The teaser announces a new video game (developed by Polish video game company CD Projekt RED) based on Cyberpunk 2020 – an RPG system created by Mike Pondsmith back in the 90's.
More info at cyberpunk.net
PLATIGE IMAGE
Director / Story: Tomek Bagiński
CG Supervisor / Animation Director: Maciej Jackiewicz
Executive Producers: Marcin Kobylecki, Jarosław Sawko, Piotr Sikora
Producer: Marta Staniszewska
Concept Artists: Damian Bajowski, Jakub Jabłoński, Maciej Kuciara, Maciej Rębisz
Additional Concept Artists: Jakub Bogaczyński, Adam Trędowski, Rafał Wojtunik
Additional Concept Artists: Jakub Bogaczyński, Adam Trędowski, Rafał Wojtunik
Concept
Usually, working on video game cutscenes involves creating a visual story in an already established world: the animation process is very orderly, divided into classic stages, and predictable. This time around, it was markedly different. The first drafts of the screenplay and preliminary concept art was created when the game was still in initial stages of core development. In the course of our collaboration with CD Projekt RED, we approached dozens of ideas before settling on a seemingly freeze-framed setting that referenced one of the illustrations from the original game manual.
Art
Parallel to the teaser, the developer fleshed out the game itself: its concept, style, look, and feel. The ideas introduced into the movie influenced game development, while the latter simultaneously modified the teaser. This made the film a logistical and organizational challenge but it also imbued it with much more spontaneity and creativity.
Characters
Environment
3D scanning session
IR's 72x18 Megapixel Camera system captures around 1.27 gigapixels of color data from 360 degrees, being a volumetric-based reconstruction method means it's a 'single shot' capture process. Just like a regular photographic session.
See more about the IR system at Infinite-Realities
Ever since we set out to create it, we knew the promo would work only if the female protagonist engendered a serious emotional response in the viewers and push the aesthetic boundaries of the typical female form. Video games frequently feature banally designed female characters, composed of the same hackneyed elements. Though undoubtedly beautiful, these characters are often contrived. In this particular case, the ability to work with a real actress thoroughly transformed the film.
The scanning enabled us to capture this fleeting element of authenticity, to use the beauty of a real person. It was truly a qualitative change. Despite the fact that the scanned models required processing and remodeling, they turned out to be the perfect solution for this project, as far as both timeframe and quality are concerned.
3D / Hair
The hair was the only element of the scanned actress that was created from scratch, with photographs taken prior to the scanning session serving as reference.
UI
We stylized the newscast to look like old time TV on purpose, on the assumption that our imagined viewer likes old school styling, so that’s how the channel ‘tuned into him or her.’ It looks a lot like the non-stop, twenty-four-hour news channels we have today. We could have put a lot more information on screen, or even increased the number of screens, but we decided on a look similar to old (i.e. present-day) television because we think channels like that (CNN or FOX News) will stick around for a while.
Interface explorations
Final stills
