CitizenCon 2951: The Sounds of Space

9 October 202100:35:411,062 linesWatch on YouTube ↗

Transcript — every row opens the video at that moment

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[Music] hi my name is graham phillipson and i'm lead audio programmer here at cloud and peer room games hello i'm eddie kelch and i'm one of the sound designers working at cloud imperium games and we're here to talk about some of the big developments we've got going on in audio tech specifically sig audio and claudius which is a new audio engine layer and associated tool that we hope will greatly improve the development experience of our sound design team getting started on this project can be quite challenging due to the amount of tools that we have involved in implementing audio into the engine with the claudius tool we aim to streamline that process as much as possible this talk will be very much focused on workflow and tech and as such there won't be too many sort of exciting
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explosion sounds going off and things like that but you know this is all about how we improve the workflow for our sound design team and we know these guys can make amazing sounds anyway thanks man so before we get into the new stuff let's take a little look at the history and where we are now and what inspired us to go down this development path up until this point so much of the data that we use has been owned and stored in the data of other tools that are not owned by the audio team or by the audio code team tools such as mannequin the character tool track view ui code data forge all of these tools are designed for other teams to work with and audio can sometimes feel like a bit of an afterthought within those tools
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additionally to this because the data is stored within the files for those tools we end up with a lot of data that's scattered around different areas it can be difficult to dig in and find what we want also when we're loading these tools we have to load up all the data so for example if it's an animation tool we have to load lots of animation data when really we're not actually working with that there can be huge learning curves involved and lots of time spent switching between tools that impacts our development by swallowing up time a lot of our ways of working haven't changed in a very long time and we thought it was time to take a step back look at all the challenges we face and see if we can come up with solutions for all of them by coming up with a completely new design that addresses all the issues that we face day-to-day and
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tries to overcome them in an elegant way that makes the sound designers lives much easier and makes their jobs much more fun and this is what we came up with so with claudius what we did was we put workflow at the very core of the design from day one when we started working on the design of the sig audio and claudia systems we wanted to make sure that workflow was always the focus of how things were working we never wanted the tools to get in the way any more than they need to and we wanted to make sure that the tools could be as smooth and as fun to use as they possibly could be i think that this designer comes first workflow is quite important and it's going to become an integral aspect on this project currently we have quite a bit of focus shifting and that tends to break momentum um not only that uh audio seems to be
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treated a lot as a production aspect of the game at the moment and this tool is going to help shift that to post-production where it should be yeah absolutely that's a really good point one of the main things we wanted to do with the tool was to make sure that it could be used as a post-production tool so that you could take you could effectively take a finished feature of the game where no audio guy had seen it at all the audio code could be implemented really quickly and then the sound design could be implemented on top of that really quickly and this could all be done completely downstream of all the stuff that happened before it obviously in practice we're working on this game in parallel with lots of other teams and we never work in the sort of post-production way that like a you know an actual film post house would work but by carrying over some of those principles we've we think we've made a really good tool and part of how we've achieved that is by sort of completely
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abstracting the audio data away from the code that calls it the calling code knows nothing of what the result of what it what it's saying will do so it will trigger some parameters and some events but it doesn't know what the audio system will do as a result of that and there's a very clear decoupling between the audio system and the game that calls it and likewise within the audio system we uh we don't care where the events and parameters came from all we care about is what we do with them and how it makes things sound good and now with all this data in one place uh it's gonna make it extremely swift and also a lot more inclusive uh to fix bugs but inclusive what i mean is audio qa is gonna kind of even more integral part of the team they're gonna be able to quickly fix these things on the fly yeah i think that's a really important point like because we've cut all this data in one
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place and we've also got the game's behaviors in one place what we've done is we've integrated all the debugging tools into the exact same tool that the sound designers are using so an audio qa person is working exactly the same place but they've got an interest in some different data so what they care more about is like why is something not sounding as it should or is the system behaving as it should we want to offer up all the information that they need and what that means is that then they can easily pinpoint where the problems are and in some cases they can probably fix them because the fixes become so obvious coupled with that is that we want the sound designer to be able to completely trust the tool so that when you implement something in claudius you know it's going to work in game and fundamentally there should be no difference between you implementing something and playing it out and actually running the game in a real game scenario and doing the same thing
