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m (→The Eye Has It: added the test chamber where it’s found. I am doing this for every node, might take a while) |
m (→GLaDOS Wakes: added the test chamber where it’s found. I am doing this for every node, might take a while) |
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=== GLaDOS Wakes === | === GLaDOS Wakes === | ||
{{Quotation | Matthew Russell | {{Quotation | Matthew Russell, Wakeup | ||
| Originally GLaDOS was built to curl up and disguise herself as one of her rings, potentially explaining how she had survived the explosion at the end of Portal 1. But this wasn't a very dramatic reveal, so we threw it out in favour of spreading her out over a greater distance. This also made her more recognizable as GLaDOS when you initially crossed the room. The actual wakeup animation was a combination of simulated animation with a layer of hand keyed animation over the top. A two-stage model was created for this scene. The first stage had separate pieces and connecting cables that would be drawn together by running a physics simulation so that the pieces would interact with the environment. Physics simulations were also used to break apart the objects GLaDOS crashes into while she writhes around. At the point where GLaDOS rises free of contact with the ground, she switches instantaneously to a fully connected model with controls for hand-keyed animation. From this point, the animator enhanced GLaDOS' awakening by hand, choreographing the violent chaos of her re-emerging consciousness while at the same time conveying the weight of a machine the size of an airliner. Once the hand-keyed animation was done, a final simulation pass was run to animate the cables and dangling parts of GLaDOS' body. The scene was produced very rapidly for an E3 deadline, and a traditional rig for the sequence was never fully realized. This made it difficult when we extended the sequence after E3 to add further animation, but we accomplished it by bearing in mind that GLaDOS herself is pretty broken at this point. The last part of the sequence requires the player to lose control of their view while being immobilized by a giant mechanical pincher. Once the controlled camera takes over, a careful alignment and time synchronization was required to make all the hand-animated models and camera interact with each other. Each of the stages in this wakeup scene contain a variety of processes that are very challenging to achieve live in a game engine. | | Originally GLaDOS was built to curl up and disguise herself as one of her rings, potentially explaining how she had survived the explosion at the end of Portal 1. But this wasn't a very dramatic reveal, so we threw it out in favour of spreading her out over a greater distance. This also made her more recognizable as GLaDOS when you initially crossed the room. The actual wakeup animation was a combination of simulated animation with a layer of hand keyed animation over the top. A two-stage model was created for this scene. The first stage had separate pieces and connecting cables that would be drawn together by running a physics simulation so that the pieces would interact with the environment. Physics simulations were also used to break apart the objects GLaDOS crashes into while she writhes around. At the point where GLaDOS rises free of contact with the ground, she switches instantaneously to a fully connected model with controls for hand-keyed animation. From this point, the animator enhanced GLaDOS' awakening by hand, choreographing the violent chaos of her re-emerging consciousness while at the same time conveying the weight of a machine the size of an airliner. Once the hand-keyed animation was done, a final simulation pass was run to animate the cables and dangling parts of GLaDOS' body. The scene was produced very rapidly for an E3 deadline, and a traditional rig for the sequence was never fully realized. This made it difficult when we extended the sequence after E3 to add further animation, but we accomplished it by bearing in mind that GLaDOS herself is pretty broken at this point. The last part of the sequence requires the player to lose control of their view while being immobilized by a giant mechanical pincher. Once the controlled camera takes over, a careful alignment and time synchronization was required to make all the hand-animated models and camera interact with each other. Each of the stages in this wakeup scene contain a variety of processes that are very challenging to achieve live in a game engine. | ||
}} | }} |
edits