2019全球游戏发展论坛GDC 2019 Presentations

2019全球游戏发展论坛GDC 2019 Presentations

David gives an overview of the how Houdini helped Insomniac author the ground, buildings, traffic, vignettes and crimes, props, and impostors, audio, lighting and more for Marvel’s Spider-Man.
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David Santiago joined Insomniac Games in 2012 to implement several Procedural Systems for Sunset Overdrive (Xbox One). On other platforms his credits include Ratchet and Clankfor PS4, and Edge of Nowhere for Oculus Rift. Production of Marvel Spider-Man relied on the largest number of procedural systems to date. Previously, David was a visual effects and animation Supervisor and Consultant for over ten years. His 2004 book “Creating 3D Effects for Film, TV and Games” provides a thorough introduction to the world of digital effects. David’s first career was developing ultra-stable fiber optic distribution systems, cryogenic microwave oscillators, and ionic frequency standards at NASA’s Jet Propulsion Laboratory. David entered the visual effects industry working on Dante’s Peak, The Fifth Element, Titanic, and Armageddon at Digital Domain. He has supervised and created visual effects for feature films, music videos and commercials, and continues to concentrate on pipeline design, and process integration and optimization in support of creative needs. Other notable film projects include The Ant Bully, Sky Captain and the World of Tomorrow, Master and Commander: Far Side of the World, and Black Hawk Down.
David概述了Houdini如何帮助Insomniac为漫威的蜘蛛侠创作地面,建筑物,交通,小插曲和犯罪,道具,冒名顶替者,音频,灯光等。
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David Santiago于2012年加入了Insomniac Games,为Sunset Overdrive(Xbox One)实施了几个程序系统。在其他平台上,他的作品包括Ratchet和Clankfor PS4,以及Oculus Rift的Edge of Nowhere。 Marvel Spider-Man的生产依赖于迄今为止最多的程序系统。在此之前,David是视觉效果和动画主管和顾问已有十多年。他2004年出版的“为电影,电视和游戏制作3D效果”一书全面介绍了数字效果的世界。大卫的第一个职业是在NASA的喷气推进实验室开发超稳定的光纤配线系统,低温微波振荡器和离子频率标准。大卫进入视觉效果行业,在数字领域工作Dante’s Peak,The Fifth Element,Titanic和Armageddon。他为故事片,音乐视频和商业广告监督并创作了视觉效果,并继续专注于管道设计,流程整合和优化,以支持创意需求。其他值得注意的电影项目包括The Ant Bully,Sky Captain和明日世界,大师和指挥官:世界的远方和Black Hawk Down。

 
 
 

When tight level design is king, Houdini is a Swiss Army knife for smaller teams. Elvar provides an overview of the process Flashbulb Games uses to create the large open world environments found in the open-world vehicle building game Trailmakers.
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Elvar Örn Unnþórsson joined Flashbulb Games in 2017 as a Graphics Programmer and is responsible for helping the designers create the world of Trailmakers as well as improving overall performance thus making the game run smoothly on PC and XBox. Elvar is tasked with creating necessary tools for the designers, shader programming and hunting down and eliminating performance bottlenecks. Elvar has a BSc in Computer Science from Reykjavík University and MSc in Digital Media Engineering from Denmarks Technical University and before joining Flashbulb worked as a freelancer programmer for several notable indie games such as The Silent Age and Keyboard Sports.
当紧密的水平设计成为王者时,Houdini是小型团队的瑞士军刀。 Elvar概述了Flashbulb Games用于创建开放世界车辆构建游戏Trailmakers中的大型开放世界环境的过程。
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ElvarÖrnUnnþórsson于2017年加入Flashbulb Games,担任图形程序员,负责帮助设计师创建Trailmakers世界并提高整体性能,从而使游戏在PC和XBox上顺利运行。 Elvar的任务是为设计人员创建必要的工具,着色器编程和搜索并消除性能瓶颈。 Elvar拥有雷克雅未克大学计算机科学学士学位和丹麦科技大学数字媒体工程硕士学位,之前加入Flashbulb担任过几个着名独立游戏(如沉默时代和键盘运动)的自由撰稿人。

 
 
 