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so what we want to do is make it so that if anything doesn't work that's a code book that's on us guys we need to fix it and you guys can completely trust the tool and that means that you don't need to spend lots of time testing i think uh trust is a good word i think that trust is also gonna be uh coupled with the just a whole new improvement in uh in our daily lives when it comes to implementing audio into the into the game so let's take a little look at claudius itself what we've done is we've introduced a visual scripting language that allows you guys to implement whatever you want and we provide tools that hopefully allow you to do all the creative things that you need to do with the audio but the design of claudius under the hood is is interesting because the tool itself doesn't hold any data of its own
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all it does is exposes data that exists within the game engine what this means for us is that live update as in when you make a change in the claudia's tool it live updates in the game and it immediately responds and the change that you made is immediately apparent in the that means it comes as standard because we're actually operating on the data that the game is running with and actually because of the design it's not possible to implement an audio feature without implementing live update and that was at the very core of this design because again we were completely thinking about workflow about ease of use and about limiting the amount of time you guys spend you know rebooting the game or you know trying to get your actions to be reflected in the game you already uh mentioned it but i think that you know little to no code support aspect of claudius is really gonna be
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groundbreaking for us i think that life is gonna become iteratively a lot easier uh as we're able to just quickly you know just not again focus shifting right that's not gonna really be a thing anymore uh and that's gonna be great not only that uh all these parameters that we want to get access to based on the data we're gonna get access to that by just going into the game playing with something like a weapon and by picking up that weapon now that's gonna you know be inherited by the by the character so it means that we're gonna be able to attach all these different sounds to that gun based on what the player is doing and i don't know it's gonna make so many of these things uh possible and it just wasn't before yeah what we're trying to do is make so much data available to you where you need it and in an intuitive way and what
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that means is that you know when you as you say if you spawn a weapon in the game it immediately becomes visible in the claudia's tool and if you perform an action on that weapon such as firing it or reloading it those actions immediately become available and visible in the claudia's tool and available for you to implement and what that means is that we're putting the implementation right alongside it happening in the game claudius uses a reactive programming model and what that means is that as the data comes in the visual side of what you see updates live and it updates immediately and it also has some sense of what's relevant because if you're running an actor around then the most recent events received by the game or sent by the game would be the movements of his limbs the footsteps that kind of thing and you get to see those things immediately in the tool and you can even
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filter by time so you can look at things you can like clear out the view perform an action and now that's the only thing you can see so you get really quick easy access to all the data that you need and all of this tech i think just puts us in a great position to continue to support the ever-increasing demands of crg's games i also think that the designers are gonna be quite empowered by the amount of time that they're gonna have to focus on the creative aspects because of this tool yeah that's the whole philosophy of this design is to empower the sound designers to be sound designers yeah so let's take a look at a practical example marking up a weapon in claudius as we've mentioned all the events and parameters that arrive in the claudius interface the things that have happened
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in the game the game is just describing what's happened and it doesn't have any preconceptions about what the audio system should do it simply provides data so for example the weapon fired it now has five rounds in the magazine the weapon fired again it now has four rounds in the magazine and lots of other information as well so you know the weapon fired and there was this much atmospheric pressure around it or it was out in space and there was no pressure you know all these sort of contextual things become available and the decisions about what that data actually means to you guys all completely come down to you so all we do is we as programmers is we provide as much data as we possibly can in a place where you can use it what amazes me about this tool is it's going to just be as simple as you know hooking up a couple nodes and seeing the
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results in the editor uh not only that all this com complex logic that we have uh we're gonna have access to all these parameters super easily so the the idea of let's say having a different reload sound based on the amount of ammunition in the mag is it's gonna be you know rather simple to to implement yeah absolutely what we what we've done here is we've gathered all the data that may or may not be relevant to you and we don't mind whether it is or not we deal with all that code side to the efficiencies of that and you guys get access to any data that you may or may not be interested in so you could do like crazy things if you wanted you know you could make it so that the reload sound sounds different if they're like you say if there are different number of rounds in the mag but you might want to make the reload sound sound different if the if the character's wearing armor or not i mean that makes no sense but
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you know all this data becomes available to you and it's totally up to you guys what you do with it so we're opening up lots of you know possibilities i think it comes back to empowering the sound designers again i think all this freedom creatively is it's it's it's going to be great yeah absolutely and i think that sort of giving you that creative freedom i think is going to be amazing to see what comes out of that because you know for example we can have we can have something like a a parameter that says whether it's night time or not and if you wanted you could change the whole aesthetic of the game change all the sounds based on it being night time and that would require no input from the code team because we've given you the data that you need so let's dig down a little into some specific features of claudius and look at budgeting and aggregation in this
