DOCSLIB.ORG

Scott D Hill Linkedin: Portfolio

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Scott D Hill Linkedin: Portfolio Scott D. Hill | Technical Art [email protected] Eight years of bridging the gap between art and code by designing and developing workflows and tools to improve and enhance the development of console and PC games. Facilitating communication between game development designers, artists and engineers to ensure each group’s vision is equally represented and understood across a development team and that results are met through efficient, smart—not hard—development. Projects Army of TWO: The Devil's Cartel (PLAYSTATION 3, XBOX 360) Unannounced 3rd Person Action Game [Cancelled] (PLAYSTATION 3, XBOX 360) HeroCloud Evaluation World Areas (Windows PC: SM3.0, SM2.0a, SM2.0, SM1.4, SM1.1, Fixed Function) Supremacy MMA (PLAYSTATION 3, XBOX 360) UFC Undisputed [Project Pulled] (PLAYSTATION 3, XBOX 360) Stargate Resistance (Windows PC: SM3.0) Stargate Worlds MMO [Cancelled] (Windows PC: SM3.0, SM2.5 SM2.0, SM1.5) Jamdat Sports NBA 2006 (Java, J2ME, BREW) Jamdat Sports NFL 2006 (Java, J2ME, BREW) Skill Highlights Engines: Frostbite 2, Unreal Engine 3, HeroEngine, Phyre Engine, and BigWorld. Platforms: PlayStation 3; Xbox 360; Windows PC Software & Tools: Autodesk Maya 2011, Autodesk 3ds Max 2011, Adobe Photoshop, NVIDIA CG Tools. Scripting: Maya MEL Specialties: Authoring advanced-looking, inexpensive shaders; evaluation of technical issue solutions; custom workflow tool design and common task improvement; detection of opportunities for performance optimization; engine assessments, including in-depth understanding of system benefits and limitations; documentation and training. Experience Technical Artist / Shader Artist Electronic Arts / Visceral Games Montreal Mar 2011 — Feb 2013 Developed primary character shader supporting metal, fabrics, and accessories with detail mapping, diffuse color fresnel, and reflective metals. Developed secondary character shader for fabrics and accessories with multi-region tinting for variations. Developed environment shaders, including blending and adding contrast via both vertex and pixel maps for use on surfaces and walls, reducing the number of decals needed to add visual interest. Employed specialized shader techniques for unique game elements, including fur, gore, vistas, and fountains. Applied texture saving Specular techniques to add visual interest without complicating development or sacrificing performance. Created training videos and documentation on engine-specific shader technical for use by company studios worldwide. Designed and managed shader pipeline and workflows. Maya Interface Developer for Art Pipeline Tools. Engaged in performance monitoring during production. Scott D Hill LinkedIn: www.linkedin.com/in/technicalart Portfolio: http://scottdhill.wordpress.com/experience/samples/ Lead Technical Artist Idea Fabrik Plc (formally Simutronics) / Hero Engine Jan 2010 — Feb 2011 Overhauled existing HeroTools for 3ds Max and Maya, including exporter, asset tools and character tools. Worked closely with RAD Game Tools on the latest release of Granny 3D for 3ds Max and Maya. Provided training and demonstrations for potential licensees of Hero Engine. Performed live demos at trade shows like D.I.C.E and GDC. Updated Wiki documentation for all art tools, workflows, limitations, and solutions to common issues. Trained new users on world building workflows in HeroBlade. Provided art support to multiple studios licensing Hero Engine. Designed new features for future releases of Hero Engine's HeroBlade editor. Helped launch HeroEngine with HeroCloud service for indie developers. International team training in Kiev, Ukraine, and Madrid, Spain. Shader and Lighting Technical Artist Supervisor Kung Fu Factory Mar 2009 — Dec 2009 Developed .cgfx and .fx shaders for next generation consoles using Shader FX. Developed inexpensive detailed sweat on skin shader. Worked with engineers to develop new shaders and production tools. Worked closely with those responsible for pipeline, modeling, animation, lighting and FX. Executed R&D and implemented new computer graphic techniques (ie. HDR Lighting and Surface Properties). Produced technical references and technical constraints documentation. Created, organized and conducted training sessions on the use of new tools and methods. Scripted