Guild Chat - Episode 63
Guild Chat - Episode 63
- Title
- Cinematics
- Host
- Rubi Bayer
- Guests
- Chelsey Shuder
Chris Burgess
Jason Byfield - Date
- May 25, 2018
- Official video
- YouTube
The 63rd episode of Guild Chat aired on May 25, 2018. Host Rubi Bayer interviews some of the developers involved in the creation of cinematics and the trailer for A Bug in the System. The interviewed developers were Chelsey Shuder, Chris Burgess, and Jason Byfield.
Transcription[edit]
Introductions (6:35)[edit]
Rubi Bayer: Hi guys, happy Friday and welcome back to Guild Chat. I'm your host Rubi and today we're talking about the Episode 2 Guild Wars trailer for the Living World. We really appreciated how much you guys liked it and how much fun you had with it, so I thought it might be cool if we got some of the developers who were involved in the making of that on Guild Chat today and talk about that. So why don't you guys introduce yourselves? We have three new faces today. Just let us know your name and what you you do here at ArenaNet and what your role was in the trailer.
Chelsey Shuder: All right. My name is Chelsea Shuder. I am the cinematic lead. My role was like quality control. You know, putting out fires, kind of just helping with making sure everything gets done.
Chris Burgess: And I'm Chris Burgess. I'm a sound designer and I work with the cinematics team to provide all their audio needs in terms of sound effects and mixing and working with our composer Maclaine to deliver music assets.
Jason Byfield: My name is Jason Byfield. I'm a cinematic artist at ArenaNet and I was the video editor for the Episode 2 trailer.
Making the Trailer (7:40)[edit]
Rubi: Thank you guys so much. A quick note for all of you watching: We're gonna be taking some questions at the end of the show, so if you think of something during the show, just drop it in chat and at the end these guys will try to answer some of those. So, alright. Let's get started! Let's just talk about how the process started first. This began with Narrative coming to you guys, right? And saying, "Here's this. We want to tell this story."
Chelsey: Yeah. So this trailer was focused more on, "Let's try to tell the story with Episode 2 without giving anything away." And the idea is just- So Jessica Price was the writer for the script and her direction to us was, "We want it in two parts: so one is kind of like a fun heist, it's an adventure, a record scratch kind of happens in between and then we get into like horror and destruction." So then that gets handed over to Jason and it's like, "Alright, Jason, go! Figure something out."
Jason: Yeah, so my typical process is that I take the script and I usually just lay text right out on the screen, time it out with some music, trying to fit the tone. And then we start trying to figure out what shots we want. We have meetings beforehand where we talk about what the team wants to show for the trailers and what they don't want to show and kind of keep as surprises for when people are playing the episode and then... Yeah! Just keep adding shots. We keep polishing until we have a final product and there's- Sometimes there's little things that happen and happy accidents that happen to make things awesome.
Chelsey: So, for this one... So we had our first review I think like, you know, in the first week. It was just tech cause like, "Okay, this is like we're on par, what we need to do." And then the second time we had a cinematic review, Jason comes in and he's like, "Okay, I know this is going to be weird. I had a dream last night. I did as much as I could to implement it all this morning, so let's take a look." So we watched it and then the whole team was like, "What? What did we just watch?"
Jason: Yeah.
Chelsey: So do you want to kind of explain like what that presentation was from your dream.
Jason: Yeah, sure. So we had figured out pretty early that we wanted to have kind of two tones in this video. We wanted to start with kind of a heist feel, Ocean's Eleven like. Like adventurous, fun, heist kind of sound... type... feel... tone.
Rubi: Yeah.
Jason: And then we were gonna do a pretty hard transition into... What did we? What was the term that we used? We wanted to be like...
Chris: "Haunting" was the word that came up, floating around, yeah.
Jason: Haunting! That's right, haunting! Yeah, yeah. Sort of- It's kind of creepy and then we kind of moved on to haunting. And you know as- What happens to me is I'll do a lot of work on- I'll be focused on something for hours and hours and then that work kind of bleeds into my, you know, personal life and sleep time.
