链接：https://schedule.gdconf.com/session/3d-toon-rendering-in-hi-fi-rush/899802
作者：Kosuke Tanaka (Lead Graphics Programmer, Tango Gameworks)、Takashi Komada (Graphics/Physics Programmer, Tango Gameworks)
'Hi-Fi RUSH' is a 60fps rhythm action game rendered in a stylish 3D toon art style using a customized Unreal Engine 4. In 'Hi-Fi RUSH', the developers at Tango Gameworks used toon shading for the entire world, both character and environment, while providing modern 3D graphics features, all at 60fps at native resolution.Learn about the development of a deferred toon renderer developed for toon shading a 3D world in a 2D way. Various customized UE4 render passes along with added render passes of their own are stylized and combined inside deferred rendered post process volumes.Comic shaders, toon lights, dynamic shadow map strategies, static shadow maps, light probe GI, and their face shadow implementation will be discussed.Learn about the core tech behind the game as well as select graphics implementations.
《Hi-Fi RUSH》是一款以时尚的3D卡通风格渲染的60帧节奏动作游戏，使用定制的虚幻引擎4。在《Hi-Fi RUSH》中，Tango Gameworks的开发人员使用卡通渲染技术对整个世界进行渲染，包括角色和环境，在提供现代3D图形功能的同时，以本机分辨率以60fps运行。了解为卡通渲染一个3D世界而开发的延迟卡通渲染器的开发过程，以二维方式进行卡通着色。各种定制的UE4渲染通道以及他们自己添加的渲染通道在延迟渲染的后期处理体积内进行风格化和组合。将讨论漫画着色器、卡通灯光、动态阴影图策略、静态阴影图、光探针全局光照（GI）以及它们的面部阴影实现。了解游戏背后的核心技术以及部分图形实现细节。
作者：Jared Monsen (Senior Technical Animator, Epic Games)、Saga Alayyoubi (Senior Environment Artist, Epic Games)、Jakob Keudel (Environment Artist, Epic Games)
Get a glimpse into the new technology that enables creators to bring realistic visual styles into UEFN.
了解一下新技术，让创作者能够将逼真的视觉风格带入'UEFN'。（UEFN：虚拟电子竞技联盟）
作者：Dan Baker (Founder and Lead Graphics Architect, Oxide Games)
Rendering technology in the gaming industry has evolved significantly, yet a promising approach called "Decoupled Shading" remains underexplored for widespread use. Dan Baker, founder of Oxide Games, shares his knowledge of this innovative rendering technique and how implementation can enhance rendering quality and efficiency. The lecture covers Decoupled Shading's principles, benefits, and practical use, drawing on insights from projects like 'Ara: History Untold'. Topics include challenges, anti-aliasing, virtualized shadel allocation, Oxide's shading language (ZNO), performance analysis, and future directions. Attendees will gain a comprehensive understanding of this technique's potential to revolutionize game rendering for both quality and performance.
在游戏行业中，渲染技术已经有了显著的发展，但一种被称为“解耦合着色（Decoupled Shading）”的有前途的方法仍未被广泛应用。Oxide Games 创始人 Dan Baker 分享了他对这种创新渲染技术的理解，以及如何通过实现来提升渲染质量和效率。这次讲座涵盖了解耦合着色的原理、优势和实际用途，借鉴了《Ara: History Untold》等项目的见解。讨论的主题包括挑战、抗锯齿、虚拟化着色分配、Oxide 的着色语言（ZNO）、性能分析和未来方向。与会者将全面了解这种技术在提升游戏渲染质量和性能方面的潜力，有可能彻底改变游戏渲染的方式。
作者：Gauthier Viau (Graphics Programmer, Massive Entertainment - a Ubisoft Studio)
To achieve good and reliable performance, games using DX12 on PC need to manage memory themselves. This presentation goes over Snowdrop's heaps allocation strategies, as well as how its texture streamer is used to manage memory.Attendees will learn how to use the Windows Performance Analyzer to diagnose VRAM overcommitment issues coming from OS automatic resource demotion, using real examples of performance degradations due to bad memory management in Snowdrop with DX12.Solutions to address these issues – a resource residency management system and the texture streamer usage of DirectX tiled resources to free large amount of memory while minimizing quality loss – are discussed, as well as what didn't work so well.
为了实现良好且可靠的性能，在PC上使用DX12的游戏需要自行管理内存。本次演示将介绍Snowdrop引擎的堆分配策略，以及其纹理流管理器如何用于内存管理。参与者将学习如何使用Windows性能分析器诊断由操作系统自动资源降级导致的VRAM超量使用问题，通过实际性能下降案例展示由于Snowdrop引擎在DX12中的不良内存管理而导致的问题。
讨论了解决这些问题的方法 - 资源驻留管理系统和DirectX平铺资源的纹理流管理器用于释放大量内存同时最小化质量损失，以及哪些方法效果不佳。
链接：https://schedule.gdconf.com/session/animation-roundtable-day-1/899334
作者：Euna Park (Gameplay Animator, That's No Moon)、Shayna Moon (Technical Producer, Sanzaru)
The Animation Roundtable aims to bring all disciplines together under a common cause- how to best implement and improve the field of animation in game development. The following questions are among those that will be addressed:
Where is the line between aesthetics and gameplay? Who should be directing the animation in a game? Who owns each part of the animation pipeline after export? How can all disciplines work together better, to bring the best looking and feeling animation to their game? What are the expectations of animation? Of the player? What new technologies are available or coming online that can help animators excel at their jobs, and what challenges will those technologies bring? What is your best tip or trick that you think everyone needs to hear? What mistakes have you made that you think others can learn from? How can we all give and take feedback better, from all disciplines?
In addition, this roundtable discussion will focus on helping newcomers by dedicating the last part of each session to them, encouraging questions to help them get started (or jump-started!) in their animation careers.
动画圆桌旨在将所有学科聚集在一起，共同探讨一个共同目标-如何最好地实施和改进游戏开发中的动画领域。以下问题是将要讨论的其中之一：
美学和游戏玩法之间的界限在哪里？谁应该在游戏中指导动画？在输出后动画流程的每个部分归属于谁？如何让所有学科更好地合作，为游戏带来最好的外观和感觉的动画？对动画有什么期望？对玩家有什么期望？有哪些可用或即将推出的新技术可以帮助动画师在工作中脱颖而出，这些技术会带来哪些挑战？你认为所有人都需要知道的最佳提示或技巧是什么？你犯过哪些错，你认为别人可以从中学习？我们如何能更好地进行跨学科的信息反馈？
此外，本次圆桌讨论将重点帮助新手，每个会议的最后部分将专注于他们，鼓励提出问题以帮助他们开始（或快速开始！）他们的动画职业生涯。
链接：https://schedule.gdconf.com/session/animation-roundtable-day-2/903344
作者：Euna Park (Gameplay Animator, That's No Moon)、Shayna Moon (Technical Producer, Sanzaru)
The Animation Roundtable aims to bring all disciplines together under a common cause- how to best implement and improve the field of animation in game development. The following questions are among those that will be addressed:Where is the line between aesthetics and gameplay? Who should be directing the animation in a game? Who owns each part of the animation pipeline after export? How can all disciplines work together better, to bring the best looking and feeling animation to their game? What are the expectations of animation? Of the player? What new technologies are available or coming online that can help animators excel at their jobs, and what challenges will those technologies bring? What is your best tip or trick that you think everyone needs to hear? What mistakes have you made that you think others can learn from? How can we all give and take feedback better, from all disciplines?In addition, this roundtable discussion focuses on helping newcomers by dedicating the last part of each session to them, encouraging questions to help them get started (or jump-started!) in their animation careers.
动画圆桌旨在将各个领域汇聚在一个共同的目标下 - 如何最佳地实施和改进游戏开发中的动画领域。以下问题是将要讨论的内容之一：美学与游戏玩法之间的界限在哪里？谁应该指导游戏中的动画制作？每个动画制作阶段在输出后归属于谁？各个领域如何更好地协同合作，为游戏带来最出色外观和感觉的动画？对动画的期望是什么？对玩家的期望又是什么？有哪些新技术可用或即将上线能够帮助动画师在工作中脱颖而出？那些技术会带来什么挑战？你认为所有人都需要知道的最佳贴士或技巧是什么？你曾经犯过哪些错误，你认为其他人可以从中学习到什么？我们如何能更好地接受并给予来自所有领域的反馈？此外，这次圆桌讨论将重点帮助新人，每个会议的最后一部分将为他们而设，鼓励提出问题，帮助他们开始（或者加速！）他们的动画职业生涯。
链接：https://schedule.gdconf.com/session/animation-roundtable-day-3/903345
作者：Euna Park (Gameplay Animator, That's No Moon)、Shayna Moon (Technical Producer, Sanzaru)
The Animation Roundtable aims to bring all disciplines together under a common cause- how to best implement and improve the field of animation in game development. The following questions are among those that will be addressed:Where is the line between aesthetics and gameplay? Who should be directing the animation in a game? Who owns each part of the animation pipeline after export? How can all disciplines work together better, to bring the best looking and feeling animation to their game? What are the expectations of animation? Of the player? What new technologies are available or coming online that can help animators excel at their jobs, and what challenges will those technologies bring? What is your best tip or trick that you think everyone needs to hear? What mistakes have you made that you think others can learn from? How can we all give and take feedback better, from all disciplines?In addition, this roundtable discussion focuses on helping newcomers by dedicating the last part of each session to them, encouraging questions to help them get started (or jump-started!) in their animation careers.
动画圆桌旨在将各个领域汇聚在一个共同的目标下 - 如何最佳地实施和改进游戏开发中的动画领域。以下问题是将要讨论的内容之一：美学与游戏玩法之间的界限在哪里？谁应该指导游戏中的动画制作？每个动画制作阶段在输出后归属于谁？各个领域如何更好地协同合作，为游戏带来最出色外观和感觉的动画？对动画的期望是什么？对玩家的期望又是什么？有哪些新技术可用或即将上线能够帮助动画师在工作中脱颖而出？那些技术会带来什么挑战？你认为所有人都需要知道的最佳贴士或技巧是什么？你曾经犯过哪些错误，你认为其他人可以从中学习到什么？我们如何能更好地接受并给予来自所有领域的反馈？此外，这次圆桌讨论将重点帮助新人，每个会议的最后一部分将为他们而设，鼓励提出问题，帮助他们开始（或者加速！）他们的动画职业生涯。
链接：https://schedule.gdconf.com/session/animation-summit-the-legends-behind-apex-animation/901955
作者：Sophie Shepherd (Animator, Respawn Entertainment)、Haydn Cooper (Animator, Respawn Entertainment)、Minor Gaytan (Principal Animator, Respawn Entertainment)
Join industry animators from Respawn Entertainment working on the hugely successful title 'Apex Legends' as they share behind the scenes of how animators craft a legend and the balanced culture that allows them to achieve this. See animations from a variety of expertise, from first person to third, start to finish. The panel challenges perspectives of how a team can be given the freedom to create ideas, collaborate with different departments and be trusted to complete tasks on time. From Principal to Animator, each professional shares their expertise and perspectives working in an open and trusted team while consistently creating high quality animations for new legends.
