Photorealism Through the Eyes of a FOX: The Core of Metal Gear Solid Ground Zeroes (Sponsored)

[Music] please welcome to the stage the studio head and directors of Kojima correction Hideo Kojima [Applause] hello guys yes thank you how join us today as promised I have our new Torah take a look don't you die on me dammit bp's dropping intubate now cardiac arrest he's in

v-fib [Music] [Applause] clear [Music] Claire [Music] how's he doing well we stabilized but it took too long he's in a coma [Music]

[Music] [Music] [Music]

[Applause] [Music] [Music] [Music]

[Music] [Music] [Applause] [Music]

Strutt [Applause] [Music] extra [Music] extrude [Music] you've been in a coma for quite some time yes yes I know you would like to know how long I'm afraid it's been nine years Diamond Dogs our new home

Vee has come to [Applause] did you like my video now be presenting a CDL Kojima no today we did today I cut

open a little more ground zeroes Hong Kong peanuts not tear so they de matar guess we 2/5 as you've seen in the trailer and probably understand now the phantom pain and metal gear solid ground zeroes put together is Metal Gear Solid 5 no no sweetie it decays all this the trailer itself is all run real time you know to a hook since you know presentation nano de sécurité rocoto origami system we must and since today our sessions about the Fox engine I'd like to show you a little something that's actually moving in the engine the open on this boat oh no a hump in a poker game [Music] the phantom pain is a open world game but in the beginning as an introduction in a tutorial it's more of a rare game to understand the controls in the system overall tunic and coma so tonight toss

make a measurement a viewing to you seek and so we're gonna talk to Aramis the tutorial itself is a sequence where snake wakes up from a coma from nine years and is also an attack by unknown enemy and yes escape the hospital the measurement about it is indigo canal decisive cooker a high teacher was in that motor a karate judo karate no tutorial local economist so since he's been in a coma for nine years snake has lost a lot of his movement capabilities so you start off from crawling and then standing up falling onto things to gather your composure and that's the real game that we were showing today there are no pity no jakey and everything's running on PC right now [Music]

[Music] [Music] [Music]

[Music] drugs not working we're getting out of here moving [Music] [Music]

[Music] [Music] [Music] [Music] [Music]

[Music] [Music] [Music]

the emergency stairs come on

[Music] [Music]

[Applause] so from there on out snake will be able to walk freely open world and whoever it wants to remember us all customers and from here we'll talk about the engine let me introduce you to the members she's your katana Sasaki this first the CG art director Hideki Sasaki hi lighting up is dango Suzuki this and our lighting artist masa you Kazuki

technical director no taco this and our technical director Jun Jie taco all right yeah oh no mas all right let's get it started welcome to the session photorealism through the eyes of the Fox the core of Metal Gear Solid ground zeroes now that Metal Gear Solid 5 has officially been announced our presentation title will be reflected in the Fox in the title refers to our development environment let me give a brief overview of what the Fox engine is the Fox engine is the engine created in-house here at Kojima Productions it contains the level editor cut scene editor effects UI sound motion and

others this is what we use to create our game because the Fox engine covers such a wide range I unfortunately do not have time to touch on each aspect I would like however to focus on the visuals I will show you an overview of how we go about creating mgs 5 using the Fox engine rather than each individual detail here is the agenda for today I will start off showing you how assets are created for mgs 5 next the lighting artist mr. Suzuki will talk about the lighting shaders and camera and finally the technical director mr. toggle will go over the graphics engine

and well let's jump right in I will be covering how we go about creating assets does this picture look familiar some of you have probably seen it before this is an actual photograph of our conference room here at Kojima Productions on our Kojima Productions website we've asked visitors which image was an actual photograph in which image was rendered in the Fox engine here the image on the left is the photograph the one on the right is rendered in Fox here again to the left image is a photograph the right rendered in Fox you can tell which is which quite easily by looking at the differences in the assets but if you focus on the lighting they become very hard to distinguish promotion was

