DOCSLIB.ORG

Autodesk® Entertainment Creation Suites 2014 Redefining Digital Entertainment Creation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Autodesk® Entertainment Creation Suites 2014 Redefining Digital Entertainment Creation SUITES Autodesk® Entertainment Creation Suites 2014 Redefining Digital Entertainment Creation Sculpt and paint intuitively. Animate in real-time. Simulate with ease. Share data in a single step. WHAT’S New Autodesk Maya 2014 Autodesk 3ds Max 2014 Autodesk Softimage 2014 Autodesk MotionBuilder 2014 Viewport Display and Shading Populate Camera Sequencer Linux Support Accelerated Modeling Workflow Augmented Particle Flow System CrowdFX Enhancements Grease Pencil Improved Viewport Performance ICE Improvements Autodesk Mudbox 2014 Scene Assembly Tools Perspective Match Extended FBX Support Advanced Retopology Tools Explore a palette of industry-leading 3D animation toolsets The Autodesk® Entertainment Creation Suites 2014 provide an affordable end-to-end creation and production solution, offering tools used by professional artists working in visual effects, game development, and other 3D animation production. The Standard edition offers a choice of either Autodesk® 3ds Max® 2014 or Autodesk® Maya® 2014 animation software, together with Autodesk® Mudbox® 2014 3D sculpting and painting software, Autodesk® MotionBuilder® 2014 real-time virtual production and motion capture editing software, and Autodesk® SketchBook® Designer 2014 concept art software. The Premium edition additionally offers Autodesk® Softimage® 2014 3D animation and visual effects software. Best of all, with the Ultimate edition, you get everything in the Premium edition together with both Maya 2014 AND 3ds Max 2014. Integrated through single-step interoperability workflows and user interfaces that offer common look-and-feel elements, the suites help increase productivity and provide enhanced creative opportunities—at a significant cost saving over purchasing all of the products individually. ™ and © 2012 Twentieth Century Fox Film Corporation. ™ and © 2012 Twentieth Century Fox Film Corporation. All rights reserved. All rights reserved. New Paint Effects Surface The Suite is the backbone of our previsualization and Volume Attributes Now you can control how Paint Effects strokes process, empowering us to help directors hone react with surfaces, volumes, and each other, with new Surface Snap, Surface Attract, Surface their visions from concept through the handoff to Collide, Make Collide, and Occupation attributes. Together, these attributes can be used to quickly final visual effects with unprecedented efficiency. create a wide range of natural effects that would be very difficult and time-consuming to create – Chris Edwards with conventional methods. Just a few examples CEO and Creative Director are: vascular networks, electrical sparks, flowing The Third Floor, Inc. water, clinging vines, contained plant growth, and footsteps on grass. New Modeling Tools and Options Autodesk Maya 2014 Scene Assembly Tools for Smarter Data Enjoy increased productivity and higher quality Maya 2014 helps put creativity back at your Creating large, complex worlds is now easier. results with new modeling tools and options in fingertips, with an intuitive Grease Pencil New Scene Assembly tools in Maya 2014 provide Maya 2014. A new Polygon Reduction algorithm for blocking out and marking up animation; a mechanism for representing production offers a faster and more efficient method for innovative new Paint Effects features; and assets as discrete elements, each with complete reducing mesh complexity; the Edit Edge Flow enhanced modeling and animation tools. support for multiple representations. You can tool enables you to transform edges to respect Moreover, with the next-generation Maya® easily swap between different representations— the curvature of the surrounding mesh, and to DX11Shader* and an enhanced Viewport for example, varying levels of detail—to select automatically respect curvature continuity when 2.0, you can work in a high-quality, real-time the most appropriate compromise between inserting edge loops; and a Crease Set Editor environment that closely matches the final fidelity and performance for the task at hand. enables you to manage and edit smooth proxy output. In addition, building and managing large Edits can be applied, animated, or queried at any creasing groups. and complex worlds is now easier, thanks to new level in the scene assembly hierarchy. Scene Assembly tools. * Only available on Microsoft® Windows® 64-bit Grease Pencil operating system. Key New Features in Maya 2014 Quickly block out and mark up animation directly Next-Gen Viewport Display and Shading within a 3D scene using one of the most natural tools available—the Grease Pencil. Draw directly ® Take advantage of the power of Microsoft into the viewport to capture poses at key frames, ® DirectX 11 software to help create and edit and view in-between transitions as cross-fades. high-quality assets and images in less time, with The pencil strokes are automatically stored as an the new