repeatable and unique processes using MaxScript. Supported art team, solving 3ds Max issues and solving technical production issues. Acted as game art point of collaborative communication for artists, level designers and programmers. Lead Technical Artist Cheyenne Mountain Entertainment Nov 2005 — Mar 2009 Designed custom tools for Unreal Engine 3 to speed up game workflows. Authored custom version of Maya to help 3ds Max users learn Maya faster. Provided one-key solution to customized GUI based on user’s job title with the Art Department. Enabled faster tool updates with Maya MEL scripts through Perforce, giving artist very latest shelf buttons, scripts and plugins without having to copy or replace files. Developed a library of material shaders from which artists created instances. Designed the pipeline and workflows for game assets’ storage and management. Trained artist to think like Technical Artist for smoother game development. Built relationships between multiple departments to ensure tasks completed properly. Monitored and enforced budgets for texture, material, polygon, collision, and asset counts. Oversaw the in-house character creation editor and workflow between Character Artist & Engineers. Integrated faster workflows for artists to bring content from 3D software packages into BigWorld Client Tools. Quality Assurance Knockabout Games Apr 2005 — Sep 2005 Tracked stats for football playbooks. Provided feedback for improving user experience. Tested on multiple devices running Java, J2ME and BREW. Education Associates Degree, Computer Animation Full Sail Real World Education Mar 2003 — Aug 2004 Page 2 Scott D Hill LinkedIn: www.linkedin.com/in/technicalart Portfolio: http://scottdhill.wordpress.com/experience/samples/ Addendum: Work Highlights Frostbite 2 Shader Work Environment Shaders Developed a Shader Library for Environment Art with a wide contrast of surfaces including color metal reflection, color Fresnel for soft fabrics, and no specular for dry wood and earth. Developed a “diffuse as specular power” shader technique that creates contrast from a diffuse map for specular output, saving texture memory and production time. Developed a wet shader that darkens and creates contrast out of the diffuse while increasing specular and smoothness, which is the falloff and reflectivity of specular in Frostbite 2. The shader was made “hot swappable,” allowing artists to create wet variations of dry asset. Developed blend contrast shader for ground areas and walls. This two-texture blending allowed for vertex color blending of a blend map and contrast map (same texture) via vertex color, allowing for 'staining' of the diffuse to make repeating wall or ground area to look more visually interesting, without having to use lots of decals. Developed rain version of the blend contrast shader, allowing for both wet map and vertex color control of water pooling on the ground. Developed pixel flex shader for animating tarps and flags, allowing for more fluid motion than vertex animation. Character Shaders Developed a triple surface shader for the primary and secondary characters, allowing for leather, fabric and metal surfaces, with support for three tileable detail maps that could be masked out for trim. Created a “main character shader “ training video showing how to make textures for the triple surface shader and how to control the detail mapping to effect both the specular and the color fresnel. Developed an NPC shader that allowed for triple tint regions, supporting both Fresnel no-tint masking and no Fresnel no-tint masking, to separate skin and metals so that a wet version could be made for a level with rain. Using this shader, cloth would get “wet,” darkening as it absorbs water, while skin and metals would remain dry. The dry version has Fresnel for the fabrics. The wet version removes the Fresnel while keeping the tinting. The shader allowed for one single material ID with one texture channel for the tint regions, offering full specular and smoothness maps. Unreal Engine 3 Shader Work Environment Shaders Created a Parent Materials Library for artists to make Material Instances. Created a flex shader that allowed artist to paint out gradient mask where foliage would bend for Static Meshes. Created advanced, see-thru materials (e.g., Fake Lit Transparency for glass or plastic). Created inexpensive reflective surface