Rubi: We've all dreamed about work at some point.
Jason: Right. Yeah, yeah.
Rubi: That's when it's time to take a short break.
Chelsey: Yeah.
Jason: In this case, I was dreaming about the second half of the trailer and this, the... I can't remember. The Cinderella song from Lana Del Rey in Maleficent?
Rubi and Chris: "Once Upon a Dream".
Jason: "Once Upon a Dream"! Thank you! Kept playing over that footage and I was like, "Oh, man! This is-!" When I woke up, I was like, "Oh! This would be perfect!" you know. But we can't use it, but I'm gonna put it in just to see how it feels.
Rubi: But let's see if we can use it.
Jason: Yeah! Yeah! And well, maybe, you know, maybe there's something there. So anyway I played it for everybody, and yeah it was kind of like, it's like, "What? What? Wait." But it worked! Like the tone felt really good and so then, you know, moving forward from that we needed to figure out a way to either use this music in some way or a variant of this music in some way or find something that fits that exact same kind of tone, that same kind of feel.
Rubi: Well, with the Lana Del Rey song there were some copyright- There were some questions because the tune itself, the actual song without the lyrics, is public domain, right?
Jason: Yeah, yeah. It was made many years ago and so yeah, that's public domain now. If we were to use that or use the variant of it that we made ourselves, I think we all felt that it wouldn't be quite the same connection without some sort of lyrics?
Rubi: Right.
Jason: And so... I had asked the question, "Do we have a song in the Guild Wars universe that has lyrics that the fans would recognize that might work for this case?" and Chelsey suggested maybe "Fear Not This Night". Yeah.
Chelsey: "Fear Not This Night". I had been listening to it for a while and the lyrics, when you think about them, they can go either way. It's supposed to be a song about hope and overcoming the darkness, but when I was listening to it's like, "This could go like as if we're supposed to embrace the darkness." And so it was like, "Hey, we've got this song. Can we make that work with what we're trying to go for?" So then we go to audio-
Rubi: And Chris is just sitting here the whole time kinda like [deep sigh]
Chris: Yeah. No. We- They came up with that idea and it's like, "Yes, we have this song. We can do this." And I think what we initially set out to do was come up with a vertical slice of the song to see if it was gonna work so we said- We went to Maclaine and said, "Can we do one verse of this song to see if sonically this is going to be haunting, if it's gonna fit the tone, if anybody's even gonna like it?" And we got that back from him and we had references from singers like Matt Berninger from The National and sort of that lower baritone register and that the pacing was slowed down and chilled out to be a little creepier. And we got that back from Maclaine and I think that was pretty instantly... resonated with the people in the room hearing that. So we knew, "Hey! We want to pursue this. This is gonna be something special."
Rubi: Yeah. It was- "Something special" is such a good description. It absolutely was. And we talked before about how you guys, especially once the studio reaction started trickling in, because we were all watching it over and over and over, watching this progress in the studio. And when that version of "Fear Not This Night" came in, everybody was going nuts saying, "You guys saw that!" We're like, "Uh oh."
Jason: We have our own internal spot where we post a lot of our broken progress stuff and for the most part it's usually pretty quiet as far as comments, but this one- like there was line after line of comments like, "Where can I find that song? Where can I download that song?" internally.
Rubi: Yeah. That's just the company! And so you knew that once it got out in the wild, people were gonna want more.
Chris: Yeah, we had Maclaine do the short version and then we got it back and everybody was loving it and internally they were loving it and we spoke to him, Maclaine, and said, "You know if we do this, you know, you're signing up to do the full length song." And it was just sort of this like... eyes back and forth and... I don't know. We were happy with the vision. We wanted to go for it and he said, "Yes, I will- We will do it." And he's usually very busy with- We need him to write music for the game to go in the game. So we were just trying to figure out: When can we schedule this? Can we get the full version out with the trailer? And it's just like, "Oh, we can't. We can't have him do it." So we pushed it out. But yes. We both knew when we were talking what we were signing up for, what he was signing up for.
