Red vs. Blue production

This article describes the production of the machinima science fiction comedy series Red vs Blue.

Writing

Template:Spoiler The process by which the show is written has changed as the show progressed. In the first season, Michael "Burnie" Burns would typically write an episode script on a Sunday afternoon before the episode was to be released on Friday. Scripts were written with minimal planning as the storyline grew beyond the 6 to 8 episodes originally expected. Church's death, as well as the revelation of Tex as a female character, both of which drove most of the season 1 plot, were conceived shortly before their respective episodes began production.

In January 2005, Michael Burns and Kathleen Zuelch were interviewed in an episode of The Screen Savers on G4. In response to a question regarding any drawbacks to using machinima techniques, Burns responded "There are drawbacks, like it's a very limited world". PC games often allow for the addition and integration of new game assets, such as new levels and textures; console games are much more limited in this respect. "But really what you end up doing is you end up writing around what's in that world, that limited world, yknow? It's kinda fun too, like and sometimes we sit around and we think 'what can we possibly do with stuff that's in the game?'". As an example, the skull from the Oddball multiplayer mode of Halo was used for the flashback scene in episode 10, in which Tex beats Private Jimmy to death with his own skull.

After the first season, the writing process changed significantly. Matt Hullum was added as a main writer in the next season, and plot events were planned much more in advance. Approximately 40 to 80 pages of rough plot and dialogue are now written out before production on a season begins. In describing the writing process, Burns has said that main plot points are assigned to occur at certain points in a season, and that they would begin writing each episode by asking how much they wanted to advance towards the next plot point.

Burns has said multiple times in DVD audio commentary and in public journal entries that he had minor issues writing towards large events in season 3, in terms of scheduling and pacing. The first problem was in compacting the plot from episode 39 to where the characters are sent into the future in episode 43, to mark the release of and the transfer of filming to Halo 2. The second issue involved the pacing of events leading up to those planned for the special 50th episode. The events initially envisioned for the episode were then deemed too many for a single episode, and were instead spread over episodes 50 to 52. In turn, this led to new hardships when events had to be compacted once more to meet the tradition of ending a season on its 19th episode, episode 57. Template:Endspoiler

Audio

Dialogue for an entire episode is typically recorded over one or two days and cut together for filming the day after. Until midway through season 3, audio for the voice actors living in Texas had been recorded in a makeshift soundproof booth in Burns' guest room closet. Currently, however, audio is recorded in a small room in the Rooster Teeth offices in Buda, Texas. During season 1, dialogue for the voice actors living in Los Angeles, California — Joel Heyman, Kathleen Zuelch, and Matt Hullum — was recorded over the phone. Afterwards, a second recording studio was set up in Hullum's Los Angeles home. As Hullum moved back to Texas in season 3, Heyman and Zuelch now record their own dialogue. Jason Saldaña and Gustavo Sorola also recorded audio by phone while temporarily residing in New York State and Puerto Rico respectively.

Initially, the first several episodes of the series proper did not include any music. In May 2003, Nico Audy-Rowland, the bandleader of Trocadero, was introduced to Red vs Blue and enjoyed the series enough to submit a song about it to Burns, who liked the piece and promptly requested more music for Red vs Blue. Episode 8, "Don't Ph34r The Reaper", was the first to include music. However, for the release of the season 1 DVD, music was retrofitted into earlier episodes, often during transitions.

Trocadero's "Blood Gulch Blues", whose last few measures are now heard during each episode's title sequence, is used as background music for the character introductions on the Red vs Blue season DVDs. According to Trocadero's website, the song's lyrics are intended to highlight episode 2's joke about the Warthog and the notion that there is as much bickering and fighting within each team as there is conflict between the two sides. In fact, "Blood Gulch Blues" never mentions Red versus Blue, only: "It's red versus red/ and blue versus blue/ It's I against I/ and me against you".

Filming

Aside from a few scenes created using Marathon, Marathon 2: Durandal, and the PC version of Halo: Combat Evolved, Red vs Blue is filmed using a number of interconnected Xbox consoles. Within a multiplayer game session, the people controlling the avatars "puppet" their characters, moving them around, firing weapons, and performing other actions as dictated by the script, and in synchronization with the prerecorded dialogue. The camera is simply another player, whose first-person perspective is recorded raw to a computer.

In the interview on The Screen Savers, Michael Burns described the use of machinima techniques to film the show thus "It's like normal animation but instead of, y'know, sitting down, drawing everything by hand, we just use controllers."

