تم الكشف عن جميع اسرار هالو2 وتم الجواب عن جميع الاسئلة لديمو هالو2 وصور لم تروها....

وين الموضوع يا بابا ؟؟؟؟؟؟:! ?: ?: ?:

سامحوني وربي اني مهوي :"

هو هذا الموضوع

The ‘making of’ story continues this week with a peek at the art side of the Halo 2 E3 demo. As we’ve already learned from our earlier stories, Design and Cinematics (and Audio, according to Marty) are all critical to the game experience but it’s our team of uber-artists that give it personality and make it look and feel the way it should. I don’t know about you all but I still get giddy when I see those glorious explosions, shiny bump maps, detailed models and dynamic lighting!

This week mehve and I had the chance to sit down with a few of the guys from our art team and talk to them about creating the E3 demo. Marcus Lehto, Dave Dunn, Shiek Wang, John Butkus and Nathan Walpole all help shed a little light into the magic of making Halo 2 look fantastic.

Hi guys, can you briefly walk us through the process of creating the E3 demo?

Marcus : Creating something like the E3 demo takes a ton of collaboration and team work in order to bring all the necessary people, technology, content and time together. We began envisioning what we would want to show back in January when our first talks about the whole demo started. Starting with rough ideas, we turned that into a script. Then we had the whole script storyboarded out. We began the building of content later in March. This is when much of what we liked to call “the great collision” of art content and code started coming together.

Dave : This demo originated from an evil little script that Joseph put together with the level designers. Chris Lee was already working on the EarthCity level for the single player game so it made sense to use the assets we already had. At that point it became a game of trying to make every area the demo showed look as good as we could.

John : The animators receive both the script and it’s evil brother, the storyboards. From the storyboards, Nathan and I started blocking in the scenes for the E3 demo cutscenes. We would begin by creating a rough camera for the scene, then we put placeholder animations of the characters in the scene (nothing special, just a character in a single pose sliding around like Gumby). Once we have a rough cut of the scene, one of us would go over and bug Joe until he’d come over and give us the okay for final animation. After that, the time is spent making it look like it does in the final demo. As far as the in-game animations go, months were spent creating those and what is seen in the demo is only a taste of what’s to come.

Shiek : As for the 3d objects, it follows pretty much in the same fashion. Weapons, vehicles, objects, characters all had to change in accordance to the script. So, some of the models that were scheduled to be done later were moved up to fit in line with the demo. We would go through the storyboards and script to try and plan out all the objects that were needed and schedule it out to all artists. Pre-planning and scheduling after the script was finalized proved essential.

What were some of the challenges you faced in creating this demo?

Dave: Most of the challenges had to do with performance and time. Technically we were pushing the limits and we were always walking the fine line between our ideal art goals and our target gameplay experience goals.

Shiek : The biggest challenges revolved around an ever evolving game engine that continued to improve as we were creating assets so the target was always moving.

John : Yes, time was always a nagging concern. Keeping your mind sharp was another. There’s nothing like lime popsicles at 2:30am when your eyes are burning from staring at your monitors for so long and your hair is all crazy and you’re so tired you can actually feel yourself going insane. For young guys like us, it doesn’t really hurt us to function on 2 hours’ sleep…but after a few weeks it will wear you down a bit. (ed. note: Not to mention the toll that receiving constant beatings in Virtua Tennis will take...)

Nathan : There were a lot of technical unknowns. We had to get a dual weapons system working, a melee combo attack implemented and make boarding a vehicle a kickass experience. It was fun creating these elements. Another challenge was creatively handling in-game animation vs. cinematic animation. It was hard at times trying to juggle the two. As animators, needs arise from other team members to have game and cinematic animations delivered simultaneously.

What was the hardest/most difficult aspect of getting the demo finished?

Dave : Getting everything to look as good as we wanted while still maintaining a great gameplay experience. Also, maintaining a focus for the art amongst a large group of artists who were creating a wide variety of art content that had to all come together in one environment.

Marcus : To me, the biggest challenge was the giant heap of unknowns. We worked our butts off for E3, but we do that every time there’s a huge crunch. So, that was the same old thing again – wish the family farewell and head into the trenches with our guns ready. We had to pick a starting point and dive in and then continually reassess where we were and where we were headed as the technology evolved.

John : For me, the most difficult challenge was keeping up with the scope of the demo. But that was also the most enjoyable part of working on it. It makes it much easier to put in those 18 hour days and pour everything you have into making something everything it can be when you look around you and see everyone else doing the exact same thing. It wasn’t just one or two people who were here at midnight every night – it was everyone. Seeing that sort of dedication gives you your second wind at 1am so you can push for those extra two hours and fix those elite animations at the end of the demo.

Shiek : 'Finishing' by definition was difficult, because there was always something that needed attention and you get to the point where you just have to let it go. There were so many things in the demo that the artists thought needed more revision that I don't think there was any finished aspect besides the fact that you just can't work on it any longer.

Artistically, how did this process differ from the Halo 2 announce trailer?

Marcus : The announce trailer was completely scripted so it took place in a controlled environment. We took great care in making sure that every shot was compositionally sound. But, we only had to deal with the few elements in frame for each shot. E3 was way different. Taking on the responsibility of making sure every vantage point in a giant city looks beautiful is like playing God.

Dave : Well first off, New Mombasa is a fully functioning level as opposed to a segment of scripted cinematics. The real big difference between the two is the scale of the content. The E3 demo environment is probably larger than the original announce trailer environment by a factor of about 50. This means a whole lot more work by a whole lot more people.

Shiek : The Halo2 announcement trailer was like Dave said - way smaller in scope. But that meant it allowed us to focus on specific parts. We had complete control over what the camera would see so we could just focus on those aspects. For the demo we had no such luxury.

Nathan : This time around we had a great chance to show how badass the MC can be... C'mon people, I mean he drop kicked a surly Brute out of a Ghost...how cool is that?

One of the first things that people will notice is the overall improvement in the visual department as well as an increased complexity and detail in both the character models as well as the environments. Please talk a little about the new things you’re able to do with the Halo 2 versus what was done on Halo 1.

Shiek : By now everyone more or less knows that Halo2 is using bump mapping to its full capacity. The second noticeable difference is the lighting; it has drastically improved to the point where objects are able to shadow themselves. One of the things we've picked up on with our fans is that they love detail, and so do we. The artists love to put as much time and effort that is allowed to make something look like it's got history, wear and tear, complexity, and sense of design. Halo 2's engine allows us to create better objects in every way. Other things you just have to play and witness...

Nathan : Animation improvements we are aiming to implement for Halo 2 include a more robust moveset for the characters, better technical animation features, and heightening player control, AI experience, gameplay and story through animation and character performance. We are improving upon our animation system. With Halo 2 having new features like vehicle boarding, dual weapons, sprinting and melee combos, we had to look differently at what we needed to change from Halo to Halo 2. In addition to animation engine improvements, we improved our animation content pipeline as well with the introduction of new software and tools.

Explain a little about the visual style of some of the new elements- New Mombasa, new weapons, new vehicles, etc.. How did the overall design process work? How many concepts were created before selecting the final versions?

Shiek : The new elements followed the same design process as with all of the previous Halo elements. Since we have already established a style for all different races of the world it wasn't as difficult coming up with new items, as long as it fit the same mold. For example, human design is angular with subtle curves, but dirty and diffuse reflections. The Covenant would tend to be shinier, extremely reflective, with fresnel effects on most of their items and a cooler color tone. The process is traditional- start with game design requirements, concept it out, get it critiqued by many, rework it a couple of times, get it finalized with the key people, then start building. Many iterations of concepts were conceived before there was a final say between the artists, art director, and lead level designer. There is never a finite number of iterations, it's when we finally say “damn that's cool...let's do it” that the concept gets in the game. And one of the biggest things to keep in mind is that things will change to fit the game's requirements, so don't get too married to a concept.

Where does everyone get inspiration for the elements they create?