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video we have a set of audio trigger spots that are all playing the same sound we haven't applied any sort of budgeting to them so they all play they're all taking up resources and we can hear them all so you know the mix can be a little bit sort of muddied by just how many of them are playing i want to show here just how simple it is to deal with that and to reduce the budget for the sounds that they're playing so here we go to the audio source settings and we we're going to add um we're going to add a new category which is how we budget and we're going to reduce the number of sounds in that category that can play at any one time as i said before this whole update's live so um every change we make now is going to be reflected in the game and when we spin back to the the game view now in the editor you'll see that because we set the the budgets of five
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only five of those sounds are now playing represented by some lighter green we can go back and we can change the budget and again that will you know we'll drop it a little bit more and you can see now only the closest three to the camera currently playing and then we'll just whiz the budget back up so you can see they all come back again when uh when you do that now that's the budgeting feature and that's one tool to sort of reduce the amount of resources we use but what we also do is allow you to deal with what happens when all those sounds that are not allowed to play because of the budget are prevented from playing so what we do is we have a system called an aggregation system and every single one of those sounds that hasn't been allowed to play can contribute to a further sound that attempts to represent that crowd of under of sounds that were not played so
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here we're going to do a really simple example we're going to hook up a sort of more musical tone to this uh to this aggregate and what this aggregate will do is it will represent all of those sounds aren't playing now we offer lots of parameters to this aggregation system but the aggregate is aware of how many sounds it represents it's aware of the position it's aware of the spread of them so lots of information is made available to the sound designers so that they can represent this massive sounds with just a single audio source okay so now we can see that there's a further green light green blob in amongst all the dark green and what that is is that's the aggregated sound so that will move to the center of wherever the crowd of non-playing sounds is and as you can see it kind of skips
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around in this video but we we have smoothing options so that it doesn't jump around and become jarring um it just moves around as quickly or slowly as you want it to with the crowd of sounds that it's attempting to represent and what this means for us is that it makes it a lot easier to sort of clean up the mix if you've got a lot of things that have been added to a level they've been added by a non-audio person and with maybe not so much understanding of the consequence of that it gives us really easy ways of dealing with that you can see here if we increase the budget the uh the aggregated sound moves further away and then if we completely reduce the budget to nothing then you end up with just a fixed aggregated sound right in the middle of the uh all the sounds that are playing sorry all the sounds are not playing now this is a really simple example none
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of these sounds are moving but if they were moving then that blob would move appropriately to the position where all those sounds were moving i think what this tech has showed us is um for ambience work specifically the designers are going to have quite a lot of uh creative freedom uh to kind of go wild and rely on this technology to to help us clean up not only the mix but um you know the voice count and the channel counts it's also a good way for us to create accurate uh background dialogue or as we call it walla for bespoke locations and i think it's going to bring a lot more life to locations absolutely but also aggregate logic doesn't have to be used for those purposes it can be used for more abstract purposes as well so we can use the logic system within the audio system to understand how many of a
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certain thing exist in the game so if say every tree tells the audio system that exists we don't necessarily want to play a sound on all those trees maybe unless it's windy which decision we can make if we want but we can track count so we can track you know how many of a certain object type there are and we can use that information to inform something like the mix so you can have a mix that's maybe specific to forests you want something to sound like a forest you want to bring you some ambience that makes it sound like a forest and that can all be driven by this set of data that we're not actually playing sounds directly on but we're just using it to inform the mix another feature that we have in claudius is logic inheritance and what that allows us to do is to implement a set of audio logic on a certain audio node and then inherit it on child nodes of that node so that we can override it repurpose it or make it just basically do the same
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thing as the parent node does now that's quite an abstract thing to say i know but um what it means is that we can use a single set of events and parameters to express audio across multiple nodes in the game i think this comes back to the example that we used before about you know a weapon reloading um and so by overriding that logic we're going to be able to place audio events on specific parts of the weapon uh and make them perform based on what the character is doing um yeah it just seems like a really powerful tool to have yeah absolutely and again it's all about putting all the power in your hands you know for example you might have something like a a character who jumps and lands and that jump event can be expressed on any bone of his body so if he's wearing a watch he can make it jingle you know if he's if he's got a cracky knee you can make
