#029: Capturing Movement: Performance and Motion Capture

00:00:02: Hello, welcome to the answer podcast.

00:00:02: people sometimes say you should eat a mic and I will eat a mike made of sugar.

00:00:10: This is gonna take awhile.

00:00:13: Hello Welcome to The Answer Podcast.

00:00:15: my name Is Paweł Buża And i am joined by Kelpie today!

00:00:19: Of course By Pawele

00:00:20: Milniczyk

00:00:21: My friend and co-host the art director for project Hater.

00:00:25: hello Kelpie.

00:00:26: Today we'll dive

00:00:27: into magical world of motion capture

00:00:29: together

00:00:30: with Paulina Lencion Motion Capture producer and Tomasz Kowalczyk motion capture lead.

00:00:35: It's going to be a

00:00:35: great episode.

00:00:36: Can't wait, so let's meet our guests.

00:00:42: Polina Tomak welcome to the podcast.

00:00:45: officially this is gonna Be one of my favorite episodes.

00:00:48: I can tell you that already because we're talking about motion capture and Could you guys start?

00:00:53: Introduce yourselves.

00:00:55: Hi everyone i'm polina.

00:00:57: i've been at cdp for almost four years now And together with tomak We are in charge of them all.

00:01:02: cup team.

00:01:03: Hello, everyone.

00:01:04: I'm Thomas and I motion capture lead And i'm working with people in fun issues for around fifteen years.

00:01:14: Wow, fifteen years that puts it into perspective.

00:01:17: the dinosaur.

00:01:18: so yeah Yeah That's what we call old res here.

00:01:21: like their dinosaurs they remember everything.

00:01:25: So let's start from the basics.

00:01:26: why do you do a motion capture?

00:01:28: Like We have so many animators.

00:01:30: there are so many you know, mocap studios that we could potentially work with or rent and stuff like that.

00:01:36: But we have our own studio.

00:01:37: why do we decide to do that?

00:01:40: Because it's cool.

00:01:41: the first things first but I think most important thing is motion capture as a tool for animators

00:01:48: And

00:01:49: we can record real person people natural movements, some... Some natural breathing and even the greatest animator is not able to get it by hand in a reasonable time.

00:02:11: So let's record that!

00:02:13: And then you can fix things and adjust only small parts and not spend time on reanimate everything from scratch do things that you can record much faster with really, really talented people.

00:02:31: And Paulina tell us so how does mock-up actually different from traditional acting?

00:02:37: Oh I would say there was a lot of differences.

00:02:39: first of all You need to imagine everything you don't have really like props and then let's say general understanding.

00:02:47: uh...you don't Have a camera..you Don't have a let's Say TV set usually have when you're like in a film or theater.

00:02:56: So basically I would say imagination is the key point, usually new people that are coming to mock up their... You know?

00:03:02: I wouldn't say not confused but it's kind of A New Thing To Them That You Need Really Imagine A Lot Of Stuff Like Props Set Where You Are Setting Maybe Some Blocking Even Some People.

00:03:12: The Character You Don't Have Any Costume so It' Really Playing With Your Imagination factor.

00:03:20: that is kind of like differs from the traditional, traditional acting.

00:03:24: Yeah I'm happy you mentioned cameras because cameras are there but they're placed in so many different places That your not looking into one specific... Like what am i doing right now?

00:03:32: Looking at a one specific camera?

00:03:34: You don't do that and you don't act in front Of The Camera.. You Act With

00:03:38: Your Whole

00:03:38: Body In A Space Which Is Super Interesting If You Think About It.

00:03:43: So how we built our own third space How this whole thing Mockup Studio, NCT Project Reds Evolved?

00:03:50: OK, so let's dig really deep.

00:03:55: And we started with old ancient solutions and a huge PC on the back... ...and kind of funny suit.

00:04:04: Attached to person?

00:04:06: Exactly!

00:04:07: That was actually.

00:04:08: it looks like a mech actor who is inside that.

00:04:15: So movements weren't

00:04:18: kind

00:04:18: of super accurate because you had to fight with the costume.

00:04:23: But that was before The Witcher One, I mean for The Witcher one and later we moved our first optical system.

00:04:31: probably will have a chance to explain what's optical system more in a minute.

00:04:38: then we realized as company okay it is really nice tool so let record running, for example.

00:04:47: And it's much easier when you can make more than two steps.

00:04:50: because by the way in first studio I was really tiny place and right now this is a toilet.

00:04:58: so imagine how big that was!

00:05:02: So second stage was slightly bigger.

00:05:06: before cyberpunk we decided to go with a full tech kind of big studio.

00:05:14: And we are talking about the third one and somewhere in the future, probably will have fourth one but we'll see how it

00:05:24: goes.

00:05:24: that's really cool.

00:05:25: as also for those watching like this space on which We do The podcast is just where neighbors was mocap so they're their next door neighbors to us.

00:05:34: So all the cool recording stuff happens In This building.

00:05:39: yeah

00:05:41: a little bit to invite us guys.

00:05:42: So yeah,

00:05:43: I don't know!

00:05:45: Plus i want to mention uh...I think they're the only team that actually have Sebastian from the podcast on their walls.

00:05:52: so they have like a printout from the podcasts.

00:05:56: but we'll get into this also.

00:05:57: so we know that the Mocha team is watching for sure.

00:06:00: yes maybe because it's..we are so close.

00:06:03: that was yeah.

00:06:04: may be in future and maybe in the future.

00:06:05: so thats why were not first.

00:06:09: Yeah,

00:06:10: but of course we always wanted to invite you guys because MoCap whenever We do anything for partners or if we have like family friends day and we Have people coming into the studio.

00:06:20: We always invite them To The MoCap which is based on the People that I've talked with.

00:06:26: That i showed the mocap space too Like oh my god mocap Is so cool.

00:06:30: it's incredible This how its made And You Always Do Some Type Of Little Presentation Where You Actually Have Someone On Stage In A Suit Doing things and the performances later translated into an engine stuff, which is like mind-blowing for people because they're Like hey.

00:06:46: Hey that's that's Geralt right there But that's a different person.

00:06:51: how is it possible?

00:06:51: So yeah so Yeah Let's talk about.

00:06:54: let's talk About to stage this setup that you have right now And kind of off course without going in too late.

00:07:00: You know trade secrets and stuff like that because I know each Mosher captured studio does things their own way.

00:07:06: So let's talk about the general setup, kind of day-to-day operations or shoots you do for specific titles?

00:07:14: And all that jazz!

00:07:25: We are talking about motion capture stage, mocap and so on.

00:07:28: So let's explain what is that?

