Lynked: Banner of the Spark announced at Gamescom

At Gamescom 2024’s Opening Night Live event we announced our new studio, Fuzzybot, and our first video game, coming soon!

Lynked: Banner of the Spark is an arcade-inspired co-op adventure that blends hack and slash combat with roguelite and town-building elements. Team-up, brawl and build in this co-op action game! Unlock and upgrade gear, rescue robot allies, and lead the resistance against the world-dominating Combots!

Launching into Early Access on Tuesday, October 22!

Wishlist now on Steam, and visit our website for more information!

Stormzy - Rainfall music video - Inside Watch Dogs Legion

As part as my role as Character TD at Ubisoft Toronto I was fortunate enough to work on the official music video for the song Rainfall by the award winning grime artist Stormzy, featuring Tiana Major9. We had the pleasure of capturing his appearance and performance in our 3D scanner and motion capture studio in Toronto, and staged the music video inside the world of Watch Dogs: Legion.

BBC Click - Interview inside Watch Dogs Legion

Marc_Cieslak_WDL.png

BBC Click’s Marc Cieslak visited our studio in Toronto to find out more about Watch Dogs Legion’s version of London, and along the way he gets 3D scanned so he can conduct the interview inside the virtual version of London. The full video shows a little bit of behind-the-scenes revealing how my team builds characters for the game, our 3D scanners, and our motion capture studio.

Check out the interview on the BBC’s website.

GDC - Far Cry Primal: Character Pipeline & Customization System

This is the trailer for the talk I will co-presenting at GDC 2017 with Julien Lallevé, about the Character Pipeline and Customization System of Far Cry Primal.  We'll be speaking on March 2nd at 10am.

Our talk will cover two major aspects of the new character pipeline we developed for Far Cry Primal.  First, the new modelling pipeline, which supports both 3DS Max and Maya, so we can leverage the skills of all our artists.  We'll describe our artists' workflow and how we build tools that run in both software packages.  In the second part of the presentation we'll dive into Wolfskin, our new character customization system, which we've integrated into the game engine as well as the modelling packages.  Using Wolfskin our artists can assemble characters from different meshes and materials, and other properties, and we'll show our user-friendly method of creating complex rules to resolve conflicts between combinations.

Our talk is targeting programmers, artists, and technical directors.  You can check out the trailer, above, or get more info on the GDC website.

 

Far Cry Primal - Bringing the Stone Age to Life

A behind the scenes look at how we brought the Stone Age to life on Far Cry Primal.  Through the video you get a look at the creation of the primitive language of the tribes, movement and vocal coaching, and our performance capture studio at Ubisoft Toronto.

Digital Survivors

There's an article on fxguide about how we created the characters for Far Cry 3.  I did an interview with them and we talked about topics covered in the Autodesk 3December 2012 event, and some more behind the scenes of the game, as well as more in depth look at the motion capture process.  It also covers extra topics from Marc Beaudoin’s GDC talk about “Enhancing Performance Capture”.  Great in depth look at characters and animation on Far Cry 3.

http://www.fxguide.com/featured/far-cry-3-digital-survivors/

Enhancing Performance Capture on Far Cry 3

At GDC 2012 Marc Beaudoin, one or our talented technical directors from our Mocap Studio, gave a talk about Enhancing Performance Capture on Far Cry 3 with Autodesk Motion Builder.  In the middle there are some slides I made about facial animation and you can see the facial retargeting and animation I did on one of our characters using Ubisoft's internally developed facial animation software, followed by a comparison video after an animator has done a final polish pass over it in Motion Builder.  Very cool stuff.  Enjoy!

Showreel: Technical Artist August 2010

This is my Technical Artist Showreel from 2010.  It contains some rigs and tools I developed on multiple projects, on these projects I have been a Character Technical Artist, Rigger and/ Modeller.

Shot Breakdown:

Facial Rig Pipeline

This demonstrates the Facial Rigging Tools and Pipeline I created for Krome Studio's Cinematics department where I was the leading the Rigging/Tech Art team.  It was used to rig characters on multiple projects.  The example character here is Kit, from Blade Kitten.

In our rigging pipeline the modular Control Rigs were stored in a rig setup file able to be rebuilt via code in a matter of seconds.  We would regularly regenerate the control rigs any time we needed to add a new controller, or if we added new features or bug fixes to the code in the module rig.

