box phase of our
mining ship, the MISC Prospector with the UK team. In Austin, we’re working on a new redesigned
Drake Cutlass as previously discussed and we’re supporting them as well. Lastly, we’re finalizing all the Drake Buccaneer
animations. All the ships will be completed, online and
available before you know it. Over the past month the PU Animation team
continues to create animations so our NPC characters can interact with the environment. One of these animations includes replacing
the rough retargeted animations on the female with properly shot animations of female performance. We’ve also made headway in debugging issues
with our animation skeletons and our animation pipeline in general. With the help of Code and Design we also started
researching better ways to implement the hundreds of animations we’ve developed over the years.. We began with the mess hall tables located
in the Idris with the goal of creating an entire eating experience for our characters,
specifically for NPCs. This starts with the character grabbing a
tray, navigating to a table seat, the character sitting down, eating, drinking and performing
any other actions. Finally the character will stand with the
tray in hand and navigate to the tray disposal. We then provide these animations to the Frankfurt
studio and they take it over from there. You may have seen a little bit of this in
the Frankfurt update from last week’s Around the Verse. The global connection between each studio
is key to getting our work done properly. The Server Engineering team has been supporting
both Live and upcoming 2.6.2 patch, we’ve been introduced and continue to enhance multi-region
support for matchmaking and there have been multiple fixes and tweaks to both the party
system, contacts and friends which includes improvements to invitations and online/offline
state notifications. We’ve directed much of our energy towards
the new diffusion architecture refactor for the backend services. Diffusion allows us to easily create stateless
microservices using a combination of C++ and proprietary Use scripting language. By combining these two languages we can create
a highly scalable and high performing stateless services. In other words, we can support a higher number
of concurrent players with improved stability and less downtime. All the current backend services have been
updated to run on a diffusion core which allows us to continue to refactor and rewrite services
for diffusion without impacting current service operations. Finally we have finished new diffusion API
gateway which allows Spectrum and other external services to seamless integrate with the diffusion
network. Player Relations team spent the month traveling
to the various studios, Foundry 42 in Manchester and Turbulent in Montreal. Much of the trip was spent working with various
design teams and stakeholders on better ways to collect and distribute specific feedback. This feedback can then be used for Evocati
and PTU waves during testing. Player relations was heavily involved in testing,
setting up and launching both 2.6.1 and Spectrum. It’s fantastic to see players jump right
into Spectrum, we’ve gotten great feedback on how to improve it and we’re very proud
players love Spectrum so much. Last but not least, we’ve been growing the
player relations team in Austin. The team has open positions right now and
they’ve been interviewing some awesome candidates, all of which are part of the Star Citizen
community. If you’re interested in joining the team
in Austin, check out our website and our jobs page at cloudimperiumgames.com/jobs. Thanks guys for watching and for all your
support, see you in the ‘Verse. [11:13] Back to Studio CR: Thanks for the update Jake. It’s great to see the level of detail each
department strives for so they can create a realistic universe within Star Citizen. From the animation team creating an trimorphic
movement so NPCs can flawless complete the smallest tasks, from the design team developing
an intricate commodity structure that will fluctuate at a variable rate based on supply
and demand. SG: I couldn’t agree more. It’ll be interesting to see how players
actions will affect the universe based on what they buy, sell, or if they choose to
steal. Next we’ll hear from Turbulent on the updates
they’ve made to our forum and Chat platform Spectrum. [11:47] Spectrum Update Benoit Beausejour (BB): Hi Guys, I’m Benoit
from Turbulent and here’s an update on the production of the platform called Spectrum
that you guys have seen released last week. We’ve been super busy cataloging your feedback
looking at all the different bugs that you guys have been reporting. The feedback has been tremendous. We cannot be more happy than seeing you guys
react to what we’ve put out. There’s been a lot of people jumping on. We’ve seen organizations being created. All of this activity is creating this momentum
that we really hoped for and how we designed the Spectrum platform to begin with. My team has been looking a lot at the different
issue council issues that you guys have reported. We have classified the feedback and have identified
a bunch of short term additions that we’re gonna be doing as well as realigning the long
term vision of how the platform is going to shape up with your feedback in mind. That’s all because you guys are reporting
this directly to us and talking to us about how the platform is being built. Some of the releases that we’ve done since
we launched, there have been two of them, have brought some of your feedback in top