material shader. Created soft particle material shader for particles such as smoke on the highest LOD level (SM3.0). Fluid Shaders Created real time version of the Stargate Event Horizon that works in both SM3.0 & SM2.0. Created oily water shader for polluted lakes and ponds with animated oil rings (SM3.0 & SM2.0). Created sewer water shader, showing algae buildup along the water edges (SM3.0 & SM2.0). Created plasma fluid for use in a Sci-Fi world (looked like the contents of a spilled Lava lamp). Created a swimming pool-colored river shader (SM3.0). Created fluids material shader for the particles used in water fountains and splashing particles to simulate hundreds of particles within a single particle. Character Shaders Created a character material shader to support two-tone tinting via gradient masks. Created color rim lighting for characters
Load more

Recommended publications
  • Development of a 2D Lateral Action Videogame for Android Platforms
    Escola Politècnica Superior Universitat de Girona Development of a 2D lateral action videogame for Android platforms. Desenvolupament d’un videojoc d’acció lateral per a plataformes Android. Projecte/Treball Fi de Carrera GEINF. Pla 2016 Document: Memòria Autor: Robert Bosch Director: Gustavo Patow Departament: Informàtica, Matemàtica Aplicada i Estadística Àrea: LSI Convocatoria: JUNY/2016 Contents 1 Introduction6 1.1 Introduction . .6 1.2 Personal motivations . .7 1.3 Project motivations . .7 1.4 Project purposes . .7 1.5 Objectives . .7 1.6 Structure of this memory . .8 2 Feasibility study9 2.1 Resources needed to develop this project . .9 2.1.1 Developer requirements . .9 2.1.2 Player requirements . .9 2.2 Initial budget . 10 2.3 Human resources . 10 2.4 Technological viability . 11 2.4.1 Economic viability . 11 2.4.2 Human costs . 11 2.4.3 Equipment costs . 11 2.4.4 Total costs . 11 3 Methodology 12 4 Planning 14 4.1 Working plan . 14 4.2 Planned tasks . 14 4.2.1 Planning . 14 4.2.2 Learning . 14 4.2.3 Implementation . 14 4.2.4 Verification . 15 4.2.5 Documentation . 15 4.3 Estimated scheduling . 16 4.4 Expected results of every task . 17 4.4.1 Planning . 17 4.4.2 Learning . 17 4.4.3 Implementation . 17 4.4.4 Verification . 17 4.4.5 Documentation . 17 5 Framework 18 5.1 Videogame engines . 18 5.2 Examples of videogame engines . 18 5.2.1 Unreal Engine . 18 2 Contents Contents 5.2.2 CryEngine . 19 5.2.3 GameMaker .
    [Show full text]
  • 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...................................................................................................
    [Show full text]
  • Universidad Central Del Ecuador Facultad De Ingeniería, Ciencias Físicas Y Matemática Estudio De Motores De Video Juegos Para
    UNIVERSIDAD CENTRAL DEL ECUADOR FACULTAD DE INGENIERÍA, CIENCIAS FÍSICAS Y MATEMÁTICA CARRERA DE INGENIERÍA EN COMPUTACIÓN GRÁFICA ESTUDIO DE MOTORES DE VIDEO JUEGOS PARA LA ELABORACION DE PROTOTIPOS DE SIMULACION EN EL CAMPO DE LA MEDICINA APLICADO PARA LA FACULTAD DE CIENCIAS MÉDICAS (UCE). TRABAJO DE GRADUACIÓN PREVIO A LA OBTENCIÓN DEL TITULO DE INGENIERA EN COMPUTACIÓN GRÁFICA AUTOR: MARÍA BELÉN PÉREZ CEVALLOS TUTORA: ING. ZOILA DE LOURDES RUIZ CHÁVEZ QUITO-ECUADOR 2016 i DEDICATORIA Esta tesis se la dedico a Dios quien supo guiarme por el buen camino, darme fuerzas para seguir adelante y no desmayar en los problemas que se presentaban, enseñándome a encarar las adversidades si perder nunca la dignidad ni desfallecer en el intento. A mi familia quienes por ellos soy lo que soy. Para mis padres por su apoyo, consejos, compresión, amor, ayuda en los momentos difíciles, y por ayudarme con los recursos necesarios para estudiar. Me han dado todo lo que soy como persona, valores, mis principios, mi carácter, mi empeño, mi perseverancia, mi coraje para conseguir mis objetivos. ii AGRADECIMIENTO Quiero agradecer a Dios por haberme dado fuerza, valor y fe durante todo el tiempo de mi carrera, por permitirme pasar por momentos buenos y malos que han fortalecido mi vida. A mis padres quienes me han brindado su apoyo incondicional, amor y tiempo, porque han sido mi guía en cada momento. A mis hermanas, quienes han sido un ejemplo para mí en todos los aspectos, mujeres valientes y luchadoras, gracias de corazón. A la Ing. Zoila Ruíz y al Ing. Jaime Salvador quienes he han ayudado durante la elaboración de este proyecto de titulación.