Facial poses are created for each character and saved as external data on the network, so the poses can be added to the rig the next time it is regenerated.  This also allows the riggers or lead animators to edit facial poses not just in the master Rig file, but from any Maya scene, and the changes are saved to the network for the next rig-generation.

On this project the animators chose to use standard Maya attributes for the User Interface, which meant we are able to quickly add any number of facial expressions to the rig without adding new controllers.

Parenting Tool

This tool was co-developed with another technical artist on my team.  I handled the underlying code for parent space switching and she handled the UI side.

The main challenge to solve with this tool was supporting not only different parent options inside the Control Rig (eg. Left Hand parented to the Hip controller, or Head controller) but also parenting to any object in your cinematic scene.  Because our control rigs are referenced from a master Rig file we had to handle parent space switches in two layers, the rig layer from the master rig, and the scene layer, and ensure updating the rig wouldn't break the animation files.

The animators can right click on any controller and see the list of parents from within the Control Rig, or outside it, in this example a Box.  Inside the Time Options menu they can chose if they want to switch the Parent Space on this frame, the entire timeline or the playback region, and if it they would like to bake keys for every frame.  The animators would often use these options to switch the parent space for the entire timeline and quickly iterate on interactions before polishing the final animation.

In this video: first I add the box as a Parent option to Kit’s waist controller.  Now it appears in the Parent menu in addition to all the other options contained in her Control Rig.
Then I switch the Parent back to her “Main” controller but chose to bake the animation down before it switches.

Facial Rig / Facial Rig Pipeline

Obi Wan Kenobi Clone Wars: Republic Heroes
This is one of the Facial Rigs I created for Clone Wars: Republic Heroes, I also modelled the low-poly head for this paricular character (the high-poly comes from the TV series).

When designing the facial rig for the video-game I decided to re-create the GUI (seen above) that was used on the Clone Wars television series.  Then I built a new rigging system underneath, which used bones with driven keys in Maya to store the poses.  Even though the rig itself was built from scratch, using the same GUI as the TV series made it easier for our animators to match the animation style and poses used in the television series.


Cutscenes from Clone Wars: Republic Heroes
Facial Rigs / Facial Rig Pipeline / Prop Animation Pipeline
I created the facial rigs for all the characters in these shots, modelled some of the characters, and built the facial rigging pipeline.  I also created the pipeline and tools for animating props in Cutscenes.

Face Pose Tool and Pipeline for Clone Wars: Republic Heroes

This tool was use on Clone Wars: Republic Heroes to create the facial rigs.  A very retro pipeline where all the face poses can be plotted to the timeline, edited, and then packed back into the rig setup scripts.

It was also useful for editing the skin weights because you can just scrub through the timeline to see how it affects all facial poses.

When we edited the poses in the rig was automatically disassembled, so I used metadata inside a network of Maya nodes to store the information about which frame each pose is stored on.  This allowed the user to save the Maya scene, close Maya, and when they open the file again they can still recompile the poses on the timeline and reassemble the facial rig.

When the rig is rebuilt we also save a MEL script that can build the the facial rig and poses on this character, which is useful if the entire Control Rig was ever rebuilt using the automatic rigging tools.
 
Cutscenes from Clone Wars: Republic Heroes
Facial Rigs / Facial Rig Pipeline / Prop Animation Pipeline
Additional Cutscene clips from Clone Wars.

MECHANICAL Rigs

Chameleon Droid Clone Wars: Republic Heroes
Rig / Model / Textures

The character's Control Rig is built in Maya.  I wrote custom MEL scripts to rig the characters.  For example once I worked out how to rig the leg, I could run a MEL script on the four legs to build the same rig setup on all four legs.  The rig can be cut in half in five different ways.

The high and low-poly models were done in 3DS Max.  Rigged and animated in Maya.  Textures in Photoshop.

I provided the death animation in the following shot.
 
ATTE Clone Wars: Republic Heroes
Rigging

I built the control rig for this vehicle.  All modelling and animation were done by other members of the team.


Sabotage Droid Clone Wars: Republic Heroes
Rig

I was responsible for rigging this character, as well as the idle animation in the following shot.