February Update (Huge)

It's time to catch up on what is going on behind the scenes! There's quite a bit going on, so let's start right away.

A new milestone for Incantaro

The edit for Incantaro has been definitively locked last weekend after the grading process was completed on sunday alongside the final selection of shots that are to be featured in the film. This means that in terms of visuals, the film has finally been considered complete and definitive. Incantaro clocks in at a runtime of approximately seven to seven and a half minutes and uses the idea of 'burst consumption' that was described in my earlier post from October last year. The grading process was quite extensive and exhausting at times, so I do really consider this a milestone. Sometimes I was grading shots for hours on end that literally lasted four to ten frames, which could make feel the progress real slow at times. Yet, in the end, it was all worth it when all the shots were neatly lined up on the timeline.  

I always was of opinion that the game aged fairly well and remained relevant and consistent in terms of sound quality, lighting and overall experience, considering it was made to run on IBM PowerPC hardware; little did I know that a Harry Potter game from 2002 could achieve such a nice cinematic look.

Next up on the agenda is to create the audiomix for the film. The audiomix will be based on an audioscape made from the audio found within the game. In style it will be similar to AR3NA, in terms of execution more in line with how the audiomix for DUSK was conceived. 

I will start audio post-production and mixing from this weekend (feb. 16) onward. I am currently aiming for a late march release for the project. 

Complementary Release: DEVEO

Introducing: DEVEO. It will be a complentary release for Incantaro and released in either 2024 or 2025. Although complementary, DEVEO will be a completely different, yet highly experimental short film that sheds new and improved insights on Harry Potter and the Chamber of Secrets. The film will combine a different point of view in terms of graphics. Of course, there will be the classic 2002 rendition of Hogwarts Castle in Incantaro, but on the other hand, in DEVEO, there will be a number of maps ported over to Cinema 4D and 'relighted' and highlighted from a more modern point of view thanks to a custom Python Script created by a fellow HP enthusiast by the name of 'pixel'. The Python script only works for the XBOX version of Harry Potter and the Chamber of Secrets, but except for some render distance, gameplay changes and slight graphical/UI changes and improvements, both versions are pretty much similar if not the same.

This new thrilling point of view, alongside audio and video layering techniques, will be featured in DEVEO. Its name is derived from a wordplay on the latin meaning of the word 'curse'.

In-game entrance to the Chamber of Secrets by day

Entrance to the Chamber of Secrets in-game

Extracted game files (Thanks to extract-xiso by XboxDev). We'll be using ChambOfS.geo

Extracted geometry and textures thanks to pixels' Python Script

The same ChambOfS.geo map inside Blender

I will be selecting a few maps to port over in Cinema 4D, as all of the textures have to be painstakingly reassigned to their respective geometry. Luckily the script exports all the textures, but it does take a while to get every map up and running. I will make another post with a couple of screenshots once I have more to show. 

I have completed texturing the ChambOfS map, but I still have to add reflections/normal maps to most of the materials, transparency for the windows, flames on the candles, lights from outside and camera's. More to come in the future.

Reassigning textures in Cinema 4D

Finished Texturing in Cinema 4D

Finished Texturing in Cinema 4D

 

State of Affairs: DEPTHMAP DOMINION

Quick update on DEPTHMAP DOMINION. I have officially completed the DOMINION algorithm last year and used it to generate random data for the production of DEPTHMAP DOMINION. I am currently processing the data and finishing up the final preparations required in order to start production after stalling the project last august due to my work on last year's Regression 4, and the upcoming DEVEO, Incantaro and Regression 5. 

Production will commence once Incantaro is released and occur in conjunction alongside the post-production process of Regression 5. I have finally finished pre-production last weekend. All of the maps and shot requirements are ready. Q3MME has been extensively tested and everything was found to be working perfectly.

 

Actual generated data by the DOMINION algorithm that is used in DEPTHMAP DOMINION

 

The DOMINION algorithm is now considered 'legacy', as I am working on a new, improved algorithm called 'avant'. This algorithm should be able to actually output data with a higher precision rate as I am accumulating data for a database that contains all the maps found in the map repository lvlworld, together with more precise data regarding camera coordinates and boundaries. Besides the improved data, the algorithm contains a lot of quality of life improvements. The project can be followed on Bitbucket and GitHub. The source code for the now defunct DOMINION algorithm can be found on Bitbucket.

Code snippet of the new, improved avant algorithm

 

Some of the helper functions in the avant library

The new algorithm is written in Python instead of JavaScript and will be available on the Python package distribution platform PyPi and as a standalone exe or dmg. The avant algorithm is a work in progress and I am working on this during slow hours. I consider the avant algorithm a long-term project, especially since filling up the database will taking up a significant amount of time (more than 2500 maps to test and 40.000 lines of code to write unless I find an easier alternative). 