加入来自Respawn Entertainment的行业动画师，他们正在共同打造极其成功的作品《Apex Legends》，他们将分享幕后故事，展示动画师是如何打造一个传奇人物，并介绍支持他们实现这一目标的平衡文化。观看各类专业动画作品，从第一人称到第三人称，从开始到完成。该专家组将挑战人们对于一个团队如何能够得到自由创造想法、与各个部门合作，并且被信任按时完成任务的看法。从首席到动画师，每位专业人士都将分享他们在一个开放且受信任的团队中工作时的专业知识和看法，同时不断创作出高质量的新传奇角色动画。
作者：Leah Caldwell (Cinematic Animation Producer, Larian Studios)
Making a game in today's world is no small feat, and Baldur's Gate 3 was no exception. Creating the cinematics for such a smash hit was an incredible undertaking by actors, artists, and animators, spread across the globe. This session takes a look at managing a global Cinematic Animation team, with growing ambitions and goals that could shift during production. Starting from a small team of four animators and scaling up to deliver on a monumental project. From the chaos that came with Early Access, to being able to produce a full Cinematic within a week. Let's roll for initiative!
在当今的世界中开发一款游戏绝非易事，而《博德之门3》也不例外。为这样一款轰动一时的游戏制作影像动画是一个由演员、艺术家和动画师共同承担的令人难以置信的任务，他们遍布全球。本次讨论将重点关注管理一个全球影像动画团队，拥有不断增长的抱负和目标，这些目标在制作过程中可能会发生变化。从最初由四名动画师组成的小团队开始，逐渐扩大规模，以完成一个重大项目。从在早期版本中带来的混乱，到能够在一周内完成制作一部完整的影像动画。让我们进行先攻检定吧！
链接：https://schedule.gdconf.com/session/animation-summit-animation-variety-hour/903439
作者：Ana Beltran (Visual Effects Designer, The Walt Disney Company)、Harrison Pink (Lead Game Designer, Cyan Worlds)、Robert Coddington (Animation Director, Insomniac Games)、Sebastien Dussault (Cinematic Director and Animation Supervisor, Agora Studios)、Michala Braker (Face Animation Specialist, JALI Research)、Nathan Zufelt (Animation Director, BioWare)、Lindsay Thompson (Associate Animation Director, Insomniac Games)、Nick Buzai (Creative Director & Lead Engineer, Team Snowdust)、Alex Ferreira Simoes (Senior Animator, Riot Games)、Aslak Helgesen (Lead Artist, Rain Games)、Jalil Sadool (CCO, Steamroller Animation)、Kelly Yeo (Associate Game Producer, Blizzard Entertainment)、Yuki Gupte (Technical Artist, Independent)、Mike Jungbluth (Animation Director, Compulsion Games)、Sol Brennan (Character Technical Artist, Heart Machine)、Ricky Wood (Principal Animator, People Can Fly)、Jake Clark (Animator, Innersloth)、Sarah Watling (CEO, JALI Inc.)、Bruno Velazquez (Animation Director, Santa Monica Studio)、Daanish Syed (Art Director, Bit Reactor)、Émilie Beauchamp (Associate Art Director, WB Games Montreal)、JP Rhinemiller (Associate Animation Director, Blizzard Entertainment)、Tim Borrelli (Tech Art/Animation People Manager, Undead Labs)、Ryan Duffin (Animation Director, Undead Labs)、Aung Zaw Oo (Co-founder and Animator, Outerloop Games)、Patrick Walker (Sr. Technical Product Manager - Animation, Epic Games)
The Animation Variety Hour is an evolution of the animation summit experience, mixing the craft and culture of interactive animation with an intentional spray of artisanal whimsy. Brought to you by a barrage of your industry peers, attendees are presented with insights and ideas meant to inform, inspire and inflict psychic damage in an effort to heal your soul. Maybe. How much you like or dislike any of this hour will be up to you. But one thing for sure is that you will have experienced ART. Do you dare to engage with an hour of such variety?
《动画综艺时光》是动画峰会体验的演变，将互动动画的工艺与文化融合，搭配精心准备的匠心想法。由业内众多同行呈现，与会者将获得见解和想法，目的是启发、激励并在努力治愈灵魂的过程中造成精神上的伤害。也许吧。你对这一小时的喜欢或厌恶程度将由你决定。但可以确定的是，你将体验到艺术。你敢尝试参与这样多样化的一个小时吗？
链接：https://schedule.gdconf.com/session/animation-summit-bones-booleans-multiclassing-animation/900426
作者：Frank Gordon (Expert TDiA, That's No Moon)、Jose Villarroel (Animation Programmer, Epic Games)、Nathaniel Winckler (Technical Animation Designer, That's No Moon)、Christian Mendoza (Technical Animation Director, EA)
Systems Animator, TDiA, Animation Designer - this hybrid role has existed in some form for over a decade, but it's not clearly understood across the industry. This panel brings a diverse group of representatives from across the industry together to talk shop, discuss the role & the future of applied animation - expect to hear about the best ways to utilize some of the newest technology, what skillsets are most useful in this field & some hot takes about what we could see coming soon!
系统动画师、TDiA、动画设计师 - 这种混合角色已经存在了十多年，但在整个行业中仍然没有清晰的理解。这个座谈会汇集了来自行业各个领域的代表，讨论工作内容，探讨角色及应用动画的未来 - 期待了解如何最好地利用一些最新技术，哪些技能在这个领域最有用，以及一些关于即将到来的趋势的热门看法！
作者：Greg Lidstone (Performance Director, Larian Studios)
Mocap and Performance direction have become an increasingly important part of narrative video game development over the past 20 years while players have steadily grown more discerning about digital acting. Larian invests heavily in character performance, and their recent blockbuster 'Baldur's Gate 3' has received rave reviews for the effort. But how did Larian arrive at those performances? How do performance directors help actors make choices when crafting the personality and physical behaviour of characters? How do they redirect and adjust when things aren't going well; inspire and encourage when they are. How do we inform, but not overwhelm and collaborate to build character with our actors? In this session, Larian's Performance Director speaks about techniques and approaches used on 'Baldur's Gate 3' (and built up over 20 years of directing) to prepare and work with actors for memorable performances.
Mocap（动作捕捉）和Performance direction（表演指导）在过去20年中已成为叙事性视频游戏开发中越来越重要的一部分，而玩家在数字表演方面也变得越来越挑剔。Larian公司在角色表现上投入了大量精力，他们最近的大作《Baldur's Gate 3》因此获得了赞誉。但是，Larian是如何达到这些表现的呢？在打造角色的个性和行为时，表演指导是如何帮助演员做出选择的？当情况不顺利时，他们如何重新指导和调整；当情况良好时，又如何激励和鼓励？我们如何告知，而不是压倒性地介入，以及如何与演员合作打造角色？在这个环节中，Larian的表演指导将谈到在《Baldur's Gate 3》（以及在20年的指导工作中积累的经验）中使用的技术和方法，以准备和与演员一起创造令人难忘的表演。
作者：Matthew Lake (Lead Technical Animator, Fort Solis, Fallen Leaf)
Dive into the technical animation pipeline and workflow built for 'Fort Solis,' an indie title created by a small team all within a little over two years. This presentation covers the building blocks of the 'Fort Solis's' character skeletons with approaches that offload deformation calculations to runtime rather than a baked approach, our artist-friendly workflow to face rig development and creation, our animator-first tools and pipelines that empower animators to do what they do best (animate!) and how state-of-the-art technologies inside of Unreal Engine 5 helped breathe life into the characters and truly blurred the lines between cinematic and gameplay through motion matching locomotion. Finally, the session is rounded off with the many character and animation optimisations required to hit 60 frames per second on PlayStation 5. The many hurdles, and lessons learnt will be shared from trying to push the animation envelope with an indie-sized team and resources.
深入了解为《孤城堡》打造的技术动画流程和工作流程，这是一款由一个小团队在略超过两年时间内创作的独立游戏。这次演示涵盖了《孤城堡》角色骨骼的基本构建块，采用了将变形计算转移到运行时而非烘焙处理的方法，我们面向艺术家的工作流程来进行面部绑定的开发和创作，我们以动画师为先的工具和流程，赋予动画师们发挥所长（做动画！）的能力，并展示了 Unreal Engine 5 内部的顶尖技术如何为角色赋予生命，通过运动匹配来真正模糊了电影和游戏之间的界限。最后，本次会议将介绍为实现在 PlayStation 5 上达到 60 帧所需的许多角色和动画优化工作。通过尝试利用独立规模的团队和资源来推动动画技术的创新所遇到的种种挑战和经验教训将会被分享。
作者：Lindsay Thompson (Associate Animation Director, Insomniac Games)、Bradley McLaughlin (Associate Animation Director, Insomniac Games)、James Ham (Associate Animation Director, Insomniac Games)、Stephen Camardella (Associate Animation Director, Insomniac Games)、Robert Coddington (Senior Animation DIrector, Insomniac Games)
Join the esteemed team of Insomniac Animation Directors as they guide you on an immersive journey behind the scenes, offering a deeper exploration of the creative process behind Marvel's Spider-Man 2's animated world. From the intricacies of cinematic Quick Time Events (QTEs) to the technical and creative process of bringing ASL to the screen, they delve into both the technical challenges and creative triumphs encountered along the way. Additionally, they provide an in-depth glimpse into one of our most ambitious boss missions to date. Through this presentation, the teams aims to unveil the 'Insomniac Way,' shedding light on the inner workings and accomplishments of our animation team.
加入备受尊敬的Insomniac动画总监团队，让他们带领您进行一场身临其境的旅程，深入探索《漫威蜘蛛侠2》动画世界背后的创意过程。从电影般的快节奏事件（QTEs）的复杂性到将ASL带到屏幕上的技术和创意过程，他们深入探讨了在这一过程中遇到的技术挑战和创意胜利。此外，他们深入展示了我们迄今为止最雄心勃勃的首领任务之一。通过这一展示，团队旨在揭示“Insomniac方式”，揭示我们动画团队的内部运作和成就。
链接：https://schedule.gdconf.com/session/art-direction-processes/898969
作者：Anita Tung (Art Director, Pontoco)、Lisette Titre-Montgomery (Art Director, Unannounced)、Carrie Witt (Art Director, Owlchemy Labs)、Claire Hummel (Artist, Valve)、Vijay Krish (Concept Artist & Illustrator, Outerloop Games)
Lisette Titre-Montgomery, Anita TUng, Claire Hummel, Vijay Krish and, Carrie Witt are all Art Directors who have a breadth of experience on every kind of art team—from huge companies to tiny studios. In this session, they talk about their experiences' art directing small teams, and what they've learned throughout their careers about art leadership. They go into detail about management and leadership, feedback, and the changing needs of a project and team over the course of a game's development. This is a fantastic opportunity to hear from award-winning Art Directors about their process throughout the development cycle.