priority directly on the platform. What we’ve added is more readability on the
thread list, where we’ve upped the font size, made secondary information more faded. We’ve also brought in more of your feedback
into how the sort algorithms are working. Our initial launch of the sort algorithms
were a bit weird, so we readjusted them from the top. We’re currently working on reaching feature
parity for the forum engine of Spectrum with the previous forum engine. We’re looking at what we’re missing. You guys are telling us what we’re missing,
which is great because then we can prioritize this list. We’re bringing in ways for you to see your
own posts or see another user’s posts. We’re adding timestamps to the thread lists. We’re going to simplify the way the threaditor
works so that you can do inline medias, something a lot of people have been reporting as the
blockified blocks were a bit problematic for some of the formatting options you wanted. All of these are features and requests that
we’re getting from you guys from the feedback threads. We’re really happy to be able to build this
platform with you guys. By iterating quickly, we’re trying to do
on Spectrum a weekly cycle and release every two weeks if we can muster it. We’re hoping that we’ll be able to keep
this trend going, while also incorporating your feedback. That’s on the short term horizon for Spectrum. We also want to bring thumbnails to the threadlist
and, of course, secondary thread type (currently only classic threads exist). We want to bring Reddit style threads to this,
where comments can be sorted by upvotes score as well. That’s all coming in the short term on the
Spectrum platform. On the medium term horizon, our major focus
(and that’s based on community feedback) is gonna be mobile lab support. Currently Spectrum is mobile ready, it is
responsive as a website, there are a few bugs and kinks we gotta adjust, but we really want
to bring in a more native experience on mobiles to you guys. One of our big ticket items is to bring native
support to the different mobile platforms. We’re looking at iOS and Android as our
primary targets, and optionally if things go well we can also bring that to the Windows
platform for Windows phone. This would allow you to have a real, native,
experience on your phone, that is performant, fast, and is not just a webpage wrapped into
a native wrapper. It’s actually going to be a native application
that you can use and get your notifications from. Using native mobile notifications, native
views, a lot more performance. We’re hoping that this is a bigger update,
but we’re hoping in the midterm that this will be our first ticket item to get out from
Spectrum. On the longer horizon, what we’re looking
at is of course voice support. As we’re doing all these features, R&D and
work for the voice development is being done at the same time. We have a lot of different technical options
that we’re taking and implementing currently to try and get simple voice chat in, which
is going to be a theme in Spectrum. We’re going to try and launch features fast
and then iterate on them, instead of waiting a long time to launch a feature. We have the chance of having you guys with
us, so we can launch it faster. The voice is being done right now, and that’s
our major feature. Like when we do get voice in, it’s going
to be a major element for the game because then you guys will be able to use it as you
play Star Citizen (which is already great). Moving on from voice there’s still a few
kinks that we need to iron out. One of them is that we really would love to
be able to reach a functionality where there is a command channel for you guys and a squadron
type channel. So that Admirals and Captains can stay in
the command channel and broadcast to subchannels. This is a major functionality that we’ll
have to do as a second stage, but we really intend to try and get there, because I think
for a game like Star Citizen that’s going to be a bit must. That’s on the longer horizon is, of course,
voice and desktop support which will come with delta patcher as well. I’m in LA all week this week to discuss
in-game integration between platform and game. As we’re fleshing out these functionalities
and the game design around it. This is really the elements that are exciting
for us, and for you guys I’m sure, which is what will make Spectrum unique between
other platforms is how it integrates deeply with Star Citizen as a game. This is how we’re going to make this different. This is how we’re going to make it the home
of the gameplay. We’re spending the week planning out how
in game integration is going to work out. Then I’m probably gonna follow that with
a visit in the UK to nail out the final print detail for that. I’m super excited to be able to work on
this platform for you guys, and I hope that you guys will be want to follow us as we do
more updates for the in game integration parts. Benoit signing out. [17:37] Back to Studio SG: Thanks Benoit. I really look forward to Spectrum becoming
fully integrated with Star Citizen. This will definitely enrich the multiplayer
experience by allowing players to communicate with one another in real time as they play. CR: Yeah exactly. Community has always been part of the fabric
of Star Citizen and Spectrum has really allowed us to enhance that connection, and like Benoit
said, the feedback on the issue council from backers, subscribers, and fans has been immensely
helpful to improve the Spectrum platform. So thank you to everyone for submitting bugs