Stoyan walks through how Space Ape Games evolved their tech from in-house procedural tools in Unity to using Houdini Engine.
The main challenges in mobile games are performance and file size. Find out how they leveraged Houdini to develop a track generation tool that automatically populates road markings, apexes and walls depending on curvature while maintaining good vertex counts and lightmap resolution.
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Stoyan Dimitrov joined Space Ape Games in 2014 initially as a 3D Artist and then transitioned to Lead Artist on Samurai Siege, Rival Kingdoms and Transformers. He previously worked as a Character Artist at Frontier and Rare on Kinect Disneyland Adventures and Kinect Sports Rivals. Today, he is working on redefining what great graphics and art tools should look like for mobile games.
Stoyan介绍了Space Ape Games如何将他们的技术从Unity的内部程序工具发展到使用Houdini Engine。
手机游戏面临的主要挑战是性能和文件大小。了解他们如何利用Houdini开发轨道生成工具,根据曲率自动填充道路标记,顶点和墙壁,同时保持良好的顶点数和光照贴图分辨率。
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Stoyan Dimitrov最初于2014年加入Space Ape Games,最初担任3D艺术家,后来转为Samurai Siege,Rival Kingdoms和Transformers的首席艺术家。他曾在Frontier和Rare担任Kinect Disneyland Adventures和Kinect Sports Rivals的角色艺术家。今天,他正在努力重新定义手机游戏应该是什么样的伟大图形和艺术工具。

 
 
 

Danicka talks about the different Houdini tools and techniques that she used to create a stylized VR environment in Unity. She also discusses how she processes crowd data in Houdini to be imported and used at runtime to transform agents in-engine.
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Danicka Oglesby is a recent SideFX Games Intern. She is based in Austin, Texas and is currently a technical artist at Moontower VFX. With a background in math and a strong interest in art, she found her way into computer graphics through Texas A&M’s graduate program in Visualization. She focuses on gameplay mechanics, physical simulations and tool creation for pipeline efficiency. She has developed multiple VR experiences, from independent games to her work with Moontower VFX. She enjoys combining her artistic and technical interests to experiment with the new territory of VR.
Danicka谈到了她用于在Unity中创建风格化VR环境的不同Houdini工具和技术。她还讨论了她如何处理Houdini中的人群数据,以便在运行时导入并在引擎中转换代理。
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Danicka Oglesby是最近的SideFX游戏实习生。她的总部设在德克萨斯州奥斯汀,目前是Moontower VFX的技术艺术家。凭借数学背景和对艺术的浓厚兴趣,她通过德克萨斯A&M的可视化研究生课程找到了进入计算机图形学的方法。她专注于游戏机制,物理模拟和工具创建,以提高管道效率。她开发了多种VR体验,从独立游戏到她与Moontower VFX的合作。她喜欢将自己的艺术和技术兴趣结合起来,试验VR的新领域。

 
 
 