Rubi: And I want to mention to- You and Maclaine both are- These guys are absolute heroes because this was kind of outside of both of your wheelhouse and the original intent was Maclaine's just putting in scratch vocals. And there was-
Chris: Yeah. That's a thing.
Rubi: And I know you're like, "No, it wasn't. We're not the heroes." But you guys worked really, really hard and stepped out of your comfort zone to create this and that's pretty cool.
Chris: Yeah, it was... At the time we were looking for a vocalist and we were talking, "Who's it going to be? Who are we gonna get? How are we gonna find someone?" And in the meantime, we said, "Maclaine, can you just do some scratch vocals?" or some "temp vocals" as we call them. And we just kept- I think we kept hearing it over and over again in the reviews and we were like, "Oh, this voice is pretty good! Can you do the whole thing?" And I think there was a little trepidation there on his part but when the trailer and the song came out, I was just watching on Twitter, the fan reaction, and the fan love to Maclaine I thought was really cool.
Rubi: God, that was so much fun!
Chris: And hopefully there was some... some payoff there for him.
Chelsey: Yeah.
Rubi: Yeah.
Chris: He put himself out there, for sure.
Rubi: He did. And Maclaine actually wanted to join us today and he's moving house this week so did not have time, but huge, huge thanks to Maclaine for all of the work on that. And to you, Chris, also, because it was frustrating. Your boss fled the country.
Chelsey: No.
Rubi: Hey, Drew's not in here, man! He's gonna come in here. But yeah. So that was- And you guys blew off some steam and that turned out well, too.
Chris: Yeah, yeah. Well. So in the process of this I ended up mixing and mastering the- "Fear Not This Night", the actual version. I had sent about eight pages of mixed notes to Maclaine and say, "Hey, can you try these things to make it sound better?" and he said, "Well, why don't you do it?" and I said, "Well, okay."
Rubi: I feel like the conversation did not go- Maybe there was a little more to that conversation.
Chris: Sorry, there's- He-
Rubi: I'm just teasing you about the amount of animosity that was probably not there.
Chris: In that conversation? It- You know, I don't think it was... I don't think it was a problem there, but just talking about the production of a song, you know, there's the writing of it, there's the recording, the arrangement and the mixing. And I was contributing to the mixing. And you're listening to this song, you know, I don't know, hundreds, thousands of times over and over again trying to polish it. And it was important to me that the quality bar, the song matched that of like any top 40 song out there. I wanted it to really shine in terms of just the sonic quality of it. And so there was a lot of frustration. Just listening to it over and over again and one morning I came in and my neighbor, Jerry Schrader, who's another sound designer here, said, "Well, what would it sound like if there was sort of like a southern folksy version?" And in a moment of frustration, in spite, we got out the microphones and made this "Fer Naw This Evenin" hillbilly Joko version over the course of about three hours. And then it got released.
Rubi: I asked permission.
Chris: No, you did ask permission.
Rubi: You said I could!
Chris: And it was so strange. Because everybody was so happy about it and they were so excited-
Chelsey: It makes me happy!
Chris: It makes people happy!
Chelsey: It's a happy song.
Chris: They come to me and they said, "Wow, this is the best thing ever!" and I was like, "I'm trying to emotionally relate to you because I made it in such a moment of frustration, but I'm happy everyone's happy." Yeah.
Rubi: Yeah. You guys were like yelling lyrics back and forth at each other down the hall, weren't you?
Chris: Yeah, yeah. Well Jerry asked that question, "What would it sound like if it was a southern version?" and I think he was going you know instead of [singing] "fear not this night", it was just [singing] "fer naw this night, you will naw go-" And we started doing this voice back and forth and I said, "Okay! Get the microphones!" And we were pulling people in one at a time because we were all singing on it. Joseph Clark brought in his jaw harp to do all these silly sounds for it, so blowing off steam in a very creative outlet, I guess.