00:07:31: And we're talking kind of big space with a truss around With seventy four cameras As you mentioned... ...we recording everything at the same time.

00:07:50: This isn't like changing camera mode.

00:07:55: This is this one.

00:07:56: We are recording from this one and probably in a second to change it, but we're recording every single place... Every single point of an environment at the same time so that you can really easily change the cameras.

00:08:12: You can adjust them later because we are recording three-D animations at once Our current volume where actor is visible so we can cover his movements over cameras.

00:08:32: And our current volume around fifteen meters by seven meters, place where we can record, you know walking jumping running all kind of cast scenes when spoiler alert Jackie dies.

00:08:49: So so everything We can record in that In That Place?

00:08:55: It's kinda big room definitely bigger than the current toilets and we Can.

00:09:00: we can Definitely do a lot Of things.

00:09:06: Everything for cyberpunk was recorded in the current stage.

00:09:11: But it's not only the room, but we also need all those tools and elements to build scenographies basically during, right?

00:09:17: So how much of like what is this facility around the mock-up studio that allows us do that?

00:09:24: Okay so you have just changing rooms for actors as obvious green rooms a place where actors can spend time when they are not...

00:09:33: Right!

00:09:34: Green room.

00:09:36: Yeah, it's called green room or lunchroom.

00:09:39: Break room

00:09:40: like in TV and stuff like that.

00:09:43: I know the color is not Green but Green Room is official naming.

00:09:47: This

00:09:47: isn't a green screen inside?

00:09:48: No no this also important thing.

00:09:52: our stage, there is no green screen.

00:09:56: We are not rotoscopy anyone.

00:09:58: we're not changing the environment and recording people.

00:10:03: it's very grey.

00:10:05: but continue about facility at most funny part.

00:10:09: so they kind of huge work workshop with a lot of workbench pretty printers I don't know what else.

00:10:18: i would say its playground for people who actually like to play.

00:10:22: Yeah, so we actually have like a part of our team which is responsible for creating props.

00:10:28: So it's kind of their own playground.

00:10:30: they just spend the whole days there Just creating stuff

00:10:33: For what?

00:10:34: What would you build?

00:10:35: Whatever You want?

00:10:37: Okay I think that good example.

00:10:40: maybe That famous tank for cyberpunk.

00:10:44: because We had to record all sequence inside the construction, you know we check the construction because it had to be really stable.

00:10:56: Because all the romance scene inside had two B and they didn't have to be safe.

00:11:04: so when we prepared everything that is safe at Stable It's not interrupting their actors seen positions and things like, oh you know he was a new piece of wood or additional foam might be maybe something problematic for them.

00:11:33: So we had to check it.

00:11:36: You have construct things in terms let's say space but also create things that actors can use holding them right?

00:11:45: I imagine those things needs to perfectly match what will be visible in the game, like the geometry of a game.

00:11:50: But at the same time you need make sure that all cameras still see these people so it's not real-time!

00:12:09: tricky to build it because the markers that are on the body need to be visible by all of the cameras around, right?

00:12:16: So I would say challenging.

00:12:19: To kind of come up with a stuff like how we should build this and what materials should we use so they're not giving any light... The camera can actually see their marker!

00:12:31: It's very challenging sometimes when you have something useful but also safe.

00:12:38: And you know, it's basically a representation of the model that is in game as your saying.

00:12:43: We are kinda discovering their three D printing right now.

00:12:46: let say

00:12:47: super cool.

00:12:48: Yeah so probably Tom I can more and can see more about but we've yeah with Let's say check that it's proving to be working and yeah, It's actually pretty cool because you can actually print stuff.

00:12:58: That is basically the same The same prop or asset that you're actually seeing a game.

00:13:03: so if your drinking from like some cup Or I don't know You are using Some other tool its' Actually looking the Same.

00:13:11: So also easier for the actors kind of imagine Okay i am Using this thing.

00:13:15: Its not Like A Piece Of A Box Wood that I need to kind of imagine to be an axe or something else, but it's actually a let's say real thing

00:13:27: Or at least the replica

00:13:28: replica.

00:13:29: Yeah And

00:13:29: this is exactly from the game.

00:13:31: so its yeah.

00:13:32: So we can print also?

00:13:34: I don't know the runic a running science or some or something like that.

00:13:37: so so It's it's actual thing and it is proper size and more or less sometimes proper weights, but as I said safety first many times.

00:13:51: so sometimes we prefer to reduce the weight.

00:13:54: just be sure that everything is fine.

00:13:57: And safe and stunt performers are actors harming themselves?

00:14:03: I would say work can be interesting sometimes let's say power to design some of the assets in a game because it happens that we record.

00:14:11: Some of them animations are basically being recorded in advance, so some of these assets aren't really designed yet.

00:14:20: So you know We have situations not often but sometimes when asset artist is reaching out to mock-up team and they're like hey what did you use for recording this?

00:14:29: Because now I had to design It!

00:14:32: The other way around as should be

00:14:35: An example, of course.

00:14:36: And this is the spider bot from Quest with Maelstrom.

00:14:46: We got information that okay we had to record a machine in a box.

00:14:51: and what kind of box?

00:14:53: We don't know yet It will be designed future.

00:14:57: so we bought a bucket In one of stores more or less like that, we record everything after let's say half a year.

00:15:07: was it okay?

00:15:08: this is the time.

00:15:09: We are preparing the proper box.

00:15:10: so do you have to bucket because will measure and recreate every thing?

00:15:16: So another way.

00:15:20: I guess there's a lot of creative process.

00:15:22: You have to instantly figure something out.

00:15:23: Like does often happen That he had to act quickly And just know some things missing Some properties missing There're some kind of unforeseen scene props or setup.

00:15:32: I

00:15:32: would say it depends, sometimes you know usually we get like a list of props that we need to prepare in advance.

00:15:39: but sometimes if you're actually playing with each other... Like you are performing a scene some stuff may come up and the director can say hey i really liked this.

00:15:53: so whatever let's use something else!

00:15:54: And then when.. It is a moment where on the fly, right?

00:16:00: Like okay I need this or that and then yeah we need to act fast.

00:16:05: Is there room for improvisation during recording?

00:16:08: Oh yes definitely!

00:16:09: Yes

00:16:09: but i think We should bring up The Walk story from Cyberpunk.

00:16:14: You guys needed a walk To make food in Right?

00:16:17: Yes it was like case That we had additional half an hour something like that And we recorded everything.

00:16:27: we have some spare time and one additional animation would like to record a vendor somewhere on the market who is preparing food in a wok.

00:16:40: Nice!