to the Issue Council. SG: Up next we have our special look at the
weapon development for Star Marine. While it’s easy just to focus on the question
of whether it looks cool or not, in reality there are a lot more factors to consider when
building a new weapon. Especially since we aim to replicate how weapons
look, feel, and sound in the real world. CR: Yes the development of each weapon involves
close collaboration across multiple departments so that the technical specs feel seamless
to the universe with nothing to detract from the player’s gaming experience. So to give you an idea of exactly how complicated
the process is we sat down with the designers, producers, artists, and animators to show
all the things that go into creating a weapon before firing the first shot. Take a look. [18:52] Behind the Scenes: The Making of Weapons. [Announcer] It starts with an idea. The answer to a question really. How can we best defend ourselves? [Various Gunfire] Todd Papy (TP): So when we start a weapon
what we do first a very, very high level writeup, which discusses the key beats, the manufacturer,
what type of weapon it is. From there we approve that, and then it … that
goes into the actual kickoff meeting where we run through that document. We talk … we talk about what we’re trying
to hit as far as those major key beats, and so when the concept is being worked on it
is purely about those things and we make sure that if everything falls to the wayside we
hit those three things. Lena Brenik (LB): The weapons pipeline is
a very traditional content pipeline, so what we create is a piece of content doesn’t have
much … there’s no game-play logic that ties back to all the other areas. It’s a weapon. It’s a fairly contained piece of art with
effects and animation and it’s complex in itself. Paul Jones (PJ): You know the Behring P8-AR,
the assault rifle, was kind of the one we chose to be right … this is going to be
the new gold standard. We knew right off the bat. You know we wanted something quite slick. It shouldn’t be too fancy, but you know it’s
going to be in Squadron, so you know we wanted to have some interest. Going to be a mix of alloy and … and polymers
and … and now it’s kind of our initial direction. You know obviously you’re working off an M-16
sort of you know silhouette, proportions, so that’s, just sort of starting ground
basically. Pavol Humaj (PH): After we get our hands on
a concept we tend to compare it to our replicas of guns that we have in the office. We tend to check the buttstock weight, the
thickness of the gun, the trigger guard, to make sure that character with heavy armour
can actually fit his fingers into the trigger guard. We check the accessibility of the handguard. If it is not too far away or too close to
the player. Same goes for the mag release and safety,
so we check all these and if needed we adjust the concept afterwards. We create a blockout, which is very simplified
version of the in-game model, which basically consists just of a few blocks of geometry. This is used mainly for previsualizations. After blockout is done we send it to the animators
and riggers, and we start to work on the actual in-game mesh, which is way more advanced than
the blockout. TP: Then tech art can bring up any concerns
that they might have, Weapon Art can bring up any concerns that they might have, Audio,
so on and so forth. So, all the way through the pipeline, so we
have representatives for every single department in that kickoff meeting that can ask questions
to myself or the designer that is … has worked on these weapons. Atri Dave (AD): After getting all the information
we start our own process. First is the weapon previsualizations setup,
second one is the final render mash implementation, and third one is optimization of level of
detail. We call it the LODs. We create the Myer rig for the animators and
we provide all sorts of controls for its mechanism. Then we hand it over to animators. Uisdean Ross (UR): When you’re firing a weapon,
if it has moving parts, we have to animate those parts. The main focus for animation is actually getting
the reloads working. It’s the reloads in any first person game
are important to how the weapon feels. It’s getting the weight of the weapon, the
timing it needs to feel like a realistic reload, and then obviously in Star Citizen we’ve got
the combined first-person/third-person animations, so you’ve got the unique challenge of what
you’re seeing in first-person and third-person is the same thing, but in first-person you
need to have a good read on what’s happening, so that you’ve got some restrictions where
you have to keep the weapon in the view of the camera. If you drop that out to reload then the player’s
going to you know like wonder where’s the weapon gone. PJ: And so just putting all these pieces together,
just making … you know the basics. You know the … the grip isn’t too big, you
know the finger couldn’t go in a neutral rest position when it’s not on the trigger, branding,
materials … Does it look good from third-person? Does it look good from first-person? AD: We create a weapon character definition
file, which contains four data types. First one is the skeleton and plus it’s physics. Second one is a skin file, which contains
it’s deformation parts, and third one is static geometry which we call as a CGF. Fourth one are a null attachment helpers which
works with our weapon customization as well as certain helpers for the VFX. After this stage our game skeleton for the
weapon is ready. Then we create another internal file which
