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(Music playing) (Multiple gun shots) (Suspenseful music playing) Jason Yim: We would sketch something super simple, like this, for a sequence and then that's actually sent to our artist in China.
It will come back quite finished, and each step being approved by the client, of course. I think Spidey is a great example of kind of a comprehensive web campaign that we've done. As a team, we've worked on Spidey 1, Spidey 2 and then as Trigger, Spidey 3. This is an example of the original concept that went to Sam Raimi and to the executives of Sony, just to pitch the concept.
Then, from there, we would actually do something a little bit more detailed. So these are production wireframes that show how the site will actually function. Anthony Palacios: So, this isn't exactly a 100% accurate representation of what the site is going to look like, but it at least gives the client a sense of where things are going to be in space and in relation to one another. Jason Yim: Then, from there, we'd actually get to kind of these comps that are then shown to the client for final approval before we build everything out.
Then we go ahead and animate everything in After Effects and Flash and stuff. Then, from there, we go on to a full site. (Music playing) Anthony Palacios: One of the great things about working with Sony is that there is a lot of collaboration, just concepting different ideas of how the information flow is going to break down on the site.
So, to kind of make things a little bit easier and kind of get everyone's head wrapped around that concept, we at Trigger, here, decided that it would just make most sense to kind of lay that out in a visual sense, so that we can actually show the client and the film makers what that thought process was, rather than just writing it up in a long doc. Jason Yim: So, again, I think, the importance of the wireframing is that everything is architected. It's thought all the way through, even before we start building a single piece or putting pixels onto the graphics.
For instance, on Wolverine, we started designing and building the game as they were shooting principle photography, so we had to look at a little bit of the opening sequence that showed Wolverine fighting through different battles over time, and that's what we based the game on. From a couple of screen grabs and our own research, we'd start creating these 3D models. At the same time, a different team would be designing the actual user interface for the actual game screens and the 3D work would also continue with sketches of the game map and stuff.
So, you can see that these are quite large. We'll start off like a pencil sketch like this, done mostly by our Shanghai team. They'll start to get more and more detailed and then, finally, they'll actually create it in full 3D with painted assets and stuff. There is quite a lot of work that goes into the game. Every animation from how the characters are fighting and stuff is also storyboarded, sketched out, and shown to the client for approval. The same amount detail goes into an iPhone game, very simple wireframes that show how each of the screens will work.
Then once all this is approved, we'd actually move to design comps that show every single screen. Then, that would actually end up with the actual game, after a lot of programming. Anthony Palacios: A lot of magic. Jason Yim: Yes, and it's all working. It's taking GPS, your starting location, mapping out how to get to Tibet. It's had 500,000 downloads so far.
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