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it crack when he lands or something and you know all these different things can be done and they're all available to you by default and quite easy to implement as well as we're seeing another thing we have in claudius is a set of systemic parameters and what they are is a set of parameters that are available by default to any audio node in the game things such as atmospheric pressure velocity acceleration so for example you can do something like take the atmospheric pressure and the acceleration of an object and you can use that to express some wind noise and uh that's something that previously would have a lot would have required code support but you guys can just dive in and do it on literally anything you can add an audio sig audio component to something that the audio system's never seen before and you can start expressing the audio on these things in this way claudius i think rationalizes the whole
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process of uh being a sound designer on this project all that relevant information is going to be in one place and it's going to be quite digestible especially for people just getting started yeah absolutely we want the sound design process to be as organic as possible and we want you guys to have the freedom to just express yourselves and that's the point of getting all this data to you by default so let's take a look at an example of something you can do using sig audio and claudius without any code support here we're adding a sig audio component to an entity type that's never had one on it before it's a really simple thing to do we just drop the component in data forge and then uh we can jump over to the editor and we can spawn one of these things and i'm going to use the example of a plushie here and what we're going to do is we're going to use some of these
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systemic parameters and events that are come for free without any extra code support and we're gonna use them to express it's a bit of a silly example we're gonna use them to express the contents of this plushie so uh what looks like a cuddly toy right now is gonna turn into some sort of water container so we're going to put a kind of water sloshing loop on this thing so we need to respond to its spawn event also its despawn events so the sound stops if it ever gets despawned and we can add an audio source that is the water sloshing sound and then if we hook that up it's going to start playing that sound but the way these uh sounds are set up is that they don't play anything unless certain parameters are set on them so they're muted until for example uh they have some sort of rotational or
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directional movement on them because you don't want an object you just sit there playing a sloshing sound when it's not moving so we're going to hook up some parameters as well we're going to hook up the uh systemic acceleration and velocity parameters and we're going to just demonstrate a little bit of you know we're not going to go into sort of two complex logic here but we're just going to demonstrate a little bit of what you can do so we're going to multiply them by each other and then the result of that we're going to set it on a couple of parameters on that object and then as i said before you know everything is live updated so we're going gonna see the result of what we do here we're gonna hear the result of what we do here immediately once we've done it so just finish hooking this up and we'll pass over to uh the editor view once
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that's done oh one last thing we need to do before we can make that happen is because this entity's already spawned we need to send its spawn event again and in claudius you can send any events that are set up for debugging reasons which is really useful so now we can see the green blob which says the sounds playing but we can't we can't hear very much because there's no velocity or acceleration but now as the character runs around carrying it we can hear the sloshing sounds we can hear them play when it's dropped and all this is coming from this set of parameters in claudius that are being multiplied together just for a bit of fun so all that was done without any code support the the code system had never seen that entity before it could have been literally any entity in the game and what we've done though is we've been able to express the contents of that entity without any additional help from
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the code team so that's a really sort of freeing thing for the sound designers to have available as we've seen with how easy it is to implement something like this we have a lot of control over the physics and it gives us no reason not to add sounds to literally everything in the game that's interactable and that can move it's gonna bring a lot more life uh the speed that we can get this done with it's gonna make iteration a lot more plausible and uh yeah it's i think it's it's gonna be have quite some interesting outcomes so yeah it opens up a line of creativity it opens up a line of experimentation and that goes you know hand in hand with how quickly this was uh achieved yeah absolutely and i think you know the example though was quite a silly one it was it was you know putting a water slushy sound where it doesn't really
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belong but um as i said you know that it doesn't matter what that entity is it could be a little cuddly plushy thing or it could be like a 400 foot tower that's falling and hitting the ground and those same parameters can be used to express the sounds of that thing to express the weight and the size of that thing and uh you know this tech isn't so limited to props and carryables it can be used on literally anything anything that can move you can express its movement using these parameters i think he touched on a really important point there which is a cause and effect um i think that's one thing that it's quite a tricky phenomenon to implement into games uh but with claudius it's it it's gonna be you know almost a breeze
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we're going to be able to hold values based on a parameter for example so let's say if you shoot this plushie it'll you know trigger a very high value for for that movement and based on that we'll be able to change the sound that you know happens after so let's say if you shoot the plushy pick it up again instead of a cute cuddly noise it could make like a really angry like why did you shoot me sort of grumble um and and yeah it's it's going to add a whole new level of depth uh to to these interactable objects and other things in the game as well yeah and those examples are just again it's all about unleashing creativity it's about sort of offering all the data that you need to be able to do whatever you want and there may be things that we never even thought of but by abstracting these systems in such a way that and by making all this data