not the goal of making the conference room but rather to have a good reference for artists to use when dealing with a linear space lighting my production you'll get a linear workflow will be talked about more in the next taught by mr. Suzuki but it basically means rendering taking into account your monitor is the foundation of physically based rendering when working in linear space the most important and difficult problem we faced was the way to create diffuse maps using conventional color maps the artists job was only to make a texture look good in physically based rendering on the other hand the artist has to be aware of

diffuse reflection to make our texture references we use a real-world camera and use the captured raw image without correction artists are used to creating assets that look good without worrying about detailed parameters but this would create problems in linear space so in order to test if the results look natural in linear space lighting we needed to create a reference model this model is the conference room now I would like to show you the actual Fox engine in action so please wait just a couple seconds I've got to get these computers running

there it is according ah so this is the actual Fox engine running in real time a total of you guys here we're changing some of the new styles that's a normal mammoth here is the specular mask here's the roughness map for the roughness blacker is glossy ER while wider is more of a matte finish and here's the diffuse albedo map

just saying such in this image is being created from values taken from a real photograph unlike conventional workflows textures do not have as much shading or detail apply to them this image is not something that an artist has created but simulated based on the reflection values of each surface well let's move the camera around okay cool idiot enemy alien I got it sure does look real okay while I was playing with the simulation back to the

office when the programmers was looking over my shoulder watching me do this and he thought we had security cameras set up in the conference room I guess that the testament is how real this really does look we frequently use this conference room to check shaders assets in the like for example whatever I found coming pay no this is a soldier that has appeared in the phantom pain trailer some kid hanging out in the back put them on like a text any cash that I'll explain about the kid in just a little bit I could go down those little this is the soldier that appeared on the ground zeros trailer you can see that it looks

a bit wet from the rain yeah I know artista looking at chickpea or need it in order to check for the weapons the artists have created a gun rack here and here's what it looks like the tank and helicopter were also shown in the trailer as well Hey look II know dat about phony or not here are the details of what the weapons do look like we think it looks pretty real

I add to this tiny a you can be a minister cuca because we have a real looking environment it is easy to spot things that do not look natural in our created asset if we need to test what something looks like we just take pictures of it and can quickly and easily contrast what that thing looks like in real life and what it looks like rendered in Fox these images of the cloth and we use are from Luke development the left image is rendered in Fox the right is a real photograph we sure do think it looks quite similar the rendered image looks quite similar to the photograph and the asset creators can check very easily for any inconsistencies when creating their assets we were able to keep our textures looking like real life even when using linear space lighting texture creation will be touched on by mr. Suzuki in the next talk here's the kid I'll touch on

I've talked about how we go about making our textures look at real life but what about our models I now want to talk a bit about photorealistic modeling the conference room you have seen rendered in Fox was created using photographs this character on the other hand was created by 3d scanning 3d scanning is not a new technology by any means but it is the first time the middle of your solid series has used it the model shown on the previous slide was created from from refining a laser scan but we were also using a different approach that a photo based scanning to generate a model from a photograph we used photo scan and by a Josiah photo scan automatically generates a 3d model using multiple photographs as a reference point the skin is not just limited to models

it can also generate textures and camera data as well there have been tools used in the past to generate a model from a photograph but the quality and accuracy with which this has accomplished has increased dramatically in recent times in order to make one important character for the game we made a photo real sculpture in scanning the character in game is over 100 years old so the wrinkles and sags and skin needed to be accurate here is what we did we constructed a clay mold from the actor and then added special effects makeup to the mold to create the final character finally we scanned in the finished mold and stuck the character back into the game here is this process in action here is the life cast of the model the model

on the right is the original life cast and the one on the left is the clay press out as I said previously we added special effects makeup to the character and scanned it in but we also did a scan before adding the makeup as well the person we requested to do the sculpting was mr. Kazuhiro Tsuji he is famous in the field of photo real sculpting and has worked on many projects including the Curious Case of Benjamin Button and looper unfortunately we are unable to show you what the finished character does look like we can't however show you the skin of the clay model before the addition of the special effects makeup here are the some photographs of the model that we use to scan I want to show you a short clip of this as well