Maya DX11Shader*. Using the next image plane sequence, so you can use them as generation of viewport display and hardware reference while creating 3D animation. And it’s rendering technology, DX11Shader offers real- not just artists who benefit; directors and other time, centralized, easy-to-control shader effects: stakeholders can use the Grease Pencil to mark crack-free tessellation, vector displacement maps, up performances and record their input in the translucence, reflections, and shadows. Moreover, form of notes for their animators. the high-performance Viewport 2.0 now supports many more native Maya shading nodes. Image courtesy of Planktoon. Autodesk® Entertainment Creation Suites 2014 The interoperability of Autodesk tools (Maya, 3ds Max, MotionBuilder) helped us meet tight deadlines and bring Martin Scorsese’s magical vision to the big screen. –Ben Grossmann VFX Supervisor, Hugo Pixomondo Image courtesy of The Material Group. Simulate natural and manmade forces, create and break bonds between particles, and collide particles with each other and with other objects, with the new mParticles module for the MassFX simulation system. Iterate faster, with new Cache Disk and Cache Selective operators. And enjoy a set of Particle Flow ‘Freebies’ from Orbaz Technologies, now included by default. Perspective Match The new Perspective Match feature enables you to interactively match the camera view of a scene to the perspective of a photo background. With this feature, you can easily place a CG element into the context of a still-frame photographic background, making it ideally suited to print and advertising composites. Vector Map Support Now you can load vector graphics as texture Autodesk 3ds Max 2014 maps and render them at dynamic resolutions; Improved Viewport Performance no matter how much the view is zoomed in, 3ds Max 2014 brings a fresh approach to 3D graphics will remain crisp and clear. With PDF animation, with the innovative new Populate Enjoy significantly improved interactive and support that includes animated page transitions, feature set for automatic crowd generation, a playback performance for complex scenes, CAD you can create textures that change over significantly augmented Particle Flow toolset, data, and deforming meshes in 3ds Max 2014, time, or create richer and more dynamic CAD and a performance-enhanced viewport that now thanks to new adaptive degradation techniques, ® illustrations through the support for AutoCAD ® ® supports Microsoft DirectX 11 shaders. And, improved texture memory management, the software PAT Hatch Pattern files. The feature with new Perspective Match and Vector Map addition of parallelized modifier computations, also supports AI (Adobe® Illustrator® software), tools that cross the 2D/3D divide, 3ds Max 2014 and certain other optimizations. SVG, and SVGZ formats. provides new ways of working that can help you extend your creative capabilities. DX 11 Viewport Rendering Take advantage of the power of Microsoft® Key New Features in 3ds Max 2014 DirectX® 11 software to help create and edit Populate high-quality assets and images in less time, with new support for DirectX 11 shaders in 3ds Max Bring worlds to life in a few simple steps, with 2014. In addition, a new API exposes DirectX 11 the new Populate crowd animation feature set. capabilities in 3ds Max with HLSL (High Level Offering high-level control of plausible human Shading Language) support. animation, Populate enables you to quickly and easily generate moving or idle crowds to enrich architectural presentations with realistic human Augmented Particle Flow System activity, or to previsualize a film or video scene. Create more sophisticated, realistic, and Populate comes with a set of animations and customized physical simulations in less time, characters for use in common public settings: with a significantly augmented Particle Flow sidewalks, hallways, lobbies, and plazas; crowd system. Combine up to 25 different suboperators composition tools enable artists to connect to create customized Particle Flow tools with walkways into patterns of pedestrian flow. the new Advanced Data Manipulation toolset. Autodesk® Entertainment Creation Suites 2014 Autodesk Softimage 2014 ICE Improvements Softimage 2014 extends and refines its It’s now possible to easily override exposed high-performance feature set with an enhanced ports of compounds within the ICE procedural creative toolset for artists and technical framework. This means you can use the concept directors working in visual effects and 3D game of passes and partitions—where the value for development. With a new Camera Sequencer any parameter can be different in each
Load more

Recommended publications
  • Autodesk Entertainment Creation Suite
