Broadcast Beat Magazine 2017 NAB Show NY/SMPTE Special Edition | Page 56

of War’ franchise, exceeded the loyal, fan base
expectations. eating all the food at craft service…that last part
was a joke.
Q: Can you tell us about your day-to-day activi-
ties producing Gears of War?
A: As I am mostly involved in the physical side of
the production, my day-to-day comprises mostly
of meetings regarding the cinematic characters in
the game and selecting the best actors for those
roles along with finding the right fit in terms of
stunt coordinators and stunt performers for the
gameplay side. Making sure all the ducks are in a
row in order to keep production moving forward
without delays and into the stage at Animatrik, is
StoryLab’s main priority. Q: What was the most challenging aspect of this
project?
A: Good question! The most challenging aspect
that I take to heart, is making sure the team I put
together is always servicing the story in the way
The Coalition team envisioned it. With the Gears
of War fan base being so loyal, they deserve to
see their game to be brought to life in the best
possible way, so that when we are searching for
a new performer to play an important role in the
story, finding the perfect fit is what I pride myself
on. It’s a great feeling to see the whole team
come together on the stage, ultimately enjoying
their experience in this unique mocap world.
Q: What are the similarities and difference when
working with mocap sets compared to tradi-
tional acting sets?
A: The most obvious one is the lack of physical
visual sets. On a mocap stage, we work mostly
with simple wood framed boxes in the volume to
represent actual digital assets in the final game.
So for the performers, it’s a fun challenge to keep
their imaginations in top form in order to help
convince the audience that their characters are in
epic cinematic game setting.
The other most notable difference is the pace
of shooting. With film or TV, there are so many
more aspects that need to be perfect before the
cameras are rolling – this means the time between
takes can be quite long. With mocap, the pace
is much quicker, allowing for a better creative
energy, keeping the performers engaged and not
Q: What do you like about working with
Animatrik?
A: Animatrik is such a treat to work with. Not only
do they deliver the best data for Microsoft, but
they also enjoy their working environment, never
forgetting to have fun in the process! Working
with Animatrik has been seamless. The respect
and support they have for the talented folks who
pass through their doors is unmatched, and I’ve
been around a while to know.
Q: What do you think the future holds for mo-
cap and gaming?
A: I look forward to seeing how far we can push
the narrative of games, so they play out even
more like a film would. To witness these two
mediums meld together, to tell a great story and
to play game at the same
time, is something I feel
excited to be a part of.
Q: What advice would you
give for a budding pro-
ducer?
A: Find what you are good
at and focus on that, as
all producers have their
strengths and weakness-
es. Making sure that I am
always servicing the story
is how I believe I can attain
both longevity and per-
sonal fulfilment in this fun
world of entertainment.
56 • Broadcast Beat Magazine • www.broadcastbeat.com