John : I draw inspiration from many things…mostly from everyday life. As far as the demo goes, I drew inspiration for the elites from a couple of things. This time around, I saw the elites as being a more primal, yet still a highly intelligent and capable species…so I took a pinch of velociraptor and a dash of Predator and came up with the mean son-of-a-bitch you see in the demo. He’s not just a predaraptor, no, there are other things that make up the elite, but those two were the main sources of inspiration for me.

Shiek : Everyone's got their little well of knowledge that they tend to fall back on. The artists all have a lot of reference books that are lying around to help them out when they're stuck. Anime/sci-fi movies/history/technology/art books/architecture/ancient civilizations are just a few that people have drawn inspirations from.

Nathan : Other than referencing the coolest creatures on this green earth and adding their motion traits to the various species within the Covenant, I gaze at my Iron Giant poster and Iron Giant figure atop my monitor. Iron Giant was possibly the best animated movie ever made.

Can you talk a little about the relationship between the art teams and the game design/programming teams?

Dave : It’s all one big happy, loving family. Well it’s more like a dysfunctional family that somehow always pulls it out in the end. Truth be told the environment artists work hand in hand with the level designers trying to create environments that the level designers feel they can make as fun as possible and that the artists feel they can make as visually interesting as possible. It’s a lot of give and take on both sides with everyone bringing as many interesting ideas as they can to the table. The programmers (or big brains as I like to call them) are just there to support us…just kidding! The programmers here are great. They consistently look at what we are trying to create and continually come up with ways to help us achieve as many cool things as we possibly can. They’re also there to tell us when we’re crazy and are trying to get the engine to do too much although they’re so proud it always kills them to have to say that to us.

Shiek : It's like this, we have one team...it's called the designprogrammableartandanimation team.

John : I don’t know – we don’t talk to them. All kidding aside, the animators have a close working relationship with both the design and programming team. Dave covered much of what I was going to say…always like him to steal my thunder.

Nathan : When an artist sneezes, they wipe our nose...wait, don't print that...I was just kidding!

It’s mind boggling to think about how practically everything the player sees is created by artists – from the textures of grass and walls to the actual rise and fall of the landscape, from bullets to giant ships, every fire, every rock, even particles of smoke. Was there anything in the visuals for the E3 demo that was not artist-created?

Dave : Well to be fair the content was all created by individual artists but it wouldn’t be possible without the great support from the programmers who understood what it was we were trying to do and supported us in that endeavor as well as the designers who worked with the artists to make sure that first and foremost the demo felt like something that would make people seeing it say, “Damn, I want to play that!”.

Shiek : The programmers do a heck of a job allowing the artists to bring to life what they can envision. Without them none of it would be possible, like that cool dynamic light at the end where he turns on the grenade. How are you supposed to do that if there is no programmer to back you up? A flashlight during the presentation?

What was your personal favorite aspect/moment in the E3 demo?

Nathan : Personally, my favorite part of the E3 demo was the vehicle boarding. I am REALLY REALLY looking forward to boarding in Halo 2.
The BRUTE dropping like a tank on the warthog and smacking the marines out was a thrill to animate...and the MC in his "drop-kick fury" made me lose my stuff...wow.

Dave : I really got a kick out of all the various text that Paul Russel included in the signs all over the city. Many of these contain references to inside Bungie humor, or to be more specific the environment pod humor. You gotta love the "Docks!"

John : My personal favorite part of the E3 demo was working on the elites and seeing them on the big screen in the Halo 2 booth at E3. They’re right around 57% cooler than before right now, but I fully expect to expand that number to somewhere in the neighborhood of 103% by the end of the project. But my favorite shot of the E3 demo is the scene I did of Master Chief getting up after he crashes the Ghost; I’m really happy with the way it turned out.

Shiek : The favorite part of the demo? I would have to say is the end where Master Chief lights up the grenade and it creates an awesome dynamic lighting onto his chest and body. That scene is just a great ending to everything that we've done. It feels like it solidifies all the work that came before. It's much like eating the best dessert you can imagine, after a feast suited for a king.

I bet folks don’t even think about who literally built the surface they walked on in Halo 1. For the Halo 2 demo, the entire staff was cramming in objects and elements. Just to give credit where credit is due, can we get a quick run down of what all each artist got to do?

Environment Artists

Chris Lee: visual design, layout, geometry creation and texturing of the environment
Paul Russel: texture creation, geometry, uv-mapping of the environment
Frank Cappezuto: object creation and texturing
Ed Smith: concept art, sky matte painting
Dave Dunn: visibility portalization, geometry and object manipulation
Michael Wu: extra help and moral support

Animators:

John ‘Anim8rjb’ Butkus: Elites, MC, marines, ODST trooper, camera setup
Nathan ‘bentllama’ Walpole: Brutes, MC, first-person animations, all character rigs, camera setup
CJ “Stormingcow” Cowan: MC, camera setup, Phantoms
Bill O’Brien: Grunts

3d Artists:

Marcus Lehto: overall art direction, modeler, animator, skies, environment, etc…
Robt McLees: weapons, objects modeler
Eric Arroyo: vehicles, objects, character modeler
Shiek Wang: concept artist, objects modeler, effects

Thanks for your time guys! I for one can't wait to see the cool new environments and artsy stuff you're working on for the rest of the game. Stay tuned to Bungie.net for the last chapter in the "making of" story as we talk to the folks in the Engineering department and get their perspective. Coming soon to a PC near you...


سامحوني بالله وبعد شوي راح اترجمه بنفسي الله يعين :"

بالله سامحوني وربي انه لمن غيرت اشتراك النت حقي صار النت زي السلحفة الافريقية المنقرضة.......



سامحوووووووونييييييييييييييي :" :" :" :" :" :" :" :"

اقتباس:

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الرسالة الأصلية كتبت بواسطة ظل رمادي
بالله سامحوني وربي انه لمن غيرت اشتراك النت حقي صار النت زي السلحفة الافريقية المنقرضة.......



سامحوووووووونييييييييييييييي :" :" :" :" :" :" :" :"

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ماصار الا كل خير :": :":



^_^ المنتدى مخرف هالأيام

)(قصة ال) تكتمل معنا لهذا الاسبوع مع نظرة للجانب الفني للعبة هالو2 الذي عرض في معرض اي 3 كما علمنا من قبل في تغطياتنا الاولى التصميم والعروض(والاصوات حسب اقوال مارتي) هي كلها (ضرورية) لتجربة اللعبة لكنه فريقنا من الفنانين الخارقين(ملاحظة:uber هي super لكن بالالمانية)الذين يعطونها الشخصية ويجعلونها تبدو وتحس بانها مصممة بما يجب.

انني لااعلم عنكم جميعا لكنني لا ازال اشعر ب(النشوة) اثناء مشاهدتي
لكل تلك الانفجارات المذهلة والخلفيات المشعة, والتصاميم المفصلة والاضاءة الديناميكية.

هذا الاسبوع انا و صديقي ميف ( اعتقد انها ميهف اسم الرجال؟؟ مايهم يهمنا هااااالووووو 2) انتهزنا الفرصة للجلوس مع بعض من رسامينا الفنيين يرافقونا وتكلمنا اليهم عن صنع ديمو هالو 2 , ماركوس ليهتو,ديف دون,شيك وانغ,( اسامي شبهه :0) ) جون بوتكس و ناثان والبول كلهم ساعدونا على وضع الضوء على على سحر كيفية جعل هالو 2 تبدو مدمرة.

_ اهلا يارجال ( مالقيت غير هذه الجملة لا تتريقو :0) ) هل يمكنكم بايجاز ان تقولو لنا عن الكيفية اللتي صنعتو بها ديمو هالو 2 لاي 3 ؟؟

_ ماركوس: صنع شيء مثل ديمو اي 3 ياخذ اطنانا من الاحتفال والعمل كفريق لنحضر كل الاشياء المطلوبة ,التقنية , المحتوى والوقت معا.
بدأنا تخيل ماذا اردنا ان نظهر في يناير عندما بدا كلامنا الاول عن ديمو هالو 2.
بدانا بالافكار المكثفة , ثم انتقلنا الى النص , ثم قمنا بوضع النص كاملا ومجهزا, بدأنا بتصميم المحتوى لاحقا في مارس , هذا هو لما سميناه (( التخيل الكبير)) للمحتوى الفني والتصميم بدا بالاندماج معا.

