Thursday, December 15, 2011

Breaking Into The Industry: Berjes Enriquez, Lead Development Director

Breaking Into The Industry is a weekly interview series that speaks with video game professionals from all across EA. We hope that by sharing how some of the industry’s biggest (and smallest) players got their start, you can learn how to do the same.

What’s your name and job title?
Berjes Enriquez, Lead Development Director.
And what does a Lead Development Director do?
It has really varied over the years, going from managing art teams, to managing the entire art discipline, to managing engineering disciplines, to helping the entire team hit deadlines and achieve their goals while assessing risks and helping inform decision making throughout the team.
The best part of it has been the people I’ve managed. They make me want to come in to work.
So you literally direct the development of a project.
Well, I would be a little cautious about using the word “direct.” I’m not an expert in the field of Animation, or Gameplay Engineering, or User Interface, so I rely on the leads of those disciplines to make the best decisions for the project. In this sense, they are directing their disciplines. I’m just there to help that process and to make sure there’s nothing preventing them from doing their jobs.
Which part of EA do you work with?
The Sims.Berjes Enriquez
I know you can't discuss what you're working on right now, but can you tell me more about what you do?
Sure! Let's talk about pre-production first. So in pre-pro, the concentration is trying to drill down on a great design that we can deliver on. It’s also a great time to give people opportunities to stretch and explore other areas they might be interested in. For example, an engineer trying design, or an artist trying some project management.
What does a typical day look like for you?
In pre-production? It’s a mixture of making sure that design and production have what they need, so they can lock down a design for the next project; closing out projects that are in their final stages; getting folks growth opportunities in areas that interest them; and a whole lot of other things, but I’ll spare you the details.
Could you also describe the production stage, and how your role changes then?
In production, the concentration is on delivering against the vision, so my role becomes that of a supporter. Everyone sees the vision, and I help them get roadblocks out of their way. At the same time, I try to make sure we’re looking ahead.
Being able to keep the future “us” in mind as we work, be it two weeks, one month, or even one solution down the road, is something we tend to forget to do when we’re focused on the next milestone. Luckily, many people I work with share this philosophy. The Sims environment has always been great at maintaining its culture. The more people that embrace that culture, the less work I actually do. That opens me up to take more off my manager, which opens him up to make more off his manager, etc., etc.
How did you get your start in the industry?
My friend was in QA (he’s also a Development Director now, by the way) and asked me if I wanted to help him. I told him I wanted out of the video game industry, but he asked me to try it for a few months. I’ve been with The Sims ever since. There are at least 14 people from that QA team that are now on the Development team, and it’s The Sims culture that keeps me coming back for more.
What games have you worked on so far?
At EA? Every The Sims game since The Sims 2. Well, maybe that’s overstating it, but it’s much easier than listing them all out. So let’s say… minus two to four titles. PC, not console.
Wow. That’s a lot of The Sims.
Yeah, I’d hate to update my resume. The list alone would take up a page!
So, did you study something in college that helps you in your current role?
[Laughs] That depends on who you ask. I have a psychology degree, so while I don’t feel that relates to games at all, I’ve heard that it helps me manage people.
That said, I don’t think I’m psychologizing people. …Yes, psychologizing. I’m making it a word.
What advice do you have for someone in college who wants a job like yours?
A lot of success in the video game industry depends on work ethic. Whatever trade interests you – be it art, animation, engineering, design, etc. – your work ethic is paramount. Now, I’m not saying ungodly hours on ungodly days. It’s more about the pursuit to constantly improve, reflect, and shoot for quality and efficiency.
Going back a little, you said you started in QA, right?
Correct.
Would you recommend that as a first step for people who want to get into the industry?
That’s tricky. There are a lot of factors that come into play. I’ll say this, though: in my experience, it is the easiest position to get, but one of the hardest positions to get out of. This is when work ethic really comes into play.
There are those who just sit and absorb hours and paychecks, and there are those who really show interest in the project and have the ability to deliver high quality work. That’s the trick, really. QA doesn’t have “hard deliverables.” They have the very open objective of “find every bug in the game.” So work ethic really helps people stand out. The biggest impact you can make is for your work ethic to have a positive influence which helps improve the entire department.
Is there a more ideal way to get into a Development Director role?
The first step would be to get project management experience.
Are you a gamer?
I am. I’m a big, huge fighting game fan. Right now I’m playing Street Fighter IV and Marvel vs. Capcom 3.
I’m also a big comic book fan, but my brother came over to my house and stole Batman: Arkham City before I could play it. He left a copy of Captain America in its place and said I had to play that before I could play Batman. No surprise, as my brother was a producer on Captain America!
Any parting advice for our readers?
Always be aware of your strengths and weaknesses. Then, improve on both.