 Once done, I will be using the new avant algorithm for new randomized DEPTHMAP installments and a number of short, experimental 'depthmap compositions' to show off the creative potential of the work generated by the algorithm. But again, that is future talk.

The Machinima Vault: First Steps

Last year I introduced a project called 'the Machinima Vault': an extensive resource hub dedicated to the art and technique of machinima (post-)production. In short, the vault is a web application containing extensive information regarding the many processes of machinima-making and machinima post-production in numerous game engines, videogames and pieces of software. In addition, it contains post-production tips, audio mixing tips, export tips, and the vault will contain a first visualization of the practice of distortion framework. The framework is, of course, ever expanding and/or changing, but I finally hope to present a first outline of the framework inside the machinima vault.

I initially planned to create the Machinima Vault inside of a new, all-encompassing portfolio website. Since time is kind of scarce and I don't know when I will get around to developing the portfolio site, I decided to (at least for now) make The Machinima Vault a stand-alone project and implement it in the website in a later stage. This way, the vault can already do its thing and help others while I work on other projects.

A couple of days ago I finally started the first steps on this project. I am working on a sitemap and the definitive designs for the platform and hope to write the first lines of code soon. The Machinima Vault will be built with Next.js, TypeScript and Tailwind. Any databases required will be created in MongoDB. The app will be hosted on Vercel, and all of the required media will be hosted externally to keep loading times snappy and digestible, and to keep the size of the repo within control. I will do my best to manually backup the Vault on the Internet Archive from time to time. The source code, alongside its commits and updates, are always available on GitHub and Bitbucket . It'll be a project to work on during slow hours at home or at work, so updates will gradually roll out every now and then.

Content for the Vault will be added as time progresses. Version 1.0.0 will only contain resources for Quake III Arena in tandem with the highly popular Quake III MovieMaker's Edition Mod. Additional content will, of course, be added as time progresses. Yes, that includes support for WolfcamQL since it is another, highly popular, Quake III/Quake Live movie making mod, Grand Theft Auto 4 and 5, Dolphin, The Sims, Rollercoaster Tycoon and of course the Source Engine. Many more mods/engines and games will be added in the future. I will start with QMME since I have been using it for a long time and also currently feel the most comfortable with it.

Furthermore, the Vault will contain WAI-ARIA accessibility to benefit screen-reader software, enjoy full responsivity on desktop, tablet and smartphone, contain i18 implementation with support for a multitude of languages and eventually even have dedicated iOS/Android Expo Ports. It means there is still a lot of work that needs to be done. But like I said, it's a ever evolving platform and thus a ever work-in-progress. No stuff I can show right now, unfortunately, but that of course will change over time as the project progresses.

 

GitHub repository of the Machinima Vault

Regression 5: Runtime and Post-Production Update

Now, Regression 5. Progress in terms of post-production has been halted a bit since I have spent the small amount of free time on Incantaro, but some changes are in the making. I wanted to set no limit on the runtime of Regression 5 and literally edit the film as some sort of a fly-on-the-wall observational documentary. Truth is that the runtime almost clocked in at 30 minutes and it was extremely unfulfilling to watch. Even the idea of 'being sucked in into the environment through the long shots and audioscapes' (which I wanted to convey with this approach) did not pass onto me.

Therefore, I have decided to keep the style, but to cut the film a lot shorter. From 30 minutes to around 15 minutes to be exact, more resembling the runtime of Regression IV. I found that particular runtime kept the overall experience a lot more enjoyable. Although projects such as AR3NA have a much longer runtime, they benefit from the constantly evolving soundscape surrounding them; sparking the interest from the viewer every few seconds, Regression 5 did not benefit from that same approach, resulting in adding a bit more tempo in the edit itself as there is no significant audio scape that Regression 5 can benefit from.

I am almost finished with implementing the changes into the edit, and I have to say that for now these changes are for the better. The pacing and enjoyability of the film is a lot higher now. I hope to continue grading very soon. The soundscape, unlike Incantaro and Regression 4, will be more minimal this time around, so once the visual aspect has been completed I do not foresee a lot of remaining issues for Regression 5.

Releasedate-wise. I initially said late 2023 to early 2024 (which means until end of march 2024), but since Incantaro will release first, release is pushed back a bit. Again, the shorter runtime and the minimal audioscape do benefit the release in the sense that less time is required for post-production, so at this moment I aim for a Q2 2024 release (between april and june/july).