( اعذروني يمكن ترجمتي ملكلكة لكني والله مابستعمر اي برامج ترجمه بس بستعمل عقلي المصدي واصابيعي المطقطقة والكيبورد اللي ناقص حرف الشفت :" )

_ ديف: هذا الديمو قد نشا من نص (شرير) قام جوزف بوضعه مع مصممي المرحلة كرس لي كان في وقتها يعمل على مرحلة ( مدينة الارض!) للعبة الفردية لذلك فانه قد بدا معقولا ان نضع الاسس التي كنا نملكها وقتها,
وبذلك ظهرت لنا لعبة حاولت ان تظهر كل منطقة موجوده على مناطق اللعبة لتبدو ( مذهلة) بقدر مااستطعنا بكل مانملك.

_ جون: المصممين الحركيين كانو قد استلمو كلا النص و(اخوه الشرير) واسس القصة, في اسس القصة قمنا انا و ناثان قمنا بوضع المشاهد لديمو هالو 2, بدانا بوضع كاميرا مركزة على المشهد (والله بدا يكون كانها تمثيلية لنور الشريف :D ) ثم قمنا بوضع شخصيات ممثلة حركيا (لاشيء خاص, مجرد شكصيات بدون اي شكل او لون تبدو كالدمية) حالما قمنا بالانتهاء من المشهد, نرسل واحد منا ليوقظ جوي ليأتي الينا ويعطينا رأية للتصميم النهائي.
بعد ذالك. نقوم بوضع جميع الجماليات للمشهد من شخصيات مفصلة بالوان دايناميكية بدل الدمى وخلفيات واقعية وغيرها, وبعد ذلك نمضي شهورا لوضع التصاميم المتحركة للشخصيات في الديم, ((وحتى الان هذا الديمو ليس سوا جزء بسيط من اللعبة النهئية)).

(( وربي اني تعبت قاعد ساعة ونص علشان اترجملكم.......لكن عادي...كل هذا علشانكم.....:" تعبت)

_شيك: بالنسبة للتصاميم الثلاثية الابعاد 3d هي على نفس الخطى من الاسلحة وعربات التنقل و الملابس والخلفيات, (لكن) كلها اطرت الى ان تتغير على حسب النص . لذلك فان بعض التصاميم اللتي كانت جاهزة, اطررنا الى ان نغيرها لكي تتناسب مع احداث واماكن الديمو الجديد.
لذلك, فاننا اطررنا الى ان نراجع القصة والنصوص لكي نتاكد باننا (نخرج افضل ماعند فنانينا ورسامينا الى ابعد حد).
وكانت اعادة التصاميم وتغيير بعض الخلفيات هي من الضروريات لصنع ديمو مبهر من كل النواحي.

_ ماهي التحديات اللتي واجهتكم اثناء تصميم ديمو هالو 2 لمعرض اي 3؟؟.

_ديف: معظم التحديات كانت في الاداء والتوقيت ( تقنيا , كنا ندفع اعلى واقوى طاقات الاكس بوكس الى الحد وكنا دائما نضع خطا احمر مابين ابداعنا الفني ومابين التجربة القصوى لكي نصل الى اهدافنا.

(وربي اني تعببببببببببببببببت ياناس ارحموني وش ذا كله هذه كتابة:" زينوساجا انت لازم تثبت موضوعي علشان كل هذا الجههههههههههههههد:")

_شيك: اكبر تحدي كان بتطوير محرك رسومات هالو 1 واستمرينا في تطويره حتى وصلنا الى اعلى حد استطعنا الحصول عليه.

( ارجوكم اعذرو ترجمتي تراني مو قد كده لكني علشان الاكس بوكس قاعد اترجم واعصر دماغي :" )

_جون: اجل, الوقت كان دائما من اكبر مشاكلنا , وكنا دائما نجعل عقولنا منتبهة لاي خطا قد يحصل, لايوجد شعور مماثل لان تبقى مستيقظا للساعة الثانية والنصف وحيناك تحترق من التحديق على الشاشة وشعرك يبدو مبعثرا بجنون وانت متعب للغاية وتشعر بانك سوف تصبح مجنونا عما قريب :واو: :واو: .
بالنسبة الى شباب مثلنا, فانه لاباس لنا ان ننام لساعتين في اليوم :D :D .
لكن بعد بضعه اسابيع... سوف ينال الارهاق منك .
( ملاحظة: ولاننسا التفكير في اصوات مضارب فيرتشوا تنس على الدريم كاست)

_ناثان: كانت هناك الكثير من المشاكل التقنية, كنا يجب ان نجعل نظام التصويب يعمل و ضربات السلاح تبدو مبهرة والصعود الى العربات يبدو تجربة اكثر من مذهلة! ( انه كان من الممتع ان نبتكر هذه العوامل, ومن التحديات الاخرى اللتي واجهناها هي (( دمج التجربة بداخل اللعبة ودمجها مع العروض السينمائية بداخل اللعبة)) انه كان من الصعب في بعض الاحيان ان نخلط مابين الاثنين لان المصممين في الفريق الاول كانو بحاجه الى معرفة مايفعله المصممين في الفريق الثاني ليدمجو مابين العريض مابداخل اللعبة وتصاميم مابداخل اللعبة.
يااخواني خلوني اكمل بعدين الحين تعععععععععععععععببببببببببت من كثر الكتابة والترجمة..لكني اوعدكم بعد كم ساعة اكملكم الجزء الثاني من الترجمة.

مشكور أخوي بس مااعتقد هذي كل اسرار هالو2:)
وكأنك نسيت الصور؟:6

الحين خلوني ديكم بعض الصور النادرة اللي وعدتكم بيها وهي صور توضح كيفية تصميم مراكب وشخصيات اللعبة وعدد المضلعات المستخدمة بها.

ملاحظة هامة: هذه الصور نادرة وماتلاقوها في اي مكان الا المواقع التوب اللي يبغالها اشتراك ومعرف شنو.Enjoy ....

http://www.teamxbox.com/images/games...1058497071.jpg
شوفو شخصية اللعبة بدون سلاح ولا خلفيات مجرد دمية في المراحل الاولى من التطوير... وشوفو كم مضلع موجود على الشخصية!!



http://www.teamxbox.com/images/games...1058497074.jpg
وهذا واحد من اعداءك في اللعبة في المراحل الاولى من التصميم.

http://www.teamxbox.com/images/games...1058497069.jpg
هذه هي اشهر صورة كانت في الديمو لانه الديمو انتهى والشخصية ترمي قنبلة زي اللي في الصورة.

http://www.teamxbox.com/images/games...1058496865.jpg
هذه من اية شركة كوكبية؟؟

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حلو ذا الوحش ماتعتقدو كذه؟؟! هذه الصورة في تصميمها النهائي.

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اعتقد انه عدوك!!!؟

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احلى ياسواق كابرس 88 ..........

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بكم النظارة ذي عاجبتني!

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طيب خلاص انا بس كنت ابغى اعرف النظارة مصنوعه من ايش....هدي.

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شكلي خوفته :6

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اقول الاسلحة بتوترني وخر سلاحك!

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احلى ياوحش يعرف ينط!

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تصميم اولي لمدينة الارض المستقبلية... وين عمارتنا؟؟!!

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عمارتنا!!

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تصاميم اولية لاحد عروض اللعبة.

انشالله تكون عجبتكم الصور ... راح ابدا الترجمة الجزء الثاني بعدين الحين ابوي وجهه زي كذه :غضب: 3 ساعات وانا اكتب موضوع واحد :واو:
اشوفكم بعدين...

لسه اخوي زينو ساجا هذه بس اجزاء من القصة يبغالي على الاقل 7 ساعات علشان انتهي من الترجمه ولسه في مواضيع ثانية حصرية عن هالو 2 واخبارها..
انشالله تكون الصور عجبتك.