To create the illusion of talking, the puppeteers move their views up and down, which makes their on-screen avatars appear to move their heads in synchronization with the dialogue. In order to prevent characters in Halo from constantly appearing to aim their weapons at each other, the puppeteers point their views downwards to make their characters' arms and guns point straight down as well; however, a bug causes others to see the characters looking, more or less, straight ahead. Nevertheless, to the puppeteer, the view is still downward, and this makes it difficult for the puppeteers to see where they are going and to judge location.

File:RvB ep58 Sarge Donut.jpg

A Red vs Blue scene filmed using Halo 2.

Bungie Studios eliminated this bug in Halo 2, so that the on-screen characters now appear to look up or down correctly. However, Bungie also implemented a new feature to make it possible for Rooster Teeth and others to achieve the same effect as the original bug. In Halo 2, pressing down on the D-Pad of the Xbox controller makes the player character appear to hold his or her weapon in a neutral position, without aiming it at anyone, while looking straight ahead. The same effect can also be achieveved by disposing of all grenades and pressing the L-trigger.

In footage made using Halo, a weapon aiming reticle appears in the center of the screen. This reticle appears because, as with most machinima, the "camera" is simply another weapon-wielding player, whose perspective is recorded. The exception to this is a couple shots that were achieved by killing the camera player's avatar. In Halo 2, a bug in the Oddball multiplayer mode allows the player to drop all weapons, causing the weapon reticle to disappear. This bug has been used in all Halo 2 footage from episode 46 onwards.

As the series title suggests, the videos are mostly filmed on the Halo map Blood Gulch (and its Halo 2 counterpart, Coagulation), although later episodes have increasingly been filmed on other maps. The Apple Macintosh games Marathon and Marathon 2: Durandal have also been used for a few scenes. Halo 2 is typically used for events that occur chronologically in the distant future, and the Marathon series for those that occur in the distant past; this has the effect of making the graphical quality of the series an indication of time's progression throughout the story. With this, however, comes some irony: Though Rooster Teeth uses Marathon to show the past, the Marathon series is actually set further into the future (AD 2794) than is the Halo series (AD 2552).

Maps used

As in most machinima, the maps of the games are used as sets, often in contexts different from those of the actual game and its storyline. Below is a list of the maps used, in order of first appearance in Red vs Blue. Template:Spoiler

Blood Gulch

• Game: Halo: Combat Evolved
• Episodes: Trailer, 0-39, 41, 42, 50-52

Blood Gulch is a box canyon that is the main setting for the series for most of the first two seasons, and the start of the third. It is one of many bases for both the Red and Blue Armies. According to Simmons, the only reason that either team had built a base there is that the other team was building one. It is never revealed how long either base has existed, but Church's time travel reveals that they had been there for at least a couple of weeks prior to the events of episode 1.

Silent Cartographer

• Game: Halo: Combat Evolved
• Episode: 9

The cut scene from the beginning of this campaign (single-player) map is used in order to show Sarge returning to Blood Gulch after meeting with Red Command. As the Pelican in the shot are flying over water, it may be assumed that Blood Gulch is surrounded by large amounts of water on at least one side.

Pillar of Autumn

• Game: Halo: Combat Evolved
• Episodes: 10, 20, 31, 34, 38, 41, 51, 71

The cut scene from the beginning of the Pillar of Autumn campaign map, the first map in Halo, is used to show the animation for Vic, the communications officer who is the liason between Blood Gulch and Blue Command. The same scene used for animation of Vic Jr., Vic's distant descendant. Also, a cut scene from the cryogenics laboratory is used in one episode for a flashback showing the implantion of Omega into Tex.

This map is the only Halo: Combat Evolved map to have been used to portray events in the future.

Sidewinder

• Game: Halo: Combat Evolved
• Episodes: 10, 38, 39, 41-43, 52

An extremely cold planet made entirely out of ice, Sidewinder is the former location of another set of Red and Blue bases. It is also where Church was stationed before he was transferred to Blood Gulch original outpost. In a flashback, Tex is seen killing all the members of the Sidewinder Blue Team, except for Church, who is subsequently transferred to Blood Gulch before the start of the series. Despite the annihilation of the Sidewinder Blues, the Red Team remains stationed there, and captures Church and Grif when they teleport there in pursuit of O'Malley, Doc, and Lopez at the end of season 2. Wyoming later eliminates the entire Red Team in season 3.