Rubi: And it worked out well. You guys have this gift because Chris said yes when I asked permission to release it, so thank you. Thank Chris. Chris, it's just- I don't even know what happened here. It was a good thing that happened.
Chris: I sent it to like one or two people and I expected that to be it.
Rubi: Oh, dude. No.
Chris: And then it's like it just had legs. It ran off and I was like, "Ohhh..."
Chelsey: You sent it to us. What did you expect? I mean...
Jason: Yeah, you sent it to the wrong people.
Chris: I guess so, yeah.
Rubi: [pretends to type] "Don't tell anybody!"
Jason: Meanwhile, I'm emailing the entire office.
Chelsey: Yeah.
Rubi: Sending it to the entire studio.
Jason: Yeah.
Chelsey: If you think Cinematics isn't gonna be mischievous, then... I mean, come on! You work with us every day.
Chris: Yeah.
Rubi: Seriously.
Jason: But it was- The song for the front half was also causing some frustration.
Rubi: Yeah! Let's talk about that.
Chelsey: Yeah.
Chris: So...
Rubi: Are you okay?
Chelsey: No, I'm good!
Chris: It was a hard process because normally when we do a trailer we have one piece of music that covers the whole thing, but in this case we had the A section and the B section, where we wanted the heist and we wanted the fun, and then we wanted to go into the haunting thing. So again, going back to Maclaine is busy and we want him to be writing in-game music, and we're like, "Hey, we don't need one piece of trailer music, we need two!" And we ended up going to Jerry again, Jerry Schrader, who is an excellent funk bass player and we said, "We want to do this heist funk music. Can you go home and come up with something?" And then the next day he came in with this great funk piece. And there was something about seeing like the beginning of the trailer with the Living World logo pop up and you were hearing like saxophone and guitar riff like [mimics playing guitar] It was so ludicrous and funny and eye-catching I was like, "Wow! This is great!" And then- And it didn't sound anything like Guild Wars or fantasy and we got told like, "Hey, this is not on brand."
Chelsey: This is off brand.
Rubi: This is nothing like Guild Wars 2 and fantasy.
Chelsey: Yep.
Chris: Yeah.
Jason: Yeah.
Rubi: But... We have it. Today. We should- We're in this room. It's fine. We should- Should we share? Do you guys think we should share?
Chelsey: Yeah.
Rubi: Okay. Mark, let's share it.
[video preview of the first half of the trailer]
Rubi: I agree that it doesn't fit the brand, and I totally understand, but I love that we have this. And Jerry just like went home and kind of knocked this out for fun.
Chris: Yep.
Chelsey: Yeah. Well, yeah.
Rubi: Yeah. I just, you know, I-
Jason: "Fun".
Rubi: "For fun".
Chelsey: Yeah.
Rubi: Much like The Soggy Joko Brothers version was fun.
Chris: Yeah. Yeah.
Chelsey: Right.
Jason: Yeah.
Rubi: That's like I was telling you yesterday what we were talking though: as a not-musician, I remain in awe and all of this is just like magic to me. Like you just went in there and performed something incredible and... [shrug]
Chris: Yeah. A lot of us have a musical background and we work in sound design now. And that's been part of my job with this trailer was when we scrapped this direction... I'm trying to lock down the direction that the stakeholders are happy with before we even hand it to Maclaine so that what he's doing isn't throwaway work per se? So then we came up with more of like a mashing together Mission Impossible and Six Million Dollar Man sketch of music and then we got that approved and I handed it to Maclaine and basically said, "Here's the idea they like. Can you make this sound good?" Which he did. So he ended up doing both of them.
Rubi: Thank you, Maclaine.
Chris: Yeah, yeah, yeah.
Chelsey: Yeah.
Rubi: Seriously.
Chelsey: Yep. No, I think the final version on the front half worked really well because we were pushing for more humorous snatch because we will always push for humor.
Jason: Well then, that's that contrast, right? Like we wanted that fun that goes into like, "Wait, what?"
