In my previous making-of videos, we have introduced the production of backgrounds by procedural modeling and the production of small objects by 3D scanning as efficient development methods. This time, I would like to introduce a new category of efforts to improve efficiency.

After testing various in-house capture devices to improve the efficiency of animation production, the best solution was SONY's 'mocopi[www.sony.jp]'.

If you have tried mocopi, you may wonder “Why?” This device is by no means accurate. However, it has a charm that more than makes up for it.

It takes only 5 minutes to attach the sensor and start capturing. The inaccuracy is also a minor issue, considering the fact that it takes a non-professional actor to modify a normal movement for a game.

The ‘MVN Link’ I have in our warehouse is a great piece of capture equipment with great accuracy, but it is really hard to put on a suit. I need to improve my body shape first, so it is a high threshold.

This ‘mocopi’, along with ‘XYN Motion Studio’, recently announced a professional mode and I am personally interested in it. Unfortunately, I have already created most of the motions that can be recorded with motion capture in 'Niraya of ■■' , so it is unlikely that the professional mode will be reflected in the game, but if it is that easy and highly accurate, I will be pushing it even harder.

In this making-of video, I will show you how the animation captured by mocopi is processed and reflected in the game. It's a lot of processing, but I think you'll find it more efficient than creating without capturing.

Finally, I will be speaking at the GAME CREATORS CONFERENCE '25[gc-conf.com]. I will be giving a more detailed talk on the making of 'Niraya of ■■'. If you are interested in game development, I hope you will stop by while attending the other great sessions.

Since the nature of a horror game is such that it would be less enjoyable if too many views are presented, I will start with a familiar landscape for this 'Making of Niraya'.

While this is not a problem for spaces with limited visibility, such as indoors, if you create even a small open space, as in this case, you have to create a distant landscape that is many times larger, although the area that can be moved around is very small.

In the second half of the video, the directional area of the scene in the first half of the game is highlighted in Blender, and it is approximately 20 times the size of the inaccessible far field.

To be honest, I regretted it when I realized how much work I had to do, but procedural modeling is amazing, and I was able to get it done in about half a day while experimenting with various techniques.

Well, I got sick at the beginning of the New Year, and I am currently busy with the progress of the project, so I will send you a short information this time. Please take care of yourselves. I hope to introduce a new view of 'Niraya of ■■' in about three months.