we call character parameters where we connect animation database to their, it’s respective
skeleton, and then animators can go in and start exporting their animation. Final product as a building block previsualization
looks something like this [Weapon Held and Being Fired] inside the engine. PJ: I mean way back in the day, like when
we were doing the first sort of weapons, there were all sorts of things different, different
sizes, now we’re working far more with templates basically. It used to be that the animation department
was less involved because we were just making cool weapons, do you know what I mean, we’re
being artists and we’re like “Yeah, this is cool.” But really it needed more involvement from
all of the parties. UR: Once tech/art send us the rig, the first
thing we do is put it onto our animation pools and just check the pivot point of the weapon,
sits correctly in the hand. Everything’s good, it’s shouldered, you
know, the first person view and the third person view are looking right. If the weapon has many moving parts, we’ll
check all those are setup correctly. Sometimes they aren’t and then we feed back
to tech/art and then it comes back to us again. This is a G36, so its hand positions are closer
in. So this is the pose we gave art to model around. So they model this part of the gun so that
it fits, but then the left hand we have to adjust it per weapon. The PRAR, for example, is a longer weapon
so instead of holding it back here, the first thing we’ll do is adjust this and get the
hand pose we’re happy with. We get that in-engine as early as possible
so that we know where are the animations are gonna have to start from, from the reload. Once we’re happy with the hand pose, then
we can move onto the doing the first pass of the reloads. After we’ve done a few iterations, tested
some time and anim stuff, once we’re happy with that, that’s when we move onto implementing
it into mannequin, which is the part of the engine that the game’s gonna read the animation
from the fragments and stuff. Code will usually set those up for design,
and then animation will go in and fill in the animations that are needed. You’ll have different reloads for stand,
crouch, prone, but we always try and make sure that the timing the same on each because
obviously you don’t want a penalty for being in crouch. Whereas in most person games, you’d have
the same reload across all states because it’s actually just a floating pair of arms
or it’s just a fixed body. We always concentrate just on this stand,
stand forward, reload. After it’s in mannequin, we can get it in
engine. That’s when the design guys in art and any
director that needs to review it can start seeing it, you can play with it. Usually the first iterations relatively rough
because you want to that in quickly so that people can start feeding back on it as early
as possible. John Crewe (JC): Once art and animation have
done their first pass, we put all that into the file and verify it’s all working in-game. It hasn’t changed massively since. The original test we did, because quite often
if you use one gun, and set it up as behaving as another one, it feels very different if
it doesn’t have the right assets on it. The visual style and sound and animations
of the gun can massively impact the feel of how people perceive it to be working. It’s just all very subtle shifts in increasing
the rate of fire but keeping the same recoil values can massively change how something
feels because it just slowly additively stacks. So you change one number a small amount, and
after you fired 50 rounds, your gun’s 45 degrees pointed further away than where you
were before. Developer: So now when we get feedback from
animators, we address the feedback that our actual ingame model. We apply then so called custom normals, which
basically means that all the hard edges are developed and in the end it makes the gun
way more beautiful because all the hard edges are nice and smooth and round on it. After that is done and optimizations on the
model are done, we do this thing called UVing. UVing is basically opposite of what making
a paper model is. Instead of starting off from 2D sheet of paper
and making it into the model. We start with the model and then unfold it
nicely into a 2D sheet for texturing. After this, decals and pom decals are applied
which basically add small stickers or marking on the gun and the pom decals really enhance
the visuals of the weapon by adding small details that actually bend the light. There are also unique textures applied to
the model which enhance the look of the weapon as well as functionality. These are called wear and the dirt map. These are hand-painted or photo-sourced to
ensure the highest quality and basically add dirt and wear, however, these can be controlled
by code in real time so we can control the intensity and amount of the dirt and wear
dynamically in-engine. Staffan Ahlstrom (SA): Every weapon in the
game has a muzzle flash. Ballistic weapons and energy weapons. That’s what the main distinction of the
weapons now. It’s energy or ballistic. So, each weapon has like, what is it, four
pods? It doesn’t matter if it’s ballistic weapon
or an energy weapon. Muzzle flash, projectile, impacts, and the
tracer, and the impact is a huge thing in itself because we will do, want to do different
impact effects per surface. So if you shoot ice you should be able to
to see ice fragments coming up and if you’re shooting up metal yeah we’re talking about
sparks, and then dust from shooting cloth, water, and yeah how we will deal with the