Lisette Titre-Montgomery、Anita Tung、Claire Hummel、Vijay Krish和Carrie Witt都是艺术总监，拥有丰富的经验，曾在各种艺术团队中工作过，无论是大公司还是小工作室。在这个讨论中，他们谈到了他们在指导小团队方面的经验，以及他们在整个职业生涯中关于艺术领导的所学所悟。他们详细介绍了关于管理和领导、反馈以及在游戏开发过程中项目和团队需求的变化。这是一个绝佳的机会，可以听取这些屡获殊荣的艺术总监在整个开发周期中的制作过程。
作者：Kacper Niepokólczycki (Lead Environment Artist, CD PROJEKT RED)、Pawel Mielniczuk (Art Director, CD PROJEKT RED)
This session brings the environmental art behind Dogtown closer to you. It shows how different that district is from Night City and with that, presents all the challenges this project had in store for us and how we overcame them. It goes through the process of creating Dogtown from a graybox phase up to a polished quality, and the improvement of the elements we were not very happy with in 'Cyberpunk 2077' from the environment art point of view. This talk also addresses technical pipelines and explain how we worked with Dogtown to create this heavily dense district in an optimized manner, going through how some of the pipelines were enough, yet others were improved quite a lot, and others created from scratch. Attendees will learn what lessons we drew from 'Cyberpunk 2077' and how we implemented that knowledge to create a better gaming experience
本次会话将向您展示《Dogtown》背后的环境艺术，展示这个区域与《夜之城》的不同之处，并展示这个项目对我们提出的所有挑战，以及我们如何克服这些挑战。它将介绍从灰盒阶段到精细质量的创建《Dogtown》的过程，以及从环境艺术角度看，我们对《赛博朋克2077》中一些元素不太满意的改进。这次演讲还涉及技术流程，并解释我们如何与《Dogtown》合作以优化地创建这个密集区域，介绍了一些流程足够的地方，另一些得到了很大改进，还有一些是从零开始创建的。与会者将了解我们从《赛博朋克2077》中得到了什么教训，以及我们如何利用这些知识来创造更好的游戏体验。
作者：Jakub Knapik (VP of Art and Global Art Director, CD Projekt RED)
This session promises to be a journey that invites you to explore the historical process of crafting the Cyberpunk 2077 visual language through the interplay of light and color. Yet, it delves even deeper into the narrative-driven aspects of art-directing lighting within the 'Cyberpunk 2077: Phantom Liberty' world. Throughout this session, Jakub guides the audience through a process of gathering references, conducting in-depth analyses of the open world and quest narratives' unique requirements, and creating a coherent vision of per-location lighting. From there, Jakub transitions into the art of color scripting, an integral step that places a strong emphasis on evoking and enhancing the emotional impact of the game.
本次讲座承诺带领你探索《赛博朋克2077》视觉语言的历史塑造过程，通过光线和色彩的相互作用。然而，它更深入地探讨了在《赛博朋克2077：幻影自由》世界中以叙事为驱动的艺术指导灯光方面。在整个讲座中，Jakub将引领观众收集参考资料，进行深入分析，了解开放世界和任务叙事的独特需求，并创建一个地点灯光的连贯愿景。接着，Jakub将转入色彩脚本的艺术，这是一个关键步骤，非常强调唤起和增强游戏情感影响的重要性。
作者：Michael V. Eppinette (Sr. Concept Artist, NetEase Games)
Creatures are central to Game Design – they are our companions and our bosses, our friends and our enemies. They populate fantasy worlds with wonder, danger, and intrigue. In a market saturated with monsters of every shape and species, how can an artist design competitively original creatures that delight, terrify, and intrigue their audience? How do animals use illusion and motifs to impress, deceive, and surprise each other, and how can a designer implement these strategies to powerful narrative effect? Join former zookeeper and NetEase Sr. Creature Designer Michael V. Eppinette as he explores his journey to understanding these questions over the course of his time designing the Feral Predator for Prey (2022), and as he demonstrates techniques, strategies, and a practical philosophy for symbolism-driven design, inspired by the dramatic weirdness of the animal kingdom.
生物在游戏设计中占据着核心地位-它们是我们的伴侣和boss，我们的朋友和敌人。它们让幻想世界充满了奇迹、危险和神秘。在市场上充斥着各种形态和物种的怪物时，一位艺术家如何能够设计出具有竞争力的原创生物，让观众感到愉悦、恐惧和神秘呢？动物们如何运用幻象和主题来给彼此留下深刻印象、欺骗和惊讶，设计师又该如何将这些策略应用到强大的叙事效果中呢？加入前动物园管理员兼网易资深生物设计师迈克尔·V·埃皮内特(Michael V. Eppinette)的行列，跟随他探索设计《猎物》(2022)中凶猛猎食者(Feral Predator)的过程中理解这些问题的旅程，以及他展示的以象征为驱动的设计技巧、策略和实用理念，灵感来源于动物王国那戏剧性的怪异现象。
链接：https://schedule.gdconf.com/session/art-direction-summit-pre-production-the-lies-we-tell/902607
作者：Greg Foertsch (CEO & Creative Director, Bit Reactor)
Pre-production is the most nebulous part of development and frequently the point where the success of a game's production is determined. If you have ever asked yourself: are we in production yet?, when do we need to create an art bible?, or even what is really in an art bible?, then this session is for you. This session defines the various stages of pre-production and how the visual development of a project can be more predictable yet allow for exploration and play. By identifying clear evaluation points art directors can identify more confidently when a project will truly enter production, postproduction and what requirements are needed to advance through these stages. Additionally, this talk discusses proper art documentation and how the art team hierarchy needs to evolve through the game's development cycle.
前期制作（Pre-production）是开发过程中最模糊的部分，也经常是决定游戏制作成功与否的关键时刻。如果你曾经问过自己：我们是否已经进入制作阶段了？我们何时需要制作美术规范？或者甚至美术规范具体包括哪些内容？那么这个讨论会适合你。这个讨论会定义了前期制作的各个阶段以及项目的视觉开发如何可以更具预测性，同时又允许探索和发挥。通过明确确定评估点，美术总监可以更自信地确定项目何时真正进入制作阶段、后期制作阶段以及需要通过这些阶段的要求。此外，本次讨论还涉及适当的美术文档化以及在游戏开发周期中美术团队层级需要如何演变。
作者：Joshua Haun (Expert Environment Artist, Activision)
Synergy, or effectively "the whole is greater than the sum of its parts," is applied to how knowledge of architecture can lead to emergent environments in the virtual world of video games. Design methodologies employed by notable architects paired with structural design principles, are taught as patterns that can be utilized by artist and designers to create virtual worlds where the user feels completely catered to. Realism of space is often seen as the only benefit when following real world architectural design principles, and this talk expands this into patterns that help guide an artist or designer into arranging spaces that subconsciously speak to the end user. It is the combined effect of many conditions that influence the user, and that synergy can be tapped into with games just as well as the real world.
‘协同效应’，或者有效地说“整体大于部分之和”，被应用于建筑知识如何在视频游戏的虚拟世界中引导出新兴环境。著名建筑师采用的设计方法与结构设计原则被教授为模式，可以被艺术家和设计师利用来创建让用户完全满意的虚拟世界。当遵循真实世界的建筑设计原则时，空间的真实感通常被视为唯一的好处，而这段讨论将其扩展为帮助指导艺术家或设计师布置空间，潜意识地传达给最终用户的模式。影响用户的是许多条件的综合效果，这种协同效应可以在游戏中以及现实世界中得到利用。
作者：Hanno Hinkelbein (Lead VFX Artist, Rocksteady Studios Ltd)
Complex games need visual feedback for lots of different character actions, weapons and talents and therefore can quickly result in total chaos on screen. This is a session about how to wrestle the beast of information overload and how to use VFX to drive player attention in the right direction without overwhelming them. The talk uses Suicide Squad: Kill The Justice League as an example to illustrate these problems, how the VFX team approached them and what was learned in the process.Often problems start in the beginning of the design process, when VFX artists are not included, or when single designs come together late in the game—so this talk touches on how to structure teams to include VFX in design, a breakdown of our specific problems and what solutions we came up with and a short post-mortem on what was learned and what we want to improve on in our live phase.
复杂的游戏需要为许多不同的角色动作、武器和天赋提供视觉反馈，因此可能很快在屏幕上造成混乱。本讲座讨论如何控制信息过载的问题，以及如何利用视觉效果来引导玩家的注意力，而不使他们感到不知所措。本次讲话以《'自杀小队：杀戮正义联盟'（Suicide Squad: Kill The Justice League）》为例，阐述了这些问题，VFX团队是如何解决它们的，以及在这个过程中学到了什么。问题通常始于设计过程的早期，当VFX艺术家没有被纳入时，或者当单个设计在游戏的后期才合并在一起时——因此，这次讲话涉及如何组织团队将VFX融入设计中，我们遇到的具体问题的分析以及我们提出的解决方案，以及关于已经学到了什么以及我们在实际阶段想要改进的简短总结。
链接：https://schedule.gdconf.com/session/bringing-symbiotes-to-life-in-marvels-spider-man-2/900100
作者：Austin Broder (Character TD, Insomniac Games)、Jonathan Garrett (Lead Engine Programmer, Insomniac Games)
In this game, the knew it was going to introduce an iconic character from Spider-Man lore, Venom.The Venom symbiote is an amorphous, sentient being that gives its host a number of special abilities such as transforming, shooting out 10 meters to punch an enemy, and many more abilities. This raised a big question - how to accomplish bringing this character and his abilities to life?In this presentation, the team discusses the challenges, iteration, and collaboration that helped create the technology behind the Symbiote animation in Marvel’s Spider-Man 2.
在这个游戏中，团队知道他们将要引入《蜘蛛侠》故事中一个标志性的角色，毒液 (Venom)。毒液共生体是一种无定形的、有意识的存在，赋予宿主许多特殊能力，比如变形、伸展十米来攻击敌人，以及许多其他能力。这引发了一个重大问题 - 如何实现将这个角色及他的能力带入游戏？在这个演示中，团队将讨论挑战、迭代和协作，帮助打造《漫威蜘蛛侠2》中毒液动画背后的技术。
作者：Katarzyna Zielińska (Lead Concept Artist, Techland)
Creating FPP open-world games with a freedom of traversing that comes with parkour gameplay is one of the biggest challenges that a Concept Artist could face. This presentation describes, in-depth, the process of creating gameplay visuals for Dying Light 2 Stay Human from the Environment Concept Art team perspective. Katarzyna Zielińska, Lead Concept Artist at Techland, talks through the creative and art direction, and how the team reconciled them with the gameplay idea of a giant playground. What's more, Katarzyna presents the pipelines and good work habits that were built during the production of Dying Light 2 Stay Human. Each part is supported by concept art examples, gameplay videos, and screenshots.
