{"data":{"id":16792,"title":"Squadron 42 Monthly Report: September 2018","rsi_url":"https:\/\/robertsspaceindustries.com\/comm-link\/transmission\/16792-Squadron-42-Monthly-Report-September-2018","api_url":"https:\/\/api.star-citizen.wiki\/api\/comm-links\/16792","api_public_url":"https:\/\/api.star-citizen.wiki\/comm-links\/16792","channel":"Undefined","category":"Undefined","series":"Monthly 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is a cross-post of the report that was recently sent out via the monthly Squadron 42 newsletter. We\u2019re publishing this a second time as a Comm-Link to make it easier for the community to reference back to, and plan on following this process for future Squadron 42 Monthly Reports.\nAs the development of Squadron 42 thunders on, the brain trust at UEE Naval High Command has retooled their dispatches.\n\nWe aim to bring you the most significant and comprehensive project updates available. However, particularly sensitive details will remain under wraps to avoid unnecessary leaks to the civilian community.\n\nRead on for a look into the work done on Squadron 42 during September and keep a weather eye open on this channel for future briefings.\n\nCitizenCon 2948 saw the first look at the latest Squadron 42 trailer. If you missed it, or want to check it out again, you\u2019ll find the full 4K version on the official Star Citizen YouTube channel.\n\n\nCinematics\nThe Cinematics Team split their time this month between creating content and advancing tech and tools. They had several meetings about where to fit PCAP to reworked props and where to change geometry to fit the specific shot performances; in particular, where to place the Idris and Bengal\u2019s captain\u2019s chairs. They modified and completed several Trackview master sequences featuring newly-edited PCAP, including camera and lighting. The completed sequences essentially show a conversation or first-person cinematic and all of its branches in a linear fashion. The animators then use these to iterate on pose-matching, while the level designers use them as the blueprint for how the scene will play out once it\u2019s scripted via AI logic. On the tech side, they worked with tool engineers to improve the navspline for puppeteering ships. The spline now features better ghost vehicle rendering too, allowing its control points to be manipulated as editor objects. General work on the usability of the spline is continuing with numerous improvements. The team also revamped the ability to trigger weapon and turret fire on ships. A collaboration with the tech teams featured example scenes that contain performances by real-life actors. As the actors were directing their performance to a specific point, the goal is now to guide the player towards that spot via UI. The first tests look promising.\n\nEngineering\nThe Actor Team made a lot of small improvements to how first-person gameplay feels, such as speeding up weapon swapping, tweaking ADS aiming when moving, and adjusting weapon sway. They also revisited and fixed issues with the jump mechanic before undertaking a more detailed pass using the new time-warping tech to clean up the assets. Progress continues with the Usable Editor Tool, which enables the team to create and amend new usables directly in the editor and simplify the current process. The new Walk and Talk prototype is making progress, with two characters now walking together while having a believable and dynamic conversation. The EU Gameplay Team has been supporting the cinematics group, fixing issues they\u2019ve been having when creating cutscenes.\n\nFacial animation\nThe team worked along-side Tech Animation to test the Vanduul facial rig. They also ran the first set of reviews for the new Facial Animation Quality Benchmark, with the goal of establishing a gold-standard for facial performance in a triple-A game.\n\nGameplay Story\nSeptember was a particularly exciting month as the Story Team implemented more scenes than ever before. The aim for Q3 began with around 10, but they managed to get 23 working in-game to a high standard. They also gave more thought to the lighting and positioning of scenes within levels, which has led to considerable improvements to their visual appearance.