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Eternal Evolution Closing Thoughts

Updated: Feb 24, 2022

THIS BLOG POST CONTAINS SPOILERS FOR THE "Eternal Evolution" PROJECT. IF YOU HAVE NOT WATCHED IT YET, PLEASE DO SO HERE: Eternal Evolution - VALORANT Champions Montage 2021 - YouTube このブログは「Eternal Evolution」プロジェクトのネタバレを含んでいます。まだご覧になっていない方は、こちらからご覧ください。Eternal Evolution - VALORANT Champions Montage 2021 - YouTube


With the release of "Eternal Evolution", I decided to write down my thoughts as to how this project was created, released, and what I could have done better with it. I also wanted to write this post to give people an idea of the creative process of this project, including the motion graphics, animation, and song.

「Eternal Evolution」のリリースを機に、このプロジェクトがどのように作られ、リリースされ、そして何がもっと良かったのか、自分の考えを書き留めておこうと思いました。また、モーショングラフィックス、アニメーション、歌など、このプロジェクトのクリエイティブなプロセスを知ってもらうために、この記事を書きたいと思いました。

I am once again using a translation service to write the Japanese translation. It may not be accurate, so if you find any mistakes, please contact me at with the correct fix.

今回も翻訳サービスを利用して、日本語訳を書かせていただきました。正確でない場合もありますので、間違いを発見された方は、正しい修正をした上で、 までご連絡ください。


Let's first talk about the concept of Eternal Evolution. I had wanted to create a montage that blended two different themes together: The Stage 2 Masters slogan of "Evolve or Die", and the Stage 3 Masters slogan of "Ars Longa, Vita Brevis". Translated, that means "Art Is Eternal, Life Is Short".

まず、「Eternal Evolution」のコンセプトについてお話します。2つの異なるテーマを融合させたモンタージュを作りたいと考えていたのです。ステージ2のマスターズのスローガンは「Evolve or Die」、ステージ3のマスターズのスローガンは「Ars Longa, Vita Brevis」です。直訳すれば、「芸術は永遠、人生は短い」という意味です。

Each of those two themes had something to make it stand out from other trailers. For "Evolve or Die" (which I just resorted to calling EOD), it was the Agents and Weapons made of stone, which slowly crumbled over time. It also featured really fast motion graphics, but they were still able to be read by anyone watching the program. その2つのテーマには、それぞれ他の予告編とは一線を画す何かがありました。Evolve or Die」(EODと呼ぶことにしました)では、石でできたエージェントと武器が、時間の経過とともにゆっくりと崩れていく様子を表現していました。また、高速のモーショングラフィックスを採用しながらも、番組を見ている人が読み取れるような工夫がされていました。

For "Ars Longa, Vita Brevis", it was the slogan, and each shot of the weapons and how they were arranged in the trailer. The weapons were mostly organized in a circular pattern, and one shot had all of the weapons positioned onto a cube in the center of the room. I especially enjoyed that shot in particular, so it was decided that I would recreate that shot for the montage.

Ars Longa, Vita Brevis "では、スローガンと、武器の各ショット、そしてトレーラーでの配置の仕方でした。武器はほとんどが円形にまとめられており、あるショットでは部屋の中央にある立方体にすべての武器が配置されました。特にあのショットが気に入っていて、モンタージュのためにあのショットを再現しようと決めていたのです。

At first, it seemed as though my work would be simple... until the VALORANT Champions trailer had released, with a slogan of "The Art Of Greatness". I had liked the arched text used in the trailer, so I decided to recreate that technique in my production. Upon completion, however, I realized that the arched text was a full circle, and not a half circle that was just stretched for aesthetic purposes. That mistake is on me, and I do want to fix this mistake with future montages.

当初、私の仕事は単純なものだと思われましたが、VALORANT Championsのトレーラーが公開され、「The Art Of Greatness」というスローガンが掲げられました。予告編で使われていたアーチ状の文字が気に入っていたので、その手法を自分の制作でも再現してみようと思ったのです。しかし、完成してみると、このアーチ状のテキストは、美観のために引き伸ばしただけの半円ではなく、完全な円であることに気づかされました。このミスは私の責任なので、今後のモンタージュではこのミスを修正したいと思います。

With these three elements (fast motion graphics, animated shots, and arched text), I finally had a baseline of how the montage would look.



Before I begin the next section, which would be Music Creation, I would like to mention that the idea for this project started back in early October, about a week after the creation of PROJECT: C4M37L1A. It seems that I am always busy with working on projects so closely to each other...

次に「音楽づくり」に入る前に、このプロジェクトの構想は、の制作から1週間ほど経った10月上旬に始まったことをお伝えしたいと思います。PROJECT: C4M37L1A」の制作から1週間ほど経った頃です。いつも隣り合わせのプロジェクトに追われているような気がします...。

The first draft of the song was created on October 4th, 2021. Only the opening section was planned out at first, but after tweaking it for a few days, I found an acceptable starting point for the song on October 8th. On that day, I started working on the first main section of the song, which was then completed on October 11th. On the 11th, I also adjusted the beginning of the song and began work on the second main section.