创作第一人称开放世界游戏，并融入自由穿梭元素，配合跑酷玩法，是概念艺术家可能面临的最大挑战之一。本演示深入描述了环境概念艺术团队视角下为《Dying Light 2 Stay Human》创建游戏视觉的过程。波兰游戏开发工作室Techland的首席概念艺术家卡塔日娜·齐琳斯卡（Katarzyna Zielińska）分享了创意和美术方向，以及团队如何将它们与一个庞大游乐场的游戏理念融合。此外，卡塔日娜展示了在制作《Dying Light 2 Stay Human》期间建立的流程和良好工作习惯。每个部分中都有概念艺术示例、游戏视频和截图的支持。
作者：Fleming Lin (Senior Technical Artist, LIGHTSPEED STUDIOS)
This session provides insights into the technical artist team’s development of a lightweight, highly reusable and artist-and-developer-friendly Cross-DCC animation pipeline. Fleming Lin from LIGHTSPEED STUDIOS will introduce two key pipeline frameworks: Protostar and NodeZoo. The presentation includes a demonstration of versioning strategies, data-driven rig generation, and the implementation of universal toolkits tailored to diverse projects at LIGHTSPEED STUDIOS.
这个会话将深入介绍技术美术团队开发的轻量化、高度可重用、艺术家和开发者友好的跨DCC动画流程。LIGHTSPEED STUDIOS 的 Fleming Lin 将介绍两个关键的流程框架：Protostar 和 NodeZoo。演示将涉及版本管理策略、数据驱动的绑定生成，以及针对LIGHTSPEED STUDIOS各种项目量身定制的通用工具集的实施。
作者：Veera Hokkanen (Senior Concept Artist, Housemarque, Sony PlayStation Studios)
In this session, Veera Hokkanen, Senior Concept Artist at Housemarque, Sony PlayStation Studios, sheds light on the visual development of Returnal, an award-winning science fiction roguelite game. The talk is a concept art postmortem with a balance of design and explanation of the practical process of concept art. Veera, a senior concept artist with 8 years of professional experience, showcases a variety of concept artworks done during the production of Returnal, explaining the creative principles and constraints that shaped the visual look of the game. She demonstrates the work of a concept artist with concrete examples, provides reasons behind the team's artistic decisions and reflects on her own career. In the end, Veera compares the production of Returnal to the production of its DLC: Ascension and provides lessons learned from the six years she has been at Housemarque.
在这个环节中，索尼互动娱乐旗下Housemarque的高级概念艺术家维拉·霍坎农(Veera Hokkanen)为我们揭示了获奖科幻魔幻游戏《Returnal》的视觉开发过程。这次讲座是一次概念艺术事故分析，平衡了设计以及对概念艺术实际流程的解释。维拉是一位拥有8年专业经验的资深概念艺术家，展示了在《Returnal》制作过程中完成的各种概念艺术作品，解释了塑造游戏视觉风格的创作原则和限制条件。她通过具体例子演示了概念艺术家的工作，提供了团队艺术决策背后的原因，并反思了自己的职业生涯。最后，维拉将《Returnal》的制作与其DLC《Ascension》的制作进行了比较，并分享了她在Housemarque工作六年的所得到的经验教训。
作者：Lichuan Wang (Technical Artist Team Lead , TiMi Studio Group, Tencent Games)
Delta Force is developing top-tier experiences to gamers for all platforms and its' development team is working across multiple platforms in the short term to achieve it. This session will give a detailed introduction to a set of In-house art pipelines and tools that cover various modules ranging from Digital Content Creation (DCC) to the Engine including art assets solutions, OpenWorld infrastructure/Biome integrations, and more. The team and processes take great consideration to achieve the high fidelity and design density required to hit the high-end graphics PC gamers crave while accounting for maintaining a high level of performance on mobile devices.
Delta Force正在为所有游戏平台开发顶级体验，并且其开发团队短期内正在跨平台工作以实现这一目标。本次会议将详细介绍一套内部美术流程和工具，涵盖从数字内容创建（DCC）到引擎的各个模块，包括美术资源解决方案、OpenWorld基础设施/生态系统集成等。团队和流程非常重视，以实现高保真度和设计密度，以满足高端PC游戏玩家渴望的高端图形效果，同时考虑在移动设备上保持高水平性能。
链接：https://schedule.gdconf.com/session/diablo-iv-the-art-of-open-world-sanctuary/899417
作者：Mahreen Fatima (Senior Environment Artist, Blizzard Entertainment)、Sam Gao (Environment Artist, Blizzard Entertainment)、Justin Whitehead (Associate Material Artist, Environments, Blizzard Entertainment)
How do you approach creating an open world Sanctuary for Diablo IV? This session walks through the Environment Art development process for Exterior Art—including an overview of Environment Art Direction pillars, Level Art, Architecture, and Materials. The artists talk about processes and challenges unique to Diablo IV, such as developing for an isometric camera, performance considerations, and establishing cohesion throughout a sprawling open world.
你如何着手为《暗黑破坏神 IV》创建一个开放世界的圣殿？本次讲座将详细介绍为室外艺术开发的环境艺术流程，包括环境艺术指导支柱的概述、关卡艺术、建筑和材质。艺术家们将讨论暗黑破坏神 IV 独有的开发过程和挑战，如为等距视角相机开发、性能考虑以及在广阔开放世界中确立一致性等问题。
链接：https://schedule.gdconf.com/session/embracing-art-performance-on-diablo-iv/899659
作者：Evan Edwards (Senior Technical Artist I, Graphics, Blizzard Entertainment)
Performance: a word that conjures up many emotions for the average game-artist and can often breed conflict in production. But with the right approach, optimization can be something that the team embraces as part of the development process.
Diablo IV shipped to critical acclaim in its technical strength and performance across a wide variety of hardware, but the journey to get to that point was full of trial-and-error, teamwide initiatives, and no shortage of hard work. Join Senior Technical Artist Evan Edwards as he talks about a cultural approach to optimization, and how developers can make performance less of a dirty word on their teams.
性能优化：这个词对于普通游戏艺术家来说会引起许多情绪，通常会在制作过程中引发冲突。但通过正确的方式，优化可以成为团队在开发过程中欣然接受的一部分。
《暗黑破坏神 IV》以其在各种硬件上的技术实力和性能而备受好评，但要达到这一点的过程充满了反复试验、整个团队的倡议以及大量的辛勤工作。请加入资深技术艺术家Evan Edwards，听听他是如何谈论一种文化化的优化方法，以及开发者如何使性能在团队中变得不那么让人讨厌。
链接：https://schedule.gdconf.com/session/external-development-outsourcing-roundtable-day-1/899303
作者：Carl Schmidt (Senior Director of External Development, Zynga)
External Development, or Outsourcing as it is commonly referred, plays a huge role in the game development industry and with it comes a huge amount of challenges. The External Development Roundtable is a moderated forum discussion surrounding external development topics which are mainly generated by the participants. Whether it's team/leadership buy-in, career growth, best practices, vendor relations, etc. this roundtable will provide a forum for questions, ideas and solutions from industry peers on the front lines of external development. Attendees from all experience levels and disciplines are welcome and will benefit from the discussion. Attendees are strongly encouraged to participate in the conversation.
外部开发，通常被称为外包，在游戏开发行业中发挥着重要作用，伴随着大量挑战。外部开发圆桌会议是一个由主持人引导的论坛讨论，围绕外部开发主题展开，这些主题主要由参与者提出。无论是团队/领导支持、职业发展、最佳实践、供应商关系等，这个圆桌会议将为行业同行就外部开发一线的问题提供提问、思路和解决方案的论坛。来自各种经验水平和领域的与会者都受邀参加并将受益于这次讨论。强烈鼓励与会者踊跃参与交流。
链接：https://schedule.gdconf.com/session/external-development-outsourcing-roundtable-day-2/903291
作者：Carl Schmidt (Senior Director of External Development, Zynga)
External Development, or Outsourcing as it is commonly referred, plays a huge role in the game development industry and with it comes a huge amount of challenges. The External Development Roundtable is a moderated forum discussion surrounding external development topics which are mainly generated by the participants. Whether it's team/leadership buy-in, career growth, best practices, vendor relations, etc. this roundtable provides a forum for questions, ideas and solutions from industry peers on the front lines of external development. Attendees from all experience levels and disciplines are welcome and can benefit from the discussion. Attendees are strongly encouraged to participate in the conversation.
外部开发（External Development），通常称为外包，在游戏开发行业中扮演着重要角色，伴随着大量挑战。外部开发圆桌会议是一个由主持人引导的论坛讨论，围绕外部开发相关主题展开，这些主题主要由参与者提出。无论是团队/领导支持、职业成长、最佳实践、供应商关系等等，这个圆桌为行业同行提供了一个问问题、提出想法以及寻找解决方案的平台，他们都处在外部开发的一线。不论参与者是什么经验水平和专业领域，都欢迎并可以从这个讨论中受益。强烈鼓励参与者积极参与讨论。
作者：Marielle Fox (Lead Environment Artist, Red Hook Studios)
In this session, Red Hook Studios' Lead Environment Artist, Marielle Fox, will discuss the pillars of Darkest Dungeon 2's environment art creation and how the art team established their unique workflow.
She will share the experiences of the team and the challenges they faced while trying to transition the 2D art style of the first Darkest Dungeon game to 3D for the sequel. They will cover various methods that the team experimented with, and how, through a few failures, they managed to develop an elegant solution that fit the project's needs and resources perfectly.
This presentation will also discuss various rendering and procedural generation techniques that Red Hook developed and maintained, in order to achieve the look and tone of various 3D worlds in the style of Darkest Dungeon.
在这个讨论中，Red Hook Studios的首席环境艺术家Marielle Fox将讨论《Darkest Dungeon 2》环境艺术创作的支柱，以及艺术团队是如何建立他们独特工作流程的。
她将分享团队的经验以及他们在试图将第一部《最黑暗的地牢》游戏的2D艺术风格转换为续作的3D时所面临的挑战。他们将介绍团队尝试过的各种方法，以及通过一些失败，他们成功地开发出一个完美契合项目需求和资源的优雅解决方案。
此演示还将讨论Red Hook开发和维护的各种渲染和程序生成技术，以实现在《最黑暗的地牢》风格的各种3D世界中获得特定外观和氛围。
作者：Nicholas Covington (Principal Technical Artist, Riot Games)、Joe Yip (Manager, Technical Art, Riot Games)
Technical art has grown from a niche discipline into a critical component of big enterprise game studios. How does this evolution of this component change the way we approach how technical art operates at a procedural level? In this talk, we'll discuss the following:
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How Legends Of Runeterra uses systemic analysis to support multiple satellite offices around the world with a small core technical art group operating as a service team.
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Explore strategies for maintaining global pipelines that cross borders, languages, and time zones, and give concrete examples of how we've used our lessons to change the way we operate.
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Finally, we'll also discuss how we've adopted Continuous Deployment development practices to unify the ability for our TAs to contribute to a shared tooling solution between projects.