\nGraphics\nThe Graphics Team worked on several new features as part of ongoing space-crafting improvements. This included adding shadows onto and from gas clouds (with a 75% memory saving), the addition of turbulence and interference when near dense regions of cloud, and a new GPU spline based lightning system. On top of this, they also improved reflections from water and added tessellation to the organic shader, which is mainly used for rocks and terrain.\nLevel Design\nThe team is operating at full capacity, with a heavy focus on scene implementation and usables. Making all the locations of the game feel realistic and believable (particularly the way the AI interact and move around on their various schedules) is always a top priority. All chapters of the game have a single design owner and several support designers who can work on them simultaneously. The numerous feature teams all have S42 technical priorities on their backlogs and have a steady stream of technology and workflow improvements coming in on a weekly basis.\nProps\nThe Props Team shifted priorities slightly this month to focus on getting their templates updated to work with the new usable systems, with the aim to make it easier to scale functionality out across the game. Work has progressed on junk and scrap piles, with the whitebox assets getting a material pass. The original simpods have been brought up to scratch, staying true to the original concept but being reworked using the custom normal workflow. They were also converted to work with the most current shaders. Finally, the team has been going through the cinematic scenes and have started work on the props with performance capture associated with them.\nShip Art\nThe Ship Art Team paused for a couple weeks on Persistent Universe work to take care of some pilot-fitting issues on a prominent S42 campaign ship. They raised the pilot position up and refined the interior geo a bit more. Now that it\u2019s done, they\u2019re back in full swing on the 300i grey-box for the PU.\nTech Animation\nThe Motion Capture Team has been reconfiguring their whole rig to trigger capture on every platform over TCP\/IP: reference, facial & body. This made it much easier to match and manage the resulting datasets and has improved workflow across the board. They put it to the test on a recent shoot in Manchester and worked to implement much of the resulting animation. They have also been refining the pipelines in which they process the data sets from motion capture and bring them together as a whole in their animation DCC of choice, Maya. Female animation received baseline processing, with retargeting of the core reference databases and basic animation done to make the refinement pass as easy as possible. They also worked on multiple fixes for the usable system and supported the Combat AI Team with new weapon setups for left-handed combat. Lastly, the team has been developing the facial rigging pipeline and skinning toolsets, with the Vanduul as the central focus of development.\n\nUI\nWhile UI predominantly provided support for new features in the PU, they also supported various environmental needs for Squadron 42, such as ambient displays in the background of scenes and locations.\nVFX\nThis month, the team focused heavily on a variety of feature improvements, including significantly upgraded lightning effects. This doesn\u2019t just refer to how it looks, but how it can be dynamically controlled and how it interacts with the player. This was all done in close collaboration with the Art and Design teams. They also worked on various cinematics, as well as several in-game cutscenes. Some have been challenging to work on as they flesh out unique environments and situations that haven\u2019t been seen before in a video game.\nWeapons\nThe Weapon Art Team finished production on the Kastak Arms Sawtooth knife.\nCovert Intel\nWE\u2019LL SEE YOU NEXT MONTH\u2026","de_DE":"Dies ist ein Querverweis auf den Bericht, der k\u00fcrzlich \u00fcber den monatlichen Squadron 42 Newsletter verschickt wurde. Wir ver\u00f6ffentlichen dies ein zweites Mal als Comm-Link, um es der Community zu erleichtern, auf diesen Prozess f\u00fcr zuk\u00fcnftige Squadron 42 Monatsberichte zur\u00fcckzugreifen und ihn zu verfolgen.