    [Show full text]
  • Massively Multiplayer Online Games Industry: a Review and Comparison
    Massively Multiplayer Online Games Industry: A Review and Comparison From Middleware to Publishing By Almuntaser Alhindawi Javed Rafiq Sim Boon Seong 2007 A Management project presented in part consideration for the degree of "General and Financial MBA". CONFIDENTIALITY STATEMENT This project has been agreed as confidential between the students, university and sponsoring organisation. This agreement runs for five years from September, 14 th , 2007. ii Acknowledgements We would like to acknowledge Monumental Games management for giving us this opportunity to gain an insight of this interesting industry. Special thanks for Sarah Davis, Thomas Chesney and the University of Nottingham Business School MBA office personnel (Elaine, Kathleen and Christinne) for their assistance and support throughout this project. We would also like to thank our families for their constant support and patience; - Abdula Alhindawi - Fatima Alhindawi - Shatha Bilbeisi - Michelle Law Seow Cha - Sim Hock Soon - Yow Lee Yong - Mohamed Rafiq - Salma Rafiq - Shama Hamid Last but not least, our project supervisor Duncan Shaw for his support and guidance throughout the duration of this management project. i Contents Executive Summary iv Terms and Definition vi 1.0 Introduction 1 1.1 Methodology 1 1.1.1 Primary Data Capture 1 1.1.2 Secondary Data Capture 2 1.2 Literature Review 4 1.2.1 Introduction 4 1.2.2 Competitive Advantage 15 1.2.3 Business Model 22 1.2.4 Strategic Market Planning Process 27 1.2.5 Value Net 32 2.0 Middleware Industry 42 2.1 Industry Overview 42 2.2
    [Show full text]
  • Primerjava Igralnih Pogonov Unity in Unreal Engine
    UNIVERZA V LJUBLJANI FAKULTETA ZA RAČUNALNIŠTVO IN INFORMATIKO Marko Kladnik Primerjava igralnih pogonov Unity in Unreal Engine DIPLOMSKO DELO VISOKOŠOLSKI STROKOVNI ŠTUDIJSKI PROGRAM PRVE STOPNJE RAČUNALNIŠTVO IN INFORMATIKA MENTOR: viš. pred. dr. Igor Rožanc Ljubljana, 2015 UNIVERZA V LJUBLJANI FAKULTETA ZA RAČUNALNIŠTVO IN INFORMATIKO Marko Kladnik Primerjava igralnih pogonov Unity in Unreal Engine DIPLOMSKO DELO VISOKOŠOLSKI STROKOVNI ŠTUDIJSKI PROGRAM PRVE STOPNJE RAČUNALNIŠTVO IN INFORMATIKA MENTOR: viš. pred. dr. Igor Rožanc Ljubljana, 2015 Rezultati diplomskega dela so intelektualna lastnina avtorja. Za objavljanje ali izkoriščanje rezultatov diplomskega dela je potrebno pisno soglasje avtorja, Fakultete za računalništvo in informatiko ter mentorja. Fakulteta za računalništvo in informatiko izdaja naslednjo nalogo: Naslov: Primerjava igralnih pogonov Unity in Unreal Engine Tematika naloge: Igralni pogoni so programerska orodja, ki omogočajo učinkovito izgradnjo računalniških iger za različne platforme. V diplomski nalogi predstavite značilnosti in uporabo dveh popularnih igralnih pogonov Unity in Unreal Engine. Z obema pogonoma razvijte enako računalniško igro ter na podlagi tega opravite primerjavo obeh orodij po več izbranih kriterijih, ki so pomembni za razvijalca računalniških iger. IZJAVA O AVTORSTVU DIPLOMSKEGA DELA Spodaj podpisani Marko Kladnik sem avtor diplomskega dela z naslovom: Primerjava igralnih pogonov Unity in Unreal Engine S svojim podpisom zagotavljam, da: . sem diplomsko delo izdelal samostojno pod mentorstvom viš. pred. dr. Igorja Rožanca . so elektronska oblika diplomskega dela, naslov (slov., angl.), povzetek (slov., angl.) ter ključne besede (slov., angl.) identični s tiskano obliko diplomskega dela, . soglašam z javno objavo elektronske oblike diplomskega dela na svetovnem spletu preko univerzitetnega spletnega arhiva. V Ljubljani, dne 14.9.2015 Podpis avtorja: Zahvaljujem se svoji družini in Simoni za vso pomoč in podporo med študijem.