Cosku covers how Magnopus used Houdini to edit, add FX to, and relight Holocapture volumetric data to use in the Blade Runner 2049 VR project. He will also talk about how his team used Houdini to optimize, process and export really big scenes that they got from Pixar to render the COCO VR experience.
Magnopus uses Houdini extensively in their pipeline, including: fluid particle sims, procedural city generation, 4D capture processing and relighting, mesh decimation, baking textures and lighting on realtime assets, point cloud import/export, crowd sims, projection mapping, and procedural modeling using Houdini Engine in Unity & Unreal.
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Cosku Turhan studied graphic design at Bilkent University where he studied both basic design and jazz composition as a minor. Upon graduating with honors, he moved to Los Angeles to study film and digital arts at the University of Southern California. During his master’s studies, he produced two thesis films, one of which (“The Bioturk”) got him international accolade by being shown at more than 20 festivals worldwide. After graduating, Cosku got offered a job at Sony Pictures Imageworks as an associate technical director. He is a three-time VES awards nominee for the work he did for “Eagle Eye”, “The Amazing Spiderman” and “Alice: Through the Looking Glass”.
After winning the grand prize for the “Rendering the Metaverse” VR competition held by Otoy with this startup group he decided to resume his career in VR which lead to his rendering/lighting supervisor role at Magnopus. Here he supervised VR projects such as “COCO VR” and “Blade Runner 2046: Memory Lab” which was one of the first VR experiences ever to use Holocapture. He got nominated for an Emmy both for “COCO VR” and “Blade Runner 2046: Memory Lab”. Aside from Supervising projects, he is currently using Houdini to create FX, procedural cities, and expansive environments for VR and AR projects.
Cosku介绍了Magnopus如何使用Houdini编辑,添加FX,以及重新使用Blade Runner 2049 VR项目中使用的Holocapture体积数据。他还将讨论他的团队如何使用Houdini来优化,处理和导出他们从Pixar获得的大型场景,以呈现COCO VR体验。
Magnopus在其管道中广泛使用Houdini,包括:流体粒子模拟器,程序城市生成,4D捕获处理和重新点亮,网格抽取,烘焙纹理和实时资产照明,点云导入/导出,人群模拟,投影映射和过程建模在Unity和Unreal中使用Houdini引擎。
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Cosku Turhan在Bilkent大学学习平面设计,在那里他研究了基本设计和爵士乐作为未成年人。在获得荣誉毕业后,他移居洛杉矶,在南加州大学学习电影和数字艺术。在他的硕士研究期间,他制作了两部论文电影,其中一部(“生物塑料”)通过在全球20多个节日中展出而获得国际荣誉。毕业后,Cosku在Sony Pictures Imageworks担任助理技术总监。他曾为“鹰眼”,“神奇蜘蛛侠”和“爱丽丝:通过镜子”所做的工作获得三次VES奖提名。
在赢得Otoy与这家创业公司举办的“Rendering the Metaverse”VR大赛的大奖之后,他决定恢复他在VR的职业生涯,从而在Magnopus担任渲染/灯光监督员角色。在这里,他监督了VR项目,如“COCO VR”和“Blade Runner 2046:Memory Lab”,这是有史以来第一次使用Holocapture的VR体验之一。他因“COCO VR”和“Blade Runner 2046:Memory Lab”而获得艾美奖提名。除了监督项目,他目前正在使用Houdini为VR和AR项目创建外汇,程序城市和广阔的环境。

 
 
 

Learn how speed up your 3D workflows while maintaining asset quality, build large scenes, or achieve a high number of asset variations.
In this session, Luiz show you how to get the most from Houdini Engine in your game development, and how to speed up repetitive tasks by creating Digital Assets that integrate directly into the game engine as fully functional assets.
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Luis Garcia started his career as an artist then evolved into a generalist Indie Game Developer working on Suki & the Shadow Klaw with knowledge going from 3D Modeling to animation, C#, and shader scripting, counting with two unity certifications. Founder of Feline Arts, an indie game studio based in Mexico, a 3D adventure / platformer for PS4, Xbox One, and PC where Houdini has been one of the core tools used for the development of this project.
了解如何加速3D工作流程,同时保持资产质量,构建大型场景或实现大量资产变化。
在本次会议中,Luiz向您展示如何在游戏开发中充分利用Houdini Engine,以及如何通过创建直接集成到游戏引擎中作为全功能资产的数字资产来加速重复性任务。
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Luis Garcia开始了自己的艺术生涯,然后演变成了一名多面手独立游戏开发人员,负责Suki和Shadow Klaw,他们的知识从3D建模到动画,C#和着色器脚本,并计入两项统一认证。 Feline Arts的创始人,一个位于墨西哥的独立游戏工作室,一个用于PS4,Xbox One和PC的3D冒险/平台游戏,其中Houdini是用于开发该项目的核心工具之一。

 
 
 

Robert shows you how Houdini Engine plug-ins for Unity and UE4 let you bring Houdini’s “pipeline-in-a-box” into your game engine for increased flexibility as you build digital environments and design levels.
These techniques will be explored along with the new PDG [Procedural Dependency Graph] tools that make it easier to scale up and create more content faster than ever before.
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Robert Magee is a Senior Product Marketing Manager at SideFX who has been working with Houdini for over 15 years. He has created lots of learning material and demos designed to help artists understand how going procedural with Houdini can benefit their work. He is the author of the Houdini Foundations book which is available on SideFX.com for artists learning Houdini for the first time.
Robert向您展示了Unity和UE4的Houdini Engine插件如何让您将Houdini的“一体化管道”引入游戏引擎,以便在构建数字环境和设计级别时提高灵活性。
这些技术将与新的PDG [程序依赖关系图]工具一起进行探索,这些工具可以比以往更快地扩展和创建更多内容。
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Robert Magee是SideFX的高级产品营销经理,他与Houdini合作已超过15年。他创作了大量的学习材料和演示,旨在帮助艺术家了解Houdini的程序化如何使他们的工作受益。他是Houdini Foundations一书的作者,该书可以在SideFX.com上找到,这是第一次为Houdini学习的艺术家。

