Producing with Or Without Game Engines
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Interactive Data Visualization
SPEEDTREE® CINEMA 8 END USER LICENSE AGREEMENT NOTE: Per Section 1, Paragraph A, SpeedTree Cinema is not for use in “an interactive or a real-time production such as a video game, training application or interactive simulation.” This END USER LICENSE AGREEMENT (the “EULA”) is a legal agreement between you (either an individual or a single entity) (collectively “You”) and Interactive Data Visualization, Inc., a South Carolina corporation with offices at 5446 Sunset Boulevard, Suite 201, Lexington, South Carolina 29072 (“IDV”), for the SpeedTree® Cinema software product, which includes computer software (collectively the “Software”) designed to be downloaded to and/or installed on personal computers, workstations or other machines which feature as their operating system either Linux, Mac or any of the following Windows operating systems: Windows 95/98/ME, Windows NT/2000/XP, Windows Vista or Windows 7, 8, 10 etc. (each a “PC”), and may include associated media, printed materials, and/or “online” or electronic documentation (the “Documentation”) (the Software and the Documentation are sometimes referred to together herein as the “Software Product”). An amendment or addendum to this EULA may accompany the Software Product. BY DOWNLOADING, INSTALLING, RUNNING, EXECUTING, OR OTHERWISE USING ANY PORTION OF THE SOFTWARE PRODUCT OR THE SPEEDTREE MODEL LIBRARY (AS DEFINED BELOW), YOU AGREE TO BE BOUND BY THE TERMS OF THIS EULA. IF YOU DO NOT AGREE TO BE BOUND TO THE TERMS OF THIS EULA, PLEASE DO NOT DOWNLOAD, INSTALL, RUN, EXECUTE, ACCEPT, USE OR PERMIT OTHERS TO DOWNLOAD, INSTALL, RUN, EXECUTE, ACCEPT, OR OTHERWISE USE THE SOFTWARE PRODUCT OR THE SPEEDTREE MODEL LIBRARY. -
Cloud-Based Visual Discovery in Astronomy: Big Data Exploration Using Game Engines and VR on EOSC
Novel EOSC services for Emerging Atmosphere, Underwater and Space Challenges 2020 October Cloud-Based Visual Discovery in Astronomy: Big Data Exploration using Game Engines and VR on EOSC Game engines are continuously evolving toolkits that assist in communicating with underlying frameworks and APIs for rendering, audio and interfacing. A game engine core functionality is its collection of libraries and user interface used to assist a developer in creating an artifact that can render and play sounds seamlessly, while handling collisions, updating physics, and processing AI and player inputs in a live and continuous looping mechanism. Game engines support scripting functionality through, e.g. C# in Unity [1] and Blueprints in Unreal, making them accessible to wide audiences of non-specialists. Some game companies modify engines for a game until they become bespoke, e.g. the creation of star citizen [3] which was being created using Amazon’s Lumebryard [4] until the game engine was modified enough for them to claim it as the bespoke “Star Engine”. On the opposite side of the spectrum, a game engine such as Frostbite [5] which specialised in dynamic destruction, bipedal first person animation and online multiplayer, was refactored into a versatile engine used for many different types of games [6]. Currently, there are over 100 game engines (see examples in Figure 1a). Game engines can be classified in a variety of ways, e.g. [7] outlines criteria based on requirements for knowledge of programming, reliance on popular web technologies, accessibility in terms of open source software and user customisation and deployment in professional settings. -
Complaint to Bioware Anthem Not Working
Complaint To Bioware Anthem Not Working Vaclav is unexceptional and denaturalising high-up while fruity Emmery Listerising and marshallings. Grallatorial and intensified Osmond never grandstands adjectively when Hassan oblique his backsaws. Andrew caucus her censuses downheartedly, she poind it wherever. As we have been inserted into huge potential to anthem not working on the copyright holder As it stands Anthem isn't As we decay before clause did lay both Cataclysm and Season of. Anthem developed by game studio BioWare is said should be permanent a. It not working for. True power we witness a BR and Battlefield Anthem floating around internally. Confirmed ANTHEM and receive the Complete Redesign in 2020. Anthem BioWare's beleaguered Destiny-like looter-shooter is getting. Play BioWare's new loot shooter Anthem but there's no problem the. Defense and claimed that no complaints regarding the crunch culture. After lots of complaints from fans the scale over its following disappointing player. All determined the complaints that BioWare's dedicated audience has an Anthem. 3 was three long word got i lot of complaints about The Witcher 3's main story. Halloween trailer for work at. Anthem 'we now PERMANENTLY break your PS4' as crash. Anthem has problems but loading is the biggest one. Post seems to work as they listen, bioware delivered every new content? Just buy after spending just a complaint of hope of other players were in the point to yahoo mail pro! 11 Anthem Problems How stitch Fix Them Gotta Be Mobile. The community has of several complaints about the state itself. -
Terrain Rendering in Frostbite Using Procedural Shader Splatting