    Autodesk Entertainment Creation Suite Top Reasons to Buy and Upgrade Access the power of the industry’s top 3D modeling and animation technology in one unbeatable software suite. Autodesk® Entertainment Creation Suite Options: Autodesk® Maya® Autodesk® 3ds Max® Entertainment Creation Suite 2010 includes: Entertainment Creation Suite 2010 includes: • Autodesk® Maya® 2010 software • Autodesk® 3ds Max® 2010 • Autodesk® MotionBuilder® 2010 software • Autodesk® MotionBuilder® 2010 software • Autodesk® Mudbox™ 2010 software • Autodesk® Mudbox™ 2010 software Comprehensive Creative Toolsets The Autodesk Entertainment Creation Suite offers an expansive range of artist-driven tools designed to handle tough production challenges. With a choice of either Autodesk Maya 2010 software or Autodesk 3ds Max 2010 software, you have access to award-winning, 3D software for modeling, animation, rendering, and effects. The Suite also includes Autodesk Mudbox 2010 software, allowing you to quickly and intuitively sculpt highly detailed models; and Autodesk MotionBuilder 2010 software, to quickly and efficiently create, manipulate and process massive amounts of animation data. The complementary toolsets of the Suite help you to achieve higher quality results more efficiently and more cost-effectively. Real-Time Performance with MotionBuilder The addition of MotionBuilder to a Maya or 3ds Max pipeline helps increase production efficiency, and produce higher quality results when developing projects requiring high-volume character animation. With its real-time 3D engine and dedicated toolsets for character rigging, nonlinear animation editing, motion-capture data manipulation, and interactive dynamics, MotionBuilder is an ideal, complementary toolset to Maya or 3ds Max, forming a unified Image courtesy of Wang Xiaoyu. end-to-end animation solution. Digital Sculpting and Texture Painting with Mudbox Designed by professional artists in the film, games and design industries, Mudbox software gives 3D modelers and texture artists the freedom to create without worrying about technical details.
    [Show full text]
  • Decide What Language Is Right for You || Autodesk Motionbuilder
    Decide what language is right for you in Autodesk MotionBuilder Kristine Middlemiss, Developer Consultant Autodesk Developer Network Decide what language is right for you || Autodesk MotionBuilder Contents 1.0 Introduction to Autodesk MotionBuilder ................................................................................ 3 1.1 Why use Programming in Autodesk MotionBuilder ................................................................ 3 1.2 Python Introduction ................................................................................................................ 3 What is Python all about? ............................................................................................................ 3 Advantages .................................................................................................................................. 4 Disadvantages ............................................................................................................................. 4 1.3 What distinguishes Python from the OpenReality SDK?......................................................... 5 Advantages of OpenReality ......................................................................................................... 5 Advantages of Python ................................................................................................................. 5 1.4 How do they both fit in Autodesk MotionBuilder ................................................................... 6 2 | P a g e Decide what language is right for
    [Show full text]
  • Making a Game Character Move
    Piia Brusi MAKING A GAME CHARACTER MOVE Animation and motion capture for video games Bachelor’s thesis Degree programme in Game Design 2021 Author (authors) Degree title Time Piia Brusi Bachelor of Culture May 2021 and Arts Thesis title 69 pages Making a game character move Animation and motion capture for video games Commissioned by South Eastern Finland University of Applied Sciences Supervisor Marko Siitonen Abstract The purpose of this thesis was to serve as an introduction and overview of video game animation; how the interactive nature of games differentiates game animation from cinematic animation, what the process of producing game animations is like, what goes into making good game animations and what animation methods and tools are available. The thesis briefly covered other game design principles most relevant to game animators: game design, character design, modelling and rigging and how they relate to game animation. The text mainly focused on animation theory and practices based on commentary and viewpoints provided by industry professionals. Additionally, the thesis described various 3D animation and motion capture systems and software in detail, including how motion capture footage is shot and processed for games. The thesis ended on a step-by-step description of the author’s motion capture cleanup project, where a jog loop was created out of raw motion capture data. As the topic of game animation is vast, the thesis could not cover topics such as facial motion capture and procedural animation in detail. Technologies such as motion matching, machine learning and range imaging were also suggested as topics worth covering in the future.