 Taken From www.ea.com  ( original post).

Thursday, December 01, 2011

BATTLE:LOS ANGELES!!----MUST WATCH!


Battle: Los Angeles

Battle: Los Angeles  also known as battle: LA  and Internationally known as world Invention Battle: Los Angeles .Directed by  Jonathan Liebesman . Remember The Rings.?  starring Aaron Eckhart, Michelle Rodriguez,(Avatar Pilot gal) Ramon Rodriguez, Bridget Moynahan, Ne-Yo and Michael Peña
 
Liebesman’s first big budget venture is almost a war movie with slight odd twist coz this is a war against …yah.. “Aliens” the outer world species came to destroyed ours. Jonathan Liebesman intended the film to be like a war film, and the complete film is shoot in hand held camera style remember united 93. The actors went through three weeks of boot camp, in order to learn how to realistically operate as a marine platoon. 90% of the alien are computer generated but the explosion and effects were mostly real though green screen and Roto were used.
The movie starts with Santa Monica Airport used as a base camp of us Marines. Michael Nantz (Aaron Eckhart), a 20-year veteran who lost his squad during his last deployment in Iraq. And he was planning to retire, but must replace the platoon sergeant from Echo Company, Marines. Under command of 2ndLt. William Martinez (Ramón Rodríguez), who graduated from The Basic School one month earlier. Platoon as to conduct a rescue mission for civilians at LAPD police station where civilians are hidden.
The complete movie is filled with cutting edge excitement with perfectly crafted Action with sear exciting plot and screen play. Though the critical response for the movie was that, special effects are good but script is quiet clichéd. Roger Ebert panned Battle: Los Angeles in a lengthy review, calling the movie "noisy, violent, ugly and stupid", giving the film a mere half star rating. Though he praised Aaron Eckhart's performance, Ebert heavily criticized the film's writing; responses by critiques in sites like Rotten Tomatoes were also not good. Though I enjoyed the movie personally. And I’ll suggest you guys to watch it!, you will love it! And for your information, a first person shooting game is already been released developed by Live Action Studios. Eeeeooo!! Battle: Los Angeles  has already done a business of 200million$ till now, world over. And more than 80 million$ in us alone.

Wednesday, November 23, 2011

TINTIN-YOU SHOULD KNOW .

CREATOR
 
The creator of TINTIN Georges Remi  was born in Brussels Belgium 1907
 Georges Remi was not a stand out student rather he would indulge in adventurgame on the street of Brussels. On higher secondary class he joined the boys scouts his Drawing skills caught the attention of is scout teacher and soon he was busy illustrating for scouts magazine and created his first character Totor.





TINTIN
 
Georges left school at the age of 17 and opted pen name “Hergé,” and started working for children’s page on a local news paper Le Vingtième Siècle. Tintin inspired by  scout boy Totor came out in 1929 it was an instant hit by the time of 1950 it has raveled all around the world but herge stayed in Belgium ..he established his own studio.And here with his team of assistant artists he started expand the TINTIN Adventure across all the horizon.




ROLL
Hergé’s had become a great sensation his story was based on current political scenario of that time. He took his readers to all around the world as TINTIN adventure was about traveling different places around the globe from Japanese-occupied China in The Blue Lotus to the Arctic Ocean in The Shooting Star.
The Black Island takes Tintin and his canine companion to a foreboding island off the coast of Scotland. A mythical beast — based partly on the Scottish Loch Ness monster — haunts the island, and Tintin is  determined to get to the bottom of the local legend, once and for all.