مشكور أخوي ونقدر تعبك بس لاتتعب نفسك زيادة عن اللزوم:D

تعبك راحة اخوي.......

اصلا انا حطيت الموضوع علشان اقنع نفسي بالاكس بوكس :" ولساعي بحاول اقتنع .......... علشان كذه لازم اكمل الموضوع علشان اقتنع اكثر :)

نننننننوصل لحلقتنا الثانية من الترجمة لهالو 2 :" ........

_ ماذا كان اصعب/واهم شيء لجعل الديمو ينتهي؟؟

_ديف: جعل كل شيء يبدو بالجودة اللتي اردناها ان تكون مع الحفاظ على جودة اللعب , بالاضافة , التركيز على العامل الفني من بين مجموعة كثيرة من العوامل الفنية اللتي اجتمعت لتكوين بيئة واحدة متناسقة.

_ماركوس: بالنسبة الي, اكبر تحدي كان الاثارة العملاقة للمجهول, مثل ماذا حدث للارض وماذا حصل لشخصية ماستر تشيف وماذا سيجري في الجزء الثاني من هالو 2 , قمنا ببذل كل طاقاتنا لعرض جودة الديمو في اي 3 , لكننا نفعل ذلك في كل مرة مع الالعاب العملاقة , لذلك, كان هذا نفس الشيء مرة اخرى , نقوم بتوديع اهلنا ثم نتجه الى اعمالنا واسلحتنا مجهزة , ثم نكمل من حيث انتهينا ثم نعرف الى اي اتجاه نتجه في كل مرة تتطور فيها التكنولوجيا.

_ جون: بالنسبة الي , اكبر تحدي كان الحفاظ على منظر الديمو العام, لكن هذا كان ايضا افضل وامتع جزء من التطوير , انه يجعله من السهل علينا ان نبرمج ل 18 ساعة باليوم ونضع كل لمساتنا وخبراتنا في صنع شيء يحتوي على كل شيء رغبنا ان تحتويه وعندما تنظر حولك وترى اصدقاءك يقومون بعمل نفس الشيء, لم يكن هنالك شخص او شخصين في العمل كل يوم , بل كان الجميع رؤية كل هذا الجهد المبذول يعطيك دفعه اضافية في الساحة الواحدة صباحا لكي تستطيع البرمجة لساعتين اضافية لكي تعطي جماليات اضافية الى كل تلك التصاميم.

_شيك : "الانتهاء" مصطلحا هو شيء صعب, لانه كان هنالك دائما شيء يحتاج الى التركيز عليه وتصل الى مرحلة تجعلك تكف عن تصميمها , كان هنالك اشياء كثيرة في الديمو الفنانين اعتقدو الى انها احتاجت الى التصليح , وانني لاارى الى اي عامل انتهاء بالاضافة الى انك فقط لايمكنك العمل عليها بعد الان.

_فنيا,كيف اختلفت البرمجة عن الاعلان عن عرض هالو 2 ؟

_ماركوس: عرض الاعلان كان منصوصا بالكامل . لذلك فانه قد اخذ مكانه في بيئة يمكنك التحكم بها , قمنا بالاهتمام جدا بان كل لقطة كان لها صوت مناسب , لكن , اضررنا فقط الى الاهتمام الى عوامل قليلة في كل لقطة التقطت للعبة , اي 3 كان مختلفا جدا , بسبب تحمل مسؤولية ان كل نقطة استغليناها في تصميم مدينة اللعبة كانت بمثابة تصميم شيء متكامل من جميع النواحي .

_ديف : حسنا في البداية , مدينة الارض الجديدة كانت مرحلة يمكنك اللعب بها بالكامل لكن حسب ماكتب في نص العروض الذي نعمل عليه . الفرق الكبير بين الجزئين كان شكل المحتوى , البيئة الموجودة في اللعبة اثناء عرضها لاي 3 كان اكبر من البيئة اللتي اعلنا عنها قبل المعرض بحوالي خمسين ضعفا . هذا يعني عملنا اكثر باناس اكثر.

_ديف : عندما كشفنا عن عرض هالو 2 قبل المعرض كان مثلما قال ديف :اصغر بالكثير في المحتوى , لكن هذا جعلنا نركز اكثر على المشاهد , كان لنا تحكم كامل بمشاهد الكاميرا وماسوف تلتقطه من مشاهد لذلك استطعنا فقط التركيز على تلك المشاهد , بالنسبة للديمو كانت لنا متعة كبيرة في برمجته .

_ناثان : في هذه الاوقات اثناء عرض الديمو ارينا الناس كيف ان مايكروسوفت خبيرة في مجال تصميم الالعاب .

_ احد اول الاشياء التي سوف يلاحظها الناس هو التطور الكبير في مجال الرسوم , بالاضافة الى التعقيد الكبير في التصاميم لكل من اشكال الشخصيات بالاضافة الى الخلفيات , فهل يمكنكم ان تقولو لنا عن الاشياء الجديدة التي استطعتم ان تفعلوها في هالو 2 عن الاشياء التي فعلتوها في هالو 1 ؟؟

_شيك: حتى الان ( الجميع يعلم او لايعلم اننا نستخدم تقنية البمب مابينج في هالو 2 الى اعلى درجة , ثاني شيء هو اننا اضفنا تقنية الاضواء الدايناميكية , استغليناها لدرجة ان كل شيء تراه في اللعبة اصبح له ظل خاص , (احد الاشياء الذي سمعناه من احد المعجبين بلعبتنا هو انهم يحبون التفاصيل , لذلك فكما فعلنا , الفنانون يحبون ان يبذلو كل مافي وسعهم ليجعلو كل شيء له مميزه خاصة به , مثل التعقيد في التصميم مع الحفاظ على بساطتها , والتفاصيل الصغيره ,(محرك هالو 2 يجعلنا نبتكر جميع انواع التصاميم بطرق مختلفة , الاشياء الاخرى سوف تضطر الى لعبها ورؤيتها.

_ناثان: اصعب شيء كان التطوير في نعومة الرسومات, فهذا يتطلب المزيد من الجهد المبذول لتصميم وتكوين نعومة المقاطع الحركية, تقنيا,وتطوير التحكم بالاعب,والذكاء الاصطناعي , ونظهر جودة اللعبة والقصة عبر تصاميم الشخصيات , مع الاضافات التي اخذتها هالو 2 مثل طريقه صعود المركبات , والاسلحة المزدوجة, فاضطررنا الى النظر بوجهة نظر مختلفة الى التغييرات التي سوف نجريها من هالو 1 الى هالو 2 . (فبالاضافة الى التطور الذي حصل الى نعومة الحركات المقطعية ومحرك اللعبة الجديد, فاننا نعتبر تقديمنا لمحرك اللعبة الجديد مثل تقديمنا لبرنامج او جهاز جديد ).

_اشرح لنا قليلا عن اسلوب البيئة الجديدة لبعض العوامل الجديدة"فمرحلة مومباسا الجديدة" والمراحل الجديدة والاسلحة الجديدة ..الخ, كيف جرى التصميم النهائي؟ فما العوامل الجديدة اللتي تم اختيارها قبل اظهار النسخة النهائية للعبة؟؟.

_شيك: العوامل الجديدة اتبعت نفس العوامل اللتي تم اتباعها في هالو 1 , (لاننا قمنا بوضع اللمسات النهائية لكل انواع الاعراق الموجودة في عالم اللعبة فلم يكن من الصعب وضع بعض الادوات الجديدة, (طالما انها تناسب اماكن الحدث), فعلى سبيل المثال, التصميم البشري الموجود في اللعبة لديه نفس تصاميم البشري الحقيقي , لكن الاختلاف ان الموجود باللعبة مليء بالغبار و الجروح بسبب الاحداث الموجودة ودروعهم تعكس ماحولهم, اما وحوش الكوفيننت فانهم يلمعون واكثر لمعانا من غيرهم, ودروعهم تعكس كل ماحولهم بواقعية , والوانهم التي تجعلك تشعر ببرودتهم وادواتهم المشعه.