sometimes don't play there goes we use photoscan to create the 3d model and camera data and then use Softimage to display the blue objects shown around the model are the cameras the cameras took pictures of the model at these coordinates a 3d model and textures are then generated from the these photographs many cameras were used in this example but it is completely possible to scan with less here is what the model looks like with textures since these textures were generated from the

photographs taken they match the model perfectly well yeah and here's the wireframe you could even see that detailed features like wrinkles in the face are kept faithful to the original model daddy got accession media on the left as a photograph of the sculpture on the right is the image of the 3d scan model you can see how accurate the scan model is there is virtually no difference when compared to the photograph right I'd like to show you one more quick clip total Scouts got that it's not nails yeah I sleep

oh hey keno yeah 15 this is an example of how an environmental asset is scanned in photoscan for this specific asset we place the rock on the turntable rotated in photographed it we didn't flipped it over and did the same to get a scan of the rock from all angles when advantage of doing photo based scanning is that it creates camera data you can put the camera data as an FBX file into a 3d tool and can easily modify the textures from the given camera projection for example when using the camera data in Mudbox and setting the stencil we can paint the texture onto the model matching it exactly photoscan can automatically generate textures and in recent versions it actually looks pretty good so if you want to modify a small

part of a certain texture it is possible and quite easy to do and here is the finished product and mother what a bit snotty don't miss getting more kills for another example here is a scan of a tree trunk of course we can use this scan as is but we can also extract the height map and use it as a brush in ZBrush or much like this example is especially cool this is a scan of a seashell even with such a complicated surface the scan data is an almost perfect replication surprised me the most was that even the very thin parts of the shell will reproduce perfectly next soft modeling for

character clothing and environmental cloth assets we used marvelous designer constructing the real looking wrinkles in cloth is very difficult and when doing it by hand can have a fabricated book during Metal Gear Solid 4 we tested some simulation based modeling tools but it was difficult to use these tools for any high res models that require baking normal Maps however when using Marvelous Designer on this project it was very quick and easy to get high quality cloth models in the final scene in the trailer snake stitching on his shoulders was done completely in Marvelous Designer no one had to touch it up by hand and it

sure did turn out pretty well we think and here's another demonstration of Marvelous Designer it is incredibly simple in Marvelous Designer to set up a specific pattern to get a high-quality results just by setting a pattern and generating the model the time saved for a modeler is enormous here are some of the sleeves being adjusted what about cut out on let's show and here are some wrinkles on his jacket being adjusted one big advantage is being able to adjust by hand the simulated result putting one on me to do

finally the polygon density is raised and recalculated the stitching near his shoulders turned out quite well I think you can see from this example and it's actually not snake Oh No ergo snakes goggles and gloves were both generated in the same way and here is the final result next on the agenda is mr. Suzuki to talk about Fox engines shaders lighting and camera

all right thank you not about linear workflow shaders lighting data and the camera five uses a linear work without a linear workflow physically based rendering would simply not be possible you may already know about linear workflow but I'll give a brief summary here what we see here is the basic outline of how linear work in conventional nonlinear closed values are rendered as is output the monitor as its linear workflow all values are rendered in linear space this is called gamma decoding after the values are rendered

then change back into monitor space and this is called gamma correction and this is the basic tenant and the image on the left here was created in non linear workflow while the right was done in linear workflow you can see the light in the right image is brighter when in reality the far back wall would be receiving more light and as seen on the right hand image in real life the inverse square law determines the attenuation but not using linear workflow you get a darker image when compared to real life this example shows both non linear workflow and linear workflow showing an additional brightness by a factor of 0.1 which is correct example on the right which uses linear workflow

in your workflow and linear workflow actually uses this value and the calculations be successful if you ever had a problem where adding multiple effects would wash things out or you know why I think many of us ahead have had this problem or maybe by making the light a little bit stronger everything something gets really bright the reason why this happens is because your monitor is not showing the correct value you know you need to be monitored as seen here TV monitors tend to exaggerate soreness for example Dalits using the gamma value to point to all values we raised the power to point to and shown this way on the monitor in Windows the srgb rule is not exactly gamma 2.2 but it is very close for example on a monitor using a gamma to point to the value zero point one I've become a brightness of 0.006 when displayed so in order to get a brightness values you're