00:16:43: And yes, what?

00:16:44: We need a wok but how... I mean this isn't even an ordinary pan so you can borrow it from our canteen Walk.

00:16:57: so we started to.

00:16:58: you know, we had a half an hour and it's started too.

00:17:00: You know run looking Looking for something was similar And we realized that our lamp at the similar shape.

00:17:09: So unnecessary elements.

00:17:17: And we said, okay is it good enough?

00:17:18: It's perfect!

00:17:19: You know this exactly the shape we need.

00:17:22: so yeah feel free I mean thank you very much.

00:17:25: Think

00:17:25: of like a half-a-sphere that just covers the lamp and kind of makes to make the light a little bit less hardcore.

00:17:33: Just take it apart in use then actually if you think about does actually look like a walk.

00:17:38: But I guess

00:17:39: this is a rare case, right?

00:17:40: And usually the preparation goes way back before the session starts.

00:17:44: Right so how that works well?

00:17:45: How do you prepare and collect all data on how to build props who to invite in session etc...how it works?

00:17:52: So i would say It's a lot of cooperation with other teams especially with animations cinematic design.

00:17:58: Also we have gameplay themes Of course because like In the beginning You prototype alot.

00:18:02: Basically you record combat style animations, let's say you can just check your ideas see if you need to improve something or maybe change record.

00:18:13: Something else.

00:18:14: so I would say in the beginning it is basically about hearing their expectations and listening what they actually want.

00:18:22: It starts from the meeting, it starts basically requesting... The other team requesting the animation.

00:18:28: So they come to us or we reach out to them sometimes if you know that project needs animation being recorded something.

00:18:37: so then we talk okay what need's be recorded?

00:18:41: Is a gameplay animation is an open world cinematic scene and start talking get list of props stuff animations later in the process.

00:18:55: First of all, we have course kind decide okay is it the stunt material?

00:18:58: Is that the actors' material should maybe work with some other crew to prepare something like?

00:19:05: one example is the scene that was presented in the Unreal tech demo.

00:19:14: That we recorded, it was... The scene at a beginning when they're in the carriage and you know with

00:19:21: the

00:19:21: merchant

00:19:22: as someone would call it washing machine.

00:19:26: It was kind of like that because we actually worked with external crew to work on the whole piece.

00:19:35: Actually, we were shaking the thing to actually record a real movement of that right.

00:19:39: so then We were in the beginning kind and we knew okay.

00:19:41: This is this kind of stuff That we need to record.

00:19:43: it's very like heavy.

00:19:45: there was a lot of prep time that we need To you know Put into It Of course.

00:19:50: The other Thing Is if You really actually have this Time for Preparation but you Know That's on the Side

00:19:55: What Kind of Advance They Need to Book Mockup Studio.

00:19:58: So how much sooner?

00:20:01: to let you know about it.

00:20:03: You guys are busy, right?

00:20:07: Yeah!

00:20:07: I should probably answer that question because i would say different.

00:20:11: when we worked on one project but since we kind of switched to the multi-project development its been a little bit busier.

00:20:20: so thats why kinda also try and invest in more cup team and as Tomek said some new things are coming A few months in advance, for sure.

00:20:34: Few months?

00:20:34: We're

00:20:35: talking about a month's.

00:20:37: Yeah because I think we also should kind of put it into perspective.

00:20:40: if you think about how many recordings... Because he recorded everything like said in the SmokeApp Studio for Cyberpunk.

00:20:44: How many recording days is that If You Put It Into Kind Of People's Head?

00:20:49: so they know The large scale and volume of this thing.

00:20:52: So when were talking about Cyberpunk That was more than three hundred, so three zero-zero To be more precise, that was actually three hundred and eleven shooting

00:21:04: days.

00:21:06: Yes I was counting... That's

00:21:07: almost a full year of shooting pretty much if you take it into account?

00:21:10: And there is only one project.

00:21:13: also we had the chance to record some things for a Gwent.

00:21:19: so that was part our job right now Siri and Witcher, other projects.

00:21:30: So that's why you can multiply these three hundred eleven days by the project.

00:21:38: so we are kind of fully packed?

00:21:41: I

00:21:41: feel like at this moment tell you about Tomik's superpower, because Tomik remembers almost all of the stuff that we recorded on every shoot.

00:21:51: So basically he is like a bank of animations recorded.

00:21:53: so sometimes...

00:21:54: Mr Library?

00:21:56: Yeah

00:21:57: exactly!

00:21:57: Actually yes I remember my first shooting day but yeah.. That was kind-a helpful because sometimes different teams record at different animations and it's just like hey this or that Give me two seconds, because I'm pretty sure we've recorded something

00:22:13: like that.

00:22:14: And i can give you the data.

00:22:17: So yeah... I use that superpower in a good way.

00:22:23: Going back to shooting days is it like Monday recording Cyberpunk on Tuesday recording Witcher etc.

00:22:30: every day different session or there's like building these props for example setting up studio?

00:22:35: That takes some additional time.

00:22:37: It

00:22:37: might be I mean, yeah that's we can record everything let say the whole week for a witcher or first day cyberpunk which is hyperpunk witcher?

00:22:48: Or something like marketing purposes and so on.

00:22:52: So We are fully flexible And we can adjust this.

00:22:57: This isn't not The big deal For us.

00:23:06: Also, I think really important thing is that we are recording Witcher.

00:23:13: So... We need a lot of source for Witcher game so we have them!

00:23:19: For Cyberpunk we had lots different guns and some props prepared in advance because we know that... We'll have a blacksmith so we need an unveil and the hummer.

00:23:35: We will have someone who is fishing, probably a rod that's kind of necessary to do it in advance or later... Yeah cool!

00:23:45: Okay because you don't have to prepare it before the project.

00:23:53: Whenever you visit MoCab, You can tell more or less what they're working on.

00:23:56: because kind of when you enter- Before you entered a stage if look to right... ...you see that there are actually different things.

00:24:04: like cyberpunk times it was just full weapons.

00:24:06: It's guns, different guns knives you know katana stuff like that.

00:24:10: now if you enter it's just totally different.

00:24:13: You see a lot of swords, even stuff.

00:24:15: I've seen us having shields there or rake for example.

00:24:20: so there are lots and also things which don't resemble anything

00:24:29: animal parts.

00:24:30: I remember those crazy legs for it was a long time ago, right?

00:24:33: In Witcher three this additional leg setup that you put your legs

00:24:37: in something

00:24:38: like extensions.

00:24:39: Arm extension still

00:24:40: have them.

00:24:41: Yeah we still had them.