 
 
 

Paul gives a high-level overview of the Houdini tools that have been developed to create a rapid iteration workflow for using sketches, created in a paint application to generate 3D game levels in multiple styles for mobile games. Using this workflow the SideFX Games Team created a mobile game in Unity called “Drawy McTank Face” 🙂
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Paul Ambrosiussen is currently a Technical Artist and Game Tools Developer at SideFX Software. He finished his BASc in International Game Architecture and Design at NHTV University of Applied Sciences in Breda. Paul enjoys writing tools to support effective art-pipelines, and maintaining tool / workflow quality for the artists he is assisting. His goal is to help others create amazing things in a better, faster and more flexible way. He creates tutorials, gives live lectures, attends events, and presents custom workshops to customers.
Paul对Houdini工具进行了高级概述,这些工具是为了创建快速迭代工作流程而开发的,该工作流程使用草图创建,在绘图应用程序中创建,用于为手机游戏生成多种样式的3D游戏关卡。使用此工作流程,SideFX游戏团队在Unity中创建了一个名为“Drawy McTank Face”的移动游戏:)
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Paul Ambrosiussen目前是SideFX Software的技术艺术家和游戏工具开发人员。他在布雷达的NHTV应用科学大学完成了国际游戏建筑与设计的BASc。 Paul喜欢编写工具来支持有效的艺术管道,并为他正在协助的艺术家维护工具/工作流程质量。他的目标是帮助他人以更好,更快,更灵活的方式创造出令人惊叹的事物。他创建教程,提供现场讲座,参加活动,并为客户提供定制研讨会。

 
 
 

Using the Unity-Houdini Engine plugin, Luiz demonstrates a pipeline that lets you make and edit PSD files in Photoshop then convert them into full playable levels in Unity.
This in depth talk goes through the process of building this asset and explaining the different methods used for converting images into scatter zones, spawn point placements, terrain and more.
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Luiz Kruel is a Sr. Technical Artist at SideFX Software. With a decade of production experience in games, he has worked on several of the largest franchises in the industry, including Halo, Call of Duty, Doom, Madden and Just Cause. He is a part of our games team and responsible for developing tools to bridge the gap between Houdini and Game Engines.
使用Unity-Houdini Engine插件,Luiz演示了一个管道,可以让您在Photoshop中制作和编辑PSD文件,然后在Unity中将它们转换为完整的可播放级别。
深入讨论了构建此资产的过程,并解释了将图像转换为散点图区域,生成点位置,地形等的不同方法。
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Luiz Kruel是SideFX Software的高级技术艺术家。凭借十年的游戏制作经验,他曾参与过几个业内最大的特许经营,包括Halo,使命召唤,Doom,Madden和Just Cause。他是我们游戏团队的一员,负责开发工具以弥合Houdini和游戏引擎之间的差距。

 
 
 

Valentine gives a comprehensive look at the adoption of Houdini by Tech Art while working on Sea of Thieves.
“Although we only began to learn and apply Houdini mid-way through production, it proved an invaluable tool in the Tech Art toolbelt. This talk explores the deepening link in our workflow between shader development and Houdini tooling with detailed breakdowns of specific use-cases, including lightning strikes, kraken tentacles, vomit and clouds.”
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Valentine Kozin is a Principal Technical Artist at Rare, having started his career as a graphics programmer on independent games while studying for a Philosophy degree. After graduating, he entered the AAA industry as a technical artist, working on Kinect Sports Rivals and later helping drive some of the most notable visual features of Sea of Thieves.
瓦伦丁在从事盗贼之海时,全面了解了Tech Art对Houdini的采用情况。
“虽然我们只是在生产过程中开始学习和应用Houdini,但它在Tech Art工具带中被证明是一个非常宝贵的工具。本演讲探讨了我们在着色器开发和Houdini工具之间的工作流程中的深化环节以及特定用例的详细分类包括雷击,海妖触手,呕吐物和云。“
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Valentine Kozin是Rare的首席技术艺术家,他在攻读哲学学位期间开始了他作为独立游戏的图形程序员的职业生涯。毕业后,他作为技术艺术家进入了AAA行业,从事Kinect Sports Rivals,后来帮助推动了Sea of​​ Thieves的一些最着名的视觉特征。