\nW\u00e4hrend die Entwicklung der Staffel 42 weiter donnert, hat der Brain Trust des UEE Naval High Command ihre Depeschen neu ausger\u00fcstet.\n\nUnser Ziel ist es, Ihnen die wichtigsten und umfassendsten Projekt-Updates zur Verf\u00fcgung zu stellen. Besonders sensible Details bleiben jedoch unter Verschluss, um unn\u00f6tige Lecks an die Zivilbev\u00f6lkerung zu vermeiden.\n\nLesen Sie weiter, um einen Blick auf die Arbeit an der Staffel 42 im September zu werfen und halten Sie f\u00fcr zuk\u00fcnftige Briefings ein Auge auf diesen Kanal.\n\nCitizenCon 2948 sah den ersten Blick auf den neuesten Squadron 42 Trailer. Wenn du es verpasst hast oder es noch einmal ausprobieren m\u00f6chtest, findest du die volle 4K-Version auf dem offiziellen Star Citizen YouTube-Kanal.\n\n\nKinematiken\nDas Cinematics Team teilte seine Zeit in diesem Monat zwischen der Erstellung von Inhalten und der Weiterentwicklung von Technologien und Tools auf. Sie hatten mehrere Besprechungen dar\u00fcber, wo PCAP an \u00fcberarbeitete Requisiten angebracht werden sollte und wo die Geometrie an die spezifischen Schussleistungen angepasst werden sollte; insbesondere, wo die Idris und die Kapit\u00e4nssessel von Bengal platziert werden sollten. Sie modifizierten und vervollst\u00e4ndigten mehrere Trackview-Mastersequenzen mit neu bearbeitetem PCAP, einschlie\u00dflich Kamera und Beleuchtung. Die abgeschlossenen Sequenzen zeigen im Wesentlichen ein Gespr\u00e4ch oder eine First-Person-Cinematic und alle ihre Zweige linear. Die Animatoren verwenden diese dann, um beim Pose-Matching zu iterieren, w\u00e4hrend die Leveldesigner sie als Blaupause f\u00fcr das Verhalten der Szene verwenden, sobald sie \u00fcber die KI-Logik skriptiert wurde. Auf der technischen Seite arbeiteten sie mit Werkzeugingenieuren zusammen, um den Navspline f\u00fcr Puppenfahrerschiffe zu verbessern. Die Spline verf\u00fcgt nun auch \u00fcber eine bessere Geisterfahrzeugdarstellung, so dass ihre Kontrollpunkte als Editorobjekte manipuliert werden k\u00f6nnen. Die allgemeinen Arbeiten zur Benutzerfreundlichkeit der Verzahnung werden mit zahlreichen Verbesserungen fortgesetzt. Das Team hat auch die F\u00e4higkeit, Waffen und Turmfeuer auf Schiffen auszul\u00f6sen, \u00fcberarbeitet. In Zusammenarbeit mit den Technik-Teams wurden Beispielszenen gezeigt, die Auftritte von realen Schauspielern enthalten. Da die Akteure ihre Performance auf einen bestimmten Punkt ausgerichtet haben, ist es nun das Ziel, den Spieler \u00fcber die Benutzeroberfl\u00e4che zu diesem Punkt zu f\u00fchren. Die ersten Tests sehen vielversprechend aus.\nIngenieurwesen\nDas Actor Team hat viele kleine Verbesserungen am Spielgef\u00fchl der Ego-Personen vorgenommen, wie z.B. die Beschleunigung des Waffenwechsels, das Optimieren des ADS-Ziels beim Bewegen und das Einstellen der Waffenschwankung. Sie besuchten und beheben auch Probleme mit dem Sprungmechaniker, bevor sie einen detaillierteren Pass mit der neuen Time Warping-Technologie zur Bereinigung der Anlagen durchf\u00fchrten. Der Fortschritt geht weiter mit dem Usable Editor Tool, das es dem Team erm\u00f6glicht, neue Usables direkt im Editor zu erstellen und zu \u00e4ndern und den aktuellen Prozess zu vereinfachen. Der neue Walk and Talk-Prototyp macht Fortschritte, wobei zwei Charaktere nun zusammen gehen und ein glaubw\u00fcrdiges und dynamisches Gespr\u00e4ch f\u00fchren. Das EU-Gameplay-Team hat die Cinematics-Gruppe unterst\u00fctzt und Probleme bei der Erstellung von Cutscenes behoben.\nGesichtsanimation\nDas Team arbeitete zusammen mit Tech Animation, um das Vanduul Gesichtsger\u00e4t zu testen. Sie f\u00fchrten auch die ersten Bewertungen f\u00fcr den neuen Facial Animation Quality Benchmark durch, mit dem Ziel, einen Goldstandard f\u00fcr die Gesichtsleistung in einem Triple-A-Spiel zu etablieren.\nGameplay-Geschichte\nDer September war ein besonders aufregender Monat, da das Story-Team mehr Szenen als je zuvor realisierte. Das Ziel f\u00fcr Q3 begann mit etwa 10, aber sie schafften es, 23 arbeitende Spieler im Spiel auf ein hohes Niveau zu bringen. Sie besch\u00e4ftigten sich auch verst\u00e4rkt mit der Beleuchtung und Positionierung von Szenen innerhalb von Ebenen, was zu einer erheblichen Verbesserung der Optik gef\u00fchrt hat.