00:24:42: It's crazy That why when you enter these places they are feeling at least in the Wonderland.

00:24:46: yeah

00:24:47: all the toys

00:24:48: Everything is pretty much possible.

00:24:49: but what i also really liked Is I feel like the props which help actors do certain motions with They wouldn't be able to do.

00:24:59: Think, for example like a sword without a blade just the hilt for it so you can actually stab someone.

00:25:05: that looks realistic.

00:25:08: And of course later recreate an engine and then they look like a whole sword but your are using the hill to kind of pierce through some one which I feel also need be thinking in a very creative way on how do things.

00:25:23: because Yeah, it's like how do we improvise this?

00:25:26: So It looks realistic.

00:25:27: Well then We need to cut the blade off and Then its gonna work right.

00:25:30: but there is probably more examples of stuff Like that.

00:25:33: Yes!

00:25:35: We have things That can be anything.

00:25:43: If you could imagine a heavy object that You hold in your hand that Is taped up around And has these funny markers on so The cameras Can see And it's like there is a smaller thing and bigger.

00:25:56: It can be monsters' hearts, witches' grenades... A rock!

00:26:04: It could be trophies of some kind or other.

00:26:09: Whatever

00:26:09: you imagine?

00:26:11: I think

00:26:12: because it has shape.

00:26:16: but what type of shape?

00:26:18: It's kind of round, but not exactly.

00:26:21: So the most important part is it's heavy and you can grab in one hand so it could be anything And later we put a proper model on that.

00:26:33: As I said, that can grenade hard... Alright!

00:26:39: Someone reaches out to them.

00:26:40: they need some animations right?

00:26:41: You have a list of animations, you've lists of props all set up.

00:26:45: you need then people.

00:26:47: What are the actors performing on?

00:26:49: You already mentioned that there's like depending if it does gameplay or cinematic, right.

00:26:53: So how do you get from?

00:26:55: where did you go to get those people?

00:26:58: Um, so basically we usually it kind of depends also what kind of um.

00:27:04: if We are recording mall cup or we're recording performance capture right because like for difference

00:27:08: Yeah.

00:27:08: Uh

00:27:09: yeah For perf cap were recording voice.

00:27:11: uh at the same time as we are recording The animation for motion capture?

00:27:14: You are only recording animations.

00:27:16: So all need a movement Right.

00:27:17: It's not that important to be in A you know quiet environment Quiet setup and All Of That.

00:27:23: And Also for the Performance Capture We Usually Work With The English Natives.

00:27:27: So right now we work mostly with the UK.

00:27:31: With the UK cast, We're probably going to talk about it later a little bit more.

00:27:36: but yeah when it comes.

00:27:37: so like let's say regular shoot which is a motion capture shoot... ...we usually work with Polish actors because basically they are most of them live in Warsaw.

00:27:46: It doesn't take much time for them to travel through this studio.

00:27:50: So basically, there are people that worked with us for very long.

00:27:53: I would say some of the people probably work to last like fifteen years already or even more?

00:27:58: Probably and we usually know who is good at what right.

00:28:04: so if you're recording from open world when no problem in advance usually an advanced who he would like to work it's uh... if there was a specific needs.

00:28:14: so we have some sessions on your unique let's say and we need specific performers for that.

00:28:20: And I think a good example would be the sumo Polish team, that we worked with or the parkour or gymnasts that we work with.

00:28:28: it's basically different depending on what you need.

00:28:31: We kind of try to look For You know The performer That Would Be Good at It That We Know Or We Want To Try Some Kind Of Solution.

00:28:39: So Yeah We Usually Work With The Agencies basically with the actors that we worked before.

00:28:46: Or sometimes people just come to this studio and leave their portfolio or just send, you know, portfolios through the email address?

00:28:52: And yeah, that's basically how I work with them.

00:28:56: And they think... We have to remember also about stunt performance because there are some kind of important part in production Because In that case casting, we are not working with let's say a crew from UK or US because we have our own friends and they're working with us more than fifteen years.

00:29:27: So they know exactly what is going on.

00:29:31: We don't need to explain the technicalities but ok you already got it.

00:29:37: Be a girl for the whole shooting day.

00:29:40: So that's definitely helpful when we are doing a lot of animations, they

00:29:50: know exactly and to make.

00:29:52: so having in mind all those animations you recorded is it possible?

00:29:55: That you look at an animation as seen in the game or just say open world animation?

00:30:00: You can tell which person did the mock-up for that?

00:30:05: Yeah Actually, yes.

00:30:08: Because

00:30:09: people do have a very unique way of moving right?

00:30:14: Yes and also this is the reason why we are trying to have a performer for specific role because at the beginning of Cyberpunk, we recorded for example Jackie with three different actors

00:30:36: and

00:30:37: I

00:30:38: still am able to see who was playing when in which cases.

00:30:45: And that moment you can see this inconsistency.

00:30:49: okay right now Jackie is heavy and focused.

00:30:53: yeah he's energetic so on.

00:30:56: So right now would like one performer just have style, this mood.

00:31:04: Sometimes you know...

00:31:06: Repetitive performance?

00:31:08: Exactly!

00:31:09: So I'm able to see it.

00:31:15: but also gamers can say like why is he so hyped

00:31:20: guys?

00:31:21: Why's he moving different exactly

00:31:23: when his jumping

00:31:24: all around?

00:31:25: Too energetic?

00:31:26: that's not him for sure.

00:31:28: yeah I'm sure not only me, but I know the reason.

00:31:32: But gamers don't always... That's that kind of knowledge?

00:31:37: Does it sometimes happen that actors are not aware what exactly they're recording for like?

00:31:43: then no specific about their projects.

00:31:45: or do you just know the thing that there is supposed to show all two somersaults and ended with something And then You don't tell them Like What It Is Specifically For?

00:31:55: Or Do You Tell Them Specifically This Is For This Game This Is The Scene.

00:31:59: How much do you give them insight?

00:32:03: Yeah, a lot I would say.

00:32:05: So basically usually at the stage of casting we don't tell what they project is that we are casting for, or what they're going to be actually performing.

00:32:16: We usually also sometimes use the code names for the characters that we cast were because we just don't want people to you know basically talk about it?

00:32:23: No!

00:32:23: Basically that a CDP is casting for some specific project or something like That.

00:32:27: so usually we used code names and then when we meet with them in person Then we tell them okay this Is What we Are Casting For.

00:32:34: Or This Is What We Are Recording For.

00:32:35: After Signing an NDA

00:32:37: Of course after signing an NDE I just feel and i guess like my team would also agree that it's, It's just fair because how can someone do a good job if they don't know who are playing or performing us.