playing one on the monitor you actually need to employ a value of about 0.35 using your workflow this allows rendering using the rest values and this is necessary for creating lights and textures using physically based values next I'd like to give a simple introduction to the ways if you sell video textures or created extreme productions we use a photography room as pictured here modern cameras have image sensors that can capture images linear in addition we use a camera that supports a raw image format and use care to preserve linearity when developing the image by eliminating any unnecessary tone curves that way we can preserve linearity so first we photograph a great

card that has a reflectance of dessert of 18% using a proper exposure scene camera settings we then develop it using the same linear processing settings after developing a further tweak the values that the RGB value of the gray card represents in this case with a gamma the RGB values fall within 175 range the same adjustments are applied to the desired texture using this technique you're able to get a photograph with the correct tone values as you can see here there are various other details that you should be aware of I'm cautious of but for day for today I won't go into too much detail

after getting the corrected photograph we then manually eliminate highlights and shadows to complete the texture and this is the basics for creating our textures the materials we use are also physically based to certain extent so as you can see here great various types of materials creating press it we can simplify the setting of numerous material parameters and this is the screen just setting up the texture of various surfaces to evaluate our shaders and determine what parameters to use as seen here don't we the light attached to an arm to observe like hitting objects from various angles we use this method to create our various material presets now a new feature we've added is view dependent roughness so smooth out subtle

roughness from looking at surfaces from the sides this illusion that curves on certain roughly flat surfaces at particular angles as you can see in this photograph smaller the angle you think the surface from smoother the surface looks example of the effect simulated in Fox this image black arrows impede the viewing angles White's arrows in the direction of the visible reflected light surface head-on as seen in the reflected light becomes this however as the viewing angles in the direction of reflected light aligned the included vectors is not seen by the viewer nicety therefore as the viewing angle becomes closer to horizontal disruptions and the reflected light become less also the frontal effect horizontal reflections or emphasized a local enhancing and next let's talk a bit

about lighting the parameters we use for lighting are based on real-world parameters by doing this easy to compare and contrast in game lighting with real-world lighting so that we can create lights easily it's a measurement that our artists create like our luminous flux illuminance and luminance also the color of light is adjusted by using water toasty roasty illuminance is used for the sky and Sun luminous flux is used for artificial lights and flame is used for monitors and other self-inking most attenuation simulated

by using physically based techniques therefore when using a point light source physically based attenuation is calculated using inverse square attenuation this is made possible only because we're using lwf also placed like the real world real-world counterparts the more now Aleli the brighter it gets and this sort of light can simulate it easily by justing the light distribution ambient light is used to replicate bounce light the value varies depending on the direction and set many of them with an example of ambient light placement highlight is based primarily on a sigh simulation this contributes to here's an example of well the passage of time looks like this is what looks like

it would look like during morning and this would be night light scattering effect of the atmosphere is also very important and this has been replicated in the engine now we'd like to give a brief demonstration 24 hour day night cycle camera parameters and color correction for each phase of the day is set to specific key values you for example Steen's afternoon would use a height all night we would use a lower exposure furthermore when it becomes night the color balance is made cooler and bluer

and the auto-exposure used inbox has been adjusted online this kind of exposure it's not real by any means but it does have its uses when creating a game normally whatever image is seen by the camera determines the exposures influenced too much by the materials brightness the resulting image looks like an amateur let's take a look at a real-life demonstration movie was taken back when zooming close

are able to distinguish between very black and very white things but a camera cannot camera is not able to distinguish with an odd right because it's white or just because it's being lit up objects are very black by having an exposure focus only on the lighting element hardly in any influence comes from the materials color and the result is incorrect exposure by doing this we're able to create a stable exposure metalist the game camera is set with the parameters that are you'll real-world camera uses such as exposure focal length shutter speed aperture and so on exposure value settings shutter speed