different planets. Like we have brown sand, red sand, black sand,
and it’s just going to be crazy, but that’s so cool with this product, this game because
the level of detail that every department wants to add to it it’s just very inspiring. PJ: You know, once one weapon has been built
and maybe it’s gone, you know it gets to audio, Normally animations are done. It gets to audio and audio is sort of putting
their thinking on it. Generally they’ve been, it’s been spot
on and it’s kind of like a linear pipeline, it hasn’t come back, an infamous design,
but we do have weapons coming up where the choices that they make will definitely influence
the feel sort of feel of the weapon and the weight of the weapon. Lee Banyard (LB): So you know a certain weapon
might sound different from the first person perspective to give you a kind of more subjective,
a deeper subjective experience of firing that weapon and then it sound different again from
a third person perspective. So if you hear your weapon being fired by
an enemy down the hall or whatever, it will be different from to try and reflect the fact
that when you fire the weapon yourself or in real life, you don’t get to do that much
in the U.K. thankfully, you’ll get that kick that you wouldn’t necessarily have
the audio for. In the old days you would have like one or
two sound effects for guns lets say. We’ve got layers and multiple layers and
then in those layers, the multiple grains sort of, essentially like yeah, nice granular
resynthesis really.It’s quite deep and it’s quite painstaking and… it has it’s own
technical challenges. If you were to say line all that stuff up
and read all the transients, the initial pop, you should line them up manually and that
all works up fine. If you try to randomize these things so use
different layers that are working in tandem, almost like an orchestra you know, you need
to try and make sure they all line up as well or else you get this smearing effect and it
kind of muddy’s the water if you like, the audio where guns are concerned. So trying to work out exactly how you deconstruct
and reconstruct stuff is a large part of what we’re still doing, we’re still trying
to improve that process. It’s similar to music in a way, music does
a similar thing that’s based more on logic, this is more based on where you are and also
stuff like I said like first person where it’s you shooting somebody else. A lot of these things vary at one time and
the idea is hopefully you really won’t notice it too much you know? That’s why I think it’s slightly taken
for granted the audio thing which is when it works it seems natural and that’s what
we’re aiming for. If you haven’t fired a gun for a while and
you bring it up and fire it again, that initial puncture you get from it will be louder than
if like from two seconds from that point you fire it again. So that little dynamic mix system at work
to try and make it pop through that bit more. That’s what game sound designers do, I think
that’s why it’s an interesting challenge compared to movie sounds is that we’re trying
to come up with systems and we still have that orchestra, we still sound design, we
still do that creative stuff, but it’;s married to this technical challenge which
makes it so much more, to me, so much more interesting than they all sound alike. PJ: That’s pretty much the process that
we take and then yes, that’s when we sort of go “alright”, or I think I go “alright,
I think I’m done”, and then it passes onto the next part of the pipeline because
it’s not just visuals right? It’s the whole holistic thing, it’s VFX,
it’s audio really giving the punch of that weapon. Fans expect a certain level of quality in
this, that all feeds in it. Everything works as it should basically. [Announcer] It started with an idea, and now
it’s yours to fire. [34:46] Outro SG: Thanks everybody for that in depth presentation. It’s amazing how much work goes into these
weapons. Everything from the stock length to the trigger
guard are accurately accounted for before the development process reaches animation. Every part of the creation is so intricate,
down to the sound effects layering, yet when you use these weapons ingame, battling it
out in Echo 11, you take it all for granted. CR: Well not all of us take it all for granted,
but it is a real credit to the entire team that they’re able to take on the numeral
challenges that need to be considered when creating a weapon. Whether the player is in first or third person
or how that changes the look and sound, which type of ammunition should be used and what
kind of damage it inflicts on a target. The subtle shifts in different rates can completely
change the weapon experience, what the decals say about the weapons history and the lore
of the company that manufactured it. SG: There you go. That’s it for this episode of ATV. We’d like to thank all of our subscribers
for giving us this level of community content. CR: yes and as always to our backers who have
helped us on this journey, you are the ones taking the game to the next level so we can’t
thank you enough. SG: We’d also like to invite all of you
to join us tomorrow at 12 Pacific for Star Citizen Happy Hour. Sean Tracy, Steve Bender, Eric Davis, and
Ben Lesnick will hold a roundtable interview that you won’t want to miss. CR: Yup that’s quite a lineup, it’s probably
going to be pretty cool. So that’s it for this week’s show so thank
you all for watching and we’ll see you. CR/SG: Around the Verse.

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