تعبت خلوني اريح شوي بعدين اكملكم الترجمة :" انا حتى ماوصلت لنص ترجمة الموضوع :" .

ذلحين خلوني اديكم افضل خلفيات شاشة من موقع dumb-master :D


Enjoy.....

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انشالله تكون عجبتكم........قريب انشالله ابدا في الجزء الثالث من الترجمة :"

مشكـــور .... :-)

وانا قبل كنت اسمع بالمضلعات وكان ودي اشوف شلون شكلها .
وشفتها بموضوعك :)

مشكور مرة ثانية :)

اقتباس:

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راح ابدا الترجمة الجزء الثاني بعدين الحين ابوي وجهه زي كذه :غضب: 3 ساعات وانا اكتب موضوع واحد :واو:

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:D :D :D
ليش ماتقطع الاتصال وانت تترجم << ولا عشان عجيب :6 :6
لووووووول ياليت ماتزعل تراني امزح

:" اخواني سامحونييييييي.....لكني ماراح اقدر اكمل الترجمة...لاني انا حتى ماترجمت غير نص الموضوع وفي يومييييييييييين!!!

لكن من الاسباب الثانية اللي ماخلتني اكمل الترجمة هي:

1- بالله في اي واحد يمتلك الاكس بوكس مايعرف على الاقل يكتب انجليزي ماعمري شفت واحد يمتلك اكس بوكس مايعرف انجليزي .

2- اذا كنت ماتعرف تقرا انجليزي فانت اكيد تمتلك بلاي ستيشن وجاي تتجسس على المنتدى.

3- مافي اي واحد قالي اي شي عن ترجمتي فكذه استنتجت انكم ماراح تحتاجو ترجمتي:" (عملاء سوني :غضب: )

4- انا عندي مواضيع كثيرة بالانجليزي وماني فاضي اني اقعد للالفية الثالثة اقعد اترجم ومافي اي واحد يقرا الا انجليزي.

5- للحفاظ على خصوصية الموضوع من الجواسيس للسوني والمانيا والنازيين.

6- راح احط كم موضوع بالانجليزي وكم صور لهالو اذا لقيتها في هذا الموضوع.

7- الساعة كم بتوقيت مقديشو؟؟

ما شاء الله عليك ما تعبت من الترجمة و الله انا قريت الموضوع و تعبت اجل انت ما قصرت
موضوعك بصراحة يستحق الشكر .. و الله انا في قمة الاحراج و انا اشكرك لانه
هالكلمة ما تسوى شيء قدام موضوعك .. ;-)

الحين مقابلات خاصة في نواحي اللعبة المختلفة...

1_ التصميم..........


When the Bungie team sat down to plan out what would be shown at this year’s Electronic Entertainment Expo, one thing was clear – A typical gameplay movie would simply not suffice. The team had loftier goals. They wanted to unleash a real-life, in-engine demo that would be played live in front of the fans. This demo would be the first real glimpse into the actual heart of the game and fan expectations were off the charts. The bar was set. It was time to deliver.

In the months leading up to E3, buckets of blood and sweat (and probably a few tears) were poured into making this demo something spectacular. Many of the guys literally stayed in the office for days straight, catching cat naps in the sound studio or under their desk when they needed to recharge. These guys are used to it – laying the foundation for world domination doesn’t come easy. It takes an enormous amount of work by a variety of different teams to pull together all the elements that make up this demo. Over the next few weeks, I’ll be sitting down with various members of these teams to get some insight into their particular roles during the development of the E3 2003 demo.

First up is the Design Team. The Designers are generally responsible for everything that "touches" the player. Everything from level design to gameplay mechanics falls into their court. I sat down with Jaime Griesemer and Tyson Green to find out a little more about their part in pulling this demo together...

As the Designers for Halo 2, what was your role in creating the E3 2003 demo?

Jaime: As the Design Lead, I was responsible for determining what new gameplay features we should show, and I also helped Joe determine the scope and rough plot for the demo as well. I left all the grueling difficult parts for Tyson...

Tyson: The detailed planning and execution of gameplay sequences were my responsibility. In this context, whenever the player interacts with the world via his gun, it's a gameplay sequence, and that's what I took care of.

Can you briefly walk us through the process, from concept to final build, of how this demo came together?

Jaime: We started planning for the demo back in February, and since we wanted to have as little impact on our overall schedule as possible, we wanted to use a level that was already in production. Of those levels, EARTHCITY had the largest range of gameplay options since it had infantry and vehicle combat. It was early in the game, so it wouldn’t reveal any major story secrets, and it had most of the vehicles and characters we wanted.

The best part about using EARTHCITY was that it was a natural place to pick up after the announcement trailer. It re-introduced the Marines and the Warthog, as well as providing a good place to bring in the Brutes. It was the obvious choice for the location.

Then Joe and I came up with a plan for the demo’s storyline. It’s surprising how closely the final demo is to the original plan. We had to abandon some of the really crazy ideas, but the main flow is the same.

Tyson: Once an overall plan was in place, I started to experiment and flesh out finer details while helping guide the creation of the New Mombasa environment. How much we can do isn't always known at first, and the earlier we can find out, the better.

The process of building the gameplay sequences (broken into what we call "encounters") is incremental. Try something, scrap it or refine it, repeat the process as often as possible. As new features, new content, and player feedback become available, the encounters are revised to integrate them. Eventually, the focus turns from creation to optimization, and the encounter building process ends with bug fixing.

The whole time I was also working with Joe to achieve the cinematic flow of the demo, as well as doing everything possible to make it bulletproof, for times when Pete had to show the demo. The latter two steps are present in every level process, but were of particular importance for a high profile demo like this one.

What types of challenges did you encounter when designing and implementing an environment like "Earth City?"

Tyson: Tyson: "Earth City", which is actually named New Mombasa , is a pretty substantial departure from any previous Halo environment. Determining whether or not it could actually be done in a fashion we would be satisfied with was difficult. Designing a city which is both feasible in terms of content and performance and believable as a 26th century arcology is challenging.

Some little details turned out to be very important. For example, a flat street is boring to drive on, so we built up the distinctive sidewalks to give the streets a more interesting profile. Unfortunately, that made the corners very dangerous, flipping even good Warthog drivers. We eventually solved the problems, but it took several revisions.

Design-wise, what are the biggest differences between working on this project as opposed to working on the original Halo for Xbox?

Tyson: Experience. Halo showed us what people liked doing, and what they did not, and that helps us to improve the game.

For me personally, more involvement in the design of levels which I am populating. Halo 1 mostly saw me implementing levels already designed (including the infamous Library.) With Halo 2, I have opportunities to build levels like New Mombasa from the earliest stages, which is definitely a greater responsibility.

Jaime: In Halo 1 we had a very basic set of tools which we had to use in every situation. An Elite assaulting a group of Marines behaves exactly like an Elite retreating from the Flood. In Halo 2 we have much more sophisticated tools to customize the AI to a situation. It may sound subtle, but the effects are substantial.

Were there things you wanted to include in the E3 demo but weren't able to for one reason or another?

Jaime: There were some things in the original plan that we did cut, but there is still a good chance that they will make it into the final game, so I’m not going to tell you what they are.

Tyson: The technology was mostly there to support what we wanted to do, so it really came down to time. Given more time, I would have liked to polish more, and fill in some content gaps. Things like a roughly textured wall, or a missing character animation. Also, it would have been cool to show off more of Halo 2's physics capabilities.

Will all of the elements we saw in this demo carry over to the final release of Halo 2?

Tyson: No, probably not. Most of them, certainly the major elements, but nobody should expect a final level which plays or looks exactly the same as the demo we showed. That said, changes will be made to improve things, and not because the demo does things that we cannot actually do. Players looking forward to experiencing something at least as good as the demo will not be disappointed.

And remember, there was only five or so minutes of gameplay in the demo. The final level will be much larger.

Lastly, what's your favorite part/aspect of the E3 demo?