    [Show full text]
  • Avatare in Katastrophensimulationen
    Andreas Siemon Avatare in Katastrophensimulationen Entwicklung eines Katastrophen-Trainings-Systems ISBN 978-3-86219-610-4 Siemon Andreas zur Darstellung von Beteiligten in Großschadenslagen Avatare in Katastrophensimulationen in Katastrophensimulationen Avatare Andreas Siemon Avatare in Katastrophensimulationen Entwicklung eines Katastrophen-Trainings-Systems zur Darstellung von Beteiligten in Großschadenslagen kassel university press Die vorliegende Arbeit wurde vom Fachbereich Elektrotechnik / Informatik der Universität Kassel als Dissertation zur Erlangung des akademischen Grades eines Doktors der Naturwissenschaften (Dr. rer. nat.) angenommen. Erster Gutachter: Prof. Dr.-Ing. D. Wloka Zweiter Gutachter: Prof. Dr. A. Zündorf Tag der mündlichen Prüfung 27. März 2013 Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.dnb.de abrufbar Zugl.: Kassel, Univ., Diss. 2013 ISBN 978-3-86219-610-4 (print) ISBN 978-3-86219-611-1 (e-book) URN: http://nbn-resolving.de/urn:nbn:de:0002-36118 © 2013, kassel university press GmbH, Kassel www.uni-kassel.de/upress Druck und Verarbeitung: Print Management Logistics Solutions, Kassel Printed in Germany Danksagung Die vorliegende Dissertation entstand im Zeitraum von Oktober 2008 bis November 2012 am Fachgebiet Technische Informatik der Universit¨at Kassel. Sie w¨are nicht ohne die Unterstutzung,¨ den Rat und die Geduld zahlreicher Personen m¨oglich gewesen, bei denen ich mich im nachfolgenden herzlich bedanken m¨ochte. Mein besonderer Dank gilt meinem Betreuer, Herrn Prof. Dr.-Ing. Dieter Wloka, fur¨ die interessante Aufgabenstellung verbunden mit der M¨oglichkeit, die vorliegende Arbeit an seinem Fachgebiet anfertigen zu durfen.¨ Weiterhin bedanke ich mich fur¨ die ausgezeichnete Betreuung, die st¨andige Diskussionsbereitschaft sowie die wertvollen Anregungen und Hinweise.
    [Show full text]
  • Powering a New Era of Collaboration and Simulation in Media And
    Image Courtesy of ILM SOLUTION SHOWCASE NVIDIA Omniverse™ is a groundbreaking POWERING A NEW ERA OF virtual platform built for collaboration and real-time photorealistic simulation. COLLABORATION AND SIMULATION Studios can now maximize productivity, IN MEDIA AND ENTERTAINMENT enhance communication, and boost creativity while collaborating on the same 3D scenes from anywhere. NVIDIA continues to advance state-of-the-art graphics hardware, and Omniverse showcases what is possible with real-time ray tracing. The potential to improve the creative process through all stages of VFX Built For and animation pipelines will be transformative. > Concept Artists — Francois Chardavoine, VP of Technology, Lucasfilm & Industrial Light & Magic > Modelers > Animators > Texture Artists Challenges in the Media and Entertainment Industry > Lighting or Look Development Artists The Film, Television, and Broadcast industries are undergoing rapid change as new production pipelines are emerging to address the growing demand for high-quality > VFX Artists content in a globally distributed workforce. Additionally, new streaming services are > Motion Designers creating the need for constant releases and refreshes to satisfy a growing subscriber base. > Rendering Specialists NVIDIA Omniverse gives creative teams the ability to create, iterate, and collaborate on Platform Features assets using a variety of creative applications to deliver real-time results. Artists can focus on maximum iterations with no opportunity cost or the need to wait for long render > Compatible with top industry design times to achieve high-quality results. and visualization software > Scalable, works on all NVIDIA RTX™ M&E Use Cases for Omniverse solutions, from the laptop to the data center > Initial Concept Design - Artists can quickly develop and refine conceptual ideas to bring the Director’s vision to life.