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available to you it no longer becomes a coders problem what you guys want we just give you everything yeah the sig audio and claudia systems are designed with collaborative working in mind too so the way that communication and the way that actions are performed in claudius is that the claudius app sends a request to the game engine to make some sort of change to the audio logic and only when that request is fulfilled does the change actually reflect itself back in the claudius ui and this is tied into the whole concept of there's only one set of data owned by the engine and we change it live so by having this design what we've been able to do is allow multiple connections of multiple claudius clients and because they're all connected via websockets they could be on separate pcs what this means is that if a sound designer needs
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some assistance or just wants to collaborate with another sound designer on some sort of logic set up in claudius they can do that incredibly easily they can connect their claudius client to somebody else's game client simultaneously while that person has their copy of claudius connected and then as they make changes to the logic they're reflected on both users claudia screens simultaneously i think that's uh quite a cool feature to have a lot of the time when we're working you know i'll need to call up either technical sound designer a colleague and share my work and they'll just be through sharing the screen and there's a lot of you know no go there go there and finger pointing um and it it you know it can be quite time consuming and make it difficult to to quickly get a point across um and with this tool i'll be able to like you
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said connect and just mark up you know a gun for example or one of these uh physics prop on the go with them and uh that can also spark quite a few ideas just that that very easy back and forth yeah absolutely and and every connected claudius client has full control so you anyone can make any changes even the undo system works across all clients so you could make a lot of changes uh to demonstrate something and then disconnect and then the other person can just hit the undo button to get rid of all that stuff and then start you know doing something else that's maybe inspired by what you showed them or something like that and i think it all just really sort of lends itself to having a lot of collaboration between sound designers is always a good thing i think now with the whole working from home situation a tool like this is
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really going to be invaluable it's it's going to allow the sound designers to connect a lot more qa to work with sound designers a lot easier uh technical sound design dialogue it's really just gonna you know bring us all closer together and uh hopefully spark some very interesting ideas so let's take a little look at some of the code that underpins these systems because when we went away and wanted to start designing this thing we we obviously had workflow in mind and we wanted that to be uh to create a situation that was as smooth and as easy as possible for sound designers but as a cold team we serve two masters and what we don't want to do is to um implement those things for the sound designers at a cost that's too great for the engine team so we need to avoid high cpu usage we need to avoid blocking
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the main you know the critical paths of the game and we do that by moving all of our audio processing onto audio threads and onto audio jobs and all the commands that cause that audio processing to happen they're all transmitted through lockless cues and what that means is that the game can tell us what we need to know and we get out the way as quickly as possible and that allows the game to run as freely as it can without audio sort of contributing to frame rate drop or contributing to high cpu usage because we've moved all that stuff into the audio system what it means is that something like a a feature that we would have maybe in ship code like something that's very specific to thrusters would now become a systemic feature in the audio system and what that means is again it frees up your creativity because we might have created something
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as an idea that assists with making thrusters sound good but instead of being kind of hidden away in the thruster code and only able to be used by those it's now available to you wherever you want and you can kind of use some of these tools in whatever sort of you know creative ways you can think of whereas you know before they were hidden away now they're completely available to you and this also frees up audio coders time because we spend a lot less time so you know working to make features that exist in one place exist somewhere else literally every feature exists everywhere for every system so that again helps the audio code team to spend a lot more of their time being creative too which is a really good position to be in we also have some features that even bring audio code into the realm of
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post-production much like the uh the sound design is so we can live rebuild the code while the game is running and that's something we've been able to do for a long long time but what claudius does because it uses this reactive programming model in it and it can react to the game's transmission of events and parameters immediately and present them to you immediately we can actually boot up the game and start up a feature we've never seen before and start playing around with it and find the bits where the audio needs to be and then we can live add the code rebuild it on the fly and then it's already available to you guys so we're making it so that collaboration between sound designers and and audio coders becomes something that is just it's almost as good as a collaboration between sound designers it's like something we can we can uh go from nothing to a fully working feature without stopping the game and then
