pouët.net

This'll probably be one of the worst demos I made and I'm fucking sick of it.

Ilmeisesti Posti tuonut mainoksia, vaikkakin lukee, että ei mainoksia :D(viimeinen kuva)

Idea

Quasi-60s secret agent has to transport a briefcase containing demoscene secrets through The Mystery Zone, an area in non-descript Soviet style wasteland filled with abandoned empty places left behind by people, where the laws of physics are StrangeTM

Think: The lovechild of Stalker and The Twilight Zone mixed with the coolness and style of James Bond-style animated opening sequences with a sprinkling of BBC’s Avengers and The Prisoner
Reason to make
To have future proof tech and explore creating a format to formulate story driven demos. Agent stuff is interesting and for a character driven demo the theme is unique.

Software
Visual Studio
Unity 2018.3.10f1 ( new shader is generated on Start )
Newest Blender

Script
Explanation
Might be a good idea to use a therefor-but structure “X therefor Y but Z therefor W” for Continuity Script.
I.e. Causality -> Motivation -> Creates Causality -> Which in turns into Motivation -> Which becomes causality. This might a better approach than a nine act structure known to movies, because it might be too heavy for a demo.
Might be a good idea to introduce characters and points of interests through fraction (superset of suspense). Not showing the focus clearly for awhile. Slowly revealing, increases the intensity and makes the reveal more effective.
Continuity Script or Rough Script(skip this)
Begins Päähenkilön on toimitettava salainen salkku perille
Therefore päähenkilö päätyy kävelemään salaista vuoristo/metsä reittiä kohti päämäärää
But Then päähenkilö kuitenkin paljastuu vihollisille
Therefore luoteja sataa niin perkeleesti
But Then päähenkilö juoksee esteiden seassa karkuun, yrittää ampua sivuille(vaikea)
Therefore päähenkilö pääsee kuin pääseekin karkuun
But Then päähenkilö saapuu lähelle määrän päätänsä
Therefore tulee aamu, päähenkilölle tulee mieleen asiat mistä pitää(yksinkertaistuu)
But Then päähenkilö saapuu perille
Therefore laskee salkun
But Then vielä yksi vihollinen on, vihollinen joka tietää kaiken ja on seurannut koko prosessin
Therefore päähenkilö ampuu katsojan(=tietää kaiken)

Alussa päähenkilö on epämääräinen ja katsoja ei näe päähenkilöä kunnolla. Hiljalleen päähenkilön luonne paljastuu eli *kirkastuu* katsojalle, siitä tulee niin *päivän* selvää että hohtaa läpi.


Master Scene Script
with some modifications

Let’s try to follow the scene element rules.
Scene Heading INT. or EXT. *name of the location* *time ocf day*
Action - What can be seen, or heard. Not thinking, or what happens outside. This is a film like demo, not a novel.
Character(s) - characters have to written with ALL CAPS. V.O. V.oice O.ver, O.S. Off.Screen
Parenthetical - shade the meaning of the dialogue, or behaviour
Dialogue? - do we need it?
Transition - transitions between scenes, camera movement Is the focus in a corner, far, near, center?
Examples in other Art - loosely similar ideas in other arts would be great
Palette examples would be great too (think of of colors having context, blue is sad, green is nature, black mysterious)




Always reveal more about a character and/or move the story on.
Story
subject to change

INT. BRIEFING ROOM - LATE EVENING
CHIEF OF STAFF OF THE SECRET SERVICE AGENCY writes by telegram to the AGENT.

TELEGRAM BEEPING MORSE SOUNDS. TEXT APPEARS ON THE SCREEN IN AN OLD SCHOOL TYPEWRITER FONT.

CHIEF OF STAFF (V.O. morse)
I have selected you for a most important assignment. It’s purpose is to give false information to the enemy and destroy key targets. If you complete it successfully you will be promoted. You’ve been given a briefcase which shall be used to destroy the SPECTRUM base and their new ZX decoding machine. For this you shall enter their secret facility un-noticed, insert misinformation to their systems and finally destroy the aforementioned decoding machine. I wish you good luck agent.

EXT. EAST-EUROPEAN WOODS - SUNSET

Massive mountains, and trees can be seen. Camera very slowly pans across the horizon. Then the Agent can be seen far in the distance walking fast in the woods, going slightly uphill, undisturbed. The agent and the surrounding area can barely be seen, only a silhouette. Some of the bushes and the leafs can be seen moving both due to the agent running in the woods and due a light wind.

EXT. EAST-EUROPEAN WOODS - NIGHT

Agent still running, only a red tint can be seen in the background, caused by the torch carried by the agent. Camera has moved closer to the agent but still being rather far away, the camera moves very very V E R Y slightly towards the agent. Some details can be seen such as the tie and the blazer.

EXT. EAST-EUROPEAN WOODS - EARLY MORNING

Some sort of military buildings can be seen in the background and a second light far away can be seen companied with a character holding a gun, this man is no friend. But a member of the SPECTRUM military force. Sun starts to glimmer in the horizon and the agent can be seen ever so clearly.


After some moments the character points at the agent and soon others can be seen doing the same thing. The newly seen characters start shooting at the agent causing the agent to speed up the running to avoid the gun fire. With the enemies behind the agent runs in front enormous inactive military equipment to loose off the gunning firemen. Finally the agent manages to escape.

EXT. EAST-EUROPEAN WOODS - MORNING

The sun is always directly in front of the camera casting the whole image in light, no shadow detail can be seen and everything loses shade becoming a pure silhouette.

Simple casino shapes can be seen such as queen of hearts and game chips flying across the scene indicate that the agent is thinking to motivate himself what a successful mission would bring about.
Finally the agent realizes that someone is still is watching him, and has been since yesterday. Agent drops the luggage (a close up on the luggage?) and shoots the camera, the viewer who has been observing the whole process since last evening.



Final Sketch Storyboard


Stuff to do
Fix SSS and non-SSS behaviour (branch) fixed
Font support (visy) done
SabreWave (visy) done
Directional light is broken, pointing in two directions. (branch) fixed
Operators for SDF Mixing (branch) done
Simplify shader generation, create a shortcut? (branch) done (regenerated on play in unity)
Sketch (Dysposin) done?
Blender export (Dysposin) done
Text Generator integration to Unity (visy) in-progress
Expand Sync-data handling (branch) done(i hope)
Color Grading - done
Depth of Field - done
Ground SDF (Walther) in-progress
Trees (visy, branch, others?) in-prgress 50% done
Simple casino shapes in-progress (visy)
Surface Patterns (branch) in-progress
Lens Flare (visy) in-prgress
SDF Characters and Objects (Dysposin)
Bloom - similar to Unity, adding texture2DLod sampling may be enough? (visy?, Walther?, branch?)
Skybox (feel free to take this one)

Postponed for now, lets see if we need these for now. Takes around 2 days to implement and is not critical(?)
SDF generation out of 1-bit images distance 128 in, 128 out (branch? visy?)
RLE-ish - Image compressor (branch? visy? Walther? Dysposin?)
Real Texture support (branch?)





Tech
SDF Generator Core Parts
A blender-library allows us to export a .json-file with a .obj/.blender-file. The .json-file contains SDF(signed distance field) and set theory information (union, intersection, difference) about each member.
A Unity-asset interprets both files into a hierarchy based gameobject that contains sub-gameobjects which in turn contain components of the SDF-functions and components of how they should be interpreted by the asset.
The asset will be able to produce a shader that can be directly exported to the framework directory and should work as is in the executable.
Framework is based on Leviathan 2.0 but we’ve added more complex gl-functions to control shaders and added support for WaveSabre - synth player.