技术美术已经从一个边缘学科发展成为大型企业游戏工作室中的重要组成部分。这个组件的演进如何改变我们在程序级别上处理技术美术运作的方式？在这次讲话中，我们将讨论以下内容：
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《符文之地传说》如何利用系统分析来支持全球多个卫星办公室，只需一个小型核心技术美术团队作为服务团队。
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探讨维护跨越国界、语言和时区的全球流水线的策略，并具体示范我们如何运用所学来改变我们的运营方式。
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最后，我们还将讨论如何采用持续部署开发实践来统一我们的技术美术团队对各个项目之间共享工具解决方案的贡献能力。
作者：Jessica Shipard (Co-founder & Creative Director, Studio Folly)
Typography is often overlooked in game development, but it can play a vital role in creating exciting and memorable experiences for players. Using her hit new game Gubbins as a case study, Jessica Shipard will share how her discipline as a graphic designer informed the creation of her word game and how she balances the needs for clarity and creative flair in videogames. She'll unravel practical strategies for selecting typefaces and refining designs, for captivating and even humorous game designs. Delving into the unexplored realms of the typographic universe, Jessica will unveil the exciting possibilities yet to be harnessed in the game world.
排版设计在游戏开发中经常被忽视，但它在为玩家创造令人兴奋和难忘的体验中发挥着至关重要的作用。通过她的热门新作《Gubbins》作为案例，Jessica Shipard将分享她作为一名平面设计师的专业知识如何影响了她的文字游戏的创作，以及如何在视频游戏中平衡清晰度和创意风格的需求。她将揭示如何选择字体和优化设计，以制作引人入胜甚至幽默的游戏设计的实用策略。深入探索排版世界中尚未开发的领域，Jessica将揭示游戏世界中尚未被发掘的令人兴奋的可能性。
作者：Jason Latino (Cinematic Director, Larian Studios)
No plan survives development. Join the cinematic director of Larian Studios, Jason Latino, for an account of how the realities of making a game at the scale and reactivity of Baldur's Gate 3 required constant evolution and reexamination of first principles. Jason will go over the initial vision and track the specific moments that forced changes on tools, team and approach--leading up to the final challenge--bringing in the release date by a month.
‘无计划能在开发过程中幸存。加入Larian Studios的电影导演Jason Latino，听他讲述在制作像《巴尔德之门3》这样规模和交互性的游戏时，如何需要不断演变和重新审视首要原则的现实情况。Jason将回顾最初的愿景，并追踪那些迫使工具、团队和方法发生变化的具体时刻，直至最后的挑战——将发行日期提前一个月。’
作者：Jennifer Carlin (Advanced Lighting Artist, Insomniac Games)
Different types of gameplay have different lighting needs. A linear narrative section requires control of tone and mood, and the employment of contrast and color. A combat space needs visibility and identification of enemies and threats. So, when an environment includes both, each with its own path to lead players along, some compromises must be made and creative solutions employed. And at the end of the day, everything must be running in frame, leading to even more challenges.This lecture is a deep dive into the process of lighting one of the set piece levels of Marvel’s Spider-Man 2. Jen Carlin, Advanced Lighting Artist at Insomniac Games, discusses some of the challenges throughout its development, and the solutions found.
不同类型的游戏玩法有不同的光照需求。线性叙事部分需要控制色调和情绪，并运用对比和色彩。战斗场景需要明确可见的敌人和威胁。因此，当一个环境同时包含这两种元素，各自有引导玩家的路径时，就需要做出一些妥协并采用创意解决方案。而且归根结底，一切都必须在画面中运行，这会带来更多挑战。这场讲座深入探讨了在开发《漫威蜘蛛侠2》中一个关键关卡的照明过程。Insomniac Games 的高级照明艺术家Jen Carlin，讨论了开发过程中遇到的一些挑战和找到的解决方案。
作者：Xray Halperin (Senior Technical Artist, Insomniac Games)
A look at the evolution of procedural content creation at Insomniac Games across multiple 'Marvel's Spider-Man' titles culminating in 'Marvel’s Spider-Man 2.
在多款《漫威蜘蛛侠》作品中，我们来看一下Insomniac Games在程序化内容创作方面的发展演变，最终达到了《漫威蜘蛛侠2》。
作者：Damien Bataille (Lead Software Engineer, NVIDIA)、Pierre-Olivier Trottier (Game Systems Engineer, NVIDIA)
NVIDIA RTX Remix, a graphics modding platform for remastering classic games with path traced lighting, modern PBR Assets, DLSS, and Generative AI was released in January, 2024. It is a first of its kind modding tool that allows modders to capture game scenes into OpenUSD format, making them easy to manipulate. RTX Remix allows you to replace a game's meshes, textures, materials, lighting and even renderer. It offers modders access to generative AI Texture Tools to revamp old game textures in higher resolution and with physically accurate properties. The final output -- a stunning mod that rivals modern games in looks and technology. We build Portal With RTX using RTX Remix, and modders are creating Half Life 2 RTX using the tool. Join our session to learn how we built RTX Remix, how it works, and what we've seen the community able to do with it.
NVIDIA RTX Remix，一个用于通过路径跟踪光照、现代PBR资源、DLSS和生成式人工智能对经典游戏进行翻新的图形修改平台于2024年1月发布。这是一款首款类似的修改工具，允许修改者将游戏场景捕捉成OpenUSD格式，从而更容易操控。RTX Remix让你能够替换游戏的网格、纹理、材质、光照甚至渲染器。它为修改者提供了使用生成式人工智能纹理工具，以更高分辨率和真实物理属性翻新旧游戏纹理的访问权限。最终输出的成果——是一个令人惊叹的修改，堪与现代游戏在外观和技术上相媲美。我们使用RTX Remix构建了《Portal With RTX》，而修改者们正在使用这一工具创作《半条命2 RTX》。加入我们的研讨会，了解我们是如何搭建RTX Remix的，它如何运作，以及我们看到社区能够用它实现了什么。
链接：https://schedule.gdconf.com/session/pondering-orbs-the-rendering-and-art-tools-of-cocoon/902878
作者：Mikkel Svendsen (Render Programmer, Geometric Interactive)
This talk details the graphical techniques developed for COCOON, the debut title of Geometric Interactive, founded by Jeppe Carlsen, lead gameplay designer on LIMBO and INSIDE. Rendering the game's beautiful worlds within worlds takes a few tricks—from thick billowing froxel fog and spherical harmonics volumetric lightmaps, to a host of visual effects like crystalline Voronoi bridges, SDF shoreline ripples on water, and warping through ponderable orbs.Mikkel Svendsen presents how these features, tools and effects were implemented and shipped on the game's target platforms, how they contributed to the game's look, and how it all works together with an MSAA-friendly rendering pipeline by carefully considering the gotchas of fitting these features and effects with that.
这个讲座详细介绍了为 Geometric Interactive 的首款游戏《COCOON》开发的图形技术，该公司由《LIMBO》和《INSIDE》的首席玩法设计师 Jeppe Carlsen 创立。在游戏的世界内呈现美丽的世界需要一些技巧——从厚重的滚滚的 froxel 雾和球谐体积光照图，到一系列视觉效果，如晶格 Voronoi 桥、SDF 水面波纹和通过感知光球进行扭曲等。Mikkel Svendsen 展示了这些功能、工具和效果是如何实现并在游戏目标平台上发布的，它们如何为游戏的外观做出贡献，以及如何通过谨慎考虑将这些功能和效果与 MSAA 友好的渲染管线配合，使一切协同起来。
作者：Richard Cowgill (RTX Unreal Engine Evangelist, NVIDIA)、Homam Bahnassi (DevTech Technical Artist, NVIDIA)
The session presents RTX features and how they impact content creation in UE5. We will cover technical aspects of real-time path-traced direct lighting and how it is leveraged with Lumen enhancements and optimizations to obtain fully dynamic scenes.
这个讲座会介绍RTX功能以及它们如何影响在UE5中进行内容创作。我们将涵盖实时路径追踪直接光照的技术方面，以及如何通过Lumen的改进和优化来实现完全动态的场景。
作者：Iago Calvo Lista (Graphics Software Engineer, Arm)
Dive into the future of 3D graphics with Vulkan Ray Tracing! Uncover the transformative potential for mobile applications as hardware Ray Tracing accelerates on smartphones.
Join our technical deep-dive for a journey into hybrid rendering, unlocking unparalleled realism and quality in shadows and reflections without compromising performance.
Explore fine-tuned optimizations and game-changing best practices tailored for mobile hardware, enhancing your Vulkan based project. Seize this ideal moment to elevate your game development with cutting-edge technology, ensuring your creations stand out in the evolving landscape of immersive mobile experiences!
投身 Vulkan 光线追踪的未来！发现随着智能手机硬件光线追踪的加速，移动应用程序的变革潜力。
加入我们的技术深度探讨，踏上涉及混合渲染的旅程，解锁在阴影和反射中无与伦比的真实感和质量，而不影响性能。
探索经过微调的优化和针对移动硬件量身定制的改变游戏规则的最佳实践，提升您基于 Vulkan 的项目。抓住这个理想时刻，借助尖端技术提升您的游戏开发，确保您的作品在日益丰富的沉浸式移动体验环境中脱颖而出！
作者：Nathan Li (Senior Manager, Developer Ecosystem, Arm)、Shun Cao (Head of Engine Technology, Tencent Games)
SmartGI, a cutting-edge Vulkan renderer developed by Tencent Games, aims to enable the best possible graphics on all platforms is taking one step further.
Developers now can enjoy the most advanced techniques, such as real-time global illumination, cluster based seamless LOD and textures, alongside a fine-tuned deferred pipeline to render pixel scale detail and high object counts on mobile.
SmartGI，由腾讯游戏开发的一款先进的Vulkan渲染器，旨在实现所有平台上最出色的图形效果，正迈出更进一步的一步。
开发者现在可以享受最先进的技术，例如实时全局光照、基于集群的无缝LOD和纹理，以及经过精心调整的延迟管线，以在移动设备上呈现像素级细节和大量对象。
链接：https://schedule.gdconf.com/session/steel-arms-bringing-lumen-to-immortalis-presented-by-arm/903171
作者：Patrick Wang (Game Developer, Arm)
Immerse yourself in a game-changing session tailored for technical artists. Uncover the secrets of seamlessly integrating Lumen into Arm Immortalis GPUs, showcased through the our "Steel Arms" demo. Gain insights into the high-level Lumen lighting pipeline and unlock optimization best practices for ray tracing content at each stage, derived from the immersive journey of crafting Steel Arms. Join us for an inspiring exploration where technical artistry meets cutting-edge GPU innovation, propelling your game development to new heights.
沉浸在专为技术艺术家量身定制的改变游戏的会话中。揭开将Lumen无缝集成到Arm Immortalis GPUs中的秘密，展示在我们的“钢铁之臂”演示中。深入了解高级Lumen光照管线，并解锁每个阶段针对光线追踪内容的优化最佳实践，这些实践来自打造“钢铁之臂”时的沉浸式旅程。加入我们，探索激发灵感的旅程，在这里技术艺术与最前沿的GPU创新相遇，推动您的游戏开发达到新的高度。
链接：https://schedule.gdconf.com/session/technical-artist-roundtable-day-1/900063
作者：Jeff Hanna (Senior Tools Programmer, NVIDIA)
The role of a technical artists has grown from a clean-up artist and data wrangler to someone who is in charge of complex content creation pipelines and asset tracking systems. Increasingly, the lines between programmer and artist are blurring for technical artists. Tool creation, scripting, shader creation, working with both programmers and artists, and managing workflow are all skills required of a modern technical artist. This roundtable will bring together technical artists from across the industry to share their knowledge, experiences, and tips for being the best at their jobs.
