How 'Modern Warfare II' Became The Most Realistic 'Call Of Duty' Game | Movies
From Real-Life Wear to Digital Realism: The Intricate Process of Transforming a Destroyed Belt into a Convincingly Worn Prop in Call of Duty: Modern Warfare 2, the Most Realistic Video Game Ever Made
set pieces and costumes like this direct Target
destroyed but they didn't stop with
objects they also stepped up their
performance capture Tech to create an
insanely true to life feel and
experience we took a look inside the
game's La Studio to find out how they
transport our world into theirs
and it all starts with a process called
photogrammetry or capturing high-res
photos of a person or object from every
possible angle then stitching these
photos together to form an incredibly
detailed 3D replica
it fires off all five cameras at once
the turntable will turn eight degrees
and it takes another shot because we're
capturing it from down below and up
above we get every angle of this part
which allows our photogrammetry software
to reconstruct this as a 3D model the
Modern Warfare team can then manipulate
this photorealistic 3D model in the
computer photogrammetry makes it easier
and quicker to enrich the world of the
game with new objects and characters
traditionally video game characters are
built digitally and that's exactly how
Call of Duty worked until 2015 when the
team began incorporating photogrammetry
now the team can build a character in
one week instead of six and the output
is a mesh very very dense with a lot of
details that can go through our
character artists and using this data to
build the game asset one of the most
time saving parts of this process is the
ability to scan costumes in all of their
glorious details
when building costumes in the computer a
good chunk of the time is spent painting
in wear and tear Call of Duty is a war
game after all nothing about the costume
should look pristine
photogrammetry instead of digitally
simulating each scuff chip and stain you
can create all of those details in the
physical world and scan them into the
game so this is our distressing station
this is where we take gear that we're
putting on characters in the game we
distrust it to look like it's been out
in the field for an extended period of
time because when you get something
brand new it really wouldn't scan well
it doesn't have any sense of realism
they use rotary tools to rip and fray
the costumes and Sanders to make the
fabric less starchy and rigid the fabric
tends to feel older if you sand it down
and to make the clothes feel like
they've been out in the desert for weeks
at a time we have bags of fake dirt you
can actually just kind of plop it down
right on the item this process only
looks haphazard story matters
we try to put it where we think if one
in the field where would a soldier kind
of lay on the ground where would the
most scratches occur where would the
most holes happen and where would the
most dirt accumulate when we distress
stuff we try to kind of tell the story
that story might involve stains or
bullet wounds we used to use things like
coffee and tea to stain things but those
ended up creating a bad smell over time
so now we use things like black ink
mixed with water we have fake Hollywood
blood here so if anything needs to look
like somebody's been injured in it we
have that including a fully costumed
actor into the photogrammetry Dome helps
the team capture other subtleties too
like how fabric hangs and sways on the
body
they also use this approach on props so
this is ghosts desert mask you may
recognize it from the opening of Modern
Warfare 2. it was actually created
practically and then we scanned it here
in this volume and the 3D Arts took over
and built it for the game many props get
scanned into the game through an
alternative approach called an erago rig
it's a new system that we implemented
recently it's just for props County
mostly it's like a step up from having a
bunch of cameras the system allows you
to have a single camera on the miniature
is on a rotating turntable and the
Machine will just move the camera around
for you so instead of figuring out where
you need to be in relation to your
subject you just do that on a software
so you can pre-arrange all your camera
needs or your camera positions and input
all your camera settings and then it
will just do the sequence for you this
is actually packable and transportable
you can take this to a prop house and
then scan hundreds of props a day here
Valerio is using the arago rig to scan
in one of the game's mini Miniatures
handcrafted models of set pieces weapons
and vehicles once scanned in these
models serve as the emblems for bad will
pass a system that rewards users for
playing the game and they aren't
designed to feel as strictly realistic
as other parts of Modern Warfare overall
we're shooting for for hyper realism we
want the game to be 100 realistic but
this is not necessarily in-game content
this is like displayed outside of the
game because of that distinction they
want the emblems and rewards to feel
bespoke handmade and collectible