    [Show full text]
  • UC Santa Cruz Electronic Theses and Dissertations
    UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title Expressive Design Tools: Procedural Content Generation for Game Designers Permalink https://escholarship.org/uc/item/0fn558gq Author Smith, Gillian Margaret Publication Date 2012 Supplemental Material https://escholarship.org/uc/item/0fn558gq#supplemental Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California 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 .....................................................................................................................
    [Show full text]
  • Level Design
    MASARYK UNIVERSITY FACULTY}w¡¢£¤¥¦§¨ OF I !"#$%&'()+,-./012345<yA|NFORMATICS Level Design BACHELOR’S THESIS Pavel Ugwitz Brno, summer 2011 Declaration Hereby I declare, that this paper is my original authorial work, which I have worked out by my own. All sources, references and literature used or excerpted during elaboration of this work are properly cited and listed in complete reference to the due source. Advisor: Mgr. Jirˇ´ı Chmel´ık ii Acknowledgement I would like to thank my supervisor, Mgr. Jirˇ´ı Chmel´ık, for his help and advice. iii Abstract This thesis explores the workflow of level design in current-generation ren- dering engines. Having described the techniques of level design and the workflow methods of creating a level, the thesis also brings in an example level to demonstrate the aforementioned techniques. iv Keywords level design, game design, rendering engine, game engine, unreal engine, UDK, level design workflow, level optimization, CSG, static meshes v Contents 1 Introduction ............................... 3 2 Choosing the Rendering Engine ................... 5 2.1 Technical dispositions — the engine .............. 5 2.2 Team dispositions — design approaches ............ 7 2.3 Comparison of engines ...................... 8 3 The process of Level Design ..................... 12 3.1 Conceptual phase ......................... 13 3.1.1 Determining the core gameplay concepts . 14 3.1.2 Collecting references . 14 3.1.3 The floorplan . 15 3.1.4 Moving on to the production phase . 19 3.2 Geometry .............................. 20 3.2.1 Primitive geometry . 20 3.2.2 Terrain . 21 3.2.3 Zoning and Volumes . 22 3.3 Materials .............................. 22 3.3.1 Material Editor . 23 3.3.2 Applying the materials .
    [Show full text]
  • Game Developer
    >> REVIEWED MICROSOFT PROJECT 2007 AUGUST 2008 THE LEADING GAME INDUSTRY MAGAZINE >> AI! AI! AI! AI! >> ALL FIRED UP >> INTERVIEW ARTIFICIAL INTELLIGENCE THE SHOOTER AND HIROKAZU YASUHARA ON MIDDLEWARE ROUNDUP SHOOTEE DISCONNECT GAME DESIGN METHODS POSTMORTEM: PennyTHE Arcade Adventures: On the Rain-Slick LEADINGPrecipice of Darkness GAME INDUSTRY MAGAZINE DISPLAY UNTIL DECEMBER 15, 2003 0808gd_cover_vIjf.indd 1 7/17/08 12:43:51 PM ImageMetrics_Sig08Ad_HR1.pdf 7/11/08 12:58:17 PM I Am the Future of Facial Animation Meet Me at Siggraph 2008 C M Y CM Booth 1229 MY CY CMY K See How I Was Created: 8/13/08 1:00-2:30pm Room #2 Superior Facial Animation. Simplified. www.image-metrics.com US Office: +1 (310) 656 6565 UK Office: +44 (0) 161 242 1800 © 2008. Image Metrics, Inc. All rights reserved. []CONTENTS AUGUST 2008 VOLUME 15, NUMBER 7 FEATURES 7 GAME BRAINS Artificial Intelligence middleware is coming into its own as a crucial tool for modern game development. In this market overview we take a look at eight products that aim to make thinking machines a reality. By Jeffrey Fleming 15 READY, AIM, FIRE! In first person shooters, there is often a disconnect between the location of the gun on 7 the screen and the destination of an in-game bullet. Here, Adam Hunter scans different models that seek to rectify the problem, and draws a few conclusions of his own. By Adam Hunter 28 18 INTERVIEW: HIROKAZU YASUHARA 15 Hirokazu Yasuhara was the third person to join Sonic Team, even before it was so- named.