00:32:51: So They usually know the context.

00:32:53: sometimes of course we ourselves Don't know the whole setup Or let say scene Because you know its being iterated rewrote and you know, all of this kind of stuff is being still like in a review process.

00:33:06: But we kinda no okay?

00:33:07: This is the intention that we are going for just as the character that you're playing And We expect You to perform this or That right.

00:33:14: so I would say we try To share As much as we can.

00:33:16: Mm-hmm.

00:33:17: does it always require

00:33:19: an

00:33:19: actor?

00:33:19: Or sometimes people from from The team Are actually performing as well.

00:33:25: Tommy himself

00:33:27: Your girl.

00:33:30: We just wanted to tell you guys that Tomek was actually Geraldo.

00:33:34: No, I wasn't!

00:33:36: But they had a chance to play Jackie in

00:33:40: few scenes... With

00:33:41: Jackie?

00:33:43: That's why he has been mentioning Jackie all this time.

00:33:46: He already loves the character and soaked it up.

00:33:49: Which version of Jackie are we

00:33:50: talking about?

00:33:50: The live version of Jacky.

00:33:56: But we are deciding to, you know.

00:33:57: To hire the professionalists and that's actually our cases sometimes when prototype something and we okay let's record something really fast, to be sure that maybe this character should be bigger or smaller.

00:34:18: We are asking people from studio do such a thing but mostly for pre-visualization for the final and production data.

00:34:34: Right now we are focusing on hiring stunt performers, actors or people who can do weird things when they have... Special abilities like the sumo fighters or someone who is an extreme master.

00:34:57: Exactly, that's a great example.

00:34:59: so and if someone from studio is swordmaster then yeah feel free you're invited.

00:35:07: Someone from studio has special ability.

00:35:10: I mean,

00:35:11: we worked a little bit with people from CDP.

00:35:13: Usually when you try to look for something specific like climbing can be good example because what?

00:35:21: We're going to reach out to some... People who usually climb or go to the climbing club and stuff like that.

00:35:30: When we search for something specifically on certain scale they put a message into our folks saying hey is anyone you know, interested or can anyone would like to join the sessions.

00:35:44: But let's say regular cinematic or gameplay.

00:35:48: we are focusing on working with professional stunt performers and actors.

00:35:56: If ever need someone riding a bike?

00:35:58: Let me know!

00:36:00: A cyclist somewhere yeah that'd be cool.

00:36:03: and the animal

00:36:04: actors.

00:36:05: Yeah, I was going to say like what are the weird things that you kind of recorded or out-of-the-ordinary?

00:36:11: Let's see because we know humans... You already mentioned that.

00:36:14: Of course we have athletes We have stunt actors We have normal actors but also you've done some animals.

00:36:22: if i'm not mistaken

00:36:24: I like it.

00:36:25: Yes So uh..we record a dog as our first animal

00:36:34: Well trained dog.

00:36:36: Extreme

00:36:37: well-trained dog, that was a pleasure.

00:36:40: That's what it is.

00:36:41: Literally the network with this dog and later we had chance to record horse.

00:36:49: actually not a chance but full almost one week shooting of horses for upcoming Witcher

00:36:59: game.

00:37:00: Great!

00:37:01: Did happen in our studio?

00:37:03: Not in our studio, but with our cameras and gear.

00:37:08: We had to disassemble the whole studio packet go-to the stables reassemble everything calibrate prepare horses record Everything a few days then Once again, disassemble everything.

00:37:28: Pack it bring back to the studio clean everything and re-assemble.

00:37:32: really easy process And

00:37:33: calibrate.

00:37:33: I heard that calibration is not the easy part there.

00:37:36: Yes this actually This is a magical word because we always forget if If we had to explain something yeah We have to calibrate.

00:37:47: We're calibrating right now.

00:37:48: yes.

00:37:49: So so it was kind of big thing with horse but we are really proud of it.

00:37:59: We saw so far on Real Fast House, amazing!

00:38:03: That was a real horse recording.

00:38:05: yes no harm was caused by this horse dimension.

00:38:08: I think that's the most important thing because we could not bring the horses in Because we have stairs here and horses don't really do stairs.

00:38:13: So taking everything to the stable Was a big achievement.

00:38:17: i remember everybody was kind of Gossiping on the corridors.

00:38:21: like you know They took the cameras to a stable on their recording horse.

00:38:26: A horse really?

00:38:27: For what, for which reform we're like?

00:38:28: oh my god they are recording a horse!

00:38:30: So it's something out of the ordinary and that you don't think is even possible but in the end actually yes.

00:38:38: That was also big deal.

00:38:40: as I said The whole team was very proud.

00:38:44: I

00:38:46: would say, yeah we put a lot of preparation and making that happen.

00:38:50: Like as you mentioned like the horse was here let's see at their campus because We wanted to do some initial tests kind of check if the ideas That we have in kinda The way off how imagine this is gonna work It's going actually works.

00:39:02: so we want it To kind of Check and tested before we actually spent more money on You know basically organizing the full session.

00:39:09: I guess the horses not wearing a suit?

00:39:12: No, but that was our plan A.

00:39:16: We actually have a horse suit.

00:39:18: Wow!

00:39:19: And it looked like a batman?

00:39:21: Bat-horse?

00:39:24: Two people inside.

00:39:26: But you know... It was pink.

00:39:28: so we decided no and doesn't look good in the camera.

00:39:33: So we prepared everything with veterinary kinesiotape, everything was checked by vets.

00:39:48: Is it safe?

00:39:49: and so on?

00:39:50: Just to be sure that first things first is safe.

00:39:52: second thing yeah if its designed for horse then probably...

00:39:56: It will work!

00:39:57: Yeah as you were asking at the beginning how much time in advance we need actually have information of long does take to prepare something.

00:40:06: this a thing like for the horse session.

00:40:09: one year of prep, at least I think it was kind of like initiated that okay we want to record a horse animation.

00:40:15: you know start thinking about.

00:40:17: And then we started thinking about it kinda looking for space and then figuring out how do we wanna attach the markers to an animal what kind of animal?

00:40:27: We actually work with trained horses that basically perform on movie sets that, you know they have like in Poland.

00:40:38: And we had a trained crew.

00:40:40: so yeah it took us a lot of time to actually come up with all the stuff and do like iterations on all of these ideas also

00:40:47: how

00:40:53: Harsh environment.

00:40:54: Exactly, exactly

00:40:55: because the cameras are usually placed on a frame.

00:40:57: so they know vibration from the walls is affecting them right?

00:41:01: Exactly and the cameras just hanging in one place.