 
 
 

Will and Danilo share their expertise and tips on photogrammetry and volumetric video, capturing several rare artifacts and tombs from Ancient Egypt from Experius VR’s interactive King Tut experience – then sharing the volumetric production of ‘7 Miracles’ – and lastly diving into the development of volumetric tools for VR and AR.
Danilo takes you through the best practices for yielding great results and tips within Reality Capture, while Will demonstrates how Houdini is used to clean up and optimize photogrammetry assets for game. They also explore volumetric video and show how Houdini provides the solutions needed to manage this content in today’s production world.
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Will Driscoll is a content creator and technical artist working with Experius to develop photorealistic interactive experiences across many industries. He is an early adopter of new technologies in performance capture and real world reconstruction, using a wide range of software, Sidefx Houdini as his favorite. Will worked on projection mapping projects for Disney Theme Parks, Worked with Intel Sports/Studios on the Wild West volumetric presentation, and stereo compositing and fx work on films and tv.
Danilo Moura Silva has created volumetric virtual reality experiences that take users on virtual trips to the Moon, Mars, Old Jerusalem and even a museum in his hometown in Brazil. He has personally digitized environments using photogrammetry and laser scanning and has a passion for creating pipelines that perfectly preserve the source quality. He has built multiple teams, from the ground up, to build games and interactive narratives in Hollywood for the last 10 years, since he started as an R&D engineer for Sony Pictures. He believes we are marching towards a revolution in the way content is created for the new generation of VR/AR/MR devices. The perfect storm is coming. It’s time to focus on volumetric solutions for an amazing simulated reality, where we can feel like we can be anywhere we want.
Will和Danilo分享他们在摄影测量和体积视频方面的专业知识和技巧,从Experius VR的互动式King Tut体验中捕捉古埃及的几件稀有文物和墓葬 – 然后分享“7个奇迹”的体积生产 – 最后潜入体积发展VR和AR的工具。
Danilo带您了解最佳实践,以便在Reality Capture中获得出色的结果和技巧,同时Will将演示如何使用Houdini来清理和优化游戏中的摄影测量资产。他们还探讨了体积视频,并展示了Houdini如何在当今的生产环境中提供管理此内容所需的解决方案。
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Will Driscoll是一位内容创作者和技术艺术家,与Experius合作开发多个行业的照片级真实互动体验。他是性能捕捉和现实世界重建的新技术的早期采用者,他使用各种软件,Sidefx Houdini作为他的最爱。将参与迪士尼主题公园的投影制图项目,与英国体育/工作室合作开展狂野西部的体积演示,以及电影和电视的立体合成和fx工作。
Danilo Moura Silva创造了体积虚拟现实体验,让用户可以虚拟旅行到月球,火星,旧耶路撒冷,甚至是他家乡巴西的博物馆。他使用摄影测量和激光扫描进行了个人数字化环境,并且热衷于创建能够完美保持光源质量的管道。自从他开始担任索尼影业的研发工程师以来,他在过去的10年里,从头开始建立了多个团队,在好莱坞建立游戏和互动叙事。他相信我们正在朝着为新一代VR / AR / MR设备创建内容的方式进行革命。完美的风暴即将到来。现在是时候专注于体积解决方案,以获得惊人的模拟现实,我们可以感觉到我们可以随心所欲。

 
 
 

How Unity’s Visual Effects team designed simple exporters to bake high-definition volumes and point caches from Houdini for import into Unity for use in Visual Effect Graph.
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Thomas Iché has 10 years experience in real time visual effects for Games (I Am Alive, Remember Me, Life is Strange). Halfway between artist and programmer, with strong experience in shaders, scripting and optimizing pipeline tools.
Unity的Visual Effects团队如何设计简单的导出器来烘焙来自Houdini的高清卷和点缓存,以便导入Unity以用于Visual Effect Graph。
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ThomasIché拥有10年游戏实时视觉效果的经验(我活着,记住我,生命是奇怪的)。艺术家和程序员之间的中途,在着色器,脚本和优化管道工具方面具有丰富的经验。