Chelsey: Yeah, and like- Absolutely. Yeah. But then, you know. How to put things in brand. So I think you guys did an amazing job striking that balance.
Chris: Yeah, that was a "fun" knife's edge to walk. Like, "Whoa... whoa..." Yeah.
Chelsey: Yeah. Yes. Yeah.
Jason: It paid off though.
Chris: Yeah.
Chelsey: Yeah.
Rubi: It did. It did quite a lot. And the temporary camera angles and the temp vocals in there really speak to a lot of the progression. This just goes through so many iterations and changes so much while you're doing that.
Jason: Oh yeah.
Chelsey: Yeah.
Jason: Yeah. I can't- I think we were close to like 60 or 70 iterations on this one piece?
Chelsey: Yeah.
Jason: Like we went through a lot.
Rubi: Good grief!
Jason: And those voices you were hearing on there, those are people- that's in house, our temp VO guys.
Rubi: Yeah, I was wondering: do you remember who they were?
Jason: Ben
Chelsey: So Ben, yourself [points at Jason]
Jason: Myself, Chelsey I think you were
Chelsey: Was I some of the Asurans?
Jason: Yeah, you were something like that. I try to do the Asuran myself but, I ...
Chelsey: No.. no.. yep,
Jason: lower register
Chelsey: higher pitch voice. I got it, short, etc.
Jason: But yeah, it's cool. This is something I don't think a lot of people get to see, the temp slates or text slates. And temp shots that have game text all over it. A little behind the scenes peek there.
Rubi It is and its need to see because we know they don't just spring into being completed in one iteration. It's kind of cool to take that look and hey here's where we started. It's just basically storyboarded.
Jason Oh yeah, its super rough. So the temp versions of character call outs.
Rubi Yeah!
Jason Those look so different now than they did in that version.
Rubi So we've talked a lot about the music but something that I was looking at in there reminded me that I also want to talk about Duncan.
Chelsey Oh right. Our "player character" for marketing. So in previous marketing trailers we would kinda just have a mash of player characters, but that can get really hard to tell a story. Because then you don't know who is the focus around right? I mean are we traveling with one person through this? So for Path of Fire trailer is when we first created Duncan. The plan for season four, if we're going to show story, we need someone to represent the player character. So we have a basis from.
Rubi Someone consistent. Yeah
Chelsey Yeah, so you know what to go around. So we're in Elona, so I decided lets do you know, an African-American male and the name Duncan comes from back in my Guild Wars 1 day, I met a friend in Guild Wars 1. In one of our stories we had one of her character's name was Duncan so this is kinda a tribute to my friend that I met way back when, in those early days.
Rubi That's really sweet.
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<!--Transcription note:stopped at 25:44 minutes--> yeah and we had talked crystal Reed and Byron Miller have talked before on guild chat about how a lot of the like raid characters raid bosses are named after old friends if there's like from writing days way back when so that's it's it's neat seeing that in there and it's not just we pulled a name out of a hat it's actually kind of meaningful yeah and it has a story behind it so and that worked out well with the decoy pun - yes decoy for Duncan yeah yeah when I was putting the trailer together I knew it we knew we wanted to do kind of character call outs movie woodsy and I guess and snatch a movie snatch yeah just freeze frame you know with some sort of of title not their actual name sorry this was quickly iterating on stuff and I just threw through some ideas out fully expecting that narrative a comeback and you know make them good and they decided to be victim so yeah all of all the the names that you see in the character call-outs or just me messing around and that just happened to make it through all of it if I let it out the names that you came up with were good all on there I guess yeah yeah I should go join their toes now somewhat what if these days someone from another team is just gonna bust in here while we're live could be like no there's a joke that other teams steal from cinematics all the time I need my team members no it is it worked out really really well and I know we had to you and I had talked to it a little bit about you send that off to localization because we have to support all four languages and it's like so here's a pun yeah I specifically called out a especially for for Roxas my ferocious yeah I'm like I don't know the language is but I they they figured out a way so yeah we have an awesome localization team we do and huge shout out to our local we hand off this weird stuff all the time because just by virtue of what we do it's just it's there's some weirdness constantly in process and they handle it like champions so thank you so much that's great yeah they do so that was that was kind of Awesome let's talk a little bit about just the for lack of a better word just the cinematix in general and the camera angles and the shots because it was such a huge group effort that you guys did oh yeah it was massive we had a ton of people all hands on deck pretty much I think I think