Game environments – Part A: rendering Remember Me
Game environments – Part A: rendering Remember Me Posted by Mike Seymour ON June 4, 2013 Sébastien Lagarde of Dontnod Entertainment explores the world of complex game environments especially for accurate wet simulations with a case study on the incredible new game Remember Me. This is part 1 of a 3 part series where we explore game environments. Part 2 focuses on the rain, and part 3 on the materi
Art directing effects for inFAMOUS: Second Son – fxguide
Art directing effects for inFAMOUS: Second Son Posted by Ian Failes ON April 9, 2014 In Sucker Punch Productions’ PS4 open world game inFAMOUS Second Son, players control character Delsin Rowe, a Conduit who is able to summon superhuman powers from his environment and other Conduits. In order to realize the necessary particle effects for the game’s signature smoke and neon powers, Sucker Punch rel
The tech of Crytek’s Ryse: Son of Rome
The tech of Crytek’s Ryse: Son of Rome Posted by Ian Failes ON March 20, 2014 When Microsoft announced the Xbox One in May 2013, Ryse: Son of Rome was confirmed to be one of the first titles available for the next-gen console. For Crytek, that provided a chance to develop a game with characters and environments seen in a level of fidelity they had not previously tackled. “In the past,” Crytek art
Assassin’s Creed III: The tech behind (or beneath) the action
Assassin’s Creed III: The tech behind (or beneath) the action Posted by Mike Seymour ON December 11, 2012 Assassin’s Creed III (ACIII) follows the story and path of Desmond Miles as he uses the Animus once again to relive the memories of his Assassin ancestors while fighting the Knight Templars. In ACIII the adventure extends for the first time to the ocean, unable to even swim in the first Ubisof
Brave New Hair
Brave New Hair Posted by Mike Seymour ON June 21, 2012 For Brave, the team at Pixar had to deal with a hero or rather heroine, who is on screen for almost every shot, but who needed wild, yet beautiful hair. The simulation department needed to develop a technique and approach not only viable on a hand crafted trailer shot, but something that could be used almost ‘out of box’ on most shots, or the
1
リリース、障害情報などのサービスのお知らせ
最新の人気エントリーの配信
処理を実行中です
j次のブックマーク
k前のブックマーク
lあとで読む
eコメント一覧を開く
oページを開く
Pixar’s RenderMan & Marschner Hair