00:41:07: please don't touch them.

00:41:09: everything should be safe.

00:41:11: we're talking about stables of animals

00:41:14: A lot of

00:41:14: dust Because people were riding horses surprisingly, so how to design everything.

00:41:24: To protect the cameras and from the other side too record a horse because horse should feel

00:41:32: comfortable in its own environment.

00:41:34: Exactly

00:41:35: yeah we talk about the suits but could you explain what typical mocap suit looks like?

00:41:41: Because it's also very interesting.

00:41:44: We can totally tell in the studio when you guys are recording, because actors actually have a lunch break.

00:41:50: They come in wearing these funny suits and they eat lunch with us.

00:41:54: so could you explain kind of how that works?

00:41:57: And How The Camera Actually Sees It?

00:42:00: So okay I can explain...the easiest way to explain is it's like really tight pyjama.

00:42:07: It looks like a pyjamas and everything is made from Velcro so we can easily attach the markers.

00:42:17: We mentioned this word marker few times, And we can attach them in proper places.

00:42:25: So what's Marker?

00:42:26: Markers are spherical pieces of rubber covered with reflective tape.

00:42:33: That's it Really?

00:42:36: I mean, this is actually really simple.

00:42:39: And they're placed in on a performer body for example on the top of head and arms or legs just to inform system as some mock-up people and systems.

00:42:58: where what's?

00:43:04: Where are the bone, actual animation bones of the actor in joints?

00:43:07: Thank you.

00:43:08: This is kinda weird to explain because it's much easier when we can see that.

00:43:14: but every marker is responsible for giving us an info about rotation of the joint and length of the bone.

00:43:23: so a combination markers can explain the length or whole arm.

00:43:29: one marker just point For example, three markers can tell us yeah this is for example a hand.

00:43:36: This part as the head and it's responsible being food.

00:43:44: so we need some markers on the suit.

00:43:49: And the cameras are probably infrared right?

00:43:52: Yeah you see only the markers.

00:43:53: what's like GPS?

00:43:54: basically at least three cameras to see one point to triangulate the position.

00:43:59: but Why so many cameras then?

00:44:01: Yeah,

00:44:02: because Actually you need only two cameras.

00:44:06: Because we as a human human beings We have only to ice and we can also navigate more or less in three D.

00:44:14: So

00:44:15: in edge cases we can use only two camera's.

00:44:17: but three cameras can focus on small Small space.

00:44:24: But if you would like to record runs that different cameras can be responsible for different parts of the environment.

00:44:33: I mean, for example from the entrance to the stage.

00:44:37: three or four cameras are responsible for that part and they're not focusing on other side of a studio.

00:44:44: so we need plenty them.

00:44:48: be sure every point in an environment is covered by by a camera, even if we are preparing as mentioned like some kind of environments.

00:45:03: Like at table chairs maybe?

00:45:07: Some kinds of cars and so on... Even in some part of the environment is covered by

00:45:14: a

00:45:15: scenography other cameras can... Exactly!

00:45:21: Okay, all right.

00:45:22: So so that's for the body.

00:45:24: and what about?

00:45:24: For example some complex objects like hands or mock-up to face.

00:45:27: We don't know.

00:45:28: probably you know those pictures from avatar on their recording people with dots in a face cameras here helmet.

00:45:33: I think

00:45:33: it's

00:45:33: also

00:45:34: very now popular in games everybody talks about like performance capture.

00:45:38: They always show these actors with this light blue lights on them when like markers and stuff like that.

00:45:43: So yeah how about complex things like Bobo said?

00:45:48: Parvina mentioned about performance capture and you also asked us that.

00:45:53: Yes, we have HMCs so helmets with cameras We are recording faces.

00:46:03: That's why we're recording with English natives.

00:46:09: Because who would like to record their bodies?

00:46:12: Their face?

00:46:13: they voice everything together.

00:46:17: kind of important thing.

00:46:18: when you are recording everything in sync, it's much easier to get the proper animation and you don't have to focus on combining different inputs like voice face and body.

00:46:33: So we're recording that gloves.

00:46:38: This is kind of a slightly different system, there are some different providers but you have something like special glove with magnetic sensors and you can just record changing fingers positions.

00:47:01: sometimes it's easy to synchronize Not but also we are working on that to get the full performance captured.

00:47:14: all

00:47:15: complex.

00:47:16: Because I remember, usually when you see the mock-up later that hands are stiff.

00:47:20: But it's because we have for example some overly animations for animating their hands.

00:47:23: or we have animators who like to make hand performance separately in production right?

00:47:29: Or if your using a thing and you don't have real prop then the animator anyway has adjusts his hands with something he would be actually holding which will be discovered probably later

00:47:45: Previously the solution, which is working pretty good with a full body and sometimes have some issues with fingers.

00:47:54: So that's why we have separate system only for fingers And sometimes when you're using it When they say necessary and Sometimes what if not necessary?

00:48:06: We can record it faster without focusing on fingers when, as you mentioned we don't know what will be in the end.

00:48:15: So probably animator would have to fix anyway.

00:48:18: and so We are finishing with a shovel hands.

00:48:25: I like that.

00:48:26: You asked about hands because i fail for an artist.

00:48:29: artists always talk About how to capture perfect hand?

00:48:33: So they look lifelike And I think is the same was with animating dad.

00:48:36: It's very hard too animate real life sometimes and actually getting the complex movements that we have in our hands.

00:48:44: I have to ask this question because it always comes up, what about A-listers?

00:48:47: How do people like Keanu, Idris... Because that feels like the glamorous part of capturing actors.

00:48:58: We cannot

00:49:02: tell!

00:49:06: Right now in Poland, so recording Keanu Reeves in Poland or you know on

00:49:13: the campus.

00:49:14: On the campus spotting him on our Warsaw airport

00:49:18: without rising suspicion Yes

00:49:22: someone for sure will recognize him.

00:49:27: So the whole reveal Will be pointless.

00:49:34: to avoid such a case We are trying to find other solutions, but we have it in mind.

00:49:43: And maybe one day will be able to record them here at Warsaw because as I said this is cool!

00:49:51: I think everybody on the studio would go crazy.

00:49:54: Oh absolutely.

00:49:56: um.

00:49:56: i would tell you that Probably more of the preparations goes into this kind of shoots because, you know.

00:50:01: You don't want to waste anybody's time and basically because if they calendar is so

00:50:06: packed,

00:50:07: you don't wanna kinda book anymore or you don' t actually have any other day that you can look with people off just profile.

00:50:14: but basicly I would say often we sometimes like use stun doubles in general kind of iterate on the material that we record.

