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Sensor engineered gripper design accepts, pressure sensors, IR detectors, CCD cameras and more! Could you tell us about the original concept for the title sequence and how it was developed? So the original concept was a descent from the macroscopic to the microscopic and from the organic to the mechanical. Consequently, the original computer-generated imagery seen in the title sequence had to be created in-house by a small team led by Mike Smith-Kennard.
High contrast imagery and prominent lens flares figure heavily into the look and feel of both the game and the sequence. As for the lens angle, it was intended to convey a kind of dream-like quality for the sequence as if Jensen lost consciousness and then partially woke up.
Also, before we shot anything, Pablo Gonzalez a€“ the art director for the sequence a€“ created a post treatment that would allow us to combine our mixed media into a unified look to match the game's art direction. As far as putting it all together, the goal was always to seamlessly blend the CG, motion graphics, and live-action shots to create a surreal, etherized vision of the operation. What are some of the differences between producing content for games as opposed to for film and television? With Goldtooth, we found the right partners to achieve these goals because they were on the same page.
The blinding lights of an operating theater melt away in a mechanical fever dream of pleading voices, surgical tools, and rent flesh.
We knew we wanted a sequence that would tell the story of Adam Jensena€™s life being saved on an operating table. In the opening scene, Adam Jensen, the first-person protagonist, is attacked and left for dead. We started working on storyboards and animatics that began with the gruesome reality of Adam's beaten body and ended with the sublime perfection of veins and circuitry combining at a microscopic level. Because the game resolution was 720p and the trailers were rendered at 1080p, I was able to blow up and reposition elements from the CGI trailers for use in the title sequence.


We focused all our CG production energy on key visuals: the heart covered with Sarif-owned circuitry, the gears driving augmentations deep into Jensen's body, and the robotic arm splayed out on the operating table, among others. During this time, he would have flashes of memories or maybe dreams about his ex-girlfriend, Megan Reed. We knew wea€™d never be able to create all the CG within the tight timeframe and limited budget, so we decided to shoot live elements to help us tell the story. He used depth of field, particles, light rays, vignettes, high contrast, cyan accents, flares, and countless other tricks for that. The entire shoot was done over two easy days, each around eight hours, which is very relaxed for a live-action shoot. I worked with Scott, our production designer, to find elements that would fit into the world already defined by the CG shots.
Of those 25 shots, 14 are live action, 9 are computer-generated, and two were created in motion graphics using 2D animation on stills and photographed elements. Was there ever a temporary track in place or did the team have the track from the beginning? It's that pioneering spirit that attracted me to creating gaming content in the first place.
In regard to the trailers they created, it was important to us that we did some things that were non-traditional and unexpected. Internally, we had one of our art guys working with them to nail the concept until completion of the sequence and it was a natural fit. Memories of lost love flash between images of a broken and dissected form, while shattered limbs and failing organs a€“ the embodiment of Jensena€™s flawed humanity a€“ are replaced with the cold perfection of carbon fiber and silicon.
Without consent, his employer reconstructs his body, saving his life but changing him forever. Though as we worked on it, we found that we werena€™t conveying the pain he was enduring during the operation. I woulda€™ve loved to get new CGI from the same team for the title sequence, but the timing wasna€™t right a€“ the team at Visual Works had already moved on to another project.
Whether it was a component of the marketing or a piece of the game like the title sequence, it needed to convey the same visual identity.


Paal Wilhelm Nesset, our DP, and Scott Moulton, our production designer, were instrumental in creating live action images that fit in seamlessly.
Often, Scott created the futuristic surgical tools by taking parts from modern-day computers, household hardware, power tools, and medical supplies. The laser shot, for example, was entirely created from one still of a horse tranquilizer that we shot on our second day.
For plugins we used Trapcode Particular, Frischluft DOF, Optical Flares and the Sapphire plugins.
We wanted something different a€“ more cinematic and more emotional a€“ to compel people to jump into our universe.
The RCTIME command may be used with a LOOKUP table or calibration formula to execute some math to make the output useful. It was this reconstruction that we needed to depict in the opening title sequence a€“ to show machinery slowly taking over Adam's body and, more importantly, to show his body accepting the augmentations, using them to become stronger, to become something more than human. So, it was clear from the get-go that the title sequence would be black & gold with triangles integrated here and there.
In the afternoon, we put Adam on our futuristic operating table and got all of the surgery shots.
The animatic that we referenced during the live-action shoot also had the temporary Michael McCann track underneath it. A corporate thrall bound to unseen masters or a transcendent being gifted with the power to change everything? We talked to the guys at Goldtooth Creative and explained our idea as to the direction we wanted to take and they started to pitch really creative ideas. Once the edit was locked, Michael did a final pass on the music, combining audio flawlessly with the visuals.
It really helped that we refined the audio and visuals at the same time, instead of forcing one to mesh with the other.



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