\nGrafiken\nDas Grafik-Team arbeitete an mehreren neuen Funktionen im Rahmen der kontinuierlichen Verbesserung des Raumfahrtverfahrens. Dazu geh\u00f6rten das Hinzuf\u00fcgen von Schatten auf und von Gaswolken (mit einer Speicherersparnis von 75%), das Hinzuf\u00fcgen von Turbulenzen und Interferenzen in der N\u00e4he dichter Wolkenbereiche und ein neues GPU-Spline-basiertes Beleuchtungssystem. Dar\u00fcber hinaus verbesserten sie auch die Reflexionen vom Wasser und f\u00fcgten dem organischen Shader, der haupts\u00e4chlich f\u00fcr Felsen und Gel\u00e4nde verwendet wird, eine Tesselierung hinzu.\nLeveldesign\nDas Team ist voll ausgelastet, mit einem starken Fokus auf Szenenimplementierung und Usables. Es ist immer von h\u00f6chster Priorit\u00e4t, alle Orte des Spiels realistisch und glaubw\u00fcrdig erscheinen zu lassen (insbesondere die Art und Weise, wie die KI interagiert und sich auf ihren verschiedenen Zeitpl\u00e4nen bewegt). Alle Kapitel des Spiels haben einen einzigen Designeigent\u00fcmer und mehrere Support-Designer, die gleichzeitig an ihnen arbeiten k\u00f6nnen. Die zahlreichen Feature-Teams haben alle technische S42-Priorit\u00e4ten in ihren Backlogs und verf\u00fcgen \u00fcber einen stetigen Strom von Technologie- und Workflow-Verbesserungen, die w\u00f6chentlich einflie\u00dfen.\nRequisiten\nDas Requisitenteam hat die Priorit\u00e4ten in diesem Monat leicht verschoben, um sich darauf zu konzentrieren, dass seine Vorlagen aktualisiert werden, um mit den neuen benutzerfreundlichen Systemen zu funktionieren, mit dem Ziel, die Skalierung der Funktionalit\u00e4t im gesamten Spiel zu erleichtern. Die Arbeiten an Schrott- und Schrotthalden sind vorangekommen, wobei die Whitebox-Anlagen einen Materialpass erhalten haben. Die urspr\u00fcnglichen Simpods wurden auf den neuesten Stand gebracht, bleiben dem urspr\u00fcnglichen Konzept treu, werden aber mit dem benutzerdefinierten normalen Workflow \u00fcberarbeitet. Sie wurden auch umgebaut, um mit den aktuellsten Shadern zu arbeiten. Schlie\u00dflich hat das Team die filmischen Szenen durchgegangen und mit der Arbeit an den Requisiten begonnen, mit der damit verbundenen Leistungserfassung.\nSchiffskunst\nDas Ship Art Team hielt einige Wochen lang an der Arbeit an Persistent Universe fest, um sich um einige Probleme bei der Pilotenausr\u00fcstung auf einem prominenten S42-Kampagnenschiff zu k\u00fcmmern. Sie hoben die Pilotposition an und verfeinerten die Innengeo etwas mehr. Jetzt, da es erledigt ist, sind sie wieder in vollem Gange auf der 300i grauen Box f\u00fcr das PU.\nTechnische Animation\nDas Motion Capture Team hat sein gesamtes Rigg neu konfiguriert, um die Erfassung auf jeder Plattform \u00fcber TCP\/IP auszul\u00f6sen: Referenz, Gesicht und K\u00f6rper. Dies hat die Abstimmung und Verwaltung der resultierenden Datens\u00e4tze erheblich vereinfacht und den Arbeitsablauf in allen Bereichen verbessert. Sie stellten es bei einem k\u00fcrzlichen Shooting in Manchester auf die Probe und arbeiteten daran, einen Gro\u00dfteil der resultierenden Animation zu implementieren. Sie haben auch die Pipelines verfeinert, in denen sie die Datens\u00e4tze aus der Bewegungserfassung verarbeiten und in ihrer Animation DCC der Wahl, Maya, als Ganzes zusammenf\u00fchren. Die weibliche Animation erhielt eine Grundlinienverarbeitung, mit einer erneuten Ausrichtung der Kern-Referenzdatenbanken und einer grundlegenden Animation, um die Verfeinerung so einfach wie m\u00f6glich zu gestalten. Sie arbeiteten auch an mehreren Korrekturen f\u00fcr das verwendbare System und unterst\u00fctzten das Combat AI Team mit neuen Waffenaufstellungen f\u00fcr den Linksh\u00e4nder-Kampf. Schlie\u00dflich hat das Team die Facial Rigging Pipeline und Skinning Toolsets entwickelt, wobei die Vanduul im Mittelpunkt der Entwicklung stand.\nUI\nW\u00e4hrend die Benutzeroberfl\u00e4che haupts\u00e4chlich Unterst\u00fctzung f\u00fcr neue Funktionen in der PU bot, unterst\u00fctzte sie auch verschiedene Umweltanforderungen f\u00fcr die Staffel 42, wie z.B. Umgebungsanzeigen im Hintergrund von Szenen und Orten.