00:50:26: And then when we have the final version or something, and actually record with A-listers but I believe all

00:50:39: Yeah, but I'm not wasting a moment.

00:50:40: That's also very important thing.

00:50:41: i guess You know our studio is very creative place people running around walking talking dogs barking Stuff going on there when you enter the mock-up session When it actually happens?

00:50:56: Magnificent, beautiful fascinating place.

00:50:58: But there's all the rules around.

00:51:00: you know don't touch this dog under Don't say that be quiet You know et cetera.

00:51:04: so it is because also

00:51:05: clean.

00:51:07: yeah It's also very clear right?

00:51:09: There's just like your.

00:51:10: it's like a NASA facility or some military facilities.

00:51:13: I feel Like That you Know.

00:51:14: So if it's Because we don't want to waste A minute Right

00:51:18: i would Say so its you know as a producer i need To say all comes to the budget.

00:51:23: So because of so many people joining the session and basically being there, you want do have a job done?

00:51:31: You wanna record what you plan to record.

00:51:34: sometimes we're able to record even more that It all comes to like, OK.

00:51:41: Yeah let's follow the rules Let's follow that plan.

00:51:43: We do as much effort we can To record everything and you know Then You Can See The Outcome.

00:51:49: it is a creative process so its not always Doesn't Always Go.

00:51:53: Lets Say Asplend but I would say everyone here tries their best And Deliver As Much As Possible.

00:52:00: But yeah i wouldn' t say how u see it As A NASA Lab Or Anything Like That Especially When U Are In The Middle And Kind Of Responsible.

00:52:08: You know, that there is a delay or you know someone like has a problem with something.

00:52:13: Or the tech doesn't work.

00:52:14: so it's actually a lot of stuff that I would say.

00:52:17: you need to have these rules to kind of make your work easier because if we had a rule that people follow and some part does not work then its easy for us to spot things that don´t work And maybe bring them back into life.

00:52:38: shooting day in our studio.

00:52:42: This is a moment when lot of people are involved at the same time and someone's responsible for preparing actors, someone else is responsible to prepare the system Someone else checking scripts so on.

00:52:57: So you need rules To put some kind boundaries and directions that, okay we are here.

00:53:07: And everyone is responsible for the success of The Shitting Day.

00:53:14: so you have to know what do.

00:53:16: if everybody says let's do something then probably every one will do their things but... We don't know whats behind it?

00:53:25: If we had rules like twenty minutes to prepare actors than other people from different teams.

00:53:33: Okay, so we have twenty minutes to breathe them and the actors or prepare some kind of materials.

00:53:42: So everyone knows where are they in the pipeline?

00:53:47: It's really helpful.

00:53:49: manage what you want.

00:53:52: I

00:53:52: would say it's so much harder to manage, you know the crew when you have like a bigger shoot.

00:53:56: So performance capture let's say because we have lots of people coming from abroad You need to explain some stuff.

00:54:01: sometimes People are...you know It is their first time on a mock-up stage.

00:54:05: We also need to tell make this actually Let us say person responsible for introducing everyone To these rules that you mentioned and Sometimes you have the shoot That its very easy!

00:54:14: You only one performer especially When it comes to like gameplay stuff.

00:54:18: people know each other so well because sometimes they worked with each other for like, yeah ten years and there is not really an input needed.

00:54:25: And these rules are kind of already in your blood So you don't need to remind anyone about this or...

00:54:33: How about the feedback loop during a session?

00:54:35: Like for example An actor's doing something You're like no let's do it differently Let's Do It This Way instantaneous that you kind of see something, or do you just have like one director who is on set directing the actors?

00:54:47: Or are they getting multiple inputs from different people?

00:54:51: and how does it look.

00:54:53: I would say it shouldn't look like this.

00:54:54: Yeah, so you probably what you want?

00:54:57: You would like to have one person responsible for giving the feedback to the crew uh To the cast actually and being responsible for division that you wanna execute.

00:55:06: So if you want to record something then okay This is one person that i know It's my poc The person That you Know gives me Feedback or Gives Me some kind of advice.

00:55:14: see those military talk by the way.

00:55:21: Yeah, I would say you're probably want to have like one director responsible for the session.

00:55:24: Right?

00:55:25: And then like other people are usually like animators or designers they come and advise you.

00:55:30: but yeah what's?

00:55:31: a one person is probably preferable

00:55:33: because as we mentioned that crew always getting bigger depending on how many people... Because sometimes when your creating scene multiple departments that are kind of working on one thing.

00:55:45: So you probably also have like a lot people having their own input, so does it then all the input go to one person?

00:55:50: That person passed it onto the actor And then the actor recreates that once again.

00:55:55: Yeah,

00:55:55: okay?

00:55:55: I would say you know i'm not gonna lie it's challenging because of let's say You have twenty people on stage together with a talent right.

00:56:03: so sometimes there is A camera operator or idk ad That wants to introduce some kind Of change whatever like basically give Some feedbacks.

00:56:13: So of course It happens Sometimes its a little bit chaotic and Challenging but we are kinda trying kind of go in a good direction and introduce it more, that's why the rules are being introduced.

00:56:25: It all sounds like movie set

00:56:26: basically.

00:56:30: So what is down-in-the-future for MoCap?

00:56:34: If you had to think about it... What will probably change here?

00:56:38: or if nothing changes just the scope going be bigger because now we need to cater multiple IPs and games working on how do see future yourself

00:56:50: You can start.

00:56:51: I

00:56:52: would say probably the multi-project approach, it's going to be a challenge.

00:56:56: It is a little bit of a challenge now as we see We try to introduce yes some new rules on the fly and basically kind of deal with that.

00:57:02: And you know what?

00:57:04: Is the priority here?

00:57:05: or kind of talk to the projects more often?

00:57:08: and Basically i would say we are in more convenient environment than like outsourced studios because we are all the time in the same environment as the project is.

00:57:17: So, you know on a daily basis we can just talk to them organize meeting ask about something.

00:57:23: so I would say it's more flexible

00:57:26: and i think your part of dna also in studio when u understand the language that everybody speaking.

00:57:32: because always with working without sources like oh how do we calibrate?

00:57:37: And How Do We Understand Each Other That Was Speaking The Same Language?

00:57:41: Yeah I Would Recommend To You Know To Studio Set Their Own Mockup Sets Let'S Say Because also you can record more stuff that you would probably record in the outsource because it's just cheaper, let's say.

00:57:53: So yeah so I would say what is the future for me from a production perspective?

00:57:59: Make It Work!

00:58:00: makeitwork That we could provide mock-up services to all of these projects.