 
 
 

John provides an introduction to procedural modelling for games, that starts with a general understanding of what is proceduralism in Houdini, and then demonstrates how to harness it when making artistic decisions as you generate models. This session introduces you to the idea of using Houdini as a “Tool Building Tool” – with no previous Houdini experience required!
More GDC Houdini talks: sidefx.co/2NAUzpC
John Moncrief is the Education Training Lead at SideFX. Previously, he was the Resident Dynamics Instructor and Dynamics Curriculum Manager at Pluralsight Creative. John has been teaching various visual effects software packages to creative industry professionals for more than 15 years. He lives for the rush of seeing his pupils experience “light bulb” moments. His latest passion is making sure that no software or tools can get in the way of an artist expressing their creative vision.
John介绍了游戏的程序建模,首先是对Houdini中程序主义的一般理解,然后演示如何在生成模型时做出艺术决策时利用它。本课程向您介绍使用Houdini作为“工具构建工具”的想法 – 不需要以前的Houdini经验!
更多GDC Houdini会谈:sidefx.co/2NAUzpC
John Moncrief是SideFX的教育培训负责人。此前,他是Pluralsight Creative的Resident Dynamics讲师和动力学课程经理。 John已经为创意行业专业人士教授各种视觉效果软件包超过15年。他的生活是因为看到他的学生经历“灯泡”时刻。他最近的热情是确保没有任何软件或工具可以妨碍艺术家表达他们的创造性愿景。

 
 
 

A sneak peek at an upcoming Houdini feature , we will explore the brand spanking new Measure SOP that can be used to calculate your surface curvature, perimeter, gradient (no, not the blending between colours but the angle of a slope) and boundary integrals (what’s that, right?). All this measuring…what can you do with it? Come to find out!
More GDC Houdini talks: sidefx.co/2NAUzpC
Fianna Wong is a Technical Marketing Specialist at SideFX and is most known as the robot voice of the Houdini Quickstart videos. She loves hardsurface modeling pr0n and still cannot believe that after so many years (since starting out with Infini-D and Bryce), the CG industry continues to innovate!
在即将推出的Houdini功能中,我们将探索可用于计算表面曲率,周长,渐变(不,不是颜色之间的混合,而是倾斜的角度)和边界积分的新测量SOP的品牌。那是什么,对吗?)。所有这些测量…你能用它做什么?来找出来!
更多GDC Houdini会谈:sidefx.co/2NAUzpC
Fianna Wong是SideFX的技术营销专家,最着名的是Houdini Quickstart视频的机器人声音。她喜欢hardsurface modeling pr0n并且仍然无法相信经过这么多年(从Infini-D和Bryce开始),CG行业不断创新!

 
 
 

Rob shows how to rapidly create variants of game assets using Houdini’s procedural workflow and the new Procedural Dependency Graph (PDG). Explore methods for generating textures and geometry by iterating over value ranges using wedging. Learn how to using Houdini Engine and Houdini’s pipeline tools for efficient batch processing, and see the resulting assets in Unreal Engine.
More GDC Houdini talks: sidefx.co/2NAUzpC
Rob Stauffer is a Senior Production Consultant at SideFX. He has over 20 years experience in computer graphics and visual effects. Rob started his career at Digital Domain and has worked at Sony Imageworks, Weta Digital, Asylum FX and most recently was an FX Supervisor at Rhythm and Hues. He has contributed to the FX of over 20 feature films including, “Lord Of The Rings: The Return of The King”, “Spiderman 2”, “X-Men:First Class”, “The Day After Tomorrow” and “Seventh Son”. Rob joined SideFX in 2013 where he educates new and existing clients on the features of Houdini. Consults with studios on their pipelines and where Houdini may fit in and explores new and future technologies within VFX,Games and VR.
Rob展示了如何使用Houdini的程序工作流程和新的程序依赖关系图(PDG)快速创建游戏资产的变体。通过使用楔入迭代值范围来探索生成纹理和几何的方法。了解如何使用Houdini Engine和Houdini的管道工具进行高效的批处理,并在虚幻引擎中查看生成的资产。
更多GDC Houdini会谈:sidefx.co/2NAUzpC
Rob Stauffer是SideFX的高级制作顾问。他在计算机图形和视觉效果方面拥有20多年的经验。 Rob的职业生涯始于Digital Domain,曾在Sony Imageworks,Weta Digital,Asylum FX工作,最近担任Rhythm and Hues的外汇主管。他为超过20部故事片的外汇做出了贡献,包括“指环王:王者归来”,“蜘蛛侠2”,“X战警:头等舱”,“明日之后”和“第七儿子” “.Rob于2013年加入SideFX,在那里他教授新老客户关于Houdini的功能。与他们的管道工作室和Houdini可能适合的工作室进行协商,并在VFX,Games和VR中探索新的和未来的技术。

