Martin Paradis (Unity Technologies) explores our upcoming Storytelling tool and the extensible architecture it’s built on. Easily create reusable sequences, full-fledged cutscenes, procedural audio clips, customs clips, tracks, how to build rich animated scenes. He goes through exactly how to integrate this powerful new tool in your production pipeline.
The Unity blog is launching a series of articles about the making of their latest demo, ADAM. Over the course of the next several weeks, they will cover various aspects of production: concept art, assets production, in-engine setup, animation pipeline, VFX, and custom features as well as the tools they created for the project.
Georgi Simeonov was responsible for a lot of the art direction and production design on ADAM. He previously worked as a concept artist on games like Brink, Batman: Arkham origins, and Dirty Bomb as well as designing Volund for the Blacksmith Demo.
Adam is set in a future where human society is transformed by harsh biological realities and civilization has shrunk to a few scattered, encapsulated communities clinging to the memory of greatness.
Adam, as our main character, was the starting point of our visual design process. He was designed to provide a glimpse into the complex backstory of the world, by revealing himself as a human prisoner whose consciousness has been trapped in a cheap mechanical body.
And at Unite Europe 2016 Zdravko Pavlov, Robert Cupisz, and Krasimir Nechevksi share their production process for graphics, animation, and vfx on the “Adam” demo, including Unity’s upcoming sequencer tool.
If you want to do character facial modeling and animation at the high levels achieved in today’s films and games, Stop Staring: Facial Modeling and Animation Done Right is for you. While thoroughly covering the basics such as squash and stretch, lip syncs, and much more, this new edition has been thoroughly updated to capture the very newest professional design techniques, as well as changes in software, including using Python to automate tasks.
Shows you how to create facial animation for movies, games, and more
Provides in-depth techniques and tips for everyone from students and beginners to high-level professional animators and directors currently in the field
Features the author’s valuable insights from his own extensive experience in the field
Covers the basics such as squash and stretch, color and shading, and lip syncs, as well as how to automate processes using Python
Breathe life into your creations with this important book, considered by many studio 3D artists to be the quintessential reference on facial animation.
Jason Osipa has been working in 3D since 1997, holding titles in all levels of animation, rigging, and directing in real-time and rendered 3D. He is currently running Osipa Entertainment, which offers contracting, consulting, and classes for games, TV, Direct-to-Video, and film. Prior to opening his own company, he worked at gaming industry giants LucasArts and EA, among others.
CryEngine and Amazon create Lumberyard game engine, IMVU avatars in Unity, WebGL woes, and a legal win for set top boxes brings VR closer to every livingroom….
Continue reading “VR Set Top Boxes Will Replace Cable”
We reconstruct a controllable model of a person from a large photo collection that captures his or her persona, i.e., physical appearance and behavior. The ability to operate on unstructured photo collections enables modeling a huge number of people, including celebrities and other well photographed people without requiring them to be scanned. Moreover, we show the ability to drive or puppeteer the captured person B using any other video of a different person A. In this scenario, B acts out the role of person A, but retains his/her own personality and character. Our system is based on a novel combination of 3D face reconstruction, tracking, alignment, and multi-texture modeling, applied to the puppeteering problem. We demonstrate convincing results on a large variety of celebrities derived from Internet imagery and video. Continue reading “Total Moving Face Reconstruction”
What are voxels, and what are the advantages of using them in a game engine?