    [Show full text]
  • Introduction Main Elements
    Game Engines Introduction Game Engines are software platforms used to create and run video games. One of the reasons that Game Engines exist is because creating computer games requires a lot of different kinds of complex software. Computer games include video elements, user interface elements, a variety of resources that must be loaded and used, and other complex systems. If each game developer had to create these various software systems for each game, the development time required to create a new game would be too long. One thing that most software developers do is save old code. If a developer can just plug in software elements that have been previously used and have been tested, then this makes the development cycle shorter. Why write the same code again when a developer can just plug-in already written code. This same idea is behind game engines. In the early days, game developers saved their old code and systems and just reused them on new games. At some point, the idea was to create modular systems that are more self-contained and easier to reused. This was one of the driving elements for Game Engines. The other reason for modern Game Engines was that games were being developed for multiple platforms. These include computers, consoles, hand-held devices, and the Internet. Game developers wanted to sell their games on multiple platforms so they added a game run-time element to game engines. The run-time element was a layer where the game hardware was virtualized. This means that when the game engine code sends a draw command to the hardware, the draw command first goes through a layer that translates it to the appropriate hardware commands.
    [Show full text]
  • SECO/BM Evolution
    Business Model Evolution in the Game Software Ecosystem Towards a method for modelling business model evolution Graph: Game publishers and game platforms in the game software ecosystem Master Thesis MBI Thesis Candidate Niels van den Berg [email protected] Utrecht University Institute of Information and Computing Sciences Princetonplein 5, 3584 CC Utrecht, The Netherlands Date June 2015 Business Model Evolution in the Game Software Ecosystem 2 Supervisors dr. F.J. Bex Assistant Professor Utrecht University [email protected] dr. S. Jansen Assistant Professor Utrecht University [email protected] Business Model Evolution in the Game Software Ecosystem 3 Summary More than ever, video game software companies operate within networks that share markets and services on common platforms. The Game Software Ecosystem (G-SECO) encompasses many different types of organizations, each maintaining a business model (BM) that enables them to effectively fulfill their role in the SECO. These BMs are not static. To assure a strategic advantage, organizations find themselves continually evaluating and adapting their BM. New technologies and changes in demand open up ways to conduct business and entice organizations to adapt their business models in order to secure or reposition their presence in the SECOs that they are part of. It remains what this evolution looks like and how software organizations influence one another by adapting their business model. Furthermore, we know little about what the G-SECO looks like and how it influences BM-evolution for its members. This exploratory research provides insight on the effects of BM-changes within the G-SECO by investigating the evolution of business models within the video game industry.