and aperture do not influence exposure other basic features exist as well for example motion blur balloon depth of field effective focal length and others started using effective focal length for the first time on this project from the top left top left side the field motion blur flare similar color correction using color correction we use a 3d lookup table and now as you can see here depending on the cameras folk where the focus is the focal length changes you can see it changing focus here in other words we have an example of a

movie with a focal length changing in real life so this is an actual movie of real-life footage no here's or tonight and here's the same example replicated in the Fox engine I cannot do it all right and that concludes this section of the presentation and the Michael Byrne series gingy toggle we will talk about our graphics engine yes what is it what am i they are the artists have talked about lighting shaders as a creation and the like how

exactly does the Fox engine actually do all these things the rendering method Fox uses is deferred rendering one reason for using deferred rendering is that we wanted to be able to support a large number of lights another is to keep a consistent look for both the characters and the environment making the characters seem immersed in the here are the steps taken in deferred rendering by the Fox engine first of all the G buffer is generated with geometry to render the G buffer stores a diffuse albedo normal velocity depth specular albedo roughness translucency and material items the lighting is based

on the normal specular albedo roughness translucency and material ID the kinds of lights that are supported in the Fox are sunlight ambient lights point lights and spotlights the ambient light is used as light and stored it to the light accumulation buffer diffuse and specular are stored separately in the light accumulation buffer the lighting result is generated by combining the light accumulation buffer and diffuse albedo fog is then combined with the lighting result finally in post-processing motion blur depth of field tone mapping and so on are calculated and used in the final output during tone mapping auto exposure is applied by referring to the diffuse elements stored in the light accumulation buffer by only referring to

the diffuse element we are able to achieve a stable auto exposure other than that in our lighting model the lighting model is based on the familiar blinn-phong model the material parameters are determined from references such as photographs the parameters that are able to be extracted from references are the parameters we chose therefore we use a model that has a diffuse and specular separated for diffuse we used a few selves a doe and for specular specular albedo and roughness as material parameters diffuse albedo is created from photographs captured in linear space specular is created from the refraction index of materials or from photographs captured from various light angles like the picture on the right specular is

generated from the roughness and then normalized this keeps the highlights looking natural we also support translucent material in the deferred rendering models all lighting shaders have support for translucency the reason why we support translucency in our lighting model is because characters play an important role in our games also subsurface scattering is aggressively approximated evading a potential bottleneck this approximation is inspired by 1/2 Lambert shading some examples that translucency is used for our skin hair cloth and vegetation and here is an example of skin using translucency this is with translucency off and with it on you can see the

softness of the shadows near his nose here is an example using hair this images with translucency off ibaka right on you can see how the light is shown through the hair so off and on in deferred rendering the number of material parameters stored in the G buffer is limited in order to overcome this limitation we write the material ID to the G buffer and during lighting the parameter texture is then referenced from the material ID for each unique material the parameters hold different values the store parameters are ones related to Freneau and translucency and specular color and the figure shown all

models are the same but each has a different material ID only by changing the material ID we were able to change the type of metal the object is since specular color is also stored to the material texture the colored specular particular to the metal is shown we were able to achieve a natural specular look just by adjusting the roughness the images on the top and bottom have the same material ID but different roughness the guns on the top are glossy and the ones on the bottom have a matte surface roughness is stored to the G buffer so by changing the roughness after the G buffer renders it is possible and easy to produce some effects by lowering the value of the roughness the entire screen takes on a wet look

using deferred rendering does pose one big problem it only supports a single lighting model in order to produce various shaders we have to tweak the value of the g buffer some shaders that have tweak values our eyes and isotropic specular surfaces and view dependent roughness these calculations are not accurate but cause no practical problems this image shows eyes drawn with the eye shader off and with it on if you look at the image of the eye on the bottom left you can see that the really you can see the refraction in the eye the left image