技术美术师（Technical Artist）的角色已经从一个清理艺术家和数据管理员发展为负责复杂内容创作流程和资产追踪系统的人。对于技术美术师来说，程序员和艺术家之间的界限日益模糊。现代技术美术师需要具备工具创作、脚本编写、着色器创作、与程序员和艺术家协作以及管理工作流程等技能。本圆桌讨论将汇集来自游戏行业各领域的技术美术师，分享他们的知识、经验和成为工作最优秀者的建议。
链接：https://schedule.gdconf.com/session/technical-artist-roundtable-day-2/903342
作者：Jeff Hanna (Senior Tools Programmer, NVIDIA)
The role of a technical artists has grown from a clean-up artist and data wrangler to someone who is in charge of complex content creation pipelines and asset tracking systems. Increasingly, the lines between programmer and artist are blurring for technical artists. Tool creation, scripting, shader creation, working with both programmers and artists, and managing workflow are all skills required of a modern technical artist. This roundtable brings together technical artists from across the industry to share their knowledge, experiences, and tips for being the best at their jobs.
技术艺术家（Technical Artist）的角色已经从清洁工和数据协调员发展为负责复杂内容创作流程和资源跟踪系统的重要人员。对于技术艺术家来说，程序员和艺术家之间的界限越来越模糊。现代技术艺术家需要具备工具创建、脚本编写、着色器创建、与程序员和艺术家合作以及管理工作流程等技能。这次圆桌讨论聚集了来自游戏行业各个领域的技术艺术家，分享他们的知识、经验，以及成为工作最出色的技巧。
链接：https://schedule.gdconf.com/session/technical-artist-roundtable-day-3/903343
作者：Jeff Hanna (Senior Tools Programmer, NVIDIA)
The role of a technical artists has grown from a clean-up artist and data wrangler to someone who is in charge of complex content creation pipelines and asset tracking systems. Increasingly, the lines between programmer and artist are blurring for technical artists. Tool creation, scripting, shader creation, working with both programmers and artists, and managing workflow are all skills required of a modern technical artist. This roundtable brings together technical artists from across the industry to share their knowledge, experiences, and tips for being the best at their jobs.
技术艺术家（Technical Artist）的角色已经从清洁工和数据协调员发展为负责复杂内容创作流程和资源跟踪系统的重要人员。对于技术艺术家来说，程序员和艺术家之间的界限越来越模糊。现代技术艺术家需要具备工具创建、脚本编写、着色器创建、与程序员和艺术家合作以及管理工作流程等技能。这次圆桌讨论聚集了来自游戏行业各个领域的技术艺术家，分享他们的知识、经验，以及成为工作最出色的技巧。
链接：https://schedule.gdconf.com/session/technical-artist-summit-build-your-own-particle-system/902498
作者：Ben Cloward (Senior Technical Artist, Unity)
Shaders are most commonly used to define the appearance of model surfaces - but they can do a lot more! In this session, Ben will show how to construct a full-featured, performance-friendly particle system using only a node-based shader tool such as Unreal's Material Editor or Unity's Shader Graph.
Attendees will learn how to make particles face the camera, move, rotate, and scale as well as control particle movement and rotation. They will learn how to control particle color and opacity, as well as how to fade out particles where they intersect with scene geometry.
Even more features can be added to provide more control, or removed to increase performance. Artists can have full control over a particle system they build themselves and Ben will show them how in this session.
Shader通常用于定义模型表面的外观 - 但它们能做的远不止这些！在本系列中，Ben将展示如何仅使用基于节点的Shader工具（如Unreal的材质编辑器或Unity的Shader图形）构建一个功能齐全、性能友好的粒子系统。
参与者将学习如何使粒子面向摄像机，移动、旋转和缩放，以及控制粒子的运动和旋转。他们将学会控制粒子的颜色和不透明度，以及如何在粒子与场景几何体相交时使粒子逐渐消失。
还可以添加更多功能以提供更多控制，或移除以增加性能。艺术家可以完全控制他们自己构建的粒子系统，Ben将在本系列中向他们展示如何实现。
作者：Patrick Schuler (Tech Artist, Studio Wildcard)、Mark Mihelich (Senior Engine Programmer, Studio Wildcard)
Step into the immersive world of "Ark: Survival Ascended" as we delve into our new GPU-based foliage interaction system. Our presentation outlines how we've combined UE5's Nanite technology with a custom force-injection system to create truly dynamic open-world environments. Explore how millions of Nanite-based assets—from trees to grass—interact in real-time with players, NPCs, weapons, visual effects and even each other. Our process leverages tools like SpeedTree 9 and Houdini for asset creation and data encoding, significantly optimizing computational loads. You'll get insights into our custom compute shader pipeline, dynamic memory allocation, and how forces are injected into multiple volumetric render targets to achieve the fully dynamic open multiplayer world of "Ark: Survival Ascended".
踏入“方舟：生存进化（Ark: Survival Ascended）”沉浸式世界，我们将深入探讨我们全新基于GPU的植被交互系统。我们的演示展示了我们是如何将UE5的Nanite技术与自定义力注入系统相结合，创造出真正动态的开放世界环境的。探索数百万基于Nanite的资产——从树木到草地——如何实时与玩家、NPC、武器、视觉效果甚至彼此互动。我们的流程利用诸如SpeedTree 9和Houdini之类的工具进行资产创建和数据编码，极大地优化了计算负载。您将深入了解我们的自定义计算着色器管线、动态内存分配，以及如何将力注入到多个体积渲染目标中，从而实现“方舟：生存进化”完全动态开放多人世界的。
作者：Aaron Aikman (Lead Technical Artist, Graphics, Blizzard Entertainment)
From oceans, rivers and puddles, to ice, snow and fog, water in the open world of Diablo IV's Sanctuary takes many forms and has even more challenges to solve. In this talk, Aaron talks about the pixel and vertex shader techniques employed to create convincing shorelines, dynamically accumulating puddles, snow-topped rocks, ominous Helltide rivers, icy caves, and more. Maintaining performance across platforms is, as always, of paramount importance. Water requires many elements to work in concert, from lighting and rendering tech, to textures and material parameters, all the way to level art. Study the technical details and artistry behind how Diablo IV achieves believable water within performance constraints.
从海洋、河流和水坑到冰雪和雾气，在《暗黑破坏神 IV》圣堂中，水呈现多种形态，并带来更多挑战需要解决。在这次演讲中，Aaron谈到了使用像素和顶点着色器技术来创建逼真海岸线、动态积水、被雪覆盖的岩石、不祥的地狱潮河、冰冻洞穴等情景。跨平台性能的维护始终是至关重要的。水需要各种元素协同作用，包括灯光和渲染技术、纹理和材质参数，一直到关卡美术。深入研究《暗黑破坏神 IV》如何在性能限制下实现可信水效果的技术细节和艺术性。
作者：David Santiago (Principal Technical Artist, Insomniac Games)
Marvels Spider-Man 2 employed over a dozen procedural systems in creation and population of its open world and many more in support of destruction, breakables, effects and characters. The power of procedural systems in production is widely recognized and it's hard to name a studio that isn't taking advantage of them. It allows efficient, rapid generation and iteration of a vast amount of content in game development. Unfortunately, the development of production ready procedural systems themselves can be far from an efficient process. This presentation uses successful and less than successful examples from Marvel's Spider-Man 2 production in a guide to development and implementation of procedural systems from inception.
《漫威蜘蛛侠2》在创作和填充其开放世界中运用了十几种过程系统，而在支持破坏、易碎物、特效和角色方面则更多。制作中过程系统的强大能力被广泛认可，几乎找不到没有利用它们的工作室。它可以在游戏开发中高效、迅速地生成和迭代大量内容。不幸的是，制作可用于生产的过程系统本身可能远非高效。本演示从《漫威蜘蛛侠2》制作中的成功和不那么成功的例子中，作为一个关于过程系统开发和实施的指南，介绍了从构思到实现的过程。
作者：Daniel Ocean (Asc TechArt Director, Ubisoft)
Generative AI is shaking up the industry, so like any other emerging technology we, as tech-artists, can ride the wave and bend our curious eye at its challenges, promises, and time saving nature. All to fold the best parts into our workflows, pipelines, and processes.Daniel Ocean is an Associate TechArt Director at Ubisoft currently working on XDefiant – a competitive arena shooting pulling from all the Ubisoft gaming franchises and engines, both old and new. The session includes an evaluation of generative AI and its current place in production – both generally and within Ubisoft. Daniel takes a look at the novel and different ways AI is, and will, solve pain points for artists and designers through examples. Additionally, we look practically at how to create training data for custom GenAI, image-based, tools using Houdini. With a focus on the importance of owning the input training for tools as much as the output of the generation.
生成式人工智能(Generative AI)正在颠覆游戏行业，因此像其他新兴技术一样，作为技术艺术家，我们可以顺势而为，关注它的挑战、承诺和节省时间的特性。这一切都是为了将最好的部分融入我们的工作流程、管线和流程中。Daniel Ocean 是育碧(Ubisoft)的一名副技术艺术总监，目前正在参与开发《XDefiant》 - 一个竞技竞技射击游戏，汲取自育碧的所有游戏系列和引擎，无论新旧。这个讲座包括对生成式人工智能以及其在制作中的当前位置进行评估 - 不仅仅是在普遍层面上，还包括在育碧内部。Daniel 通过示例探讨AI解决艺术家和设计师痛点的新颖和不同方式，以及它将如何解决。此外，我们还实际探讨了如何使用Houdini为定制的GenAI、基于图像的工具创建训练数据的重要性，重点放在拥有工具的输入训练数据上，与输出生成一样重要。
作者：John Crossland (Principal Character Artist, RemedyGames)
In this character art session, we explore and dissect how at Remedy we approach the character creation process for outfit modelling. The session is dedicated to looking at the outfit aspects of Saga and Alan, how we approached the designs to create a grounded sense of realism. Then how we captured the outfits to ensure the highest level of realism from scanning, sculpting, modelling, and texturing. Finally, how we review final outfits in engine and calibrate materials for our final asset reviews. This session gives an insight into what goes into making Alan Wake and Saga Anderson's outfits in Alan Wake II.
在这个角色美术课程中，我们探讨并剖析了在 Remedy 我们如何处理角色创作过程中的服装建模。这个课程致力于审视 Saga 和 Alan 的服装方面，我们是如何设计这些服装以创造接地现实感的。然后我们展示了如何从扫描、雕刻、建模和贴图等方面捕捉服装，确保达到最高水准的真实感。最后，我们会展示如何在引擎中审查最终的服装，并校准材质以进行最终资产审查。这个课程让人们深入了解创作《'Alan Wake II'》中的 Alan Wake 和 Saga Anderson 的服装所需的步骤。
作者：Nazareno Urbano (Principal Environment Artist, Remedy Entertainment)
The presentation is a dive into the world-building aspect of The Dark Place of Alan Wake II, we explain how we approach the environment world-building and what tools we use to create an evolving nightmare dimension where the world is shifting, and multiple layers of reality are interconnected in a dream logic structure where the reality is subjective.