    [Show full text]
  • COMUNICAÇÃO E SAÚDE EM JOGO Os Video Games Como Estratégia De Promoção Da Saúde
    MARCELO SIMÃO DE VASCONCELLOS COMUNICAÇÃO E SAÚDE EM JOGO Os video games como estratégia de promoção da saúde ORIENTADORA Profa. Dra. Inesita Soares de Araujo 2o ORIENTADOR Prof. Dr. Joost Raessens Rio de Janeiro 2013 MARCELO SIMÃO DE VASCONCELLOS COMUNICAÇÃO E SAÚDE EM JOGO Os video games como estratégia de promoção da saúde Tese apresentada ao Programa de Pós- Graduação em Informação, Comunicação e Saúde (Icict), como parte dos requisitos para obtenção do grau de Doutor em Ciências. Orientadora: Profa. Dra. Inesita Soares de Araujo 2o Orientador: Prof. Dr. Joost Raessens Rio de Janeiro 2013 Ficha catalográfica elaborada pela Biblioteca de Ciências Biomédicas/ ICICT / FIOCRUZ - RJ V331 Vasconcellos, Marcelo Simão de Comunicação e saúde em jogo: os video games como estratégia de promoção da saúde / Marcelo Simão de Vasconcellos. – Rio de Janeiro, 2013. xiv, 293 f. : il. ; 30 cm. Tese (Doutorado) – Instituto de Comunicação e Informação Científica e Tecnológica em Saúde, Pós-Graduação em Informação e Comunicação em Saúde, 2013. Bibliografia: f. 259-281 1. Comunicação e saúde. 2. Promoção da saúde. 3. Video games. 4. MMORPGs. 5. Jogos digitais. 6. Mundos virtuais. I. Título. CDD 371.337 MARCELO SIMÃO DE VASCONCELLOS COMUNICAÇÃO E SAÚDE EM JOGO: Os video games como estratégia de promoção da saúde Aprovado em ___ de ___________ de __________. Banca Examinadora Profa. Dra. Inesita Soares de Araujo Icict / Fundação Oswaldo Cruz Prof. Dr. André Luiz Martins Lemos FACOM / Universidade Federal da Bahia Profa. Dra. Wilma Madeira Instituto Sírio-Libanês Profa. Dra. Kátia Lerner Icict / Fundação Oswaldo Cruz Profa. Dra. Cícera Henrique da Silva Icict / Fundação Oswaldo Cruz A Deus, “porque Dele, e por meio Dele, e para Ele são todas as coisas.” (Romanos, 11:36) A meus pais, Edézio e Sônia, cujo amor e dedicação me trouxeram até aqui.
    [Show full text]
  • Izdelava 3D Igre Z Uporabo Pogona Unity Za Platformo Android
    Univerza v Ljubljani Fakulteta za racunalniˇ ˇstvo in informatiko Toni Mervar Izdelava 3D igre z uporabo pogona Unity za platformo Android DIPLOMSKO DELO NA UNIVERZITETNEM STUDIJUˇ Mentor: dr. SaˇsaDivjak Ljubljana, 2013 Rezultati diplomskega dela so intelektualna lastnina avtorja in Fakultete za ra- ˇcunalniˇstvo in informatiko Univerze v Ljubljani. Za objavljanje ali izkoriˇsˇcanje rezultatov diplomskega dela je potrebno pisno soglasje avtorja, Fakultete za raˇcu- nalniˇstvo in informatiko ter mentorja. Besedilo je oblikovano z urejevalnikom besedil LATEX. Izjava o avtorstvu diplomskega dela Spodaj podpisani Toni Mervar, z vpisno ˇstevilko 63070207, sem avtor di- plomskega dela z naslovom: Izdelava 3D igre z uporabo pogona Unity za platformo Android S svojim podpisom zagotavljam, da: • sem diplomsko delo izdelal samostojno pod mentorstvom prof. dr. Saˇse Divjaka, • so elektronska oblika diplomskega dela, naslov (slov., angl.), povzetek (slov., angl.) ter kljuˇcnebesede (slov., angl.) identiˇcnis tiskano obliko diplomskega dela • soglaˇsamz javno objavo elektronske oblike diplomskega dela v zbirki "Dela FRI". V Ljubljani, dne 6. marca 2013 Podpis avtorja: Zahvalujem se mentorju prof. dr. SaˇsiDivjaku za vso izkazano pomoˇcob nastajanju tega diplomskega dela. Posebna zahvala gre tudi moji druˇzini,ki me je vsa leta spodbujala in mi stala ob strani. Svojim dragim starˇsem. Kazalo Povzetek Abstract 1 Uvod 1 2 Osnovni koncepti 3D grafike 3 2.1 Vektorji . 3 2.2 Modeliranje . 6 2.3 Osvetljevanje . 8 3 Fizikalni pogoni 11 3.1 PhysX . 13 3.2 Havok . 14 3.3 Bullet . 14 4 Izdelava 3D igre 17 5 Android 21 5.1 Android pogoni za igre . 25 6 O pogonu za igre Unity 27 7 Izdelava iger s pogonom Unity 31 7.1 Programiranje v Unity .
    [Show full text]