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 •