\nVFX\nIn diesem Monat konzentrierte sich das Team stark auf eine Vielzahl von Funktionsverbesserungen, darunter deutlich verbesserte Blitzeffekte. Dies bezieht sich nicht nur auf das Aussehen, sondern auch darauf, wie es dynamisch gesteuert werden kann und wie es mit dem Player interagiert. Dies alles geschah in enger Zusammenarbeit mit den Teams von Art und Design. Sie arbeiteten auch an verschiedenen Kinofilmen und mehreren Cutscenes im Spiel. Einige haben es sich zur Aufgabe gemacht, an ihnen zu arbeiten, w\u00e4hrend sie einzigartige Umgebungen und Situationen ausarbeiten, die in einem Videospiel noch nie zuvor gesehen wurden.\nWaffen\nDas Weapon Art Team beendete die Produktion des Kastak Arms S\u00e4gezahnmessers.\nVerdeckte Intel\nWIR SEHEN UNS N\u00c4CHSTEN MONAT.....","zh_CN":"This is a cross-post of the report that was recently sent out via the monthly Squadron 42 newsletter. We\u2019re publishing this a second time as a Comm-Link to make it easier for the community to reference back to, and plan on following this process for future Squadron 42 Monthly Reports.\nAs the development of Squadron 42 thunders on, the brain trust at UEE Naval High Command has retooled their dispatches.\n\nWe aim to bring you the most significant and comprehensive project updates available. However, particularly sensitive details will remain under wraps to avoid unnecessary leaks to the civilian community.\n\nRead on for a look into the work done on Squadron 42 during September and keep a weather eye open on this channel for future briefings.\n\nCitizenCon 2948 saw the first look at the latest Squadron 42 trailer. If you missed it, or want to check it out again, you\u2019ll find the full 4K version on the official Star Citizen YouTube channel.\n\n\nCinematics\nThe Cinematics Team split their time this month between creating content and advancing tech and tools. They had several meetings about where to fit PCAP to reworked props and where to change geometry to fit the specific shot performances; in particular, where to place the Idris and Bengal\u2019s captain\u2019s chairs. They modified and completed several Trackview master sequences featuring newly-edited PCAP, including camera and lighting. The completed sequences essentially show a conversation or first-person cinematic and all of its branches in a linear fashion. The animators then use these to iterate on pose-matching, while the level designers use them as the blueprint for how the scene will play out once it\u2019s scripted via AI logic. On the tech side, they worked with tool engineers to improve the navspline for puppeteering ships. The spline now features better ghost vehicle rendering too, allowing its control points to be manipulated as editor objects. General work on the usability of the spline is continuing with numerous improvements. The team also revamped the ability to trigger weapon and turret fire on ships. A collaboration with the tech teams featured example scenes that contain performances by real-life actors. As the actors were directing their performance to a specific point, the goal is now to guide the player towards that spot via UI. The first tests look promising.\n\nEngineering\nThe Actor Team made a lot of small improvements to how first-person gameplay feels, such as speeding up weapon swapping, tweaking ADS aiming when moving, and adjusting weapon sway. They also revisited and fixed issues with the jump mechanic before undertaking a more detailed pass using the new time-warping tech to clean up the assets. Progress continues with the Usable Editor Tool, which enables the team to create and amend new usables directly in the editor and simplify the current process. The new Walk and Talk prototype is making progress, with two characters now walking together while having a believable and dynamic conversation. The EU Gameplay Team has been supporting the cinematics group, fixing issues they\u2019ve been having when creating cutscenes.\n\nFacial animation\nThe team worked along-side Tech Animation to test the Vanduul facial rig. They also ran the first set of reviews for the new Facial Animation Quality Benchmark, with the goal of establishing a gold-standard for facial performance in a triple-A game.\n\nGameplay Story\nSeptember was a particularly exciting month as the Story Team implemented more scenes than ever before. The aim for Q3 began with around 10, but they managed to get 23 working in-game to a high standard. They also gave more thought to the lighting and positioning of scenes within levels, which has led to considerable improvements to their visual appearance.