 
 
 

Ari explores Houdini’s terrain tools with a focus on new erosion models for higher quality results and hierarchical scattering for populating the terrain. He will also look at ways that Machine Learning can be utilized to take terrain generation to the next level.
More GDC Houdini talks: sidefx.co/2NAUzpC
Ari Danesh is the Lead Instructor at SideFX. Before working at SideFX he taught Interactive Design at the university level for 12 years. He started his career working as a Software Engineer in the defense industry designing displays and then leading a VR research department for real time Command and Control systems during the first generation of VR applications. His current focus is on Generative Art, Natural Environments, Procedural and Object Based Systems. At SideFX besides teaching clients, he dabbles in designing terrain tools.
Ari探索了Houdini的地形工具,重点关注新的侵蚀模型,以获得更高质量的结果和分层散射,以填充地形。他还将研究如何利用机器学习将地形生成提升到新的水平。
更多GDC Houdini会谈:sidefx.co/2NAUzpC
Ari Danesh是SideFX的首席讲师。在SideFX工作之前,他在大学教授互动设计已有12年。他的职业生涯始于国防工业设计显示器的软件工程师,然后在第一代VR应用程序中领导VR研究部门实时指挥和控制系统。他目前的重点是创造性艺术,自然环境,程序和基于对象的系统。在SideFX除了教授客户之外,他还涉足设计地形工具。

 
 
 

Ben covers a wide range of benefits of using Houdini as a studio-wide pipeline tool in gamedev. He covers powerful terrain and VFX tools, and multiple ways that Houdini and Houdini Engine are used to increase studio efficiency by reducing boring or repetitive tasks that frequently take time away from artists.
Bluepoint has led the remastering process for years, releasing many iconic titles, including the God of War Collection, Uncharted: the Nathan Drake Collection, and most recently, Shadow of the Colossus on PS4.
More GDC Houdini talks: sidefx.co/2NAUzpC
Ben House is a Technical Artist at Bluepoint Games where he develops procedural tools and workflows to support the production team. Ben is very passionate about using procedural tools to reduce repetitive tasks and is deeply devoted to education. He has taught courses on game development and procedural content creation at Texas A&M University, where he co-founded the Chillennium Student Game Jam and is currently completing his Master’s Degree in Visualization.
Ben在gamedev中使用Houdini作为工作室范围的管道工具,具有广泛的优势。他介绍了强大的地形和VFX工具,以及Houdini和Houdini Engine通过减少无聊或重复性任务来提高工作室效率的多种方式,这些任务经常需要时间远离艺术家。
Bluepoint多年来一直领导着重新制作过程,发行了许多标志性的游戏,包括“战神收藏”,“神秘海域:纳丹德雷克收藏”,以及最近的PS4巨像之影。
更多GDC Houdini会谈:sidefx.co/2NAUzpC
Ben House是Bluepoint Games的技术艺术家,他开发了程序工具和工作流程来支持制作团队。 Ben非常热衷于使用程序工具来减少重复性任务,并且非常热衷于教育。他曾在德克萨斯A&M大学教授游戏开发和程序内容创建课程,在那里他共同创立了千禧学生游戏果酱,目前正在完成他的可视化硕士学位。

 
 
 

