To­tal War: Three King­doms

Platige Im­age on cre­at­ing the cin­e­matic trailer

3D Artist - - CONTENTS -

Platige Im­age re­veals how cin­e­matic trail­ers for Creative As­sem­bly’s fran­chise were cre­ated

Atrailer for a videogame is a lot like an el­e­va­tor pitch – you have two min­utes to sell the con­cept to an au­di­ence. In many cases, game stu­dios don’t have in-game footage to show off so they have to rely on a third-party to cap­ture what the prod­uct is all about.

platige Im­age is no stranger to this chal­lenge, hav­ing worked with many ac­claimed stu­dios such as cd pro­jekt red and creative As­sem­bly. for the lat­ter, platige Im­age pro­duced the an­nounce­ment for its lat­est in­stal­ment in the To­tal War fran­chise: Three King­doms, a game based on an­cient chi­nese war­fare. project di­rec­tor jakub jabłoński is some­thing of a vet­eran for this se­ries. “I’ve worked on three movies for the To­tal War fran­chise,” he be­gins. “the trail­ers and game cin­e­mat­ics I’m work­ing on with the platige

Im­age team are a whole dif­fer­ent sort of an­i­mal from your av­er­age com­mer­cial. the game al­lows the play­ers to create epic, sweep­ing bat­tle se­quences.”

trans­lat­ing in-game bat­tles into a short video is a tall or­der but jabłoński took an orig­i­nal ap­proach. “We can por­tray the world from a dif­fer­ent per­spec­tive than the god-like, strate­gic pov in the game. We take the cam­eras closer to our char­ac­ters to por­tray their mo­ti­va­tions.”

“My favourite shot is in the open­ing,” jabłoński says. “over only a cou­ple of sec­onds we show the beau­ti­ful chi­nese land­scape us­ing wa­ter­colours and a pho­to­re­al­is­tic ren­der, a sym­bolic ren­di­tion of the chi­nese ea­gle, flaming ar­rows rain­ing down, and an un­ex­pected army of torches emerg­ing from the dark­ness.”

of course, the team had to be care­ful to not de­vi­ate from the essence of the game. jabłoński ex­plains that it’s a re­la­tion­ship of com­pro­mises with the client: “some­times platige Im­age is un­able to create some­thing ex­actly as the client saw it in their mind. other times, the clients make mod­i­fi­ca­tions to our work that we are not ex­actly fond of.”

jabłoński is most en­thused at the start of a project. “craft­ing the story, de­sign­ing the shots, gath­er­ing ref­er­ences and early con­cept art – this is what I love the most,” he says. How­ever, he goes on to say, “craft­ing the pre­vis – a ver­sion of the film, sim­pli­fied in terms of vi­su­als and an­i­ma­tion, but with the edit­ing and cam­era di­rec­tion al­ready locked down – is the most im­por­tant thing. If the pre­vis is okay, the film will be okay.”

When it comes to tools, the stu­dio uses a va­ri­ety. “platige Im­age ba­si­cally uses all soft­ware avail­able on the mar­ket,” jabłoński says. “the pipe­line is al­ways shaped by the char­ac­ter and re­quire­ments of a given project.” this com­bi­na­tion of tools and tal­ent makes for a fas­ci­nat­ing cin­e­matic – one that demon­strates that over 20 years af­ter its in­cep­tion, platige Im­age is at the top of its game.

Newspapers in English

Newspapers from UK

© PressReader. All rights reserved.