here has anisotropic specular disabled while the center and right images have an isotropic specular enabled when the G buffer is generated a specular albedo is tweaked to take the shape of anisotropic specular causing it to look real this method is a practical way of achieving this look this image shows the results of view dipping new depending on the angle between the view and normally vectors the specular value is sharper and more parallel the view vector is to the surface here is an image of the roughness value stored in the G buffer looking at the wall on the right you can see how the roughness gets darker the further back you look we use

light probes for ambient lighting and they are placed by the artist the effective range is set by a bounding box cube maps are captured in the level editor and irradiance is generated from the cube map's irradiance is stored as second order spherical harmonics light probes are rendered as light when the light accumulation buffer is generated since there are many light probes they are rendered in quarter resolution the ambient light can also be blended between probes so the boundary between them is quite smooth as the sky plays a very important role for the ambient lighting we simulate atmospheric scattering the results of the scattering simulation become the actual sky in fog the sky is included when the cube maps get captured for light probes and these

results are then stored in the light probe ambient light supports the day/night cycle light probes exist for major transition points in a 24-hour date values between these points are interpolated ambient light also supports the weather cycle light probes exist for each major weather condition the weather is represented as a one-dimensional parameter from sunny to cloudy to rainy to stormy the values between weather conditions are also interpolated questioner I got here is a short demonstration of how cute maps are captured you can see how bright the environment became when the cube map was

generated a second unquote the trailer was released last year of ground zeroes took place at night and in the rain here is a demonstration of the same trailer but taking place during the day in sunny just getting that trailer set up there it is hey Korra Matakana immaterial see all

the materials you have not been changed only the light since the material parameters are correct the visuals do not break down even when the light is channel

kept you waiting ha sorry my snake voice was not very good hi all right up to this point our presentation has focused on the digital technical aspects of the information but I'd like to shine yours a bit turn our focus back to the analog real world to get physically accurate assets artists need to observe and have a knowledge of our actual physical world to know things about lighting cameras surface textures and how they are represented simply capturing textures models artists need a

thorough understanding it's good to remember that we have many real-world examples within reach for example one of our staff cut up in order to understand the construction of clothes this was very beneficial in understanding a matter even though we have marvelous designer to be Muslims dirty work is still a great way to understand modeling on a deeper level and the dirty yellow shirt in centre was trying to simulate Chico's muddy clothes an artist actually went with the part in the little bit of rain and played in the mud not to do this and you could only imagine the look of utter horror on the face of this poor old woman who happened to see him doing this and on the right

we have the top of an artist death there are various items scattered about branches rocks and the like and these are used to study textures ironically the more the technology evolves the more we have to study and understand our physical surroundings that way you could say that technology is a very important tool for helping us understand our real world even with regard to light we've had to re-familiarize ourselves in the way that real light works in the real world the majority of our artists have an idea of how light 96 likee fill and rim lighting work a cg environment not necessarily in the real world but luckily had lighting director Yoshihara in Xi'an famous for his work on commercials and movies blessed us with his expertise demonstrate various real-world to our team taught us how to use these techniques in our game he's been to our

studio to see our lighting in action and in the Fox engine and has given us useful guidance and here we see some pictures from the lines and you can see that simply adjusting light dramatically changes the mood and feel of the scene as mentioned previously it's interesting how it's missing might have necessitated a deeper understanding of how real-life light materials reflectance works but it's important to know that even though we can mimic reality creating captivating visuals may sometimes necessitate breaking from reality in order to exaggerate certain things just because something is physically correct and realistic doesn't mean that it'll look good therefore we shouldn't always strive for complete realism but by using real-world simulation as a starting point our artists can use their skills to meet their visual goals in a convincing way

so what I'm trying to say is that in order to get realistic physically accurate output need to study the real world observe with your eyes capture with cameras and 3d scanners measure the details of the world around you reproduce the real world you need to study the real world and at the same time however creating captivating visuals is an artist primary job perfectly replicating the real world may not necessarily be what again so to make a quality product in artists eye is essential simply reproducing reality would only be a traced image so basically yes you really need an artist's eye in order to do something great and these two aspects realism and artistic quality within the context of a game or what we mean by photo realism through the eyes of a fox and echo chori thank you for listening