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because of all the design that this is all built on and you know the way that we want to make sure that everything persists you don't need to like go back into the game and test it what that means is that we can effectively implement both the code and the audio setup save it and we're literally done and that's just saving so much time compared to sort of um all the iteration time that they spent like rebooting the game rebooting editors rebooting tools swapping tools and all that kind of thing so yeah this this puts code uh you know at least partially in this production of post-production realm as well yeah so we've looked at a lot of features that we've already developed for claudius but we have lots of plans for the future too
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um the design of sigourney and claudius aims to solve future problems before we know what they are and where it can't solve them completely is going to make it easier to solve them as new game features come along and we don't know what they're going to be yet necessarily we want to be able to support them as quickly as possible but also we want to be able to reuse everything we create and the sig audio and claudius design is essential to that it's all about reuse and it's all about having systemic features that are available to sound designers i think what's so great about this uh technology is that we're gonna be able to take all this information from the game uh bring the audio engine into the game engine um and just you know make it all so easy to access i think one key aspect of uh of claudius that the audio team is really looking forward to sympathetic
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audio so this is the cause and effect that we were talking about before i think having this uh like one event trigger another for example it's gonna make the the game a lot more cinematic um everything's gonna be real time we're not gonna have to pre-render all these events um and uh it's yeah it's basically gonna become procedural which means that every you know a lot of these scenarios that you get into a lot of these different contexts uh that that you can get into while you're playing the game we're going to accommodate them and you're going to get you know really just vastly different experiences every time you do something and this is because we can infer so much from the game data and create those links to create a beautiful experience um a lot of the time we think about like how can we solidify this non-linear
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spectacle of a game and i i truly believe that that is through cause and effect it's it's having things done in real time and conveying all this information to the player uh that you know can be critical so for example you're flying and you start to enter a debris field or an asteroid field that all those things can start having an effect on the you know environment around you start your creeks so if you're entering the atmosphere you can tell like that your ship's going through some strain and uh instead of pre-rendering it can happen in real time it can take values uh from like atmospheric pressure temperature and it's it's it's it's going to be you know amazing experience for the players yeah absolutely i think you know at the core of uh sympathetic audio is this idea of resonance and with the sympathetic ideal design that we have
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we'll be able to give objects resonant frequencies and we'll be able to make it so that if something sort of uh broadband and its frequency spectrum goes off like a huge explosion or something like that then you're going to expect a lot of metal panels and glass windows and things to to rattle and resonate in in in sympathy so yeah that's good in sympathy with uh with the explosion and all we really have to do is just set up the logic for that to happen and it'll happen um and yeah really eager and interested to see what um the players are gonna have happen to them through their playthroughs yeah absolutely and i think um you know all the all the features that we're looking to develop are all about bringing this game to life more and making it more similar cinematic and making it you know just
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feel more immersive yeah super high fidelity yeah absolutely so we're looking at sort of improving the mixing support so we can gather some of this you know we've got a huge amount of data coming in now that can be used in lots of ways to uh decide which sounds play and what you know how those parameters affect those sounds but we can take a step back and look at the bigger picture and say you know we've got all this data that's telling us what's going on in the game can we then use that to sort of decide how the game should be mixed so for example if uh if you're exploring a moon or something like that you're going to want to hear a lot of the ambiences and maybe some distant mining going off and things like this but then if you sort of end up engaged in battle with someone that's something that the audio system's aware of through the data that's coming in and maybe it can change the mix so those ambient things don't really get so much of a look in anymore
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and it's all about the battle focus and things like that and then again as the battle ends and that kind of scenario falls away we could automatically you know analyze the data and say okay we're now back into an ambient situation so you know let's raise the the level of some of these ambient sources again yeah i think that you know importance to what the uh what the player needs to hear at that moment i think that's for especially on the fbs side that's gonna really be valuable so that concludes our look at some of the features and tech that we have in development in the sig audio team right now and hopefully it's going to make the lives of the sound design team much easier and hopefully some improvements to the way the game sounds too yeah i think um the sonic aesthetic of this this game is going to change for the better because of these tools and because these workflow uh improvements cool yeah
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okay well that's it from us uh thank you very much for watching i hope you enjoy the rest of your citizencon and i really hope next year we can all be back together in person and we can see each other in person then thanks for watching goodbye thank you

Transcript from YouTube’s automatic captions — punctuation and Star Citizen jargon are approximate. The video itself is hosted by CIG on the official channel.