00:58:04: and as we said MotionCapture Studio has booked few months in advance.

00:58:10: Yeah.

00:58:15: In the future, definitely that will be busy time I hope

00:58:20: and

00:58:23: we are testing... Right now i'll tell more about technicalities.

00:58:27: We're testing different systems.

00:58:34: coming back to the weird suits with a PC on the bag.

00:58:39: But right now, we have definitely smaller computers in the back.

00:58:46: just give it chance for animators.

00:58:48: record some ideas and visualizations at their desk check if they make fast iterations records only final decisions and record only the cases that we know are important for game, not all variations.

00:59:11: Thanks to that you can reduce scope and give other projects space the main idea.

00:59:25: So each animator gets a mech suit that is a computer, that has a report animation at their desk?

00:59:31: That would be really cool!

00:59:34: I could totally see it...

00:59:35: We will be unemployed.

00:59:36: Nooo

00:59:37: The final shoot needs to be done on stage.

00:59:41: I think you are good too far slightly too far but no promises from my side.

00:59:49: But we're testing different solutions.

00:59:53: proves the process, because this is a thing never ending story that always we can do it better.

01:00:00: That's why we are trying to feedback also on ourselves and find okay in just this or that we can't do better?

01:00:09: Or Can We Do It You Know by Hand Right Now All We Need Another Another Stuff.

01:00:15: Maybe We Have Investing Something Or maybe we don't have to spend time and money for changing the pipelines.

01:00:21: Maybe, uh...maybe We can work more efficiently And so on.

01:00:27: So in future definitely we Have to focus on multi-project approach To help deliver the games Multiple Games.

01:00:43: What type of skills does a person need?

01:00:45: to work in MoCAD?

01:00:47: because on the production side, I imagine it's like you need to kind of understand how a set works and also needs to.

01:00:53: Understand how pipeline works?

01:00:55: How game development more or less works and all that stuff and how collaborate with teams.

01:00:59: but what about also working on stage and stuff like?

01:01:02: this is very specific set of tools an experience where we have to know.

01:01:09: so as part of crew

01:01:14: We mentioned about that.

01:01:16: That we are preparing like a scenography.

01:01:20: so someone who can work with wood, I know it's maybe weird okay?

01:01:24: Okay!

01:01:24: We're talking about games but someone who is... Yeah, working.

01:01:28: ...can work with tools or sometimes we have some one who can change clothes and prepare our own costumes.

01:01:42: For example, yeah we have... We need totally

01:01:45: like a movie set.

01:01:47: everything I'm hearing is this film industry.

01:01:50: And

01:01:50: from the other side, we have programmers because some exporting data.

01:01:55: We can do everything of course by hand but then probably projects will have to wait till the two thousand seventy seven for them materials and data.

01:02:09: so what skills?

01:02:14: Everything, literally everything.

01:02:16: I would

01:02:17: say

01:02:17: so like from manual things through the digital knowledge how to model because we need to print props.

01:02:31: also sometimes you have to change it at some additional place for weights that are more heavy.

01:02:41: I know this is the answer.

01:02:43: It's really generic again, we need everything but of course it's not like one person who should note every thing.

01:02:53: But there always a place in our team that can require very unusual skills and We can find job for such a person.

01:03:07: Yeah, unless you have any more questions.

01:03:13: I think we should kind of end also on like a favorite story from the mocap set or your favorite?

01:03:21: Crazy cinematic that you did or something crazy.

01:03:24: That happened?

01:03:24: I don't know, just give me one story.

01:03:26: we already had some examples.

01:03:28: like I liked the hamster in The Washing Machine for the tech demo um i know You Did Some Weird Monsters Also Walking on Like People Walking On All Four Limbs And Then Becoming Like A Like a Monster and Stuff Like What Else Is There.

01:03:42: We Talked About The Horse The Dog Any Other Examples.

01:03:46: To be Honest I Would Say horse and dog are pretty immemorable, let's say because it is something the friend.

01:03:53: I remember also my first mock-up session was a stunt session after just day after i joined CDP.

01:03:59: so It Was Also Pretty Fun to Watch.

01:04:01: or you know all of The kinds Of Fights That Are Happening and also Open World I would Say Is Pretty Fun To Watch Because You Always Have Some NPC Doing Some Weird Thing that You Actually Need To Record.

01:04:14: So Yeah But I Would Say Probably Animals.

01:04:16: So I Will Say Horse Session For Me

01:04:19: And for me, I already mentioned a romance scene in the tank.

01:04:26: Players favorite?

01:04:28: Yes it was really challenging to prepare that.

01:04:31: so i think this is my top one and Of course, but it was mentioned already and I think i have some others.

01:04:40: But maybe

01:04:42: one

01:04:42: day I will reveal that...

01:04:44: Diaries, you know what I mean?

01:04:46: Tom X diary.

01:04:48: Yeah my diaries!

01:04:50: There's a lot of shooting days.

01:04:54: even the boring ones were really encouraging And can give value to game because someone is doing something cool somewhere in the background.

01:05:08: I'm surprised you haven't mentioned how we record swimming, so having someone on a chair without our backrest kind of like being suspended and swimming?

01:05:17: Different just separated block of okay ideas How to record specific mock-up right yeah The

01:05:23: guide.

01:05:25: that's super interesting

01:05:26: creativity

01:05:28: Yes.

01:05:29: So um i think i think That will be my you know My diaries In the future.

01:05:35: But yeah, you've mentioned about the swimming.

01:05:37: We tested also this is small also disclaimer with to sit on the ropes and actually

01:05:43: just

01:05:45: office chair without a backrest much better than Swimming

01:05:48: in ropes

01:05:52: Fortunately unfortunately.

01:05:53: Yeah

01:05:54: All right before we finish one more thing because I know the mocap team Is watching.

01:05:59: do we want To send our regards In some way form or fashion?

01:06:03: Absolutely

01:06:04: Yes, definitely because you know they're waiting just behind the door.

01:06:09: We just promised that yeah we'll say something like hi mom.

01:06:14: I'm in TV so Guys your doing great job and thank you

01:06:20: very much.

01:06:21: Thank You guys.

01:06:22: nothing will happen without you.

01:06:23: So awesome

01:06:26: perfect all right?

01:06:27: And were off now.

01:06:30: Thank you for tuning in and listening to our podcast.

01:06:33: I hope you heard a lot of interesting information, insights about how the mock-up sessions are performed here at CDPR.

01:06:40: And

01:06:40: as always don't forget to comment like subscribe all that jazz.

01:06:44: then let us know what your thinking about episodes.

01:06:46: Of course we'll see on next one.