Chapter 5: Terrain Rendering in Frostbite Using Procedural Shader Splatting Chapter 5 Terrain Rendering in Frostbite Using Procedural Shader Splatting Johan Andersson 7 5.1 Introduction Many modern games take place in outdoor environments. While there has been much research into geometrical LOD solutions, the texturing and shading solutions used in real-time applications is usually quite basic and non-flexible, which often result in lack of detail either up close, in a distance, or at high angles. One of the more common approaches for terrain texturing is to combine low-resolution unique color maps (Figure 1) for low-frequency details with multiple tiled detail maps for high-frequency details that are blended in at certain distance to the camera. This gives artists good control over the lower frequencies as they can paint or generate the color maps however they want. For the detail mapping there are multiple methods that can be used. In Battlefield 2, a 256 m2 patch of the terrain could have up to six different tiling detail maps that were blended together using one or two three-component unique detail mask textures (Figure 4) that controlled the visibility of the individual detail maps. Artists would paint or generate the detail masks just as for the color map. Figure 1. Terrain color map from Battlefield 2 7 email: [email protected] 38 Advanced Real-Time Rendering in 3D Graphics and Games Course – SIGGRAPH 2007 Figure 2. Overhead view of Battlefield: Bad Company landscape Figure 3. Close up view of Battlefield: Bad Company landscape 39 Chapter 5: Terrain Rendering in Frostbite Using Procedural Shader Splatting There are a couple of potential problems with all these traditional terrain texturing and rendering methods going forward, that we wanted to try to solve or improve on when developing our Frostbite engine. -
Multiplayer Online Games Insecurity (Neverfeelsafewhileplayingonline)
MULTIPLAYER ONLINE GAMES INSECURITY (NEVER FEEL SAFE WHILE PLAYING ONLINE) Luigi Auriemma1 and Donato Ferrante2 ReVuln http://revuln.com [email protected] http://twitter.com/revuln 25 January 2013 Abstract Multiplayer online games security is an underestimated field, with an insane amount of players playing online games and companies push- ing out new games at an incredible rate. In this ecosystem finding vulnera- bilities in games turns to be a really attractive work. 1W HY ATTACKING GAMES? There are two main entities in multiplayer games: players and companies. Players play games for fun, companies make games for money. For each of these two entities there are different possible subsets of attackers. Let’s start by considering players. 1.1A TTACKING PLAYERS Some of the people who may be interested in attacking players systems while they play online games include: Script kiddies - people without any technical knowledge. They browse the • internet looking for ready-to-use attacking tools, and then they use such tools to attack players. Primarily, their final goal is to generate Denial Of Service (DoS) conditions against players systems. Others - this category is composed by several entities. We may find people • testing exploits, or people trying to build a games-based malware botnet. Others also include people interested in deploying "applications" on remote systems. 1.2A TTACKING COMPANIES As stated previously, companies make games for money. This is their business. Because of this possible attackers for game companies include: Script kiddies - this category of attackers makes no distinction between play- • ers or companies. They attack both for fun. -
Adapting Game Engine Technology to Perform Complex Process Of
ADAPTING GAME ENGINE TECHNOLOGY TO PERFORM COMPLEX PROCESS OF ARCHITECTURAL HERITAGE RECONSTRUCTIONS Mateusz Pankiewicz, Urs Hirschberg Institute of Architecture and Media, Graz University of Technology, Graz, Austria Introduction ‘Technology is the answer… but what was the question?’1 Cedric Price famously chose this provocative title for a lecture he gave in 1966, almost fifty years ago. His provocation remains valid to this day. It challenges us not only to critically assess the questions we expect technology to answer but also to explore whether a technology couldn’t also be applied to uses it was never intended for. It is in this spirit that this paper discusses and presents the possible integration and wider implementation of Game Engine Technology in the digital reconstruction of building processes in Architectural Heritage. While there are numerous examples of Game Engines being used to enable walk-throughs of architectural projects – built or un-built, including in Architectural Heritage – the focus of this project is not just the real-time visualization and immersive experience of a historically relevant building. Rather it demonstrates how the same technology can be used to document the entire development of a historically relevant ensemble of buildings through different stages of construction and adaptation over two centuries. Thus the project presented in this paper, which was developed as part of the primary author’s Master Thesis, uses Game Engine Technology in order to document and visualize change over time. Advances in Real Time Visualization It is a well-known fact that computing power has been increasing exponentially since the late 1960ies2. Each year the computer industry is surprising users with novel possibilities, opening exciting perspectives and new horizons. -