这个演讲是对《艾伦·韦克II的黑暗之地》世界构建方面的深入探讨，我们将解释我们如何处理环境世界构建以及我们使用哪些工具来创建一个不断演变的噩梦维度，在这里，世界在转变，多层次的现实相互交织在一个梦境逻辑结构中，现实是主观的。
作者：Hailey Del Rio (Senior Graphic Designer, Naughty Dog Inc)
As technology has continues to grow, it has created a new opportunity in the gaming industry
to create even more rich environments and stories that utilize the skills and medium of
graphic design. So this session will take a deep dive into the graphic design that helped to
create The world of Uncharted 4 and The Last of Us Part I&II.
随着技术不断发展，它为游戏行业创造了新的机遇，可以利用图形设计的技能和媒介来打造更加丰富的环境和故事。因此，本次讨论将深入探讨图形设计是如何帮助打造《神秘海域4》和《最后生还者》系列这两款作品的世界的。
作者：John Mueller (Art Director, Blizzard Entertainmnet)
This talk is dedicated to giving an inside look into the Art Direction of Diablo IV and how the Diablo art team developed a shared vision for one of the biggest games of 2023. This talk features John Mueller, Art Director for Diablo IV. He shares 5 processes utilized by the team to engage and grow a shared vision for one of gaming's biggest franchises.
这次演讲致力于深入了解《暗黑破坏神 IV》的艺术指导，以及《暗黑破坏神》艺术团队是如何为2023年最重要的游戏之一制定共同愿景的。演讲将由《暗黑破坏神 IV》的艺术总监约翰·米勒主讲。他将分享团队利用的5个流程，用于打造游戏界最重要系列之一的共同愿景。
链接：https://schedule.gdconf.com/session/the-universal-scene-description-usd-roundtable/898310
作者：Robin-Yann Storm (Tool UX & Workflow Designer, Independent)
USD stands for 'Universal Scene Description', and it is a 3D file format Pixar created over a span of many years and movies, and was released open source to the public in 2016. Although technically it is more of an API than a file format, which is an ongoing discussion into the terminology and use of USD.
In this session, attendees can gather to talk about USD. Come and meet, discuss, and find out what everyone has been doing with USD.
Questions can be submitted during the roundtable. For example, these may include topics such as:
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What are issues you have bumped into when implementing USD into your pipeline?
-
What would be required for USD to be more widely adopted?
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How can studios, and vendors, best share Schemas?
Questions can be oriented towards technical issues, design, and artistic workflows.
USD代表‘通用场景描述’，它是皮克斯在许多年和电影制作过程中创造的一种3D文件格式，于2016年开源发布给公众。尽管在技术上它更像是一个API而不是一个文件格式，这一术语和USD的使用仍在进行中的讨论中。
在这个讨论会上，与会者可以聚集在一起讨论USD。欢迎大家前来交流，讨论，并了解大家如何使用USD。
参与者可以在圆桌讨论期间提出问题。例如，可能会涉及以下主题：
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在将USD应用到你的流程中时，你遇到的问题有哪些？
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为了使USD更广泛地被采用，需要什么条件？
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制作室和供应商如何最好地共享模式？
这些问题可以涉及技术问题，设计以及艺术工作流程方面。
Unity Developer Summit: Crafting Beautiful Natural Environments with Unity and SpeedTree (Presented by Unity)
作者：TBA . (TBA, TBA)
Have you seen The oasis, our photorealistic URP sample? Go behind the scenes with the experts that crafted it and learn new ways to create eye-catching environments, ranging from vegetation to sky. This session walks you through how the shaders were made, how to create a beautiful sky, and how to build a Sago Palm including procedural structure and leaf canopy clusters.
你有见过《绿洲》这款我们的照片级URP样本吗？跟随那些打造它的专家走进幕后，学习创建引人注目环境的新方法，从植被到天空都包括在内。这个会话将引导您了解着色器是如何制作的，如何创建美丽的天空，以及如何构建一颗梭鱼棕榈树，包括程序生成结构和叶冠簇。
Unity Developer Summit: Create Eye-Catching 2D Art with Lighting, Effects, and AI Techniques (Presented by Unity)
作者：TBA . (TBA, Unity)
Have you seen our new Happy Harvest demo? Go behind the scenes with the team that made it and benefit from new ways to create eye-catching art in Unity. Using a top-down view with 2D lights, we show you how to up your shadow game with dynamically lit worlds and how brand-new support for VFX Graph and Shader Graph lets you run millions of particles on the GPU. We finish with a sneak peek at the Muse-powered Sprite Generation, helping you create sprites faster than ever.
你有看过我们的新《Happy Harvest》演示吗？跟随制作团队走进幕后，了解在Unity中创造引人注目艺术作品的新方法。通过使用俯视图和2D灯光，我们向您展示如何通过动态光照的世界提升您的阴影效果，并且全新支持的VFX Graph和Shader Graph让您可以在GPU上运行数百万个粒子。最后，我们以使用Muse技术驱动的Sprite Generation的魔法一瞥结束，这将帮助您比以往更快地创建精灵。
链接：https://schedule.gdconf.com/session/visual-effects-roundtable-day-1/898639
作者：Jason Keyser (Founder, CEO, VFX Artist, VFX Apprentice)、Gabriel Boileau (VFX Artist, Activision Blizzard)
The tools and techniques of Real Time VFX have changed dramatically over the past few years. There are now extraordinarily powerful desktop GPUs, rapidly advancing mobile GPUs, compute shaders, complex particle sims, mesh-based effect techniques, and advanced post processing and compositing tools. The new consoles have matured and are showing what they're capable of, and VR/AR/XR continues to impact the industry. It's an incredible time in Real Time VFX.
Join this roundtable to hear from other VFX artists, learn about their successes and failures, compare pie-in-the-sky ideas, and share your favorite tricks.
Day 1: General topics and revisiting ground broken in the VFX Summit earlier in the week. (Jason Keyser and Gabriel Boileau)
Day 2: VFX through an Artistic Lens, focusing on attendee questions about the artistic aspects of VFX. This may include art education (as students or veterans), art direction, and more. (Jason Keyser)
Day 3: The Technical Lens for creating VFX, guiding the conversation through such as graph based effect authoring, effect lighting and optimization, new mesh based techniques, VR/AR/XR, and more. (Gabriel Boileau)
实时视觉效果（Real Time VFX）的工具和技术在过去几年发生了巨大变化。现在有非常强大的台式机GPU、不断进步的移动GPU、计算着色器、复杂的粒子模拟、基于网格的效果技术，以及先进的后期处理和合成工具。新的游戏主机已经成熟，并展示了它们的潜力，而虚拟现实（VR）、增强现实（AR）和混合现实（XR）继续影响着这个行业。现在是实时视觉效果领域的一个不可思议的时代。
加入此圆桌讨论，听其他视觉效果艺术家分享他们的成功和失败，比较那些有梦想的想法，并分享你最喜欢的技巧。
第一天：一般主题，重温本周早些时候在VFX峰会上探讨的议题。 （由Jason Keyser和Gabriel Boileau主持）
第二天：通过艺术视角看视觉效果，关注与会者关于视觉效果艺术方面的问题。这可能包括艺术教育（作为学生或资深从业者）、艺术指导等等。 （由Jason Keyser主持）
第三天：技术视角下的视觉效果创作，引导对话涉及基于图形的效果创作、效果照明和优化、新的基于网格的技术，VR/AR/XR等等。 （由Gabriel Boileau主持）
链接：https://schedule.gdconf.com/session/visual-effects-roundtable-day-2/903340
作者：Jason Keyser (Founder, CEO, VFX Artist, VFX Apprentice)
The tools and techniques of Real Time VFX have changed dramatically over the past few years. There are now extraordinarily powerful desktop GPUs, rapidly advancing mobile GPUs, compute shaders, complex particle sims, mesh-based effect techniques, and advanced post processing and compositing tools. The new consoles have matured and are showing what they're capable of, and VR/AR/XR continues to impact the industry. It's an incredible time in Real Time VFX.Join this roundtable to hear from other VFX artists, learn about their successes and failures, compare pie-in-the-sky ideas, and share your favorite tricks.VFX through an Artistic Lens, focusing on attendee questions about the artistic aspects of VFX. This may include art education (as students or veterans), art direction, and more.
近几年来，实时视觉效果（Real Time VFX）的工具和技术发生了巨大变化。现在有非常强大的台式机GPU、不断发展的移动GPU、计算着色器、复杂的粒子模拟、基于网格的效果技术，以及先进的后期处理和合成工具。新一代游戏主机也不断成熟，展现出它们的潜力，而虚拟现实/增强现实/混合现实继续影响着这个行业。现在正是实时视觉效果领域令人难以置信的时刻。加入这个圆桌讨论会，听听其他视觉效果艺术家的见解，了解他们的成功和失败，比较不切实际的想法，并分享你喜欢的技巧。以艺术视角解读视觉效果，专注于与与会者有关VFX艺术方面的问题。这可能涉及美术教育（学生或资深从业者）、美术指导等等。
链接：https://schedule.gdconf.com/session/visual-effects-roundtable-day-3/903341
作者：Gabriel Boileau (VFX Artist, Activision Blizzard)
The tools and techniques of Real Time VFX have changed dramatically over the past few years. There are now extraordinarily powerful desktop GPUs, rapidly advancing mobile GPUs, compute shaders, complex particle sims, mesh-based effect techniques, and advanced post-processing and compositing tools. The new consoles have matured and are showing what they're capable of, and VR/AR/XR continues to impact the industry. It's an incredible time in Real Time VFX.Join this roundtable to hear from other VFX artists, learn about their successes and failures, compare pie-in-the-sky ideas, and share your favorite tricks.The Technical Lens for creating VFX, guiding the conversation through such as graph based effect authoring, effect lighting and optimization, new mesh based techniques, VR/AR/XR, and more.