every person on the Cinemax team touched us in some way or yeah we had been who did the motion graphics stuff and he also did the effects for the the back half and then the transition into it okay no no mocap this trailer that's coming up yep we had Martin did a lot of the cinematic camera shots for the back half he's great with cameras my favorite of his is the very final shot of the awaken behind the waterfall so so good that's super-creepy shot yeah that's great and then Greg on support with animation yep Greg supported animation I'm he did the weave I don't how many iterations we went through on the joke Oh panting that portrait where we just kind of trying to figure out that perfect mix of subtlety without giving it away that Joko actually moves in the painting on that specific one yeah we must have gone through 2015 to 2018 zhan it and we wanted to get about we were trying to get about 30% of people who watched the trailer to notice it with the idea being that they would go on the forums and say did you see Joker moved he moved and I think we think we know that I think we got about what we wanted with dick there was there were when it went live there were comments on the reddit they were saying you know did you see that would go back and watch it I think there's actually spikes if you can look at the traffic there's spikes in the tree take the whole back half was about subvert like submiss they're not what's luminol messaging in a way so the way the shots are like a long hallway shot when they jump through that video camera you know there's the dead chart cuz this whole build-up of not in-your-face horror but very spooky and yes more subtle trying to mess with the mind a little bit I guess what we're definitely trying to go for so the first half this is a comedy snatch feel yep second half is this very mental game spooky yes is why the the haunting lyrics really kind of just played in with the visuals that you were going for mm-hmm we had I mean just more people that worked on this just quick call out for them we had constant artists that were concept by concept artists that worked on the slates the character call-outs Joey from marketing who worked on the text the graphic design for the text who else do we have we had a environment artist that actually created that Joko portrait area I can't rubber the name talking ahead I'm sorry and then obviously all the audio people that were going to the tweaking of the final lyric there of course you know both Jessica and Tom with reviews right make sure that we have a ton of people that go and review these okay these things go through a huge gamut of people that yeah take a look at everything and make sure that we're not showing things or muscles to be showing there's no bugs and anything well no game bugs there's a bug at the end of this one that I make that joke and I appreciate you guys should have heard the puns last week it was horrendous and people still haven't recovered we were talking about the underwater update oh yeah and just the water and swimming and fishing puns were just awful in the best way it was good dar would have been proud all right well thank you guys so much why don't we take a look at the trailer and then we'll answer some questions Center it yeah all right let's see the finished product zero idea where the base is but I did find the name of a scientist there so if we find the scientist we find the base djoko's using to launch his attacks one of their convoys just received an unusual order to delay their arrival taking their place until you inside the command are leaving me around in Chains not a chance and this still the star all right so are we good to go mark okay I'll let whoever wants that question ticket yeah so the question is how do you decide to portray the tone transition to give a sense of impending dune after everything's fine that is kind of like like how we do that or why oh wait those are two different questions I'm sorry okay let's get we're having it there's a good tiny technical difficulty that we're working on in the background but in the meantime we can see the questions for the most part okay okay we decide how to portray the commander that's a question all right so that was the Duncan character because we were in alona we wanted to just represent an alone Ian being the hero for that region and since season four is still part of this whole region from path of fire that's why we went with an alone Ian's character to represent the commander you know that could probably change depending on who knows what but for season four it's gonna be an alone Ian male alright yeah that's fair and it's consistent so you you know this is who we're looking at this is the representation of the player care yeah yeah sure sure Blackheart Gary asks was the tone transition to give a sense of impending doom after everything is fine yeah we purposely wanted to have a really high contrast of this you know happy bustling inquests base that's nice and clean and not messed up and then we transition into quickly into there yeah there's those problems here and Chelsea brought up one of the ways we did that was the announcer voice at the beginning is you know just a regular announcer voice into the facility and then