Tyson: Honestly? Explosions. Sometimes you hear critics pan "exploding barrels" in shooters. They say they're cliché. Well, here's a secret: people really like to see things explode. Give them quality and variety, and some people will blow things up all day long. Fully integrate it with your combat model, so that your gun can blow up the car and take out the two guys who ran for cover behind it, and you end up a deeply satisfying experience. The demo was full of fun and exciting things, but the best moments always seemed to involve something exploding.

Jaime: My favorite part of the demo was the section where the Brute boarded the Warthog and knocked out the Marines, followed by the Chief boarding a Ghost and kicking out the driver. It was a great example of an idea that sounded insane in a brainstorm session, but got implemented anyway and looks like it will become an important part of the game.

To be continued...

Design is just one ingredient required to cook up something as tasty and scrumptious as the recent Halo 2 demo. Next week I’ll be talking with Joseph Staten, Director of Cinematics, to get his perspective on the demos creation. See you then!

الجزء الثاني..

2- تصميم العروض السينمائية...........



Cinematics. Cutscenes. In-game movies. Call them what you will, but with a plot line as rich as the one found in Halo and Halo 2, there’s no denying the importance they play in conveying the story to the player. If you've seen the video of the Halo 2 E3 demo (you have seen it, right!?), then you've already got an idea of the impact that cinematics will have in the game. But how did these "movies" come to be? This week I spent a few minutes with Joseph Staten, Bungie’s Director of Cinematics, to find out how it all came together...

What were your goals for this demo?

Joe: : The most important goal was to cash the huge check we wrote with the announcement trailer. We promised people that playing Halo2 would be as exciting as leaping through space onto a marauding alien battle-cruiser, and this demo needed to deliver on that promise. The demo needed to exceed expectations. It needed to raise the bar. It had to give people and even bigger rush than they felt watching the announcement trailer, and that was no small task.

Can you talk a little about the differences between the Halo2 announce trailer and the E3 2003 demo?

The E3 demo is just that: a real-time demonstration of Halo 2 gameplay. The announcement trailer was rendered in-engine, but was never played live, before an audience. Whereas the announcement trailer was designed to show off our new technology and re-introduce the Master Chief, the E3 demo was designed to show people how much fun it is to play Halo2--how much fun it is to wield two SMGs, take down a Brute with a melee combo, or board a Ghost and boot its driver to the curb. Both presentations are firmly grounded in the Halo2 story, but the E3 demo brings the story to life in concrete, gameplay terms.

Can you walk us through the process of how this demo came together? For example, does it start with a storyboard artist, then the programmers/artists make it real, then you start playing with it in-engine, etc..

Each time we put together a trailer or a demo our process becomes more refined, and at this point we have our act pretty much down. Everything starts with the script. The script serves the basis for storyboards on my side of things and a clear list of tasks for the engineers, artists and designers. This demo was really a mission-in-miniature, so while Tyson was working on the gameplay section, I assumed my usual role as the "bag man"--collecting and assembling cinematic assets as they came on-line, and eventually delivering a "frame-accurate" version of the entire demo to Marty and Jay for music and foley. Throughout this assembly process Harold and the rest of the test team pounded on the demo checking it for stability, and it's interesting to note that the build never crashed during its 150+ showings.



How different was the final script for this demo from the original starting point?

Not very different, actually. Which isn't necessarily a good thing. The original script was pretty ambitious, and we were crazy enough to stick to it (much to the detriment of our sleep habits, hairlines and marital harmony). We really only cut one thing...and I'm not allowed to talk about it. Let's just say if you thought the Brute boarding the Warthog was cool, this would have been, without a doubt, too cool for school. Or at least too big to fit into the classroom.

What’s the biggest challenge in putting together something of this magnitude?

Coordinating the efforts of dozens of guys across a number of functional areas. The E3 demo was truly a team effort. Very few people sat this one out, and it gets complicated when lots of folks are trying to cram art, code, etc. into a single build in a limited amount of time. Ideally you want to stagger things--have assets hit in a nice, neat, predictable order, but that's very hard to achieve. Inevitably there's a mad rush at the end as people try to get as many cool things into the demo as possible--not the best thing to have happen when Marty and I are trying to lock things down, and spend some quality time together polishing the dramatic details.

Do you have a particular favorite moment or aspect from this demo?

That would have to be the re-introduction of the Elites in their insertion pods. I wanted to create a moment that would have as much emotional impactful as the Chief launching himself out of a space-station, but more visceral--a moment of exceptional danger that, if it were to happen during the course of a level, would make anyone who's played Halo think "holy -blam!-, how am I gonna fight my way out of this?!" And, well, nothing says danger like an Elite with an active energy-blade, let alone six like-armed Elites.

Is there anything significant about the demo or anything that people might miss?

Unfortunately, the thing that's missed most often (not by people who watch the demo, but by me who's playing it) is one of the damn Ghosts that appear right before the Marines' medical tents. The goal was to shoot the second of the two Ghosts in the air as it flips off the hood of the other Warthog, but invariably I would choke and miss "the shot" as it's become known around the office. Initially, I tried to convince people I was missing intentionally--that I was "cleansing my palette" for the next, and final pair of Ghosts. But when it became apparent that I couldn't make the shot even when bet significant amounts of cold, hard cash I had to admit that I (as Hamilton so politely put it) had no clutch. Indeed, in the run-through of the demo we're releasing on the web I miss the cursed shot, and one can almost hear the hearty jeers of my so-called Bungie brothers as I flail to explode the Ghost well after it hits the ground.

Come back next week for Part 3 as I interview another development team about their role in building the E3 demo. Be sure to check out last week's story for an interview with the design team.

بالعكس والله تعبكم راحة اخواني ;-) ولسى في مواضيع ثانية عن هالو...........


3- الصوت............



Marty O’Donnell, Audio Director (aka Marty the Elder) along with Jay Weinland, Lead Sound Designer, (Jay the Younger) make up the audio dynamo responsible for everything you heard in the Halo 2 demo. Whether it’s the delicate musings of a harp or the roar of incoming Marine bombers, there’s a tremendous amount of audio elements woven into the demo experience. I recently sat down with both guys to ask a few questions and get a better idea of how they do what they do.



Can you give us an overview of the process and what it takes to put the audio elements into this type of project?

Jay : Since we were essentially just making a portion of Halo2 work for E3 we approached it in nearly the same way we do when finishing a game except we were doing it for only one level. So we break out all of the various aspects of the audio including music, weapons, ambience, animations, footsteps, and dialog. A couple months before E3 we had the specific plan of exactly what we wanted to do with the demo and could focus on creating the assets that would be needed. As usual there was a huge outpouring in the final weeks leading up the show. In essence it was a microcosm of what we can expect later this year when we finish the rest of the game.

Marty :A few of us got together early in the year to discuss what we needed to accomplish at E3. Lots of brainstorming and big crazy ideas (especially from Joe) which finally got winnowed down into a plan that was hopefully doable. At that point I started thinking about what sort of music and audio would be required to make it happen. Originally we thought that we’d do something similar to the 2001 Gamestock event where we had live gameplay choreographed to music being played off a CD. We weren’t sure how much of the new sound engine would be ready for a live test by May, but eventually we decided to have everything playing out of the Xbox from the Halo2 engine.

What was the biggest difference/challenge in working on the E3 2003 Demo as opposed to the original Halo 2 announce trailer ?

Jay : Without a doubt it was the fact that everything had to work in-engine. For the announcement trailer we were doing traditional audio post production on a movie. For the E3 demo we needed to create, attach, and mix all of the audio within the confines of the game engine. This is a much more difficult and arduous process but in the end we were both satisfied with the outcome and the fact that the entire process helped us to streamline the audio engine and identify action items as we move forward.

Marty : Live 5.1 music and ambience. We’ve never tried that before. The Halo 1 sound engine had live 5.1 of all the mono sounds that needed spatialization. Music and ambience were stereo but played out of both the front and rear speakers. Halo 2 will have true Surround Sound ambience and music. Also, although the middle part of the demo was full of cool scripted events, the timing changed every time someone played through it, I wanted the music to follow the excitement and still build to a climax. That meant I needed to write and record a piece that once it started never let you go and still was able to flex with variable game-time.