实时视觉效果（Real Time VFX）的工具和技术在过去几年发生了巨大变化。现在有非常强大的桌面GPU、迅速发展的移动GPU、计算着色器、复杂的粒子模拟、基于网格的效果技术，以及先进的后期处理和合成工具。新一代游戏主机已经成熟，并展示了它们的潜力，而虚拟现实（VR）/增强现实（AR）/混合现实（XR）继续影响着该行业。现在是实时视觉效果领域非常不可思议的时代。加入这次圆桌讨论，听听其他VFX艺术家的经验，了解他们的成功和失败，比较那些高不可攀的想法，并分享你最喜欢的技巧。技术角度为VFX的创作提供了指导，通过基于图形的效果创作、效果灯光和优化、新的基于网格的技术、VR/AR/XR等内容引导了这次讨论。
作者：Laura Higgins (VFX Artist, Rocksteady Studios Ltd)、Shannon McSheehan (Lead VFX Artist, Riot Games)、Guy Cool (Junior VFX Artist, FXVille)、Jamal Coleman (Senior VFX Artist, Riot Games)
VFX continues to evolve alongside the games industry. VFX artists of all skill levels are constantly learning new skills and techniques. This talk will cover tools and examples anyone can use to learn new skills and grow in their craft without becoming overwhelmed. Taking a particular look at the benefits of mentoring and how to develop a successful mentoring relationship. Along with having a focus on effectively using and advocating for time to get the most out of learning VFX.Joining projects at different stages of development with a mix of complex and well-established features can be daunting, especially for VFX artists early on in their careers. This session also focuses on how to approach these features of varying complexity and how to tackle the opportunity to work on them, with the aim of growing from the experience.
VFX在游戏产业中不断发展。各种技术水平的VFX艺术家不断学习新技能和技术。本次讨论将涵盖任何人都可以使用的工具和示例，以学习新技能，并在其工艺上取得进步，而不会变得不知所措。 特别关注导师制的好处以及如何建立成功的导师关系。还将重点关注如何有效利用时间以最大程度地学习VFX，并为此进行倡导。参与不同开发阶段项目的VFX艺术家可能觉得令人生畏，尤其是在职业生涯早期的阶段。本次讨论还着重介绍如何应对这些不同复杂度的特色，并如何抓住机会去努力工作，旨在从经验中成长。
作者：Mathieu Girard (Senior VFX Artist, CD PROJEKT RED)
This talk presents how FX artists at CD PROJEKT RED remade the Blackwall visual effects for Cyberpunk 2077: Phantom Liberty, including how an abstract presence integral to the story was shown uniquely through effects, the extensive challenges of bringing it to life through its numerous forms, the solutions through broad use of custom shaders, and the detailed process of each effect, including its narrative purpose, failed experiments, and solutions.
这次演讲介绍了CD PROJEKT RED的特效艺术家如何重新制作了《赛博朋克2077：幻影自由》中的“黑墙”视觉效果，包括如何通过特效独特地展现故事中不可或缺的抽象存在，带来的各种挑战，广泛运用自定义着色器找到解决之道，以及每个特效的详细制作过程，包括其叙事目的、失败的实验以及解决方案。
作者：Abel Zhang (Lead VFX Artist, Funplus Games)、Yongchao Wen (Sr. VFX Artist, Funplus Games)、Haojiang Song (Sr. VFX Artist, Funplus games)
Join us at FunPlus' VFX middle office as we explore 'Efficient Techniques for Cross-Project VFX Production.' Discover how our team of skilled artists handles multiple projects annually, utilizing reusable shaders and techniques across diverse art styles. Delve into six compelling visual effect examples addressing common FX challenges, from shader of seamless art style transitions to integrating post-processing effects into particle systems. Witness our innovative 3D approach to 'structure, volume, and motion,' employing fundamental geometric models and simulated materials for impactful visual effects. Learn how we've eradicated repetitive tasks through a comprehensive VFX resource library, fostering efficient collaboration. This session promises valuable insights into streamlining workflows and enhancing visual effects across a spectrum of game projects.
加入我们在FunPlus的视觉效果（VFX）中心，一起探索“跨项目VFX制作的高效技术”。了解我们团队如何每年处理多个项目，跨越不同艺术风格利用可重复使用的着色器和技术。深入探讨六个引人入胜的视觉效果示例，解决常见的FX挑战，从无缝艺术风格过渡的着色器到将后期处理效果整合到粒子系统中。见证我们创新的三维方法，涉及“结构、体积和运动”，运用基础几何模型和模拟材料，制作有影响力的视觉效果。了解我们是如何通过全面的VFX资源库，根除了重复性任务，促进高效的协作。本次活动承诺为优化工作流程和增强各类游戏项目的视觉效果带来宝贵的见解。
链接：https://schedule.gdconf.com/session/visual-effects-summit-fracture-animation-techniques/901945
作者：Ben Esler (Technical VFX Artist, FXVille)
Fracturing your geometry is only the first step in your destructible asset pipeline. There are many different techniques to animating these fractured assets. This talk covers several different ways we can animate the fractured pieces in engine. By avoiding the need of baking out a simulation, we can allow for faster iteration time and dynamic input from gameplay. During the first half of the talk, we focus on using custom UV sets to add animation inside of a material. Then we cover how to animate the pieces with Niagara by using its Mesh Renderer for mesh flipbooks. All the techniques are covered using Houdini for source art generation and Unreal for the game engine.
将几何形状分裂是可破坏资源管线中的第一步。有许多不同的技术可以用来给这些分裂的资源添加动画。本讲座涵盖了几种我们可以在引擎中为分裂的部件添加动画的方法。通过避免需要进行模拟处理，我们可以实现更快的迭代时间，并实现游戏玩法的动态输入。在讲座的前半部分，我们着重介绍了使用自定义UV设置在材质内部添加动画的方法。然后，我们介绍了如何使用Niagara来使用其Mesh渲染器为网格翻书动画添加部件动画。所有的技术都是使用Houdini进行源艺术生成，并在Unreal中的游戏引擎中进行演示的。
链接：https://schedule.gdconf.com/session/visual-effects-summit-lessons-in-lens-flares/901108
作者：Anoop Herur-Raman (FX Artist, FXVille)
Lessons in Lens Flares seeks to demystify the complex visual behaviors associated with lens flares. This session examines the most commonly-observed lens flare elements, providing simple explanations for their behaviors as well as a conceptual understanding of the interaction between light, the camera lens and the image sensor. Reference footage (from both Spherical and Anamorphic lenses) as well as a tutorial for creating lens flares from scratch in After Effects will be featured throughout the session. Examples of successful lens flares from both film and games will also be analyzed and discussed. This session offers a unique insight into one of the most common yet complex visual effects, with the aim of empowering artists and developers from all walks of life to create beautiful lens flares for their own projects.
《光晕效果课程》旨在揭开与光晕效果相关的复杂视觉行为的神秘面纱。本课程将深入探讨最常见的光晕元素，提供简明的解释其行为的解释，以及光线、相机镜头和图像传感器之间相互作用的概念理解。课程中将展示来自球面镜头和银幕镜头的参考素材，并介绍在After Effects中从零开始创建光晕效果的教程。此外，还将分析和讨论来自电影和游戏中成功的光晕效果范例。该课程给予对这一常见而复杂的视觉效果独特的洞察力，旨在赋予各行各业的艺术家和开发人员创作自己项目中美丽光晕效果的能力。
作者：Matthew Bennett (Principal Visual Effects Artist, Insomniac Games)、Jonathan Garrett (Lead Engine Programmer, Insomniac Games)、Derek Lewis (Advanced Senior Technical Artist, Insomniac Games)
Symbiotes take various forms and play a significant role in Marvel's Spider-Man 2. These symbiotes are rendered in highest fidelity during the game cinematics. Insomniac created a variety of workflows to make symbiotes. These workflows had to be robust enough to convey life-like motion, fast enough for users to iterate within a production timeline, and performant enough to run at sixty frames per second. This presentation breaks down the creation process of cinematic symbiotes in Marvel's Spider-Man 2. The presenters walk through custom procedural tools created to facilitate art directable effects, the export process, and the custom engine systems implemented. The presenters dedicate special attention to showcasing a novel real-time meshing system used extensively in the rendering of Symbiotes in Marvel’s Spider-man 2.
共生体在《蜘蛛侠：复仇》中采用各种形态，并发挥重要作用。这些共生体在游戏过场动画中呈现出最高的保真度。Insomniac开发了多种工作流程来制作这些共生体。这些工作流程必须足够稳健，能够传达逼真的动作，同时要快速到足以让用户在生产时间表内进行迭代，并且性能足够强大，能够以六十帧每秒的速度运行。本次演示将详细描述《蜘蛛侠：复仇》中过场动画共生体的创作过程。演讲者将介绍自定义程序工具，用于简化艺术指导效果、导出流程以及实施的自定义引擎系统。演讲者特别关注展示一种新颖的实时网格系统，在《蜘蛛侠：复仇》中广泛用于呈现共生体的过程中。
作者：André Bragason (Lead VFX Artist, CCP Games)
Join this talk for the visual effects evolution of EVE Online, a pioneering MMORPG that has stood the test of time! In a rare look behind the scenes, we show how our successes, and failures, over the last decade shaped tool improvements on the long road to making modern dynamic, reactive, and viscerally pleasing visual effects for an MMORPG that is now in its third decade. See how the tools evolved to meet the challenges of new features that continual development and delivery required. Discover the solutions that improved our processes, enabled rapid prototyping, and allowed a small VFX team to succeed. Join to see how artists on EVE Online were enabled to create finite state machines, learn to make expressions and utilize live variables to drive dynamic and state based VFX. Plus, see some neat tips and tricks for VFX creation found along the way!
参加这次讲座，了解《EVE Online》的视觉效果演变，这是一款开创性的经久不衰的大型多人在线角色扮演游戏（MMORPG）！在这次难得的幕后揭秘中，我们展示了过去十年中我们的成功和失败是如何塑造工具改进，为制作现代动态、反应灵敏且令人愉悦的MMORPG视觉效果铺平道路的。看看工具是如何演变以满足持续开发和交付所需的新功能所带来的挑战。发现改进我们流程的解决方案，实现快速原型设计，并使小型VFX团队取得成功。参与并了解《EVE Online》上的艺术家如何创造有限状态机，学习制作表达式，并利用实时变量来驱动动态和基于状态的VFX。此外，还可以看到一些在VFX创建过程中发现的巧妙技巧和窍门！
Visual Effects Summit: Technical Tricks for VFX: Fake Volumetric Sword Swipes and Curling Smoke Rings
作者：Gregory Oliveira da Silva (Senior VFX Artist, Beyond-FX)、Matias Mahler (Senior VFX Artist II, Beyond FX)
Showcasing the use of simple math and some smart 3D techniques to fake volume on effects. The speakers go over the tricks to create a volumetric Laser Sword effect in Unreal, using Niagara to control visual properties of the material and to pass position and rotation data to the shader to achieve a smear effect while keeping the volumetric glow around it. Also, this sessions explains how to use Dot Product and Cross product to control the rotation of 2D particles inside Niagara in a way to fake a twirling motion of dust in the wind. As a result, the left side of the ring to rotate to the right, the right to the left and the center won't rotate at all.
展示了使用简单的数学和一些智能3D技术来伪造特效的体积。演讲者介绍了在虚幻引擎中创建体积激光剑效果的技巧，使用Niagara来控制材质的视觉属性，并将位置和旋转数据传递给着色器，以实现涂抹效果，同时保持周围的体积发光效果。此外，本次课程还解释了如何使用点积和叉积来控制Niagara内2D粒子的旋转，以伪造风中尘土飞扬的旋转运动。结果是，环的左侧向右旋转，右侧向左旋转，中心则完全不旋转。