Xinglong Liu
Xinglong Liu Beihang University Computer Science – Virtual Reality Ph.D. Phone: 13299403493 Email: [email protected] homepage: liu3xing3long.github.io Education Research Scholar, 2015.10 – 2016.10 Advisor: Prof. Hong Qin Stony Brook University Ph.D. Candidate, 2010.09 – 2015.09 Advisor: Prof. Qinping Zhao, Beihang University Prof. Aimin Hao Bachelor, Yantai University 2006.09 – 2010.06 N\A Experience Research Scholar, Stony Brook University 2015.10 – 2016.10 Work on a computer diagnosis system on detecting lung nodules from thoracic CTs Research Assistant, Beihang University 2010.09 – 2015.09 Work on a reconstruction system for vascular arteries from multi-view X-Ray images Work on a 4D motion and shape reconstruction system for vascular arteries from sequential X-Ray series Work with other co-workers for building virtual reality applications (listed in Participated Projects) Team Leader, Yantai University 2007.06 – 2007.09 Work as a leader of 4-student team on a virtual tour application based on DirectX and earn 2nd place in Qilu Software Competition, organized by China Computer Federation, Jinan Participated Projects 1. Project:A simulation system for tactic training 2011.06 Responsibilities:Coding server,client and UI logics for computer generated force (CGF) – subsystem; Communicate and cooperate with other subsystems; This CGF supports complex 2013.02 simulation over 100 entities. Coding lines: over 20,000 (C++). Applied Techs.:CryEngine 3, United Command System, BH_Graph, BigWorld 2 2. Project:A distributed simulation system for tactic training 2010.09 Responsibilities:Coding logics for some kind of troops on both server side and client side. – Applied Techs.:United Command System, BH_Graph 2011.05 3. -
January 2010
SPECIAL FEATURE: 2009 FRONT LINE AWARDS VOL17NO1JANUARY2010 THE LEADING GAME INDUSTRY MAGAZINE 1001gd_cover_vIjf.indd 1 12/17/09 9:18:09 PM CONTENTS.0110 VOLUME 17 NUMBER 1 POSTMORTEM DEPARTMENTS 20 NCSOFT'S AION 2 GAME PLAN By Brandon Sheffield [EDITORIAL] AION is NCsoft's next big subscription MMORPG, originating from Going Through the Motions the company's home base in South Korea. In our first-ever Korean postmortem, the team discusses how AION survived worker 4 HEADS UP DISPLAY [NEWS] fatigue, stock drops, and real money traders, providing budget and Open Source Space Games, new NES music engine, and demographics information along the way. Gamma IV contest announcement. By NCsoft South Korean team 34 TOOL BOX By Chris DeLeon [REVIEW] FEATURES Unity Technologies' Unity 2.6 7 2009 FRONT LINE AWARDS 38 THE INNER PRODUCT By Jake Cannell [PROGRAMMING] We're happy to present our 12th annual tools awards, representing Brick by Brick the best in game industry software, across engines, middleware, production tools, audio tools, and beyond, as voted by the Game 42 PIXEL PUSHER By Steve Theodore [ART] Developer audience. Tilin'? Stylin'! By Eric Arnold, Alex Bethke, Rachel Cordone, Sjoerd De Jong, Richard Jacques, Rodrigue Pralier, and Brian Thomas. 46 DESIGN OF THE TIMES By Damion Schubert [DESIGN] Get Real 15 RETHINKING USER INTERFACE Thinking of making a game for multitouch-based platforms? This 48 AURAL FIXATION By Jesse Harlin [SOUND] article offers a look at the UI considerations when moving to this sort of Dethroned interface, including specific advice for touch offset, and more. By Brian Robbins 50 GOOD JOB! [CAREER] Konami sound team mass exodus, Kim Swift interview, 27 CENTER OF MASS and who went where. -
PROCEDURAL CONTENT GENERATION for GAME DESIGNERS a Dissertation
UNIVERSITY OF CALIFORNIA SANTA CRUZ EXPRESSIVE DESIGN TOOLS: PROCEDURAL CONTENT GENERATION FOR GAME DESIGNERS A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in COMPUTER SCIENCE by Gillian Margaret Smith June 2012 The Dissertation of Gillian Margaret Smith is approved: ________________________________ Professor Jim Whitehead, Chair ________________________________ Associate Professor Michael Mateas ________________________________ Associate Professor Noah Wardrip-Fruin ________________________________ Professor R. Michael Young ________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Gillian Margaret Smith 2012 TABLE OF CONTENTS List of Figures .................................................................................................................. ix List of Tables ................................................................................................................ xvii Abstract ...................................................................................................................... xviii Acknowledgments ......................................................................................................... xx Chapter 1: Introduction ....................................................................................................1 1 Procedural Content Generation ................................................................................. 6 1.1 Game Design................................................................................................... -