Mike gives a quick overview of the various tools the SideFX gamedev team has been working on recently – including an updated gameres pipeline with Alice Vision (photogrammetry) and LOD generation, a building generator, and some procedural VFX tools. He outlines the development cycle and how you contribute to that as well as our roadmap for the year ahead.
More GDC Houdini talks: sidefx.co/2NAUzpC
Mike Lyndon is a Sr. Technical Artist at SideFX. He has a broad range of experience creating computer graphics for commercials, films and video games. His fascination with the world around us and the desire to blend art with his technical tinkering has led to his work making rolling cloudscapes in Ender’s Game, generating raging fires in Gears of War 4 and trapping penguins in an avalanche of snow for Happy Feet 2. He is a part of our games team and responsible for developing tools to bridge the gap between Houdini and realtime applications.
Mike简要概述了SideFX gamedev团队最近开展的各种工具 – 包括更新的游戏管道,包括Alice Vision(摄影测量)和LOD生成,楼宇生成器以及一些程序性VFX工具。他概述了开发周期以及您如何为此做出贡献以及未来一年的路线图。
更多GDC Houdini会谈:sidefx.co/2NAUzpC
Mike Lyndon是SideFX的高级技术艺术家。他在为商业广告,电影和视频游戏制作计算机图形方面拥有广泛的经验。他对我们周围世界的迷恋以及将艺术与他的技术修补融合在一起的愿望导致他的作品在安德的游戏中制作了滚动的cloudscapes,在战争机器4中产生熊熊烈火,并为快乐的脚2捕捉企鹅在雪崩中。他是我们游戏团队的一员,负责开发工具以弥合Houdini与实时应用程序之间的差距。

 
 
 

While Houdini is often thought of as a power house for simulation, the low level access it offers when constructing geometry is without a doubt one of its most attractive features for game development. Stephen provides a look at some of the ways in which Houdini has been used to create and manipulate geometry in Darwin Project for static meshes of lavafalls / splashes / rivers, rendered meshes as textures for Unreal Engine particles, collision meshes and vertex animated meshes.
More GDC Houdini talks: sidefx.co/2NAUzpC
Stephen Tucker began his career as an intern with SideFX and later worked as a Houdini Product Specialist, Stephen now has 14 years of experience using Houdini and is Scavengers Studio’s Senior VFX Artist. He has worked in the film industry where he worked as both an effects artist and effects technical director at studios including Starz Animation in Toronto, Dr. D in Sydney, and Digital Domain in Vancouver. A gamer at heart, Stephen eventually transitioned into the video games industry and has worked as a visual effects artist in AAA games at The Coalition in Vancouver as well as EA Motive in Montréal. With what was originally a largely artistic background including a Bachelors of Applied Arts in Animation, over the years Stephen has grown his technical prowess and is often seen as a mentor. Stephen has taught both online and at the post-secondary level at places such as sidefx.com, fxphd.com, Lost Boys, VanArts, Udemy and MIX Training.
虽然Houdini通常被认为是模拟的动力之家,但它在构建几何体时提供的低级访问毫无疑问是游戏开发最具吸引力的特性之一。 Stephen介绍了在Darwin Project中使用Houdini创建和操作几何体的方法,用于lavafalls / splashes / rivers的静态网格,渲染网格作为虚幻引擎粒子的纹理,碰撞网格和顶点动画网格。
更多GDC Houdini会谈:sidefx.co/2NAUzpC
Stephen Tucker的职业生涯始于SideFX的实习生,后来担任Houdini产品专家,现在Stephen拥有14年使用Houdini的经验,并且是Scavengers Studio的高级VFX艺术家。他曾在电影行业工作,曾在多伦多的Starz Animation,悉尼的D博士和温哥华的Digital Domain担任影响艺术家和影响技术总监。作为一名游戏玩家,斯蒂芬最终转型为视频游戏行业,并曾在温哥华联盟和蒙特利尔的EA Motive担任AAA游戏的视觉效果艺术家。凭借最初的艺术背景,包括动画应用艺术学士学位,多年来斯蒂芬已经发展了他的技术实力,并且经常被视为导师。斯蒂芬曾在sidefx.com,fxphd.com,Lost Boys,VanArts,Udemy和MIX Training等地方教授过网络和高等教育。

 
 
 
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