qualities that handcrafted Miniatures
lend themselves to and it's easy to just
tell your artist I want this this is my
vision just go build it rather than try
to find it in the real world sculpting
it by hand allows you to retain some of
that natural feel natural detail like
miniatures
the automated system provides a lot of
control over scanning these individual
objects into the game but scanning in
real world settings and environments
requires a more free-form approach
consisting of a handheld rig with a high
resolution Sony 7r4 camera Valeria is
demoing this approach on a miniature
here but normally this is what he'll use
out in the field a real-life settings
and set pieces that can't be placed on a
turntable or stuck inside the Dome we
rely on this high resolution cameras to
be able to pull detail from The Real
World I would say 80 of discounts they
do happen out in the real world so it
could be an urban environment and we
could be shooting a lot of ground a lot
of streets Street elements trash cans
curbs a lot of small detail that's going
to help really push the Fidelity the
quality of the game and then there are
natural textures we also do Foliage for
example a lot of rocks sandstone Granite
sand up in Northern California Coastal
scans for the Mexico setting of Modern
Warfare 2 the team spent a week doing
photogrammetry in the Mexican state of
Chihuahua including aerial
photogrammetry with drones to capture
expansive Landscapes with the goal of
upping the level of natural detail in
the game the teams got really deep into
for example researching in the real
world locations of what is the light
setting at that particular place in the
world right so if we're taking a map and
we say to ourselves like it's
geographically about here in the world
sending out teams to actually measure
like at this time of day this is the
Luminosity of the sun this is how the
light is bouncing around Etc but
photogrammetry has its limitations
especially when it comes to light
reflecting surfaces anything that's
reflective even say glassware cannot be
scanned that creates challenges for the
many vehicles in the game another
limitation of photogrammetry it only
works on static objects like rocks curbs
trash cans anything that moves like you
know tree canopy or even a person's hair
usually cannot be scanned really well so
water is something that cannot be
scanned even when we scan characters and
actors we don't really get the hair to
work too well with this technology
that's where they use computer
simulations to govern the physical
behavior of moving elements like hair or
water helping create the Amsterdam Canal
scene here but Amsterdam would be a
ghost town without lifelike characters
to populate it and to create dynamic
characters you can't just stick actors
inside the photogrammetry Dome as many
facial expressions as actors do in there
it's still a static process critic
imagery is one of many reality capture
techniques or methods the other method
the game relies on for its characters
performance capture this process differs
slightly from motion capture as it
records not just the motion of the body
but also the face fingers and voice we
capture the performance of the body we
have enmarket cameras to capture all the
subtle performance or the face and we
also capture audio so everything is
captured all together it's like
basically shooting a movie at the stage
but it's also different from filming a
movie in some key ways for one the
actor's expressions are captured via
facial cameras mounted to their heads
because some detail gets lost in this
facial capture process performing for
video games is a bit like performing on
stage where actors rely on slightly
exaggerated movements and expressions
and unlike movie video games are
interactive and players can fall run
climb and fight indefinitely that means
actors must record hundreds of exertion
sounds and other noises sometimes doing
dozens of takes on a grunt or sigh to
keep their characters from sounding
stale or robotic over hours of gameplay
finishing touches come in the sound
design where the team aims to transport
as much content as possible from The
Real World recording out in the field
and with real weaponry and props every
time you shoot a gun in the game and you
hear the brass eject and land on the
ground on the different Services whether
it be wood or concrete or the metal
surfaces we record all of that we do
absolutely every bit of recording we can
particularly when it comes to weapons
and vehicles on this last game we've
recorded all of our weapons tanks real
practice rounds from an RPG three
different helicopters anything we can to
make the game as authentic as possible
we're out there trying to capture sounds
for it it's all part of raising the
stakes and keeping them high to fully
immerse players in the game and make
their actions feel like they carry
weight when simulating something as
perilous as War
About the Creator
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Comments (1)
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