    [Show full text]
  • Surrealist Aesthetics
    SURREALIST AESTHETICS Using Surrealist Aesthetics to Explore a Personal Visual Narrative about Air Pollution Peggy Li Auckland University of Technology Master of Design 2020 A thesis submitted to Auckland University of Technology in partial fulfilment of the requirements for the degree of Master of Design, Digital Design P a g e | 1 Abstract “Using Surrealist Aesthetics to Explore a Personal Visual Narrative about Air Pollution”, is a practice-based research project focusing on the production of a poetic short film that incorporates surrealist aesthetics with motion capture and digital simulation effects. The project explores surrealist aesthetics using visual effects combined with motion capture techniques to portray the creator’s personal experiences of air pollution within a poetic short film form. This research explicitly portrays this narrative through the filter of the filmmaker’s personal experience, deploying an autoethnographic methodological approach in the process of its creation. The primary thematic contexts situated within this research are surrealist aesthetics, personal experiences and air pollution. The approach adopted for this research was inspired by the author’s personal experiences of feeling trapped in an air-polluted environment, and converting these unpleasant memories using a range of materials, memories, imagination, and the subconscious mind to portray the negative effects of air pollution. The overall aim of this process was to express my experiences poetically using a surrealist aesthetic, applied through
    [Show full text]
  • Autodesk Whitepaper
    Autodesk® MotionBuilder® 2012 Frequently Asked Questions Autodesk® MotionBuilder® 2012 software is a leading real-time animation software: an ideal tool for high-volume game animation pipelines, director-driven virtual cinematography and real time character simulations. Contents 1. General Product Information ....................................................................................... 3 1.1 Who uses MotionBuilder? ................................................................................... 3 1.2 What are the key strengths of MotionBuilder? .................................................... 3 1.3 What are the key new features in MotionBuilder 2012? ..................................... 3 1.4 When will MotionBuilder 2012 be available? ...................................................... 4 1.5 Will there be a trial version of MotionBuilder 2012 available? ............................ 4 2. Technology ................................................................................................................... 5 2.1 What operating systems will MotionBuilder 2012 support? ................................ 5 3. Installation, Configuration, and Licensing ................................................................. 5 3.1 Will MotionBuilder 2012 be available with hardware dongle support? ................ 5 3.2 How does Online License Transfer work? .......................................................... 5 4. Compatibility and Interoperability .............................................................................
    [Show full text]
  • Software Options a CTE Space Needs to Prepare Students for an Uncertain Future with Jobs That Have Not Even Been Conceived of Yet
    Career and Technical Education: Software Options A CTE space needs to prepare students for an uncertain future with jobs that have not even been conceived of yet. A diverse array of powerful software options is crucial to developing the 21st century skills that can be applied to a variety of career possibilities. 2D Design 3D Design Overview: This category includes image creation Overview: Most professional or “prosumer” grade and editing apps that work with both vector and 3D software packages contain integrated modules bitmap artwork, as well as software for page layout for modeling, texture mapping and animation design and more. In some cases, applications in this at a minimum. They may also include additional category have limited 3D animation and modeling functionality in areas such as particle systems, capabilities as well. rendering engines, fabric, environments and much more. There are many third-party providers such as Paid Red Giant and Video Copilot supplying these add- • Adobe Illustrator CC (vector-based) ons with costs and compatibility that can vary greatly. • Adobe Photoshop CC (pixel-based bitmap) Animation • Adobe InDesign CC (page layout) Paid • Affinity Designer • Autodesk Maya • Corel Paintshop Pro • Autodesk 3D Studio Max • Sketch (vector-based alternative to Illustrator) • Maxon Cinema 4D (standalone or bundled with Adobe After Effects CC) • QuarkXpress (page layout) • Autodesk MotionBuilder • Clip Studio Paint (pixel and vector) Free Free • Blender • GIMP • Clara.io • Pixlr • Houdini (Apprentice version free with limitations) • Sumo Paint (free or $/month) • Daz 3D Studio • Inkscape (vector) • BoxSVG (vector) – 1 – Copyright © 2019 Clarity Innovations, Inc., All Rights Reserved. *Other names and brands may be claimed as the property of others.