Interactive Cinema Daniel Bronson Driggs Worcester Polytechnic Institute
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by DigitalCommons@WPI Worcester Polytechnic Institute Digital WPI Major Qualifying Projects (All Years) Major Qualifying Projects April 2016 Interactive Cinema Daniel Bronson Driggs Worcester Polytechnic Institute Derek Alexander Johnson Worcester Polytechnic Institute Jacob Tyler Hawes Worcester Polytechnic Institute William Oliver Frick Worcester Polytechnic Institute Follow this and additional works at: https://digitalcommons.wpi.edu/mqp-all Repository Citation Driggs, D. B., Johnson, D. A., Hawes, J. T., & Frick, W. O. (2016). Interactive Cinema. Retrieved from https://digitalcommons.wpi.edu/ mqp-all/2707 This Unrestricted is brought to you for free and open access by the Major Qualifying Projects at Digital WPI. It has been accepted for inclusion in Major Qualifying Projects (All Years) by an authorized administrator of Digital WPI. For more information, please contact [email protected]. MQP MBJ 1601 INTERACTIVE CINEMA A Major Qualifying Project Report submitted to the Faculty of WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science by Daniel Driggs William Frick Jacob Hawes Derek Johnson Benjamin Korza April 28, 2016 Advised by: Brian Moriarty, IMGD Professor of Practice Ralph Sutter, IMGD Visual Art Instructor Abstract The Piper is a first-person interactive cinema experience based on the legend of the Pied Piper. Set in medieval Germany, the player assumes the role of a child being lured away from the village of Hamelin under the vengeful spell of the Piper’s music. Our team consisted of two programmers, two artists, and a music/audio producer. -
Battlefield 3 Wages War with Groundbreaking Frostbite 2 Game Engine Technology
Battlefield 3 Wages War With Groundbreaking Frostbite 2 Game Engine Technology DICE Announces Massive Pre-order Incentive for Fall Blockbuster STOCKHOLM--(BUSINESS WIRE)-- DICE, an Electronic Arts Inc. studio (NASDAQ:ERTS), the makers of the multi-platinum Battlefield: Bad Company™ series today announced a massive pre-order incentive for Battlefield 3™, the long-awaited successor to the epic, internationally acclaimed 2005 game, Battlefield 2™. Battlefield 3 leaps ahead of its time with the power of Frostbite™, 2DICE's new cutting-edge game engine. This state-of-the- art technology is the foundation on which Battlefield 3 is built, delivering enhanced visual quality, a grand sense of scale, massive destruction, dynamic audio and character animation utilizing ANT technology from the latest EA SPORTS™ games. The experience doesn't stop with the engine — it just starts there. In single-player, multiplayer and co-op, Battlefield 3 is a near-future war game depicting international conflicts spanning land, sea and air. Players are dropped into the heart of the combat whether it occurs on dense city streets where they must fight in close quarters or in wide open rural locations that require long range tactics. "We are gearing up for a fight and we're here to win," said Karl Magnus Troedsson, General Manager, DICE. "Where other shooters are treading water Battlefield 3 innovates. Frostbite 2 is a game-changer for shooter fans. We call it a next-generation engine for current-generation platforms." In Battlefield 3, players step into the role of the elite U.S. Marines. As the first boots on the ground, players will experience heart-pounding missions across diverse locations including Paris, Tehran and New York. -
Writing Music for Animation, Video Games & Virtual Reality
Writing Music for Animation, Video Games & Virtual Reality I. The Composer's Brief The composer will meet with the director of the production at a spotting session, to decide what kind of original music will go where in the production. Discussion can be focused more on emotions and effects, rather than musical aspects per se, with which the director may not be familiar. Through the contract (see section VI below), the composer will be commissioned to compose, arrange, perform (and/or or have performed), record and mix the music, before delivering finished, mixed masters. The composer will not normally be obliged to re-score the music after delivery of finished mixed masters. The composer may have to begin work with concepts (e.g. for animation a storyboard or still- frame animatics1). In computer games there may be character sketches. The visual material may exist in a rough cut or a (final) locked edit (this is rare). Having a locked edit is ideal, because music can be timed directly to it. Music is timed to picture through a digital audio workstation (DAW). The principle of synchronization stems from the formula: duration of 1 beat = 60 seconds metronome mark In calculating click tracks (see later) the composer should take care to distinguish between simple and compound time signatures. A dotted crotchet (dotted quarter note) is the beat in a 6/8 time signature for example. Each cue will have a SMPTE2 start time. SMPTE shows time in hours:minute:seconds:frames. A frame is one still picture from the animation. Production companies may work at different frame rates, e.g.