That same day, I made adjustments to the first section, and somehow brought the second section to an acceptable standard on October 12th. Work on to the build-up and the chorus, which started on October 13th, did not get fully completed until October 21st. However, I did take a break from October 16th to October 19th, due to college work.


The bridge into the second half of the song was completed on October 23rd, and the rest of the first completed version song was saved on October 24th. After a few minor adjustments, the song was completed on November 2nd. That was supposed to be the final version, until I decided to add 1 more part to the song, which took about 2 hours and was completed on December 21st.



Next, I would like to talk about the animations that were created for the project. We only had time to complete two different animations, the first being the weapons on the cube, and the second being Jett dodging a knife on Ascent.

次に、今回のプロジェクトで制作したアニメーションについてです。キューブ上の武器と、アセントでナイフをかわすジェットの2種類のアニメーションしか完成させる時間がなかったんです。 Let's start with the weapons shot. We ran into a few problems with this shot, mostly with rendering a lot of objects at the same time. The problem had gotten so bad that I had to switch to a school computer just to load all of the textures for the weapons. All of the weapons were arranged in a circle, and then copied two more times so that there were three rings of weapons. The first ring of weapons was angled at 30 degrees on the z-axis, the second ring of weapons was rotated 120 degrees on the y-axis from the first set and angled at 45 seconds on the z-axis, and the third ring was rotated -120 degrees on the y-axis from the first set and angled at 60 degrees on the z-axis.


This is how the scene looks in Blender. There is actually a second cube that was hidden to give off the impression of a dark void in the final shot. -=- Blenderではこのようなシーンになります。実は2つ目のキューブが隠されていて、最後のショットで暗い空洞のような印象を与えることができるのです。

Now let's talk about the Jett animation. Originally, I had the idea of using a color key to impose Jett against the background, where I had used three-point lighting in all of the main poses of the Jett model. We even set up the idea of Jett turning to face the camera during this stage.


This is how the scene was first drafted. At first, we had the idea of synchronizing the in-game camera to the Blender camera in post-production, but we had decided against that option. -=- このシーンは、最初にこうして起草されました。当初は、ゲーム内のカメラとBlenderのカメラをポストプロダクションで同期させるというアイデアもあったのですが、その選択肢はやめました。
A short look into how the scene was composed. Each light source was placed only where Jett came to a complete stop. -=- このシーンがどのように構成されたのか、見ていきましょう。それぞれの光源は、ジェットが完全に停止したところだけに設置されました。

In December, I found a map of Fracture that was available for download, and appended Jett into the scene. We had to manually keyframe some parts of the map to move out of the way of the camera as the animation played. However, when we imported Jett's animations and lighting, for some reason the lighting was much harsher on both the model and the map itself, so we had to correct it to the best of our ability while editing.


Frame 40 of the Jett animation. If it seems confusing, that's because it is. -=- ジェットアニメーションの40フレーム目。分かりにくいと思われるかもしれませんが、それはそうだからです。(このジョークは翻訳すると意味がわからないかもしれません)。
Frame 41 of the Jett animation. Notice how the wall on the right side was moved to prevent the camera from clipping into it. -=- Jettアニメーションの41フレーム目。右側の壁を移動して、カメラが挟まれないようにした点に注目。

There are some parts of the animations that I do think I could have done better, such as spending more time fixing the lighting in the Jett animation, and smoothing out the transitions when entering these animated bits. I wanted to get this program finished before the New Year, however, so most of the animation was fixed during the editing process.



Finally, I would like to discuss what I could have improved with the project. As stated before, the project was started in October, so that gave us three months to work on this project. However, most of October was spent on working on the Eternal Evolution song, and November was spent working on the animated parts. December was filled with me clipping all of the good moments of the VALORANT Champions tournament and editing the final project.

最後に、このプロジェクトで改善できた点について述べたいと思います。前述の通り、プロジェクトがスタートしたのは10月ですから、3カ月間、このプロジェクトに取り組むことができたわけです。しかし、10月はほとんどEternal Evolutionの曲の制作に費やされ、11月はアニメのパーツの制作に費やされました。12月は、VALORANT Championsのトーナメントのいいところを全部切り取って、最終的なプロジェクトを編集することでいっぱいでした。 I could have finished clipping earlier, but instead I had only finished clipping on Christmas day, and I only had 6 days remaining to edit. Next time, I will need to clip moments as soon as the VOD is available, and edit the montage in a faster time frame.



Thank you for reading this post. Eternal Evolution is available on Bandcamp here: Eternal Evolution | Tristan Gaylord ( . Please support the release, and enjoy the montage!

この記事を読んでいただき、ありがとうございます。Eternal Evolutionは、こちらのBandcampで購入できます。Eternal Evolution | Tristan Gaylord ( . リリースを応援してください!モンタージュをお楽しみください。

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