[Applause] well wait there's more everyone please welcome the studio head of Kojima Productions LA studio Tom second it hello everyone this is kind of different topics Kojima production has been well known for always make a high quality products and always surprise the people to the excited people multi-generation paginate multi-generational all those like parents and kids and my generation anyway um they was talked about Kojima

arts production has been built in the Los Angeles area and as you see in autos recruitment Alberta has been showing in our website and also chemistries however this is as of today it is official and our studio is really building Los Angeles area and this is our new logo where Fox was born from the Fox Kojima Productions philosophy is surprised and also excited people with a high value entertainment product surfaces the generation boundaries and always making a really high-quality product being to their users and also create a product with the critical acclaim and also the succeed succeed in commercial this is the professional production of philosophy so we inherited

it this core philosophy and try building a unique studio and a new culture in Los Angeles so our vision is create the highest quality inductive entertainment which bring a deep emotional feeling this is must this is a combination of all those the new technology and art and also unique a game design element to bring all those always all those three components is equally putting together to making a really great highest value entertainment products without touching at people's emotion we cannot survive what we cannot keep surprising people to the next generation so our mission is become the top studio in the world this is very ambitious but once we building a very competitive market in the Los Angeles area

we have to become the number one or one of the best development studios as like parents to do an encroachment production Japan our body is quality court is so important now compromised to the quality gameplay game experience comes orders first this is no compromise ation and then the cooperation is so important all the ways cutting-edge technology and also innovative our style is keep changing all art styles and touch the people's feeling emotional touch and also evolving interactive designer elements by promoting a creative environment so technology the programming and art and design and the production management those components are quite important for us in the corporation work is very important to us so we are hire the best

people possible and also give it a best creative environment so we are building our dos Anjos studio in a hurricane sauce hircus campus in Playa Vista Los Angeles studio design concept is open communication and collaboration the space is about two thousand thirty thousand square footage we'll have a testing room and also a screening room so this is screen room and then next one we're hiring so we are hiring please join us you guys combine our boost and recruit many bends space in this household I believe the boost number is the cp2 3:08 we really need a good people and we

really want to push the next n Bob to make a great product so please come to join us and thank you very much that's all [Applause] the moby-dick Astacio they abolished Amazon today unfortunately when our recruiting at moby-dick Studios though is all a hoax and you know presentation what he must know naugahyde I gotta go to myself this concludes our session for the Fox engine thank you for waiting and checking out the session with us you Thank You Nene oh no GDC Afghan economy through gaming design tip or the keynote or such data you mister in 2009 I gave a keynote speech titled solid game design making the impossible possible maybe some of our guests today attended or listened to the presentation told me I must go wait - sir - oh God and maybe have checked it out that time

- no can you talk about what is neck or imagine or game design into a game of sukui what is name Kabuto you can acquire got - so no Suho so guys my stuff and at the keynote I represented the fact how to make sure that technology is moving forward and how to make the idea move alongside the point where the advancement of technology and hardware is used as a ladder ladder to make the impossible possible predominate even the idea game design to facilitate a so the decorum at a single stage start to you koto soca semester I said it that I used an idea on top of a platform to make sure that we rose above with the gate game design and move from there the Congo was OG enact a obey Gaetano I did Scott destiny gives Maha Co pockets on a second we need game designer game today

ud a coroner game what screw to you singing o sister and finally I mentioned we would use the advancement in technology from the West to further elevate ourselves as well my secretary Waco so no get it to NASA go turtle folks enjoy concession masternode a congress or game with zucchini tenkan stage title what a mess it's been four years since that day and I believe we have built that ladder we call the Fox engine game design difficult colonial India used to Def Con economists already game designer window set a URI emotionally you're the attacker me no no mistake state-owned optimist from here or now we will make not make make the impossible possible using game design only we'll make the impossible possible with technology and then add on good ideas using good sense to formulate solid game design the social technology dictionary