    [Show full text]
  • Didaktika Animované Tvorby S Využitím Digitálních Technologií
    Disertační práce Didaktika animované tvorby s využitím digitálních technologií Didactics of Animated Art Using Digital Technologies Autor: Mgr. MgA. Pavel Trnka Studijní program: P8206 Výtvarná umění Studijní obor: 8206V102 Multimédia a design Školitel: Prof. Ondrej Slivka ArtD. Oponenti: Prof. Mgr. Ľudovít Labík, ArtD. (oponent) Doc. Vladimír Malík, ArtD (oponent) Zlín, duben 2018 1 Prohlášení: Prohlašuji, že jsem disertační práci na téma Didaktika animované tvorby s využitím digitálních technologií vypracoval samostatně pouze s použitím pramenů a literatury uvedených v seznamu citovaných pramenů a literatury. Ve Zlíně dne 13. 10. 2017 Pavel Trnka 2 Poděkování: Děkuji svému vedoucímu práce, panu profesoru Ondreji Slivkovi ArtD. za trvalou podporu a ryzí přátelský přístup po celou dobu studia. Děkuji paní proděkance Ing. Martině Juříkové, Ph.D. za klíčovou odbornou konzultaci a paní proděkance doc. MgA. Jana Janíková, ArtD. za vynikající kritickou zpětnou vazbu, kterou mi velice pomohla. Dále bych chtěl poděkovat za podporu oběma školám, na kterých působím (SŠ a VOŠ aplikované kybernetiky a UHK), a svým nejbližším v rodinném kruhu. Velmi děkuji všem studentům, které mám velmi rád, že měli trpělivost s mými ne vždy úspěšnými pokusy je učit. Na závěr bych chtěl poděkovat Univerzitě Tomáš Bati, FMK, že mi dala animátorské vzdělání a nikdy mne nepřestala inspirovat a rozvíjet. 3 ANOTACE TRNKA, P. Didaktika animované tvorby s využitím digitálních technologií. Zlín 2017, Disertační práce Univerzita Tomáše Bati ve Zlíně. Fakulta multimediálních komunikací. Ateliér Animovaná tvorba Vedoucí práce: Prof. Ondrej Slivka ArtD. Klíčová slova: animovaný film, animace, výtvarná výchova, didaktika. animační workshop, animační software, grafický tablet Tato disertační práce se snaží přispět ke zvýšení efektivity výuky animované tvorby (zaměřené na filmový výstup) u nespecializovaných studijních skupin.
    [Show full text]
  • Expotees 2014 Showcasing the Next Generation of Digital Expertise School of Computing
    O BRING THIS COVER TO LIFE ExpoTees 2014 Showcasing the next generation of digital expertise School of Computing Inspiring success Welcome to ExpoTees 2014 What is ExpoTees 2014 ExpoTees 2014 is our School of project is within an area they have Computing’s exhibition of outstanding gained an interest, either through a computing innovation, technology work placement or their studies. Some and design. It offers an opportunity students undertake projects with to recruit bright, new talent to your external clients that require project organisation. managing to industry standard. These innovative, research, design and ExpoTees, now in its ninth year, development projects make up an has grown significantly in size and exciting and diverse showcase. reputation. This year’s event is held over two days to accommodate over This year we are delighted to include 200 exhibits selected from some of the exhibits from Prague College, ESAT finest examples of work produced by and Botho University – their students our final-year students. are exhibiting alongside the UK students on day one. These exhibits represent the full spectrum of subjects taught at the We can proudly boast that our School of Computing; graduates achieve great success in Day 1 industry, sometimes even fame. This is a superb opportunity to meet our rising Computer science, web and digital stars of 2014 before they embark on media their careers. Day 2 Find out more about our our School Animation, visual effects and games of Computing’s digital expertise and Our students undertake an in-depth range of programmes. exploration of a chosen subject and T: 01642 342631 ExpoTees 2014 is our ninth annual exhibition of demonstrate their ability to research, E: [email protected] students’ work from Teesside University’s School of analyse, synthesise, and creatively tees.ac.uk Computing.