*note - Check out an excerpt from the musical score of the original Halo 2 announce trailer here.

Are there any rituals or traditions you abide by when it comes to putting together the audio mix for a game like this?

Marty: Beg for more mix time. It's become a tradition to tweak things until the last minute and as a result we only had one afternoon to do the final mix on the whole thing. (Some say this "tradition" is actually a diabolical plot devised by Joe to make Marty miserable. -ed.)

Jay : Make it good!

Can you explain the process you go through to actually compose the musical score for Halo 2? Do you just start messing around on a keyboard and build from there?

Marty : I think about themes that I’ve already used in previous Halo pieces and what those themes represent. Then I get storyboards or better yet, captured video of a section of the demo and start playing music on my keyboard to the picture. Usually something good starts to happen, at least that’s what I depend on. At some point I rough out some music and I start to orchestrate it using samplers. That’s usually when I bring Joe or Jason in to listen and give me some feedback. We even put the unfinished intro music into the build so everyone on the team could get a feeling for the progress we were making.

Tell us about working with the orchestra. How did that go? Was Marty conducting?

Jay : This was one thing I was very sorry to miss. We had planned on having me be at the session and helping out with some of the conducting duties but as the day approached it became apparent that I should really be at the office plowing in more sound. Next time...

Marty : Yeah, unfortunately I was the sole Bungie representative at the big orchestral/choir recording session. I had my wife, Marcie, conduct the choir because she’s an incredible conductor. She’s also probably the only conductor that would let me write new music in between takes and still conduct it. As far as the orchestra goes, I like to record in sections; High strings first, low strings second, horns and flute, that sort of process means that it’s not as important to have a conductor there. The players are listening to my recording of sampled instruments as they play which includes a click track, so they might not even pay attention to a conductor anyway. That way I can be in the control room actually hearing what we’re putting on tape (or hard disk), and not have to worry about waving my arms in front of a bunch of really good musicians.

For the Halo 2 announce trailer, you both played a number of instruments. What instruments, if any, did you guys play for this latest endeavor?

Jay : Due to lack of time I was unable to play at all on this recording but rest assured I’ll do my best to worm my way into the rest of the music.

Marty : I’ll get Jay to play oboe and English horn someplace on Halo 2, but he was too valuable as a sound designer on the demo this time. I ended up singing, playing percussion, piano, and harp.

Any anxiety on your part for topping what was one of the highest acclaimed game soundtracks in recent memory?

Marty : What? Ok great, now I'm nervous!

The E3 demo featured several new elements (the Covenant cannon, SMGs, Guass rifle, etc..) that all required new sound effects. How do you guys go about coming up with those sounds? Is there anything in particular that you fall back on for inspiration?

Jay : The most important thing is matching the sounds to the visual effects of the weapon. The next most important factor is the functionality of the weapon (how much damage it does etc). So taking the case of the Covy cannon there is a kind of blue electrical plume when it fires which led me to add some electric aspects to the sound effect. Also this gun does a huge amount of damage and should sound incredibly powerful. We added a wind-up prior to the cannon firing to help create some anticipation of impending doom. I usually let the source material inspire me. I may listen through a lot of stuff and pull a lot of different things which for whatever reason strike me as perhaps being a interesting part of what I am trying to make. I then pull all of it into a Pro Tools session and start playing. In the case of the covy cannon I pulled a few dozen elements into a session but only ended up using 6-8 (heavily morphed from their origins).

Marty : I still keep my hand in on the sound design (just to keep Jay honest) and a lot of times I’ll let Jay start making something and I’ll jump in and add a little something to what he’s done. Sometimes I’ll just say to Jay "more ear candy" and leave it at that. We spend a lot of time working on the sounds of the weapons and vehicles because we know how important those sounds will be while playing the game. Movie sound design is a big inspiration for us because that’s where some of the best work has been done. My goal is to meet or exceed the audio experience of my favorite movies.

What is your favorite part of this process and what is your personal favorite audio element in the finished product?

Jay : The process can be rather painful, especially at the end. Some people thrive on sleeping in bean bag chairs around the office but they are also usually young, unmarried, and childless (none of which applies to me). However despite the long hours I really like the electricity during those times, the feeling that we’re really making something special that the gaming world is going to love. As far as a personal favorite element, that is tough. I am partial to Marty’s score as well as a lot of the sound design in the outro. However the pelican flyovers and landing sequence was probably my favorite to work on and takes my vote. The Halo audio engine now allows us to do full 5.1 mixes and this demo was the first time we really put it to the test. There are times in the intro/outro when up to 3 surround mixes are playing simultaneously!

Marty : It’s good that Jay said that thing about being partial; he knows how his bread is buttered. Not everyone at Bungie agrees with my choice to include harp during the intro, but I like how that turned out. I also really like the new sound of the ghosts, and the plasma sword being brandished. My favorite moment for this particular process was when our demo Xbox decided to revolt during the final dress rehearsal of the Microsoft Xbox Press Conference. The three VP’s looked a bit panicked. I, of course, was cool as a cucumber.

Anything else you’d like to share with us?

Jay : You ain’t seen nothin yet! This game is going to be glorious in every way and hopefully will bring in even more Bungie fans to help with the ole world domination plan. See you on the flip side...

Marty : I just plan to stay within myself, have a good time, and put the puck in the net. I think the Cananimators are starting to rub off on me...

Thanks to Marty and Jay for their time and insight into the audio creation process. Rest assured we’ll be keeping tabs on their progress as Halo 2 continues towards release.

As a special treat, they hooked us up with some special audio goodies for our Tru7h & Reconciliation Site. The newly added Halo Dialog Archive contains some of the lesser heard dialog bits from the original game. We’ll continue to add more in the weeks ahead. We’ve also got a new Halo 2 Outtakes section with a few funny moments captured during the recording of dialog for the E3 demo. Check 'em out and stay tuned for more stuff down the road!

For even more audio bliss you should also check out the Halo Music Outtakes which contains some earlier recordings done by Marty during the development of the original score.

For more Halo 2 E3 Demo news, check out these prior stories:

وهذا موضوع يوصف وصف تفصيلي ممل لكل ماحدث في ديمو هالو 2 .........

From Gray Shadow......................

Enjoy..............

E3 2003: After the first showing of proper gameplay today at Microsoft's E3 press conference, Halo 2 appears to be Halo, only much more so. Judging by the audience reaction, this will not be a problem. The demo, showing a running shootout between marines and Covenant forces in the war-torn ruins of Mombasa, was greeted by the loudest ovation of the evening.

The level starts off much like the first game, with Master Chief landing in the company of a dropship full of marines. There's no crash landing this time, though -- the Chief and his squad are being sent in to relieve a hard-pressed unit defending the city. The level takes some time to get properly cranked up, with some very nice bits of scene-setting to prepare you for the upcoming firefight. As Master Chief works his way up through to the front lines of the fight, he passes through a triage area where medics tend to wounded marines. The voice acting and sound effects, whether it's wounded men screaming, sergeants giving orders, or doctors calling the time on dead soldiers, helps establish some atmosphere before the tide turns.

The tide does turn, of course, what with the one-man army arriving on the scene and all that. To begin with, the Chief relieves a marine position on a high terrace overlooking a street intersection, with a mix of sniper fire, grenades, and barrages from a stationary machinegun emplacement. As when piloting a vehicle, the perspective shifts to a close third-person view when the Chief takes control of the artillery, using its fire to clean up oncoming Covenant forces.

Then it's time to swap weapons, for something a little more suited to close-in work. The default weapon in the level is a new assault rifle. It has a lower rate of fire than the first game's basic rifle, but that's balanced by more punch and added sniping capabilities. Later, the Chief grabs a pair of bullpup submachineguns, receiving one of them from a marine sergeant before he jumps down into the streets. This leads to an extended sequence of shooting up alleys full of smaller Covenant aliens -- the double machine pistols put out plenty of fire for taking out the little guys.