as we transition into the messed up destroyed base we hear a corrupted version of that recording playing and this and there's color changes to we go into a more gloomy there was a lot of stuff that we use to try to sell that transition between everything's great and know things are not using the uncanny valley to our advantage you take something that's normal and then you just start to tweak it so it's not normal anymore and that really gets people uncomfortable yeah I love and there's a progression to in the back half yeah we're initially things that are you can tell there's something wrong but you don't know what's going on yep and then as we get later in the trailer you see there's no slime and all sorts of craziness nice so I have one here lemony is asking about the timeline like how far ahead you start working on trailers I we've established you don't knock the master oh right so my ideal time schedule for cinematics in general is about four months ahead I will always like more with trailers though we usually have to wait until the episodes further along so that we can grab the assets and you know represent what the episode is really gonna be about so on average I would say we have about two and a half months to work on the trailer even that's tight from my comfort level right I prefer three months but we can do it fairly comfortably in two and half months we get to the month range and we're sweating bullets and yeah just building upon what you said there's a lot of stuff that kind of comes online and that lasts yes or so before release yep and so we kind of have to be pretty flexible and I try to try to nail at least the tone we can start working on music that kind of stuff early hmm and then then it's shot replace event later you know we I build a lot of shots so you know once assets kind of come online and I can go back and recapture fairly easily but you know there's a lot there's a lot of work we can do beforehand before assets are finalized so it's not a huge deal the biggest I think problem one was this one I think it was this one was we've pulled line from lines from the script and built around that using tent Bo and then you know the script is always changing even up to the point where they record oh that's right know when that when it came time to record the lines got subtly changed and we kind of had to figure out a way of using what was recorded to still sell the same message that we had before so that kind of stuff man it happens but it's not usually a huge deal you seem to have worked with it extremely extremely well yeah and it's yeah it is a very good team especially like you said everybody came together on this one yeah so many people had a hand in it yeah Chris I think that one's for you yeah does the audio team use f mod or something built in house and f mod is a audio middleware which typically is implemented in between the the proprietary audio tools to make the sounds like a digital audio workstation and the game engine I believe our tool which I don't know how old it is is built off of the F mod API but we are not actually interfacing with F mods commercial commercial interface we're using our own proprietary tools yeah although I'm sorry for I was gonna say for the for the cinematics most of the work is done in new window which is a linear digital audio workstation editor and then that gets exported into our proprietary audio tool and we just for the most part just hit play and it plays back the audio for whatever cinematic is being played in game here's one for who does what Drax John wants to know are you the same team that does the in-game cinematics yes so I am the team lead for everyone so Jason is kind of just dedicated to marketing and we're trying to give more love to that before in the past was season 3 it was whoever had the time to fill in the trailer and it was actually done but a lot by Steve the previous lead before he moved on to being an art director and he did a really good job but he also you know there's there's a there's balance to what you can do in a day and so when I took over I hire Jason to take on for marketing and then we have about five others that will focus a lot on in game and they all have their specialties you needed more hints and Steve was a superhero but he was a super great people yes but he moved on to an art director yeah well we well I only work on marketing stuff for the most part we do have team meetings and stuff where we get to show all of us what we're working on so that's my opportunity to well I don't directly work on cinematics and game I get to you know give editing notes or yeah yeah when I like me that looks great or what if we tried this having hand in the process yeah and if we had more time I throw you on in-game stuff - yeah all right now well it sounds like there weren't very many questions because people had questions and you guys answer them in course of the chat so good work yeah all right well thank you guys very very much for your time I appreciate you coming to talk about the trailer because this was such an enormous hit and thank you guys for spending some time with us this afternoon and we will call it good and let you guys get back to work and I will see you guys next Friday thank you