    [Show full text]
  • Tutorials ® ® Autodesk Motionbuilder 2012 © 2011 Autodesk, Inc
    Tutorials ® ® Autodesk MotionBuilder 2012 © 2011 Autodesk, Inc. All rights reserved. Except as otherwise permitted by Autodesk, Inc., this publication, or parts thereof, may not be reproduced in any form, by any method, for any purpose. Certain materials included in this publication are reprinted with the permission of the copyright holder. The following are registered trademarks or trademarks of Autodesk, Inc., and/or its subsidiaries and/or affiliates in the USA and other countries: 3DEC (design/logo), 3December, 3December.com, 3ds Max, Algor, Alias, Alias (swirl design/logo), AliasStudio, Alias|Wavefront (design/logo), ATC, AUGI, AutoCAD, AutoCAD Learning Assistance, AutoCAD LT, AutoCAD Simulator, AutoCAD SQL Extension, AutoCAD SQL Interface, Autodesk, Autodesk Intent, Autodesk Inventor, Autodesk MapGuide, Autodesk Streamline, AutoLISP, AutoSnap, AutoSketch, AutoTrack, Backburner, Backdraft, Beast, Built with ObjectARX (logo), Burn, Buzzsaw, CAiCE, Civil 3D, Cleaner, Cleaner Central, ClearScale, Colour Warper, Combustion, Communication Specification, Constructware, Content Explorer, Dancing Baby (image), DesignCenter, Design Doctor, Designer's Toolkit, DesignKids, DesignProf, DesignServer, DesignStudio, Design Web Format, Discreet, DWF, DWG, DWG (logo), DWG Extreme, DWG TrueConvert, DWG TrueView, DXF, Ecotect, Exposure, Extending the Design Team, Face Robot, FBX, Fempro, Fire, Flame, Flare, Flint, FMDesktop, Freewheel, GDX Driver, Green Building Studio, Heads-up Design, Heidi, HumanIK, IDEA Server, i-drop, Illuminate Labs AB (design/logo),
    [Show full text]
  • Autodesk Solutions Help Epic Games Create Conclusion to 'Gears of War' Trilogy
    Autodesk Solutions Help Epic Games Create Conclusion to 'Gears of War' Trilogy October 11, 2011 Epic Integrates Autodesk Scaleform Middleware With Unreal Engine 3 to Create New User Experience for 'Gears of War 3' SAN RAFAEL, Calif., Oct 11, 2011 (BUSINESS WIRE) -- To create a spectacular conclusion for the "Gears of War" trilogy, Epic Games extended its creative pipeline with a range of middleware and creative tools from Autodesk, Inc. (NASDAQ:ADSK). The "Gears of War 3" tour de force user interface (UI) features a highly polished gameplay experience with new and expanded multiplayer modes and the longest story campaign of Epic's games to date. To create the UI, Epic integrated Autodesk Scaleform middleware with Unreal Engine 3 and shared the complex data using Autodesk FBX asset exchange technology. "Scaleform is just a great and simple way to bring awesome interfaces into games," said Maury Mountain, senior artist at Epic Games. "The middleware allows us to bring in animated 2D, 2.5D or even pseudo-3D content and integrate it while preserving things like animation, tweenings, frame-by-frame timings, as well as many of the standard game interface practices such as button press design, menu navigation and content display," explained Wyeth Johnson, lead artist at Epic Games. "With Scaleform software's support for Flash content, assets created in Adobe Flash come through Scaleform directly, and then into Unreal Engine 3, with no problem." "'Gears of War' is one of the most memorable and celebrated sagas in videogame history and we're proud to be a part of it," said Marc Stevens, Autodesk vice president, Games.
    [Show full text]