muscle legato cashews no storytelling GU toka toka or Tori come in Agra game ooh Nara there are no a tera see entertainment or peripheral majestic title Amos and on top of that not just technology we would like to incorporate storytelling ideas and anything that would really work with games from the filming industry and novels as well and take that and move forward and elevate ourselves that way to a picometer yes woody to enact a yessiree to talk about this and we take in these things because we're not epic Metal Gear Solid it's because we're Metal Gear Solid I know - okay domesticate Oh gingy booster day in the bush and you must note a a hoax angel to create a guitar so Cara whether it was twenty Metal Gear Solid thoughts create a guitar the Hewitt is Tony must know de bus oh and I also forgot to mention that we are hiring as well please come by if you want to help us

make this new mgs on Fox engine I thank you for coming to this conference thank you thank you so much [Applause] [Music] [Applause] okay so it looks like we have a few minutes left so we're gonna have a quick Q&A if we could strictly keep it technical we'd love to answer your questions so Josh go ahead and please take over here I think we have some microphones set up on the side over here so if anybody wants to ask any questions about technical thing we got somebody okay go ahead hello very impressive presentation thank you first question my can you speak a little bit closer to the microphone okay my first question years since you use such rent big arranger but you folks on lighting to do the repetition and then

how can you avoid the images in some place it's pure black and that effect that the gameplay I didn't catch the last part of the question I'm sorry okay it's it's like that the the render is so big okay and you've used the light as a reference for the aya petition and then it's one it may cause the problem yes the images supertalk and the player cannot play it it's the main problem when we develop the game and the artists feel okay it's - it's ok the image is good but for the game player they can't play because in some players for example the NPC it's too dark ok let me kind of rephrase what maybe I'm thinking you're asking if we keep light real sometimes we might run into places that are too dark and that doesn't suit the game and how do we go about overcoming that is what you're asking yeah ok let me let me kind of ask real

quick [Music] for these kinds of places where the light where the light is too dark in some areas we usually talk to the level designers or the game designers who are creating those levels to make the stage fit with that lighting style and it's kind of a back and forth between the lighting designer in the level artist or the level designer to get a good level to show that into your question okay

thank you the second question here no okay okay I'm so sorry about that no over here yeah yeah first of all congratulations on the Fox engine it looks really good and the second question is photos can looks really cool but how much detail you have to sacrifice when you make that model which is hundreds of thousands of polygons into an actually in-game asset okay I understand let me go ahead and repeat the question if he's asking when generating a model and photoscan it comes with tons of polygons how much detail do we have to sacrifice when actually getting it in the game yeah

we use a normal map in order and make the normal map in order to overcome this limitation okay yeah all right I was thinking more about polygon count exactly okay actor game more if you guys want to so you can ask other questions we can talk about it later all right that's okay we'll probably catch you later then all right cool thank you thank you thank you I think we have time for maybe one more if that's okay I think we got some people line up but go ahead just have a really quick question okay go ahead with the actual deferred rendering a little bit closer into Mecca I noticed you have a lot of

different buffers for your G buffer how are you actually packing those before you send those to the graphics card if you cannot talk about it at all no no it's okay if she's trying to think about how to go about best answering your question well first of all we have the material ID and that but we put a lot of parameters into the material ID so that takes away a lot of those other rendering it makes the reading pipeline a little bit simpler is his answer I'm a little more thinking about as like the Crytek engine packs everything into three buffers okay I noticed they have six different buffers for the Fox engine are you packing that into like two or

three different g buffers as well we are using for multi render targets is what are you saying taken that actually perfectly answers my question okay well there we go awesome how much time how much time do we have left one more okay we can get one more and I think this guy's over here you go ahead I have a question about photos came in to how you get a specular and drove nice information to the photos came the specular and what else Rogen is the roughness roughness

we do not use photo scans for getting the specular and roughness okay as much as we're gonna say so we don't so it's difficult to get the specular and roughness from some photo scan so we don't use for a scan for that purpose okay I think that's gonna be it for the Q&A session so thank you guys for coming out and have a good rest of the day