The level scripting, meanwhile, serves up some great bits of eye candy. The key target in this sequence is a Covenant artillery emplacement, which is putting out fire at orbiting craft. After a few ineffectual assaults from the ground, the marines call in an air strike -- two fighter-bombers range in and blast the massive artillery piece with a quick bombing raid, clearing out one key objective. Meanwhile, however, more Covenant dropships and gunships cruise in over the streets, leading to the first vehicle-based sequence in the demo.

Two Warthog jeeps roll by, and Master Chief takes the gunnery position in the second. The Warthog's gun appears to have been beefed up a trifle, again trading its whirring automatic fire for a heavier energy-weapon punch. The two jeeps fishtail through the streets destroying gunships all the way, until the Chief finally leaps out for a slightly more daring approach. Late in the demo, the Covenant troops start attacking in small one-man hoverbikes -- they don't fly very high, but they're fast and maneuverable, with a pair of forward-firing energy cannons. As one draws near, the Chief jumps on board, throws off the pilot, and takes control, all in one third-person sequence with a great camera angle to show off the action.

Then it's time for a little chase scene. A pair of Covenant bikers chase the Chief as he heads out onto an abandoned freeway -- he makes it through the closing blast doors that lead to the outskirts of the city, but his pursuers miss their chance by a hair. The resulting cinematic is very cool, as Master Chief is thrown from his bike and skids along the freeway, kicking up sparks from his metal skin the whole way. Is he in the clear? Nope -- just as soon as he gets his bearings, a rain of Covenant drop pods crashes around him, and out hop a squad of hulking alien soldiers with massive energy swords. The chief readies a grenade...and we fade to black.

The whole sequence has even more polish than the best heavy firefights of the original Halo -- if the finished game can pack this much scripting and background detail into every battle, we're looking at a very fine game. The urban backgrounds in particular offer an impressive contrast to the natural beauty of Halo. It's a war-torn hellhole surrounded by towering skyscrapers instead of supposedly virgin paradise, but it's a fine piece of level design nonetheless. As the Warthogs skate around the city streets, there's almost too much detail to take in, and the street design offers more than just right angles. Covenant ships pull in from around odd corners, come up through underpass on-ramps, or dive in between tall buildings.

The aforementioned opening sequence also deserves a lot of credit, even if it doesn't have the flash of the subsequent chaos. One of the coolest parts of the original Halo was the sensation of fighting alongside real comrades, even if they're just AI-controlled bots, and it's nice to see the sequel building some of its scenes around their presence. Later on, the contributions of allies remain a significant part of each encounter. AI-controlled marines toss grenades to clear the way for Master Chief, drive intelligently as they cruise around the city in tandem, and yell plenty of helpful advice over the cluttered tac net.

Halo 2, then, is looking about as good as we could have hoped it to be. Our fondest hope, of course, would have been to be able to actually play it, but you can only ask so much in these sorts of situations. Enjoy the latest screenshots, at least, and look forward to hearing plenty more about this one throughout the year.

وهذا موضوع يوصف وصف تفصيلي ممل لكل ماحدث في ديمو هالو 2 .........

From Gray Shadow......................

Enjoy..............

E3 2003: After the first showing of proper gameplay today at Microsoft's E3 press conference, Halo 2 appears to be Halo, only much more so. Judging by the audience reaction, this will not be a problem. The demo, showing a running shootout between marines and Covenant forces in the war-torn ruins of Mombasa, was greeted by the loudest ovation of the evening.

The level starts off much like the first game, with Master Chief landing in the company of a dropship full of marines. There's no crash landing this time, though -- the Chief and his squad are being sent in to relieve a hard-pressed unit defending the city. The level takes some time to get properly cranked up, with some very nice bits of scene-setting to prepare you for the upcoming firefight. As Master Chief works his way up through to the front lines of the fight, he passes through a triage area where medics tend to wounded marines. The voice acting and sound effects, whether it's wounded men screaming, sergeants giving orders, or doctors calling the time on dead soldiers, helps establish some atmosphere before the tide turns.

The tide does turn, of course, what with the one-man army arriving on the scene and all that. To begin with, the Chief relieves a marine position on a high terrace overlooking a street intersection, with a mix of sniper fire, grenades, and barrages from a stationary machinegun emplacement. As when piloting a vehicle, the perspective shifts to a close third-person view when the Chief takes control of the artillery, using its fire to clean up oncoming Covenant forces.

Then it's time to swap weapons, for something a little more suited to close-in work. The default weapon in the level is a new assault rifle. It has a lower rate of fire than the first game's basic rifle, but that's balanced by more punch and added sniping capabilities. Later, the Chief grabs a pair of bullpup submachineguns, receiving one of them from a marine sergeant before he jumps down into the streets. This leads to an extended sequence of shooting up alleys full of smaller Covenant aliens -- the double machine pistols put out plenty of fire for taking out the little guys.

The level scripting, meanwhile, serves up some great bits of eye candy. The key target in this sequence is a Covenant artillery emplacement, which is putting out fire at orbiting craft. After a few ineffectual assaults from the ground, the marines call in an air strike -- two fighter-bombers range in and blast the massive artillery piece with a quick bombing raid, clearing out one key objective. Meanwhile, however, more Covenant dropships and gunships cruise in over the streets, leading to the first vehicle-based sequence in the demo.

Two Warthog jeeps roll by, and Master Chief takes the gunnery position in the second. The Warthog's gun appears to have been beefed up a trifle, again trading its whirring automatic fire for a heavier energy-weapon punch. The two jeeps fishtail through the streets destroying gunships all the way, until the Chief finally leaps out for a slightly more daring approach. Late in the demo, the Covenant troops start attacking in small one-man hoverbikes -- they don't fly very high, but they're fast and maneuverable, with a pair of forward-firing energy cannons. As one draws near, the Chief jumps on board, throws off the pilot, and takes control, all in one third-person sequence with a great camera angle to show off the action.

Then it's time for a little chase scene. A pair of Covenant bikers chase the Chief as he heads out onto an abandoned freeway -- he makes it through the closing blast doors that lead to the outskirts of the city, but his pursuers miss their chance by a hair. The resulting cinematic is very cool, as Master Chief is thrown from his bike and skids along the freeway, kicking up sparks from his metal skin the whole way. Is he in the clear? Nope -- just as soon as he gets his bearings, a rain of Covenant drop pods crashes around him, and out hop a squad of hulking alien soldiers with massive energy swords. The chief readies a grenade...and we fade to black.

The whole sequence has even more polish than the best heavy firefights of the original Halo -- if the finished game can pack this much scripting and background detail into every battle, we're looking at a very fine game. The urban backgrounds in particular offer an impressive contrast to the natural beauty of Halo. It's a war-torn hellhole surrounded by towering skyscrapers instead of supposedly virgin paradise, but it's a fine piece of level design nonetheless. As the Warthogs skate around the city streets, there's almost too much detail to take in, and the street design offers more than just right angles. Covenant ships pull in from around odd corners, come up through underpass on-ramps, or dive in between tall buildings.

The aforementioned opening sequence also deserves a lot of credit, even if it doesn't have the flash of the subsequent chaos. One of the coolest parts of the original Halo was the sensation of fighting alongside real comrades, even if they're just AI-controlled bots, and it's nice to see the sequel building some of its scenes around their presence. Later on, the contributions of allies remain a significant part of each encounter. AI-controlled marines toss grenades to clear the way for Master Chief, drive intelligently as they cruise around the city in tandem, and yell plenty of helpful advice over the cluttered tac net.

Halo 2, then, is looking about as good as we could have hoped it to be. Our fondest hope, of course, would have been to be able to actually play it, but you can only ask so much in these sorts of situations. Enjoy the latest screenshots, at least, and look forward to hearing plenty more about this one throughout the year.


وش شكله ذا؟؟ قاعد احاول ارسل الرد لي ساعة الا ربع!!

و الله مرات سيرفر المنتدى يخرف نتيجة الضغط عليه بس يالله الحمدلله انه شفنا هالموضوع الرائع ;-)

:D اخيرا لقيت واحد يتفق معاي في هذه النقطة.........

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