 

Source Filmmaker: Breakthrough with Apple's GPTK (Game Porting ToolKit)

Last year, Apple released its GPTK, a toolkit for developers to see how their games run on Apple ARM environments, such as their M1/M2 chips. I recently discovered Whisky, which is a GUI running the Game Porting ToolKit. This way, it has become a lot easier to run DirectX 11/12 games (more recent games). And yes, that means ONLY DX11/12 games. And yes, that means GTA V and the like. I have seen GTA V run very well on similar hardware (M1 with 32GB ram. I have a M1 with 16GB ram, but undoubtly it should run with some graphical downgrades here and there)

Older games running older DirectX versions are often not supported with this toolkit. I tried out a few out of pure curiosity, and pretty much all of them crashed or refused to run. For these, you still have to rely on Wine, CrossOver or a Virtual Machine inside of UTM, Parallels or VMWare.

With this in mind, I tried installing the Source Filmmaker to see if it would finally render shadows, let alone boot. Now you are probably wondering: shadows? The main issue with SFM on non dedicated GPU's (basically non AMD/NVIDIA graphics cards, so Intel GPU's, or in my case on board M1 graphics) is that the SFM is unable to render shadows, even when you try to reset the settings or turn it on/off. It will simply refuse. With my hardware in mind, I just gave it a go, since it would not work on a external windows computer, my virtual machines; nothing.

I was shocked to see that with Apple's GPTK, the SFM was actually able to render shadows properly. Furthermore, the SFM is not a DX11/12 game by heart, so I was even more shocked to see that it actually ran at all! I directly went ahead and ported a number of Garry's Mod maps to the SFM. Most of these also ran without issue (without having to fix compatibility issues in Hammer), so I am carefully optimistic that I am able to pick up the 'SFM Pool project' again. Since I was unable to run the SFM with shadows practically everywhere, this is very welcome news as this issue prevented me from making more Source Filmmaker content. 

This means I am able to finalize the script for 'The Pool' (remember the post from 2 years ago?), which I have now renamed to an experimental short called 'The World Is More Colorful Without You', commence testing, and finally, start production. This is one of those slow hour projects (the one of many), so don't expect anything anytime soon, but I might post updates from time to time if the SFM holds up within Whisky.

Of course, I still have to do extensive testing in terms of rendering on 1080p resolutions and beyond, adding particles, lights, and having multiple objects on screen. But from what I have tested right now, it looks highly promising!

Overview of maps in Garry's Mod

gm_abandoned_mall

 

gm_parking_mall

After that I used the gmad.exe file or the Garry's Mod File Decompiler to extract the files from the GMA package downloaded from the Steam workshop. It looks a little bit like this:

A number of Valve Texture Files and Valve Material Files inside the material map of gm_abandoned_mall

Basically, for most (simple) maps, this would be enough for the Source Filmmaker. You could literally place the various material, maps and likewise folders into the source filmmaker folder, tell it to search in your custom folder and fire up the map. However, a lot of maps contain a lot of 'newer' features that the SFM might not recognize or don't know how to handle, resulting into weird glitches or crashes. Therefore, for most maps I decompile the map, get rid of all the effects, sounds, ladders, and other gameplay additions so that I am left with the bare map (which is all I need for Source Filmmaker purposes)

All custom maps show up in the Source Filmmaker

Abandoned pool shops up, but a distant texture shows the well known 'purple checkermark', meaning there is a missing texture present.

In order to adjust the maps and make them fully compatible with the SFM, I use BSP Source to decompile the map from a bsp to a VMF file that Hammer++ can read and interact with. I often use this to change the skybox, lighting environment, get rid of unncessary elements, often add a few tiny tweaks and fix issues with the map.

BSPSource

Decompiling process

Editing the map in Hammer: deleting unnecessary elements such as ambients. Checking issues

Changing light_env color from yellow/orange to dark blue so that the map changes to nighttime

Adding a Half Life decal in the map

Choosing a new skybox for the map

Recompiling the map to work with the SFM

Lighting Preview inside Hammer++

Changed skybox to borealis sky. Issues with map are solved. Cross in screen is due to incompatible GPU

Alternative version of the map, using sky_day09

Regression 6: Location, Location, Location

Last summer I concluded the recording process of gameplay demo's for Regression 6. I have not yet started with the actual production process of transforming the gameplay demo's into shots. There are still a number of additional interiors I wish to record within the game, and I recently decided to use the interiors found within 'The Lost and Damned' and 'The Ballad of Gay Tony' as both games contain a lot of great looking interiors that could certainly add to the overall aesthetic of the film. I still need to capture gameplay demo's from these locations. 

Once completed, I will start the exhaustive process of digging through the many gameplay demo's and creating shots from these. I have shot all the demo's chronologically, so I need to have a look as to when the newly recorded demo's will be able to fit in as they also have to correspond with their locations in-game and the in-game time the related demo's were recorded. That is all I can say regarding Regression 6 right now.

That was around four months worth of updates in a single blogpost! Enjoy!