Sunday, November 20, 2011

TINTIN---WHAT THEY SAY?

Is it just me or does anyone else find the new Tin Tin movie disappointing?
A great adventure story told in true Spielberg fashion but for me the use of Motion Capture was a misconception. OK, you can't fault such technology but Mo Cao ia ear better utilised in the gaming sector.
The Tin Tin purist will not be happy as the film deviates from its comic book roots - Trad 2D anim would have suited it better but this was never an option for Spielberg. It wouldn't have worked as a 3D movie either.
I would have preferred to tp have seen it as a live action film laden with CGI and V/FX How could Peter Jackson not see this as well? It worked fantastically well for him in the Lord of the Rings Trilogy
No doubt Tin Tin will do well at the box office and so we will see more use of Mo cap- remember how Stereoscopic 3D went ballistic after Avatar.
Yet again we can expect the overuse of technology for technologies sake . . . . .Ho Hum such is life.
 Nilanjan Roy Chowdhury but the movie is so.. so.. it is made particularly for the children in India.
Shibaji Dey I miss the test of animation in it. i cant compare it with UP.But Tintin is tintin above all in its uniqueness .
Abhishek Nitish Yes we can ...or rather should say, we have to expect the overuse of technology specially wen it is introduced by big players doesn't matter these are introduced in big budget way... these are actually money making techniques and lots of small players will go for it... i agree with you but but our agree-ment is motivated by our love for goodolddays theory which is not going to be viable commercially i guess.
Debabrata Chakraborty i agree with u sir but the thng is that 2much techno is not good...evrythng shud have some limit..
Abhinava Das ‎2d of tintin was more good than 3d.........    
Jaybrata Bhattacharyya agree, either 2D or live action with VFX would have been the right choice. Mo capture made the whole thing look like crap, they should have learned it from polar express. 

Tuesday, November 08, 2011

DIGITAL LONDON--Anonymous


Roland Emmerich's new Adventurer Anonymous where a virtual London was to be created, a London  prior to the Great Fire of 1666. for this they build thousand of buildings from a technology called OGEL. This enormous VEX challenge was taken by Volker Engel and Marc Weigert.

We went several times to England to shoot buildings for textures and photogrammetry that were left over from the 16th century," Weigert suggests. "We basically went everywhere from the Scottish border in Wales all the way down to the south and found every little village that we could use for assets to build the city." (excerpts from AWN).

They worked regularly in 3ds Max with both hand and automated work.

"We had more than 300 shots and a second unit team that shot a few back plates in England, but only a few of those were used," adds Weigert."It was all shot in Germany, using both interior and exterior greenscreens. We had entire sequences of 50 to 60 shots where it was just the actors walking or riding in front of greenscreens on stage, and we would build the entire environment for it, which was also accurate. When we were looking at old British films, even up to a few years ago, they were always shot on the same locations with the permission of the Heritage Trust. We didn't want to do that. We wanted to use visual effects to create history as it was, so we built the White Hall Palace, for instance, which was Queen Elizabeth's home. It doesn't exist anymore and is in a totally different place and looks totally different. But we built it accurate to old paintings.







"When you do something in 3D, you can never see it in real time," Weigert suggests. "You have to wait for the picture to render, then you have to wait for all the frames to render to then put it into comp and then to see the results. So we tried to move away from that and do as much as we could with projection techniques in Fusion, which was the software of choice for this project. And we together worked with eyeon to develop new tools, one of which was full 3D water as a compositing package inside Fusion, so we had almost real time feedback on our water of the River Thames; we did 3D backgrounds with projected images must faster. For instance, we'd only render a still frame in the 3D package and then re-projected that in Fusion. And we'd use that and add camera moves.
"We wanted those shots to look as real and as immersive as possible. Roland likes to create these shots to put things in perspective and guide you and give you a sense of scale." (excerpts from AWN)