\nGraphics\nThe Graphics Team worked on several new features as part of ongoing space-crafting improvements. This included adding shadows onto and from gas clouds (with a 75% memory saving), the addition of turbulence and interference when near dense regions of cloud, and a new GPU spline based lightning system. On top of this, they also improved reflections from water and added tessellation to the organic shader, which is mainly used for rocks and terrain.\nLevel Design\nThe team is operating at full capacity, with a heavy focus on scene implementation and usables. Making all the locations of the game feel realistic and believable (particularly the way the AI interact and move around on their various schedules) is always a top priority. All chapters of the game have a single design owner and several support designers who can work on them simultaneously. The numerous feature teams all have S42 technical priorities on their backlogs and have a steady stream of technology and workflow improvements coming in on a weekly basis.\nProps\nThe Props Team shifted priorities slightly this month to focus on getting their templates updated to work with the new usable systems, with the aim to make it easier to scale functionality out across the game. Work has progressed on junk and scrap piles, with the whitebox assets getting a material pass. The original simpods have been brought up to scratch, staying true to the original concept but being reworked using the custom normal workflow. They were also converted to work with the most current shaders. Finally, the team has been going through the cinematic scenes and have started work on the props with performance capture associated with them.\nShip Art\nThe Ship Art Team paused for a couple weeks on Persistent Universe work to take care of some pilot-fitting issues on a prominent S42 campaign ship. They raised the pilot position up and refined the interior geo a bit more. Now that it\u2019s done, they\u2019re back in full swing on the 300i grey-box for the PU.\nTech Animation\nThe Motion Capture Team has been reconfiguring their whole rig to trigger capture on every platform over TCP\/IP: reference, facial & body. This made it much easier to match and manage the resulting datasets and has improved workflow across the board. They put it to the test on a recent shoot in Manchester and worked to implement much of the resulting animation. They have also been refining the pipelines in which they process the data sets from motion capture and bring them together as a whole in their animation DCC of choice, Maya. Female animation received baseline processing, with retargeting of the core reference databases and basic animation done to make the refinement pass as easy as possible. They also worked on multiple fixes for the usable system and supported the Combat AI Team with new weapon setups for left-handed combat. Lastly, the team has been developing the facial rigging pipeline and skinning toolsets, with the Vanduul as the central focus of development.\n\nUI\nWhile UI predominantly provided support for new features in the PU, they also supported various environmental needs for Squadron 42, such as ambient displays in the background of scenes and locations.\nVFX\nThis month, the team focused heavily on a variety of feature improvements, including significantly upgraded lightning effects. This doesn\u2019t just refer to how it looks, but how it can be dynamically controlled and how it interacts with the player. This was all done in close collaboration with the Art and Design teams. They also worked on various cinematics, as well as several in-game cutscenes. Some have been challenging to work on as they flesh out unique environments and situations that haven\u2019t been seen before in a video game.\nWeapons\nThe Weapon Art Team finished production on the Kastak Arms Sawtooth knife.\nCovert Intel\nWE\u2019LL SEE YOU NEXT MONTH\u2026"},"links_count":1,"comment_count":34,"created_at":"2018-11-05T00:00:00+00:00","created_at_human":"7 years ago"},"meta":{"processed_at":"2026-05-07 22:53:07","valid_relations":["images","links"],"prev_id":16791,"next_id":16795}}