Animators at NBA 2K16 use Faceware’s to capture the facial performances
of over 30 NBA athletes helping to represent the real life players and the
emotion of basketball in digital form.
Imagination Studios developed an immersive, interactive 3D game at
DreamHack digital festival. Armed with UV rifles and an OptiTrack mocap
system, players faced their enemies in real time.
Autodesk’s new Stingray engine for creating 3D games has launched
at GDC Europe 2015, supporting standard game development workflows
and including connectivity to Autodesk 3D animation software.
At E3 2015, Deluxe Entertainment Services announced their new
services supporting content creation for VR experiences, and
debuted ‘Neuro’, a project made with studio Kite & Lightning.
Musician David Pritchard-Blunt writes for TV and stage shows like ‘The
Voice’ and ‘Footloose’, with Avid Sibelius and Avid Everywhere to access
file-based media and collaborate with clients.
The new Mixamo 2.0 interface is now live and designed to save time
with a plugin-free 3D viewer. It aims to help users customize content
by creating their own animation packs.
Geomerics’ dynamic lighting system for games developers, Enlighten 3
with Forge, re- creates cinematic, dynamic lighting through real-time
simulation of global illumination.
Autodesk showed recent development work on the Stingray Game
Engine and Maya LT improving asset building, project testing, shaderFX
and sculpting tools for game designers.
Framestore’s new VR Studio created ‘TrailScape’, a walk-around commercial
VR project on a mountain top based on Oculus Rift VR headsets and OptiTrack’s
Substance Designer 5 supports procedural art and PBR texture pipelines
with a new image processor node for custom effects, transfer texture
baking and Substance Engine 2.
Steve Cooper at Smith Micro talks about Poser Pro Game Dev and
the specialised functionality it contains for game developers who want
to create life-like, original characters for new games.
Blur Studio’s Franck Balson talks about the team’s work on famous scenes from ‘Halo’ for ‘Halo: The Master Chief Collection’, bringing
their artistry to characters, VFX and action.
Sledgehammer Games developed new gameplay and fight sequences
for ‘Call of Duty: Advanced Warfare’ on House of Moves’ mocap stage,
loaded with Vicon T160 cameras and Blade software.
A new video explores how the Unreal Engine's dynamic light types interact
with the Enlighten global illumination system to create realistic, dramatic
lighting for game environments.
Manuel Casasola from AixSponza in Munich talks about the Cinema 4D-based
workflow his team developed to complete a 45-second trailer for online game
‘Dreadnought’ for developer Yager.
New indie game company Witch Beam, featured on Digital Media World
one year ago, are set to release their first title Assault Android Cactus
after a great reception on Steam Early Access
A new Mixamo-Kinect for Windows v2 workflow makes it possible for
gamers and developers to scan bodies and bring 3D models into Mixamo’s
character software Fuse for customisation.
Geomerics has received funding from the UK’s Technology Strategy Board,
TSB, to bring its real-time graphics rendering techniques from the gaming
environment to film production.
Autodesk’s first extension release for Maya LT 2015 adds new animation
tools, improving control over linking, auto-rigging and exporting animations
to game engines.
Games developer Phosphor Games used Vicon motion capture to
create and place realistic character and creature animation for their
new first-person shooter online game, 'Nether'.
Autodesk has acquired Bitsquid AB, creator of the Bitsquid game engine,
expected to help strengthen Autodesk’s games expertise and development
of a 3D game engine.
Game studio Cloud Imperium uses Shotgun to manage, review and track
production on ‘Star Citizen’ – a MMO game currently in development across
a network of artists around the world.
Former Indy racing driver and quadriplegic Sam Schmidt drove a C7 Corvette
Stingray at the 2014 Indianapolis 500, controlling the car with his head using
OptiTrack motion capture.
Mixamo Fuse has extended the ability to customize the features on 3D characters
in imported content, adding possibilities for character looks, specialisation and
variety for game artists.
Allegorithmic now integrates Silicon Studio YEBIS 2 post-processing
middleware into Substance Designer 4.3 and Substance Painter beta,
accurately displaying final renders in the viewport.
Faceware has been working with localization company Binari Sonori on
a simultaneous video and voiceover capture service to improve the quality
of localization in video games.
Allegorithmic’s Substance texture Engine is coming to the Unreal Engine 4
game development platform, helping game developers transition to physically
Quantic Dream games studio recently invested in additional T-Series T160
cameras to build out their full performance and body motion capture space
for better coverage of future projects.
Video game developer Bungie is now using Faceware’s professional facial
motion capture system to add realistic, human expressions and emotions
to Destiny’s characters.
Autodesk Gameware 2015 adds flexible tools for more realism, and increases
compatibility with mobile platforms and integration with Unity 3D, Unreal and
other game engines.
Shotgun has integrated its pipeline tools with Perforce to speed up
game development by establishing an art and asset pipeline that links
tracking and scheduling within artists’ software.
OptiTrack’s new motion capture and tracking cameras, the Prime 13 and
Prime 13W, have a 40’ tracking range, 1.3 MP resolution, and 240 fps
capture rate with wide FOV.