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Flexible Reflections
For any game launching today, you’d expect HDR and 4K visuals, which the game engine handles with aplomb. But there are additional engine capabilities, constructed to help support the game design itself, as Drobot describes; “we’re making sure your experience is as realistic as possible. To make everything look cool isn’t easy.” First and foremost, this is down to compression techniques. Your console has a couple of gigs of RAM, while the Infinity Ward art team’s field trips of “taking photogrammetry images in the Arizona desert, totals more than two TB of data. It’s not easy to transfer that into the game. We spend a lot of time figuring out how to compress that data, to push that through, and to make sure that it actually represents what the data is in the game.”
(What is photogrammetry? All is explained in this previous blog post.)
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With the photogrammetry data processed, Drobot’s team began to turn environmental elements and scenery into realistic assets: “We had all of the details coming in from photogrammetry, from real objects. It’s not as simple as taking a picture of a shrub, or mud in a swamp, and transferring them into the game. You have to understand how the mud reacts to different types of effects and different types of lighting.” This is when Drobot and his team brought out the lasers: “Yeah, we took laser scans. Some elements are semi-transparent, and transparent items are relatively easy to make look convincing but making semi-transparent items that serve a gameplay effect or purpose look good is pretty damn hard.”
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Turning photographs into sets continued for months, and Drobot’s team discovered that for an object that requires reflective mapping, raw data only goes so far: “The art department has hundreds of cameras that capture everything. We throw our lasers at the object and figure out from those lasers the actual reflection of the surfaces; how they reflect. It’s not only about capturing the pixels that you’re seeing, but how they reflect and react to light. We put a lot of effort into this.”
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Naturally, this attention to detail, and then reflective detail, extended to all the weaponry.
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“During this project I’ve had to look at and touch a lot of different guns. There is a huge community of people who like to modify their weapons with really intricate details and materials that they use. There are powder coatings, ceramic coatings, and to make it always operate in the field, you need to clean it, oil it up…” All the different textures on every weapon had to look perfect: “We had to simulate a rainbow-like effect on the oil of the gun after you’ve cleaned it up. Translucent effects on the gun, ceramic effects, powder coating effects, elements of the magazines. We researched all of that.”
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“We made everything in the game look as good as they possibly can. The reflections, shadows, the ambient occlusion; all the bells and whistles.”