Michael "Burnie" Burns notes on the season 1 DVD audio commentary that Sidewinder was introduced in response to fans' questions as to whether the series would ever use a map other than Blood Gulch for filming.

Hang 'Em High

• Game: Halo: Combat Evolved
• Episodes: 31-33

Hang 'Em High is used to represent the inside of Caboose's mind, which Church and Tex possess as ghosts in an attempt to kill O'Malley.

Battle Creek

• Game: Halo: Combat Evolved
• Episodes: 38-40

Battle Creek is the initial home of a group of eternally respawning Unknown character "Battle Creek soldiers". Please see Template:Rvbchar/doc for usage. who parody stereotypical Halo gamers. Sarge and Caboose are sent here near the end of season 2, when the Reds' teleporter malfunctions.

Chiron TL34

• Game: Halo: Combat Evolved
• Episodes: 38-42

Chiron TL34 is depicted as a maze of teleporters. Simmons is teleported here at the end of season 2 while trying to pursue O'Malley, Doc, and Lopez. In the original Halo, this map is supposed to be a training facility for the SPARTAN II project.

Longest

• Game: Halo: Combat Evolved
• Episodes: 40

Longest is used to depict a Red Base in which Wyoming first appears.

Burial Mounds

• Game: Halo 2
• Episodes: 43-46, 67

Burial Mounds is used as the wasteland in which the Reds, Tucker, and Caboose find themselves after being blasted to the future; according to the season 3 DVD commentary, it is suggested that this is the Sidewinder in the future, after the snow has melted. To the Alien, it is known as "Great Burning Plains of Honka Hill", and is the first location through which the members of the sacred quest team need to travel. At one point, it had been home to at least one cow-like creature prophesied as part of the sacred quest, but that creature had already been killed by the time that the quest team arrives.

Zanzibar

• Game: Halo 2
• Episodes: 44-50, 52-66

Zanzibar is used for the seaside fortress initially found by O'Malley and Doc in the future and is the future version of the map in which Church finds Gary in the past. The Great Weapon is initially located just outside the fortress, which locks down automatically and immediately when Tucker first brings the sword inside.

Coagulation

• Game: Halo 2
• Episodes: 57-74

Coagulation is represented as the future version of Blood Gulch. While the area has changed somewhat in the 800 years between the present and the future, the layout of the land is mostly the same. Sheila, left behind in the canyon because she is hard-wired into the tank, has made improvements to both bases; Simmons, however, expresses doubts as to whether she could have done this without arms.

Backwash

• Game: Halo 2
• Episode: 68

Backwash is used to film the swamp where the quest team stops at to rest, and where Tex manages to catch up with the group.

Containment

• Game: Halo 2
• Episodes: 69-71

Containment is a snowy landscape that contains a fortress, depicted as a temple, guarded by the Battle Creek soldiers, who appear to hold a sort of uneasy truce. The Alien calls this location "The Great Freezing Plains of Blarganthia". The temple also houses an alien spacecraft behind a gate that Tucker's sword can unlock.

Relic

• Game: Halo 2
• Episode: 73

Relic is used for O'Malley's secret lair in the future, to which he apparently flees after his defeat at his fortress. While O'Malley has managed to store a large number of doomsday devices inside the base, he does not have an answering machine.

Post-production

File:RvB Grif Simmons Warthog.jpg

An example of post-production editing in Red vs Blue. Normally, Halo prevents players with different armor colors from boarding the same vehicle.

Adobe Premiere Pro is used to edit the audio and video together, add the titles, and create some of the special effects not normally possible on the console or in the games used. An example occurs in one scene of episode 6, in which both Grif and Simmons board the Warthog. As players with different armor colors (and hence on different teams as far as the game is concerned) cannot use the same vehicle in Halo, a split-screen effect is used to combine two separate shots of players boarding the vehicle. Adobe After Effects is also used, typically by Hullum, to create animated props not found in the regular game engine. Examples of these extra props include tombstones in episode 20 and ornaments, presents, and lights in the Christmas 2004 video.

As the camera player's view has a head-up display (HUD), black bars are added in post-production to hide the top and bottom portions, which would otherwise contain in-game information irrelevant to Red vs Blue. This also gives a letterbox effect. Most machinima is made with computer games, which often have HUDs that can be easily disabled in one way or another. On the other hand, console games, such as Halo and Halo 2, are often more limited in this respect.

External links

• Red vs Blue official site
• The Unofficial Red vs Blue Resource Site